A brief end of month post - some translated stories of interest available to read online - Asymptote Journal's October issue features a short story from prize winning author Tsutsui Yasutaka - entitled Descent into Yoppa Valley, translated by Sayuri Okamoto and Sim Yee Chiang, and another story from a prize winning author can be found over at Catapult where you can read A False Genealogy by Nao-cola Yamazaki, in a translation by Polly Barton. At Granta online you can read Kawakami Mieko's About Her and the Memories That Belong to Her, translated by Hitomi Yoshio, and also at Granta is Delira by Kanehara Hitomi, translated by Dan Bradley.
Saturday, October 31, 2015
Sunday, October 25, 2015
I crack an egg and the moon comes out
Reading the poems of Chika Sagawa reminds me in places of looking at the paintings of Hasegawa Rinjiro, finely translated by Sawako Nakayasu their narration has a certain stillness to them, perhaps this is the stillness of the moment of the observations they contain, and as they unfurl we have a sense that the barrier between the interpretation of the wider world with that of it's translation to the inner being evaporates within their confines. This collection, as well as including Sagawa's poems also include a number of her short prose pieces, some of these appeared in the magazines that Sagawa contributed to, the collection also includes brief poetry reviews, observations of fellow poets, all of which convey a lucid sense of intimacy and close proximity, reading these reviews provokes the wish to see an anthology of them appear in English, to read on, to expand the picture we have of Japanese modernism. Sagawa was born in rural Hokkaido in 1911 and died in 1936 after succumbing to stomach cancer at the age of just 24, the collection includes diary entries written in hospital whilst she was receiving treatment, the entry for October 23rd sees Sagawa note; was the first time in two weeks I was able to walk down the stairs to get to the X-ray room. Symptoms of her illness and a sense of the outlines of mortality can be felt in many of the preceding poems, notably in the poem Finale.
In her introduction Sawako Nakayasu highlights the importance of Sagawa as a female poet in what was a largely male dominated arena, observing that perhaps the only other comparable poet being Yosano Akiko, Sagawa, who is regarded as Japan's first female modernist poet, was championed by Ito Sei, Kitasono Katue, and eventual Nobel Prize nominee; Junzaburo Nishiwaki. Another notable Japanese name here is Hyyaken Uchida, whom Sagawa mentions reading, perhaps some stylistic similarities can be detected between the two, another is Soseki whom Sagawa observes his passing. Although containing traditional observations of the changing seasons, Sagawa's poems are noted for their inclusion and insertions of modernist descriptions and subtle surreality, subject and object often take turns in coming to the fore. As well as writing poetry, Sagawa herself translated the poetry of James Joyce, Charles Reznikoff and Mina Loy into Japanese. Whilst reading the poem Ancient Flowers with it's young girls collecting the lips of the waves with their fingertips, I'm reminded of Hasegawa's 1975 still life of the antique doll's head laid out on the table next to the sea shell and as our eye moves from object to object, relationships shift and the picture as a whole subtly transforms from the one we first encounter, this can also be felt perhaps in Sagawa's poetry, from line to line, word to word. In the piece On Bucolic Comedies by Edith Sitwell, Sagawa describes the occasion of it's translation into Japanese, (by Tsuneo Kitamura), as a truly wonderful event, much the same and more could be said about this remarkable and valued translation.
Collected Poems of Chika Sagawa at Canarium Books
excerpts at Asymptote
Hasegawa Rinjiro at Kyuryudo Art Publishing Co Ltd
Wednesday, October 7, 2015
As previously mentioned Flowering Harbour contains just the one same self titled story, it's a soulful one which ends as quickly as it arrives, so it's a little difficult to describe the drama of it without giving it all away, but the story is one of lost and loosing love, illustratively it feels wind blown, (some of it's scenes are played out in a storm), which adds to the sense of the character's emotions being blown and caught up on the much larger scale, although brief it's great to find yourself caught up in it's storyline, having it presented here on it's own makes it the more easier to turn back and read and enjoy again. It's also great to see that more from Hayashi is on the way, Drawn and Quarterly are issuing the paperback edition of his Red Colored Elegy any day now, perhaps it's already out where you are?, and then in December Breakdown Press have lined up Red Red Rock: And Other Stories to look forward to.
