A flock of white birds

The girl with the white birds returned to make tea, but this time, out of respect for Lady Ota. All the guests were watching every movement she made, no, it was certain that Miss Inamura knew nothing about the sad black Arabian lie story: she performed each of her movements according to the proper etiquette she had learned. Her performance was devoid of any personal style, her sitting was precise and simple. The straightness of her torso from the top of her neck to the tip of her knees added a touch of undeniable elegance to her movement. The leaves' shadows intertwined on the window behind her, and the soft shimmer of the shining light reflected on her shoulders, sliding over the kimono sleeves and amplifying the brilliance of its colors. Even her hair seemed shiny. Amid this transparency, which overflowed with light beyond the tea compartment, a flower named Baha was blooming. The girl used a scarlet silk towel, and this color did not evoke any sense of discord in her hands; on the contrary, it created an atmosphere of vibrant softness, as if a flower was blooming with every movement she made, and around her, it was as if a flock of a thousand white birds was fluttering. In a style full of human feelings, Yasunari Kawabata proceeds in his flight with a flock of white birds, transporting him into a moving human world with implicit natural relationships. The novelist, through his hero Kikugji, depicts man as he faces his battle, the eternal human struggle, between spirit and body, and between good and evil. This novelist did not stand at the threshold of the narratives that shape the overall events, but he enriched the novel with visions that reflected the traditions, customs, and morals of a society far removed from the Arab reader, with details of its life and social fabric.