Language: Japanese

What’s New in Translation: October 2020

October 12, 2020  |  in New in Translation, Reviews  |  by Barbara Halla, George MacBeth, Georgina Fooks, and Jacqueline Leung

The best new writing from Norway, Argentina, Japan, and Colombia!

In the shorter brightnesses of autumn, we bring you four sublime new translations from around the world to fill your days with their generous offerings of fantasy, mysticism, intrigue, depth, and good old excellent writing. From a radical, genre-defying text that blends the textual and the cinematic, to an Argentine novel that expertly wields dream logic, to lauded Japanese writer Hiroko Oyamada’s latest release, to the first ever volume of poetry from a Colombian woman to be published in English, we’ve got the expert guide to your next literary excursions.

girls

Girls Against God by Jenny Hval, translated from the Norwegian by Marjam Idriss, Verso, 2020

Review by George MacBeth, Copy Editor

Unlike musicians, who often hear the same refrains sung back to them in crowds from Norway to Nizhny-Novgorod to Nottingham, writers can become disconnected from their corpus through the process of translation, often finding new markets and new readers for their early novels well into the mature phase of their authorship. Sometimes these multiple lives run in parallel, but more often than not, they’re discontinuous. Translated authors therefore begin to live out-of-sync with their work, jet-lagged as their oeuvre moves in transit across borders and between languages. This much is true of Jenny Hval, whose celebrated debut novella Paradise Rot was translated into English by Marjam Idriss in 2018, nine years after it was originally published in Norway. Now comes its highly anticipated successor Girls Without God, again translated from the Norwegian by Idriss.

Though mainly known for her eponymous musical output, comprising five studio albums and multiple collaborations (all in English), Jenny Hval originally studied creative writing in Melbourne and then in the Midwest, an experience of deracination (she originally hails from a small town in the south of Norway) that became the template for Paradise Rot. This book was a compost heap of bildungsroman, fantasy, horror, and queer love story—a peculiar, taut dreamwork that left residual stains in this reader’s memory. Its success lay in its distillation of a very particular ambience, the same oneiric mood conjured up by Hval’s music at its best (as on 2015’s Apocalypse, Girl): a dank warehouse filled with rotting fruit, sprouting mushrooms, and trashy novels; the estrangement of the Anglosphere’s soft food; the paradisical claustrophobia of a sudden and intense intimacy.

As Hval expressed in a discussion with Laura Snapes at the LRB bookshop in London, writing (rather than lyricism, or music) was her original aspiration—not so much because she felt she had any particular aptitude for it, but that, unlike the technological or instrumental expertise demanded by music, “it was unskilled. I could just do it.” This DIY ethos clearly informs the ambitious Girls Against God (whose title is itself drawn from a CocoRosie zine), which works over its themes in the same transgressive, intermedial groove as authors like Kathy Acker, Chris Kraus, and, more recently, Jarett Kobek’s invective “bad novel” I Hate the Internet. For this reason, the novel deliberately resists a simple synopsis. An unnamed narrator, who in many respects resembles Hval, is back in Oslo after a spell abroad, working on a film treatment that will channel the provincial hatred of her rebellious adolescence, the legacy of early Black Metal’s irruption against Norwegian petit-bourgeois society, and the desire of “Girls Against God” to sustain their rebellion against the heteronormative “Scandinavian reproduction blueprint” even when “our corpse paint has long since run from our cheeks.” Whilst working on her filmscript, she documents the formation of a sort-of witches’ coven with her bandmates, co-conspirators, and weird sisters Venke and Terese, with whom she engages in esoteric rituals and discussions about art, gender, and magic.  READ MORE…

Of Dreams and Dames: Ted Goossen on Translating Hiromi Kawakami’s People From My Neighborhood

September 17, 2020  |  in Book Club, Interviews  |  by Lindsay Semel

What Westerners . . . call magical realism … [is] a way of normalizing that which doesn’t easily fit into our categories.

Last month, we were delighted to bring you award-winning author Hiromi Kawakami’s latest in translation. Like much of her writing, our August Book Club selection tackles the everyday with a deliciously fantastic twist. In this interview with assistant managing editor Lindsay Semel, the inimitable Ted Goossen gives us a fascinating glimpse into the Japanese canon and the author’s place within it. He also shares his aversion to labels like “magical realism” or “women’s writing”: there are as many forms of the real and the female as there are cultures, he suggests, and that’s quite a gift.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page! 

Lindsay Semel (LS): You’ve mentioned in interviews (mainly in connection to MONKEY, the magazine of Japanese literature you co-edit) that you strive to bring non-canonical Japanese writers to Anglophone readers. Do you think there’s a difference between the Japanese literary canon and the Western canon of Japanese literature in translation?

