Ramayana Through Ikebana
Ikebana, the ancient art of arranging flowers, is deeply rooted in Buddhism and Japanese traditions. Over the centuries, it has developed as an art form all its own, garnering popularity and leading to the development of schools dedicated to teaching this art form. A few things set Ikebana apart from traditional flower arranging. Those who practice this art know that it is based on minimalism, a focus on space, its unique materials, and asymmetry. Another amazing tradition is that of India’s Ramayan, a tale describing both love and honor. When the art of Ikebana meets Ramayana, something truly beautiful emerges.
Ramayana Through Ikebana, by Meena Iyer and Simran Sadana, is a unique combination of mythology and explanations of how Ikebana has been used to depict various sequential scenes from Ramayana. With attention to color, shape, position, and texture, each arrangement in the book’s photos tells the story in the most stunning fashion. The authors have taken great care to caption each photograph, listing the materials and the rationale for the arrangement for each as it relates to the storyline.
I found it amazing that I could actually picture the story’s scenes when I looked at the arrangements. Iyer and Sadana have managed to pull together for readers two exceptional art forms and present them in a way they will both appreciate and at which they will marvel. Ramayana is beautifully told throughout the book and carries with it both amazing symbolism and life lessons that readers will enjoy.
I can see Iyer and Sadana’s work as being beneficial in both literary arts and visual arts. The Indian story itself is a wonderful representation of both culture and tradition while the vivid descriptions of Ikebana throughout the book benefit those who are studying flower arranging. The authors have gifted readers with a true thing of beauty–on many levels.
I was pleasantly surprised at the way the two art forms meld seamlessly to convey a timeless tale. I highly recommend Ramayana Through Ikebana to anyone interested in exploring other cultures, those who are curious about the history and significance of Ikebana, and any fan of mythology. Iyer and Sadan’s work is a lovely presentation of two cultures united in one work of literature.
Posted in Book Reviews, Five Stars
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The King of Beasts
Battle Carried examines the history and meaning of tiger imagery of good luck flags in Japanese culture. Why was this an important book for you to write?
Battle Carried was important for me to write because it took into consideration two primary subjects that I had been passionate about since childhood: Japanese good luck flags and the tiger. Growing up, I had a fascination for flags; I drew and colored them and hung them on my bedroom walls. The more colorful the banner, the more I wanted to learn about it. At the time, the young student in me enjoyed learning about the histories of the nations that each flag represented. Flags and military history go hand-in-hand. I often thought how those colorful pieces of cloth could inspire ordinary men to accomplish extraordinary acts of courage in battle.
My interest in tigers was a little more straightforward. As a youngster I thought about pursuing a career in veterinary medicine. My home was an animal menagerie. I was always bringing some kind of pet home, or nursing an injured animal back to health. Based on that interest, I spent quite a lot of time reading about different animals, visiting zoos, etc. The reality for me was that while many people think of the lion as the king of beasts, I was more captivated by the beauty of the orange and black striped tiger. I did not know it at the time, but Asian culture actually celebrates the tiger as the king of the beasts. Years later, when I first heard that there were good luck flags with tigers painted on them, I knew that I wanted to eventually study them. It ended up being a match made in heaven. Battle Carried was a long-awaited outgrowth following the 2008 release of my introductory volume on Japanese good luck flags.
What kind of research did you undertake to complete this book?
I was familiar with doing research in history and anthropology at both an undergraduate and graduate school level. I began my research for Battle Carried by reading whatever I could find on the evolution, migration patterns and demographics of the tiger in Asia. As a student of anthropology, I had also studied Asian religious and philosophical worldviews. I wanted to better understand how and why those relationships came to be encapsulated into the Japanese tiger art good luck flags. Later, I thought that perhaps there was a connection between the animal that I saw in rare wood block prints (ukiyo-e) and those that illustrated the flags. It was fascinating to observe that the styles and poses of tiger art painted on flags during the World War Two era, often appeared to be near exact copies of those created, sometimes a few hundred years earlier. That realization led me to research the early Chinese influences that so heavily affected later Japanese art.
What is the most surprising thing you’ve learned about Imperial Japanese Tiger Art in your research?
