
Invisible Helix: Keigo Higashino weaves another elegantly knotted mystery
And intricate plots, surprise twists and Galileo, are all present in Higashino's latest, Invisible Helix. The book, like so many of Higashino's works, revolves around a murder. And equally like so many of his works, it begins like a simple, melancholy tale as a young mother abandons her child at an orphanage. We then move forward in time and the body of a young man is found in the ocean near Tokyo. Closer inspection reveals that he was shot. Suspicion immediately falls on his girlfriend, with whom he had been living for a while, and who, rather mysteriously, is nowhere to be found, even though she has a perfect alibi (in best Higashino tradition). Chief Inspector Kusanagi and Detective Inspector Kaoro Utsumi make inquiries, and discover that the dead man actually used to violently assault his girlfriend, which makes her a prime suspect in his murder. Of course, it is not that simple. As Kusanagi and Utsumi dig deeper, another character emerges – a lady with whom the suspect seems to have run away after the murder of her boyfriend.
As they try to find out more about this new character, they come across a name in the bibliography of one of the books written by her- Manabu Yukawa, Detective Galileo himself, a legend in the police force, and with whom they have worked before (Kusanagi has actually studied with him at college). The two reach out to Yukawa, who is away from the university and nursing his ill parents. Yukawa agrees to help them but with some reservations – 'You really are pinning your hopes on the flimsiest of leads! Flimsier than the filaments of a spider's web,' he warns them.
As the investigations proceed, a new character enters the fray, and suddenly you understand the significance of the mother who abandoned her child at the very beginning of the book. As Yukawa gently untangles a knotted cluster of relationships – some true, some false and some hidden – the identity of the murderer and the reason for the murder become seemingly obvious. Only, this is Keigo Higashino, so there are a few twists and turns along the way, and by the time you reach the final page, you realise that the book is as much about relationships and their complexity as about a murder investigation. Hence the title – Helix is the structure of a DNA, and the book uncovers hidden strands of relationships between seemingly different characters.
Those expecting a tense, suspense-laden page-turner on the lines of The Devotion of Suspect X are likely to find Invisible Helix a little on the slow side. Its 350-odd pages do not exactly fly past, and we would advise most newcomers to Higashino's world to be patient with the book. Even Yukawa enters the scene more than fifty pages into the story and is not a very strong presence for most of it. Invisible Helix also gives us a whole new perspective of Yukawa (who is actually never referred to as Detective Galileo even once in the book). Although still a genius with a deep understanding of human nature, he is also shown as a caring son – his mother has dementia and he tries his best to help his father take care of her, even while arguing with him. He is as much a man of the world as a super detective.
Invisible Helix does not have any memorably strong characters or dramatic conversations, partly because the spotlight is shared by so many. This is Higashino in almost Ruth Rendell mode – gently elegant and quietly stirring rather than shocking. Even though he keeps shifting between different time periods and character perspectives, he does so at a leisurely pace, and his denouement and twists will surprise rather than stun you. Invisible Helix is not the sort of book that you will keep reading through the night. You will read it, think, put it down and go back to it again. And when you have finished it, you will find yourself thinking about the characters and why they acted in the way they did, and what love and concern can make one do.
We do not think that Invisible Helix is the best book in the Detective Galileo series (most prefer the famous The Devotion of Suspect X, while the intricately plotted Silent Parade is our favourite), but it certainly is one of the most elegantly written mysteries of the year. Read it if you love your mysteries to be suspenseful rather than spectacular, and if you prefer the tension of thought over action in the field. Invisible Helix ends with Kusanagi and Yukawa doing a fist bump. We would have done the same with the author.
