Edited and with a Foreword by Holly Thompson,
Tomo
Stone Bridge Press, 2012.

Ages: 12+

‘Tomo’ means ‘friend’ in Japanese and the purpose of this Anthology of Teen Stories is to offer friendship to Japan following the Great East Japan Earthquake of 11 March 2011: specifically, the book is dedicated to the memory of those who lost their lives and to “all the young people of Tohuku”.  Author Holly Thompson (The Wakame Gatherers, Orchards) has gathered contributions from creators of prose, poetry and graphic narrative, as well as translators, whose shared connection is Japan.  Their work makes for a remarkable collection.

Many of the contributors’ names such as Alan Gratz, Wendy Nelson Tokunaga, Debbie Ridpath Ohi,  Shogo Oketani, or Graham Salisbury may already be familiar to readers; others such as Naoko Awa (1943-1993) or Kenji Miyazawa (1896-1933) will be less so, though famous in Japan.  A great deal of Tomo’s success lies in its blend of expertly translated older stories with contemporary, new writing, and this is true also of the stories’ content.  Many modern Japanese phenomena colour the stories, such as the particular fashion of Harajuku girls (“I Hate Harajuku Girls” by Katrina Toshiko Grigg-Saito) or the Purikura photo sticker booths (“Signs” by Kaitlin Stainbrook), yet these sit easily alongside more traditional stories such as the magical Ainu fable “Where the Silver Droplets Fall”, transcribed and translated into Japanese by Yukie Chiri (1903-1922) and translated into English by Deborah Davidson.  The anthology is all the richer for its varied array of writing, and its success is also in a great part due to the skill of the different translators involved.  The excellent Tomo blog also contains interviews with the contributors and offers readers further insight into Japanese culture.

The thirty-six stories are divided into sections: Shocks and Tremors, Friends and Enemies, Ghosts and Spirits, Powers and Feats, Talents and Curses, Insiders and Outsiders, and Families and Connections.  The opening story, “Lost” by Andrew Fukuda, is the gripping account of a girl regaining consciousness in a hospital bed following the Kobe earthquake in 1995; the other four stories in that opening section, including Tak Toyoshima’s graphic strip “Kazoku”, all have the raw immediacy of being set in the aftermath of the March 11^th disaster.

Among the other stories, readers will find stories to suit every mood: thought-provoking tales of conflict, spine-tingling ghost stories (I’m glad all these happen to have fallen to my reading in hours of daylight!), ostracism and friendship, romance, magic and surrealism.  Yearning to belong is a thread running through many stories, and the intensity for those characters seeking their identity is heightened where they are part of a bicultural family.  Nor does the collection flinch from addressing racial prejudice or the internment of Japanese Americans during the Second World War.

As with all good short-story anthologies, Tomo needs to be read slowly in order to savour the intense individual flavors of its contents.  Framed by an extract from David Sulz’s translation of Miyazawa’s thought-provoking poem “Be Not Defeated by the Rain” as well as Holly Thompson’s moving Foreword, and a glossary and note on the book’s contributors (a rich mine for future reading), Tomo is a very special book.  While its immediate context is very much rooted in Japanese culture, it offers a glimpse at universal teenage concerns that will increase empathy among readers wherever and whoever they are.

Marjorie Coughlan
July 2012

Proceeds from the publication of Tomo are going to organizations assisting teens in the quake and tsunami hit areas of the Great East Japan Earthquake, 11 March 2011.

Children’s and YA Books in Translation from Japan ~  by Holly Thompson

Part 3 of 3 (read Part 1 here and Part 2 here)

Over the years of raising our children in Japan, I have kept my eyes out for Japanese children’s books translated into English. Sadly, far more titles go from English into Japanese than from Japanese into English. Having peaked in numbers in the 1980s, nowadays few Japanese children’s and young adult books are translated into English each year.

The reasons for so few Japanese books being sold to English-language publishers are layered and complicated ranging from cultural differences and weak English copy or sample translations used for marketing books to foreign publishers, to stagnant picture book markets in English-speaking countries and a lack of interest from markets that are focused intently on books set in their own countries.

Currently, most of the children’s books translated from Japanese into other languages are sold to other countries in Asia—particularly Korea and Taiwan, and more recently, China. The International Library of Children’s Literature in Ueno, Tokyo, held an exhibit in 2010 Children’s Books Going Overseas from Japan and much exhibit information on translated Japanese children’s books appears on their website.

Because our children are bilingual, when they were young we read most Japanese picture books in Japanese, but we searched out English translations of Japanese picture books as gifts for relatives, friends or libraries in the U.S. Some of the Japanese picture books in translation that we loved to give are Singing Shijimi Clams by Naomi Kojima, The 14 Forest Mice books and others by Kazuo Iwamura, and books illustrated by Akiko Hayashi. Our all-time family favorite Japanese picture book was the widely read Suuho no shiroi uma, published in English as Suho’s White Horse, a Mongolian tale retold by Japanese author Yuzo Otsuka, illustrated by Suekichi Akaba, and translated by Peter Howlett—featured in this PaperTigers post.

