How we cite our quotes: (Part.Chapter.Paragraph)
Quote #7
In spring, the cherry blossoms had burst into bloom, covering the tree in mounds of pale blossoms. The blossoms fell, the leaves unfurled, and summer came. A humid silence had settled on the garden, broken only by the splash of a frog. It was a tranquil prison, but it was still a prison. (5.38.2-3)
Manjiro's in prison, only his prison is a garden. (The guys have some pretty nice digs for their first experience with a Japanese imprisonment. Note: their second experience with jail isn't this nice.) But it doesn't seem like Manjiro's all that appreciative of his surroundings. It's one of the few moments when Manjiro isn't his usual, positive self. Prison can do that to a person.
Quote #8
"It's wondrous what they do," Terry said breathlessly. "It's so exact, it's almost more real than looking in a mirror. And fast! Not like sitting for days or weeks to have your portrait painted—and who can afford that, anyway?" (4.34.8)
Terry's talking about the daguerreotype—you know, the photographic technology of the 19th century. The way Terry talks about the daguerreotype makes it seem as high tech as your newest version of the iPhone.
Quote #9
Manjiro did not think a daguerreotype would be the same thing at all, and he declined the offer. Still, he wished he had a likeness of his mother. He turned back to the portraits on display and tried to imagine seeing a portrait of her, tried to bring her face back to his memory, but it was shrouded in shadow, sadness, and longing. (4.34.25)
According to Terry and the daguerreotype guy, daguerreotypes are supposed to look exactly like the actual person. But you can't fool Manjiro: Art is art; reality is reality. And he wants his mom. Even if it's just a portrait. Okay, so here's a question: If we all know that a picture isn't actually the real thing, why do we need a picture to begin with?