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99 pages 3 hours read

Arthur Golden

Memoirs of a Geisha

Fiction | Novel | Adult | Published in 1997

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Themes

Destiny and Self-Determination

The question of whether our fate is predetermined or whether we control our own destiny recurs frequently throughout the novel, and Sayuri, in particular, finds herself torn between the two outlooks. 

Mameha emphasizes the importance of destiny, and, like other geisha, will not make a decision without consulting her almanac and fortune-teller. Significantly, she highlights the importance of accepting reality and the path that life has in store for you, rather than trying to change it. For instance, she deems Sayuri’s escape attempt unwise, because her almanac advised that it was a bad day for anyone with Sayuri’s zodiac sign to travel. However, she also points to the flexibility, power and cleverness associated with water, noting that water can sometimes break through a dam. 

Mameha plan to undermine Hatsumomo involves skill and forethought, and this is an approach that pays off in the end. Thus, Mameha does not believe in being passive, nor does she regard people as utterly powerless. Her view is that one can shape one’s life within certain parameters but that it is important to be prudent rather than impulsive. She likewise believes that one cannot change the overall trajectory of one’s life but must defer to fate. As she states, “Nowadays many people seem to believe their lives are entirely a matter of choice; but in my day we viewed ourselves as pieces of clay that forever show the fingerprints of everyone who has touched them” (339).

Nobu is the character who is most vocal about self-determination, refuting Sayuri’s claims that she is powerless. When she maintains that she does not have full control over her life, he emphasizes that, even if this is the case, she has some agency. However, it should be noted that he is not unbiased in this matter: he is angry with Sayuri for entertaining the affections of men he believes are unworthy of her. When it comes to his own relationship with Sayuri, he believes that they are destined to be together. In this respect, “destiny” can serve as a lofty term that individuals draw upon in order to lend credence to their desires. 

Mameha affirms that Nobu and Sayuri have an inescapable karmic bond, and even Sayuri recognizes that this seems to be true. However, she is unable to put aside her own feeling that her future lies with the Chairman. From their very first meeting, she is convinced that he is her destiny, and, though she tries to suppress these feelings, she cannot accept the idea of having Nobu as her danna. This is what ultimately prompts her to concoct the plan whereby Nobu will see her with the Minister. 

Though this plan does not work out as expected, the fact that Sayuri executes it shows that she is capable of a self-determined act. Sadly—and ironically—for Nobu, it is her embrace of self-determination that successfully brings a halt to his relationship with Sayuri. Her plan’s failure has a further paradoxical effect, moreover, in that it brings about the union of Sayuri and the Chairman. Here, the novel suggests the possibility that self-determination and destiny are not always opposed. 

In the end, readers are left to form their own opinions about the extent to which Sayuri’s life has been shaped by destiny or self-determination. Indeed, the novel poses a host of open-ended questions as to whether destiny exists and the extent to which an individual can, or should, take charge of their own life. Likewise, one can question whether some of the events in the book—such as Sayuri’s first encounter with the Chairman—are instances of destiny or whether the sense that it is predestined is an effect of Sayuri’s romantic narration of past events. 

For her part, Sayuri maintains her view that she was destined to be with the Chairman, comparing her journey towards him to the force of gravity. However, had she not struggled against her other supposed destiny—in which Nobu becomes her danna—then her life would have panned out very differently. Sayuri therefore accepts the concept of destiny but follows her own convictions about where her destiny lies.

Hope and Despair

Sayuri experiences despair early on in the book when she learns that her mother is seriously ill, yet she feels a glimmer of hope upon meeting Mr. Tanaka. Her visit to his house marks the first time that she has met a little girl from outside her village, and she is excited by the prospect of being adopted. This hope evaporates, however, when she realizes Mr. Tanaka’s true intentions and she and Satsu make the journey to Gion: a journey that culminates in Sayuri being forcibly separated from her sister and thrust into a world that is frightening and alien. 

Sayuri feels overwhelmed in the early days of her new life and, when Auntie tries to advise her, she finds she cannot even envisage a future. Her hope is reignited for a short period when she manages to find her sister, but, when her escape attempt is foiled and she is punished, she becomes desolate once again. She sometimes pictures her old life in Yoroido, and she clings to the hope that, one day, she might be reunited with her family. However, learning of her parents’ deaths puts an end to this dream.