In Asian cosmology, the tiger was seen as a divine creature that played a significant role in how those cultures understood the origin, and evolution of the universe. In Taoist art, the tiger was frequently observed representing the “Yin” to the dragon’s “Yang”. When the tiger (tora) was complimented visually with the dragon (ryu), one of the most prolific pairings to illustrate the Japanese Zen Buddhist struggle for enlightenment emerged. With some exceptions, the Japanese embraced the zodiac system of the Chinese. The Tao constructs the world around two forces; They operate within a Yin-Yang relationship. Yin characteristics are composed of water, wind, earth, and are murky in nature. Furthermore, their essence is female, and static. The aspects of Yang incorporate fire, rain, the heavens, and brightness. Their essence is male, and energetic. The elements described may be manifested in the combined Yin-tiger, and the Yang-dragon; the pairing is known to the Japanese as uchu no tora, or “tiger in rain”. Zen Buddhism acknowledges an interplay between these two natures, one that exists throughout the entire universe. The tiger, with its courageous character, is accepted throughout Asia as the most esteemed of all the large wild animals. In pictures it is frequently positioned focused, ready to pounce upon its prey. Similarly, it is often portrayed descending along rocky outcropping, its belly stretched out low, hugging the ground. As a common theme, wind-strained bamboo thickets typically occupy the same image as the growling orange, and black striped beast. The late orientalist, Robert van Gulik wrote that, “In Japan, the tiger portrayed among bamboo stalks in the wind is known as take ni tora, ‘tiger in bamboo’. This representation is generally taken to symbolize that even the most powerful of terrestrial forces, namely the king of all animals, had to yield to the forces of nature. As such, the tiger in the take ni tora representation is also said to be identified with the wind itself, symbolizing as it were, the rustling wind in the bamboo grove.” The English born barrister, and art collector, Marcus Bourne Huish expounded upon this relationship further when he wrote in his 1889 book, Japan and Its Art that the tiger, “…is very often depicted in a storm cowering beneath bamboos, signifying the insignificant power of the mightiest of beasts as compared to that of the elements.” The powerful cat has a tempered force that is evident in its rigid muscles; allowing it comfort in its Yin/earth realm.
The dragon typically shows its force in a more spirited manner. He is often portrayed, surrounded within the heavens by angry rain clouds, and storm energized waters. Projecting himself out of the heavens, the dragon is frequently shown descending toward the earth where his Yang menaces, but does not dominate, the tiger’s Yin. Those two forces, uniformly matched are in balance, as they typify the universe’s harmonious nature.
In writing Battle Carried, I realized that the Yin-Yang relationship is one that all mankind would do better to more fully understand. When we strive to live in balance with the natural environment, the world tends to operate in a more harmonious fashion. Whenever mankind seeks to dominate or control that natural world, harmony is lost and systems break down. In Asian philosophy, the tiger as the king of beasts realizes that fact of life. Hopefully we will use that example to better steer our own destinies as humans.
I loved all the art you used in the book. What is your favorite art piece from this book?
My favorite piece of art is the 1885 woodcut triptych by the artist Koyama Chikusai titled Kato Kiyomasa on the Korean Campaign (p.33). The exploits of the samurai warrior Kato Kiyomasa were legendary among his friends and foe. He was famous, not only for his prowess on the field of battle, but also for his one-on-one fights against the fierce tiger. His fame grew to such an extent that other samurai attempted to elevate their own status by performing similar acts. Apparently enough samurai were being killed by their tiger opponents, that the Japanese leader, Toyotomi Hideyoshi banned his officers from taking part in the “sport”!
Posted in Interviews
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Cursed with Immense Powers
Demon Heart follows a a cop in Osaka who must hide the fact that she’s a demon hybrid while stopping a fanatic from acquiring an ancient artifact. What was the inspiration behind the idea for this suspenseful novel?
There were three important factors that contributed to the creation of this novel. The first was the exposure to the Japanese animation and cinema after my immigration to the United States in 1987. I am a great fan of the movies of Akira Kurosawa and also a great fan of Japanese anime, which is very beautifully made and with great attention to detail and emotional realism. My second inspiration came from the exposure to the Japanese customs and traditions as well as a unique way of thinking. Japan is the most technologically advanced country in the world and yet it is deeply rooted in old traditions. I admire their hard work, their designs and their great emphasis on personal honor and respect of people and nature. The third reason for the creation of this book was my strong and enduring friendship with my beautiful Japanese female friend, a young lady whom I met in college. My main character Naoko Kitamura is partly based on her character and her looks, and she is very beautiful!