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Indian Express
20 minutes ago
- Indian Express
Inside Mumbai's Japanese food boom: From matcha menus to sushi trains and manga-themed restaurants
From kawaii-themed cafes and ramen bars to sushi counters and omakase menus, Mumbai is in the midst of a Japanese culinary boom. Once reserved for five-star hotels and luxury dining, Japanese cuisine has become more accessible, immersive, and imaginative of late, attracting a broader, younger, and more curious audience than ever before. Take the newly launched Harajuku Tokyo Cafe in BKC, which offers two distinct experiences. A 12-seater bakehouse serves up ready-to-eat savouries, Japanese cheesecake, airy jiggly pancakes, matcha lattes, and boba teas. Right across it, a 72-seater dining room puts hot dishes at the centre, with a bullet train zipping a la carte orders like ramen, sushi, sashimi, udon, and gyoza to diners. While pastel tones and hand-painted illustrations set a playful tone at the bakehouse, the dining area channels the neon-soaked streets of Shibuya with dramatic installations — oversized lanterns, signboards, and striking calligraphy. Just a few kilometres away in Bandra West, Gaijin, which opened in April, takes a moodier turn with deep blue walls, tall planters, and a huge monolith installation. Its outdoor space adds a Tokyo-street feel with graffiti on faux shutters. In BKC again, Supa San leans into pop culture, with anime and manga visuals taking centre stage and ninja-printed cocktail glasses adding flair. And in Colaba, the space once home to the iconic Indigo restaurant reopened this April as Otoki, where staff don kimonos and interiors blend tradition with modern minimalism. The momentum continues in Worli with Donmai, in South Bombay with Wagamama, and other concepts city-wide that reflect a growing appetite for Japanese flavours. 'There has definitely been a growing interest in Japanese cuisine over the past two to three years,' said Lakhan Jethani, executive chef and co-founder of Mizu Izakaya in Bandra. Seijiro Hirohama, managing director of the Kuuraku restaurant chain, echoed the sentiment. 'The idea to bring Kuuraku to India in 2013 began when Japanese expats said they missed proper Japanese food here. That was enough for us to take the plunge,' he said. At the time, Japanese cuisine in India was often lumped under generic 'Oriental' offerings. But Hirohama believed it was only a matter of time before the cuisine found its footing. Kuuraku now operates seven restaurants in India and will launch Robata Kuuraku — a Japanese Grill & Sake concept — at Palladium in Mumbai next month. 'Ten years ago, many Indian guests only knew sushi. I remember a group of eight people ordering one sushi dish to share—it was an adventure for them. But today, we have guests confidently ordering yakitori, gyoza, tempura, and sake. Japanese cuisine is no longer unfamiliar,' he added. Harajuku, which opened its first outpost in Delhi-NCR four years ago and counts Gen Z and Gen Alpha as its biggest audience, is now eyeing 90 outlets across the country over the next three years. 'Creating an approachable, fun experience' 'From a business standpoint, Japanese cuisine is still vastly underpenetrated in India's dining landscape. Unlike other Asian cuisines, Japanese food is often perceived as premium or niche. We have broken that perception by creating a high-quality yet approachable experience that is casual, fun, and inclusive,' said founder Gaurav Kanwar. He added that their ambitious expansion plan is 'rooted in this rising demand — not just from metros but also from Tier-2 and Tier-3 cities, where curiosity about Japan is surging.' Tourism is further accelerating this familiarity. According to the Japan National Tourism Organization, 1,71,100 Indians visited Japan in the first half of 2025 alone — a jump of 40.4 per cent from the same period last year. 'We are seeing a clear cultural shift as more and more Indians are travelling to Japan — not just for its cities, but to experience its rich culture, traditions, and immersive everyday life. That same curiosity is now fuelling demand for deeper, more authentic experiences back home,' said Udai Pinnali, CEO of Aditya Birla New Age Hospitality (ABNAH). 