Sawako Nakayasu

Episode 5: Brent Wahl

Poetry at the Rail Park
Photo of Brent Wahl with ladders and color block wall art behind him

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Brent Wahl is a visual artist. In the summer of 2018, he completed a major public artwork for the Philadelphia Rail Park. Wahl’s photography, installation, and time-based work has been exhibited in a variety of venues and institutions in the US and Europe, including solo exhibitions at Vox Populi and Grizzly Grizzly (Philadelphia), and group exhibitions at the Esther Kline Gallery (Philadelphia), Temple Gallery, Tyler School of Art (Philadelphia), Visual Arts Center of New Jersey, Tate Modern (London), Oblong Gallery (London), #Rank Miami (Miami), X-Initiative (NY), Space (Portland, MA), University of North Carolina (Chapel Hill), Dumbo Art Center (Brooklyn), and many more. 

June 5, 2020

Episode 2: Sawako Nakayasu

Poetry at the Rail Park
Photo of Sawako Nakayasu reading at a microphone.

Sawako Nakayasu was born in Japan and raised in the US; she has also lived in France and China along the way. Her most recent books are The Ants (Les Figues Press, 2014), and Texture Notes (Letter Machine, 2010), and recent translations include The Collected Poems of Sagawa Chika (Canarium Books, 2015) and Tatsumi Hijikata’s Costume en Face (Ugly Duckling Presse, 2015).

June 5, 2020

Of beautiful tangents (PoemTalk #128)

Sueyeun Juliette Lee, 'Perfect Villagers'

PoemTalk
From left: Sawako Nakayasu, Gabriel Ojeda-Sague, and Donato Mancini.

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Sawako Nakayasu, Donato Mancini, and Gabriel Ojeda-Sague joined Al Filreis to talk about two poems by Sueyuen Juliette Lee. The poems were published in a chapbook titled Perfect Villagers (2006) and later collected in That Gorgeous Feeling (2008). “Dear Margaret Cho” (actually one of two poems of that title) and “Daniel Dae Kim” were among the pieces from the “perfect villagers” series performed by Lee in a reading she gave at the Kelly Writers House in January of 2007. The recording can be found at Lee’s PennSound page.

September 19, 2018

'North of the Equator'

'A TransPacific Poetics'

Robyn Maree Pickens
Photo from cover of 'A TransPacific Poetics.'

Coedited by Lisa Samuels and Sawako Nakayasu, A TransPacific Poetics is a unique anthology of essays and experimental poetry by sixteen writers who live in or between different Pacific Rim countries. As the “trans” in the collection’s title suggests, this is a regional trans-Pacific anthology — the first of its kind — that privileges the work of writers defined by the Pacific Ocean.

Coedited by Lisa Samuels and Sawako Nakayasu, A TransPacific Poetics is a unique anthology of essays and experimental poetry by sixteen writers who live in or between different Pacific Rim countries. As the “trans” in the collection’s title suggests, this is a regional trans-Pacific anthology — the first of its kind — that privileges the work of writers defined by the Pacific Ocean. To take a few examples: author and translator Don Mee Choi was born in Korea, moved to the US via Hong Kong, and now lives in Seattle.

Sawako Nakayasu on many topics

New at PennSound

Al Filreis

Owing to the precise efforts of Hannah Judd, a member of the PennSound staff, Sawako Nakayasu’s PennSound author page now includes topic-by-topic segmentation of her “LA-Lit” session recorded on December 10, 2006. The direct link to the segments is here:

http://writing.upenn.edu/pennsound/x/Nakayasu.php#LA-Lit

Bright arrogance #11

Sawako Nakayasu's modernist feedback loops

Joe Milutis
Clark Lunberry and Hiroko Washizu at Tokyo National Museum, Ueno Park, Tokyo

I met with long-time colleagues and collaborators Clark Lunberry and Hiroko Washizu in Tokyo to discuss Sawako Nakayasu’s book of translations and anti-translations Mouth: Eats Color.

A moment in teaching 'Tender Buttons'

Sawako Nakayasu

When I was a grad student in the MFA program at Brown, I also had the pleasure of teaching undergrad creative writing classes there. The students were bright, engaged, motivated — partly because they had to fight for a spot to be in the class in the first place. But I had no idea how to teach — I threw readings at the students without any kind of preparation, not having the slightest clue what that would entail, anyway.

First reading of Sawako Nakayasu's 'Couch' (4)

Hank Lazer

First Readings

Is a first reading possible? Perhaps a quick reading, or a reading on the fly… Inevitably, even my quick reading has a trail – from learning to read (“sound it out”), to habits learned in school (close reading; theme-based reading; the ongoing baggage of New Criticism), to the informed readings we are expected to practice in essays and reviews. There are plenty of other theoretical, historical, and cultural frameworks that (for me) might become a part of subsequent readings. In this reading, what I mean by a first reading is one that does not reach much beyond my initial impressions and thoughts. Or, another way to think of a first reading is (ideally) a radical empiricism, or a reading that moves in the direction of beginner’s mind.

So, a quick first reading: what strikes me first is the deliberate absurdity of the prose poem’s plot. The prose poem sets up its own logical world, with the ants as the doers, as the ones called upon to solve the divorce difficulties of the unnamed couple – human? something else? It is interesting that what they are is unnamed. The penumbra of the absurd spreads as we read. The first substitution – for lawyer, counselor, relative, friend, advocate – breaks the simple logic of the poem. Until the ants appear — “they give up and decide to call the ants” — all is “normal.”

First reading of Sawako Nakayasu's 'Couch' (2)

K. Silem Mohammad

First Readings

I try instinctually to fit the poem into the literary contexts I’m familiar with, and to ask questions about those contexts: in this case, domestic fiction and its stylistic markers (why the generic anonymity of the couple?), the dream/vision tradition (am I supposed to view this through the same kind of lens, perhaps a psychoanalytic one, through which I would view a report of an actual dream?), and the inescapable implication of allegory (what is the “something else” I am supposed to arrive at via the poem?

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