Naoko Kitamura’s lineage and background were immensely interesting. How did you develop her background and what were some aspects that were important for you to focus on?
In my character design of Naoko Kitamura I made a reference to the formula followed by the writers and artists of Japanese manga and American graphic novels. This formula is simple. If you are an extraordinary person, it’s very hard for you to live an ordinary life. This is true of all superheroes, and Naoko Kitamura can be definitely classified as one. In developing her background and human-demonic lineage, I wanted to present her as a unique creature of both worlds, material and spiritual, a being of darkness and light blessed and cursed with immense powers and capability for great destruction. At the same time, I wanted her to take responsibility for everything she does. Since Naoko is Japanese, she does receive guidance and wisdom from her demonic ancestral memory and her mother, who is herself a demon hybrid. I wanted to present my protagonist as a strong, intelligent and independent woman and yet vulnerable both emotionally and physically, even if she can recover from almost any injury.
Osaka Japan is beautifully detailed in this story. What kind of research did you undertake to ensure things were accurate?
It is very important for every writer to get things right, especially if he or she is writing about another culture and people that represent that culture. A full year of intense and fascinating research went into creation of this novel. I wanted to understand not only how the modern japan works but to understand the intricacies of the Japanese mindset, their philosophy, history and their attitude toward life and death. I explored everything from food to movies to Japanese novels as well as interviews of my Japanese friends and study of books about Japan written by both academics and travelers, as well as fiction writers who studied Japanese culture and shared their findings with the world. Working on research for this novel was a great fun and a labor of love. I often try to place myself in my protagonist’s shoes and visualize their thoughts and actions to achieve the best literary as well as cinematic effect.
Do you have more stories planned that include Naoko?
Yes, I do have more stories planned for my demon hybrid protagonist Naoko Kitamura. Demon Heart is the first novel of the trilogy, which I plan to gradually introduce to our readers in the near future. Sometimes it is hard to determine whether or not the story would have a continuation. To make the series featuring a single main protagonist required a large amount of material to work with. I ended the Demon Heart novel with a scene that would hint on Naoko’s continuing adventures and a new life and a new identity that she would have to assume after making a heroic sacrifice to save her city from destruction. In the following novels, Naoko Kitamura will once again rise to defend her country and people she loves not just on the national but international scale. To my readers I would like to stay tuned for the more upcoming adventures of Naoko. One thing I would like to add is that she will return!
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In the Realm of Ash and Sorrow
In the Realm of Ash and Sorrow was a unique historical fiction novel colored with themes of guilt, sorrow and suffering over all that had been lost. Although this was a very emotional novel, it wasn’t all negative emotions, it also had happiness, romance, and a (possible) love like no other, mixed in with some supernatural elements and fantastical hints of history. The story caught my attention in the first couple of pages, remaining consistently entertaining throughout with only rare moments that seemed to slow a bit due to necessary exposition. The detail throughout the book is absorbing and really pulls you into 1940’s Japan. When it came time for the atomic bomb to drop I could see the horror surrounding Micha as he searched for Kyomi, the burning bodies that he came across and the fear that he would never find her or Ai. I could visualize most every scene, which is something I truly appreciated in a novel that covered such a cataclysmic event that reshaped human history.
While Kyomi’s character was interesting I wanted to see more of her personality. Her character seemed monotone at first, but after awhile her character began to grow on me just as she developed in the novel. I liked Micah from the first page, I’m not sure if that’s because he was the first character introduced to me or because I could empathize with him, perhaps it’s because I felt bad for him after the plane crashed. I liked Ai’s character from the beginning as well, children are always fun characters and Ai was no exception. The three of them together made for a great read with interesting interactions and I liked some of the other spirits that they came across along their travels.
Something that made me enjoy the book even more was how the author used the actual terms used by the Japanese such as calling the military Kempeitai instead of using one of our military terms like Army, Navy, Coast Guard, etc. This happens frequently throughout the book which showed me that the author did thorough research for this book and it also helped me learn a few terms. This is an example of the authors dedication to historical detail in this book. Something that I praise the author for is the way that this novel helps you see different points of view from the American and Japanese sides in World War 2. It is also an exploration of Japanese culture at an interesting time in their history. It covers how the Japanese lived, their culture, their work, routines, the hardships they face and much more. I really loved having bits of history weaved into the pages and the way it gave me a new insight. History and fiction meld seamlessly in this novel to deliver a captivating story.
