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By Don Lee

"Lisa Countryman vanishes in Tokyo yet not anyone looks in a specific hurry to discover her. the yank embassy legitimate assigned to her case, Tom Hurley, can't be troubled, entangled as he's in an unsavory love affair with the spouse of a CIA officer. The neurotic eastern cop answerable for the research, Kenzo Ota, is both preoccupied, ridiculed by way of his friends, demeaned via his superiors, his lifestyles a lonely shambles. Worse, it seems that Lisa has disappeared into the shadow international of Tokyo's intercourse exchange, the place a bewildering and infrequently comical number of golf equipment cater to each that you can imagine male fantasy." "The secret of her disappearance is intertwined with the secret of her origins as an ainoko, or half-breed. For Lisa, who's part African American and part Asian, alienation and belonging, love and hate, are sure up with race. all of the characters' loyalties are divided - among their international locations of beginning and their adoptive nationalities, among their society's traditions and their very own feel of justice - as they yearn to discover the place they honestly belong." nation of beginning is an exploration of the which means of identification and belonging.

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Beat the fulling block, make me hear it— temple wife kinuta uchite / ware ni kikaseyo ya / bo¯ ga tsuma 133 The remains of Saigyo¯’s thatched hut is off to the right of the Inner Temple, reached by pushing a few hundred yards along a faint woodcutter’s path. It faces a steep valley—a stunning view. The “clear trickling water” seems unchanged from of old, and even now the drops trickle down. dew trickles down: in it I would try to wash away the dust of the floating world tsuyu tokutoku / kokoromi ni ukiyo / susugabaya Translation of the Hokku 45 134 the imperial tomb has stood for ages: what do you recall, fern of longing?

I don’t think the reader benefits by having the translator hold her hermeneutical hand by filling in the poem. As this approach asks more of the reader, it also asks more of the translator, not only because it is difficult to resist the tendency to explain the poem in the translation, but because the translator has to devise a format that can help the reader become learned enough to enter the poem on her own. ) And it asks more of the translator because the goal is not merely to communicate the basic sense of the original, but the structure and style that carries much of its meaning.

These poetic meanings are upheld by the absence of explanation, a gap between the two images, and an invitation to the reader to enter into the poem. We should not be in a hurry to eliminate ambiguity if it is part of the poetry of the original text. Similarly, I usually avoid another type of explanation. Here the issue isn’t an ambiguity in the original but the associations that are implied. The image of the hototogisu, a cuckoo, is often used by itself—in part because it conveniently consists of five syllables.

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