4 Feb
By Avery Fischer Udagawa, Bangkok
Andrew Wong, translator from Japanese of the picture book THE WORLD’S POOREST PRESIDENT SPEAKS OUT, has an article about the translation process in the February/March 2021 issue of The Linguist. Free to read online—go to page 22!
20 Dec
By Susan E. Jones, Kobe
The year 2020 has thrown all of our best laid plans awry. Thankfully, SCBWI Japan did not allow that to derail the organization of Translation Day, a biennial event eagerly anticipated by members old and new. The current circumstances meant that the event was held completely online via videoconference. In the capable hands of Translator Coordinator Avery Udagawa who moderated and organized the event along with Holly Thompson, Mariko Nagai, and Naomi Kojima, everything was executed like clockwork.
Unlike past Translation Days, participants enjoyed two half-days instead of one jam-packed day. While this may have been planned to accommodate the time zones of participants from around the world, the result was that participants had time to reflect and digest information between the two days. Holding the event online also meant that it was easy to record and share with participants for a time after the event, and share links and other information concurrently with the presentations and discussions. This format made the event more inclusive than ever with participants and speakers calling in from Japan, the US, Thailand, Australia, Singapore, and the UK.
Editor-publisher Beverly Horowitz
A Conversation with Beverly Horowitz
Day One began with a conversation with Beverly Horowitz, Senior Vice President and Publisher of Delacorte Press, an imprint of Random House Children’s Books. She shared important information for translators regarding the type of books she looks for when sourcing works in translation. In a nutshell she is looking for “a perfect book in any language.” That is to say, if the book is captivating in one language it will likely be captivating in translation provided it is translated well.
As for the process of new title acquisition, she uses a combination of visiting foreign rights fairs such as the Bologna Children’s Book Fair, accepting pitches from foreign rights agents, and connecting directly with publishers. She said that an important point for translators wanting to pitch a book to an agent or publisher is to first make sure that the English publication rights are available.
When talking about the difficulty of pitching works in translation, she mentioned that in the North American market “a vision of the broader world is not part of everyday life” and this limits the appeal of works in translation. There is certainly the impression that translated works might somehow be perceived as difficult or unrelatable—one reason why translator attribution on the cover may often be missing.
Emily Balistrieri on Translating Kiki’s Delivery Service
Emily Balistrieri was another featured speaker on day one. He gave us a fascinating view of his experience translating Hans Christian Andersen Award for Writing winner Eiko Kadono’s Kiki’s Delivery Service (Delacorte Press, 2020).
Translator Emily Balistrieri
Balistrieri described some of the translation challenges this project presented such as the description of how Kiki came up with the name for her delivery service and how that description had to be changed slightly since the name is “Witch’s Delivery Service” in Japanese. And “The Infamous Phone Number” episode in which he made Kiki’s phone number 1-800-KIKI-CAN in the original translation, but had to change course when readers began actually calling that number and reaching—well, not Kiki’s Delivery Service, but an entirely different sort of service. (Moral of the story: localization is not always the best choice.) Translation of special effects, puns, and even poetry added to the hurdles presented and handily cleared in Kiki’s Delivery Service.
Translation Workshop
Capping off day one was a valuable opportunity for children’s book translators: Emily Balistrieri’s critique of participants’ translations of an excerpt from Eiko Kadono’s 『大どろぼうブラブラ氏』. From rookie mistakes to more nuanced observations, it was a great way to compare translations and discuss why some choices were better than others.
Click image to enlarge this spreadsheet Emily Balistrieri prepared for the workshop, which compares different translators’ renderings of a name, a phrase, and a food.
A Conversation with Arthur A. Levine
Day two started off with important insights from industry veteran Arthur A. Levine, founder of children’s book publisher Levine Querido. His own childhood peppered with translated books such as Isaac Bashevis Singer’s Mazel and Shlimazel: or The Milk of a Lioness and Astrid Lindgren’s Pippi Longstocking, he understands and has a deep love for good books no matter where their origin. But it took time to learn how to publish translations well. From finding the perfect source material via a network developed over thirty years, to working with translators and editors, it is a process he has honed throughout his successful career.
