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)

Eiko Kadono Named to Andersen Award Shortlist

By Avery Fischer Udagawa, Bangkok

Japanese author Eiko Kadono has been named to the shortlist for the 2018 Hans Christian Andersen Award (“little Nobel”) in Writing. She is the author of Kiki’s Delivery Service, basis of the well-known animated film by Studio Ghibli.

Born in Tokyo in 1935, Kadono has written and translated prolifically for children of multiple generations.

The International Board on Books for Young People notes, “When she was ten, Eiko Kadono was evacuated to northern Japan during the Pacific War. These memories formed the basis of one of her best-known stories, Rasuto ran (Last Run, 2011) and the experience of war as a child is at the root of her commitment to peace and happiness. She studied American literature and then travelled extensively in Europe as well as in North and South America and began writing. She has published nearly 250 original works—picture books, books for pre-schoolers, fantasy and young-adult—and translated into Japanese more than 100 works by foreign authors including Raymond Briggs and Dick Bruna. Her best-known works include Zubon senchosan no hanashi (Tales of an Old Sea Captain, 1981) and Odorobo Burabura-shi (Grand Thief Burabura, 1981), both of which won prizes in Japan. In 1985 she published the first of six volumes of Majo no takkyubin (Kiki’s Delivery Service, 1985) that won the Noma and Shogakukan Prizes and was selected for the IBBY Honour List in 1986. Eiko Kadono has also been a champion of reading and books for children and has been recognised for her contributions to children’s literature with the Medal with Purple Ribbon in 2000, and the Order of the Rising Sun—Gold Rays with Rosette in 2014.”

This video shows the 2018 Andersen Award shortlistees, including Kadono, and gives a glimpse of their workspaces. It also shows the Andersen jury at work.

Kiki’s Delivery Service by Eiko Kadono has been published in English by Annick Press, translated by Lynne E. Riggs.

A Memoir in Translation Opens a Hidden Door

By Malavika Nataraj, Singapore

Two years ago, I attended a concert where I heard an Okinawan all-women’s group sing melodious ballads about the rich, natural beauty of the Ryukyu Islands. The shaman-like lead singer, with her waist-length grey hair, played an ancient snakeskin sanshin. As the beautiful voices rose in song, I felt their pain and sadness vibrating within me.

From then on, I was fascinated by Okinawa with its waving palms and turquoise waters—Japanese, yet so different. I wanted to understand the pain of the Okinawan people, their pride and their plaintive cry for peace. It was at about this time that I came across The Girl with the White Flag, and feeling inexplicably drawn to it, began to read.

The book begins with Tomiko Higa’s recollections of an almost idyllic childhood, growing up on a farm in rural Shuri, the old capital of the Ryukyu Kingdom. After her mother’s death, she spends early childhood years with her father, digging up sweet potatoes from their field for lunch and listening to the wisdom he has to share. But soon, the threat of war looms large and seven-year-old Tomiko must prepare to flee with her siblings, when her father does not return from a trip into town. Hiding in caves that dot the coastline nearby, the children travel south with other refugees to find shelter, away from falling bombs and gunfire. Not long afterward, Tomiko’s brother Nini falls prey to a bullet-wound in his head, and little Tomiko becomes separated from her two older sisters.

Here begins Tomiko’s solo, nightmarish journey of survival. She spends weeks searching for her sisters, dodging the bullets and bombs that chase her very footsteps. Hiding in the tall pampas grass, ducking in and out of caves, she somehow lives on, all the while believing that her dead brother’s spirit is watching out for her. Throughout her ordeal, she also believes that her father’s voice is in her head guiding her and keeping her alive.

And maybe it is. For in this miraculous tale of survival in a land torn apart by war, a seven-year old child with no real survival skills finds raw carrots in an abandoned field, food in the haversacks of dead soldiers, and drinkable water where all the rivers run red with the blood of her fellow Okinawans.

After weeks of traversing this landscape, little Tomiko finally stumbles upon an underground cave, inhabited by an old, ailing couple. Grandma and Grandpa, as she calls them, become her family for a little while, before the old man sends Tomiko out of the cave, telling her that she is too young to die with them, that she must live. So into the sunlight she finally emerges, waving a white cloth torn from Grandpa’s clothing, tied to a stick.

At the end of the Second World War in 1945, a young American war photographer named John Hendrickson was documenting the surrender of Japanese civilians on the island of Okinawa, when he stopped to take a picture of a little girl holding a white flag.

This photograph re-surfaced in Japan decades after it was taken, and the girl in the picture became a symbol of strength, love and hope—an emblem of survival and peace in a place once devastated by war. The child, meanwhile, had grown up and re-built her life, burying her painful memories. It wasn’t until the discovery of the photo set off a chain of rumours about the girl’s identity, that Tomiko Higa thought of sitting down and penning her own true story.

Left: Dorothy Britton (RenaissanceBooks.co.uk)

When Dorothy Britton—a well-known poet, translator and composer who spent a large part of her life in Japan—translated Higa’s book into English, she opened a door hidden behind a tangle of vines, and let the English-speaking world into a place it knew very little about.

In today’s world where terrorists, bombings and security threats are all a part of our lives, the desire for world peace is as close and as personal as it was—and still is—for the Okinawan people.

Dorothy Britton loved Japan and deeply understood the sentiments of Japanese people. She was often described as being “Japanese but in western skin.”  During her lifetime, she wrote poetry and articles about the country she loved and also translated several well-known works such as Tetsuko Kuroyanagi’s famous memoir Totto-chan: The Little Girl at the Window, as well as A Haiku Journey (Oku no hosomich) by the famous poet Matsuo Basho. Britton also authored the historical work Prince and Princess Chichibu and translated The Japanese Crane by Tsuneo Hayashida. Britton passed away in 2015, at her home in Hayama, a week before her memoir Rhythms, Rites and Rituals: My Life in Japan in Two-step and Waltz-time was to be released.