japonisme

30 July 2012

the best novel beginning ever

It seems increasingly likely that I really will undertake the expe- dition that has been preoccupying my imagination now for some days. An expedition, I should say, which I will undertake alone, in the comfort of Mr. Farraday’s Ford; an expedition which, as I foresee it, will take me through much of the finest countryside of England to the West Country, and may keep me away from Darlington Hall for as much as five or six days.

The idea of such a journey came about, I should point out, from a most kind suggestion put to me by Mr. Farraday himself one after- noon almost a fortnight ago, when I had been dusting the portraits in the library. In fact, as I recall, I was up on the step- ladder dusting the portrait of Viscount Wetherby when my employer had entered carrying a few volumes which he presumably wished returned to the shelves.

On seeing my person, he took the opportunity to inform me that he had just that moment finalized plans to return to the United States for a period of five weeks between August and September. Having made this announcement, my employer put his volumes down on a table, seated himself on the chaise-longue, and stretched out his legs. It was then, gazing up at me, that he said:‘You realize, Stevens, I don't expect you to be locked up here in this house all the time I'm away. Why don't you take the car and drive off somewhere for a few days? You look like you could make good use of a break.’

Coming out of the blue as it did, I did not quite know how to reply to such a suggestion. I recall thanking him for his conside- ration, but quite probably I said nothing very definite, for my employer went on: ‘I'm serious, Stevens. I really think you should take a break. I'll foot the bill for the gas. You fellows, you're always locked up in these big houses helping out, how do you ever get to see around this beautiful
country of yours?’

This was not the first time my employer had raised such a question; indeed, it seems to be something which genuinely troubles him. On this occasion, in fact, a reply of sorts did occur to me as I stood up there on the ladder; a reply to the effect that those of our profession, although we did not see a great deal of the country in the sense of touring the countryside and visiting picturesque sites, did actually ‘see’ more of England than most, placed as we were in houses where the greatest ladies and gentlemen of the land gathered.

Of course, I could not have expressed this view to Mr. Farraday without embarking upon what might have seemed a presumptuous speech. l thus contented myself by saying simply ‘It has been my privilege to see the best of England over the years, sir, within these very walls.’

Mr. Farraday did not seem to understand this statement, for he merely went on: ‘I mean it, Stevens. It's wrong that a man can't get to see around his own country. Take my advice. get out of the house for a few days.’


As you might expect, I did not take Mr. Farraday‘s suggestion at all seriously that afternoon, regarding it as just another instance of an American gentleman's unfamiliarity with what was and what was not commonly done in England.

The fact that my attitude to this same suggestion underwent a change over the following days — indeed, that the notion of a trip to the West Country took an ever-
increasing hold on my thoughts — is no doubt substantially attri- butable to — and why should l hide it? — the arrival of Miss Kenton's letter, her first in almost seven years if one discounts the Christmas cards.

from The Remains of the Day

Kazuo Ishiguro

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09 July 2011

Where am I standing, if I'm to stand still now?


1795

.朧々ふめば水也まよひ道
oboro-oboro fumeba mizu nari mayoi michi

in hazy night
stepping into water...
losing my way

Issa
David G. Lanoue


The season word in this haiku, oboro, refers succinctly to a hazy night of spring. In this uncertain, dreamlike light, Issa steps off a path into water. Hiroshi Kobori notes that the poet's state of mind is like the misty night. He feels insecure and bewildered, aware of the uncertainty of his own future.


According to Lewis Mackenzie, this haiku alludes to the death of one of Issa's friends, a Buddhist priest. On a journey, Issa went to visit him only to find that he had been dead for several years. Mackenzie translates the last phrase, "Ways of delusion!" See The Autumn Wind: A Selection from the Poems of Issa (London: John Murray, 1957; rpt. Tokyo: Kodansha International, 1984), 30.

