| Hiromi Itō | |
|---|---|
| Born | September 13, 1955 Tokyo, Japan |
| Occupation | Poet, Novelist |
| Nationality | Japanese |
| Period | Modern |
| Genres | Poetry |
| Partner(s) | Harold Cohen |
Hiromi Itō (伊藤 比呂美 Itō Hiromi, born September 13, 1955) is one of the most prominent women writers of contemporary Japan, with more than a dozen collections of poetry, several works of prose, numerous books of essays, and several major literary prizes to her name. She divides her time between the towns of Encinitas, California and Kumamoto in southern Japan.
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Born in 1955 in Tokyo, Itō became well known in the 1980s for a series of dramatic collections of poetry that described sexuality, pregnancy, and feminine erotic desire in dramatically direct language. From her earliest work, Itō embarked on a lifelong battle against the stylized and artful language common in twentieth-century Japanese poetry. Much of her poetry is narrated in extended passages of relatively colloquial text.[1] Her poems so skillfully represent spoken language that they often give the illusion of being records of spoken speech. Not coincidentally, commentators have often described Itō as a "shamaness" for her ability to channel voices onto the page.[2]
In 1982, Itō's book Unripe Plums (青梅 Aoume),'appeared in the series "The Present State of Women's Poetry," which was published by the Japanese publisher Shichōsha and also featured a number of rising young female poets, including Toshiko Hirata, Yōko Isaka, and Kōko Shiraishi. In the mid-1980s, Itō's writing gravitated to issues of the feminine body, sexuality, and motherhood, making her the most prominent voice of what came to be known as the "women's poetry boom." The two collections On Territory 2 (テリトリー論1 Teritorī ron 2), published in 1985, and On Territory 1 (テリトリー論2 Teritorī ron 1), published in 1987, describe her feelings after giving birth to her first daughter, Kanoko Nishi. These poems probe the meaning of the mother-child relationship and the demands that motherhood places on the mother's identity and sexuality.[3] For instance, in the often anthologized poem "Killing Kanoko" (カノコ殺し Kanoko-goroshi), she describes the feelings of a young mother experiencing postpartum depression and anger at her newborn, even though the world is congratulating her on becoming a mother.[4] Her eagerness to explore women's issues has led some to think of her as a feminist writer, although this is a term that Itō has not always embraced in building her public persona.[5]
Throughout her career, however, Itō has embraced the metaphor of the poet as a shamaness. In 1991, she collaborated with the prominent feminist scholar Chizuko Ueno from Tokyo University on a collection of essays and poetry called The Shamaness and Her Interpreter (のろとさにわと Noro to saniwa to), which the two likened to the collaboration between an Okinawan shamaness and the figure who makes sense of her utterances for the outside world. A few years later in 1993, Itō explicitly played out the metaphor of poet as shamaness in her long narrative poem 'I Am Anjuhimeko' (わたしはあんじゅひめ子である Watashi wa Anjuhimeko de aru), in which she takes a story recorded from a shamaness in Tsugaru in the early twentieth century and refashions it into a dramatic new myth of healing from sexual abuse and self-discovery.[6]
Since at least the 1980s, Itō had been fascinated with Native American poetry, which she first read in Japanese translations. In 1990, she met the American poet Jerome Rothenberg when he visited Japan. Rothenberg had been a major force in re-examining Native American poetry in the movement known as called "ethnopoetics," and he encouraged Itō come to America. She had recently separated from her husband, the literature scholar Masahiko Nishi, and at Rothenberg's invitation, she started making regular, extended trips to America with her children, before eventually settling in 1997 in Encinitas, California with her new partner, the British artist Harold Cohen.
The change of setting led to several significant changes in her writing, in terms of both genre and subject matter. She began writing novellas, both because she was tired of poetry and because she felt prose was better suited to exploring her new experiences as an immigrant. Several of her novellas from this time describe the difficulties of immigration and the experience of being a transplant in a new environment.[7]
More recently, Itō has returned to poetry, publishing several long, fantastic narrative works that blur the lines between prose and poetry. These include Wild Grass on a Riverbank (河原荒草 Kawara arekusa), published in 2005, the narrative Coyote Song (コヨーテ・ソング Koyōte songu), published in 2007, and The Thorn-Puller: New Tales of the Sugamo Jizō (とげ抜き 新巣鴨地蔵縁起 Toge-nuki: Shin Sugamo Jizō engi), published in 2007. In these works, Itō writes about the experiences of modern people, often migrants or transnationals, but does so in a way that has an almost mythological grandeur and frequently veers into the surreal.
In addition to these original works of poetry and prose, Itō has published numerous books of essays, manga criticism, and translations of American literature for young Japanese readers. Among the books she has translated into Japanese are The Cat in the Hat by Dr. Seuss, as well as the two books Out of the Dust and Witness by Karen Hesse.
Itō divides her time between her home in Encinitas, California and Kumamoto in southern Japan. In the latter, she has been the organizing force between a group of local writers and artists playfully known as the "Kumamoto Band." Itō's work is featured prominently in the Kumamoto Modern Literature Museum.
Translations into English
Translations into German
Secondary Sources