Flowering Harbour at Breakdown Press
Tuesday, September 22, 2015
Recently The Museum of Fine Arts in Boston held the exhibition, In The Wake: Japanese Photographers Respond to 3/11, which finished showing back in July although it's one that I'd really liked to have seen, there is however an accompanying book of the exhibition which was published for those of us who were unable to attend.
for the book
for the book
Friday, September 18, 2015
The Ark Sakura/Hakobune sakura maru first appeared a little over thirty years ago, translated by Juliet Winters Carpenter the novel displays a number of motifs that can be seen in much of Abe's writing, although laced in places with absurdist humour the novel addresses a number of sociological issues, although chiefly among these is the prospect of nuclear armageddon, told with a particularly Abe-esque vision. The novel opens with it's narrator Pig or Mole as he prefers it, buying an eupcaccia, an insect invented by Abe which back in pre-internet days must have convinced many readers that it was a bona-fide insect, Mole identifies with the insect through numerous instances of the novel, (the fact that the insect feeds on it's on faeces is a slightly disarming one), which gives the novel an entomological strand, similar to that perhaps also felt in The Woman of the Dunes, through the bug's purchase at a rooftop sale he comes into contact with three other principal characters of the novel, the insect dealer, the shill and his girlfriend, whose real name Abe, I'm certain doesn't let slip throughout the book. After buying the insect Mole learns that the previous purchasers, the mole and his girlfriend were in actuality fake buyers, shills, employed by the market to entice customers into making purchases, they're are also known as sakura and later refer to themselves as decoys, which goes some way in being an initial driving pin Abe utilises in beginning to separate reality and appearance, which one might be real?, later in the novel this concept is added upon when we are presented with the scenario that it's protagonists are happier to live in a world of supposed nuclear destruction than existing in the world that they had known previously to it. In some ways The Ark Sakura could be seen as Abe's end of the world novel, the only one Abe wrote during the eighties it's evocative of it's own age, appearing a year before Murakami's Hard Boiled Wonderland and the End of the World it feels at times like there are a number of overlaps in tone between the two writers, although where as Murakami leans to use magical realism in his writing it feels that Abe's writing presents the imagery but leaves the reader open to ponder on what is being presented. Amongst the political satire and at times coded commentary the novel studies some serious concerns, notably that of the concept of collective fear in the nuclear age, when reading the novel we have to remind ourselves of the proximities of these fears in the age it was written, the tangibility of nuclear Armageddon.
A good first portion of the novel is taken up with following Mole persuading the insect dealer, the shill and his girlfriend into signing up in being crew members to board his ark built in a disused quarry, once owned by his father, the exact dimensions of the ark remain uncertain, and as they wander the labyrinthine tunnels of the ark we're reminded of the winding corridors of the hospital in Secret Rendezvous, Mole and the insect dealer are uncertain as to whether they've made it to the ark before the shill and his girlfriend, as they are separated en route, there's an epiphanic scene in the darkness after they arrive when Mole switches on the light, via one of his strange gadget inventions, that throws the novel into a light that somehow doesn't feel was on before, we begin to learn of the shades of Mole's character, his estranged father Inototsu, and that Mole was the product of a rape committed by his father. Once inside the ark the narrative, usually conveyed via Mole explores various philosophical and social subjects, at one point the notion of national sovereignty is examined and the conclusion arises that on the whole it's a rather limp concept which exists in order to allow the state to remain free reign do as it wishes. Whilst in the ark we learn that other factions operate within the quarry, an octogenarian group of cleaners called the Broom Brigade have formed their own quasi political group, which it could be said resembles a certain faction that drive around in darkened vans, this portrait feels similar to Abe's continued coded commentary of the right as in The Ruined Map the criminal gang are all wearing yamato badges, it's not too obvious, although it is there. As well as the political ruminations there is the background subplot of the quarry being targeted to dump toxic waste illegally for profit, which is the point of contention between Mole and the varying factions, and also of the quarry being a place to despatch the bodies of unwanted persons who find themselves in the way. Abe's metaphors seem to resonate and become more cohesive after coming to the end of many of his novels, they sometimes come into focus later, which leads us to contemplate his use of perspective in his narratives. Another group referred to is the Olympic Preventive League, which has perhaps a renewed relevancy in light of future events, Mole contemplates the event noting it's absurdity and the means of what it represents.