Pages: 344 | ASIN: B083Q4WRPD
Posted in Book Reviews, Five Stars
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Plum Rains on Happy House
Lawrence Thornberry thinks he is ready for his year in Japan. However, nothing could have ever prepared him for the experience he is about to have. An experience he can never truly understand but astonishingly accepts. He discovers new elements everyday. Some of these strange things would deter anyone but not the Ichiban. A nickname he got because of the room he was assigned, room number one. This American English teacher teaches at the Slop Bucket. When he is not there he encounters strange things at the Happy House. Strange things that are brought on by the rain. Just a good old Japanese experience.
One of the strange but weirdly comfortable things is that this story is told by crow. A tale that slides seamlessly from first to third person and back. The crow has strange characteristics of its own. Note the overuse of the word strange. It is a recurring theme in Plum Rains on Happy House. The crow though not exactly living in Happy House is one of the many eclectic characters in the book. Michael Greco has done a good job of building otherworldly characters but still maintain a light touch. Another grumpy but delightfully humorous character is the Goat.
Oh the words. The author has a special gift. He weaves words into a beautifully crocheted poncho. A poncho that envelopes the reader in pure literary induced ecstasy. An example is that bit where Titty is introduced. It is so funny and accurate, I imagine. The reader cannot help but picture it. Speaking of which, the character development in this book is quite good. Not in a way that one can relate to them but in a way that makes the reader comfortable. The reader feels at home in a house that requires a symbiotic relationship between it and the resident. It is uncanny how that can be possible.
It is truly wonderful that despite the Ichiban noticing some peculiarity as he was trekking up to the house. He kept going. He continued to see the crooked house but it was like he saw something completely different. Like all the strange things were supposed to be part of the experience. It is good to take things in stride like that.
There are two issues with this book. While the language is well utilized, it still requires a bit of polishing. The plot is unique, but the story is confusing at times. Bits that arise abruptly and disrupt the flow of everything. Some people may like this as it brings a little unpredictability to the story.
This is an entertaining book with interesting characters and an imaginative creative plot. All of that and a whole lot of quirk.
Pages: 248 | ASIN: B07DWQ3R68
Posted in Book Reviews, Four Stars
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Epiphany’s Gift follows one young girl through her life as she struggles to cope with an extraordinary gift. What was the inspiration for her gift and the struggles she faced?
As a child, I had several powerful “visions” and/or paranormal experiences. Because the experiences were so exciting and so unusual, I was surprised to find that when I talked about these experiences, adults didn’t want to hear about it. They told me it was my imagination. Or worse. So, I stopped talking to anyone and kept my experiences to myself. Later, I began to read about other people who had unusual “visions.” I began to study the writings of religious mystics and found many similarities to my own encounters with “another level of existence.” In 1979, I met a psychic medium and we became friends. Although my “mystical” experiences were not the same as her “impressions,” we found we had a lot in common and have remained friends ever since.
I really enjoyed the well developed character in the book. Was there anything taken from your own life and put into the story?
Along with my childhood experiences, I included a number of “autobiographical” elements in the story. One is my work as an art historian and my fascination with artists such as William Blake and his visionary illustrations, especially the works he did of Dante’s Inferno. I also incorporated my interest in Asian art and culture in the character of Maro Guido, an art crimes investigator who is half Japanese. I wanted to explore his views about art from a non-Western perspective. And, I set Epiphany’s Gift in southern Ohio where I lived for four years while attending Ohio University. I was fascinated with Appalachian culture and wanted to immerse myself in the area and its special landscape.
This book blends several genres exceptionally well. Was this your intention or did this happen organically while writing?
When I first started writing Epiphany’s Gift, I intended to create a series of stories that combined paranormal events with art crimes. I wanted my readers to understand the problem of art theft and the significance of taking cultural treasures out of the public arena and into private collections where they are only seen by a few individuals. I believe that art has a lot to teach us about how our civilization developed and why we are who we are. So, I think that art belongs in a larger world that is open to the public.
But I also wanted to explore the issue of climate change and environmental degradation. I was encouraged by Dan Bloom, a climate activist and editor of the Cli-Fi Report, to explore various aspects of global warming and its consequences in my writing. In Epiphany’s Gift I take on the issue of fracking and its consequences. In subsequent books, I plan to focus on a number of climate-related issues including the spread of tropical diseases, effects on water resources, and catastrophic weather events.
