This Japanese blog post celebrates the recent growth in diverse Barbie dolls (including body type, skin color, and gender), which better represent the U.S. demographic. I also discuss other dolls (Licca, a Japanese equivalent of Barbie; Sylvanian Family, a collection of animal figurines; and traditional Japanese hina dolls), exploring the many roles that dolls have, including as communication tools and sources of inspiration.
人形（ひとがた）は人形（にんぎょう）になりましたが、今でも私たちはそこに自分を投影しています。米国の非営利団体「A Doll Like Me」は、注文を受けて、多様な子供たちと同じ姿の人形を作っています。同団体のフェイスブックのページは、皮膚や四肢などが他人と異なる子供が人形を抱えて微笑む写真でいっぱいです。 人形の作者である女性は、「人形は、ストレスの多い状況に子供が対応するときに助けてくれますし、何より、子供に自信を与えます。そのためにも、人形は、彼らを愛してくれる子供たちに似せて作られるべきなのです（筆者訳）」と書いており、人形の料金を取らずに寄付金だけで経営を行っているようです。
This bilingual post is an announcement about my new company, “Shiori Communications, LLC.” I also look back to the past year, which, despite COVID-19, was an overall success thanks to the wonderful support of friends and mentors.
Plum blossoms in Tokyo–blooming a little early, they seem like symbols of hope for the new year! 少し早く咲いている梅の花は、新しい年に向けた希望を示しているように見えます。
Happy New Year! While the first two weeks of the year have already been crazy and horrible due to the events at the U.S. Capitol, I am hopeful that 2021 will improve going forward. I hope I can play a small role in that by facilitating communications between American and Japanese citizens through my new company.
2020 in Review
A year ago, I was filled with trepidation and excitement. I had just quit my job at the U.S.-Japan Council, ready to try interpreting and translating full-time. I wasn’t sure if I could even cover my rent, but for years, I had wanted to try working on my own. I was determined to give myself at least a year, and see where that would take me.
That year happened to be 2020–one of the most unusual and challenging years for everyone around the world. For me, all interpreting jobs (which traditionally were mostly done in person) came to a screeching halt with COVID-19. For a few weeks, I questioned my decision to go independent as the very industry I was trying to commit to was shaken to the core. With borders closed, I was physically cut off from my parents and boyfriend in Japan, and for the first time in years, felt sad about living alone. Then my former boss passed away, affecting me more deeply than the pandemic because of its permanence. As I ruminated over the words of gratitude, respect, and farewell that I will no longer get to convey to her, the sense of loneliness worsened.
But thanks to the kind support of friends and mentors, things got better. Many friends encouraged me through this blog, emails, or social media. Many gave me translating, editing, or writing opportunities, connecting me to their colleagues and acquaintances, or sometimes even creating jobs. From there, I got to take on entirely new types of jobs in English/Japanese communications, including teaching interpretation, subtitling videos, summarizing conferences, and translating music albums. I was only able to survive because of the wonderful people around me, and am incredibly grateful for the support I have received.
Remote interpretation also became more common, and I had the opportunity to work on a wide range of projects, from a military conference with 20+ countries (and 11 languages!), to a symposium of businesses based in Kansai, to a series of meetings among 20+ Japanese and American universities on student exchange, to an international conference on trademarks. Learning how to navigate various virtual interpretation platforms and other rapid changes in the industry became much easier thanks to regular online meetings with other interpreters. The biggest lessons of COVID-19 for me were: the importance of personal relationships, the value of positivity, and the need to adapt quickly to the changing world.
Although I became very busy towards the latter half of the year and could not write as much, I was also encouraged by the positive response to some of my blog articles, including this one on Black Lives Matter. I look forward to prioritizing writing in the future, and hope to provide more information that’s insightful and interesting.
A New Beginning
As 2021 begins, I am happy to announce that I recently established a company called Shiori Communications, LLC. The reason behind registering an LLC is that I wanted to facilitate better relations with clients, build a web presence (a website is coming soon), and be better about posting updates. It is called “Communications” because I want my work to go beyond differences in language, and truly strengthen mutual understanding by digging deep into cultures, customs, history, and more. I believe that the past four years, culminating in the recent events at the Capitol, show that communications that combat biases and false information is more important than ever. While it’s a tall order, aside from continuing to focus on interpretation and translation, I also hope to write professionally in both languages, discussing current events when appropriate, to bring people closer together.