'Indian diners evolving' Japanese pop culture, especially anime and manga, is also witnessing explosive growth in India. According to a report titled 'A Studio Called India' by the Ministry of Information and Broadcasting, India is American entertainment company Crunchyroll's second-largest anime market, and is expected to drive 60 per cent of global growth in the coming years. 'The cultural appetite here is both literal and metaphorical. Supa San taps into that energy, offering not just food, but an entire world to step into,' added Pinnali. 'Pop culture has helped, of course, but this shift also shows how Indian diners are evolving. People are more curious, more open, and have the spending power to try new things—whether that's omakase, ramen bars, or exploring the nuances of umami,' added Jethani. But while this may feel like a sudden surge, Mumbai's relationship with Japanese food goes back further than most realise. Cultural ties between India and Japan go back centuries — from Buddhism's journey in the 6th century to trade routes launched by the Tata Group in the late 1800s. 'At one time, over 1,000 Japanese nationals lived in South Mumbai. Japanese firms like Mitsubishi and Sumitomo had offices along Dadabhai Naoroji Road. There was even a Japanese Gymkhana near Mantralaya,' noted an official at the Consulate General of Japan in Mumbai. Today, beyond Mumbai, Japanese restaurants are also cropping up across India, especially in industrial hubs like Manesar in Haryana, catering to Japanese expats. Earlier this month, the AJU Ryokan Group—a Japanese hotel chain—even launched a Japanese-only residential mini-township in Gurgaon's Sector 81. Shifting the narrative Mumbai's journey with Japanese cuisine arguably began with Wasabi at the Taj Mahal Palace Hotel, which opened in 2004. Its guest list featured everyone from Ratan Tata and the Ambanis to Kareena Kapoor Khan and Ranbir Kapoor. For a long time, though, Japanese food remained synonymous with luxury. 'It was seen as elitist, something reserved for white tablecloths and special occasions,' Jethani said. 'But that has changed. Restaurants like ours — and many others — have helped shift the narrative. Today, there is a Japanese restaurant opening almost every week. That says everything.' He credits a more relaxed, engaging dining environment for this shift. 'People no longer want to be intimidated. They want authenticity and comfort — and they want to engage with the culture,' he added. At restaurants like Otoki, staff are trained not just in hospitality but also in helping diners navigate the cuisine. 'Our staff is trained to engage with diners, understand their preferences, and gauge whether they are seasoned Japanese food enthusiasts or first-time explorers,' said Anurag Katiar, restaurateur and founder of Otoki. 'Based on that, they guide guests through the menu and suggest suitable dishes. For instance, if someone is apprehensive about raw fish but wishes to give it a try, we might recommend starting with tuna. It is milder and less intimidating, making it easier for them to explore bolder options later.' At Harajuku, guests are offered training chopsticks designed to make the experience easier, and at Gaijin, wooden tongs are available, and the staff is quick to offer assistance if they notice diners struggling with chopsticks.


NDTV
24 minutes ago
- NDTV
OTT And Theatrical Releases This Week: Dhadak 2, Pati Patni Aur Panga And More
New Delhi: Get ready for a cinematic treat. Exciting new releases are hitting both OTT platforms and theatres this week. Whether you're in the mood for romance, drama, action, or comedy, there's something for every taste and preference. From big-budget movies to indie flicks, here's a look at what's new and trending in the world of OTT and theatrical releases. Kingdom (July 31) - Theatres Directed by Gowtham Tinnanuri, the film features Vijay Deverakonda as a cop. The cast also includes Satyadev and Bhagyashri Borse in key roles. The music for the movie is composed by composer Anirudh Ravichander. Glassheart (July 31) - Netflix Based on Mio Wakagi's novel, the Japanese series follows Akane Saijo, a talented drummer who gets kicked out of her band right before they're set to debut. Her life takes an unexpected turn when she's recruited by the enigmatic Naoki Fujitani to join the band Tenblank. As they strive for stardom, Akane and her bandmates fight their personal demons and the cutthroat music industry. Leanne (July 31) - Netflix The sitcom features comedian Leanne Morgan as a resilient Southern mom who starts over after her husband leaves her, with