Black Lives Matterをめぐる言葉の考察

英語の概要(日本語の本文が続きます):

“Thoughts on Wording Surrounding the BLM Movement”

Some of the phrases we have been hearing in relation to the BLM movement are difficult to convey in Japanese, and I wanted to really sit down and look into them. Here’s a Japanese blog post that explores some key phrases–what “Black Lives Matter” means, why we ought not to say “All Lives Matter,” how “defund the police” could be interpreted, and the difference between “Black” and “African American”–based on what I thought and learned from friends and other articles.
ワシントンDCの市長が命名したブラック・ライブズ・マター・プラザとそこで抗議する人々(2020年6月)

2020年でこれまでにないほど大きな動きとなっているBlack Lives Matter。今年の抗議が始まって3週間以上経ちますが、その波紋は広がるばかりで、今度こそ、全米、ひいては世界で画期的な変化につながることを期待しています。

日本語でもこの動きを解説する多くのリソースがあり、黒人でない私に更なる説明を行う資格はありません。しかし、報道等では伝わりづらい表現や言い回しがいくつかある気がしますので、言葉に焦点を当てて、 自分が今回考えたことや学んだことを少し述べたいと思います。

Black Lives Matter

このフレーズは非常に訳しにくく、日本の報道においても様々な表現を目にします。

まず、直訳して「黒人の命大切」という表現を使っている報道を多く見受けます。ただ、「は」は、他の方の命は大切でないような、排他的なニュアンスがあると思います。そういった意図はこの動きにありません。SNSなどで流れている以下の画像がうまく説明していると思います。(下記のAll Lives Matterについての箇所もご参照ください)。

SNSより:「『Black Lives Matter』と言っている私たちは、黒人の命だけが大切だとは言っていません。すべての命が大切だということは分かっています。ただ、黒人の命が危険に晒されているため、Black Lives Matterの動きで皆さんの支援が必要なのです。」

「黒人の命大切」としている報道もあります。こちらの方が、実際のニュアンスに近いです。この動きを説明している英語の記事や本でも、口にはされないtooがあるのだと説明したり、括弧書きでBlack Lives Matter (Too) としたりしています。ただ、ハフポスト日本語版が「黒人の命も大切」と訳したところ、黒人の人たちが受けている差別を矮小化しているという意見もあったそうで、これもご指摘の通りだと思います。ここからは個人的な見解ですが、英語でtooを付けないのには、黒人の命が他の命と同等であるべきだからこそ、追加的に言わなければならないことではない、という意図があると思います。したがって、口にされていないtooを日本語で付けてしまうと、誤訳になってしまうのです。

「は」も「も」も違うのであれば、「が」を使うべきなのでしょうか。それぞれの助詞を使って「黒人の命〇大切」で簡単なウェブ検索をすると、「は」約33万件、「も」約19万件に対し、「が」はわずか4万件しかありません。正直、少し唐突に「が」を使っているような、文法的に不自然な感じは否めません。

個人的には、答えはmatterと言う言葉にあると思います。ここで「大切」と訳されているこの言葉は、より広く使われる important(重要)やvaluable(貴重)とは異なる意味があります。Matterという言葉は、「事柄として考慮すべき」という意味で、一見、importantやvaluableほど強く聞こえませんが、それは使われる状況が異なるからです。後者二つは、相手が特に先入観のない、白紙状態の会話で使われ、0からプラスの状態に持ち上げます。他方、matterは、相手が大切だと思っていないことに関して、「実は大切なんです」と訴え、マイナスの状態から上げていく言葉です。Matterが名詞としては「物質」や「案件」などを意味することを考えると、動詞としても「存在してないと思われていることが存在している」という意味が込められていると思います。黒人の方の命は、これまで軽視されてきました。400年前にアフリカから連れてこられた時から、奴隷として働いた時も、公民権運動の前も、その後もずっとです。あの警官はジョージ・フロイドさんを人間として見ていないから、首を膝で押さえつけたりすることができるのだと思います。したがって、Black Lives Matterは、「これまで軽視されていた黒人の命は大切」と言う意味になり、そこまで書き出すと、「は」が排他的に聞こえなくなります。(6月20日追記:背景も含むとこのような形になりますが、この長い言葉が最適な訳だと提案しているわけではありません。たとえば、こちらのNHKの記事には、より自然に聞こえる意訳がいくつか提示されています。)

こういった意味をすべて、Black Lives Matterというシンプルな3つの単語、抗議でも唱えやすい4つの音節に凝縮しているのはすごいことだと思います。正確な訳に関する議論は今後も続いていくでしょうが、これだけ大きな動きとなった以上、もはや毎度無理に訳さなくてもよいのではないかと思います。ニュアンスが一度伝われば、カタカナが一番誤解を生まずにすむかもしれません。また、そのような形で日本における外来語として皆に認識してもらった方が、日本においても着目すべき概念だということがより伝わるのではないかと思います。「命が大切」という、当然であるべきことを、わざわざ大々的に言って抗議しなければならない...それほど事態は深刻です。

All Lives Matter

日本語の記事や投稿がいくつか解説していますが、残念ながら、All Lives Matter(すべての命が大切)という言葉は適切ではありません。正直、初めてAll Lives Matterと言う言葉を聞いたときには、黒人でない自分も含まれている気がして、私も少し嬉しくなりましたが、その後この言葉に関する多くの解説を見て、それが間違いであることに気付きました。

前述のように、Black Lives Matter の言葉に排他的な意図はありません。「すべての命が大切」なのはいうまでもないのですが、黒人の命は軽く扱われてきたからこそ、こういった運動で黒人に特化した言葉ができています。そもそも、matterの意味を踏まえると、恵まれている人も含む「すべての命」とはそぐわないことが分かります。Black Lives Matterと同じ言葉を使って真似しているものの、その言葉の重みは考慮できていないことが明らかです。

今では、All Lives Matterという言葉が、せっかくのBlack Lives Matterを無に帰す、黒人の方に対して無神経な言葉だと言われています。All Lives Matterを口にする人には、善意から、黒人でない自分も動きの一部になりたいという方や、分断をなくし命の大切さを皆で一緒に語ろうという意思がある方も多いと思います。White Lives Matterという看板を持って練り歩く白人至上主義者とは全く異なります。しかし、このように、今の状況下ではAll Lives Matterと言う言葉はネガティブな意味合いを持ちます。

SNSで使われていた別の画像も添付します。黒人の人々が苦しんでいるときに言うべきことではなく、ましてや、彼らが経験してきた差別を知らない私たちが言うべき言葉ではありません。

SNSより:「もし私の妻が、明らかに苦しんでいる状態で『私のこと愛してる?』と聞いてきたら、『皆のことを愛してるよ』と返すのは正確な答えかもしれませんが、その状況においては残酷であり、彼女を傷つける言葉です。もし私の同僚が、明らかに落ち込んでいる状態で『父親が死んだばかりなんだ』と言ってきたら、『誰の親でも死ぬよ』と返すのは正確な答えかもしれませんが、その状況においては残酷であり、その同僚を傷つける言葉です。友人が明らかに苦しみ、傷ついた状態で『Black lives matter』と言ってきたら、『すべての命が大切だよ』と返すのは正確な答えかもしれません。しかし、この状況においては残酷であり、その友人を傷つける言葉なのです。(ダグ・ウィリフォード作)」

別の例としては、こちらの漫画もあります。複数の家が並んでいる中で一つ燃えているとき、すべての家に放水するのは無意味なことですし、燃えている家への対応が遅れます。なお、この漫画は2014年のものです。その時から既に、もう6年も、All Lives Matterという言葉に対する説明がなされており、米国ではその認識がかなり浸透してきたように思います。今回、Black Lives Matterが世界全体に広がり、それとともに、悪意のないAll Lives Matterと言う言葉がまた人々の口に上るようになってしまったのかと思います。しかし、私たち個人がどれほどポジティブな形で解釈したとしても、それを今言うことは、黒人の方々の動きに水を差してしまうことになります。

Defund the Police??

