Leith Morton (selector and translator), Poems of Masayo Koike, Shuntarō Tanikawa & Rin Ishigaki (Vagabond Press 2013)
Indonesian writer and translator Maggie Tiojakin said recently on the ABC’s Books and Arts Daily that in translating Kipling’s Just So Stories she had to negotiate between wanting people to understand Kipling’s playful language or just enjoy the sound of it. Having opted for understanding, she worried that she had ruined Kipling’s work.
People enjoyed her Elephant’s Child anyhow, so all was well, but a similar dilemma faces any translator where the sound and look of the words matters. This includes most poetry, particularly when translated into European languages from languages like Chinese and Japanese that are written in characters: a simple word-by-word transition just doesn’t do it. The difficulty – and the joy of the challenge – are charmingly illustrated by the web page Matsuo Bashô: Frog Haiku (Thirty-one Translations and One Commentary); likewise by Robert Okaji’s annotated translations from Chinese (thanks for the tip, Will).
Inevitably then, in a book like this one, presenting three Japanese poets in translation, there’s a sense that one is reading the poems at one remove: they really are at one remove. The translator, Leith Morton, discusses some of the challenges in his preface, at one point expressing the hope that ‘the many textual pleasures … available to [a] Japanese audience can be gestured towards in translation’. He succeeds admirably, but it’s still frustrating to read gestures towards other people’s pleasures. But then when I came back to the book a couple of weeks after my first reading, its pleasures had miraculously become much more immediate.
The first of these three poets, Masayo Koike, is the youngest and possibly the most accessible to readers who, like me, have slender acquaintance with Japanese literary forms. There are wonderful haiku-like moments, like this in ‘The Ashtray and the Girl’:
The end of summer
In the middle of the road
Lying on its back a Brown Baker cicada
A number of her poems are remarkable for their ease with bodily functions: ‘A Short Poem about Daybreak’ begins:
America, in a toilet in Santa Fe
Daybreak
I was urinating softly for a long long time
In the whole world
I felt as if there was only this sound and myself
In ‘Bathhouse’ the speaker looks at other women’s bodies, ‘Naked backs, hips and backsides / Private parts / … The many hollows of the female body / Water gathering there / Dripping down’ ; ‘Penis from Heaven’ (a title that must put Leith Morton in line for some kind of award!) recalls an intimate, sexual moment from a film with no hint of prurience or transgression.
The second poet, Shuntarō Tanikawa, is, according to Leith Morton’s preface, generally acknowledged to be the most famous poet in Japan today. Urination features in his section of the book as well, most notably in ‘Peeing’, which I read as a cheerful anti-war poem. There are a number of fine poems about poetry and writing. Possibly because I read the book while my mother-in-law was dying, his poem that most struck me was ‘My Father’s Death’. This is in a number of parts, the first of which might almost have been called ‘The Day Father Died’ in homage to Frank O’Hara’s ‘The Day Lady Died’ – it is preoccupied with minutiae, except for the stark description of the dead body:
his mouth with the false teeth removed was open and his face had turned into a Noh mask of an old man, he was already dead. His face was cold but his hands and feet were still warm.
If you get a chance read this whole poem – it moves on to concentrated meditation, to the speech Tanukawa gave at his father’s funeral, to a beautifully captured moment of memory and realisation a month later.
Rin Ishigaki (1920–2004) doesn’t have any piddling, but she does have a bathhouse poem, ‘At the Bathhouse’. Perhaps as she was of an earlier generation than Koike, she takes the bodies of the women for granted and takes as her starting point the one yen pieces that women receive as change when they enter the bath – a humble coins that
Soak to their fill in hot water
And are splashed with soap.
The heart of this poem, and possibly of Ishigaki’s section of the book, is in the later lines:
What a blessing to be of no value
In monetary terms.
That is to say, many of the poems are about humility – about poverty, deprivation and economic oppression, but also about humility, and a kind of surprised appreciation of small unvalued things. The point where I fell in thrall to Ishigaki was in the poem ‘Sadness’. Here’s the whole poem (note – I’m 67):
I am 65.
Recently I fell over and broke my right wrist.
They told me at the hospital that
After it heals it will not be the same as it was before.
I rubbed my arm crying.
'Mother
Father
I'm sorry'
Both of them
Died some time ago and are no longer here
This body I received from them.Even now I am still a child.
Not an old woman.
This is the third book I’ve read in Vagabond Press’s admirable Asia-Pacific Writing series. The others (which I blogged about here and here) were translated from Chinese.
Me fail? I fly! 