f 'EI ,,,,, l:s& JAPANESE POP CULTURE & LANGUAGE LEARNING $4.50 MANGAJINNo.19 I 0744 70786009 1 9 Thelifeofatranslator I ntervi ewswiththepro s Letters to theEditor MANGAJINwelcomesreaders ' commentsbyletterorfax,al -thoughwereservetherightto edit for clarity or length.Please address correspondence to: Edi-tor, P. 0. Box 49543, Atlanta, GA 30359.Fax:404-634-1799 Contact Your Society IliveintheMi nneapolis/St.Paularea inMi nnesota-doyouknowof any Japaneselanguage/interestgroupsi n this area? Iwant to continuemy Japa-nese studies but would like to meet oth-ers with similar interests. STEPHANIE I SAACSON Rochester,MN Just offhand, we don't know ofany such groups in your area.Youmight start by checkingwithyourlocalJapan-America Society. The National Associa-tion ofJapan-America Societies lists 45 such groups in the U.S. and Canada,in cities fromTorontotoTulsa.Contact NAJAS at 333East 47thSt,NewYork 10017 (212-715-1255). Quite reasonable, really inMANGAJIN#17areaderinJapan wrote:" ... living on astudent budget whilelearning Japanesemakesit diffi-cultformetoaffordthehefty9,000 yearly rate. This is well over two times the price in the U.S., and only a 1,000 savings off the'newsstand'price..." Our distributor in Japanresponds: Before 1 got involved inmagazine dis-tribution,1 used to feel that the prices of imported books and magazines were unreasonably high in Japan,and Ihad even questioned bookstores about their prices for imported publications.I was judging fromthecover price and the currentexchangerate,but nowthat1 haveseenthebusinessside,Irealize there is much more toitthan that- air freight, various importing costs, and the factthatwebuy onanon-returnable basis,but sell on areturnable basis. Bywayof comparison,Time and Newsweekare$2.95intheU.S.but 700inJapan,an effective"exchange 4MANGAJIN L ette r s rate"of 237/$.Herearesomeother examples: Esquire,$2.50-+ 1,000(400/$) NewYorker, $1.95-+ 1,200(6151$) MANGAJIN,$4.50-+1,000(222/$). Magazinesubscriptionsarenot popularinJapan,and discountsare usuallysmall.Forexample,Nihongo Journal,whichisprinted inJapanand sells for 600 on the newsstand, is avail-able by subscription at 7,200for 12 is-sues-the only discountisthe postage and handling. H IROMICHIMOTEKI Sekai Shuppan Kenkyu Centre Tokyo, Japan Archaic Japanese Thank you so much for "The Phoenix." Ilovethehistorical,mythologicalfla-vor.1 hopeMANGAJJ N willcontinueto present manga written with a wide vari-ety of styles and timeframes. Buttheexplanatorynotesto"The Phoenix"wereslightlypuzzling.Why wasthe - zuverbformdescribedasan archaicequivalentof -naide?Words like "omawazu" and "dekizu"are scat-tered all over modern Japanese, and not alwaysaretheyusedinwaysthatare compatiblewiththe- naideform.For example,using"omowanaide"instead of "omowazu" for "unthinkingly" seems awkwardtome.Would youplease ex-plain this? H EIDIHoEMAN Olympia, WA The simplest answer to your "Why?" is that we don't have space in MANGAJIN to cover all possible uses ofaword, and wealsotrytoavoid explanationsthat getintoalotof technicaldetails.But since you ask. .. Mostbasically,- zu canbe thought ofas the classical/archaic equivalent of modern -nai - i.e. , asthe ."dictionary form"of thenegativeverbending.In thecontextwhereit appeared in"The Phoenix," (shinazu),the - zu was being used as acontinuing form,essentially similar to the - teform, so it was equiva-lent to - naide,instead ofjust - nai. Negation has always been among the most complex aspects ofJapanese, with different formsavailable/requiredde-pending on the context. In modern Japa-nese,oneof thecomplexitiesisthat some ofthe classical forms have refused to die out completely and remain in use. As is often the case with classical forms that remain in modern, manyofthe uses of -zu todayareidiomatic- i.e. ,they arerestrictedtospecificexpressions, and cannot be replaced with a formof - nai.Theidiomaticuse of omowazu to mean"unintentionally/involuntarily/ instinctively/unthinkingly"isacase wherereplacementwith-naideisnot possible.Butitispossibletohavea phrase like. .. to wa omowazu ... (or . .. towaomawazuni.. . )meaning "without thinking . .., "and this use can indeed bereplacedwith... towa omowanaide ... At the same time, -zu also remains onmodernconjugationchartsasa regularlyoccurring formof thealter-native negative -nu. (It's interesting to note that in classical Japanese, - nu was a form of-zu rather than the other way around.)All theexamplesof dekizu we've been able tothink of at the mo-ment fallintoth(scategory,and they can be replaced with dekinai.Thisuse of - zu as aregular conjugationof -nu occursmoreinwrittenJapanesethan in speech, but you' re still likely to hear it spoken. In acknowledgement that -nu is not quite"standard,"some modern conjugationcharts place itinasepa-rate,"special"category-but,of course,the factthatthey includeitat all means that it has to be considered a genuinepartof modernJapanese.In that sense, to say -zu is an archaic