When Translating Japanese Children’s Literature Helps You Meet Ruth Stiles Gannett

Dover Publications edition of My Father’s Dragon

Every once in a while, being a translator of Japanese children’s books puts you in the best place to learn about children’s books of another country. Such was the case when Deborah Iwabuchi agreed to translate the only biography (in Japanese) of Ruth Stiles Gannett, author of My Father’s Dragonand assist Ms. Gannett on her summer 2018 visit to Japan.

By Deborah Iwabuchi, Maebashi, Japan

First of all, a little background for how this came about! In 2010, Ruth Stiles Gannett came to Japan at the invitation of a Japanese newspaper. The well-known author, aged 87 at the time, captured the heart of Akie Maezawa, the interpreter assigned to accompany Ms. Gannett on school visits. Maezawa subsequently made a trip to Ithaca, New York, to visit and talk to Ms. Gannett.

The result was the only book-length biography of the author of the Elmer books, The Woman who Wrote My Father’s Dragon, Ruth S. Gannett (published in Japanese by Fukuinkan Shoten).

I met Maezawa—let’s call her Aki, as Ms. Gannett does—when she attended an SCBWI Japan Translation Day 2016 in search of a translator for her book, which has been well-received by Elmer fans in Japan.

The Japanese biography of Ruth Stiles Gannett, written by Akie Maezawa, published by Fukuinkan Shoten

One look at the cover, with a photo of a smiling Ruth Gannett holding a huge stuffed Boris doll surrounded by a sunny background of white and yellow stripes, and I was sold! (That’s another story, and yes we are looking for a publisher.) Meanwhile, Aki became involved with Puk, a Japanese puppet theater company. Puk was planning a production of My Father’s Dragon and was facing various problems with copyrights. Aki became their point person to garner support from the author of the book. After the production got the go-ahead, the people at Puk decided they wanted more than anything to have Ruth Gannett in Japan to see it. The author, 94, had recently had an accident that left her bedridden, but in typical style, she miraculously recovered and, accompanied by two of her seven daughters, she made the trip to Japan.

Ms. Gannett and her daughters made it safely to Tokyo at the end of July 2018 and, among side trips to Hakone and other places, attended a Puk performance, much to the joy of the audience and cast. On August 4, a separate event took place at Kinokuniya Hall in Shinjuku: a panel discussion by four people closely connected to the Elmer books in Japan, followed by Q-and-A session with Ms. Gannett. To my great pleasure, Aki asked me to help interpret the event for the three guests of honor.

On the evening of August 4, Ms. Gannett and her lovely daughters, Louise Kahn and Margaret (Peggy) Crone, arrived wreathed in smiles and ready for the big evening. The looks on the audience members’ faces as we all entered the packed Kinokuniya Hall told the story of how much everyone loved the books: My Father’s Dragon, Elmer and the Dragon, and The Dragons of Blueland. Many families in the room had three generations present, eager to see a beloved author. Feeling like a celebrity myself, I settled with Ms. Gannett’s family in seats about halfway back in the hall, until it was time for Ms. Gannett to go onstage.

Above: Ms. Gannett, her daughters, and a cutout of Ms. Gannett backstage at Kinokuniya Hall.

The first half of the program was a panel discussion with Mr. Shibasaki, the director of the Puk production, Aki Maezawa, Tetsuta Watanabe—son of the late Shigeo Watanabe who translated the Elmer books—and Tomoko Shirota, a member of JBBY who has successfully used My Father’s Dragon for twenty-four years in library programs to get children reading. The initial talks by these four were delightfully full of episodes about Ruth Stiles Gannett, Elmer Elevator, the puppet production and children and adults who have read and loved the books over the years. I wish I had the room to include all the stories here.

Japanese edition of My Father’s Dragon, translated by Shigeo Watanabe, published by Fukuinkan Shoten

Since this is a translators’ blog, let me talk about Shigeo Watanabe, as described by his son Tetsuta, who traveled all the way from Australia to be with Ms. Gannett that evening. The elder Watanabe was a member of the ISUMI group: writers and translators who met regularly in the years following the end of World War II to discuss the direction in which they hoped to take children’s literature in Japan. Watanabe had first read My Father’s Dragon in 1952, just four years after its publication in the US. He and the ISUMI group eventually chose the book as one they wanted Japanese children to read. In Tetsuta’s words, “They were looking for a book Japanese would enjoy, but probably not write.” My Father’s Dragon was published in Japanese as “Elmer’s Adventure” (Erumaa no boken) in 1964.

