Poetry. Translated from the French by Sarah Riggs. TWO MARKETS, ONCE AGAIN mingles Ryoko Sekiguchi's amblings in two oriental markets with forays into their languages, stumbling on consonants and vowels while avoiding dead-end alleys . Their unpredictable geometry is a match only to her diagonal writing; we follow her guessing and expecting only to get to an end as enigmatic as the beginning. Ryoko Sekiguchi is a Japanese writer and poet living in France. She writes in her native Japanese and also in French. TWO MARKETS, ONCE AGAIN has been published in both countries. She is also a translator from French into Japanese. Sarah Riggs is a poet and translator living in France. "Deceptively small, this little book packs a wallop. Sekiguchi is a master of the experimental prose poetry sequence...The more one reads the text, and the more languages you know or are willing to Google, the more numerous and intricately interwoven become the meanings and allusions. This is most certainly a book that can bear many readings. Despite the fairly small number of pages in this little book, it is a gigantic work and has a far reach beyond all the assumed cultural and linguistic boundaries."&mdash;Eric Selland

TWO MARKETS, ONCE AGAIN

Literature & Fiction

SEKIGUCHI, Ryoko

History & Criticism

The Post-Apollo Press

The Present Voice

Threadsuns Press

Poetry. Translated from the Japanese by Sawako Nakayasu, Ryoko Sekiguchi and Cole Swensen. This revolutionary volume represents the first book of its kind, a bilingual anthology dedicated to women working in modern and cross cultural poetry milieus. Published collaboratively by Belladonna Books and Litmus Press in honor of the Festival of Contemporary Japanese Women Poets with support by NYSCA.

Four from Japan: Contemporary Poetry & Essays by Women

Minashita, Kiriu

Park, Kyong-Mi

Arai, Takako

Litmus Press

The role of proper names and their power over both named and namer is a subject Sekiguchi has addressed in her critical work. Now she returns to the theme in these poetic prose blocks. Set in a Portuguese botanical garden, they reconstruct the plant, animal, and aviary worlds through the lens of language.

Heliotropes

LA PRESSE

Poetry. Asian & Asian American Studies. Translated by Lindsay Turner. Introduction by Sawako Nakayasu. Ryoko Sekiguchi takes the letters Fernando Pessoa wrote his would-be fiancée Ophelia Queiroz as her subject matter in ADAGIO MA NON TROPPO. ADAGIO's 36 prose blocks--appearing in Japanese, French, and English for the first time in the 2018 Les Figues Press trilingual edition (trans. Lindsay Turner)--echo the 36 letters Pessoa addressed to Queiroz dated from March 1, 1920, until January 11, 1930. Sekiguchi reconceives the Lisbon Pessoa and Queiroz describe in their correspondence as a map over which rendezvous, affairs, and liaisons can be continued through writing. "Written words," she asks, "do they erase themselves? [...] or instead do all words, once read, never disappear?" Sekiguchi superimposes objects over a landscape where names carry shapes, directions, and the places to which they refer. In her Lisbon, a chair slid into daylight or set before a window punctuates time like comma in a sentence. An old couple contemplating ducks indicates a line between two points like a parasol taken from its stand announces a departure. As love establishes boundaries and relationships between people, if our objects convey our love for one another, then Sekiguchi traces the paths and perimeters lovers leave behind. Originally published in a bilingual edition containing Sekiguchi's self-translation into the French (Le bleu du ciel éditions, 2007), ADAGIO MA NON TROPPO belongs in the same category as the modernist works of Franz Kafka and Pessoa--as well as the recent epistolary work of Marguerite Duras, Roland Barthes, Karl Ove Knausgaard, Maggie Nelson, and Claire-Louise Bennett--writing as a philosophic and aesthetic act that reshapes our notions of time, space, translation, and love. "What a delicate pleasure, meeting with Ryoko Sekiguchi's ADAGIO MA NON TROPPO, planning such a meeting, being delayed, being fulfilled, moving through one's streets with this book in hand. This is such a work of commune. It is a machiawase and rendezvous and an appointment, lush but careful, anticipatory but reflective. It isn't simply an encounter between reader and author, but so, too, in that meeting place, is Fernando Pessoa and Ophelia Queiroz, Sawako Nakayasu (whose welcoming introduction induces our readerly pathways) and Lindsay Turner (whose vibrantly attuned translation underscores another set of correspondents, its three languages Japanese, French, and English). Through these instructions, volitions, and fleeting glimpses--the various kinds of light falling on interior and exterior places one and the same--we are reminded what it is to seek, as an everyday task, the beloved."--Ryo Yamaguchi

adagio ma non troppo (Global Poetics, 6)

Poetry

Les Figues Press

"La saison, c'est le temps des émotions." Nagori, littéralement "reste des vagues", signifie en japonais la nostalgie de la séparation. Dans ce court texte, Ryoko Sekiguchi évoque l'attachement aux saisons qui imprègne la langue et les haïkus dans la culture japonaise. À travers la nourriture, l'écrivaine nous livre l'arrière-goût, les textures et les émotions d'une saison qui vient de nous quitter.\nFrom the Back Cover\n"La saison, c'est le temps des émotions." Nagori, littéralement "reste des vagues", signifie en japonais la nostalgie de la séparation. Dans ce court texte, Ryoko Sekiguchi évoque l'attachement aux saisons qui imprègne la langue et les haïkus dans la culture japonaise. À travers la nourriture, l'écrivaine nous livre l'arrière-goût, les textures et les émotions d'une saison qui vient de nous quitter.

Nagori: La nostalgie de la saison qui vient de nous quitter

Literary

Фоліо

961 heures à Beyrouth: (et 321 plats qui les accompagnent)

Genre Fiction

Feeling - reading wine

JBE Books

Le Club des Gourmets et autres cuisines japonaises

Biographies & Memoirs

Arts & Literature

La Voix sombre

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