Ted Goossen (TG): That’s an excellent question, and of course there’s a difference. Regarding the Western reception of Japanese literature, one of the earliest works was The Tale of Genji: a 1,200-page, thousand-year-old novel written by a court lady, whose manuscript was initially hand-copied and circulated among her female peers. The first English translation, Arthur Waley’s, was published around 1920. At that time, Genji was highly exotic, even for the Japanese, because it was written in a way they couldn’t read. So Waley did us all a great service with his beautiful translation, and since then, there have been four or five more.

Other than that, Japanese literature didn’t really gain a Western audience until the 1960s; at that point, the US had made Japan—its enemy in World War II—an ally, and it had tried to resurrect its reputation. Because of the war, Americans thought of the Japanese as cruel and heartless, so the US needed to make them more “human,” render them more attractive. Not only was there an element of exoticism when it came to Japanese culture, then, but also a need to rehabilitate it. When Yasunari Kawabata won the Nobel Prize in 1968, Japanese literature was prized for the kind of poetic, Zen-like quality present in his writing. Kenzaburō Ōe, who won the Nobel in 1994, distanced himself from that whole stream, and his literature is unlike any that preceded it; it did garner a Western audience, albeit a relatively small one. Now, of course, it’s Murakami. He dominates the West to such an extent that when we speak of “non-canonical,” it’s almost like we’re saying “non-Murakami.”

You’ve mentioned MONKEY, and the paradox there is that Murakami is one of our biggest supporters; he and my co-editor Motoyuki Shibata are very close, I know him as well, and Jay Rubin, a frequent collaborator, is one of his best translators. So ironically, we’re using the magazine to highlight the work of writers who aren’t Murakami, but we use Murakami to draw attention to it by publishing lots of interesting interviews, essays, and dialogues about or with him. Still, certain authors like Mieko or Hiromi Kawakami are getting lots of buzz in their own right, simply because they’re so good. There are others, too, so we’re seeing the rise of quite a few Japanese writers in the English-speaking literary world. READ MORE…

Weekly Updates from the Front Lines of World Literature

September 4, 2020  |  in Dispatches, News, Weekly Roundup  |  by Charlie Ng, David Boyd, MARGENTO, and MK Harb

This week's latest news from Lebanon, Japan, Romania, and Hong Kong!

Our writers bring you the latest literary news this week from Lebanon, where writers have been responding in the aftermath of the devastating port explosion. In Japan, literary journals have published essays centred upon literature and illness, responding to the ongoing pandemic. Romanian literature has been thriving in European literary initiatives and in Hong Kong, faced with a third wave of COVID-19, the city’s open mic nights and reading series have been taking place online. Read on to find out more! 

MK Harb, Editor-at-Large, reporting from Lebanon

This week, as French President, Emmanuel Macron, began his Lebanon tour by meeting the iconic Lebanese diva, Fairuz, the literary world continued to grieve for Beirut in the aftermath of the explosion. Author Nasri Atallah, writing for GQ Magazine, recounts the cataclysmic impact of “Beirut’s Broken Heart.” Writer and translator Lina Mounzer and writer, Mirene Arsanios, exchanged a series of letters to each other for Lithub, talking about the anguish of distance and the pain of witnessing tragedy.Writer Reem Joudi also wrote an intimate essay exclusively for Asymptote, reflecting on her experience of the explosion and the uncertain future that Beirut now faces. Naji Bakhti, a young Lebanese writer, made his literary debut with Between Beirut and the Moon. Published on August 27 with Influx Press, the book is a sardonic coming of age story in post-civil-war Beirut (1975-1990). While Bakhti was chronicling the past, reading it now feels eerily relevant.

In translation news, writer and transgender activist, Veronica Esposito, interviewed Yasmine Seale about her upcoming translation of the Thousand and One Nights. Seale, whose English translation of Aladdin is beautiful in the most transgressive sense, will be the first woman to translate the Thousand and One Nights into English. In the interview, she discusses the colonial and class legacy of translating classics and the wild possibility of re-translating and re-imagining many Arabic classics. Lastly, here at Asymptote, we are excited about acclaimed Egyptian author, Mansoura Ez-Eldin’s new novel, Basateen Al-Basra from Dar El-Shourouk publishing house. Her previous novel, Beyond Paradise, was shortlisted for the International Prize for Arabic Fiction in 2010. We eagerly await its translation from Arabic!

David Boyd, Editor-at-Large, reporting from Japan

This month, Japan’s major literary journals continue to showcase writing that deals with illness. The September issue of Subaru features several essays on the intersection between literature and illness, including “Masuku no sekai wo ikiru” (Living in the World of the Masque), in which Ujitaka Ito connects Sayaka Murata’s Convenience Store Woman to the current pandemic. READ MORE…

Announcing our August Book Club Selection: People From My Neighborhood by Hiromi Kawakami

August 31, 2020  |  in Book Club, Reviews  |  by Lindsay Semel

The portrayal and analysis of collective experience makes this a text that truly meets our moment.