抗議の次のステップとして、警察を今後どうしていくかということも話し合われています。スローガンとしてdefund the policeという表現が頻繁に使われていますが、このdefundという言葉は、米国で大きな物議を醸しています。英語でもほとんどの人がこれまであまり馴染みがなかった言葉(このブログを書いているワードプレスでも、スペルチェックに引っ掛かります)であるため、各々が異なる解釈を行っているのです。

CNNアトランティック誌ヴァイスなどの多くのメディアが、defund the policeが何を意味するのかという分析を行っています。アトランティック誌の記事の見出しは「『Defund the police』という言葉は、defund the policeという意味ではない。ただし、そういう意味の場合もある」(副題:「文字通り解釈すべきなのか?」)です。この言葉がどれほどの混乱を招いているかをよく示していると思います。

主要メディアに加え、オンラインの辞典であるdictionary.comも本件に関する記事を出しています。それによると、defundと言う言葉の定義は、to withdraw financial support from, especially as an instrument of legislative control(法的統制のツールとして、財政支援を止めること)とあります。また、「多くの活動家や研究者、一部の政治家によれば、defund the policeは、『お金の力を使って、これまでの漸進的な変化では達成できなかった制度的改革を行う』と言う意味」だとも書いています。

最初にこの言葉を聞いたとき、私は、資金停止はとどのつまり解体だということだと思い、あまりに極端だと思いました。実際、解体と言う意味で使っている活動家もいます。しかし、これらの記事を読んだり人の話を聞いたりすると、「政府やコミュニティ内に置ける資金の再分配」を指して使っている人が大半のようだということにも気付きました。何に分配するかというと、たとえば、上記CNNの記事で引用されているBlack Lives Matterの動きの共同創設者は、「これまで資金を取り上げられてきた黒人のコミュニティに投資し、これまで警察が対応してきた人たち(心の病やDVに苦しんだり、家がなかったりする人)に対する福祉サービス、学校や病院、住宅や食料の供給に使える」としています。中道派のバイデン大統領候補など、それも抜本的過ぎると考える人もいますし、賛成派の間でも、具体的に何に投資するかで意見が分かれることが容易に想像できます。こういった諸々の意見を踏まえ、警察を持つ自治体や政治家が、各々の対応を検討しているようです。

それにしても、もう少しいいスローガンはなかったのでしょうか。皆が合意できない言葉と言うのは、活動や抗議をしている人たちを分断させますし、それぞれの自治体においても、人々との話し合いに苦労するだろうと思います(フロイドさんを殺害した警官が所属するミネアポリスの警察は、いち早く本当に解体されることとなりましたが、ここまでの対応はなかなかないと思います)。私の知り合いには、demilitarize (非武装化)という言葉を使うべきだという人もいます。資金の削減が警察の武器を減らすことにつながるなら、今回まさに問題の一つとなっている警察の武力行使(フロイドさんはじめ黒人の方々のみならず、抗議者に対しても)をなくしていくことになるため、私もそれはいい案だと思います。

Black Lives Matterは、黒人が米国の警察に何度も殺害されていることに対する抗議運動として端を発したため、各地における警察の見直しは、大きな進捗だと言えます。黒人の親が子供に必ず警察への対応の仕方を教えなければならず、特に男性の命が危険に晒される状況には、本当に心が痛みます。他方、制度的差別があまりに根深く、社会のあらゆる側面に浸透しているため、目の前の具体的な問題(警察のことのみならず、南北戦争で南軍を率いた人々の像の撤去など)で進捗があっても、より大きな問題はなくなりません。今後論点がずれていったり、象徴的な進歩で大きな目標が見失われたりしないことを願っています。

BlackとAfrican American

Black Lives Matterの中心にあるBlackという言葉。恥ずかしながら、私は先日までこの言葉がAfrican Americanと同じ意味だと思っていました。正直、Black はもともと肌の色から来た言葉なので、自分がyellowと呼ばれたら嫌なように、その言葉自体、黒人でない私は言ってはならないのかと思っていました。また、子供の頃、正しい表現はAfrican Americanだと習った覚えがあったため、そちらを使うよう努めてきました。でも、これも間違いでした。

黒人の友人と話したところ、アフリカから移民してきたばかりの人はAfrican Americanと呼べるかもしれないが、自分のアイデンティティはBlackだと説明してくれました。先祖を辿って、アフリカから来たらしいということは分かっても、具体的にいつどこからといった詳細は分からず、個人的にアフリカとの絆を感じないとのことです。更に、黒人にはアフリカ以外の場所(たとえば西インド諸島)から来た人も、アメリカ人ではない人もいるため、そういった人たちも含めることができるBlackという言葉の方が包括的なのだそうです。(別の人が作成したこれらの画像も、この二つの言葉の違いをうまく説明していると思います。)

African American の方が正しい言葉なのかと思った、と友人に説明したところ、世代間のギャップはあるとの話でした。つまり、公民権運動を経験した彼女のご両親の世代は、黒を意味する差別的な古い言葉「ネグロ」から距離を置くため、African Americanを使っているそうです。若い世代の方がBlackという言葉に共感を覚えるのだそうです。

この話からいろいろと考えさせられました。私はアジア系アメリカ人としてのアイデンティティを持ち、日系人全体が比較的新しい移民だということもあって(日本からの最初の移民「元年者」は約150年前に来ました)、マイノリティのアメリカ人は皆「〇〇系」と呼べると勘違いしていました。黒人の方は、人によっては先祖が米国に来たのは400年前ですし、アフリカと距離があるのは当然ですよね。また、世代間のギャップや、自分が子供の時受けた教育と状況が異なることからも、言葉は生き物だということにあらためて気付かされました。

今私たちは、歴史的な動きの渦中にあると信じていますし、自分に何ができるかと考える日々が続いています。言葉という観点からも、これらのものが今後どのように進化していくのかを見続けたいと思います。

ブラック・ライブズ・マター・プラザに大きく書かれたBlack Lives Matterの言葉の冒頭の部分。

Studying Japanese and building bilingual careers

–A talk with Keisho Center students

Summary in Japanese (the full text in English continues below):

「バイリンガルなキャリアを構築する日本語学習者」

二週間前、ワシントン日本語継承センターのクラスにて、これまでの経験と通訳のお仕事についてお話をさせていただきました。継承センターは、ワシントンDC近辺に住む、当面日本に帰国予定のない子供たちに日本語と日本文化を教えるところで、毎週土曜日に授業を行っています。私もハワイで毎週土曜日に補習校に通っていたので、次世代の生徒たちとお話しできて嬉しかったです。また、通訳の仕事がほぼすべてキャンセルとなった今、通訳の魅力(各地への出張、様々な人との出会い、多岐にわたる分野についての勉強)を語ることで、私もあらためてポジティブな気持ちになることができました。

I really appreciated the opportunity to meet the students online!

Two weeks ago, I had the opportunity to speak with students who are taking Japanese language classes at the Washington Japanese Heritage Center (Keisho Center). Upon the kind invitation of one of the teachers, Ms. Mina Seat, I spoke about my upbringing and my career in interpretation.

Keisho Center and Saturday School

Keisho Center holds classes on Saturday mornings, and many of the students have Japanese family members. I had heard about the school when I worked at the Embassy of Japan, and was excited to meet the students. Because of the pandemic, the class was held online in an intimate setting, with three instructors for about a dozen seventh to ninth grade students.

I found this opportunity especially meaningful because I, too, attended Japanese language school (hoshuko) on Saturdays when I was growing up in Hawaii. The Hawaii Japanese School taught Japanese language and math, but we studied science and social studies separately through correspondence courses. Back then, the internet wasn’t available yet, so we had to send and receive monthly packets of assignments via international mail. But what hasn’t changed today is that studying Japanese is a lot of work for the students, on top of the regular curriculum at local American schools. It is heartening to see students and teachers (and parents) at Keisho Center who are passionate about retaining the language and culture of their heritage.

Discussing my experience attending Japanese school on Saturdays. I visited its website (which didn’t exist back then) for the first time for this presentation, and was filled with nostalgia.

On Interpreting

In terms of interpreting, I discussed the many differences between interpretation and translation; the three types of interpretation (consecutive, simultaneous, and whispering); and how I study for assignments. I also discussed how the coronavirus pandemic has affected me and the field as a whole, and how the future of interpreting might be a combination of in-person and virtual meetings, with growing support from AI.