At first glance, it may seem like I simply tacked on my first name to my company. But I believe it’s an apt name because “Shiori” means “poemweaver” in Japanese–something I’ve always felt very proud of as an aspiring writer. After searching for a memorable and meaningful name for months, I realized that what my parents gave me might be a great way to show my intent to connect the U.S. and Japan through language. By linking various individuals (connecting dots horizontally and vertically), be it through interpreting, translating, or writing, I hope to ultimately weave an even stronger bond between my two home countries. More information to come soon!
With the certificate issued by Virginia, where my company is based. バージニア州で会社を登録しました。
An Etsy commercial featuring a girl named Shiori. This aired on CNN during the presidential elections, and I find it all the more meaningful that people saw the value of diversity during such a difficult time. 珍しい名前を持つ人へのギフトも特注できますよ！と言う宣伝に、Etsyが「しおり」の名前を使ってくれました。CNNで大統領選挙の時期に流れたそうです。どのシーンにも深く共感しますし、日本人・日系人の名前が選ばれたこともすごく嬉しい！
In the wake of the presidential elections that revealed a nation that remains highly divided, this bilingual post explores how we might visualize data in a way that doesn’t mislead audiences or stereotype different types of people.
Earlier this month, we witnessed one of the most dramatic presidential elections in history. These past four years, the U.S. had been unrecognizable to me. As a woman, quasi-immigrant, and minority, I felt that I was unwelcome on all three counts. I was in a state of disbelief as racist remarks and actions were normalized, and many laws that I had been proud to associate with the U.S. were rolled back one by one.
It is a huge relief to have a national leader who seems rational, calm, and mindful of the growing diversity of the U.S. demographic. I am ecstatic that we now have the first woman vice president–who also happens to be Black, Asian, and the daughter of an immigrant. That fact alone allays my concerns about criticism over the president-elect’s treatment of women.
A Divided Country
But as we all know, this was no swift victory. The “blue wave” touted by pundits never came. Instead, we had a handful of swing states that flipped, one by one, from slightly red to barely blue over the course of four days. I kept taking screenshots of the close race (at one point a difference of 1,000 votes, or less than 0.1%!) and sending it to friends. I pored over the news analyzing the developments in each state, from which counties’ votes were being counted first, to why Nevada seemed to take its sweet time, to legendary figures like Stacey Abrams and the late John McCain affecting the outcome in Georgia and Arizona.
The state of the swing states as of the morning of Nov. 6. With 99% of votes reported, Georgia had a difference of 1,000 votes, or less than 0.1%. Screenshot from Google based on results compiled by the Associated Press.
Maps
With all the election results readily available online, it has been really fascinating to be able to zoom into any state and look at the results in each county. Maps like this one (for Virginia) show islands of blue cities in a sea of red.
Election results by county in Virginia. Screenshot from Google based on results compiled by the AP.
But this year, the way maps show election data seemed to undergo an important and fascinating shift. With the slogan “Land doesn’t vote; people do,” several maps came out to show votes in proportional circles based on how people voted in each county, as opposed to coloring in the entire area of each county. Since fewer people live in rural areas, this was a much more accurate representation. Based on how much recognition these newer maps received, I suspect future elections will be represented in this way.
Either way, the fact remains that we are a deeply divided country, mostly reflecting whether we live in urban or rural areas. So how do we heal as a nation? One way, I think, is to avoid stereotyping others as much as we can.
Visualizations that Reinforce Stereotypes
The below illustration is called “What it means to be a typical Democrat or Republican, based on everyday items.” A translation of the words that appear throughout the illustration are in the chart below (all translations are my own).
From this website of The Asahi Shimbun. I added the numbers in purple for the translations provided below.
Democrats
Republicans
Prius; Volvo
❶ Cars
Hummer; Porsche
MSNBC
➋ TV stations
FOX
Comedy; Romance
❸ Movies
War; Action
Jazz; Rap
❹ Music
Country
Tennis; Soccer
❺ Sports
Rodeo; Motor Races
Women: Silky smooth; Men: Long with beards
❻ Hairstyle
Women: Voluminous; Men: Short and neat
Casual
❼ Attire
Business Suits
Sushi; Vegetarian
❽ Food
Fried Chicken; BBQ
Starbucks
❾ Beverages
Coors Beer
This was apparently first published in The Asahi Shimbun about 10 years ago. It came up on its website this past March (with the explanation that “trends have not changed that much since then”) as part of an article that helps young job applicants / recent college graduates understand current events.
When I first saw this, I couldn’t help but laugh. It’s wonderful that Japanese audiences are paying close attention to the U.S. elections. I think visuals are very important, especially to a younger audience. But I also think we need to be careful not to generalize too much–precisely because we are shaping young minds.
