その一環として同日、大日本印刷と共同で翻訳出版のバーティカル（東京・中央）の買収を発表。バーティカルが翻訳した講談社の書籍やマンガを、大日印が協力会社を通じて米国で印刷・製本し、米国で流通させる体制を整える。

The new president said that his company would be putting more resources into digital publishing and global business, and then announced this. Kōdansha and Dai Nippon Printing have teamed up to buy Vertical. The plan is now to have Vertical translate Kōdansha’s manga and other titles, which DNP will print and market in the United States via its partners there. Should be interesting to follow this development.

Mishima_dialogue.pdf

It weighs in at more than 6 MB, so don’t click it if you’re on a slow connection.

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I was reading Mishima before I met him, from around the time I was in high school. There wasn’t much in the way of entertainment in those days except for the movies. It was usually a double feature, and I’d always look forward to the next one. I remember seeing a preview for Junpaku no yoru [Whitest of Nights]. This white-complexioned youth, Mishima Yukio, was appearing in it, along with the actress Kogure Michiyo, who was still in her prime and quite beautiful. I didn’t know what sort of story it was, but Mishima was introduced as the phenomenally talented young writer on whose book the movie was based, and I remember thinking he really looked the part. He was being called a young prodigy, a genius, and that was exactly the impression he conveyed.

I was interested, and I wondered what sort of things he wrote, so I began to read his stuff. Just about that time his novel Kinjiki [1951–53; tr. Forbidden Colors, 1968] was being serialized in the literary magazine Gunzō, and I found it really absorbing. I’d look forward to each installment. I had no knowledge of or interest in homosexuality, but I was impressed by the way he made something I couldn’t even imagine seem perfectly natural. I was still a virgin myself. But I was intrigued by his virtuosity and panache, portraying homosexual passion in such seemingly genuine and authentic terms.

During his last years, Mishima once asked me which of his works I liked the best. When I told him, Forbidden Colors, he said, “Oh, that’s nothing but showmanship. I’ve gone way past that.” I said, “Your inspiration is failing you now, so all you write about is actual incidents, but that period was really your peak.” He was angry. “What the hell are you saying?” he snapped.

———

The above is from “Mishima: The Man and the Mask,” Japan Echo, spring 1996, pp. 74–81; a translation of “Mishima Yukio no eikō to zasetsu,” Subaru, December 1995, pp. 84–99. This is pre-web for our company, so it isn’t available in digital form. If you’re desperate for a look at the whole thing, let me know and I’ll see about digging up the ancient Quark files or scanning the magazine pages into a PDF or something. I’m probably failing my company by not telling you to contact us to buy a back issue, but frankly I don’t know whether we have any of this one left.

It sounds like Murakami is the sort of source-text writer every translator would love to work with:

Q: When you have questions on your translation, how do you approach him? Could you give us a recent example of questions?

A: I e-mail him or his editor at Shinchosha Publishing Co. He is a good e-mail correspondent. Many passages of “1Q84″ could be translated into either first or third person, and I have asked him which he prefers in certain cases. He usually advises me to do whatever works best in English.

A few more interesting bits on the translation process:

Q: Murakami sometimes directly incorporates English phrases into his novel. Does that fit well in your translation? For example, in “Nejimaki-dori Kuronikuru” (The Wind-up Bird Chronicle), he used the phrase, “Kojinteki ni toranaide kure,” which is obviously from “Don’t take it personally.”

A: The problem is to translate it “back” into English that is as unusual as the Japanese, but often I lazily go for the “original” English expression. This way, the batakusasa (Western air) of Murakami’s style is lost. Sorry.

Q: Tell me something about your translation process. Do you read the book all the way through first before starting on the translation?

A: Yes, I always read the work first in case there are special key phrases that need to be handled in a certain way from the beginning. I get up early in the morning and work until my brain turns into tofu, which is usually around 11:30 a.m. My brain is not of much use for the rest of the day.

Worth a read. I edit and translate a bunch of content for Japanese Book News, and over the last couple of years it’s gotten somewhat tiresome to include news blurb after news blurb about this book. Maybe after this “English translation finally published” news blurb we can move on to something else . . . at least until Murakami pumps out a fourth volume.

J-J dictionaries

大辞林 – I have this in paper, as well as in data for use in Logophile; I even bought the iPhone app too since it’s so nicely done there.