Sayuri is grief-stricken in the wake of this news, but, as time passes, the grief becomes less acute. She also finds a new source of hope when she meets the Chairman and he speaks to her in a compassionate manner. Before meeting the Chairman, she felt as though the world was utterly cruel, but his small act of kindness changes her entire outlook. It also provides the motivation for her to become a geisha: originally, she wasn’t interested in pursuing this role; as Mameha notes, girls do not became geisha because they want to, but because they have no choice. Still, the idea that being a geisha will lead her to the Chairman encourages Sayuri to be more ambitious. It also provides her with solace and enduring hope in the face of some of the more distressing experiences that she suffers, such as her sexual encounters with the Baron and Dr. Crab.

Sayuri’s hope wavers throughout the novel, as she worries that she will never capture the Chairman’s interest. She despairs at the thought of Nobu becoming her danna, and it is this despair that leads to her desperate actions—just as despair prompted her earlier attempt to escape from the okiya. Still, she refuses to give up her dreams of a life with the Chairman, and, as she looks back on her life, she regards this dream as having come true. 

Sayuri does not pretend that life with the Chairman does not have its obstacles: notably, the Chairman is already married, and a life in Gion is not feasible due to the envy of the Chairman’s former rivals. She feels particular sadness at having destroyed her friendship with Nobu, and she even feels a note of envy when she sees other geisha. While she became a geisha purely in an effort to win the Chairman’s affections, it was not a wholly miserable experience. The friendships she forged, artistry she learned, and social events she attended offered her comfort and pleasure. 

Sayuri embraces her life in New York, and, even after the Chairman’s death, she feels content. Whereas she saw her life as hopeless during her early days in Gion, she now realizes that it did not end on the day that she was taken from her family. She has forged genuine friendships over the years and achieved her aim of a life with the Chairman. She therefore feels gratitude and believes that the negative experiences of her life have been balanced by good fortune.  

Envy and Rivalry

A large part of the novel concerns the rivalry between Sayuri and Hatsumomo. Hatsumomo takes an instant dislike to Sayuri, which would seem to be driven by envy: people often remark on Sayuri’s striking beauty, prompting Hatsumomo to make spiteful comments about Sayuri’s appearance. The elders of the okiya ask Sayuri what she has done to antagonize Hatsumomo, but Sayuri tells them the truth, which is that she has not done anything at all.

The rivalry between the two is largely the result of Hatsumomo’s personality, but it is also fostered by the cut-throat nature of a culture in which women’s social and financial standing is based largely on youth and beauty. The same applies to the hierarchy of the okiya. Then again, Mameha shows that it is possible to become a successful geisha without being petty and vindictive; in fact, it is her more even-tempered approach that has secured her a danna while Hatsumomo is forced to remain in the okiya.  

Hatsumomo and Mameha had been rivals prior to Sayuri’s arrival in Gion, as they are both beautiful, successful geisha. This rivalry continues throughout the novel, with Hatsumomo defacing one of Mameha’s kimonos. Whereas Hatsumomo is juvenile and impetuous, Mameha is wise and serene, characteristics that have earned her her own apartment and kimono collection. Hatsumomo consequently refers to Mameha as “Miss Perfect,” and forces Sayuri to draw on the kimono as a way of getting at her rival. Still, Mameha does not make an issue of this incident; instead, she takes Sayuri under her wing with the aim of making her a successful geisha. 

As Sayuri later finds out, Mameha has become her mentor at the Chairman’s request, rather than in an effort to pursue her personal vendetta. Even so, Mameha executes an effective plan to undermine Hatsumomo. The details of this plan are not immediately apparent, but, in contrast to Hatsumomo’s rashness, Mameha demonstrates strategic thinking. Accordingly, Sayuri ascends in social status while Hatsumomo’s career starts to decline. 

During her apprenticeship, Sayuri has to suffer further abuse by Hatsumomo, who insists on following her around and spreading malicious rumors about her; indeed, Hatsumomo shows herself to be persistent in this regard. However, when Hatsumomo does fall from grace, this fall is dramatic and permanent. One unfortunate aspects of this rivalry is that it destroys the friendship that Sayuri had established with Hatsumomo’s protégée, Pumpkin

In addition to rivalry between the female characters, the men in this novel are also often in competition with one another; most obviously, when bidding for Sayuri’s mizuage or seeking to become her danna. Such is the competition for her mizuage that Dr. Crab pays a record breaking amount, with Mameha exploiting the competitiveness, enmity, and egotism of the men who are involved in the bidding process. Likewise, Nobu is intent on becoming Sayuri’s danna, and displays a haughty, disdainful attitude towards her other potential suitors. Witnessing these dynamics therefore shows that the rivalry between the female characters is echoed by their male counterparts.   

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