To start with the basics, the data comes from mixed sources. This illustration is apparently based on “data from advertising and research firms, as well as the voices of American voters.” That’s at least three sources that probably use different methodologies, samples, dates, and collection methods. While I don’t expect the entire methodology to be part of the picture, I’d at least like to know the names of the companies that collected this data.
The illustration is full of points I want to ask more about. For example (and I am also making big generalizations here), the “Republican” category seems to combine several types of people: the military type (short, neat hair), the wealthy type (Porsches), people living in rural areas (fried chicken; country music), etc. More minor examples show weird combinations too, like Starbucks (likely coffee) with sushi for Democrats. It is very confusing because all these mixed data is illustrated in the same picture.
And while the variety in music tastes and hairstyle is certainly interesting, I don’t see how it makes a big difference. The only thing I thought was truly relevant here is the type of media consumed (FOX vs. MSNBC), which other sources also indicate. I would rather know about the difference in opinion on topics like education, immigration, and religion. And, at least in terms of food, there’s evidence that we can’t associate them with political thought: The New York Times recently published a quiz asking readers to look at photos of fridge contents and guess whether they belong to a Trump supporter or Biden supporter. As of today, readers have made 25 million (!) guesses, and were correct 52% of the time–it’s 50/50, even with that huge sample.
Caricatures
To me, the most egregious point that could be corrected is that all four people depicted here are white. According to data compiled by the Pew Research Center, as of 2019, 40% of registered Democrats were non-white (even back in 2010, when this illustration was made, it probably would have been more than 36% (2008)). The Democratic party clearly states that “diversity is a strength,” and its support for immigrants and minorities is clear. So it seems especially odd to represent 100% of the Democrats here as white people.
But I also see how it’s extremely hard to visualize people “correctly.” Take, for example, the controversial NHK video that attempted to explain the BLM movement in June. If Black people or other minorities were added to the Asahi Shimbun visualization of Democrats and Republicans, would it have made things better? I doubt it, because it’s hard to illustrate someone without resorting to caricatures, especially if you do not know them well.
A screenshot (from here) of the controversial NHK video that illustrated Black people who wore tank tops and Afros, lighting the city on fire, and saying that they were resorting to violence because they were angry about the income gap (with no mention of police brutality)
And the truth of the matter is that there’s an inherent difference in illustrating someone who is already in the majority versus someone who is not. The former has already been drawn in many different ways, and one additional illustration is just that–a collection to add to many different images that readers may have in their head. It won’t skew the audience’s minds in either direction. Someone who is rarely drawn, on the other hand, automatically becomes a representative of their entire group because they are rarely seen. It’s similar to how movie characters used to be caricatures. The token Asian characters in older films were stereotypes (Mr. Yunioshi in Breakfast at Tiffany’s or Long Duk Dong in Sixteen Candles), whereas now we are seeing diverse backgrounds and personalities (from Crazy Rich Asians to The Farewell) because there are more films and more characters.
Visualizing Content in Better Ways
A lot of the data in the Asahi Shimbun illustration is interesting, even if not necessarily relevant. I think this could be improved by 1) listing its sources by name, 2) not showing people in the illustrations, and 3) instead of showing the top one or two in the same big picture, perhaps choosing the top five in each category and turning them into separate charts. Illustrations are so powerful, helping us understand and remember things better–but without the full context, they can also be misleading.
Media have to work with quick deadlines, and it’s easy for me to be an armchair critic. But as people pointed out with the BLM video, I believe there are ways to find consultants. On a deeper level, I believe we all need to have a better understanding of each other, so that we don’t stereotype others, and know when we are about to create caricatures.
These take long conversations, better education, more reading, stronger media representation, and so much more. But to circle back to the original discussion, at least we know that we are politically divided. At least we are beginning to learn, in the past six months, how much pain Black people have been experiencing. I hope that we can strive to understand each other. After this election, the only direction to go is onwards and upwards.