Ms. Seat suggested that I show the students some of the symbols I use in note taking. With the caveat that everyone has their own symbols, I showed a few that I use, did a brief quiz on what they might mean, and explained a page from one of my recent notes (which I rewrote twice because my original handwriting was too embarrassing to show!). I have not received formal education in interpreting (which often includes note taking classes), and must confess that most of the time, I just furiously scribble abbreviations and shortened words. Still, symbols are a topic I’m very interested in, and I hope to develop a more elegant system in the future.

I asked the students what they thought some of the symbols meant.

Inspired by the Students

Speaking to the younger generation is always so inspiring. One of the students asked why I became an interpreter, and I shared how I wanted to connect my two countries through language. Another asked if I like interpreting more than translating, and I gushed about how fun it is to travel and meet new people. Answering these questions helped me remember why I decided to go into this field–which I’d forgotten a bit in the past few months, when all jobs were canceled, and travel and in-person meetings were gone. It also helped me have a more positive outlook on changes resulting from the coronavirus, such as the growth of virtual interpretation.

Other students asked about the technical aspects of interpreting, such as how to handle mistakes, whether we need to memorize everything, and how I work for myself and manage expenses (their knowledge of business is impressive!). I was especially touched by the comment of one student, who said that this talk inspired him to revisit interpretation and translation as a potential career.

I am really grateful for this opportunity, which I found especially meaningful when the field of interpretation is facing a big challenge. I hope I will have the chance to meet the students a few years from now, and hear how they might be using their Japanese language skills in their careers.

The Momentum for Change

–Thoughts on the Black Lives Matter movement

Summary in Japanese (the full text in English continues below):

「変化を起こす力」

ワシントン近辺に住むアジア人として、今の自分に何ができるのか。同じマイノリティとして、いても立ってもいられないけれど、こんなに知識がない私に運動に参加する資格があるのか。答えが分からないまま、毎日のニュースに感じる悲しみや怒りや失望に関して、少しずつ書き溜めてきました。

一昨日、DC市長がホワイトハウス前の道の一部をBlack Lives Matterプラザと命名し、大きな文字で書き記しました。私もようやくポジティブな気持ちを取り戻すことができ、抗議に参加してきました。今後はもっと人の話を聞き、勉強して、制度的差別の状況をきちんと知りたいと思います。もう何年も黒人の方に対する警察の暴力が露呈しており、毎度抗議や暴動、大々的な報道があるのに、未だに繰り返されることが信じられません。今度こそ、これがモメンタムとなって、差別がなくなっていくことを切に願っています。

The DC flag at the end of the “Black Lives Matter” sign. This sign has definitely made me very proud of the city!*

The past ten days have brought so many emotions, it’s been hard to put them into words. Everyday, I seem to experience something different:

  • Shock that we are here again, with yet another incident of policy brutality against Black people. 
  • Utter embarrassment that an Asian officer just stood and watched. 
  • Shaken by the images and accounts of riots, especially from friends who experienced it. 
  • Outrage at looters and violent instigators who took advantage of this moment. 
  • Sadness for the restaurant workers who endured closures, as well as doctors who continued to help others through the pandemic–only to have their places destroyed. 
  • Relief in seeing the solidarity of communities that clean up together after the violence.
  • Heartened by how the BLM movement has spread worldwide. 
  • Frustration at the difficulty of conveying to Japan the many layers of this complicated issue.
  • Disbelief that the leader of our country tear-gassed peaceful protesters just so he could walk and make an empty gesture. 
  • Guilt that continued to grow each day–that I’m not doing anything as a minority, especially when I’m in DC.
  • Overwhelmed by the sheer volume of news, information, advice, and opinions.
  • Shame about my own ignorance and biased opinions.

. . . The list goes on and on. I’ve been writing little by little, and it has been hard to make it cohesive. But I think two things have really helped in recent days: things are finally starting to be peaceful and hopeful; and I got to take part in the protests. 

The storefront of Teaism, which was set on fire. Even after that, the co-owners have shown support for BLM. I’m sad remembering the many lunches and teas I’ve enjoyed here, including Japanese food like ochazuke. I am now even more motivated to frequent one of their stores again.

Responsibility as an Asian American 

One of the hardest things for me has been to figure out my role as a fellow minority who faces some racism, but whose experience is very different from Black people. 

I cannot even begin to imagine what it is like to face such oppression every single day. I have been a recipient of some discrimination or racial slurs, but have never been suspected of crimes or deemed dangerous simply because of the way I look. I often forget how much we benefit from civil rights movements and all the other efforts that Black people have made towards equality. We’ve received so much–but are not giving back enough. 

Biases

This has been a time for self-reflection as well. I grew up in Japan and in a state whose African American population is 2%. As a child, I did not know anything beyond what I read in classical literature; saw in television (Gordon from Sesame Street!), movies, or the news from the mainland; or learned through very limited personal interactions. This is simply an excuse, of course. After all, DC’s African American population is 46%. And at any point, including in college and as an adult, I could have made more of an effort to seek information and get to know more people. Have I clutched my bag tighter based on the appearance of strangers I’m passing by? Have I bombarded my patient Black friends with ignorant questions? Yes; I’m ashamed to say that I definitely have. I look forward to learning and improving through dialogue and resources (books, films, articles, videos) that have recently been circulating. 

With the current protests, I initially wondered if I am qualified to speak up. I wanted to say something in solidarity, but was embarrassed about my lack of knowledge and experience on this matter. But as an Asian woman, I have striven to promote diversity and equality, and decided that I should contribute in my own way.

Police Brutality

I learned about Rodney King in school, but did not realize until a few years ago–when Michael Brown, Freddie Gray, Philando Castile and many, many more became household names–that nothing has changed in almost 30 years. I am in disbelief that these incidents continue to happen, despite the protests, civil unrest, and wide media coverage–and that we tend to forget once something else replaces the headlines. (And as others have pointed out, these are only incidents that we know about.) 

Of course, the police needs to change, and I’m glad that’s beginning to happen. But those terrible police officers didn’t act the way they did just because they happen to be more violent. It starts with mindset, which is shaped by education, representation in media, cultural discourse, relationships, and more–so I think we are all responsible for changing things collectively, even if each step might be indirect and small.

I am hopeful that this time, things will be different. We all know nothing will change overnight. But what has been heartening is that, thanks to anyone being able to film and spread information quickly, we are now more vigilant than ever. I do believe that the protests had a hand in upgrading the crime of the first officer, as well as the arrest of the three other officers. And I am hopeful that this movement, now bigger than ever before, is leading to a cultural shift where individuals like me will commit to being more mindful of their words and actions regarding race.

The Center of Action

While the protests began in Minneapolis, DC is very much one of the focal points of this movement. Being here in this moment has been scary and fascinating at the same time. I luckily did not experience riots or heavy policing in the suburbs that I live in. But I was heartbroken to see that many of the buildings I’ve frequented in downtown DC are now destroyed. I’ve enjoyed many lunches at restaurants near the White House (which is a 15-minute walk from my former workplace), and felt especially sad that this happened when dine-in services had finally resumed the day before. I also remember my interactions with the kind doctors, pharmacists, and other staff at the urgent care center and CVS that were destroyed–these professionals risked their own health to continue working during the pandemic. I understand that lives are much more important than properties, and hear that this point had to be made physically because peaceful means were not effective enough. I simply wish we would not have to spread the sadness and anger like this. 

On the other hand, it has been wonderful to see the decisive action by the DC mayor to emblazon 16th Street with the sign “Black Lives Matter.” While there’s criticism that this is a publicity stunt against the White House and that real action is lacking, I do think that, in this moment, this sign is exactly what is needed. I felt that the street became a symbolic safe zone, and this gave me the courage to finally shake off the fear and hesitation I had in joining the protests. I just wanted to celebrate this happy occasion by standing there with my own two feet.

The wonderful man on the right kept singing and keeping people upbeat. This song was “Lean on Me,” and several people were dancing.