R.I.C. Publications has a number of well-known Japanese picture books and some Ainu folktales in translation. Kane/Miller Book Publishers now focuses on books set in the U.S. but used to focus on translations of books from around the world; their catalog has a section on Books from Japan including the hugely successful Minna unchi by Taro Gomi, translated by Amanda Mayer Stinchecum and published in English as Everyone Poops. And recently Komako Sakai’s books have traveled overseas including Ronpaachan to fuusen published by Chronicle Books as Emily’s Balloon and Yuki ga yandara released as The Snow Day by Arthur A. Levine Books.

But these days very few English-language publishers, even those more multiculturally oriented, publish translations of Japanese picture books, and those titles that are imported are often those with minimum text. When picture books are translated into English, translation often happens “in house” at the English-language publisher, regrettably with no credit to a translator.  Translated text may also differ considerably from the original text. What’s more, some publishers even eliminate cultural references and alter illustrations—such as removal of kanji characters on signs in the background, and other details that would place a book firmly in Japan or Asia.

Over the years, even more than picture books, our family has sought out middle-grade (MG) and young adult (YA) books in translation and read novels by Kazumi Yumoto, such as The Friends, beautifully translated by Cathy Hirano, and Kiki’s Delivery Service, by Eiko Kadono, translated by Lynne E. Riggs. Partly due to the fact that YA is not a well-established book category here, not much Japanese YA fiction has been translated into English until recently. In the last few years, we are seeing a few more MG and YA titles translated from Japanese, and this is of course due in large part to overseas interest in Japanese manga and anime.

Examples of recent Japanese MG or YA titles translated into English include the Moribito books by Nahoko Uehashi, translated by Cathy Hirano; Brave Story, by Miyuki Miyabe, translated by Alexander O. Smith; J-Boys: Kazuo’s World, Tokyo, 1965 by Shogo Oketani, translated by Avery Fischer Udagawa; Real World by Natsuo Kirino, translated by Phillip Gabriel; The Melancholy of Haruhi Suzumiya by Nagaru Tanigawa, translated by Chris Pai; and lots of Japanese manga appearing in English—see BookDragon book reviews. Still, I look forward to the day when the YA list of translated titles is much, much longer.

SCBWI Tokyo now has a Translation Group for Japanese to English translators of children’s and YA literature, and this year the group will hold its second Translation Day on June 16, which will feature Alexander O. Smith and translators of stories in Tomo: Friendship Through Fiction—An Anthology of Japan Teen Stories. Through this SCBWI Tokyo Translation Group we aim to cultivate translators skilled in the nuances and particulars of children’s literature and hope that the group can be a model for other regions in Asia so that English-language publishers around the world can readily find experienced translators. In the future, perhaps more children’s and YA literature from Asia can appear in English and reach a wider global readership.

Holly Thompson was raised in New England and is a longtime resident of Japan. Her verse novel Orchards(Delacorte/Random House) won the 2012 APALA Asian/Pacific American Award for Literature  and is a YALSA 2012 Best Fiction for Young Adults title. She recently edited Tomo: Friendship Through Fiction—An Anthology of Japan Teen Stories (Stone Bridge Press), and her next verse novel The Language Inside (Delacorte/Random House) will be published in 2013. She teaches creative writing at Yokohama City University and serves as the regional advisor of the Tokyo chapter of the Society of Children’s Book Writers and Illustrators. Visit her website: www.hatbooks.com.

Shogo Oketani, translated by Avery Fischer Udagawa,
J-Boys: Kazuo’s World, Tokyo, 1965
Stone Bridge Press, 2011.

Ages 9-12

J-Boys describes the life a Japanese boy, Kazuo Nakamoto, living in Tokyo in the mid-1960s.  The book is laid out in chronological segments over a year starting in October.  Kazuo is nine years old and lives with his brother Yasuo and his parents in West Ito, a district in Shinagawa Ward in Tokyo.  Set in an interesting period in Japan’s more recent past, this account of a boy’s life in mid-’60s Japan touches on a wide range of social topics relevant to the time.  For example, the book discusses the issue of migrant labor used to develop the rapidly growing city of Tokyo, the racism against resident Koreans, and pervasive American cultural influences present on TV and in music.

There is nostalgia for this lost world prevalent in Japan at the moment – a period roughly corresponding to the latter part of the Showa era; and J-Boys is really a book that celebrates that Japan from a child’s perspective.  But at the same time as the book is nostalgic, it also explains the culture of the day to an English-reading audience. Alongside the main text are side-boxes explaining cultural items such as the names of foods, or the terms of reference for certain holidays or traditional art forms, which help contextualize Kazuo’s world for the reader.  I found these more or less helpful; with a book like this, it’s always difficult to ascertain what or what not to include as extra information for the reader.  However, using the side-boxes I think was a good device.

J-Boys is a great read that brings a certain slice of Japanese life to life, without making the culture seem like an artifact.  Yes, this is an account of a Japan of the past, but of a recent past that contains many elements of interest to readers, from the once ubiquitous urban phenomenon of the bath house to the gathering spot of Kazuo’s friends in the empty lot.  I appreciated the fact that this book is a translation of a Japanese author, Shogo Oketani, who lived through the period described. Stone Bridge Press and translator Avery Udagawa should be credited for taking on a book like this to give young readers an insightful look into Japanese society from the perspective of a young boy growing up in the ’60s. Alongside the book, one can consult the very helpful J-Boys website for information on the author and on Japan, as well as resources for teachers.

Sally Ito
October 2011