As with some of Abe's later novels it feels that at times the plot line of The Ark Sakura unfurls in a scattered way, there is subterfuge and digressions, the flow of the narrative is pockmarked by allegorical incidence and odd angled diversions. As well as the serious line of the narrative this feels like it is threatened to be subsumed by Mole's observations of his attraction to the shill's girlfriend although this goes someway in exacerbating the sense of his solitude, another aspect of his character alluded to is the inherent criminality passed between father to son. Off centre in the later half of the novel a death occurs whose circumstance Mole can't unfathom, it's left there, a dark knot in the novel that even the narrator cannot seem to undo, it's interesting also to contemplate that the novel has two exit points to speak of, Mole's escape and of those that stay behind. It's also interesting to contemplate that the novel appeared in 1984, obviously a significant year in literature, which provokes the question of Abe's thoughts on Orwell's novel, surely he must have read it?, did he write on it?, another further point of interest is that 1948 was the year that Abe's first piece appeared, curious observations that probably have no connection.
The Ark Sakura at Penguin Random House
Wednesday, September 9, 2015
Recently received an email from Aardvark Bureau/Gallic Books highlighting the great news that they're republishing The Miner by Natusme Soseki, translated by Jay Rubin, this new edition also features a 5000 word introduction by Haruki Murakami entitled A Nonchalant Journey Through Hell, some more details are here, it's great that this novel is being brought back into wider circulation and renewed readership, my post on the older edition of The Miner can be found here, some more information from the publishers -
Translated by Jay Rubin, and with an introduction from Haruki Murakami, this is bound to appeal to fans of Japanese literature.
The Miner is the most daringly experimental and least well-known novel of the great Meiji writer Natsume Sōseki. An absurdist tale about the indeterminate nature of human personality, written in 1908, it was in many ways a precursor to the work of Joyce and Beckett.
The narrative unfolds within the mind of an unnamed protagonist-narrator, a young man caught in a love triangle who flees Tokyo, is picked up by a procurer of cheap labour for a copper mine, then travels toward and inside the depths of the mine, in search of oblivion. As he delves, the young man reflects at length on nearly every thought and perception he experiences along the way. His conclusion? That there is no such thing as human character. The result is a novel that is both absurd and comical, and a true modernist classic.
5 Facts About Natsume Sōseki
He features on the Japanese 1000 yen note.
He lived in London from 1901-1903.
He hated almost every minute of his stay.
There is a Sōseki museum opposite one of his homes in Clapham.
The characters Kafka and Oshima discuss The Miner in Murakami’s Kafka on the Shore.
Wednesday, August 19, 2015
After finishing The Book of Tokyo: A City in Short Fiction recently published by Comma Press, I turned to Tokyo Stories - A Literary Stroll edited and translated by Lawrence Rogers, I've had a copy of this for a long time and it seemed the natural book to continue on with. Similar to The Book of Tokyo, Tokyo Stories has a mixture of well known authors juxtaposed with those who are making their debut into English, as well as featuring stories from Mishima, Kawabata, Akutagawa, Kafu and Soseki, there are stories from, (among others), Takedo Rintaro, Irokawa Takehiro, and Ikeda Michiko. Where it might be said of The Book of Tokyo that the stories feel on the whole largely character driven, Tokyo Stories remains rooted in the city, an aspect to the collection is that a place or an area mentioned in one story may resurface again in another from a different author, with a different perspective lending them the impression of being impervious to time and a sense of permanence arises. The book is divided into four main areas, Central Tokyo, Shitamachi, West of the Palace, and The South End, and comes with a map included at the start to help with the locating, what is interesting is in his introductions to each of the stories Rogers elucidates their settings, for instance the location of the real fountains of one of the two Mishima stories here, Fountains in the Rain. The second story of Mishima's located in the shitamachi section is Fire Works which as far as I can see can only be found in translation in this anthology, it's a story of a chance meeting between two young men who share an exacting resemblance to one another, whilst working at a part time job the narrator stumbles into what could surmount as being a scandal involving a senior politician and the man with whom he shares the resemblance with, it carries the hallmarks of themes that feature in many of Mishima's writing.
