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It's telling that the book stops in 1990, with her subsequent life relegated to a postscript, and her description of her realisation of her sexuality is a typically brisk "I realised I'd been looking in the wrong section of the library".
In her realisation, she dares to be true to herself, to love, to be unbecoming.
Her illusions are soon shattered by her realisation that there will be three in this marriage.
She says her realisation that she was one of the "hidden" women prompted her to write about her experience.
Nora can express in her body the violence of her desperation, and also her realisation that it is indeed desperation.
I hear her cry and see her terror, and then her realisation they are not going to stop.
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Added to the discovery that she is not, after all, everyone's queen (one Japanese servant hates her as much as her nanny, also Japanese, worships her), this realisation brings her first three years of existence to a sobering close.
She brings enormous energy to the proceedings, palpable not just in her realisations of the characters and settings, but also in her layouts, which are bold and dynamic, using every inch of the page.
She brings enormous energy to the proceedings, palpable not just in her realisations of the characters and settings, but also in her layouts, which are bold and dynamic, using every inch of the page.
Her dawning realisation that her neighbours are deliberately making her life difficult, and that she isn't always alone in her new house, makes for a superbly eerie read and prevents this from becoming too much of a heavy-handed "issue novel".
Rudolph mimes it for me – her dumbstruck realisation that there must be loads of recordings of her mother, out there, that she'd never seen.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com