By Deborah Iwabuchi, Maebashi Japan
From left: Toshikado Hajiri, Michiko Tsuboi, and David Jacobson
Author David Jacobson (above right) began by telling how he was introduced to the works of Misuzu Kaneko (1903–1930), by friends who were Kaneko fans. He began to do research and work out a plan and funding for a book of her poetry.
The first order of business was finding a translator. The “translator” turned out to be an aunt-niece team: Michiko Tsuboi, based in Japan, and Sally Ito, an ethnic Japanese born and raised in Canada. Both of the women had already translated Kaneko poems for “fun,” according to Tsuboi. Jacobson found in these two women the enthusiasm for Kaneko’s work he felt was needed to translate her poetry. He also wanted a feminine interpretation of the “motherly” and “girlish” language Kaneko used in her poems.
Jacobson, Tsuboi and Ito first met in person when they, with illustrator Toshikado Hajiri, took a trip to Senzaki (now Nagato City) where Kaneko spent her life. Thus motivated to get on with the project, their real work began.
Tsuboi told us about the endless emails and Skype sessions she, Jacobson and Ito shared. From my point of view as a translator, one of the most interesting points was how Tsuboi and Ito were so involved in Jacobson’s narrative of Kaneko’s life. Tsuboi mentioned how shocked she was when her Canadian niece criticized Jacobson’s work at times, but seeing that the author was paying attention, she joined in with her own unvarnished opinions. In the end, all three of the group were credited for narrative and translation. In the process, the story of Kaneko’s life became the prominent feature of the book. But Jacobson was determined to include many of her poems.
Tsuboi said her role in translating the poetry was to convey the nuances of Japanese culture to her niece, and Ito’s job was to make the poetic interpretation. The two thought the simple poems would be easy to translate, but they ended up in endless arguments about wording and interpretation.
As a reader thoroughly enchanted by Are You an Echo? I enjoyed the back story about the trip to Senzaki, the arguments and critiques and endless rewriting. As a translator and writer, I was in awe of the dedication to the work and the ability of all involved to set their egos aside, to create a book that so eloquently honors the tragedy and unique sensitivity of a little known poet.
The event on February 4 continued with a showcase of works by SCBWI Japan members, including Ginny Tapley Takemori, translator of The Secret of the Blue Glass by Tomiko Inui.