So, my stories will be about paranormal events, art crimes and global climate change. Something for everyone!
When will this book be available and where can readers pick up a copy?
I’ve just sent the manuscript off to the publisher, so I expect the book will be available in May or June 2019. It will be available on Amazon, through Archway Publishing, and on my website: www.mallorymoconnor.com. Hopefully, it will later be available at libraries and bookstores. Connect with me through my website and I’d be happy to answer questions.
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For thirty years, Epiphany Mayall has worked as a psychic medium in the small Spiritualist community of Cassadaga, Florida. But when she returns to her childhood home in Mt. Eden, Ohio, to visit her aging mother, she finds that the rural community is reeling from a series of alarming events. The pristine world of her childhood is being destroyed. Wells and creeks are polluted, and earthquakes have become a frequent danger.
Epiphany’s former professor and mentor, art historian Dr. John Bernhardt, believes that the problems are the result of fracking operations that are being carried out by an energy corporation in the region, and that someone from the company is also connected with the disappearance of an illustration of Dante’s Inferno from the university museum. Bernhardt writes an article for the local newspaper about his theory, but the next day he is found dead. When John’s ghost appears to Epiphany and tells her that he was poisoned, she becomes determined to find the answers to several questions: who is responsible for the environmental disaster, who stole the illustration of Dante’s Inferno from the university museum, and who murdered Professor Bernhardt?
Aided by art crimes investigator, Maro Gaido, and by Blake King, an eccentric local artist, Epiphany tries to put together the pieces of a disturbing puzzle, but finds her efforts thwarted at every turn. Even a State Senator cannot help. As the earthquakes escalate, Epiphany begins to wonder if even her psychic gifts are enough to find the answers before it’s too late to save her loved ones from disaster.
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A Different Kind of Curiosity
The Moving Blade follows detective Hiroshi as he navigates street level politics to solve the murder of an American diplomat. What was the direction that you wanted to take book two in the series that was different from book one?
The direction I wanted to take it is not the direction it ended up going. So, I headed more into the characters, who became more and more interesting. I focused on the roiling tumble of conflicts inside them, and what that might reflect of social, political and historical conflicts outside. I think that’s similar to book one, but because the characters are embedded into a larger framework of political pressures and international relations, their actions resonate differently. The canvas is broader in this second book, and I go deeper into Tokyo, to see the background of the characters and their choices, good and bad.
I enjoyed the mix of interesting characters throughout the novel. Who was your favorite character to write for?
I like all of them. Well, I don’t like the bad guys, but I like hating them. My favorites were maybe the bookstore owner twins and the radical leftist. They were fun to write and to put in scenes together, the twins steady and demure and the leftist stridently angry. Sakaguchi, the ex-sumo wrestler, is always fun to write for. He has this core set of values that is rock solid Japanese. When he explodes, he really explodes. And of course, Hiroshi developed and grew as a person and as a detective, in perhaps meandering ways, but human ways. The women characters are great to write for, too, as they pull the story in their direction.
It quickly unfolds that the missing manuscript was the driving factor behind the diplomat’s death. How do you balance storytelling with mystery and action to ensure readers are engaged to the very last page?
Among all the different types of mysteries, whodunnits, whydunnits, I-dunnits, I didn’t-do-its, I tend towards the why. Maybe because I was a philosophy major? Not-knowing who creates a different kind of curiosity than not-knowing why. Withholding certain pieces of information is essential. As Alfred Hitchcock pointed out, if you know there’s a bomb under the table, but the characters don’t…well, that’s suspense. And if you don’t know why the bomb is under the table in the first place, it’s really intriguing. As jazz musicians often say, and I think Mozart said it originally, the music is not in the notes, but in the silence between. I think writing should be aware of what’s not spoken, what’s not known. The unknowns make you lean in and pay attention.
Where will book three in the Detective Hiroshi series take readers?
Book three is called Tokyo Traffic. The story revolves around a young Thai girl who gets lost in Tokyo, after running away from some horrible people. She is rescued by a young Japanese woman who lives in an internet café and plays in a rock band. Most of the story takes place in the nighttime youth hangouts in Shibuya and Shimokitazawa, another side of Tokyo. The detectives are the same, though Hiroshi has moved in with his college girlfriend and Takamatsu is off suspension. It goes deeper into the characters and deeper into Tokyo.