Editor-publisher Arthur A. Levine
Levine had some useful observations about how translations are currently received in the Anglophone market. Like Horowitz, he addressed the issue of translator credit. While it is standard to recognize the translator on the title page, it is still not common to find their name on the book cover. One reason, he says, is practical; it is more information for the reader to remember about the book. Another reason is intuitive; readers may pass over a translation for being “difficult” or not something they would choose for pleasure reading.
Finally, Levine shared his own philosophy regarding translated works: “The reader should have as close to the same experience of reading the text as the reader of the original.” Long experience allows him to discover the right translator for a project, and he encouraged translators to “let your passions be your power” when it comes to deciding what to translate and pitch to publishers and agents.
Andrew Wong: Translating The World’s Poorest President Speaks Out
Andrew Wong shared his experience of translating Yoshimi Kusaba’s adaptation of a speech by Uganda President José Mujica in The World’s Poorest President Speaks Out (Enchanted Lion, 2020) for the US market. This project held a significant challenge: the text of Mujica’s original speech was in Spanish, and it was adapted for the children’s book by Kusaba. In other words, Wong’s job was to translate a translation. Translators are well aware of “lost in translation” tropes, but Wong went the extra mile and consulted the original Spanish text to ensure that the book’s message and voice were portrayed clearly and accurately.
Click image to enlarge this slide by Andrew Wong, about the themes in José Musica’s iconic speech.
Wong also faced the problem of biases in the illustrations which were not apparent at first glance. Not only did the publisher successfully lobby the illustrator, Gaku Nakagawa, to make some illustrations more diverse, but that also had a positive impact on the original Japanese publication which began using the new illustrations as well. A translator’s influence on the original work in later editions is certainly not unheard of, and this is an encouraging example.
Panel: Translator Rights from a Range of Perspectives
The final session on day two was an in-the-trenches look at four different paths of Japanese to English translation in the children’s book market. Translators Andrew Wong (The World’s Poorest President Speaks Out, Enchanted Lion, 2020), Holly Thompson (Grow, Grow, Grow Tome Sweet Potatoes and The Puppets Are Back, Miyoshimachi Library, 2020), Avery Udagawa (Temple Alley Summer, Restless Books, 2021), and Deborah Stuhr Iwabuchi (1945←2015: Reflections on Stolen Youth, Koro Color, 2020) each described a recent project from inception through publication. From translator’s rights to projects changing mid-course, their stories showed that there is certainly more than one route to successful children’s literature translation, and their work gives hope to those aspiring to follow their lead.
Clockwise from top left: Andrew Wong, Holly Thompson, Deborah Iwabuchi, Avery Fischer Udagawa
One of the highlights for many people who attend Translation Day is the opportunity to meet other members in “water cooler” moments. In a more organized version of that idea, time was allotted for a Speed Share session in which every participant introduced themselves and their current project in thirty seconds. It was a wonderful way to connect with every participant. Instead of repeating the same session on day two, a special Translator Opportunities session (for participants only) provided a wealth of information about who is currently accepting submissions and proposals—indispensable information for those pursuing publication of their work.
The online format of Translation Day hardly seemed to be a hindrance; in fact, it was directly instrumental in allowing participation from people around the world who otherwise might not have been able to attend. All credit goes to the organizers’ impeccable planning and tireless efforts in achieving a fruitful experience for all.
19 Sep
By Deborah Iwabuchi, Maebashi, Japan
Andrew Wong’s translation of the picture book The World’s Poorest President Speaks Out (from a Japanese edition by Yoshimi Kusaba, illustrated by Gaku Nakagawa) has just been published ★ in English by Enchanted Lion Books. Here, I interview Andrew about the story behind the translation.
