Misuzu lived 100 years ago in Japan. She possessed a keen ability to interpret life from the perspectives of others, even objects. Her poems are taught in schools and beloved by the population there, though largely unknown here, at least until now.
If you donít know this book yet, these recent features are superb, and they offer many more links. [Youíll have to click back to return here, but please do Ė David offers a glimpse into the many moving parts behind the bookís creation as well as some history of childrenís literature in Japan.]
For Jamaís rich review at Alphabet Soup, click here.
Click here for Janet Wongís behind-the-scenes interviews with David and Sally Ito at Sylvia Vardellís Poetry for Children.
Julie Danielson at Kirkus interviewed David here.
For an interview on Playing by the Book with Zoe Toft, click here.
Hereís the Misuzu Kaneko/ARE YOU AN ECHO? site.
The posts above offer insights into the hardships and tragedy of Misuzu's life, and discussions of how these are sensitively handled in the text and art, as well as showcasing her beautiful poetry.
Now itís my turn to interview David!
Tell us a bit about yourself - your career as a writer, your interest (and fluency) in Japanese, how you spend your days?
My writing career started inauspiciously as a copy boy at the New York bureau of the Nihon Keizai Shimbun (Japanís Wall St. Journal), where I would retrieve wire copy and fetch dinner for the correspondents. I then progressed through a series of reporting and editing jobs at the Associated Press, NHK (Japanese public broadcasting), and CNN. Following a long transition during which I got an MBA and had 2 kids, I ended up at Chin Music Press in Seattle, where Iíve worked ever since doing a variety of editorial and marketing jobs.
Iíve been interested in Japan ever since going there as an exchange student during high school. I obtained a degree in East Asian Studies from Yale, and undertook advanced language instruction at Middlebury and the Stanford Center in Tokyo. After obtaining my degree at Yale, I lived in Japan for 5 years, first as a graduate student and then as a journalist. My work has involved Japan in various ways ever since.
Today, Iím the principal caregiver to my two children, and am forever trying to complete my writing and publishing obligations during the time they are at school. I also try to fit in some time to play the piano, a hobby Iíve pursued since I was five.
How did you first discover the poetry of Misuzu Kaneko?
A Japanese friend of many years sent me an anthology of her work in the fall of 2013. In reading her poems, I was first struck by how relevant they were to me and my own kids, even though Misuzu wrote them nearly 100 years ago. And then I was utterly charmed by the compassion she shows Ė to the fish on her plate, to a dog who has broken its leg, to a boy and a girl on a first date.
What compelled you to create a book about Misuzu and her poetry?
I started out loving her poetry. Then once I started looking into the possibility of translating her work, I realized that she was really a dream subject. Her poems had hardly been translated into English, and her backstory was both fascinating and tragic. But then the idea of pitching a poetry book (not a favorite of most US publishers) about what some might consider a fairly esoteric subject (a Japanese poet from a century ago) set inÖ Fortunately, though, Chin Music Press liked the idea.
I was struck by how she maintained her voice, despite the times and the culture in which she lived, as well as her illness. How do you think she kept her sense of self in these circumstances?
Itís really astonishing, isnít it? She must have been a truly amazing woman. She grew up in a family of women, in which her mother and grandmother were in charge (her father had died when she was 3 and her grandfather was out of the picture). They let her get much more education than most Japanese girls got in those days. So I think her family must have encouraged her to become a strong, smart, and self-possessed young woman.
But when you look at how she responded to her very difficult marriage, her illness and the impending takeaway of her daughter, she displays such tremendous courage and will, based on her personal values, that you get the sense of a woman of great internal strength. I think thatís what enabled her to get through such difficulties.
As a student of haiku, I heard echoes of Issa as I read Musuzu's beautiful, original poems. What might have been some of her literary influences?
For someone who grew up in a fairly remote and provincial part of Japan, Misuzu was extremely well educated and cosmopolitan. There are multiple references to Hans Christian Andersen in her work, as well as to Western stories and characters like Jack and the Beanstalk, Robinson Crusoe, and King Midas. She became familiar with English poet Christina Rossetti, after her mentor said her poetry was reminiscent of Rossettiís.