Facing Forward

Sure enough, when I visited yesterday, Black Lives Matter Plaza was the center of activities, be it chanting in front of St. John’s Episcopal Church or dancing and singing in front of the letters. While the boarded up buildings were stark reminders of the violence during the past week, the overall vibe was positive and encouraging.

Even three months ago, none of us could have imagined this surreal scenery: people dressed in surgical masks and black attire kneeling in front of a caged Lafeyette Park, surrounded by boarded storefronts and vandalism. It sounds apocalyptic, if not for the fact that we were all there because of hope for a better future. I have faith that this is a historical moment. One day, we’ll look back and say: this is when the tides finally began to change.

Kneeling in front of the fenced Lafayette Square (the tip of the Washington Monument can be seen in the distance). Some hands are raised in response to the chant, “Hands up, don’t shoot.”

*PS: I finished this blog post on a positive note last night and was getting ready to post it–but found out this morning that apparently someone defaced the DC flag at the end of the “Black Lives Matter” sign overnight, converting it into an equal symbol (=) that leads to the words “Defund the Police.” I’m very sad that someone used this powerful sign to promote their own view, stripping away the proud moment many of us felt about being in DC. It didn’t even last 48 hours.

PPS: Apparently DC authorities will not erase the “Defund the Police” message, but instead repaint the three stars so that it’s no longer an equal symbol. Perhaps this is again symbolic of the fact that we cannot be complacent with little victories; that this is a neverending fight; that there are divisions even among allies; and that dialogue must continue in every direction.

7-Day Book Cover Challenge (Day 6): “Book from the Ground”

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(6日目):『Book from the Ground (地の本)』」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

The cover of “Book from the Ground“–which is very brief and to the point, literally! By the way, I found out while working on my master’s project that this man is called “Helvetica Man” 🙂

7???(?6):?←?

The sixth book is Book from the Ground by the Chinese artist Xu Bing. This is a novel that’s written entirely in pictograms! I love pictograms so much that I wrote my “master’s project” (the equivalent of a master’s thesis at my journalism grad school; essentially a long article meant for publications in magazines) on it.

I feel very lucky to have learned about Xu Bing from my dear friend Kieu, an artist who also loves languages. I was fascinated by Bing’s renditions of English words that are made to look like Chinese characters. Then, a few years after, Bing happened to come to my grad school to speak–and that’s how I learned about this book, which he was still writing at the time. 

From inside “Book from the Ground.” By the way, the exit sign (on the left page) was invented by a Japanese individual!

The back of the book contains Bing’s quote that says: “Twenty years ago I made Book from the Sky, a book of illegible Chinese characters that no one could read. Now I have created Book from the Ground, a book that anyone can read.” Indeed, the pictograms make the story accessible–but I also find that it takes a lot longer to read! The story is essentially about a day in the life of one man, and has lots of humor (including slapstick bathroom humor).  

I’d always been fascinated by kanji, and love how they are essentially little pictures. They are so concise in conveying meaning. I especially love the series of characters that belong to one family, like fish names (who *hasn’t* tried to read all the characters on tea cups at sushi restaurants??), tree names (like fish, you can kind of guess what “hard tree,” “white tree,” etc. each refer to!), and types of weather (especially poetic with the droplets in the “rain” portion). 

From the exhibit “Chinese in the Information Age” at the Museum of Chinese in America (February 2019), a panel that shows how the character for “mountain” evolved over time

When I attended Bing’s lecture, emojis were just becoming popular. Facebook wasn’t as big, Twitter was just gaining traction, and Instagram didn’t even exist. But texting was huge, and lots of shortened words (like LOL and TTYL) were being used. I began to wonder if that was the direction were going–will words continue to be shortened, eventually giving way to pictures? I talked about this with my advisor and fellow advisees, and one of the advisees pointed out that letters like hieroglyphs came from pictures–so perhaps we were actually coming full circle.

I really, really, really enjoyed working on this master’s project. I got to interview lots of designers, including the designer of the sports icons of the Mexico City Olympics (1968), and a designer who was commissioned by the Department of Transportation to create airport pictograms (the first of its kind, including bathroom signs). I also got to interview other professionals, including a computer programmer who crowdsourced the translation of Moby Dick into emoji, as well as the founder of an NPO that facilitates virtual communication among children all over the world using emoji. (I didn’t get to meet Bing himself, but visited his studio in Brooklyn, where his assistant provided me with many resources.) Some showed me drafts of their designs, and many welcomed me into their home, reminiscing about their past projects or sharing their ideas for the future. Others were kind enough to meet me for tea–on one occasion at a station in Tokyo, when they were about to jump on a bullet train to go home for the holidays.    

It is truly one of my biggest regrets in life that, while I submitted this article to my school, I did not get to publish it in a magazine. While I was pitching it, I was very excited that one major magazine that I’ve always loved expressed interest–but they asked that it be cut to 300 words (less than 1/20 of its length). I felt that was too short, and while I was being indecisive, I missed my timing. Now I fear it is too late, since the interviews were done ten years ago. I think back to all the kind interviewees who were generous with their time–especially the then-79-year-old designer who not only picked me up at a train station and drove me to his house, but gave me a two-hour long interview over tea, kindly brought out his hand drawn designs, and even gave me a rare copy of a poster that has his pictograms. I would still very much like to revisit this project, especially to repay his and other interviewees’ kindness.

Anyway, I continue to be fascinated by kanji, emoji, and pictograms, and look forward to exploring this topic more!

At a special exhibit at the Museum of Applied Arts in Vienna (May 2019). I love the beautiful waves!

*****

6冊目は中国人アーティストの徐冰(Xu Bing)による 『Book from the Ground(地の本)』。すべてピクトサインで書かれた(描かれた?)素敵な本です。

私は子供の頃から漢字が大好きです。割れた卵にそっくりな「卵」や木がたくさんある「森」は小さな絵ですし、「雪のように白い魚=鱈」、「堅い木=樫」のように、ちっちゃいスペースにたくさんの意味を詰め込んでいる字も素晴らしい。友人を通じて徐冰のことを知ったのですが、彼は、アルファベットを漢字のように書いたりして、もとからよく字で遊ぶアーティストのようです。

私が大学院にいた時に徐冰が講演しに来たのですが、その際に知ったのが、当時まだ執筆中だったこの本。そこで私もすっかりピクトサインに魅了され、それを修士論文(といっても、ジャーナリズムの大学院なので、雑誌に載せることを意図した長文記事です)のトピックにしました。ちょうど絵文字の人気が出始めたころだったので、どんどんコミュニケーションが短く速くなっていく中、言葉はどんどん絵に取って代わられるのかを調べたいと思いました。

I thought this sign was hilarious and so straightforward! I’m sure Bing (whose book includes bathroom humor ?) would love it! (Found in the streets of Vienna, May 2019)

修論を書く過程はものすごく楽しいものでした。メキシコシティ五輪のスポーツのアイコンをデザインした方をはじめ、多くのデザイナーと話す機会があり、他にも、クラウドソーシングで『白鯨』を絵文字に翻訳したプログラマーの方、絵文字を使って国が異なる子供たちにコミュニケーションを促すNPOの代表の方もインタビューする機会がありました。

今悔やまれてならないのは、修論を学校に提出した後、雑誌に投稿することができなかったということです。300ワード(全体の20分の1以下)に縮めたら検討してもよいと言う雑誌もあったのですが、あまりに短いので悩んでいるうちにタイミングを逃してしまいました。インタビューした方々は本当に優しく、今でも思い出して一番胸が痛くなるのは、運転して私を駅まで迎えに来てくださり、ご自宅で2時間以上インタビューに応え、自分がデザインしたピクトサインの珍しいポスターまで下さった、当時79歳だったデザイナーのおじいさまのことです。論文が書かれてちょうど10年経ってしまいましたが、彼のため、そしてインタビューに応えてくださった多くの方のためにも、いつか何らかの形で世に出せることを心から願っています。

At the National Archaeological Museum in Athens (May 2018). I would love to learn more about Egyptian hieroglyphs at some point!