As we continue into the latter half of this increasingly surreal year, one finds the need for a little magic. Thus it is with a feeling of great timeliness that we present our Book Club selection for the month of August, the well-loved Hiromi Kawakami’s new fiction collection, People From My Neighborhood. In turns enigmatic and poignant, as puzzling as it is profound, Kawakami’s readily quiet, pondering work is devoted to the way our human patterns may be spliced through with intrigue, strangeness, and fantasy; amongst these intersections of normality and sublimity one finds a great and wandering beauty.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page! 

People From My Neighbourhood by Hiromi Kawakami, translated from the Japanese by Ted Goossen, Granta, 2020

Like a box of chocolates, Hiromi Kawakami’s People From My Neighbourhood (translated from the Japanese by Ted Goossen) contains an assortment of bite-sized delights, each distinct yet related. This peculiar collection of flash fiction paints a portrait of exactly what the title suggests—the denizens of the narrator’s neighborhood—while striking a perfect balance between intriguing specificity and beguiling universality. The opening chapters introduce readers to each of the neighborhood’s curious inhabitants, while later chapters build upon the foundation, gradually erecting a universe of complex human relationships, rigorous social commentary, immense beauty, and more than a little magic.

Existing fans of Kawakami’s will surely recognize these common features of her award-winning body of work, while first-time readers will likely go searching for more. Goossen is better known as a translator of Murakami and editor of the English version of the Japanese literary magazine MONKEY: New Writing from Japan (formerly Monkey Business); ever committed to introducing Anglophone readers to non-canonical Japanese writers, he brings his flair for nonchalant magical realism to this winning new collaboration.

The first story, “The Secret,” introduces readers to the anonymous narrator and sets the tone for the collection. First presented as genderless, (we only find out later that she is female) she discovers an androgynous child, who turns out to be male, under a white blanket in a park. The child, wild and independent, comes home with her. Despite occasional disappearances, he keeps her company as she ages, all the while remaining a child. In this story, we receive her only concrete—but general—description of herself: “I’ve come to realize that he can’t be human after all, seeing how he’s stayed the same all these years. Humans change over time. I certainly have. I’ve aged and become grumpy. But I’ve come to love him, though I didn’t at first.” This one statement exemplifies many of the collection’s trademark characteristics and overarching themes: a version of time in which past, present, and eternity coexist, the supernatural, and the narrator’s fascinating method of characterization. READ MORE…

WIT Month: An Interview with Ginny Tapley Takemori

August 24, 2020  |  in Interviews  |  by Xiao Yue Shan

. . . a book is like a musical score, and readers are the musicians; a book is only complete with their performances.

As we approach the end of a wonderfully celebratory Women in Translation month, Asymptote is proud to present a week of content featuring women writers and translators who are working at the top of their game. Since the first WIT Month in 2014, advances and improvements have been made for women working in global letters, but the significance of continuing to read and translate women’s voices remains. The act of reading women is indistinguishable from the act of reading the world—a truth we must continue to recognize.

First up in our spotlight series is translator from the Japanese, Ginny Tapley Takemori. Though Japanese literature is a landscape built by men and women alike, the nation-specific politics and postulations of gender makes for thought-provoking discussion as one examines the truths and concepts reflected in its literature. An advocate for women translators and writers in Japan, Tapley Takemori has translated award-winning texts by Sayaka Murata, Kyoko Nakajima, Kaori Fujino, among many others. In the following dialogue, she speaks with blog editor Xiao Yue Shan about her prolific endeavours of translating such vital, well-loved work.

Takemori

Xiao Yue Shan (XYS): While there isn’t necessarily a conspicuous lack of literature by women in Japan, the country’s publishing market does seem entrenched in a gendered hierarchy, with books by women largely being marketed towards and read by women. Has this been your experience in navigating Japan’s literature? And if so, do you think it has affected the way women in Japan write?

Ginny Tapley Takemori (GTT): I don’t think there is a lack of books by women—on the contrary, there are lots of women writers! A lot of women working in publishing as well, for that matter, and I don’t really notice works by women writers being particularly marketed towards and read by women. I wonder what the stats for that might reveal? There may be some truth in it, given the historical development of women’s literature in Japan. From my own present observations, however, I’d say it’s true in certain cases; for instance, Boys’ Love manga is written by women for women, but it’s super niche. In 2017, Waseda Bungaku published their whopping tome Joseigo (女性号, Women’s Edition) and it sold out in a week! I’m not convinced that only women bought it. One thing that is clear is that women are winning the big literary prizes (about par with men for the Akutagawa and the Naoki). And I don’t get the impression that these prizewinning authors are writing specifically for women at all.

XYS: Yes, I definitely agree that women have quite a prominent, well-regarded presence in Japanese literature—arguably more so than in most other countries! Yet as you said, there are certain indications in the historical development of Japanese literature that subject matter is ingrained with gendered notions: women engaging more with the occupations of day-to-day life, men with politics and metaphysical matters.

