2020 GLLI Translated YA Book Prize Goes to The Beast Player and Maresi Red Mantle

By Andrew Wong, Tokyo

The wait for this year’s Global Literature in Libraries Initiative (GLLI) Translated YA Book Prize is over!

As announced on April 2, GLLI have selected not one but two titles for the top prize, one of which is Nahoko Uehashi’s The Beast Player, translated from the Japanese by Cathy Hirano. This adds to Uehashi’s list of international accolades since Hirano’s translation of the first book in the Moribito series won global recognition in 2009. The Beast Player shares the prize with fellow fantasy title Maresi Red Mantle by Finland’s Maria Turtschaninoff, translated from the Finno-Swedish by A. A. Prime.

One other Japanese title, Kazuki Kaneshiro’s Go, translated by Takami Nieda, also made the 13-strong shortlist.

Lockdown? Another reason to stay home and wander around the worlds created in these books! Stay safe everyone.

How Takami Nieda Came to Translate GO

By Louise Heal Kawai, Tokyo

In June 2019, teacher and literary translator Takami Nieda gave a fascinating talk to SCBWI Japan on her translation of Kazuki Kaneshiro’s Go: A Coming-of-Age Novel. She has now followed this up with a wonderfully informative essay for TranNet.

This account of how she got started on her literary translation career is essential reading for those who wonder how to get into the field. I was moved by how she championed Go, a book she loved, and fought to get her translation funded and published; and also by how she manages to combine her career in translation with one in teaching. Her passion for both shines through. A highly recommended read.

Opening of Takami Nieda’s August 2019 essay for TranNet. Click to download full text in PDF.

Takami Nieda On Bringing GO into English

Takami Nieda (holding her translation of Go by Kazuki Kaneshiro) after speaking to SCBWI Japan on June 22.

By Andrew Wong, Tokyo

On June 22, 2019, translator Takami Nieda dropped by in person to share her seven-year journey of bringing Kazuki Kaneshiro’s young adult/adult novel Go to English-language readers. The evening began with the opening basketball sequence of an award-winning film based on Go. In this sequence, the term “zainichi” sets the tone for high-schooler Sugihara’s raw, roller-coaster story of love and life.

A third-generation Korean Japanese himself, Kaneshiro positioned Go to explain itself to its original intended readership, the Japanese. So there were few difficulties, Nieda noted, in providing background information—something a translator would often have to add. Nieda did point out some challenging terms she dealt with like oyaji, which she translated as “father” sometimes and as “old man” at other times; ofukuro, for which she chose “mother” over “mom”; and the rhythmical puzzle posed by a reworded version of Bruce Springsteen’s “Born in the USA.”

The novel’s short time span means Sugihara, a high school student, stays safely within the YA category as defined in the Anglosphere, but the gritty, edgy, often violent original is not considered a YA work in Japan. Coupled with the fact that a title like Go isn’t exactly easy to spot in the digital abyss, we appreciated that, by adding a subtitle to the English-language edition, publisher Amazon Crossing may have helped more readers of YA to find the book. (The book now sells in English as Go: A Coming-of-Age Novel.)

Nieda shared some of Go’s reader figures, which demonstrate its broad appeal: readers above 25 are spread over several age categories. However, while digital downloads have been strong, the title has lacked presence in English-language bookstores. So Nieda went on to talk about other roads for Go to travel, including as a text for studying the relationship between Korea and Japan. (It has won a Freeman Award for Young Adult/High School Literature and also has clear uses in university classrooms.)

There were concerns over the weight of some violent sequences, but those were assuaged by the idea that some sequences could actually be perceived as physical manifestations of affection.

Very early on, Nieda quoted Chimamanda Adichie to remind us of the danger of a single story, and on closing she again drove home the need for stories from diverse perspectives. Certainly an inspiring message for creators of children’s works in SCBWI Japan!

An additional write-up of this event by writer Cam Sato appears at the SCBWI Japan main blog.

Takami Nieda in Tokyo on June 22, 2019

The Society of Children’s Book Writers and Illustrators presents

Translator Takami Nieda on the YA-Adult Crossover Novel

Time: Saturday, June 22, 2019, 6:00-7:30 p.m.

Place: Tokyo Women’s Plaza, Audio Visual Room B

5-53-67 Jingumae, Shibuya-ku, Tokyo

(near the United Nations University; map)

Fee: SCBWI members 800 yen; nonmembers 1,200 yen

RSVP: To reserve a place, email japan (at) scbwi.org by Thursday, June 20

This event will be in English.