the support of her family. The show also features Kristen Johnston, Celia Weston and Blake Clark in supporting roles. Son of Sardaar 2 (August 1) - Theatres The film is a spiritual sequel to the 2012 action comedy film Son of Sardaar and features Ajay Devgn, Mrunal Thakur, Ravi Kishan and Sanjay Mishra. The plot revolves around Jassi, who travels to Scotland to reconcile with his estranged wife but gets entangled in a mob conflict and a chaotic Sikh wedding. Dhadak 2 (August 1) - Theatres Headlined by Triptii Dimri and Siddhant Chaturvedi, the film is a spiritual sequel to the 2018 film Dhadak It is also a remake of the Tamil film Pariyerum Perumal (2018). The story focuses on Nilesh and Vidhi, a couple who fall in love but encounter challenges due to societal caste differences. My Oxford Year (August 1) - Netflix The film is inspired by Julia Whelan's novel of the same name. The story follows Anna, an ambitious young American woman fulfilling her dream of studying at Oxford University. She falls for a charming Brit hiding a secret that may upend her perfectly planned life. It stars Sofia Carson and Corey Mylchreest in lead roles. Chief of War (August 1) - Apple TV+ The series centres on the unification of the Hawaiian Islands, told from an indigenous perspective. It follows a Hawaiian war chief, played by Jason Momoa, who leads a campaign to unite the warring islands against the threat of colonisation. Beyond the Bar (August 2) - Netflix The K-drama follows a female lawyer, who recently joined a new law firm. She is upright and confident but socially awkward. Over the course of 12 episodes, she grows into a full-fledged professional with the help of her seemingly cold but skilled partner. The story is also based on real-life legal cases. Pati Patni Aur Panga (August 2) - Jio Hotstar The reality series will feature celebrity couples navigating the complexities of their relationships. The show's premise is to offer fun and unconventional challenges to the couple that put their bond to the test whilst sparking a laughter ride. Perfect Match Season 3 (August 2) - Netflix In the reality series, singles pair up and participate in challenges that test their compatibility in a tropical paradise. The winning couples get to shake things up by setting up new dates for their fellow contestants, which can lead to new connections and dramatic twists. Meanwhile, those who don't find a match face elimination, adding an extra layer of excitement and tension to the show.


The Hindu
3 hours ago
- The Hindu
The gospel of ‘Vinland Saga' and its life-changing meditations on pacifism
By the time Japanese author Makoto Yukimura's seminal seinen manga publishes its 220th and final chapter today, it will have spanned two decades, 28 collected volumes, and two critically acclaimed seasons of anime. Widely considered as one of modern manga's most influential and evocative stories, Vinland Saga has sold over seven million copies, won the prestigious Kodansha Manga Award, and built a global congregation of devout fans. Despite its success, it still resists easy summary. It presents as a Viking epic of blood, vengeance and conquest, but harbours a stirring moral parable about remorse, forgiveness, and the long, difficult work of laying down one's sword. Inspired by the real-life Norse explorer Thorfinn Karlsefni, who led an expedition to North America around the turn of the 11th century, Yukimura set out to reconstruct the world of medieval Scandinavia with fastidious detail. He read Icelandic sagas — Erik the Red, The Greenlanders, The Flateyjarbók — though he later confessed that the source material was too long and dense to fully absorb. Instead, he travelled to Scandinavia, studied Viking law and shipbuilding, consulted anthropologists, and even created full-scale models to ensure historical fidelity with near-scholarly devotion. But the facts were never the point. The real Thorfinn's journey ended in failure, and Yukimura wanted to imagine what it would look like if it didn't. As a child, Thorfinn watches his father die and is consumed by a Hamletian thirst for revenge. By the series' midpoint, hollowed by grief, he finds a new vision: a vow of nonviolence, and a dream of a land where no one owns another, and no one draws a sword. This becomes the essence of Vinland — a utopia worth striving for, even if never found. Yukimura has rarely drawn attention to his influences, but his story hums