GTT: That has been the case until not so long ago, but I’m not sure the boundaries are so clear nowadays. There’s an enormous variety in women’s writing now in terms of genre, writing style, and subject matter. I don’t think women writers are content to be confined to any particular subject or style, and in some cases, they explode these boundaries in quite spectacular and innovative ways, like Sayaka Murata with Earthlings. Some also deliberately revisit literature of the past, like Hiromi Kawakami in The Ten Loves of Nishino (trans. Allison Markin Powell), harking back to The Tale of Genji. There are critics who claim that contemporary writers are nowhere near the standard of the greats like Mishima, Soseki, et al (all men, naturally), but I have a different view of literature myself.

XYS: Would you say that one of the aims of Strong Women, Soft Power—the collective you co-founded with fellow translators Allison Markin Powell and Lucy North—is to direct a spotlight on women writers in Japan, and in doing so, direct the country towards gender equality, as well as greater awareness and resistance to sexism?

GTT: Strong Women, Soft Power is first and foremost a translators’ collective, and our aim is to give Japanese women writers a voice to speak for themselves through translation. It is not our intention to impose any forms of feminism or feminist critique on them; we simply aim to create awareness of their work and highlight the imbalance in the translation of men and women writers (a phenomenon not exclusive to Japan). At the same time, we offer a platform for promoting work by women writers and to some extent for women translators, although we do collaborate regularly with our male colleagues too. READ MORE…

Who Will Win the International Booker Prize?

August 19, 2020  |  in Essays, News  |  by Barbara Halla

One of my least favorite strands of Booker discourse [is that] . . . a particular book wins . . . because it ticks . . . marketing-friendly boxes.

The long-awaited announcement of the International Booker winner is finally around the corner, and with a shortlist explosive with singular talent, the gamblers amongst us are finding it difficult to place their bets. To lend a hand, Asymptote’s very own assistant editor Barbara Halla returns with her regularly scheduled take, lending her scrupulous gaze to not only the titles but the Prize itself—and the principles of literary criticism and merit.

In my previous coverage of the International Booker Prize, I mentioned that there is always an element of repetition to the discussions surrounding it; quite honestly, there are only so many ways one can frame the conversation beyond mere summarizations of the books themselves. I find myself hoping that each year’s selections will reveal some sort of larger theme looming in the background, giving me at least the pretense of a cohesive thesis statement. I think that was definitely the case with last year’s shortlist and its explicit concern with memory, but considering how English translation tends to lag behind each book’s original publication by at least a couple of years, it was probably a coincidence. I’ve had no such luck with the 2020 shortlist; most of my attempts at finding a common theme have felt like a stretch.

In an attempt to avoid making this simply a collection of bite-sized reviews, I want to talk about one of my least favorite strands of Booker discourse: the tedious—sometimes almost malicious—assertion that if a particular book wins, it does so not because of its “literary merit,” but rather because it ticks a number of marketing-friendly boxes. Maybe it has been translated from a language that rarely gets published in English, or perhaps it seems particularly relevant to our present, directly tackling racism, homophobia, or misogyny. Regardless of the source of such a statement, it has this irritating “political correctness is ruining literature” thrust to it.

Now, in the past I have relied on “non-literary” clues to try and guess the Booker winner, and to some extent, I still do. However, in my mind, whenever I try to glean the winner using such external factors, I do so based on a few assumptions. First of all, while not all shortlisted books will necessarily be my favorite or even to my liking, the judges at least believe them to be great books, and the winner might indeed be different under different (personal) circumstances. In fact, despite what some detractors of contemporary fiction might say, there is plenty to love about the books being published today, and in the presence of so much good literature, taking into account “external” factors is only natural. After all, as translator Anton Hur recently tweeted, in response to an article arguing against a translated fiction category for the Hugos, “Literary awards ARE marketing tools, they should be used to solve MARKETING PROBLEMS.” READ MORE…

Translation Tuesday: “Night, wife, detergent” by Kaori Ekuni

August 4, 2020  |  in Translations  |  by Sharni Wilson

I love my wife . . . But if she's asking for something that they don't sell at the convenience store, I don't know what to do.

For this week’s Translation Tuesday, a husband construes his stubbornness as miscommunication in Kaori Ekuni’s “Night, wife, detergent.” Ekuni’s trademark wit guides us through this unreliable narrative: a self-assured husband thinks he’s tried everything to understand his wife—everything, that is, except actually listen to her. This messy “misunderstanding” reveals an even more unsettling truth about our narrator: he sees his relationship as a contest for dominance. A probingly comic take on gender dynamics and dysfunctional relationships.

My wife said she wanted to leave me. “We have to talk,” she said.

It was after 10:00 p.m. I was tired. We’ve been married five years, no kids.

“You can get along by pretending not to notice,” my wife said. “But pretending not to notice won’t make it go away.”

When I didn’t reply and kept looking at the TV, she turned it off. I had no idea what I was supposed to be pretending not to notice, or what wouldn’t go away. As always.

