Sawako Nakayasu

Sawako Nakayasu on many topics

New at PennSound

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:

Bright arrogance #11

Sawako Nakayasu's modernist feedback loops

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.

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

Hank Lazer

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

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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