Takami Nieda’s translation of Go: A Coming-of-Age Novel by Kazuki Kaneshiro, has won acclaim in the US as adult fiction—and a Freeman Award for YA/High School Literature. What has made it strike a chord with readers in two traditionally distinct categories?

Nieda introduces a searing story of anti-Korean discrimination in Japan, which features two teens and is by turns romantic and violent, not unlike Romeo and Juliet, the source of its epigraph. Nieda discusses the translation issues she encountered, the experience of working with a crossover book, and her hopes for Go’s future.

Kazuki Kaneshiro graduated from Keio University. In 2000, he won the Naoki Prize for Go, which tackles issues of ethnicity and discrimination in Japanese society. The novel’s film adaptation went on to win every major award in Japan in 2002. Many of Kaneshiro’s works have been made into films or manga, and Kaneshiro has been adept at working synergistically across multiple formats and genres.

Takami Nieda was born in New York City and has degrees in English from Stanford University and Georgetown University. She has translated and edited more than twenty works of fiction and nonfiction from Japanese into English and has received numerous grants in support of her translations, including the PEN/Heim Translation Fund for the translation of Kazuki Kaneshiro’s Go. Her translations have also appeared in Words Without Borders, Asymptote, and PEN America. Nieda teaches writing and literature at Seattle Central College in Washington State.

japan.scbwi.org

Freeman Book Award for YA/High School Goes to GO

By Avery Fischer Udagawa, Bangkok

The novel Go by Kazuki Kaneshiro, translated by Takami Nieda, has won a Freeman Book Award in the Young Adult/High School category.

The Freeman Book Awards are sponsored by the USA’s National Consortium for Teaching about Asia (NCTA), the Committee on Teaching about Asia (CTA) of the Association for Asian Studies (AAS), and Asia for Educators (AFE) at Columbia University. The awards garland children’s and YA titles “that contribute meaningfully to an understanding of East and Southeast Asia.”

Go is a coming-of-age story about a zainichi (resident) Korean teen boy, born in Japan, who falls in love with a Japanese girl. This seems a forbidden romance given Japan’s history of anti-zainichi discrimination.

The NCTA has a page about Go here, and Publishing Perspectives has an illuminating interview with Nieda here. Nieda spoke by recorded Skype at SCBWI Japan Translation Day 2018.

Go read Go!

Takami Nieda appears on video at SCBWI Japan Translation Day in October 2018.

SCBWI Japan Translation Day 2018 in Yokohama

By Emily Balistrieri, Tokyo

SCBWI Japan held Translation Day 2018 on October 20 in Yokohama. The fifth in this biennial series of single-day conferences for translators and translation-lovers alike had a fantastic line-up of speakers with both inspiring and practical wisdom to share.

Kicking off the day was a pre-recorded Skype interview with Takami Nieda whose translation of Go by Kazuki Kaneshiro was published by AmazonCrossing this past March. Go is a great example of a book that while not particularly marketed for teenagers in Japan fits perfectly in the YA category in English. Nieda discussed that as well as how nice it was to work with AmazonCrossing. People unsure about Amazon as a publisher might be interested to know that she found the editors friendly and the editing process rigorous.

For aspiring translators, Nieda recommended attending a short translation program, such as the British Centre for Literary Translation summer school or the Breadloaf Translators’ Conference, and pairing with another translator for peer editing. It also sounded like she would recommend having a day job because it allows you to pick and choose your projects more.

After the participants in the day got to know each other a bit and receive some SCBWI, SWET and submission news, the second session began. In another pre-recorded Skype interview, publisher and managing director of Pushkin Press Adam Freudenheim talked about publishing translations in the UK. People often observe a lack of demand for translations, but he said the key is finding your market. Pushkin’s (and Penguin Random House’s) series of six novellas translated from Japanese—including Ms. Ice Sandwich by Mieko Kawakami, which was a centerpiece of this event—has been doing great. Sometimes finding your audience can be tricky, though: Freudenheim shared that the collection of Akiyuki Nosaka stories translated by Ginny Tapley Takemori originally published for children as The Whale that Fell in Love with a Submarine has been doing much better repackaged and expanded for adults as The Cake Tree in the Ruins.

In response to questions about the nuts and bolts of publishing translations, Freudenheim said that it’s easier to publish longer translations or otherwise take risks when there are subsidies or grants available, often from source countries’ governments. If translations can be co-funded by American and UK publishers, that also helps. He noted that it’s possible to be successful approaching Pushkin cold and emphasized sharing your passion for the book when pitching in addition to the whats and the whys.