As she stood over me, glaring at me, I noticed that her pedicure was chipped. “Do you need nail polish remover?” I blurted out, with hope and relief mingled in my voice. You can’t remove nail polish without nail polish remover. Is that why she’s upset?

My wife shook her head.

“Well, then it must be those square cotton wipes. The ones you said you couldn’t do without, when I told you to use tissues instead—you’ve run out of those wipes.”

My wife sighed. “No. I don’t mean anything like that. I have nail polish remover and cotton wipes. The only reason my nail polish is chipped is that I’m so busy I haven’t had time to do my nails.” READ MORE…

Weekly Updates from the Front Lines of World Literature

July 10, 2020  |  in Dispatches, News, Weekly Roundup  |  by Clémence Lucchini, Vivian Szu-Chin Chih, and Xiao Yue Shan

The latest literary developments from Taiwan, the US, and Japan!

The disparities of COVID-19’s grip over us is becoming gradually more apparent as certain countries celebrate recovery, while others continue to shelter in place. In Taiwan and Japan, processions are resuming after the interruption, with film festivals and award announcements taking over headlines, while in the US the situation remains somehow at once unpredictable and static. In Taiwan, reportage literature seeks to reset old injustices; in Japan, the prestigious Akutagawa Prize reveals its nominees; and in the US, a beloved literary event is put off for another year. Read our editors’ dispatches from the ground here!

Vivian Szu-Chin Chih, Editor-at-Large, reporting for Taiwan

The 2020 United Daily News Literary Prize has been awarded to the Malaysia-born Sinophone novelist, Chang Kuei-hsing (張貴興), who has been living in Taiwan for the last four decades. The prestigious award went to the author’s latest novel, 野豬渡河 (Wild Boar Crosses the River) which depicts his hometown in Malaysia, Sarawak—a city occupied by the Japanese in the 1940s. Asymptote has previously featured Chang’s “Siren Song” (translated by Anna Gustafson) in our Winter 2016 issue.

The Taiwanese author notable for his reportage literature, Lan Bozhou (藍博洲), will soon have new book published by Taipei’s INK Publishing in July: 尋找二二八失蹤的宋斐如 (Searching for the Missing Song Feiru in the February 28 Incident ). Consistent with Lan’s previous focus on giving a voice to the victims of Taiwan’s White Terror (1947-1987), this new work again inquires into the difficult question of the whereabouts of Song Feiru, a Taiwanese intellectual and founder of a newspaper criticizing the government in the 1940s. The namesake of the book was kidnapped by the Kuomintang and went missing after the outbreak of the infamous February 28 Incident in 1947.

Although the global situation of COVID-19 has been rapidly evolving with uncertainty, Taiwan has luckily arrived at a relatively safe status, and many local activities are resuming this summer as a result. The island-wide screenings of Xin Qi’s (辛奇, 1924-2010) films from mid-July to late-November, and the Golden Horse Classic Film Festival (with the theme of the beloved Italian director, Federico Fellini) from late-July to mid-August, are among the events leading this trend of recovery in Taipei. Xin Qi was one of the few prolific and prominent Taiwanese-language film directors in the 1960s, whose five cross-genre cinematic works have been digitally restored by the Taiwan Film and Audiovisual Institute, and will be screened around Taiwan’s theatres, both new and old, during the festival. As for the Golden Horse Classic Film Festival, it is a part of the global tribute to Fellini’s 100th birthday anniversary (“Fellini 100”), and will broadcast twenty-four of the director’s films, most of which are 4K versions, freshly restored.  READ MORE…

On Durian Sukegawa, Translation, and Literature in the Face of Crisis

July 9, 2020  |  in Interviews  |  by Kent Kosack

He said, “I just line up the facts and add flashes of poetry.”

I started working with the educational arm team at Asymptote this past March, when COVID-19 was just declared a global pandemic. As I read through the spring issue, I also kept an eye on the news, watching the US government lurch from outright denial of the disease to a hodgepodge and feckless response—then I came across Alison Watts’s translation of an article based on Durian Sukegawa’s book, Cycling the Road to the Deep North. The piece is a series of vignettes about Sukegawa’s bike tour to Fukushima, in which he tells stories of the lingering destruction from the Fukushima Daiichi Nuclear Disaster, the tsunami and earthquake, and the people carrying on their lives in its wake. Stories of the contaminated soil, of trees with toxic leaves. Stories of burned-out schools and shuddered businesses. And—the story still unfolding—of the Japanese government’s response: its ineptitude and indifference to the wishes of its citizens. The similarities to the current COVID-19 crisis were, at first, depressing, but as I reread Alison’s translation of Sukegawa’s words, I was heartened by them. Because though both crises remain dangerously unresolved, it was evidence that there remain people who are asking the necessary questions, telling the stories we need to hear.