Tetsuta, a small child at the time, recalls his father ruminating over aspects of the book—things that would warm the cockles of a translator—such as the relationship of the two wild boars who make appearances throughout the story. Were they siblings? Friends? A married couple? He had to know so he could decide the type of language to use. Inverting parts of words as the excitable Mouse did in the English proved to be an easy task as Japanese syllables are easy to play with. Once the book was out, Watanabe, a young man with a family to support, kept careful records of the number of copies My Father’s Dragon sold, comparing it to Rieko Nakagawa’s Iya-iya-en, a bestselling Japanese book, which came out at about the same time. (Note: It turns out that Nakagawa and her son, Kanta, are both huge Elmer fans! Shirota told the rapt audience how young Kanta had begged his mother to use her publishing contacts to rewrite the book with his name in it and title it Kanta’s Adventure. The little boy only gave up his tearful pleas when Nakagawa explained about copyrights.)

Above: Tetsuta Watanabe and Akie Maezawa pose backstage; Ms. Gannett signs her autograph.

Shigeo Watanabe went on to become a prominent translator of children’s books. I have never read his Japanese translation of Elmer, but I’m sure he deserves his share of the credit for how the books have stood the test of time and remained consistently popular in Japan for the past half-century—as well as for the excitement in Kinokuniya Hall on August 4.

The second part of the program that evening was devoted to Ruth Stiles Gannett. Frail, but elegant and sure, she took the stage flanked by her daughter Louise, who assisted her mother with some responses (the interpreter’s interpreter) and me (the plain old Japanese-to-English interpreter). Aki, who knows Ms. Gannett well, took the job of summarizing and interpreting the author’s responses into Japanese. Ms. Gannett’s English was easy to understand and the audience was perfectly silent as they hung on every word, and remained captivated as they listened to the Japanese that came afterwards. Here are a few of the questions.

Anniversary edition of the Elmer trilogy

Why did you decide to write the books? I had been working at a ski lodge, the snow had melted and I had nothing to do. My parents were busy with their work, so I got busy writing! I did it mainly to entertain myself. I never intended to publish it until someone suggested it.

Why did you choose a dragon for Elmer to save? I was writing a book about my father, and I wanted him to save a creature that was large, strong and unusual.

Why did the dragon have yellow stripes? I drew a different picture of the dragon, and the stripes were the choice of my stepmother, Ruth Chrisman Gannett, who did all the illustrations in the book.

Why did you choose for Elmer to eat tangerines (mikan)? When I was young we got tangerines in the toes of our Christmas stockings. They weren’t available much before the Christmas season. Fruit like that was a rare treat for us.

What do you do every day? Oh not much, I like to read, get exercise, do yoga, bake bread and cookies . . . (note: there was more, but I can’t remember it all!).

Ms. Gannett had a question of her own that she mentioned several times during the short time I was with her. I’ll put it out there and would love to hear from anyone who has ideas on the subject so I can let her know. In publishing My Father’s Dragon, she intended it for middle graders to read, but she has found that in Japan it is overwhelmingly read to preschoolers, and she wonders why that is.

The two hours sped quickly by. Just before the evening ended we were joined on stage by Peggy and the Puk cast as the entire hall sang “Happy Birthday” to Ms. Gannett, who will be 95 on August 12. “Don’t forget!” Aki reminded the audience, “Her name is Ruth. Make sure to get the ‘r’ and the ‘th!’”

IMG_2100

My selfie with Ruth Stiles Gannett. I worried that we would wear her out, but Ms. Gannett and her daughters were gracious and she had a beautiful smile for everyone! —D.I.

Advertisements

Working with U.S. Agents, Editors and Publishers: Followup and Further Ideas

By Avery Fischer Udagawa, Bangkok

SCBWI Japan’s recent event Working with U.S. Agents, Editors and Publishers generated discussion both on-site and online. See this followup post by Ayanna Coleman of Quill Shift LLC, which offers a reflection on the event plus further revision and marketing tips, useful to translators as well as writers and illustrators. Many thanks, Ayanna!

Working with U.S. Agents, Editors and Publishers: Event in Tokyo on June 30

The Society of Children’s Book Writers and Illustrators presents

Working with U.S. Agents, Editors and Publishers 

Time: Saturday, June 30, 2018, 6-8 p.m.

Place: Tokyo Women’s Plaza, Audiovisual Room B, 5-53-67 Jingumae, Shibuya-ku, Tokyo (by the United Nations University; map)

Fee: 500 yen SCBWI members; 1,000 yen nonmembers

Reservations required. To reserve, email japan (at) scbwi.org by Thursday, June 28.

Is your work submission ready? How will you know? And how can you make your illustration work or your writing stand out from the crowd when you submit? What are some common errors made when submitting? How can you better your website and social media presence before you submit? How should you handle requests from agents, editors or art directors? What should you do if you receive an offer for publication before you have an agent? Join this workshop with discussion, Q&A and exercises to ensure your best chances at breaking into and thriving in the U.S. children’s book market.

This workshop will be led by the SCBWI Japan Regional Team: Mariko Nagai and Holly Thompson, co-Regional Advisors; Naomi Kojima, Illustrator Coordinator; and Avery Fischer Udagawa, Translator Coordinator.