広辞苑 – This is considered the “standard” J-J dictionary, but I don’t like it as much as things like 大辞林 and 大辞泉 (another one I have at home) since it lists definitions in their historical order, so you have to wade through a bunch of archaic meanings before you get to what words mean today. (See what lexicon whiz Tom Gally has to say about this in his very informative page on Japanese [国語] dictionaries.) That said, it’s a classic reference and as such it has a place on my shelf, as well as in data form in Logophile.

Some good 漢和辞典. These seem to have fallen by the wayside to a greater extent than anything else in my collection, but I do browse through them from time to time.

The 日本国語大辞典 by Shōgakukan is one I use at the office. I don’t have my own copy because it costs nearly ¥200,000 to assemble all the volumes; that Amazon link is just for volume 1. But this is the Japanese answer to the OED, basically: the biggest out there.

Also in the “have it at the office and lack shelf space for it at home” category is the 日本大百科全書, or Encyclopedia Nipponica. I do have this in data format as well. It came with a Sony electronic dictionary my wife was kind enough to get for me for my birthday some years ago. It is also searchable via Logophile, which makes it very handy indeed.

J-E dictionaries

Kenkyusha’s New Japanese-English Dictionary – This is called the “green goddess” by translators for its cover color; it’s a standard reference. (The E-J version is the “brown behemoth.”) The fifth edition is a fantastic improvement on the fourth and deserves a place on the serious learner’s bookshelf. A CD-ROM version is also available. You can also purchase online access to a frequently updated version.

The New Nelson Japanese-English Character Dictionary – The best-known of all the 漢英 Japanese resources. This (well, the second revised edition) is the book I used in my university days to pound kanji into my head.

Bungo Manual – This little book is a great one for advanced learners who want to puzzle out the meanings of some older forms in the language. Classical Japanese isn’t something you need to be able to read on a daily basis, but exposure to its forms will help you decipher a lot of the things that you do see in use in Japanese to this day.

A Dictionary of Japanese Food – This slender volume has come in handy a number of times. Nice to have as a general reference when living in Japan, even if you aren’t a translator.

E-E references

Webster’s New World College Dictionary – This is our desk dictionary at the office; that means it decides how we spell things for our publications (unless a client tells us otherwise). We use this in conjunction with the Webster’s New World Speller/Divider, which is a small book with sturdy pages for rapid flipping. A much better choice when you’re proofing a layout and want to quickly confirm a word’s spelling or a hyphenation choice. Perhaps not so useful to people not in the publishing industry, though.

The Chicago Manual of Style – Our house style guide at Japan Echo Inc. It looks like the 16th edition will be coming out later this summer. We have an additional guide about 10 pages long to set down our rules for things not covered in Chicago; many of these match the rules you can find in . . .

Japan Style Sheet – This little style guide is put out by the Society of Writers, Editors, and Translators and is worth owning if you do any writing on Japan.

Other style guides. One major client prefers that we use the Associated Press Stylebook (AP just came out with a new edition that I need to pick up). I also have the Economist and New York Times manuals for my own reading pleasure.

There’s also a handy little book called 和英翻訳データブック put out by the Japan Times. This one, and its predecessor (英文ライターのための和英翻訳ハンドブック), have largely been replaced by the Web when it comes to searching for the official English name of some government department or whatever, but when I’m translating a text that refers to the central bureaucracy as it stood in the 1990s, say, these are lifesavers. If JT ever puts out a new version I’ll likely get it too. Handy little Japan references for translators and reporters.

A few coming up that I’m interested in seeing are There Will Be Blood and No Country for Old Men. I’m a huge fan of Cormac McCarthy (thanks to James for cluing me in to him many years ago). I must admit this is my least favorite of his books—with the possible exception of The Sunset Limited (Amazon page), but I haven’t gotten to that one yet, so no ranking there. But I’m interested to see what happens when this makes it to the screen in the hands of the actors and directors involved with this project.

(I never saw the 2000 adaptation of All the Pretty Horses, but I’ve never seen reviews of it that made me feel like I was missing out. Would be nice to see someone in Hollywood approach the entire Border Trilogy in a serious fashion.)

McCarthy’s page at IMDB says that not only The Road but Blood Meridian and Outer Dark are also in production now. I wonder about the possibility of doing a good transition to the screen with those two—particularly Blood Meridian, which features massive violence and supernaturally intelligent bald giants and such. However, Ridley Scott is listed as the director for it, so maybe there’s a chance we’ll see a compelling Judge Holden on our movie screens. For me, on my TV six months later.

Good information on Cormac McCarthy is available at this site.