with echoes of the great moral epics that preceded it. He has often cited Fist of the North Star as his entry point into manga, but Vinland Saga draws from a broader lineage of Dostoevsky's psychological torment, Kurosawa's tragic grandeur, and the lyrical, spiritual minimalism of Terrence Malick and Shūsaku Endō. At first, the story seduced readers with brutality. In its early arcs, Vinland Saga offered the baity spectacle of Nordic warbands slashing their way through medieval England. But as the chapters wore on, Yukimura gradually subverted the expectations he had so carefully cultivated. The swordplay gave way to introspection, and the battlefield faded into farmland. The manga became slower, quieter, and immeasurably deeper. The phrase 'I have no enemies,' first spoken by Thorfinn's father and later claimed by Thorfinn himself, has become the story's most striking refrain. It appears on posters, surfaces in comment threads, and circulates online like a secular prayer; emblematic of the story's moral arc. Though it sounds simple, in the context of the story, it marks a hard-earned philosophical commitment. In Buddhist thought, it echoes metta, or the cultivation of boundless goodwill toward all beings. In Christianity, it recalls Christ's command to love one's enemies. In Stoicism, it aligns with Marcus Aurelius' belief in understanding over judgment, and action guided by reason rather than impulse. In postcolonial thought, it resists the machinery of 'othering' that makes violence seem natural. Yukimura draws on this rich theological lineage to suggest that 'I have no enemies' doesn't deny conflict, but rather rejects the moral architecture that makes violence seem inevitable. Yukimura, a self-avowed pacifist, has said he would sooner go to prison than take up arms, even under government coercion. That conviction gives Vinland Saga its definitive force as a story set a millennium ago that speaks directly to the carnage of now. With clannish bloodlust and righteous warfare currently fueling the most defining atrocities of our time, Vinland Saga's radical, almost naive faith in a world without violence feels more vital than ever. That its titular utopia would later birth one of history's most brutal empires only deepens the irony. And yet in its belief in redemption, it insists a better world is still worth the reach. The parallels may not be precise, and Vinland Saga does not offer prescriptive solutions to modern crises. But its questions linger: How do people break free from cycles of violence? What does justice look like when forgiveness is possible, but memory endures? Can a society built on conquest ever truly become peaceful? The story doesn't pretend these are easy questions, and Thorfinn's path is full of doubt and contradiction. But Yukimura insists, again and again, that refusing to dehumanise others is the first step. Over time, Vinland Saga has cultivated a devoted, soul-searching following. Many have turned to it for solace in depression or as a catalyst to let go of rage. Its hopeful creed offered a blueprint for a kinder, gentler way of living, and nurtured one of the most thoughtful, generous fandoms in contemporary pop culture. As online spaces grow louder with manospheric posturing, Thorfinn has fostered a countercurrent of healthy masculinity, encouraging a generation of men to pursue empathy, accountability, and emotional growth over dominance or vengeance. That a slow, meditative story could thrive alongside testosteronic shounen offerings is a testament to its emotional gravity. YouTube essays, Reddit confessions, and blog threads have long extolled the virtues of this beautiful alchemy Yukimura has achieved. Vinland Saga is often grouped with Berserk and Vagabond as part of a loose cannon of modern seinen — three extraordinary, long-running epics centred on men forged in violence, each quietly threaded with pacifism. Today, it will become the only one of the three to reach its intended conclusion. As the final chapter approaches, there is a palpable sense of farewell in the air. Fans across the globe are bracing for the inevitable goodbye, already penning long letters of gratitude to a story that helped them survive the years. A millennium ago, a Norse explorer imagined a land without swords. In our time, a Japanese mangaka handed us that dream again. Now it's ours to carry forward, as far as it will go. Vinland is somewhere just past the horizon.