Tokyo Stories is a book that inspires further reading, the Akutagawa story is the family chronicle The Death Register which acts as a prompt so seek out more of his stories, perhaps in Rashomon and Seventeen Other Stories, the offering of Soseki is a snippet from Inside My Glass Doors, a book which celebrates it's centenary this year, which you very much feel like continuing with when you reach the end of what is represented here, and from Kawabata is Kid Ume, the Silver Cat from The Scarlet Gang of Asakusa. Along with these prompts the suggested reading list points to further titles of interest, two standouts for me being Peter Popham's Tokyo: The City at the End of the World (Kodansha), which as far as I can see is out of print, and also Jinnai Hidenobu's Tokyo: A Spatial Anthropology.
Contrary also to giving the impression of the permanence of some of the city's more famous locations is also that of places disappearing from the map as can be seen in Ikeda Michiko's An Unclaimed Body which offers a rare female perspective of a worker living in the San'ya area, the main aspect of the narrative is made up of observations of the other women living in her shared dormitory, eventually focusing onto one woman who through the story becomes hostile to the narrator and falls ill which leads to a somewhat foreseeable fate, again the story prompts to seek out other works on the area and subject; Edward Fowler's San'ya Blues - Labouring Life in Contemporary Tokyo as well as, although a more broader study; Tom Gill's Men of Uncertainty, and of course Oyama Shiro's A Man With No Talents, the disappearance occurs when the narrator observes the change of the place name on bus time tables, which marks the beginning of the erasing of San'ya. Along with An Unclaimed Body Tokyo Stories offers a number of additional stories with prominent female narratives, Sata Ineko's Elegy from 1945, an autobiographically inspired piece has as it's narrator an assistant from Maruzen set just before the Kanto earthquake, and a story from the immediate post war years is The Old Part of Town by Hayashi Fumiko, a story with a more fraught edge is one of two from Takedo Rintaro, The Image, which conveys in a close up first person narrative style a woman's obsessive and unrequited love. The stories collected in Tokyo Stories span some nine decades of seeing events and places of the city from a fascinating array of perspectives and is well worth picking up for the number of translations some maybe acquainted with and more so of the authors and stories who remain untranslated elsewhere.
Tokyo Stories - A Literary Stroll at University of California Press
Tuesday, August 4, 2015
Reissued today, (or thereabouts), Wind/Pinball: Two Novels collects two early novels of Murakami Haruki in a new translation by Ted Goossen, a while ago I received an email highlighting the fact that you can read Murakami's introduction online via Literary Hub, the introduction is also translated by Goossen. I've already got copies of the two editions published originally in the Kodansha English Library series, but think I'll have to track out a copy of this new translation.
Haruki Murakami: The Moment I Became A Novelist at Literary Hub
The book at Secker/Harvill and at Knopf
Haruki Murakami: The Moment I Became A Novelist at Literary Hub
The book at Secker/Harvill and at Knopf
Sunday, July 12, 2015
A pleasing aspect of this book that caught my attention after receiving it was that weighing it in my hands it's proportions very much reminded me of the volumes produced by Katydid Books, most of which are now sadly slipping out of print and beyond, so to have a new translation of Japanese poetry is a welcome thing, here's to the making of a series. In the afterword, entitled Let's Talk About What We're Really Talking About from translator David Michael Ramirez II there is quite a bit made of the breaking of literary traditions and conventions in Henguchi's poetry, he describes the book's formation in detail with infectious enthusiasm, also hidden at the back of the book in slightly small text is a rather brief biography/chronology of Henguchi himself, perhaps this is how he wanted it, in which it's mentioned that he was published in Arechi/Wasteland, Henguchi's voice is a contemporary one.
The book comes in dual text and also the poems appear in differing fonts which subtly presents or recreates the effect perhaps of their dōjinshi origins, the book opens with the piece Nihongo a sprawling prose poem that spreads over four pages, (most of the poems in the book remain confined to a single page), in which Henguchi vents his frustrations with stilted language and how it's slidden into atrophy, and of this condition's affects in daily life, it's an impressive opening piece, after reading it I started to recall how perhaps older collections of poetry came with an index of first lines, with many of Henguchi's poems I envisioned the book being presented with an index of last lines as Nihongo culminates with - I would like to start a Nihongo that receives applause even in absolute darkness. After Nihongo there comes a selection of Henguchi's photography chaptered with the title For Dad, many of these shots are interior details, shots of the family home?, is that toilet plumbing in one?, another is a close up of tatami repaired or joined together with thick black carpentry tape, many are close ups reducing the image to elemental presences, we stare at the metallic foot grip of an escalator step, vivid green bamboo wall tiles, traditional imagery juxtaposed with that of the 'make do' present, a view through the waves in the glass of a window take on the perspective of looking down, a plane view out into the panoramic expanse of an ocean, in others we see perhaps the same image presented from a different angle or of the same face enlarging, getting closer and closer, the section ends with what could be a still of moving water, paused.