Andrew Wong holds his translation The World’s Poorest President Speaks Out (center), the Japanese original (left), and a book about José Mujica, Uruguay’s 40th president.
Deborah: Hi, Andrew. Congratulations on your translation of The World’s Poorest President Speaks Out! I ordered the book and fell in love with it instantly. I’ve got lots of questions to ask you. First of all, how did you get involved with this project?
Andrew: Hooray, another reader! Well, my story begins at a bookstore in Tokyo one day. The cover struck me, so I picked it up and read it. I actually didn’t buy it the first time, but I was really drawn to the illustrations—the opening montage—and the very apparent messages. The initial montage works with a preface to introduce Mujica’s speech at the 2012 Rio+20 Earth Summit and build up his personality, particularly his generous, frugal ways, which make him so well-loved by many Uruguayans. Those first few pages set readers up to interpret his speech, expecting to hear something “new” from him.
Deborah: That opening sequence drew me in, too, but of course I was looking at your English version. (Allow me to digress…) I had to know what the Japanese version was, so I got a copy right away. In both versions, there’s a great humor in the way Mujica’s wife sends her husband off to Rio for the +20 Summit. In the Japanese, she gives him the affectionate but unvarying greeting you’d give anyone going off to work for the day and then tacks on a request in a lovely Japanese way that doesn’t translate well. “Good-bye dear. Please feed the chickens.” Andrew, you solved that neatly with “Stay safe and feed the chickens on your way out! (Have a good trip, but don’t expect me to do your chores, Mr. President).” Okay, sorry I interrupted your story! Please continue.
Andrew: About that greeting, I left it as what it means to me, which is quite literal. The fact that Mr. President feeds the chickens on his farm just builds on his character—a person who seeks to live like everyone else. Anyway, I read the book again. And again. And realized how much I wanted to share this. That started my search for how to get the book translated into English, which led me to the SCBWI Japan Translation listserv. Then, at SCBWI Japan Translation Day 2016, I met a literary agent from Japan UNI Agency, and Japan UNI hooked me up with Enchanted Lion. A lot of it was chance. (And I think Trump played a part.)
Deborah: 2016 was your first SCBWI Translation event, and there you connected with someone who found a publisher. That was serendipitous! So often connecting with the right people seems like good luck—and some of it probably is—but behind that is usually hard work and good planning. How did you go about the translation?
Andrew: I’m not sure if that was my first event, but it was quite early in my interactions with SCBWI. Anyway, translating the short speech didn’t take very long, and I usually start with a very literal draft. But before revising, I needed more perspective, and I found it in the opening pages of the book. After some forensic work, I found out that Mujica spoke around 8 p.m. in June at the Summit where the Recycled Orchestra of Cateura had also performed (another picture book!). Anyway, that helped to eventually ground the English in environmental and social issues, which were rooted in capitalist greed, competition, and consumerism. Besides reading more on Mujica to understand his ideas better, my search for an English publisher also led me to a Traditional Chinese version (I read and speak Chinese), which had backmatter from reviewers on being content with what you have.
Deborah: I’d like to hear about the difference with the Chinese version. Was it just the backmatter or was the book itself changed at all?
Andrew: The backmatter made the difference. My initial impressions were really close to the Chinese interpretation, perhaps stemming from my Chinese Singaporean roots. So when the editors at Enchanted Lion and I dwelled on how the text could be affected by cultural perspectives, we dug deeper into the many arguments in the speech. A lot had been packed into a speech that lasted just 10 minutes. It touched on many difficult concepts—capitalism, competition, consumerism, economic growth, desire, poverty, happiness—so we realized there was room left to interpretation. To top it off, it drew on philosophy! Along the way, we also referred to the original Spanish, and it guided how we wanted to convey the speech—with clarity and passion.
Deborah (eyes popping out a little bit): So, going back to Mujica’s original speech in Spanish helped iron out some important nuances—after working with the Japanese and Chinese versions of the book.