Each issue of Asymptote is accompanied by an educators’ guide, a valuable resource for teachers who are interested in bringing world literature into their classrooms. Offering thematic breakdown of the issue’s content, contextual information, lesson plans, and possible discussion questions, Asymptote for Educators is one of our most exciting and collaborative endeavours. Learn more about it here!

Kent Kosack (KK): When I was preparing a lesson plan for the Asymptote Spring 2020 Educator’s Guide, I chose the piece you translated—an excerpt from Durian Sukegawa’s Cycling the Narrow Road to the Deep North; it felt connected to what is happening now, to the COVID-19 crisis.

Alison Watts (AW): Yes, and next year is the tenth anniversary of the Fukushima Daiichi Nuclear Disaster. It’s a timely opportunity.

KK: In more ways than one.

AW: When I first read it in 2018, I knew I wanted to translate it, but I knew it’d be difficult to sell.

KK: How was it received in Japan?

AW: It did win the Japan Essayist Club Prize, but it’s not a huge bestseller or anything. It was published by a small publisher; it’s Fukushima literature. There’s this new genre that has evolved since the disaster in 2011, all kinds of poetry, music, and literature that resulted from Fukushima, and the tsunami and earthquake as well.

KK: I read your Words Without Borders essay about your own personal reaction to the crisis. It seems to have almost coincided with your transition to becoming a full-time literary translator.

AW: I became a full-time literary translator in 2016. In 2015, I was ill for a year and I couldn’t work. At the end of that, I decided that life’s too short. I’m going to do what I want to do, nothing else. Sweet Bean Paste—the novel of Durian’s that I translated—when I read it, I thought: I love this book, I have to translate it, I’m the only person who can translate it [laughs]. I did the synopsis and samples and gave it to the agent and said, please use this to sell the book. Eventually, I got the job to translate it. As it turned out, that was in the beginning of 2016, the year I had decided to devote myself to being a literary translator. It all worked out. Like the gods were sending signals.

KK: Fortuitous. And how difficult was it for you to transition to translating this work versus Sweet Bean Paste?

AW: Essentially, it’s the same style. Durian has a tight, minimalist style. It’s quite difficult to translate because it can come across as too simplistic in English.

KK: Is that from his background in journalism, that more pared-back style?

AW: There’s that, but he’s also a poet. When I asked him before I translated Sweat Bean Paste: “How would you describe your style?” He said, “I just line up the facts and add flashes of poetry.” READ MORE…

Translation Tuesday: “Flickers of Light” by Yasumi Tsuhara

July 7, 2020  |  in Translations  |  by Toshiya Kamei

“In that case, you should avoid that tunnel. It’s known for ghost sightings.”

This week’s Translation Tuesday brings you a contemporary ghost story from best-selling author Yasumi Tsuhara. In “Flickers of Light,” our everyman protagonist believes he’s stumbled across a stroke of good fortune when the car of his dreams comes into his possession. But this supposed luck harbours a decidedly unlucky secret. Warned to avoid Kaerimi Tunnel, our protagonist finds himself encountering a chilling memory that may not actually be his own.

In Omiya lives a man dubbed “Count Dracula”—he goes by “Count” among his friends. He makes a living churning out mystery novels. They say he’s well known in his field; you might recognize his name if I were to mention it.

On the other hand, I’m a ne’er-do-well thirty-something man who has never held a regular job, partly because a succession of calamities befell me while I was still in my twenties. Needless to say, my life has nothing whatsoever to do with the publishing industry. Even so, whenever the Count and his hangers-on invite me to unofficial after-parties following movie premieres and award presentations named after somebody famous, I show up just for the fun of it, feeling like a fish out of water. Once I’m there, various hands shove their business cards into mine, dazing me with their illustrious names and titles, while I shove back my card that lists no job title and give them a self-mocking sneer while thinking my life isn’t bad at all.

Speaking of mystery, I met the Count under mysterious circumstances. I almost ran over him. Even though I wasn’t drunk or half asleep behind the wheel, I didn’t see him until it was almost too late. A tall, black-coated figure stood in the flood of crisscrossing headlights as if sprouting out of the road’s surface.

The near miss took place inside a tunnel on the outskirts of Omiya. I was on my way back to Tokyo after removing the sound equipment from an event site. I drove a company-branded Toyota HiAce that belonged to a former college classmate of mine. The president and only full-time employee, he often sent me to this kind of gig.

As I braked hard and skidded to a screeching halt, all the equipment went flying toward the driver’s seat. Even though the Count nimbly stepped aside, I ended up grazing him with the front bumper, pushing him down to the ground. When I jumped out of the car, he was already on his feet.

READ MORE…

What’s New in Translation: June 2020

June 15, 2020  |  in New in Translation, Reviews  |  by Alyea Canada, Eva Wissting, and Katarzyna Bartoszyńska

New publications from Brazil, Japan, and Poland!

This month, our selections of newly published literature from around the globe seem to cohere under the umbrella of trauma and memory, and the way they inevitably turn into narratives in the process of retrospection. From a Polish work of non-fiction that traces the sufferings of Poles during WWII, to the journals that document a Jewish immigrant in Brazil, to the strange and unspoken secrets of a small village in Japan—these works are of both documentation and imagination.

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A Little Annihilation by Anna Janko, translated from the Polish by Philip Boehm, World Editions, 2020

Review by Katarzyna Bartoszyńska, Educational Arm Assistant

It is a grim fact, one that acquires increasing urgency in recent years, that those who were alive to experience the horrors of the Second World War are getting older: before long, we will no longer be able to talk to people who have direct experience of those times. Thus, we are increasingly grappling with the problem of second-generation memory: with the matter of how the descendants of survivors preserve and pass on the stories of the past for future generations, and with questions as to whether, or how, those descendants inherit the trauma of their ancestors. Anna Janko’s A Little Annihilation is a powerful meditation on these issues.

In this reckoning with the past, Janko describes the destruction of the Polish village of Sochy by the German military on Tuesday, June 1, 1943: the inhabitants massacred and buildings burned to the ground over the course of a mere few hours. Nine-year-old Teresa Ferenc, Janko’s mother, was among the survivors. In recounts of conversations, her mother describes her memories of that day—most especially, witnessing the death of both of her parents. Janko also chronicles interviews with other survivors from the village, interweaving their stories and noting the discrepancies between them, while describing efforts to tabulate the exact number of lives lost. The impossibility of establishing precise details is a crucial reminder of the intertwined nature of history and memory, a refutation of the common notion of their opposition, as well as a reflection on the challenges of documenting a massacre.

For some English-language readers, Janko’s text may be the first work they have encountered that discusses the sufferings of non-Jewish Poles during the Second World War. For Americans especially, to learn about Nazi atrocities is generally to learn about their efforts to exterminate European Jews, without a detailed understanding of how their eugenicist ideology shaped their policies and strategies in a broader variety of ways. Confusion over the fact that Poland was occupied territory has led to mistaken statements about “Polish death camps” (most notably, perhaps, when President Barack Obama used the term during a ceremony awarding the Presidential Medal of Freedom to Jan Karski in 2012; he later apologized for the error)—as Janko angrily reminds readers. “In my opinion it would be best if Germany gathered up all the camps they left behind in Poland. So that no one would be mistaken any longer.” READ MORE…

Weekly Updates from the Front Lines of World Literature

June 12, 2020  |  in Dispatches, News, Weekly Roundup  |  by Anna Aresi and Xiao Yue Shan

Find out what's going on in the literary worlds of Japan and Italy in this week's update!

Our editors bring you the latest news in global literature from Italy and Japan this week as COVID-19 continues to make its presence known, the one-hundredth anniversary of Gianni Rodari’s birth is celebrated, and traditionally paper-dependant Japan starts investing in a virtual literary presence. Read on for the scoop!

Anna Aresi, Copy Editor, reporting from Italy:

As is well known to people in the industry, the COVID-19 pandemic has deeply impacted the publishing sector on many levels. In particular, the cancellation of most book fairs has deprived many of an important opportunity to meet fellow publishers, authors, translators and illustrators, to discover new releases to potentially translate, and set up those professional relationships that keep the industry alive. However, as we’ve seen over and over again in these months, the scope of the pandemic’s impact has often been countered with inventive, creative solutions to hold these same events in a different format.

One of the book fairs that had to be canceled was the Bologna Children’s Book Fair, one the most important events for children’s literature, taking place in Bologna, Italy, every spring. Originally scheduled to be postponed, it soon became clear that holding the BCBF in praesentia was not going to be possible, and the event happened virtually this past May.

One of the highlights of this year’s edition was the celebration of the one-hundredth anniversary of Gianni Rodari’s birth. Rodari is perhaps the single most important author of children’s books in Italy, having influenced and shaped generations of students, teachers, authors, and illustrators with his poems, short stories, books, and theoretical essays. The BCBF’s website hosts a virtual exhibition, Illustrators for Gianni Rodari, showcasing the works of many Italian artists who’ve illustrated Rodari’s books. In particular, Beatrice Alemagna, an award-winning Italian illustrator based in Paris, participates with her new illustrations for A sbagliare le storie (Telling Stories Wrong), in which an absent-minded grandfather keeps making mistakes when trying to tell the story of Red Riding Hood to her granddaughter, who has to continually correct him. As anyone who’s ever read to young children knows, consistency is key when telling them stories (over and over and . . . over again!), yet as the book shows, deviations from the norm might be as fun and rewarding as the canonical version. Alemagna’s beautiful new visual interpretation of this classic will hopefully be brought to other languages soon! READ MORE…

“It’s a floating world”: Yasuhiro Yotsumoto on Japanese Poetics

June 8, 2020  |  in Interviews  |  by Xiao Yue Shan

I’m very much interested now in the type of poet—not only in Japan but outside as well—who tries to cultivate resistance.

