Posts Tagged ‘young adult’

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 BordersAsymptote, and PEN America. Nieda teaches writing and literature at Seattle Central College in Washington State.

japan.scbwi.org

Tasting Sakura Season with Sweet Bean Paste

By Avery Fischer Udagawa, Bangkok

Though unable to visit Japan during sakura season this year, I got a taste of it through Sweet Bean Paste, a novel by Durian Sukegawa translated into English by Alison Watts.

This novel features a young man who runs a dorayaki shop, an elderly woman who overturns his process, and a high school girl who connects the two in a poignant way. It offers an unflinching look at the history of leprosy in Japan and forms the basis for the movie Sweet Bean.

A novel for adults that is YA-appropriate, it shows how international fiction does not always follow UK/US age category rules. (At SCBWI Japan Translation Day 2018, we also saw how the adult-marketed novella Ms. Ice Sandwich by Mieko Kawakami, translated by Louise Heal Kawaii, can work as YA or even as middle grade).

Taste something fresh, complex and delicious with Sweet Bean Paste this spring—and share with a teen near you.

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.

Inaugural GLLI Translated YA Book Prize Goes to Manga from Japan

By Andrew Wong, Tokyo

The Global Literature in Libraries Initiative (GLLI) has just announced the winner of its inaugural Translated YA Book Prize, and it’s a work from Japan! The winner is My Brother’s Husband Vols. 1-2 by Gengoroh Tagame, translated from the Japanese by Anne Ishii, published by Pantheon Graphic Library.

The GLLI accolade adds to a long list of kudos for this manga. An Eisner winner, My Brother’s Husband has also been adapted into a three-part TV matinee drama series that aired on NHK, Japan’s public broadcaster, in Spring 2018.

Along with the inaugural prize winner, three honor titles were announced. These works, all novels, were translated from French, Spanish (Equatorial Guinea) and Swedish.

Submissions for the 2020 award are open!

Two Books from Japan Make Inaugural GLLI Translated YA Book Prize Shortlist

By Andrew Wong, Tokyo

Two works from Japan have made the shortlist for the inaugural Global Literature in Libraries Initiative (GLLI) Translated YA Book Prize for 2019.

Ginny Tapley Takemori’s translation of The Secret of the Blue Glass, written by Tomiko Inui, is joined by Anne Ishii’s translation of the first two volumes of My Brother’s Husband, Gengoroh Tagame’s Eisner-clinching four-volume manga series, in the 10-title shortlist.

These two titles happen to share something else in common: families with visitors!

The judges considered books first published in English translation between 2015 and 2018. The full shortlist features translations from Bengali, Chinese, French, German, Japanese, Spanish, and Swedish.

Look out for the winner soon!

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.

 

 

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: