The Sea Will Dream In My Ears: Megumi Moriyama on Recasting Virginia Woolf into Japanese and Spiral Translation

September 18, 2024 | in Interviews | by Alton Melvar M Dapanas

Translation can never be just a flat movement between two points, merely returning to its origins.

Japanese poet, critic, and translator Megumi Moriyama has so far worked on metamorphosing Virginia Woolf’s The Waves (1931) into the Japanese and on a ‘back translation’ of Arthur Waley’s poetic rendition of the world’s first novel, The Tale of Genji by Lady Murasaki Shikibu, in collaboration with her sister, haiku poet and critic Marie Mariya, published by Sayusha. As a poet, Megumi confesses that even her original poems in Japanese are layered with translation across varying texts within and outside her native language. Of her forthcoming poetry collection, she told me, “Perhaps you might say that through translation, I have made a journey into the depths of Japanese language.”

In this interview, I spoke with Megumi, currently in Tokyo, on rendering Virginia Woolf and Waley’s The Tale of Genji into the Japanese; how spiral translation goes beyond back-translations; and the new-age scene of literary translation in Japan.

Author headshot courtesy of Benjamin Parks.

Alton Melvar M Dapanas (AMMD): You translated Virginia Woolf’s experimental classic The Waves into the Japanese as Nami (2021), published by Hayakawa. Could you speak about your process in rendering a 1931 polyphonic novel set in England by a prose writer known for her stream of consciousness narrative mode with the modern-day Japanophone readership in mind? I heard there was so much hype about it, especially on Japanese book Twitter, as it was the first translation of this novel in almost 50 years.

Megumi Moriyama (MM): The new translation of The Waves was welcomed much more enthusiastically than I had expected. When I posted the announcement on social media, it went viral. And after the publication, the book was immediately put into reprint.

I studied Virginia Woolf as a student, and The Waves was one of my favorites of hers, but I never thought I would have the opportunity to translate it. It was thanks to social media that I got the chance. I tweeted very casually that I was interested in translating The Waves, an editor took notice of it, and the project became a reality.

I Was Young: On Mutsuo Takahashi’s Only Yesterday

October 25, 2023 | in Reviews | by Xiao Yue Shan

[Takahashi] folds time’s unforgiving continuum in one motion, collapsing it into that narrow, white space between one line and the next . . .

Only Yesterday by Mutsuo Takahashi, translated from the Japanese by Jeffrey Angles, Canarium Books, 2023

Classicists are not known for pared-back prose, but in the June 1936 edition of The Classical Journal, Hanako Hoshino Yamagiwa penned a candid, simple piece on the multiple, “surprising” similarities between Ancient Greece and the Japan of her time—a comparison drawn not through extensive research, but the “things which I actually saw, heard, or read from my childhood”. Published for its novelty more than its expertise, this quiet, strange essay touches on a myriad of surface resemblances: agricultural practices, the affinity of Athena and Amaterasu, the lack of romance in marital matters, the habit of passing things from left to right. Together, these daily observations hint towards a woman who, while reading about a nation that could not be further away, had seen a vision of her own life. And so, what emerges is not a convincing portrait of how these island countries may mirror one another between their spatial and temporal distances, but testimony for a vaster pattern: the travelling body hunting the ontological material of geography to retell history, to excavate an expression of the self from the mired cliffs and centuries. It is the story of a body curious, remembering, and in motion. Its muddied tracks.

In Mutsuo Takahashi’s Only Yesterday, Greece is the poet’s material, base, and centre. Through over one hundred and fifty short poems, each translated with much care and expertise by Jeffrey Angles, the poet casts upon shores and mountains, daybreaks and cicada-filled treelines, portioning out a lifelong fascination with the archipelago and all that links it to the world. An extensive corpus has already attested to the depth of Takahashi’s affinity for the Hellenic—from translations of Euripedes and Sophocles to a repertoire of essays and interpretations—but this collection, largely written in his seventy-ninth year, is the first to be entirely dedicated to Greece. And perhaps it is because of this timing, in the winter of the poet’s life, that the view presented in these brief lines is not one of raw precision, of wandering or travelogue, but of Greece dissolving, slowly, into the liquid called reflection.

Weekly Dispatches from the Frontlines of World Literature

March 16, 2018 | in Dispatches, News, Weekly Roundup | by Hodna Nuernberg, Jacqueline Leung, and Noah Ross

Our weekly roundup of literary news brings us to Morocco, Hong Kong, and the United States.

We are back with the latest from around the world! This week we hear about Morocco, Hong Kong, and the United States. Enjoy!

Hodna Nuernberg, Editor-at-Large, reporting from Morocco

Some seven hundred exhibitors from Morocco and around the world descended on Casablanca for the Salon international de l’edition et du livre, which took place from February 9-18. Half open-air souk (rumor had it that one of the ambulatory vendors went so far as to offer women’s panties for sale!), half oasis of high culture, the book fair counted over 125,000 titles from forty-five different countries. Egypt, this year’s guest of honor, accounted for nearly fifteen percent of the titles on offer alone, and managed to ruffle more than a few feathers when an Egyptian publisher was allegedly caught displaying a book (A Brief History of Africa) whose cover featured a map of the continent depicting a “mutilated” Morocco—the disputed territory of the Western Sahara appearing as an independent nation under the Polisario flag. The presence of the book was firmly denied by the Ministry of Culture.