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Texture Notes
Poetry. Asian American Studies. Is there a relationship between the population density of Tokyo and the pinkest part of a hamburger? Can one touch the inside of a noun to learn the difference between one bicycle and a field of bicycles? How close is yellow to need? How far are human fears from the fears of insects? Through a sequence of prose investigations, directions, theoretical performances, and character sketches, Sawako Nakayasu's TEXTURE NOTES presses itself against everything. Here is a book of liminal cartography, where textures are percolated by thought and propelled by feeling, where intellectual frottage meets sunlight, moonlight, the pain of seeing something beautiful and an entire town enamored by a simple rock. Once again, Nakayasu's writing explodes with genre-bending fury and fine-tuned improvisation, leaving in its wake a largess of feeling for the things of the world.
Mouth: Eats Color -- Sagawa Chika Translations, Anti-Translations, & Originals
Poetry, Translation. Ten poems by Sagawa Chika are conveyed into English and other languages through a variety of translation techniques and procedures, some of them producing multilingual poems. Languages used include English, Japanese, French, Spanish, Chinese.
The Collected Poems of Chika Sagawa
Winner of the PEN Award for Poetry in Translation • The electrifying collected works of “one of the most innovative and prominent avant-garde poets in early twentieth-century Japan” (The New Yorker). Translated by and with an introduction by Sawako Nakayasu An important and daringly experimental voice in Tokyo’s avant-garde poetry scene, Chika Sagawa broke with the gender-bound traditions of Japanese poetry. Growing up in isolated rural Japan, Sagawa moved to Tokyo at seventeen, and begin publishing her work at eighteen.She was immediately recognized as a leading light of the male-dominated Japanese literary scene; her work combines striking, unique imagery with Western influences. T...
The Ants
Fiction. Poetry. Asian & Asian American Studies. THE ANTS is a study not of, but through, ants. In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, THE ANTS is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human "nouveau- ambitious" and "free-thinking" lifestyles become estranged, uncovered, and humbled. Found in the soups of dumplings and remembered in childhood vignettes, these ants trail through what Nayayasu writes as the "industry of survival," exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non- mechanical pencil, to be isolated in the safety of home, or to "find" "it" "all" at the very very last moment? THE ANTS is the distance, the break, the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.
So We Have Been Given Time Or
Ann Lauterbach's experimental and compelling choice for the 2003 Verse Prize merges dramatic forms and poetry with dazzling results.
胡桃の戦意のために
Winner of a PEN Translation Fund Award: A lyrical, supercharged, dizzying collection in a unique bilingual format: like two halves of the walnut, the English text meets the Japanese half-way
Hurry Home Honey
Poetry. These love poems are unusual for their sense of moving between cultures, their awareness of physical space as articulated by the intersection of human beings, the land, and architectural structures. Love itself is now game, sport, speed-time, dance, performance, now contract, conflict, failure, but always a shifting structure of relation.
Costume en Face
Drama. Dance. Performance Studies. East Asia Studies. Transcribed by Moe Yamamoto and translated from the Japanese by Sawako Nakayasu. Tatsumi Hijikata (1928-1986) is a founding father of the radical dance form that he called Butoh, whose choreography required dancers to internalize complex and often grotesque images, experiences and perspectives in order to produce precise movements. Though influenced by Western artists and writers the expressionist dance of Mary Wigman, the writings of Artaud, de Sade, Bataille, and Genet, and the drawings and paintings of Goya, Picasso, Toyen, Beardsley, and others he was dedicated to the particular experience of the marginalized, Japanese suffering body after World War II. In the mid-1970s, Hijikata became concerned with developing notation for his Butoh, and some of these Butoh-fu notations remain, largely in the form of notebooks transcribed by his disciples. COSTUME EN FACE is the first publication of one of Hijikata's notebook notations in either English or Japanese. In it we can see, for the first time, the profound interconnectedness of language and body in Hijikata's process of composition."
Zong!
A haunting lifeline between archive and memory, law and poetry
Yi Sang: Selected Works
A ground-breaking retrospective of this major Korean writer of the modernist era, presented in English by award-winning poets and translators.
