U osam nastavaka koncipiran "The Kitchen" objavljivan u sklopu "pmetne" DC-eve edicije "Vertigo" crtežom priziva neka prošla vremena. Njegove su ženske junakinje, Kath, Angie i Raven, fizički u mnogočemu nalik prekrasnoj Diani Lombard, priležnicama Dylana Doga ili Dijabolikovoj Evi. Za razliku od njih, trojka iz njujorškog Hell's Kitchena zaslužila je vlastiti strip. Jer su prekrasno opake i opako zle, one su prave "očajne kućanice", prepuštene same sebi nakon što njihovi muževi, vođe irske mafije, završe u zatvoru. Pritisnute neimaštinom, odlučuju, bez znanja i dopuštenja svojih supruga, preuzeti njihove poslove, a ono što je započelo kao kranja nužda pretvorit će se u utaživanje gladne potrebe za moći.

Eating well doesn't need to be dull food and deprivation - it should be eating a wonderfully varied, vibrant and exciting range of foods. In The Kitchen Prescription, gastroenterologist Dr Saliha Mahmood Ahmed draws on her love of good food and her expertise in gut health to create 101 recipes that are easy to make, incredibly delicious to eat and will effortlessly keep your gut and digestion in tip-top condition. Bad: The art is okayish. Some moments are great but the sketchy art sometimes makes action moments hard to follow. I also thought it felt a bit rushed in the last issue, probably needed one extra issue.

It's a shame that the storytelling doesn't live up to the story. The narration is monotonous and obvious, telling the reader what we're seeing depicted in the panels. The way it assumes the reader is dumb is a frequent distraction.

The sudden death of loved ones is a unifying aspect of both stories. They all find awkward support from each other, and one finds solace in kitchens and food, another in jogging (and the river that had divided them, been their meeting place, and was ultimately where they were separated for ever). La elegancia y sensibilidad niponas que admiro (Soseki, Yanizaki…) también las encuentro en Yosimoto. Su lenguaje es más actual, más directo y dialogado, pero mantiene cierta calidez, cadencia, dulzura y melancolía que me agradan. Un lenguaje sencillo, repleto de detalles de la vida cotidiana de la gente corriente, que creo aporta modernidad y frescura de autora joven al tono más tradicional de muchos de los autores japoneses. After the funeral she is invited by Yuichi Tanabe, a student from the year below who she barely knows but who worked at her grandmother's favourite flower shop to live with him and his mother Eriko. Yuichi lost one mother through cancer when he was young and Eriko is his second, transgender, mother, a nightclub owner. Revolving around the theme of dealing with loss, Kitchen focuses on two young women as protagonists and their perceptions of life and death. El mundo no existe sólo para mí. El porcentaje de cosas amargas que me sucedan no variará. Yo no puedo decidirlo. Por eso, comprendí que es mejor ser alegre.When you’re travelling, every night the air is clear and crisp, the mind serene. In any case, if nobody was waiting for me anywhere, yes, this serene life would be the thing. But I’m not free, I realized; I’ve been touched by Yuichi’s soul. How much easier it would be to stay away forever. Kitchen by Banana Yoshimoto is divided into two stories of love, loss, and hope. It’s one of the most breath-taking pieces of literature I’ve read. The stories’ elegant simplicity feels like a breeze of cold air that can hurt, numb, and refresh. There’s also an element in the writing that feels almost evanescent, a certain transparency that is pure honesty. I wasn’t instantly spell-binded as you might think. It took a while, but when it did, it felt right. Everything was perfectly clear, like looking into a small pond seeing your own reflection and washing your face with its cold clear water. En la primera novela, Kichen, la autora establece una original o al menos curiosa mezcla entre lo fúnebre y lo gastronómico que empaña el resto de los subtemas, incluso el amoroso.

Con una prosa ligera y con una sensibilidad única, la autora, con sólo 24 años, describe el cómo se experimenta sentirse sola en el mundo. Tan sola que llegas al punto de encontrar calor en objetos inanimados o en lugares específicos. Mikage and Yuichi's lives are brought together by death. They are on the cusp of falling in love or living as strangers. As a bonus it has an actual ending! Many comic books or graphic novels don't. It's a complaint I've made time and again. The Kitchen is a contained story and well worth a read. Here the narrator is Mikage Sakurai, a university student, who has lost her grandmother, her last surviving relative (her parents died when she was young) and has only her kitchen (see the opening quote) left for comfort.

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Nos presenta unos personajes desorientados por la pérdida, incapaces de olvidar, que recurren a extraños hábitos para sobreponerse, pero siempre solos, sin pedir ayuda a otros seres humanos. Casi no te crees esa excesiva frialdad, esa desafección que los convierte en piedra. I'll never be able to be here again. As the minutes slide by, I move on. The flow of time is something I cannot stop. I haven't a choice. I go. We all believe we can choose our own path from among the many alternatives. But perhaps it's more accurate to say we make the choice unconsciously. I think I did-but now I knew it, because now I was able to put it into words. But I don't mean this in the fatalistic sense; we're constantly making choices. With the breaths we take every day, with the expression in our eyes, with the daily actions we do over and over, we decide as though by instinct. And so some of us will inevitably find ourselves rolling around in a puddle on some roof in a strange place with a takeout katsudon in the middle of winter, looking up at the night sky, as if it were the most natural thing in the world. This is the story about three wives who take over for their mobster boyfriends. Funny enough there's a movie out now called "Widows" that has a similar idea but more about robbing banks. This is basically Irish/Italian mobster storylines.

A couple of days ago, I watched a film called Millenium Actress, a Japanese anime film centered around the life of a once wildly popular Japanese film star. I loved it for its lovely story as well as its wonderful animation, but most of all for its peculiar disregard of many of the 'rules' of film that I hadn't realized I unconsciously followed until they were subverted. This sort of bending and breaking of my own sensibilities into something I had never considered something that would work is rampant in this book here, on a much more heartbreaking level. As both the film and the book are Japanese, there could be a correlation that other partakers of that particular cultural entertainment would be familiar with, but I shy away from labeling it as something inherent on a sociocultural level. Instead, I will describe it on my own terms, and see what happens from there. Another: "Why do I love everything that has to do with kitchens so much?... a kitchen represents some distant longing engraved on my soul." Does anyone think like that? (And it doesn't answer the question anyway.) Mikage becomes rooted in the kitchen. It becomes her compass by which she compares all homes that she has ever entered. Upon arriving, she takes over cooking for Yuichi and his mother Eriko, a transvestite who runs an all night club. Both lead busy lives and emit positive energy, encouraging Mikage to engage in her newfound passion of cooking. The three make up a new family unit until Mikage can recover from all the death around her.

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In Kitchen, a young Japanese woman named Mikage Sakurai struggles to overcome the death of her grandmother. She gradually grows close to one of her grandmother's friends, Yuichi, from a flower shop and ends up staying with him and his transgender mother, Eriko. During her stay, she develops affection for Yuichi and Eriko, almost becoming part of their family. However, she moves out after six months as she finds a new job as a culinary teacher's assistant. When she finds that Eriko was murdered, she tries to support Yuichi through the difficult time, and realises that Yuichi is probably in love with her. Reluctant to face her own feelings for him, she goes away to Izu for a work assignment, while Yuichi stays in a guest-house. However, after going to a restaurant to eat katsudon, she realises she wants to bring it to Yuichi. She goes to Yuichi’s guest-house and sneaks inside his room in the middle of the night to bring him katsudon. There Mikage tells him she doesn’t want to lose him and proposes to build a new life together.