鳩山氏に関する記述は、a pleasant if awkward fellowとあります。A pleasant but awkward fellowではないにもかかわらず、多くのメディアで、if をbut と同じように扱って、「感じはよいが」と始めてからawkwardの訳（後述）を入れています。If とbut が違うと、かなり意味が異なります。既に翻訳者の鴻巣友季子さんが指摘されているように、ifを使ったこの文面は、「ポジティブな表現に着地」しているのです。
ここはカンマが省略されており、本来は、a pleasant, if awkward, fellowと言う文面になると私は考えています。この場合、カンマが両側にあると、括弧と同じ役割を果たし、a pleasant (if awkward) fellowと同じ意味になります。ダッシュを両側に置いて a pleasant–if awkward–fellowとも書くことができます。重要なのは、カンマ、括弧、ダッシュのどれであれ、if awkwardという中身を抜いても、文章がそのまま成り立つということです。つまり、中身の部分は補助的な役割を果たしているのであり、重視されるべきなのはpleasantというところなのです。
おそらく、ここでこの文が終わっていたなら（たとえば、He’s a pleasant, if awkward, fellow. など）、オバマ氏はちゃんと両側のカンマ（または括弧やダッシュ）を入れたであろうと思います。ただ、その後もA pleasant if awkward fellow, Hatoyama was . . . と続き、カンマを何度も入れると読みづらくなるため、省略したのだと思います。
一つ明確に言えるのは、「厄介」ではない、ということです。Awkwardな人は無害ですし、迷惑をかけるタイプではありません。他人がそういう評価を下すと、若干上から目線であるだけでなく、「もう少しうまく立ち回れたら楽に生きられるだろうに．．．」といった、少し憐みの感情が入っています。「惜しい」「残念」といった感じで、全体としては好ましく思っているからこそ出る言葉です。A pleasant if awkward fellowは、「感じのよい人（ちょっと不器用だけどね）」といったニュアンスになると思います。
Awkwardという言葉は、人だけでなく、雰囲気や感情にも使うことができます。たとえば、今付き合っている人と歩いている時に、前の恋人とばったり会って挨拶を交わした場合。後で友人にThat was so awkward! （とっても気まずかった！）とこぼしたりもできるでしょう。または、大企業で新入社員として働き始めて間もない時に、過去にはテレビでしか見ていなかった社長が時折やってきて話しかけてきたら、毎度緊張してしどろもどろになってしまうかもしれません。そういう時も、We’ve spoken three times, but I still feel awkward. （もう三回も話しているけれど、未だに気後れしてしまう）といった言い方ができます。
National Donut Day (全米ドーナツの日)に、無料のドーナツをもらえるということで、友人とKrispy Kremeで列に並びました。ショーケースに日本のポンデリングのようなものを見かけてそれを注文したら、単にドーナツの穴が並んでそう見えただけでした。店員さんが袋に入れるところを見て訂正したかったものの、後ろには長蛇の列で、店員さんも忙しそうなので何も言えませんでした。せっかく無料でも、普通のドーナツの6分の1くらいの大きさの穴しかもらえなかった私。こういったawkwardな間違いも、一緒に笑ってくれる友人がいれば恥ずかしくありません！?
“Exploring Various Fields in Interpretation and Translation, and Knowing What Makes You Happiest”
Below is an article I wrote for The Professional Translator, the web magazine of a translation graduate school called Babel. The assigned theme was about aptitudes needed for interpretation and translation.
There are well-known, general characteristics: those who like in-person exchanges and travel might be happier as interpreters, while those who like to spend time choosing the perfect words are likely better as translators. But there are also vast differences depending on the field. These include conference interpretation, court interpretation, interpreting on stage at an event, subtitling, and technical translations. I didn’t realize how different these were until I had the opportunity to explore them. In addition, with my love for reading and writing, I initially thought I would be happier as a translator–but ended up being more of an interpreter, mostly because I’ve enjoyed traveling and meeting experts from various fields. To anyone who is considering a profession in interpretation or translation, I recommend taking on a variety of jobs–only then will you learn what truly makes you happy.
“Changes in the Interpretation Industry During the Coronavirus Era, and Similarities with Translation”
Below is an article I wrote for The Professional Translator, the web magazine of a translation graduate school called Babel. The assigned theme was about the distinction between interpretation and translation. I discuss how with the coronavirus, the interpretation industry is rapidly changing and becoming similar to translation in several ways.
Namely, 1. with fewer interpretation assignments, more interpreters are also working as translators; 2. interpretation assignments are now mostly remote, just like translation; 3. since geography is less important now (except for time difference constraints), interpreters are relying even more on their quality of work, expertise, and networks in order to compete with the rest of the world; and 4. now that events are held online, ways to provide virtual multilingual support are growing beyond simultaneous interpretation and post-production subtitles, further blurring the line between interpretation and translation.
Although it’s unclear what the future will bring, I hope to remain positive about these fascinating changes, and continue to enjoy my work.
“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.
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。
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。
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。
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。
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)
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!
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!).
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.
