5 April 11 | Chad W. Post | Comments

As started last week, we’ll be highlighting the five finalists in the poetry category for the BTBA. Similar to what we did for the fiction longlist, these will be framed by the question: “Why should this book win?”

Click here for all past and future posts in this series.

Today’s post is by poetry committee member and Reading the World podcast host Erica Mena.

Time of Sky & Castles in the Air by Ayane Kawata, translated by Sawako Nakayasu

Language: Japanese
Country: Japan
Publisher: Litmus Press
Pages: 144

Why This Book Should Win: Outsiders are cool, two-for-the-price-of-one, 1st ever repeat translator winner, the poetry will explode your brain and send you spinning into dreamspace.

Time of Sky & Castles in the Air are two separate books, collected into this single volume, and their contrast underscores Ayane Kawata’s breadth of poetic talent and Sawako Nakayasu’s impressive range as translator. Time of Sky is Kawata’s first collection of poems, published in Japanese in 1969. At the time of publication, Kawata was (and still is) an intentional outsider in the Japanese poetry world. This remove is perhaps the strongest feature of this first part of the collection: the distance of the observer from the poetic world she engages with.

These sparse, short verses seem at first to belong to the tradition of abstract, imagistic Asian poetry that most Western readers are familiar with. The grammatical minimalism, the intense images, the staccato rhythm of constrained lines, all of these things feel familiar, within the comfort-zone of contemporary Japanese poetry. But there is a dark tension lurking beneath the surface, and in places it bursts through, startling:

19

From the trace of the incontinent blood of an angel walking along
holding some sky cut out with a class cutter, the dawn—

27

Will the lark’s vein blow up
Or will an earful of the distant blue make its way inside

30

At the speed of a reed of blood crawling about the brain
As if to assault—
Sing

Not all of them are about blood and veins blowing up, but the sky is a threat in many of these poems, a violent imposition on life, body and nature. The distant blue that is too bright, and cut up, and ominous and penetrating and rupturing, is a spectacularly original feat of imagination.

There is also a layered femininity in these poems, that builds sexuality within protest and suffering.

37

O naked women letting out screams and passing through the
invisible automatic doors of the blue sky

38

Breasts that hatch
Like music
Mirrors resound and melt
The sky goes missing

50

How long will the women be gasping as they open and close their
arms in the towering forest of mirrors

The reflection of the body in a mirror is a clear gesture toward feminist positioning, but at such cold remove, such seemingly idle wondering, that the violence of the watcher’s gaze is all but undone. This first book is full of startling imagery, more striking for the distanced tone which Nakayasu preserves throughout. This tone, which could become monochromatic or dully repetitive, emphasizes the layers of image and meaning, and hints at innocence and indifference. But if the tone gestures towards indifference, it is even more exciting to encounter the violence and strangeness of these sharp fragments of image.

Castles in the Air, published in Japanese in 1991, is a dream journal presented as prose poems, and operates within its own hybrid rationale. Operating within a familiar dream-logic, these poems are at once unbearably personal, shamelessly intimate, and frankly grotesque. They unflinchingly reveal the subconscious monstrosity of the speaker, but so bluntly, so unapologetically that the reader too is implicated by the assumed understanding in the tone. These are dreams we all have had, in one way or another, and so no embarrassment is necessary.

With an infant

A man is chasing me—so in order to escape I try to have a relationship with an infant. The idea is to drive the man away by having him see me make love to the infant. The infant understands the situation completely.

Throughout this sequence the poet struggles with impossibility – the attempt (often failed) to escape pursuit, to be seen, to be heard. Familiar tropes of an unsettled dreamer, these are transformed into revelations of weakness and strength.

Flute

I have a flute in my hands and try to play it, but no sound comes out. I accidentally breathe in and something like a scrap of silver foil gets left behind in my mouth. As I am wondering what it’s like inside the flute, the thin wooden flute splits vertically like a cicada shell, exposing the metallic scraps and grass seeds mixed inside. The flute sounds because of something inside it. I put it back together and try again to play it. Still no sound comes out.

This collection moves from cold remove to shameless vulnerability, from verse to prose, from imagistic to dreamlike. In maintaining a recognizable voice and preserving the disparity between pieces, Nakayasu created a remarkable translation, deserving of close and repeated readings.

19 February 09 | Chad W. Post | Comments [2]

Just more than two months after the longlist, we are proud to reveal the winners of the 2009 Best Translated Book Award (click here to download the official press release). The announcement was made tonight at a special award party that took place at Melville House Books in Brooklyn, and was hosted by author and critic Francisco Goldman.

For fiction, the award goes to Tranquility by Attila Bartis, translated from the Hungarian by Imre Goldstein and published by Archipelago Books.



Here’s the description from our overview:

Plot summaries rarely do a book justice, but in short, this novel is about Andor Weer, a thirty-six-year-old writer who lives with his mother (a formerly gorgeous stage actress) who hasn’t left the house in fifteen years. She’s bitter, a bit deranged, and pretty aggressive, especially towards Andor’s girlfriends. The two of them are trapped in a incredibly wicked Oedipal mess. On top of this, Andor’s sister Judit defected from Hungary to pursue her music career (this defection brought about the downfall of Rebeka’s stage career), leading their mother to literally bury an casket with all of Judit’s things in the cemetery.

In short, this is a dark, twisted book, and one that’s incredibly gripping and very well written and well translated. (No surprise—Imre Goldstein’s one of the best.) Told is a looping, achronological fashion, the horrors of Andor’s life are revealed bit by bit with a hint of dark humor and a sense that the world (at least for Andor) is total shit.


*

And on the poetry end of things, the award goes to For the Fighting Spirit of the Walnut by Takashi Hiraide, translated from the Japanese by Sawako Nakayasu and published by New Directions.



This book just happens to a be a perfect example of how one award can beget another . . . In 2005, Sawako Nakayasu actually received a PEN Translation Fund Award for her then ongoing translation of this volume. That award brought the book to the attention of New Directions, and the rest is history . . . Playful and unique, our panelists loved this collection. Made up of 111 sections, it’s “a mix of detailed scientific observations, poetics, narrative, autobiography, rhetorical experiments, hyper-realistic images, and playful linguistic subversion—all scored with the precision of a mathematical-musical structure.” A very established writer in Japan, this is only the second of Takashi Hiraide’s collections to be published in English.

Here are a couple sample pieces from the book:

8. Continuous thoughts of packaging ice. No matter what I write it melts, even the address. If and when it arrives, that person will be gone.

17. The radiant subway again. Today, too, in this still-radiant subway, small white explosions occur here and there. They are the sounds of our joints popping, the sound of an all-too-convenient despair fading away. The walls collapse, and the birds of the earth, now without hesitation, begin transporting their nests so as to set them into these daily-renewed explosions.

35. “Up ahead, difficulty.”

....
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