Collected
Tanka translated
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AKITSU Ei, Ms
Akitsu Ei, born in Japan in 1950, has challenged the unequal status of women.
Before her, women were mostly satisfied with looking after their families, and
thus wrote tanka about their husbands and children. AKITSU rejects such a
traditional way of women's life and emphasizes equality between man and woman.
She wants women to have an independent and dignified life like that of the
famous ancient poet Princess Nukada (ca. 659 - 72) who wrote an ode to autumn
in which she says: " However, when I see
Akitsu Ei has an even more sensual approach to herself and to nature as in her
tanka: #3 $4 She thinks that women should not be a sex
slave of a husband and that husband and wife should to
live on equal terms. She admits her own sexuality while at the
same time demanding changes of the relationships. #40 #62 #85 Many
of her tanka are out-spoken against the tabooed morality. #
97 She ironically criticized the modern
matrimonial system, which brings such inequality to
women. She is the first to write tanka by using
colloquial terms for sexual words which have been thought, until now, to be
unsuitable to this form of poetry. By excluding emotional and poetical beauty
from her tanka, she demands that we think about the questions; what is a
woman? what is a human being? what is tanka? Miyuki Aoyama and Leza Lowitz have made a
collection representative of tanka from Akitsu Ei's four books to
translate into English. I pray that English speaking people read
her tanka and think about the problems she presents as well as her novel
approach to the ancient form of tanka. ***
Akitsu Ei is one of Japan's leading tanka poets. Born
in Fukuoka in 1950, she studied psychology at Kyushu University and began
writing tanka in 1974. She published her first book, To Lily Magnolia,
in 1980. It received the Modern Tanka Poets Meeting Award. In
1984, she published Opium in Heaven, which won the Modern Tanka
Poet's Society Award. She has been particularly interested in the place of
women in Japanese society and has worked at the forefront of the movement
since 1984, organizing symposiums, lectures and readings.
Her third book of tanka, Faint White Light, came out
in 1987. Two years later, The Collected Tanka of Akitsu Ei was
published. Her book of critical essays, Ishta's Apple, was
published in 1993. And another book of tanka, Cosmic Dance, came out
in 1995. Her most recent book is a collection of critical essays, A
Study of Orikuchi Nobuo's Essays on Women's Tanka, 2001.
***
Miyuki Aoyama is a poet and literary critic. She
teaches American literature at Seitoku University in
Chiba Prefecture near Tokyo. She is co-editor of the popular anthologies of
contemporary Japanese women's poetry: A Long Rainy Season, which
won the
Benjamin Franklin Award for Editorial
Excellence, and Other Side River (Stone Bridge Press, Berkeley, CA
1994/1995). She is author of a book of poetry, West Wind (Shichosha,
Tokyo 1998), and has just finished writing a book-length essay on Native
American literature. She is currently writing another poetry book. She
lives in the Japanese countryside with her family.
***
Leza Lowitz was born in San Francisco in 1962. A poet
and fiction writer, she has published two books of poems, Yoga Poems:
Lines to Unfold By (Stone Bridge Press, 2000) which received the PEN
Oakland Josephine Miles Award for Best Book of Poetry 2001, and Old Ways
To Fold New Paper (Wandering Mind Books, 1997). Her fiction has appeared
in The Broken Bridge: Expatriate Writing from Literary Japan (Stone
Bridge
Press), and An Inn Near Kyoto (New Rivers Press),
Prairie Schooner, and many others, and is forthcoming
in the anthology Expat (Beacon Press, 2002) and
The Louisiana Review (2002).
Lowitz lived in Japan from 1989-1994, where she taught
writing and
American Literature at Tokyo University, and was a freelance
writer for the "Japan Times" and many others. She was also a
columnist on contemporary Japanese art for "Art in America" and
the "Asahi Evening News" and her essays on expatriate
life were regularly broadcast on NHK Public Radio's "Japan Diary."
Lowitz edited and co-translated the popular anthologies of contemporary
Japanese women's
poetry, A Long Rainy Season (with Miyuki Aoyama and
Akemi Tomioka) and
Other Side River (Stone Bridge Press, 1994/5) with
Aoyama. She was
co-translator of the award-winning art history volume Japan:
Spirit and
Form (Charles E. Tuttle, 1994) and author of a travel
book, Beautiful
Japan (Charles E. Tuttle, 1997). She reviews
books regularly for the
Japan Times. Recently, she has covered Japanese
literature for the San
Francisco Chronicle, and done interviews for The
Bloomsbury Review, The Pacific Sun and Poetry
Flash.