Reading the poems the reader might begin to look for common overarching themes, there's much reward in contemplating and comparing Henguchi's poetry as a whole as well as reading them one poem at a time, the narratives of Henguchi's poetry is one often caught between absolutes, either trying to escape them or alternatively forming new ones, or questioning where they might begin as in the prose poem; Framing the Freedom of Being Torn Apart which observes - Everything from start to finish is sure to be fiction. then posits the question - Where and when would you say is not fiction?, as with many of the poems there is the presence of unattainable realities, frustratingly some of these close at hand, desired or non-desired, the poem answers the question with the observation to the answer that lingers in the mind - In spite of that everybody is a damn creation, Henguchi's narratives are unflinching in their depictions of the vacuums between the fabric of realities imposed and unimposed, the struggle between the official and the unofficial is a theme not too distant in many of the poems and the precariousness of living and choosing between them, there's the challenging line - Realizing that the more sincere you become the more meaningless you become. Framing the Freedom of Being torn Apart is a poem made of clipped sentences, in ways it culminates in many places and times, the ending is a plea against maturing, but a little before the end a line laced with absolutism seems to arrive at a culmination before the poem's end - Everything, has an end in everything, Henguchi's voice blends visions of the darkest depths whilst still retaining in places indefatigable lines of resolve.
Truly no matter what happens it won't matter at all.
from Falling Slightly Forward
Lizard Telepathy Fox Telepathy at Chin Music Press
Tuesday, June 16, 2015
Opus first appeared in serialization in 1995/1996, recently it's been published by Dark Horse, (November 2014), in a translation by Zack Davisson, Dark Horse have done a great job with the publication of Opus, reading Opus it's hard to resist visualizing it as it may appear in an animated form given Kon's filmography, although he started out originally in manga. Visually the book is stunning, the full page art work at the beginning of each chapter could hang on the wall of any gallery, the book comes including a final chapter which was only sketched out in pencil that wasn't included when Opus was initially serialized, this brief end chapter was found after Kon's sudden death from cancer in 2010, it extends the story line featuring Kon himself, but even with this chapter there's the feeling that the story line of Opus is open ended, it could just keep going.
The premise of Opus is quite a simple one although how Kon builds upon it displays the ingenuity that we've come to associate with the rest of his work, in some ways utilising the story within a story approach Kon examines a number of different aspects to the creative process and the relationship between the author and the characters they create, Kon built on this spiralling the story out crashing through barriers that we assume end with the frame that are there whilst we read stories and manga. The jacket describes Opus as being a meta-fictional tale and it is, Chikara Nagai is a manga artist, creator of series Resonance whose lead protagonist, Satoko, is an agent fighting the evil forces of Masque, head of the Nameless Faith cult. Under pressure to deliver the final instalment Chikara finds a page which is seen depicting a tunnel leading down, falling through he finds himself in the manga that he has created, after demonstrating to and convincing Satoko that he is the creator of her story the metaphors begin to abound, essentially with Chikara as a god figure, and his character's there merely as puppets in a preordained story, without will, but these ideas are treated with irony and humour. Another character central to the story is that of Lin who obtains the all important last page of the story who is then pursued through much of the story by Chikara and Satoko whilst they fend off Masque, who is also in pursuit of Lin. Added to this Satoko is imbued with telepathic abilities something which rises to the forefront of the story when later in the story she finds herself spilling back out of the manga and into Chikara's world after he returns to his world, the story reverses back through to dark events in the character's pasts, and through various forms of resurrection, one by the pen of creator Chikara himself.
As already mentioned the artwork is spot on, the images of the storyline cracking and disintegrating as they are pursued are spectacular, at various points Chikara finds himself situated in a pure white void, out of the story, (but still within it - if you know what I mean), at one point it's mentioned that there are other places where the story is happening, hinting to the reader not only to restrict themselves contemplating what is visually happening within what is being drawn opens up the dimensions of the story in a highly original and absorbing way, and of course Kon pursues the story in and out of these places too. Opus is a masterpiece, one that I keep turning to with relief knowing that yes I do have a copy.
Opus at Dark Horse