Another favorite translator—Allison Powell—has just launched Japanese Literature in English, a website that plays to all of my databasing and list making impulses.
japanese literature in english is a searchable database that compiles all literary works translated from japanese to english and available in the united states (with some exceptions). entries are still being added, and suggestions for inclusion are welcome.
You can search by author, title, translator, subject, publication date, and publisher, and can click on various tags, such as “japanese americans, fiction” or “jesus christ, biography” (which leads to exactly one title, Endo’s A Life of Jesus).
Very helpful for those interested in finding out what’s out there, and a nice way to make sure I don’t miss too many Japanese books in the Translation Database. (Which, yes, I’m updating right now. This is a good week for mindless tasks like entering ISBNs, author names, titles, and whatnot. So expect an update soon.)
Corridor of Dreams, which is the May issue of Words Without Borders, is now available online and focuses on contemporary Japanese literature. From translator and guest editor Allison Powell’s introduction:
Over the past several decades, a steady stream of fascinating writers from Japan have appeared in English, including two Nobel prize winners, Yasunari Kawabata and Kenzaburo Oe, as well as the now wildly popular Haruki Murakami. It may seem, however, that in recent years the stream has slowed to a trickle. Therefore, it has been my pleasure to act as guest editor for the Japan issue of Words Without Borders, and to have the opportunity to introduce new writing and new authors to WWB‘s audience.
The Japanese authors and works assembled here are not necessarily unified by any particular theme. I set out to showcase the robust variety of contemporary Japanese fiction, and I think these writers demonstrate just that, brilliantly. Most of the authors featured here have been writing for years and have well-established audiences in Japan. They have all been recognized with various literary awards and accolades, yet very little of their work has been published anywhere in English.
The point about how Japanese translations into English have “slowed to a trickle,” is absolutely true, although thanks to the Japanese Literature Publishing Project and Vertical, the situation is much better than it would be.
According to the Translation Database in 2008, 23 Japanese works made their way into English; so far in 2009, only 12. But of these 35 titles, 15 were published by Vertical—a press exclusively devoted to publishing Japanese literature, especially in the horror and thriller categories—and another 7 (at least) were funded by the JLPP—a program by which texts are selected, translated, and then offered to publishers. And if anyone publishes a JLPP book, the JLPP buys back a certain number of copies to send to libraries around the world.
Remove the JLPP influence and Vertical’s mandate, and you end up with only 13 Japanese titles coming out over the past two years. (Something similar happens to Arabic literature when you look beyond what the American University of Cairo Press is doing.)
Some of the fiction pieces included in this issue are: an excerpt from Sogil Yan’s Corridor of Dreams (translated by Linda Hoaglund), an excerpt from Kaho Nakayama’s Sentimental Education (translated by Allison Powell), and an excerpt from Hiromi Kawakami’s Manazuru (translated by Michael Emmerich).
And speaking of Michael Emmerich, he also has a short essay in this issue entitled “Beyond Between: Translation, Ghosts, Metaphors,” which opens with an bit about the meaning of the word “translation”:
In order for “translation” to have any meaning at all, it must be translatable into other languages; but the moment it is translated, it is swept up in a system of differentiations different from the one in which it is enmeshed in English—indeed, it doesn’t even have to be translated, because the word itself implies its own connectedness to these other systems of differentiation. Translation must be viewed as a node within which all the ideas of translation in all the languages there ever have been or could ever be might potentially congregate, intersect, mingle.
On top of all this, there are also reviews of Takashi Hiraide’s For the Fighting Spirit of the Walnut (winner of the 2009 Best Translated Book Award for Poetry) and Satoshi Azuchi’s Supermarket: A Novel (which is a JLPP book).
Very solid issue . . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .