How we cite our quotes: (Chapter.Paragraph)
Quote #1
At the conference he [Gen] spoke in Greek for Mr. Hosokawa and his associates, spoke in Japanese to them, and was, in all matters, intelligent, quick, and professional. But it was not his presence that Mr. Hosokawa was drawn to, it was his lack of presence. Gen was an extension, an invisible self that was constantly anticipating his needs. (1.51)
When we hop in the car or answer the phone, we don't notice if the car starts or the phone works. We only notice if the engine makes an awful noise or the phone goes dead. Communication through language is like that too: we don't really notice if it's going right, just if it's breaking down. That's why Gen is such an amazing translator; he can make communicating across a language barrier as simple as answering the phone.
Quote #2
At the sound of her [Roxane's] voice he [Father Arguedas] felt his first wave of disappointment. Not in her, never, but in himself. English. Everyone said it would be important to learn English. What was it the tourists said? "Have a nice way?" But what if that was an inappropriate response? What if it was in some way hurtful? It could be asking for something, camera film or directions or money. He prayed. Finally, sadly, he said the only word he was sure of, "English." (3.30)
Imagine you could help your idol, but then actually you can't because you don't speak the same language. That's sort of what Father Arguedas is going through here. It's one of the many moments where the book reminds us that communication can't be taken for granted, even when people desperately want to communicate. But Roxane and Father Arguedas do find some ways to share their thoughts or feelings, in the few words of English or Spanish they have in common and in nonverbal ways. It's a hint that communication is bigger than language in this novel.
Quote #3
Even though Gen translated, a clear and simple word-for-word translation, every person in the room understood what she [Roxane] was saying without him, in the same way they would have understood her singing Puccini in Italian. (3.89)
As an opera singer, Roxane has to communicate to audiences in a number of different languages, some she doesn't even speak herself. And when she tells the terrorists to let the dying accompanist go, everybody gets what she's saying. Throughout the novel, Roxane is particularly good at nonverbal communication, partly because she can communicate through music and partly because she's also good at things like gestures and body language. Those come in handy as an opera singer, and as it turns out, in a hostage situation, too.