POETRY OF ICHIHARA

by Ichihara Chikako

Ichihara Chikako was born on Ikema Island, Okinawa, in 1951. Although her date of birth might seem to place her outside of the scope of this site, her home island was in fact under direct U.S. Occupation until 1972. Japan was accorded only “residual sovereignty” in the 1952 U.S.-Japan Peace Treaty. During the Cold War, the U.S. military saw Okinawa as a “keystone,” or an essential bastion in the Pacific and part of a global circle of defense outposts. Japan regained full sovereignty only after numerous protests and difficult diplomatic negotiations. From age eight, Ichihara grew up in the prefectural capital, Naha, moving to Tokyo in 1970 when she was nineteen. Far too little is known about the grass roots experience of Okinawan women in this period, other than the suffering of girls and women during the Battle of Okinawa in 1945. Attention has been focused on men in politics or on security issues. Okinawan women figure mainly in problems relating to the bar and brothel culture surrounding U.S. bases, the bulk of which continue to be stationed in the small area of Okinawa. What kind of views and education Ichihara brought with her to Tokyo would be an excellent topic for research. Her first collection of poetry was published in 1975, followed by a second in 1985. She also became the editor of Rikitei, a leading poetry magazine.
The following selected poems by Ichihara are from her 1985 volume, Umi no Tunneru (The Tunnel through the Ocean) and first appeared in translation in 1993. Recurrent themes are her mother, home place, and the ocean. The complexities of her modern poetic style and prose poetry are a challenge to translators.


MAGNETIC FIELD MAP

Was
That it?
My mother's pudenda?       When
I scattered iron filings over the paper      and from the back
Applied a magnet
The iron filings' nature
Awoke and assumed an erect stance
When I said      how lonely I am
A gentle tuft of grass
Through the magnetic storm
Rushed straight towards me
O mother
On our island-home!

ISLAND OUTLINE—
TOWARDS "SUNAYAMA" IN MIYAKOJIMA


The islands
Were facing one another

When I first spied a duck
On the island outlined dimly in the distance
The puzzle
Long perplexed me
Even after I realized that the duck was
In reality a sand dune
Why
Would a duck be
In such a place
.....

When I venture out onto the seashore you are a little closer. So lonely so far from human habitation      simply      planted there white no doubt you've spent many sleepless nights lying awake. I could have looked away. Pretended not to see blown by the sea breezes      I should have gone back. Simply because I stared and cried "A duck!"      your place is like an open wound defenseless        against the wild sea!

Look
the sea is rough
Water-shears are gleaming
They will dive through the waves
Work the coastline
In sand
This is how
The duck is born
In the island-outline

I should not have called her a "duck". Like someone turning back      the duck was a little out of shape but the memory of the numeral 2 was distinctly impressed upon my vision. As if from a cold place like an inside-out Sado Island covered by snow       she looked back like the wind    and     inadvertently revealed a lonely soul. I should not have called out. When I call out beside the sea    I miss her all the more.

Islands were
Gazing at melancholy
Between them
The autumn waves tossed
The wind was
Disturbed
Glances
Entwined
And vanished
Quite distinct from the numeral
2
They
Became one person
And yet another still
I was staring at
The actuality
Of her body
Which was 2
Sitting on the coastline

I wonder was the duck playing with the waves with her thighs? Was she tickling the soles of her feet with the duckweed? Like the tranquil memory of the violent three minutes just now passed, of the hourglass. With the movements of the lovers' feet the shore becomes white foam whipped up by the cool breezes it flies to this island the brine which splits with a snap how it stings the eyes! Quietly I recall someone.


GIANT CLAM

In water things swell up. But the mighty dimensions of the giant clam exceed by far the rate of enlargement caused by water. Even on the basis of an actual survey it appears to be one metre in size. It has been living for at least 100 years. This is how the discovery of the world's largest bivalve was reported in the M newspaper. As if it was a UFO out of the past, ethnologists made a great fuss over the discovery of something that was presumed not to inhabit Japanese waters.

A woman burst out laughing. But isn't it a vulva? On that shore a peculiar magnetism is working so it's an everyday event for people to lose their souls, for women's vulvas to disappear, for men to have their penises removed. On the shore common giant clams and bęche de mer live, they copulate round the clock and thus increase their numbers two to three times. Their numbers grow to such a magnitude that tour companies organize shell-gathering tours.

As a sequel the M newspaper went to great pains to play up a large-scale search for giant shellfish the result being to introduce a photograph of a giant clam hauled onto the land. What was the idea? There was also a photograph of three two-year olds looking at a shell with the flesh cut out. One metre in length. 150 kgs in weight. The peculiar logic of the ethnologists who could not be satisfied with mere numbers who wished to get to the heart of the matter was even more repulsive. The egg cracked open slippery with brine from over the ocean the clam arrived here pushed by intermittent labor pains. I'm sure I remember that. A woman remembered the pain of ligaments being opened as far as possible.

They were tiny aliens who had become the possessions of human beings.

Along the roads of memory leading to that rocky shore thousands, hundreds of thousands of waves flow. Only on the night of the harvest moon does the road float up like a bridge. The shore is a thorn in the sea. A tendril of bone inside a woman. Awakening from the long slumber of 100 years on the green patch of shore the giant clam for the first time        exposed its vast body to the sky.

TOKYO BOUND

To cross the horizon
I needed a passport
I discovered it for the first time on the sea travelling north
The waves sway all together in their thousands their ten thousands
The night sea is black
Other than the pale wave-flowers      there was nothing to be seen
The sea was choppy
Lashed by heavy waves
The ship rocked this way and that continuing on its way
Throwing up
In the washbasin      I thought now I've
Met the horizon head-on
I thought I'm on My way to the land of Taira no Masakado, which I've been reading all day
Astride a horse
Shuddering violently      with every wave

THE OCEAN IN THE FIST

As soon as he was born
My boy was eating his fist
What was inside it?
It seemed that nothing could be inside
This small fist.
He must have brought a handful
Of the old, familiar ocean with him all the way here
Already he is aware of
The helpless way of humankind
Who cannot abandon their homeland

MOUTHLOVE (ORALITY)

You suck at my breast
You stare

I hug you with both arms
I return your stare entranced

The meeting between you and me was
Brought about by a mysterious flood of water

A break       on a journey tugging at an eternal waterway
Riding on a fateful lotus-boat        from far far away        to somewhere far far away

Making      a short short detour on the journey
Trying to fix me in your memory
To become one with me you stare
And then      we gaze at one another

This a ceremony of the journey of life
The milk-white sacred water I give to you
Penetrates deeply into the folds of your sleep
Joining your and my
Time
This       our wisdom       lest the journey of life grows too lonely
Now and again
On the flood of water we gently float two boats
Thanking
Vast existence which joined us on the shores of this early summer

Now and again
From far far away       on our journey to somewhere far far       away       in the small space
Forlornly we shake some petals

Everything begins       everything continues on
Creating ripples
In the flow of time deeply-rooted in existence
Behind lukewarm yawns
That disentangle themselves from the folds of your sleep
Finally we met
A gentle       mysterious sadness
In the blossom-light on the transient waters of life       we fold onto each other

.........................

Reference

Morton, Leith (ed. and trans.). An Anthology of Contemporary Japanese Poetry. New York: Garland Publishers, 1993.