7-Day Book Cover Challenge (Day 5): “Patchwork Girl”

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(5日目):『Patchwork Girl (パッチワーク・ガール)』」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

The fifth piece is Patchwork Girl by Shelley Jackson. This is actually not a book–it’s a “hypertext,” a type of interactive literature that is read on a computer. I encountered this work in a contemporary literature class in college, and continue to be inspired to it today.

Patchwork Girl is about a female version of Frankenstein’s monster, assembled from pieces of multiple corpses. It is very much a feminist piece, focusing on a lesbian figure who takes matter into her own hands. It is worth noting that the original Frankenstein was written by a woman. It is so cool that, while contemporary women writers in the 18th century (who I also love!) wrote about romance and witty conversations over tea, Mary Shelley wrote about human nature and industrialization–and invented the genre of science fiction. Still, the bumbling Frankenstein’s monster who cannot find a mate is very tragic and awkward to read about–and a lot less sexy than other characters of Gothic literature like Dracula, Mr. Rochester, and (while better known for their appearances in films) werewolves. Patchwork Girl empowers this figure, making her a strong and independent woman.

Patchwork Girl is like an allegory, where the various body parts sewn together are parallel to the pieces of text connected through links. In hypertext fiction, instead of pages, passages of text come up on the computer. Links are embedded in the passage, and when the reader clicks on any of them, the next passage appears in a box. But the links aren’t underlined, so it’s never clear where the links are. And unlike on a website, there is no back button or home button. There is no way to skip to the end, so readers are literally lost in the story. Patchwork Girl takes full advantage of this medium. There are scenes where the main character takes a bath with her girlfriend, and the seams come apart–and when she comes out of the bath, it’s not clear whether she’s still herself or has somehow merged with her girlfriend. The main character “dies” (although she is made of dead body parts to begin with) in one passage, but is somehow resurrected in another. These things would not make sense in a linear story–but magically, Jackson makes them work in this nonlinear medium.

I really enjoyed this special exhibit (2017) at The Rosenbach in Philly, which celebrated the 200th anniversary of “Frankenstein”

Ever since I read this, I’ve wanted to create interactive fiction. To me, they seem more natural than books and parallel to how the mind works, like endlessly clicking from one Wikipedia article to another. But there are some big challenges. The first is storytelling: I’ve found that it’s difficult to add depth to characters–or even have more than a few characters, since the story becomes so confusing. (Indeed, this article, which calls it “the failure of futurism,” says that hypertext fiction didn’t take off because they are too hard to write.) The second challenge is technology. In earlier attempts, I was very frustrated by how inaccessible this genre was–hypertext had to be read and written in a specific medium called Storyspace. I thought about putting it online, but thought the back button made things too easy for readers. Now, things are somewhat easier because of apps and websites like Twine.

Personally, I think a biggest challenge is that they’re often a difficult experience for readers. As a child, I didn’t really enjoy reading “choose-your-own-adventure” books, mostly because the characters seemed flat, and the stories were less exciting than linear books–so much attention was paid to making it interactive, that everything else fell behind. And even the experience of reading Patchwork Girl was an intellectual exercise. It was sometimes scary and frustrating to not know where I was in the story, and constantly making decisions ended up being a bit taxing, because even though I was given control in choosing the next step, I didn’t have enough control to know the outcomes of each step. But after I finished reading it, and explored what Jackson has said about her own work, as well as various research done on non-linear narratives and feminism, including Judith Butler–that’s when everything came together. It really was a piece of art that gradually came into focus, rather than a quick and entertaining read.

I’ve put a pause on trying to write interactive stories, because I’ve realized that I first need much more practice in writing linear stories. Still, I hope I can one day challenge myself to create an interactive piece of fiction that is thought-provoking and satisfying to the reader, lingering in their memories for years, like Patchwork Girl has for me.

Part of the exhibit on “Frankenstein.” Mary Shelley was truly a cool figure, the sole woman in a group of male writers!

*****

5日目は『Patchwork Girl(パッチワーク・ガール)』。本当は本ではなく、ハイパーテキストという名の、コンピューターで読むインタラクティブな作品です。大学の時に現代文学のクラスで出会った、憧れの作品です。

フランケンシュタインの話に基づいて、いろいろな死体から身体のいろいろな部分を縫い合わせて作られた女性が主人公です。『フランケンシュタイン』自体、SFのジャンルを作ったと言われる女性(メアリー・シェリー)が書いたという意味で画期的ですが、そこに出てくるモンスターは物悲しく、精神的に弱い部分があります。『パッチワーク・ガール』では、自分の身体の状況をものともせず、自由に行動するかっこいい女性となっています。

ハイパーテキストでは、画面上にページの代わりに箱が現れ、そこに書かれた文章を読んでから、文章の中に埋まっている複数のリンクのうちの一つを選んで、次に進みます。リンクに下線がないのでどこがリンクか分からないし、ウェブサイトと違って、前のページやホームページに戻ることもできません。そういう場に、『パッチワーク・ガール』はまさに適しており、縫い合わさったバラバラの身体の部位がリンクでつながったバラバラの文章を象徴しています。また、主人公が死んだり(身体は死体から来てますが)生き返ったり、身体の一部がぽろっと落ちたりまた拾われたり、そんな不思議なお話が、本だったらわけがわからない状態なのに、こういったノンリニア(非線形)ナラティブではなぜかとっても納得がいくのです。

これを読んだ時から、私もインタラクティブなお話に強く憧れています。人間の考え方は、無理やり直線的に整理された本よりも、ウィキペディアの記事のリンクを次から次にクリックするような感じで、連想で成り立っているように思います。正直、こういう話はものすごく書きにくいだけでなく(何度か試しましたが、話の流れに気を取られてしまって、登場人物の性格に深みを持たせることができません)、読み手にとっても楽しみにくい(今自分が話のどこにいるのかも出口も見えず、決断ばかり求められることに疲弊する可能性があります)のが大きな障壁です。でも、まずは直線的なストーリーを書いて練習しつつ、いつかは、読み手にとっても思い出に残るようなインタラクティブなお話を書いてみたいと思っています。

An interactive book (of more than 400 pages!) based on “Romeo & Juliet.” It has more than 100 possible endings!

7-Day Book Cover Challenge (Day 4): “Theories of Modern Art”

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(4日目):『Theories of Modern Art(近代美術の理論)』」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

The fourth book is “Theories of Modern Art” by Herschel Chipp, who was an art history professor at UC Berkeley. I encountered this book as a college student, when it was assigned in a class about the history of modern art. It’s full of primary sources: diaries, letters, and statements by the artists themselves. Despite the somewhat boring name, it’s a really fun read!

The following are works by some of the artists who show up in the book (in roughly chronological order). They’re paintings I happened to encounter, and not works that were mentioned in the book–or even the most representative work of each artist! This is “Postman Joseph Roulin” by Van Gogh, at the MFA in Boston. In the 2017 movie “Loving Vincent” (which, incredibly, was animated using handdrawn paintings that emulated Van Gogh’s style!), the main character is the son of this postman.

My parents are avid museum visitors, and ever since I was a child, I had the chance to tag along. We were most often in the sections with Renaissance art. In my childish mind, they were easy to understand as art that captured a moment in real life. We enjoyed the beautiful colors and nature represented in Impressionism too (although in my youth I believed the rumor that Monet’s style came from his bad eyesight, and questioned the point of Pointillism (so much work!)). But I just never understood modern art after Impressionism, and that frustrated me. So I decided to take a class about it in college–and boy, was that the best decision ever!

In the Waves” by Gauguin, at the Cleveland Museum of Art. Whenever I see Gauguin’s Tahiti paintings, I have mixed feelings of nostalgia/familiarity (the scenes and clothing are reminiscent of Hawaii) and a vague annoyance at a white man’s portrayal of what he saw as an exotic culture. So I really like this painting that’s a bit different from his style, depicting a white woman (this was apparently two years before he left for Taihiti), and putting much more emphasis on color and composition than showing a different culture. The contrast of the green waves and red hair is so beautiful, too!

