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Wild Grass on the Riverbank, by Hiromi Ito
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Poetry. Asian & Asian American Studies. Women's Studies. Translated from the Japanese by Jeffrey Angles. Set simultaneously in the California desert and her native Japan, tracking migrant children who may or may not be human, or alive, Hiromi Itō's WILD GRASS ON THE RIVERBANK will plunge you into dreamlike landscapes of volatile proliferation: shape-shifting mothers, living father-corpses, and pervasively odd vegetation. At once grotesque and vertiginous, Itō interweaves mythologies, language, sexuality, and place into a genre-busting narrative of what it is to be a migrant.
- Sales Rank: #900122 in Books
- Published on: 2015-01-01
- Original language: English
- Dimensions: 8.75" h x 7.00" w x .25" l,
- Binding: Paperback
- 103 pages
About the Author
Hiromi Itō emerged in the 1980s as the leading voice of Japanese women's poetry with a series of sensational works that depicted women's psychology, sexuality, and motherhood in fresh and dramatic new ways. In the late 1990s, she relocated to southern California, and since then has written a number of important, award-winning books about migrancy, relocation, identity, linguistic alienation, aging, and death. Her collection Kawara Arekusa won the 2006 Takami Jun Prize, which is awarded each year to an outstanding, innovative book of poetry, and is now published in English translation (WILD GRASS ON THE RIVERBANK, 2015), by Action Books. A selection of her early work appears in KILLING KANOKO: SELECTED POEMS OF HIROMI ITō (Action Books, 2009). Both collections are translated by Jeffrey Angles.
Jeffrey Angles lives in Kalamazoo, where he is an associate professor of Japanese and translation at Western Michigan University. He is the author of Writing the Love of Boys (University of Minnesota Press, 2010) and the award-winning translator of dozens of Japan's most important modern Japanese authors and poets.
Most helpful customer reviews
7 of 7 people found the following review helpful.
"Naturalized" as never before.
By Guttersnipe Das
As I read and reread this gorgeous and unnerving book, I thought of an afternoon in graduate school when I went to my adviser and confessed to him that I liked the way that poets told stories much more than the way prose writers did. He agreed with me very seriously and quietly, as though I had discovered something true, but which could not safely be discussed in public.
As evidence, here is Wild Grass on the Riverbank, one of the first narrative book-length poems to be written in modern Japan. Gory and explicit, damning and redemptive in turns, this book is required reading for poets, storytellers, wanderers, rebels, and ecologists -- for anyone who aims to survive.
This long poem, in 18 parts of varying lengths, is written in a combination of prose and poetry, in language that is sometimes childlike, sometimes scientific, and must have been fiendishly difficult to translate. Angles’ translation’s conveys a tremendous emotional force while giving a sense of the different registers of language through which Ito cavorts with both daring and playfulness.
When I began reading this book I was pulled in first by curiosity, enjoying Ito’s wild narrative strategies and her utter willingness to convey the full messy details of life and death, neither of which is ever a closed category or final state. (For Hiromi Ito, as for Jose Saramago, death is only an interruption. It comes and goes.)
As I read further, then reread, what finally impressed me most was the emotional and incantatory power of long sections like “We Live at the Riverbank” and “We Make Our Way In”, unified narrative poems that are both edgy and exultant and can suddenly flash with a force that brings to mind Alvaro de Campos or Whitman.
Jeffrey Angles, increasingly well-known for his fine translations of Chimako Tada, Taruho Inagaki, and Takahashi Mutsuo, earlier published a translation of “Killing Kanako”, the book that first brought Hiromi Ito renown in Japan. In his introduction Angles refers to other books by Ito: a book of prose poetry, as well as novellas and essays. I hope very much that more of this work can be made available in English.
One of the most important poets of modern Japan, Hiromi Ito has been called a “shamaness of poetry”. Exactly right. Here is poetry that is unafraid to strip bare, copulate or reek, hiss or howl. An exploration of being “naturalized” in every sense of the word: an unending series of changes, deaths, ecstasies, resistances, and transformations.
5 of 5 people found the following review helpful.
A Must-Read
By Raechel L. Dumas
While Wild Grass on the Riverbank is comprised of a series of individual poems, together they form a carefully crafted narrative that begins with a series of memories from the speaker’s childhood. Wild Grass delivers that which readers of Itō’s earlier work might expect, revealing the inextricability of beauty and abjection, body and psyche, Eros and Thanatos. This collection makes provocative use of natural imagery as a diverse array of plant life creeps into each and every textual crevice. At moments the natural world is figured as an invasive, suffocating force; at others it is a refuge, as well as a signal of the possibility of survival.
Perhaps the most compelling feature of this collection is its exploration of the relationship between mother and child, which is here presented through the eyes of its young narrator in a kind of reversal of the perspective issued in Itō’s earlier collection, Killing Kanoko. Here, as in her earlier work, Itō is deeply engaged with questions of the maternal, a vital topic in contemporary Japan, where the enduring concept of bosei (maternal love) continues to shape notions of female bodily economy in the domestic and public spheres. The story that unfolds in Wild Grass is also one of migration, of homelessness and of making a home (in this respect, the collection has strong resonances with the work of Itō’s contemporary, Tawada Yōko). Ultimately, Wild Grass tells a story of, to quote one of the poems therein, “multiplying, dying, coming back to life, and multiplying again.”
Jeffrey Angles is a highly accomplished translator of modern Japanese poetry, and his renderings of Itō’s work are particularly outstanding. The translator’s introduction to Wild Grass includes a section on translation strategies, in which Angles describes in detail both linguistic features of the original poems and his approaches to the translation of unconventional language (e.g. colloquialisms, slang, children’s speech), complex formal expressions, punctuation (or lack thereof), and the abundance of plant names that appear in the collection. Angles expertly grapples with the difficult task of translating Itō’s work to produce a text that is both highly attuned to technical issues and strongly reminiscent of Itō’s distinctive style. Even more impressive, however, is that this translation beautifully conveys the complexity of the poetic speaker, a young woman who is engaged in her own grappling with language.
As Angles notes in his introduction, when a text is translated, possibilities emerge that were only latent in the original. I will add that this seems especially true of Wild Grass, in which words operate like rhizomes, continually revealing new variations, connections, and becomings.
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