Before lunch Louise Heal Kawai, translation of Ms. Ice Sandwich among many other books, spoke on the importance of networking, which is how she ended up on that project. She also shared how she localized Mieko Kawakami’s punny nickname for a girl whose fart smells like tea! (Let’s just say that’s what you get when the book’s protagonist is a boy in fourth grade.)

After a sunny lunch break, during which participants could practice her networking advice, Kawai led a translation workshop on an excerpt from the sequel to Ms. Ice Sandwich, Ichigo jamu kara ichigo o hikeba (which can be variously translated as If You Take the Strawberries Out of Strawberry Jam or Strawberry Jam Minus the Strawberries, among other ways) from the volume Akogare (Longing, or Longings or Yearning). Although there were plenty of challenges regarding the Japanese, including the name of a candy bar that was actually fictitious and finding the correct tense, the main exercise turned out to be writing in voice for a sixth-grade girl. Words like “adept,” “disgusted,” and “smitten” were frowned upon, while choices like “super popular,” “stuff like that,” and the exchange “No way,”-“Yes way,” got the nod.

One of the challenges in translating books from Japan, especially for young people, is packaging them for English-language book categories. Author and SCBWI Japan Co-Regional Advisor Holly Thompson led a session explaining some of the most common definitions of middle-grade and young-adult fiction, which can seem strict but do offer room for crossover success. Participants broke into groups for an exercise in classifying novels as MG or YA based on the opening pages. Drugs and sex references were the most obvious markers of YA besides older protagonists, while MG books seemed immediately to contain more family references and simpler vocabulary.

In the last session, Thompson was joined by Japanese Board on Books for Young People president (not to mention prolific translator) Yumiko Sakuma and SCBWI Japan Translator Coordinator Avery Fischer Udagawa in a discussion about Japanese book categories vs. US/UK book categories.

In Japan, the consideration is less about age-appropriate vocabulary than age-appropriate kanji. Then, even if a child is the protagonist, you can simply decide as a marketing strategy that it’s a book for adults if you want adults to read it, too, as happened in the case of Tonneru no Mori 1945 (The Tunnel of Trees 1945) by Eiko Kadono, winner of the 2018 Hans Christian Andersen Award for Writing. Sakuma also explained that to some extent there’s a belief that it’s better not to set ages for books because kids all read at their own pace. Given what people throughout the day noted appears to be a more fluid mindset about especially protagonist age in Japan, it can be a challenge to make English categories fit.

After this nine-to-five Saturday of kidlit translation immersion, surely even the most exhausted of the participants were feeling inspired to get going on some new projects.

 

 

Announcing SCBWI Japan Translation Day 2018

Akogare by Mieko Kawakami, source text for workshop by Louise Heal Kawai at SCBWI Japan Translation Day 2018

The Society of Children’s Book Writers and Illustrators presents

SCBWI Japan Translation Day 2018: Japanese Children’s and Young Adult Literature in English

A day of presentations, workshops, and conversation for published and pre-published translators of Japanese children’s and YA literature into English.

Date: Saturday, October 20, 2018

Time: Registration 8:30 a.m. Sessions 9:00 a.m. – 4:45 p.m.

Place: Yokohama International School, Yokohama, 2F Pauli Bldg

Fee: Advance registration 3,500 yen for current SCBWI or SWET members; 5,000 yen for nonmembers. At the door 4,500 yen for current SCBWI or SWET members; 6,000 yen for nonmembers.

Advance registrations and translations of texts for workshop with Louise Heal Kawai (see below) due by Monday, October 8, 2018.

Registration:  To reserve your place and request workshop texts, send an e-mail to japan (at) scbwi.org

This event will be in English, with one session in Japanese.

* * * * * * * * * * *

SCBWI Japan Translation Day 2018 Schedule

8:30 Registration | 8:50 Opening Remarks

9:00-9:45 Takami Nieda: On Translating Kazuki Kaneshiro’s Go

The translator of a searing novel about anti-Korean discrimination in Japan, portrayed through a high school coming-of-age and romance story, discusses the landmark title and her process. (Pre-recorded Skype interview.)

9:45-10:00 Avery Fischer Udagawa: SWET, SCBWI, Submission Opportunities and Speed Share

Avery Fischer Udagawa shares about SCBWI and SWET and leads participants in a “speed share” of their current projects. She also shares about submission opportunities for participants in Translation Day from interested publishers.

10:00-10:45 Adam Freudenheim on Publishing Japanese Children’s Lit in the UK

As publisher and managing director at Pushkin Press, Adam Freudenheim has been instrumental to the UK publication of The Beast Player by Nahoko Uehashi, translated by Cathy HIrano; The Secret of the Blue Glass by Tomiko Inui and The Whale That Fell In Love with a Submarine by Akiyuki Nosaka, both translated by Ginny Tapley Takemori; and Ms. Ice Sandwich by Mieko Kawakami, translated by Louise Heal Kawai. He discusses the challenges and rewards of releasing these titles in the UK and beyond. (Pre-recorded Skype interview.)

11:00-12:00 Louise Heal Kawai: On Translating Mieko Kawakami’s Ms. Ice Sandwich

As translator of a realistic contemporary novella marketed to adults, but which features a fourth-grade Japanese boy as its hero, Louise Heal Kawai discusses her process and the book’s offerings for middle graders through grown-ups. A time to delve into the book one reviewer calls “a wonderful example of the power of narrative voice.”

Lunch—Bring a lunch, and “talk shop” with fellow translators in the event room or nearby Minato-no-Mieru Oka Park.

1:00-2:30 Louise Heal Kawai: Translation Workshop

Louise Heal Kawai critiques participants’ translations of selected excerpts from a portion of Akogare, the book by Mieko Kawakami containing Ms. Ice Sandwich. Meant to follow Ms. Ice Sandwich, this portion is as yet unpublished in English, and foregrounds the voice of the Japanese girl from Ms. Ice Sandwich, who is now in sixth grade.

Translation Day participants must submit their translations of the selected text for this workshop by October 8, 2018. To request the text and register for Translation Day, send an e-mail to japan (at) scbwi.org

2:45-3:15 Holly Thompson: Workshop on US Middle Grade and Young Adult Categories

Publishing translations in the US (and beyond) requires knowledge of the age and marketing categories used in the children’s/teen publishing industry there. Holly Thompson demystifies these categories by sharing excerpts from recently published novels.

3:30-4:15 Panel Discussion: When Japanese Novels Meet US Book Categories

Professionals who market Japanese novels in the US discuss US and Japanese book marketing categories. What can happen when Japanese novels are placed in American-style MG, YA, or adult categories—or handled as category-crossing “crossover” titles?

4:15-4:45 Discussion/Q & A and Closing Comments

* * * * * * * * * * *

SCBWI Japan Translation Day 2018 Speakers and Panelists

Louise Heal Kawai was born in Manchester, England. She worked as a translator and teacher for more than twenty years in Nagoya, Japan, and also spent a short time living in Fort Worth, Texas, before moving to Yokohama. Her published translations include Milk by Tamaki Daido, which appeared in the short story anthology Inside and Other Short Fiction;  Shoko Tendo’s best-selling autobiography Yakuza Moon; a novel by feminist writer and poet Taeko Tomioka called Building Waves; and the novel The Island of Expectation by Ito Ogawa. Kawai translated an excerpt from Breasts and Eggs by Mieko Kawakami into Northern English dialect for Words Without Borders, before translating Ms. Ice Sandwich by the same author. In a contrasting vein, she has translated A Quiet Place by crime writer Seicho Matsumoto and the investigative thriller Seventeen by Hideo Yokoyama, published in 2018. She teaches English at Waseda University, Tokyo. An interview with her about Ms. Ice Sandwich is here.

Takami Nieda was born in New York. She has translated and edited more than twenty works of fiction and nonfiction including The Stories of Ibis by Hiroshi Yamamoto, Body by Asa Nonami, and The Cage of Zeus by Sayuri Ueda, as well as The Art of Ponyo by Hayao Miyazaki. Her recent translation of Go by Kazuki Kaneshiro has been described as delivering a “witty, sarcastic narrative voice [that] conveys great poignancy.” Her translations have also appeared in Words Without Borders, Asymptote, and PEN America. Nieda teaches writing and literature at Seattle Central College in Washington State. She responds to an interview about Go! here.

Adam Freudenheim was born in Baltimore and lived in Germany for a time before moving to the UK in 1997. He served as publisher of Penguin Classics, Modern Classics and Reference from 2004 to 2012 before joining Pushkin Press, where he has launched several imprints, including Pushkin Children’s Books. He has overseen the publication of many acclaimed translations for children, including The Murderer’s Ape by Jakob Wegelius, translated from Swedish by Peter Graves; The Letter for the King by Tonke Dragt, translated from Dutch by Laura Watkinson; My Sweet Orange Tree by Jose Mauro de Vasconcelos, translated from Brazilian Portuguese by Alison Entrekin; and a number of landmark Japanese titles.