Starting with Post-Impressionism, this book progresses through movements like Cubism and Surrealism, ending with “contemporary” (as defined by when the book was first published (1968)) art. These letters and diary entries explain in detail what each artist aimed to achieve in their work, what materials they used, why they changed their style over time–and even their personalities. Van Gogh’s renowned letters to his brother about his artistic and financial struggles are heartbreaking. Picasso’s statement on “Les Demoiselles d’Avignon” is enlightening. Many artists’ lives are integrated with history, like WWI and nationalism. A couple of artists are so passionate that they seem rather self-absorbed–I recall one artist writing in his diary something like, “When I took a break from painting, I noticed that my wife had come and gone, leaving me dinner” (all the artists in the book are, inevitably, male and white).

Henri Rousseau’s “Fight Between a Tiger and a Buffalo,” at the Cleveland Museum of Art. I was amazed to learn that Rousseau had never seen a jungle–or even left France! I also like his style that somehow makes jungles appear two-dimensional.

Now these artists have become some of my favorites–so much so that when I go to museums, I rush to the modern art wings first. Some I just enjoy because of their visuals even if I still don’t understand them (Klee, Miro), and some I admire for their chameleon-like transformation over time (Picasso, Kandinsky). It is fun to recognize their names and style, read the descriptions, and interpret the emotions they were expressing. I find that there’s so much depth, and that the more I stare, the more there is to discover.

Woman in a Purple Coat” by Matisse, at the Museum of Fine Arts in Houston. This woman is so stylish and could totally be an amazing fashion magazine editor today!

Thanks to this book, I have a much better appreciation for modern and contemporary art in general. I also have a better understanding of how crucial primary sources are in the field of research. In combination, they are even more powerful, fulfilling the artists’ desire for expression and enriching the viewers’ lives at the same time. For now, I’m enjoying these photos from the past few years–but can’t wait to visit museums in person again!

Tre Croci-Dolomite Landscape” by Oskar Kokoschka at the Leopold Museum in Vienna. I am not a big fan of Kokoschka’s style of depicting people, but his harsh strokes seem perfect for these mountains (and the very muscular horse!).

*****

4日目は『Theories of Modern Art(近代美術の理論)』。故ハーシェル・チップ(カリフォルニア大学バークレー校で美術史を教えていた教授)がまとめた本です。

Three Musicians” by Picasso at the Philadelphia Museum of Art. It seems like MoMA’s version is more famous, but I like this one more, because the musicians seem happier (the mustaches/smiles are so cute!).

私は、子供の頃から両親によく美術館に連れて行ってもらいましたが、主にルネサンス美術と印象派の絵画を見ることが多く、近代美術をあまり理解できませんでした。そこで、大学の時にあえて近代美術史のクラスを受講したら、とても面白く、大きく視点が変わりました。特によかったのが、画家の日記や手紙、アーティストステートメントといった一次資料を集めたこの本。どういう思いでそれぞれの絵を描いたのか、なぜ画家としてのスタイルが変わっていったのかということのみならず、第一次世界大戦などの時代背景や、画家個人の性格までが映し出され、読み物としてもとっても面白いのです。

Miro’s “Metamorphosis” at the Albertina Museum in Vienna. I still don’t get it, but I love the beautiful colors, and it’s so cute!

この本のおかげで、美術館巡りが大好きになり、行けばまず近代美術のところに直行するようになりました。ここで学んだり知ったりしたアーティストのみならず、近現代のアート全体をより広い視点で考えられるようになり、人生が豊かになりました。今はこういう状況ですが、この投稿に選んだ写真を見つつ、また美術館に行ける日を心待ちにしています!

Chagall’s “Sleeping Woman with Flowers” at the Albertina Museum. It is so interesting that the emphasis is on the flowers rather than the woman, as if to depict the contents of her dream.

7-Day Book Cover Challenge (Day 3): “The Joy Luck Club”

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(3日目):『ジョイ・ラック・クラブ』」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

The third book is Amy Tan’s The Joy Luck Club. I’m especially excited that I get to write about this during Asian Pacific American Heritage Month, as well as a few weeks after Mother’s Day.

I was blown away when I first read The Joy Luck Club in high school. It was the first time that I could see someone similar to myself in a book written in English: Asian American women who struggle with the dichotomy of two cultures. Because during my childhood, even in Hawaii, the most iconic books were written by and for Caucasian children. It was especially bad with picture books: an Asian kid occasionally made an appearance as a classmate or friend of the white main character, sporting slanted eyes and unreadable expressions. Hawaii bookstores did feature local authors who wrote more diverse characters, but they were harder to come by. So in most stories I read growing up, I felt like a bit of an outsider.

I was super excited to see her on stage at the 2018 National Book Festival (she’s on the left, with her iconic hairstyle)! I bought her memoir but didn’t have the chance to ask for her autograph.

What I love even more about The Joy Luck Club is its focus on immigrant mothers and their second-generation daughters, each with different back stories and personalities. The book really resonated with me because, like those daughters, I was also desperate to fit in the United States, and often narrow-mindedly cast away my mother’s–and my own–culture.

My mother was no “tiger mom,” but she certainly seemed stricter than other parents. She is tall, beautiful, smart, and confident, and growing up, I often felt that I didn’t live up to her expectations. But I also remember a few instances when I hurt her, especially because of the bicultural environment. Once, when I was in second or third grade in Hawaii, my classmates and I were hiking in the mountains, and she joined us as a chaperone. She spoke to me from behind in Japanese, warning that my backpack strap was slipping from my shoulders–and I turned around and said to her sharply, “I told you to talk in English in front of others!”. She apologized, looking surprised and embarrassed. I had wanted to fit in with my American classmates, and wanted to appear strong, as if I didn’t need my mom’s help. I’m now so ashamed that I treated her that way, especially when she’d joined the trip for my sake. In retrospect, I think this was the first time I realized that my seemingly almighty mother could be hurt by my thoughtless words. Now that I’ve matured, we’ve come to understand each other much more–and I’m so thankful for the stronger relationship we now have.

Amy Tan is such an icon and pioneer Asian American woman writer. I understand she has her critics about stereotyping, and to be honest, I don’t think I would be as receptive if she wrote stories based on Japanese history and culture. But I will never forget how much comfort The Joy Luck Club gave me when I first read it, and I believe she paved the way for generations of writers.

The 1993 movie, which I sometimes still talk about with my mother, was unforgettable. While it is shocking that a quarter century (!) had to pass before another major American movie with an all-Asian cast was created (Crazy Rich Asians), it is also amazing how progressive The Joy Luck Club was when no one else was willing to create a movie like that. Either way, I hope I can someday also create stories that bring together diverse characters and universal themes.

From an exhibit on influential baby boomers at the Newseum (2015). I found hope in the fact that she started publishing later than some other authors.

*****

3日目はエイミ・タンの『ジョイ・ラック・クラブ』。高校生の時に読んで、アメリカの本で初めて、自分と似た境遇の登場人物(二つの文化の間でアイデンティティを探すアジア系アメリカ人)に出会い、深く共感しました。話の根底にあるのは4組の母娘(中国からの移民である母親たちと、中国系アメリカ人の二世である娘たち)の関係で、一人っ子の私も母親と喧嘩することが多かったので、いろいろと考えさせられました。

エイミ・タンは、中国に関するステレオタイプが多いという批判も受けていますが、アジア系アメリカ人の作家(特に女性の)として先駆者の一人だと思います。私もいつか、マイノリティである登場人物と普遍的な感情の双方をお話に盛り込むことができれば、と思います。

The 2016 Annual Conference of my former workplace, the U.S.-Japan Council, welcomed Tamlyn Tomita (left), one of the actresses in “The Joy Luck Club.” She was as beautiful as ever, and really encouraging of Japanese American leaders. (Photo borrowed from USJC)

7-Day Book Cover Challenge (Day 2): “Nihon Mukashibanashi” (Japanese Folktales)

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(2日目):『日本むかしばなし集』(坪田譲治)」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

The second book (or set of three books) is Nihon Mukashibashi (Japanese folktales) compiled by Joji Tsubota. I read this series several times while I was in elementary school. Among the many different versions of Japanese folktales I’ve owned or borrowed (I bought regional folktales whenever I traveled in other areas in Japan), it’s one that I remember most fondly for its readability and wide collection of stories.