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When the top American diplomat in Tokyo, Bernard Mattson, is killed, he leaves more than a lifetime of successful Japan-American negotiations. He leaves a missing manuscript, boxes of research, a lost keynote speech and a tangled web of relations.
When his alluring daughter, Jamie, returns from America wanting answers, finding only threats, Detective Hiroshi Shimizu is dragged from the safe confines of his office into the street-level realities of Pacific Rim politics.
With help from ex-sumo wrestler Sakaguchi, Hiroshi searches for the killer from back alley bars to government offices, through anti-nuke protests to military conspiracies. When two more bodies turn up, Hiroshi must choose between desire and duty, violence or procedure, before the killer silences his next victim.
THE MOVING BLADE is the second in the Tokyo-based Detective Hiroshi series by award-winning author Michael Pronko.
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Inspired by my Love of Art and Music
American River: Tributaries follows three immigrant families struggling to pursue their dreams during the turbulent 1960’s. What served as your inspiration while writing this book?
My love of Northern California, the place where I grew up, and the wonderful history of the area. I was also inspired by my love of art and music and my passion for social justice issues. Immigration and ethnic diversity are the cornerstones of the story.
This book has so many fascinating characters that are well developed. What were some themes you wanted to capture in your characters?
Basically, the story focuses on the creative search for meaning, knowledge, compassion and understanding in a tumultuous world filled with prejudice, obstacles, jealousy, and betrayal. As my characters encounter these obstacles, they discover their own strengths and weaknesses and grow beyond their self-centered ambitions.
I thoroughly enjoyed the historical backdrop to the story and how well researched it was. What historical milestones were important for you to highlight in this book?
The Gold Rush had a tremendous impact on the population and culture of California. Before the Gold Rush, the population consisted mainly of Native Californians and Californios (settlers and landowners of mixed Spanish, Native Californian, and African descent). But gold fever brought people to California from all over the country and the world. The Anglo Americans (of English, Irish, or Scots descent), other Europeans (including Italians, Russians, Greeks and East Europeans), Chinese, Japanese, African Americans, and many more who came and stayed. This changed the makeup of the state’s population making it one of the most ethnically diverse in the country. So, this cultural diversity sets the scene for later entanglements.
Most of the story takes place in the 1960s, that decade that Time Magazine recently termed “The decade that changed a generation.” So, I take the reader down memory lane as my characters encounter the major issues of the time: immigration, racial prejudice, migrant workers, gay rights, women’s rights and the Vietnam War.
This is book one in the American River Trilogy. What can readers expect in book two, American River: Currents?
In Book Two, American River: Currents, a cavalcade of disasters—both personal and public—threatens to overwhelm the scattered members of the McPhalan, Ashida, and Morales clans. Alliances fray, relationships dissolve, divisive secrets are revealed, and promises are broken as the members of three California families struggle to salvage their shattered dreams. The story follows the character’s journeys to places as distant as Cleveland, Ohio, Venice, Italy, and Kyoto, Japan. From the concert halls of Europe to the artist’s lofts of Manhattan, American River: Currents is filled with passionate and resolute characters who refuse to let go of their unique visions of success—even as life’s tumultuous currents threaten to sweep them all away.
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In the mid-1800s, three immigrant familiesIrish, Japanese, and Mexicansettle along the American River in Northern California. A century later, only one family remains.
Owen McPhalans Mockingbird Valley Ranch is still a thriving family business in 1959. But when his wife, Marian, leaves Mockingbird to follow her dream of becoming a successful artist, she ignites a firestorm that impacts the descendants of all three families. As artists, musicians, writers, and politicians inherit their immigrant parents hopes, they are torn apart by ambition, prejudice, and deception while struggling through the turbulent 1960s. From the concert halls of Europe to Kyotos ancient avenues, and Manhattans artists lofts to San Franciscos North Beach, they each learn the price they must pay in order to realize their dreams. But just as the river is drawn to the sea, they eventually find themselves pulled back to the place that forged the original link between their destiniesa place called Mockingbird.
American River: Tributaries follows three California families as the descendants of Irish, Japanese, and Mexican immigrants embark on unique journeys to pursue their dreams amid an unsettled 1960s world.
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