In Saigoku kikô ("Western Provinces Travel Diary") there is an explanatory prescript of which Shinji Ogawa offers this paraphrase: After hearing of his priest friend Sarai's death, Issa begged his replacement for a night's stay at the temple but was refused. Counting on Sarai, he had come over 300 ri (732 miles), "without a soul to lean on, going over the fields and the yards..." See Issa zenshû (Nagano: Shinano Mainichi Shimbunsha, 1976-79) 5.36.

Makoto Ueda reports that Issa found a place to stay that night "just one hundred feet away"; Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004) 33.




Debi Bender likes the repetition and alliteration in the opening phrase (oboro-oboro). To preserve this subtle music, she suggests this translation:

misty, misty moon
stepping into water
losing my way

Issa, Debi Bender

THE BROKEN SANDAL

Dreamed the thong of my sandal broke.
Nothing to hold it to my foot.
How shall I walk?
Barefoot?
The sharp stones, the dirt. I would
hobble.
And–

Where was I going?
Where was I going I can't
go to now, unless hurting?
Where am I standing, if I'm
to stand still now?

Denise Levertov

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03 May 2009

beach

02 May 2009

what breaks

listen... you can hear it now....

THE WAVE

As when far off
in the middle of the ocean
A breast-shaped curve of wave begins to whiten
And rise above the surface,
then rolling on
Gathers and gathers until
it reaches land
Huge as a mountain and crashes among the rocks
With a prodigious roar, and what was deep
Comes churning up from the bottom in mighty swirls
Of sunken sand and living things and water —

So in the springtime
every race of people
And all the creatures on earth
or in the water,
Wild animals and flocks
and all the birds
In all their painted colors,
all rush to charge
Into the fire that burns them: love moves them all.

Virgil, translated by Robert Pinsky
The Threepenny Review


LETTER FROM CRANBERRY ISLAND

Today in a meadow beside the sea
I knelt among sea rocket
and lupine
as a deer I’d startled
flipped heels up
and bounded into the spruce grove.
Prebbles cove, the beach of stones
glistening and smooth from the pummel of waves.

And I, who understand pounding,
wanted to walk into the sea, to rock there.

At the far edge of my life
on an island four hundred miles
from home, I lean against
an uncurtained window,
and all my grief
for what is already lost,
for what it may ge too late to find,
jostles up against how much
I continue anyway to love the world.

I am tired of wanting to sleep beyond waking —
tired of the numbing that is no better than death,
But here on the sill,
stones oval as eggs —
blue, gray, black,
a whole row of them —
glow in the afternoon light
and here, across the meadow,
light enfolds even the least
small running creature.

And here. And here. And here.
More light, great sheets of saving light
surge and flash — green, coral, cerulean —
off the turbulent
white-capped waters.

Patricia Fargnoli

from Necessary Light

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30 December 2008

snuggle up tonight: tomorrow: LIGHT!!!

15 July 2007

sada yacco

along with sarah bernhardt, loie fuller, misia, and cleo de merode, sada yacco captured the imagination and the hearts of artists and the public alike during the time of the early century.

known as japan's first female actor, she then parlayed her fame with a world-wide tour. she danced with fuller in fuller's own theater,
and brought over her own troupe of japanese players.

(here read the inter- view with ms. sada- yakko by yone nogu- chi. and find many photos of sada (and fuller) at the 1900 world exposition in paris. by the way, the painting of sado in a lavender kimono is by Tavik Frantisek Simon, whose work we saw here.)

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27 May 2007

Aedh wishes for the Cloths of Heaven


HAD I the heavens’
embroidered cloths,

Enwrought with golden
and silver light,

The blue and the dim
and the dark cloths

Of night and light
and the half light,

I would spread the cloths
under your feet:

But I, being poor,
have only my dreams;








I have spread my dreams
under your feet;

Tread softly because
you tread on my dreams.

W.B. Yeats The Wind Among the Reeds. 1899

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