I’ve always enjoyed folktales and fairy tales from throughout the world, including those compiled by the Brothers Grimm or written by Hans Christian Andersen. In olden times, fantastical beings existed alongside humans. It is a bit sad that these beliefs have disappeared in recent times, due to progress in science that dispels myths and explains mysteries, nighttime lights that chase away shadows, and more.

In 2008, when I worked at the Japan Information & Culture Center, Embassy of Japan, I had the fortune of working on this amazing exhibit! Shigeru Mizuki, a manga artist who specializes in yokai, created a special rendition of “The Fifty-Three Stations of the Tokaido” (ukiyo-e prints originally by Hiroshige), with yokai inserted in all 53 prints.
2008年に日本大使館で働いていた頃、水木しげるの『妖怪道五十三次』の展示に携わることができました。広重の『東海道五十三次』の絵一枚一枚に妖怪が足されている、とっても素敵な企画でした!

I especially enjoy how in Japanese stories, animals and objects have a life of their own. This idea is intertwined with the Japanese indigenous religion, as well as the belief that every being, even inanimate objects like rocks or places like mountains and lakes, have a soul. I’m especially enamored with Japanese yokai (monsters), which I’d love to write about one day. They are very human in their behavior and a part of the daily lives of local residents. They often have sad origin stories: like babies that were killed by their parents who could not afford to raise them, monks that turned into monsters once they ate the corpse of an apprentice they loved too much, or animals that disguised themselves as humans because they fell in love with a man. Some are scary, some are mischievous and cute–but all of them have an undertone of melancholy in their isolation, otherness, and yearning to be a part of the human world.

Anyway, these folktales were really helpful in learning Japanese history and culture, especially when I was in the U.S. It looks like Tsubota’s version was written in 1957, and I think the version at my house was republished in 1975–so these stories have really stood the test of time. I hope I, too, can rely on these stories to someday pass along my culture–and perhaps my love for yokai–to the next generation.

This amazing exhibit at the Edo Tokyo Museum featured an all-star cast of ukiyo-e artists–including Utagawa Kuniyoshi, who frequently drew yokai. I’d always wanted to see his work in person, and was really excited that I finally had the chance to do so!
今年1月、江戸東京博物館で見てきた素晴らしい展示(この3人以外にも、写楽と歌麿も取り上げ、『夢の競演』(笑)の名前に負けない展示でした)!以前から憧れていた、妖怪を頻繁に取り上げる国芳の絵を初めてきちんと見ることができました。

*****

2日目は坪田譲治の『日本むかしばなし集』(3冊シリーズ)。子供の頃買ったり借りたりした数多くの昔話の中でも、最も読みやすく、いろいろな話が詰まっていて面白かったのを覚えています。

グリムやアンデルセンはじめ、世界中の民話、童話、昔話が大好きで、いろいろ読みましたが、昔の生活では、人と不思議な生き物が共存していたのが、子供としてはとても羨ましかったです。特に日本のお話は、八百万にも通ずることだと思いますが、動物のみならず、石のようなものにも、山や沼といった場所にも、魂や神様や主がいるのが素敵だと思いました。そんな中でも、常に人の生活に近いところにいる「妖怪」がとても好きで、かわいかったりいたずら好きだったりするものの、座敷童はじめ、その多くに悲しい起源があること、全体として人間と関わりたいという物悲しさがあることにとても惹かれています。

Some of the many yokai-themed books I have. I’m especially excited about the “survival guide” in English!
妖怪をテーマとした本は、見ていて本当に面白くて、つい買ってしまいます。英語で書いてあるものを発見したときは飛び上がって喜んでしまいました。

坪田さんの本を含め、昔話のおかげで私は、日本で暮らしていなかったときにも、日本の歴史や伝統文化を学ぶことができました。私もいつか、妖怪を含め、こういったお話を次世代に伝えていくことができれば、と思います。

Western monsters are somehow very different from yokai! (Ok, so “Monsters, Inc.” is a category of its own and doesn’t represent all monsters in Western culture, but still…!) This photo is from a great exhibit at the Franklin Institute that explained the technology behind Pixar animations!
西洋のモンスターと妖怪は全然違います。『モンスターズ・インク』はもちろん独自のカテゴリーのもので、西洋のモンスターを代表するものではないけれど。写真はピクサーのアニメの技術を説明した、素晴らしい展示から。

7-Day Book Cover Challenge (Day 1): “Matilda”

Introduction:

This bilingual post was originally written for social media, and is part of the “7 day book cover challenge.”

「7日間のブックカバーチャレンジ(1日目):『マチルダは小さな大天才』」

この投稿は、もとはSNSのブックカバーチャレンジのために書かれたものです。英語の本文の後に日本語が続きます。

I’ve spent way too long agonizing about the seven-day book cover challenge, which I know is only meant to be fun! The more I saw posts from friends about unique book selections, the more embarrassed I felt about how much I haven’t read recently, especially for someone who professes to love words. But I’ve decided to choose seven books that have meant the most to me in my life. After moving a dozen times, most of these books are buried way deep in a box somewhere in the attic of my parents’ house, so I’ve borrowed the cover photos from online.

In somewhat chronological order that I’ve read them, the first book is Roald Dahl’s Matilda. I read almost every children’s book by Dahl. I think I first learned about him when my third grade teacher, Ms. Kakugawa, read us The Witches–which was a bit scary but very thrilling. The first book I (or rather, my parents!) bought was Fantastic Mr. Fox, then the collection grew from there. Even after my parents and I moved to Tokyo when I was nine years old, my father continued to buy Dahl’s books whenever he went to the U.S. on business trips, and so they were some of the few English language books I could continue to read in Japan.

What makes Dahl’s books wonderful are how much children are empowered, even when their circumstances are less than ideal. When I grew older and began reading Charles Dickens, I recognized so many common themes: the difficult childhoods, mean adults, and amazing naming sense (Miss Trunchbull and Uriah Heep should belong in the same world–just imagining their encounter makes me chuckle!). And Quentin Blake’s illustrations are simply wonderful! They are so simple and cute, but somehow convey the personality of the characters.

While Charlie and the Chocolate Factory, James and the Giant Peach, The BFG, and more are all iconic, Matilda is my favorite. She’s a (somewhat socially awkward) bibliophile who finds happiness in the end. I’ve thought back often to the list of books that Matilda read— but I still haven’t caught up! A few years ago, I got to see a musical version of the book, and that was great, too (my favorite is this song), especially its fun play on all the alphabets)!

As an adult, I’ve learned about some of the controversies that surround Dahl, and that saddens me. Still, I like how feminist Matilda is–it’s about a young girl who stands up for herself, along with the help of a woman mentor (Miss Honey). It brought me so much joy as a child, and I hope I can do the same for others someday.

The musical was in San Francisco before it came to DC (I was so excited to see a poster during a business trip there!).

*****

友人からいただいた「7日間のブックカバーチャレンジ」。他の方の素晴らしいセレクションを見て、最近読書から離れてしまっていることを恥ずかしく思うとともに、7冊に絞ることに随分長いこと悩んでしまいましたが、勇気を出して、自分のこれまでの人生にとって重要な7冊を選んでみました。ほとんどの本が実家にあるので、オンラインから借りた写真で代用します。

1日目はロアルド・ダールの『マチルダはちいさな大天才』。ダールの児童向けの本はほぼ全部読みましたが、本好きでちょっと孤独な主人公に共感しました。日本に引っ越してからも、出張でアメリカに行くたびに父がせっせと買ってくれたので、日本でも細々と英語の読書を続けることができました。

『マチルダ』は静かながらも強い女性が何人も登場して、とても素敵です。子供の頃私が元気をもらえたように、私もいつか文章を通じて誰かを励ますことができたら、と思います。

A champion of people-to-people relations

–Remembering Irene

Summary in Japanese (the full text in English continues below):

「人の心をつなぎ、日米関係を強化したアイリーン」

先週、元上司のアイリーン・ヒラノ・イノウエ(米日カウンシル会長)が亡くなりました。未だに信じられず、大きな衝撃を受けています。(公式発表はこちらです。)人と人のつながりを通じて日米関係の強化に努めた彼女とともに、昨年12月まで6年半勤めた思い出は忘れがたいものです。特に広報担当として、スピーチの下書きを書いたり、インタビューに同席したり、通訳を務めたりしたことで、アイリーンの考えを直接聞けたことをとても嬉しく思います。こういった思い出や考えを下記の投稿にまとめました。
Interpreting in Tokyo for Irene, TOMODACHI program participants, and leaders from the U.S. and Japanese governments (March 2016)

I am very saddened by the news that my former boss passed away last week. Irene Hirano Inouye, President of the U.S.-Japan Council (USJC), truly embodied USJC’s mission of strengthening bilateral relations through people-to-people connections. I’m glad to have had the opportunity to work with her for more than six years until last December. I especially cherish the moments when I heard her thoughts directly while discussing draft speeches, accompanying her at media interviews, or interpreting at meetings with Japanese leaders.