The life and work of poet Yasuhiro Yotsumoto is a testament to the conviction and omnipresence of poetics, profuse in every aspect of human life. In nearly twenty volumes of poetry and criticism, he has interrogated, in verse and prose, the reality and abstractions of family, romance, corporate fiscal structuring, Japanese linguistics, culture both global and insular, a struggle against cancer, and, in doing so, has revealed something essential about poetry as it coheres with all other ideas and facts. Having displaced himself from Japan by the means of an extremely successful career in business—something he calls his “real” job, despite every indication in his manner of speaking that he considers it a mere occupation—Yotsumoto has lived in Munich since 1994, and at the time of our meeting, has just begun a very tedious and significant transition back into Japanese daily life and society.

Despite meeting all the qualifications for a writer defined by (self-imposed) exile and exodus, Yotsumoto has cultivated a significant reputation in Japanese letters. As editor of the admired literary quarterly Beagle, host of the poetry podcast Poetry Talks, Japanese national editor of Poetry International, and diligent translator of poets ranging from Li Bo to Simon Armitage, he admitted casually, without any pretension or arrogance, that he is now considered somewhat of an insider (a word that he would go on to elaborate upon) within literary circles. We conversed in English, which he professed that he is able to “speak for about two hours, then the battery runs out and I start speaking nonsense.”

I met him on the very day the state of emergency—enforced within Japan due to the COVID-19 epidemic—was due to be lifted. In Yamashita Park, plentiful with roses and the bare shoulders and legs emblematic of spring-turning-summer, we ate ice cream cones overlooking the waters of Tokyo Bay. The conversation was peppered with his generous laughter, silences full of thought, and interruptions typical of the world, busy and vivid, brilliantly alive.

Xiao Yue Shan (XYS): It’s impressive to be able to balance—what I imagine to be—a very heavy workload on your day job with such a prolific poetry career.

Yasuiro Yotsumoto (YY): That’s right. I wouldn’t be able to do that if it was prose—novels, or something. But poetry is okay; I can finish it before breakfast every morning. And I write everyday.

XYS: I find that most Japanese writers have this very regulated schedule.

YY: Well, I always wanted to keep this balance. It was a challenge I put upon myself, the balance between “real life” and writing. And I made that conscious decision as I graduated from university, that I could take a very cultural job—copywriter, or something—but I somehow decided not to do that, and instead I pursued two separate worlds.

XYS: Mutually exclusive.

YY: Well, mutually exclusive in terms of lifestyle, but my first book was about corporate finance theory. I went to the University of Pennsylvania and got my MBA in corporate finance in my twenties, and I wrote a book of poetry by applying such theories of the Black-Scholes option model, etc., to describe Japanese society at that time—which was peaking economically, and everyone was sensing that the burst of the bubble was not so far away, yet we kept going and going and going. That was an overlap. So I had always been an outsider amongst Japanese poets; I live outside [of Japan], and I write about things that have never been touched before. I try to bring in this kind of prosaic, very banal, everyday subject into the domain of poetry. READ MORE…

Weekly Updates from the Front Lines of World Literature

May 15, 2020  |  in Dispatches, News, Weekly Roundup  |  by Poupeh Missaghi, Sarah Moore, and Xiao Yue Shan

Our editors bring you the latest news from Japan, Iran, and the UK!

This week, our writers bring you the latest news from Japan, Iran, and the United Kingdom: in Japan, Svetlana Alexievich’s The Unwomanly Face of War has been adapted into a manga; in Iran, readers have been mourning the loss of renowned translator Najaf Daryabandari; and in the UK, Hay Festival has revealed its impressive digital programme. Read on to find out more! 

Xiao Yue Shan, Blog Editor, reporting from Japan

There is a methodology in culture-specific product adoption that Japan has perfected in particular: a Starbucks in Kyoto’s Ninenzaka features traditional tatami flooring in an architecturally nostalgic teahouse; otherwise Italian pasta dishes are regularly indoctrinated with mentaiko (pollack roe); and well-regarded literature from other parts of the world are often adapted into the country’s most loved and widely emblematic artform—comics, or manga.

The latest text to receive this treatment is Svetlana Alexievich’s startling, emotive oral history of Soviet women who had experienced firsthand the barbarity and naked humanity of World War II. Written with the avidity of enthralled listening that has become inextricable from her literary style, in turns stoic and breaking, of both soft and difficult memory, it is a book that mends the distance between history and the body. It originally appeared in Japan as 戦争は女の顔をしていない in 2016 via the translation of 三浦 みどり Midori Miura (who had also translated works by Anatoly Pristavkin and Anna Politkovskaya), and can now also be found in the form of serialized comics, drawn and written by prolific manga artist 小梅 けいと Keito Koume, with editorial assistance from fellow comic and Soviet history specialist 速水螺旋人 Rasenjin Hayami. READ MORE…