Andrew: I did share the perspective from the two versions (as far as I know, there’s a Korean one too!), and initially I stuck close to the Japanese because we thought it was going to be straightforward. But I didn’t succeed in making polite Japanese sound quite as passionate. So we worked on the tone based on the original Spanish. As I said, there were many ideas in the speech, so we took a long, deep look because we didn’t want to leave things ambiguous. The editors and I kept a conversation going, exchanging emails in spurts over a few months, and eventually grounded the book in environmental and social issues. I believe that gave us a way to tie things together and wrap it all up nicely for everyone. It was a long and rewarding collaborative thought process, and I am grateful to everyone who was involved in shaping the English into what it is, because I certainly couldn’t have done it alone.
Deborah: No matter how long I translate, it’s always a surprise to find out how much effort and thought is required to change a book—one that seems quite straightforward—from one language to another. Did you find it necessary to simplify anything so that children could understand it? I see the target age is 8 to 12.
Andrew: Even though I don’t understand Spanish, I think the Japanese picture book did the hard work of making the difficult concepts accessible to children. Also, don’t you think Nakagawa’s illustrations work so well with the text to build a compelling argument? They also add perspective, for example, about how competition is about outdoing each other (not building each other up); how economic “growth” is driven by a fear of recession, leaving a pile of trash while a wise man stands above; and the importance of happiness for the family, livestock and all. I can go on, because there is so much to talk about in each and every spread. (My favorite is the baby in the cosmos!)
Deborah: I absolutely agree with you. I love the illustrations. I can see how they would help children understand what Mujica is saying! Now, your mention of the sweet baby in the cosmos brings me to a question I’ve got to ask. When I picked up your English translation of the book, I flipped through and was so impressed with the glorious diversity the illustrations represented. And then I got the Japanese version, and my jaw fell. To mention just a few of the differences, in the Japanese version, all the drivers in the smoggy traffic jam were men in Sikh turbans, the sweatshop workers were all brown, and the happy family of farmers and the sweet baby in the cosmos were all white! What was your role in the fortunate shift to inclusion in the English version?
Andrew: To be honest, I didn’t see the problem initially, but one day Enchanted Lion contacted me saying the Indian people caught in traffic were all unhappy Sikh men. And then the rest became easy to spot. I think the time we took to keep talking also gave us the chance to see and correct the problem, especially for a diverse readership. That experience has made me read more consciously, but I still remind myself to be constantly vigilant about stereotypes and my own biases because I don’t think I realize fast enough when they surface. (I’d be grateful to hear anyone point them out.) By the way, I’m delighted at the way the happy family at the end sits with the inclusive closing!
Deborah: The illustration of the diverse family ended the book for me on a very satisfying note. I was exhilarated and I could feel the dedication to Mujica’s words that everyone involved in making the book must have had. Any other bumps in the road you’d like to share?
Andrew: Well, to start, this was a translation of a translation. So when I was alerted to an existing English translation of the original speech online, I was really thankful, but it also got me worried. Once we were certain that the Japanese we were working from was a distinct work—an adaptation of the speech for children—the existence of another English translation became a non-issue. Enchanted Lion also provided input from the original speech in Spanish, which obviously helped in the revisions. The other huge bump was of course the ongoing pandemic, which has also impacted publishing. The launch date got pushed back a few times, so I’m glad it’s finally out. Hopefully more and more people get to read it and talk about the issues in the book, and, of course, Uruguay’s well-loved former President. It was some journey, and it continues, so I’d be happy to hear from readers!
Deborah: Thanks so much for taking the time to share all of this, Andrew. This is a gem of a book in so many ways, and learning about the background of the English version has been a fascinating lesson in how much goes into creating a translation.
The Japanese version of The World’s Poorest President Speaks Out is Sekai de ichiban mazushii daitoryo no supiichi, Choubunsha Publishing (2014).
SCBWI Japan Translation Group 