A Hero in the Japanese American Community

When I applied to work at USJC in 2013, I was drawn to the idea of continuing a career in Communications as well as U.S.-Japan relations. I was excited that the organization was founded by Japanese Americans–a community I consider myself to be a part of–but did not truly understand the significance of it until I worked there. I heard about the origins of USJC at Irene’s interviews, and met many members whose family members were incarcerated or fought with the 442nd Regimental Combat Team during World War II. I finally understood how groundbreaking the organization was in providing a platform for Japanese Americans–who’d long had to stay away from Japan because of the war–to proactively engage in U.S.-Japan relations. 

Irene was at the forefront of this movement. She had a great relationship with leaders like Prime Minister Abe, who met Irene and the Japanese American Leadership Delegation almost every year–and that in turn helped Japanese Americans garner more attention by the Japanese media and the public. She knew how the Japanese American community was quickly changing, becoming more diverse in cultural background and other ways, and continually found new people who might contribute to the bilateral relationship.

People-to-People Relations

Over the years, as I gradually got to know members and supporters, I found a happy side effect. I, too, was benefiting from the “people-to-people” aspect of USJC’s mission, and got to befriend many people I admire. As a friend recently pointed out, these relationships are all thanks to Irene. Irene had an aura that made others pay attention, but she was equally friendly to dignitaries and high school students. She was a great listener who remembered every detail, including the knowledge and expertise of USJC’s hundreds of members. She simply brought people together, beyond cultural background, profession, geography and more.

Optimism

Irene always believed in potential and possibilities. Through USJC, she invested in young leaders, and connected people with the belief that they might collaborate on their own projects that would support U.S.-Japan relations. She continually came up with ideas, and attracted people who wanted to discuss proposals. While I was at USJC, I witnessed a wide range of new programs: from those that connect Asian American state legislators with Japanese leaders, to events and seminars supporting women leaders, to regional economic summits. Each year, we kept getting busier, and our portfolios continued to expand. (Honestly, I griped to colleagues about that.)

But Irene always stayed positive. While so many people and projects competed for her time, her answer was almost always “yes.” Once, at a staff meeting, I brought up two potential dates for an event, and asked which she would prefer. “Let’s do both,” she said–so that people could attend whichever was more convenient. We all laughed because it was so typically Irene, always willing to do it all.

In Tokyo with delegates of the inaugural Asian American Leadership Delegation Program, Irene, and Professor Gerald Curtis (who I took a Japanese Politics class with in grad school) (November 2014)

Communications

Irene was a natural communicator. During media interviews, she was able to reframe tricky, unexpected questions and weave in information on our upcoming programs. She also agreed to every interview request, responding to urgent ones within minutes, and driving on her own to studios in LA and Hawaii. 

Particularly memorable for me is the journey to an in-studio radio interview she did when we were on the Big Island for the Japan-Hawaii Economic Summit. I accompanied her as she drove 30 minutes each way from our hotel. Jagged black lava continued forever on both sides of the car, and she told me how her late husband, Senator Inouye, used to receive many rocks in the mail from people who’d traveled to Hawaii (fearing bad luck, they wanted to return the rocks to Pele, the goddess of volcanoes). We had a quick lunch before the interview at a tiny place across the street from the studio. It was called “Killer Tacos,” and I will never forget how jarring it was to see her, so well dressed, sitting on a steel chair and eating tacos in front of takeout counter.

She was also a great speaker. I drafted long speeches or those on general content, and other colleagues provided talking points for program-specific remarks. But she also gave many toasts or short speeches off the cuff. Afterwards, she knew how best to pose for the camera with other speakers or leaders of partner organizations. If my colleagues or I were there with USJC’s DSLR to take backup photos, she made sure to look at us in addition to posing for the official photographer.

During the 30-minute car ride on the Big Island, surrounded by lava (May 2017)

Japanese Language

She was also easy to interpret for. She spoke clearly and deliberately, never forgetting to pause when it was consecutive interpretation. She said she’d forgotten the Japanese she spoke as a small child. But when I interpreted for her, she often laughed right away at jokes others made in Japanese. Still, she waited patiently for my interpretation, and once that was done, laughed again politely.

I’m really grateful that I got to build my interpreting portfolio while at USJC. Thanks to the kindness of Irene, my direct superiors, and other colleagues, I got to use vacation and work as a freelance interpreter on many occasions–including at events where Irene happened to speak (so sometimes I interpreted a speech that I’d drafted!).

Appreciation and Memories

During my final month at USJC last December, Irene happened to be in the DC office for a few days. Realizing that this was the last time I could say goodbye as a staff member, I told her how much I’d enjoyed working at USJC, and thanked her for her guidance and support. 

“We’ll continue to see each other, just in a different way,” she said. It made me so happy that she seemed to believe in my success as I continue working in the U.S.-Japan space. And in those few seconds, I daydreamed of the next time I might say hello to her, perhaps after interpreting at a USJC event. But that December afternoon was the last time I saw her in person. 

When Irene announced this past January that she would retire, she wrote that being USJC’s president was “an honor of a lifetime.” That line, which seemed to condense so many “thank yous” and “goodbyes,” made me cry. Only a few years ago, when she was asked about retirement as part of a media interview, she had said that she wanted to continue working or volunteering for as long as she could. I could only imagine how painful the decision to retire must have been. But I was also relieved, thinking that now she’d finally have time to rest.

I did not think she would be gone so soon. When I told a friend about my last in-person exchange with her, he said that I was lucky that I got to say goodbye. And I am comforted by that thought. Yet, I’m full of regrets. I wish I’d spoken more that day, instead of awkwardly trying to find the words to condense six years into a few sentences. I wonder about the moments when I could’ve done more to help her prepare for interviews or speeches, but didn’t because I was swamped. I regret the times that I said or showed that I felt overwhelmed. 

But I’m also reminded of so many happy memories. She was always poised, so on the few occasions that I made her guffaw (sometimes not on purpose!), I felt a sense of accomplishment. When a business trip to Honolulu allowed me to reunite with my wonderful elementary school teacher after more than two decades, she emailed me to ask how it was. When we returned from a business trip to Japan, where we each got a cute singing duck from one of our sponsors, Aflac, she brought hers back to DC but gave it to me–and I laughed that she knew I was likely to appreciate it the most out of anyone in the office (even though this was my second duck).  

The adorable Aflac duck ? His song comes out garbled now but I still enjoy looking at him!

Looking Ahead

To me, my former workplace feels like how an adult child might perceive her parents’ house–always there as a source of comfort and familiarity during difficult times. So this monumental change is incredibly close to my heart–but I also feel powerless that I’m no longer staff. I picture myself visiting the office to hug former colleagues, and feel sad every time I remember that the office is empty while everyone teleworks. I am especially heartbroken that we lost someone who championed people-to-people relations at a time when we must all remain isolated.

But Irene’s legacy lives on, as evidenced in the many people who have met and worked with her. This period of us remaining apart will eventually be over, and I have faith that USJC will continue to succeed in bringing people together, be it in person or virtually. There’s so much that I learned from Irene, including optimism in the face of challenges. I hope to continue to work on strengthening U.S.-Japan relations in my own way, and hope I can make her proud.

USJC staff at a retreat following the 2019 USJC Annual Conference in Los Angeles (November 2019)