For the past decade, Lowitz has been Corresponding
Editor to Japan for Manoa (University of Hawaii's literary magazine), for
whom she writes regular reviews. She has guest- edited two special features
on Japanese
literature for Manoa, most recently
"Silence to Light: Japan and the Shadows of War" (Summer 2001). She and her husband Shogo
Oketani are currently translating the poetry of influential Japanese
modernist postwar poet/critic Ayukawa Nobuo, who was the translator of TS
Eliot
and William Burroughs.
Her honors include the Copperfield's Fiction Award (2001),
the Money for Women/Barbara Deming Memorial Award in Fiction (2000),
the Japanophile Fiction Award (1999), the PEN Syndicated Fiction Award
(1990), and the Tokyo Journal Fiction Translation Award (1995) and others.
She has
received a translation fellowship from the NEA
(1997), a California Arts Council grant in Poetry (1996-7), an Independent
Scholar Fellowship from
the NEH (1995), and two Pushcart Prize nominations in Poetry,
2001. She has a B.A. in English from U.C. Berkeley and an M.A. in
Creative Writing from San Francisco State, where she taught creative writing
before moving to Tokyo.
Her books are available at www.stonebridgepress.com
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Part
II #51 On the tatami*
mats dampened by rain we are fighting in the ferocious
voices of birds and
beasts.
*woven
grass
#52 On the water's
surface in a pool of soft
mud the tongue of a spring wind comes to play.
#53 A fiendish laugh through tears - when the misty
rain climbs up to the
top of a mountain.
#54 Staying inside from the
perpetually blowing wind and raindrops
coming down - My desire
inflames for a seat on the
bus.
#55 Spider, hovering in the
sky with its legs
high: I wonder what it
would be like to be him for a
day.
#56 If flesh turns to
dust how much will it weigh? These forty-two
kilograms of my body.
#57 The moon, crossing a steel-framed
forest - I sense it blue and extremely
spherical.
#58 I love the
pastoral atmosphere, but that lump of
earth and that green are private
property. #59 With a foolish
word called
"labor" people can't stop praising ant-like things.
#60 Oh, has the great
palm of his hand shown up, plucking human
beings blooming on the
earth? from
Opium
From Heaven, 1984 #61 Ah, we're unaware of arms dangling from heaven! We were born on
an earth almost impure in
vice.
#62 Man and woman living together, pathetic - like we've been
swallowed up by a gourd.
#63 Imagining my
sister - happily
supporting her family as a bag of flesh
- I suspend her in my dream.
#64 I don't know the
fate of this black
man, whose job is to keep beating the drum.
#67 Like fascism - in the blue tent I hear a clown blowing
his flute, the bark of his
dog.
#68 Sorrel, standing
rusty red and creaking in the heat - how distorted a family always
is!
#69 I wonder what I
dreamed? When I tied my
hair this morning, it felt dirty and
heavy in my palms.
#70 After a baby's
sucking - how impudent and fierce nipples become!
#71 Brown-eared
bulbus flying along, warbling matricide,
patricide in the rainy
season sky.
#72 Rolling up the
pasta and eating it - Through the
window I see a telephone
pole, bound firmly hand
and foot.
#73 Clutching a radish carrying it brightly, evermore brightly
- I am a naked
insect.
#74 Sowing the seeds
of a radish, the flowers of the radish
bloom, the flowers of the radish.
#75 On my body sleeping deeply
at daytime, a sort of fern or lichen emerges.
#76 Loneliness like a
blind alley, sand collecting in front of a soft drink vending machine.
#77 Nothing remains. A mole becomes
the spirit, blown away in the autumn
wind rising.
#78 Thinking a human being is a dirty river, I lean against a
window on which an
evening glow burns.
#79 Feeling pity for the Juri*
in the Ryukyus** who have long
lived cheerfully - January ends. *geisha
or prostitutes in Okinawa
#80 Oh, clouds hanging low in
the west, through which
sunbeams stream chaotic; my left thigh
itches.
#81 A cloud floating across the scarlet sky - it looks drunk.
#82 Body of mine
stands erect when I cross a
rut in which water
sparkles. The sound of indecency.
#83 Though saying "I love the
human race," I see a shaggy
fly glistening and flying over a
septic-tank.
#84 A pregnant woman sitting down, clasping a white
handkerchief. I feel disgusted by her belly.
#86 Looking up at the
sky with dark clouds
running across it, I remember many
times, "Being a
woman is a fearful
occupation."
#87 If he should
die... the three million
yen I'd get flickers - there's enough
time, still to go through
with it.