As for Japanese influences, she kept a scrapbook of works by contemporary poets she admired, offering a direct window into her literary tastes (poets included Kitahara Hakushu, Saijo Yaso, Horiguchi Daigaku, etc.). I canít name any specific classical Japanese influences; however, her work often (though not always) follows 5-7 or 7-7 rhythms, suggesting close understanding of Japanese traditional forms such as tanka and haiku.
What was the publishing world like for children's literature in early 20th-Century Japan?
It must have been quite an exciting and liberating time to be in childrenís literature in Japan in the 1920s when Misuzu was writing. Prominent writers such as Akutagawa and Shimazaki were joining the field. For the first time in Japanese literary history, Japanese writers were attempting to depict childrenís inner lives, and they were encouraging each other to experiment. Moreover, there were amazing opportunities to be published. At one point there were 66 different childrenís magazines published in Tokyo alone!
This book is a sparkling feat of collaboration. How did you, Setsuo Yazaki, Sally Ito and Michiko Tsuboi come to cross paths? What was it like to work together?
There are so many collaborators on this book that reviewers canít seem to keep straight who did what!
With the approval of my boss at Chin Music Press, Bruce Rutledge, I selected Sally and Michiko from a list of several translators. I liked the fact that Sally was herself a poet, and had already translated a considerable number of Misuzuís poems with Michiko. Most important, though, was their sometimes motherly, sometimes girlish, but always accessible tone. We needed a voice that would speak to children, and I think Sally and Michiko provided it.
The collaboration between Sally, Michiko and me was much more intense than I expected, but very rewarding too. We lived in 3 different countries with 3 different time zones, so the most effective way to communicate was by email or Skype. Starting in early summer of last year, we exchanged comments and suggestions about the narrative and the poetry nearly daily. Each poem went through multiple drafts, as did the narrative. It was frustrating at times, but exhilarating, too, to get to the bottom of what Misuzu was trying to accomplish and then to convey that to English readers.
As for Yazaki, I met him in Japan during my September 2015 trip there. He and the head of JULA Publishing Bureau, Misuzuís Japanese publisher, met me, illustrator Toshikado Hajiri and translator Michiko Tsuboi in Senzaki, where Misuzu grew up. They showed us around the Kaneko Memorial Museum (which Yazaki directs) and a number of other places in town connected with Misuzu. They had flown all the way from Tokyo (at least a half dayís travel) to meet us.
Toshikado Hajiri's art is breathtaking, capturing joy as well as solemnity. Did you see the paintings before publication, and how do they help tell the story?
Yes, I was in close contact with Toshi from early on in the process, and showed him multiple copies of the manuscript before he even began sketching. In September of 2015, the two of us, along with translator Michiko Tsuboi, visited Misuzuís hometown of Senzaki together, so that Toshi could get a feel for the look of the place where she grew up. After a month or so, he submitted sketches, which we commented on, and then once we reached agreement, he painted them.
I feel his work adds a lot to the text: the look and feel of early 20th century Japan; and tone and emotion, particularly to the darker parts of the story where the text is spare. His art also amplifies the meaning of some of the poems. I love, for instance, his interpretation of ďDay and Night,Ē a poem in which a child is wondering about time: when does day end and night begin? Toshi brilliantly reinterprets the rope, a metaphor for time, as a jump rope!
Finally, tell us about your travel plans for January!
I am not familiar with all the details yet, but from what I understand I will be participating in three events with poet Setsuo Yazaki in Kyoto, Tokyo and Asahikawa, Japan. They are being organized by Misuzuís Japanese publisher, JULA Publishing Bureau, and are intended to celebrate the launch of ARE YOU AN ECHO? in Japan.
Sounds wonderful! Many thanks for joining us today, David, and sharing so much of how this treasure of a book came to be. (My thanks as well to Janet Wong for introducing me to David last month at POETRY CAMP at Western Washington University.)
For this weekís delectable Poetry Friday Roundup, please visit the aforementioned one-and-only Jama at Alphabet Soup!