What to prepare and bring:

Illustrators: Portfolio for group review and discussion; sample postcards for art directors; sample dummies; sample submission-ready picture book manuscript text; device for sharing and reviewing your online presence

Writers: Sample first page of a submission-ready manuscript (or entire PB manuscript); MG/YA 500-word novel synopsis; device for sharing and reviewing your online presence; query letter

Translators: Translated work summary or pitch (your own or examples by others); MG/YA 500-word novel synopsis; sample first page of a submission-ready translation; device for sharing and reviewing your online presence

Global Literature in Libraries Initiative Features Japan, Including Children’s and YA Literature

By Andrew Wong, Tokyo

Looking for a strong dose of commentary on Japanese literary works online? Try the special Japan-in-Translation series at the Global Literature in Libraries Initiative (published throughout May 2018). Organized by David Jacobson, this series offered an entire month of blog posts spanning poetry and prose, manga, light novels, chapter books, picture books, fun with kanji, and onomatopoeia, plus reflections on publishing and reading translated works. Several members of SCBWI Japan contributed.

Here is the full list of posts in the series, including many on children’s literature:

Cathy Hirano Papers and More, at the Kerlan Collection

By Avery Fischer Udagawa, Bangkok

Have you ever wondered where the drafts of a children’s book translation go after publication? Did you know that “typescript, corrected typescript, front matter, correspondence, page proofs and corrected page proofs” for three MG/YA novels translated from Japanese by Cathy Hirano, may be found in the Cathy Hirano Papers in the Kerlan Collection, University of Minnesota?

Lisa Von Drasek, Curator of the Kerlan Collection, spoke to SCBWI Japan on April 14, in an event described here by writer Mari Boyle and translator Andrew Wong. Take a look for more surprises!

Isao Takahata of Studio Ghibli Dies

By Sako Ikegami, Kobe

Isao Takahata, co-founder of Japan’s most famous animation company, Studio Ghibli, and director of the poignant film Grave of the Fireflies, passed away last week on April 5, 2018, at the age of 82. Unlike his famous partner, Hayao Miyazawa, Takahata’s works were not as flamboyantly cinematic, yet they were no less memorable or moving, addressing deeply personal themes related to childhood—its struggles and its tender beauty—often reflected upon in retrospect.

Image from Grave of the Fireflies (Toho/The Atlantic)

Grave of the Fireflies is based on a short story by Akiyuki Nosaka (1930-2015), based in turn on the author’s experience of the World War II bombings in Kobe. Takahata survived a similar bombing at the age of nine in neighboring Okayama prefecture, where he spent his childhood, and drew upon his experience in creating the movie.

Most recently, Takahata’s film The Tale of the Princess Kaguya, based on Taketori monogatari, an ancient fairytale written during the Heian era (794-1185) and popularized as a children’s story, was nominated for an Academy Award in 2015.

Participants in SCBWI Japan Translation Day 2016 translated excerpts of Grave of the Fireflies for a workshop with Ginny Tapley Takemori, translator of Nosaka’s The Whale that Fell in Love with a SubmarineGrave of the Fireflies is forthcoming in English translation from Pushkin Press.

Online obituaries for Isao Takahata: NPRIGNSlate, The Atlantic.

Eiko Kadono Wins 2018 Andersen Award

By Avery Fischer Udagawa, Bangkok

Japanese author Eiko Kadono has won the 2018 Hans Christian Andersen Award for Writing, a prestigious biennial award often described as the Nobel Prize for children’s literature. The news was announced at Bologna Children’s Book Fair 2018.

Right: Eiko Kadono (Yomiuri Shimbun)

The International Board on Books for Young People (IBBY) press release says of Kadono:

“There is an ineffable charm, compassion, and élan in the work of this great Japanese author.  Whether in her many marvellous and funny picture books, or her great series of novels about the witch Kiki, or her novel set during World War II about a brave girl who must walk through a terrifying tunnel of trees to get to school, Kadono’s books are always surprising, engaging, and empowering.  And almost always fun. And always life affirming.

“Although Kadono has travelled widely throughout the world, her stories are deeply rooted in Japan and show us a Japan that is filled with all kinds of unexpected people.  Her female characters are singularly self-determining and enterprising; figuring out how to cope with all kinds of complications without suffering too many self-doubts – though some of these do creep in.  As such, they are perfect for this time when we are all seeking girls and women in books who can inspire and delight us with their agency. The language in her picture books is notable for its playfulness and use of onomatopoeia. And of course, the beautiful, but simple language in her novels makes them extremely readable.”

Kadono is the author of Kiki’s Delivery Service, basis of the animated film by Studio Ghibli, among nearly 250 original works for children and more than 100 translations into Japanese.

Kadono is the third Japanese children’s author to win the Andersen, following Michio Mado in 1994 and Nahoko Uehashi in 2014. The 2018 Andersen Award for Illustration has also been given, to Igor Oleynikov of Russia.