#88 In my dream my father looking
sensual, how I felt when I spoke to
him lingers in my
mind.
#89 An undertaker ties the dead
feet with flapping gaiters for sale.
#90 At the wake a monk writing "Save us
merciful Buddha," the letters slant
to the right, distorted in pale ink on
paper.
#91 How amazing to see a vagina
with teeth! I lift the head that was peering
into a well.
#92 A white magnolia at twilight - a bill tears and
pecks, right and left at its petals.
#93 Dissecting the Blessed
Virgin's belly, the purple womb emitting smoke on a summer's
eve.
#94 Us, having been
gods once, I look down a
whirlpool in a washing
machine, into which I
might fall down from heaven.
from
Faint
White Light, 1989 #95 Last night I read "Ideas cause
bloodshed," ever since then oh, my heart...
#96 Crouched down under a loquat
tree for seven or
eight minutes on that day, today.
#97 "Man and
wife should live together and should make
love." I wonder which fool made that a rule?
#98 Six red snake
cucumbers hanging from a
tree, eaten by birds have lost their weight.
#99 "Oh, young
men and women, how we wish you
would dance on green grass sprouting from
our bones!" This is how
ancient people sing!
#100 A one-piece dress swelling like a
snake at my feet, giving off my heavy body
odor.
#101 Around a great tree trunk, double-coiled
wire. I wonder: what is it for?
#102 It seems I'm
decaying, after taking a
bath the hollow of my
navel decorated with a water drop.
#103 Like a
"secret affair" the sole of a
cat's paw touching the sole of my foot.
#104 Drawing up my
knees, feeling driven into a tight
corner-- "Should I go
out for some Korean
noodles?"
#105 Even so, at sunset the burnt heart of a sunflower is swaying.
#106 Into the
vermilion of the vermilion
surface of a tiled alley
wall I'm trudging on through.
#107 When walking on
an alley looking up at the sky, I desire a pot to put on my
head.
#108 Myself a
phenomenon passing through
Azuma street where the musical instrument of
twilight sounds.
#109 At the cry of large brown
cicadas, ivy twined around wire netting begins to wither.
#110 My forehead passing under the tangled
electric wires in the dimly red
sky - the green soaking
in.
#111 The sky shining between
the buildings - an overripe,
rotten corpse dangles.
#112 A whistle blows a door closes and words flash
into my mind. A dung beetle is stuck on dung.
#113 Sound of
unzipping upstairs - my room, my cat and me, begin to
dissolve. from
Cosmic
Dance, 1995 #114 Hydrangea
blossoms standing darkly, withered - Turn the corner swallowing a
snake.
#115 When I stand up conceiving a lump of a
stone, the tree and
plant spirits recede.
#116 Like the belly of a cursed black
bull, the evening sky hangs over me deeply.
#117 Stroking the face of a guardian dog peering into an offering box, I go home.
#118 A withered penis drooping in the crotch of the grand sky
- me in this
street.
#119 In the decayed
void of a stump, green grass
stands and sways. The feeling of
laughter surges within me.
#120 Putting powder on my face, I enter the human way of life.
#121 When I passed the
ugly surface of the trunk of an old cherry
tree, we made love in a glance.
#122 The legs of a
bulbul, flapping its
wings about to perch on
a branch - I see them stout and
exposed.
#123 Oh, I who have a
contempt for human beings
- I lost the
brightness of the heart of
poetry this much.
#124 Stepping on a
twisted wire gathering red
rust, I walk through the
winter grass field looking down.
#125 The rain stopped and the sky was getting dark, let the madly
howling kite be pulled down!
#126 Your bones
sinking into the roots of
a tangerine tree. When it bears
fruit I will eat you, I will.
#127 While I hear the rain dropping
on my shoulders on black leather
- sound of bones breaking.
#128 I see a great face with
a broad forehead beaming, one half of it distort, turn
ugly.
#129 Cherry blossoms blooming thick, many slender
shoots growing straight out of an opening of the old trunk.
#130 How is it that the sky's
blueness was born by the
vibration of the sky's
flesh? I'm looking at it
now.
#131 In a car of the
train like a gut, lit up brightly
and red, a flock of faces relaxes.
#132 Toward the sky where the night
milk flows a dogwood with red leaves stood on tiptoe.
#133 "Ripping the
stomach into which I was
crushed by teeth and swallowed I will be
born," a great poet
sings.
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Translation Copyright © by
Miyuki AOYAMA & Leza LOWITZ 2002. Online Book Version Copyright © AHA Books 2002. Read another of AHA Books Online.. | |||||