Is It May Again?

Toshiko Hirata
Translated from the Japanese

Time flies on windy dayswind rushing clock hands.Six in the eveningin the park         an old manpractices bicycling.He’s buffeted    all wobblelike he’s learning how to wobble.Tragic scene in this park last month—cherry blossoms scatteredby wind less strong than today’s.What happened?Was the weather murderousor did branches betray their blossoms?Of the pathetic corpses that once covered the ground,not one petal remains.Gone, like nothing ever happened.Ever since I read the poem called “The Red Sparrow,”when I go walkingI end up looking for red sparrows.Where will they swoop down fromon such a blustery day?White and yellow sparrows taking off, landing.Do red sparrows exist only in that poem?Six in the evening.Even past six,the old man still wobblingon a bike that must have been a hand-me-downfrom his grandkids,wobbling because it’s too big for himmismatched hand-me-down socksleft foot    right footfrom his grandkids.It seems thatleaves and windhave reached an accordbicycle wheels    sparrow feathersthe old man’s facial featurescould scatter at any moment.Cherry blossoms scatter with a puff.I start to feel like he could be someone I know.I look more closely.Is this the very poetwho wrote “The Red Sparrow?”I look even more closelyand his socks begin to resemblered sparrows.十七月七日夕方六時になりました風の強い日は時間のたつのが早い時計の針が風にせかされるせいだ公園では          おじいさんが自転車に乗る練習をしている風にあおられ    こけてばかりいるのでこける練習をしているみたいだひとつき前この公園で惨劇があったそれほど強い風でもないのにしきりに桜が散ったのだ花を散らすのは風の殺意それとも枝の裏切りだろうか地面を埋めつくした無残な死体はもう一枚も残っていない何も事件などなかったように赤い雀の詩を読んで以来そとを歩くたびに赤い雀をさがしてしまうこんなに風の強い日はどこからか降ってくると思ったが白や黄色の雀ばかりが離着陸を繰り返す赤い雀など最初から詩のなかにしかいないのだろうか夕方六時になりました六時になってもおじいさんはまだこけてばかりだ自転車が大きすぎるのだ孫のおふるなのだろうおじいさんの足は     みぎひだり色の違う靴下をはいているあれも孫のおふるだろうかこけてばかりいるのは靴下のせいだわずかな風にも花は散るのに強い風でも葉っぱは平気だ葉っぱと風との間には協定が結ばれているらしい自転車の車輪も     雀の羽根もおじいさんの小さな目鼻も今にも吹き飛ばされそうなのにずっとおじいさんを見ているうちに古い知り合いのような気がしてきたもっと見ているとおじいさんの靴下が赤い雀に見えてきたさらに見ているとこのおじいさんこそ赤い雀の詩を書いた詩人そのひとに見えてきた

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Headshot of Hiram Toshiko

Toshiko Hirata is one of Japan’s best-known contemporary poets, as well as a renowned playwright and author of seventeen novels. She is associated with the ‘women’s boom’ in contemporary Japanese literature. Her collection, Shinanoka (Tokyo, Shichōsha, 2004), or, Is It Poetry? earned Hirata the Hagiwara Sakutarō Prize for poetry.

Headshot of Eric E. Hyett and Spencer Thurlow

Eric E. Hyett and Spencer Thurlow are a poetry translation team from Massachusetts. Their first translated book, Sonic Peace by contemporary female Japanese poet Kiriu Minashita (Phoneme Media, 2018), was shortlisted for the 2018 National Translation Award and the 2018 Lucien Stryk Asian Translation Prize. Their translations and essays have appeared in Granta, The Georgia Review, World Literature Today, Modern Poetry in Translation, Pendemics, Transference, and The Cincinnati Review.

Cover of "Is It Poetry?

Dallas, Texas

"In Hirata’s poetry, all states of nonbeing are possible, including ambiguous ones…Hirata is something of a poet-trickster—but the book is so enjoyable that it’s easy to forgive her for laughing at the reader’s expense." 
—Janani Ambikapathy, Poetry Foundation (Harriet Books)

“Toshiko Hirata is one of Japan’s most beloved poets, whose work is powerful, lyrical, weird, and—just as importantly—funny. We are so lucky to have this collection translated by two people who couldn’t be better suited to the task. Hyett and Thurlow turn every phrase to maximize the surprise and delight so central to the experience of Hirata’s poems. Not only that, Is It Poetry? is one of the most striking poetry collections to reflect on the sometimes arduous, sometimes bizarre process of poetry writing itself; the reader ends up rooting for the protagonist to write the very words they are reading. Wonderful stuff.”
—Andrew Campana

“Beginning with the inspired rendering of the title and running throughout this beautiful volume, Hyett and Thurlow convey in their translation the humor and poignancy of Hirata’s original and are truly deserving of the William F. Sibley award for this collection. Sometimes we may ask of translated poetry, ‘Is it poetry?’ and here the answer is a resounding yes.”
—Sarah Frederick

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