Yumiko Sakuma was born in Tokyo and worked as an interpreter and in-house editor before becoming a freelance editor, translator, critic, and professor of Japanese children’s literature. She has translated more than 200 children’s books into Japanese, and her work has garnered many awards, including the Sankei Juvenile Literature Publishing Culture Award. She also researches African literature and runs a project promoting African children’s books in Japan. Her blog and her essay “What Exactly Is Translation?”  translated by Deborah Iwabuchi are helpful reading for Japanese-to-English translators. Ms. Sakuma serves as President of the Japanese Board on Books for Young People (JBBY).

Holly Thompson is originally from Massachusetts and lives in Kamakura. Her writings include the picture books One Wave at a Time, Twilight Chant, and The Wakame Gatherers; the middle grade novel Falling into the Dragon’s Mouth; the young adult verse novels Orchards and The Language Inside; and the adult novel Ash. She is venturing into translation. She serves as SCBWI Japan Co-Regional Advisor.

Avery Fischer Udagawa grew up in Kansas and lives near Bangkok. Her translations include the story “Festival Time” by Ippei Mogami in The Best Asian Short Stories 2018, forthcoming from Kitaab, and the middle grade novel Temple Alley Summer by Sachiko Kashiwaba, forthcoming from Chin Music Press. She serves as SCBWI International Translator Coordinator and SCBWI Japan Translator Coordinator.

japan.scbwi.org

ihatov.wordpress.com

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:

• May 1:  Roger Pulvers on Ishikawa Takuboku (Japan-in-Translation, No. 1)
• May 2:  Kathryn Hemmann on outsider stories in contemporary literature(Japan-in-Translation, No. 2)
• May 3:  Deborah Iwabuchi on memorable translations (Japan-in-Translation, No. 3)
• May 4:  Eve Kushner on kanji’s punning potential, part 1 (Japan-in-Translation, No. 4)
• May 5:  Eve Kushner on kanji’s punning potential, part 2 (Japan-in-Translation, No. 5)
• May 7:  Translator roundtable on Shiba Ryōtarō’s Ryōma!, part 1 (Japan-in-Translation, No. 6)
• May 8: Translator roundtable on Shiba Ryōtarō’s Ryōma!, part 2 (Japan-in-Translation, No. 7)
• May 9: Librarian Ash Brown on manga in translation (Japan-in-Translation, No. 8)
• May 10: Excerpt from Mori Eto’s Dive!! (Japan-in-Translation, No. 9)
• May 11: Tony Malone on translations of Natsume Sōseki (Japan-in-Translation, No. 10)
• May 12: Poet Michael Dylan Welch on translating haiku (Japan-in-Translation, No. 11)
• May 14: Smithsonian BookDragon’s Favorites, part 1 (Japan-in-Translation, No. 12)
• May 15: Smithsonian BookDragon’s Favorites, part 2 (Japan-in-Translation, No. 13)
• May 16: Sally Ito on Misuzu Kaneko’s Compassionate Imagination (Japan-in-Translation, No. 14)
• May 17: Frederik Schodt on The Four Immigrants Manga (Japan-in-Translation, No. 15)
• May 18: Stone Bridge Press Publisher Peter Goodman (Japan-in-Translation, No. 16)
• May 19: Melek Ortabasi on Japanese Literature as World Literature (Japan-in-Translation, No. 17)
• May 20: Selected Japanese Picture Books by Andrew Wong (Japan-in-Translation, No. 18)
• May 21: Murakami translator Jay Rubin (Japan-in-Translation, No. 19)
• May 22: Zack Davisson on translating sound effects in comics (Japan-in-Translation, No. 20)
• May 23: Translator showdown: where manga meets the novel (Japan-in-Translation, No. 21)
• May 24: Kirkus YA Editor Laura Simeon on cultural messages in Japanese picture books (Japan-in-Translation, No. 22)
• May 25: Q&A with Translator Cathy Hirano on Nahoko Uehashi’s The Beast Player (Japan-in-Translation, No. 23)
• May 26: Strong women, soft power by Ginny Tapley Takemori (Japan-in-Translation, No. 24)
• May 27: War in Japanese children’s literature by Sako Ikegami (Japan-in-Translation, No. 25)
• May 28: Translating Kadono Eiko by Lynne E. Riggs (Japan-in-Translation, No. 26)
• May 29: Roland Kelts on Monkey Business (Japan-in-Translation, No. 27)
• May 30: Emily Balistrieri on light novels (Japan-in-Translation, No. 28)
• May 31: Takami Nieda on Kazuki Kaneshiro’s Go (Japan-in-Translation, No. 29)