form of- nai or -naide does not tell the whole story. BLOOPERS We'll send you aMANGAJINT- shirt if we publish your language (Japanese or English) blooper. DuringmyhomestayinJapan,the hostbrother had just started attend-ing a juku, and my host mother asked whattheEngl ishwordforitwas.I answered "cramschool," and asked if sheunderstood"cram."Shean-swered, "Yes, cram chowder!" AMELIACHAPMAN Los Angeles, CA This page is usually devoted to clever brand or product names, but in this issue we are featuring aslick slogan that came to our attention recently. Don'tWally? NTT NTT does it again! In our issue No.17 we reponed that the punsters at NTT (Nippon Telephone and Telegraph) had designatedthe19th of everymonthasr - 70) l=l(Toku no Hi," Talk Day,"c.f.to=I 0,andku= 9).Not contenttorestontheirlaurels,theyhavenowcomeupwithapunningsloganfortheir campaignsol iciting advertisers for the yellow pages,knownin Japan astaun peji, or " town pages." ThecharacterinthestripedsweaterandstockingcapisWally,froma children'sbookcal led" Where's Wally?," originally from England, but now being marketed all over the world. (I n the US, his namewas changed to Waldo, but in most other countries, he's Wally. ) It's currently being promoted in Japan as'7:t -1)- ~ ~ i J ~ t t(Uorii o Sagase, "Searchfor Wally"). In the book, Wally is hidden invast town, country, and crowd scenes,and the object is to locate him. In thi s adfor the taun peji, atthe bottom left, i s the slogan: l!'r 0) ::.t machi no koto 7J:GDon't '7:t - ')-naradonrouorii about/concerning the townif it isdon"t Wally/don"t worry Don' t worryLWallrrbout the town. With the relatively limited number of sounds available in Japanese,it"s not possible to make a distinction between " Wally"and "worry" - a convenient situation for the ever-alert copy writers at NTT. The idea seems .to be "don't be like Wally," i.e., hard to find; and.asanextension, "don't worry."This is clarified by themain headline: Taunpejidemedatehamachi no nakademedatsuyo yellow pagesinif (you) stand outinside the townin(you) will stand out(emph) If you stand out in the Yellow Pages, you'll stand out inthe town. Thanx to:Dr.Nicolas Tranter Send us your examples of creative product names or slogans (with some kind of documentation).If we publish your example, we'll send you a MANGAJINT-shirt to wear on your next shopping trip.In case of duplicate entries, earliest postmark gets the shirt.BRAND NEWS, P.O.Box 49543, Atlanta, GA 30359 MANGAJIN5 MAD*AD 6MANGAJIN Mad Amano is well known in Japanfor hisatire and political parodies. Aformer planning manager with Hi tachi. he left the corporate l ife in 1974 when he won the cartoon prize of Bungei Slumju. a leadi ng Japanese journal of political and social commentary.Although he works almost excl usivel y for the Japanese press, he now lives in the U.S., and he targets the politics and happenings of other countries asmuch as he doesthose of Japan.Mad Amano makesfullusc of the punning potentialinherent in the manyhomonyms found in Japanese. Nameramaneosilimasu lickedaction/behavior(obj.)UNTRANSLATABLEPUN:It reallymeans"(He)t reats(them) contemptuously/ insults(them)," butsinceit's anidiomaticuseof theverb nameru(literally'' lick''),ithas greatpunningpotentialfor use in describing someone namedPerot (see below &right ). namelaistheplain/abruptpastformof nameru.whichliterall y means " lick/taste,"but is also used to mean "insult/make light of." mane canmean "imitati on/mimicry." but inthe expression nameta mane it means "action/behavior... name1a mane osuru/shimasuisanidiomaticexpressionmeaning "behave in a way thatinsults/makeli ghtof/make a foolof." .:f-v-/7"1 PeriiKyandii licking!Pcrot candy Perot Cand_y pero is a standard FXword for a licking action. while Pero. with a longo,istheJapanesepronunciationofPerot.Thelong-short voweldistinction can usually beignored for the sake of a pun. kyandii is a katakana rendering of English "candy." ) To1su:en1ojouinki Peri) Kyandii suddenlyappear on scenepopularitynstngPerotcandy suddenly, popularity rising:Perot Candy. 7' ;:,;- ;1.r.n1:,;l:,!J!r: :t:Jt. -z:e.Jj:",,tr ",0 Busshudailor.wlni uamushi dekinainigaiaji Bus hpresidentforcannotignorebitter13\tc For President Bushabittertastethatcan' tbe ignored. Pero, the "sound" effect Michael the cat, from the series What' s Michael(KobayashiMakoto/Kodan-sha),illustrates the"sound"effectpero.I He'slickingthecreamoutofacoffee creamer,butperoismoretheeffectof li cking thanthe actualsound.----j mushi surumeans "ignore: and muslri dekiuai is its negative potential form."cannotignore." Mushi dekinai ("cannot ignore") modifies nigai aji ("bitter taste"). Kurinlonkohoni uakekkcloishiimi1sunnaji Clintoncandidateforquite/prettydclicious/t:"tYhoney/ nectaroftaste For candidate Clint_!!!h a taste of honey that's really sueis considered, one thing is clear: the "God of Manga'' isfarfromfading into oblivion. Brian Covert is an O.wka-basedfieelance journalis/. Stereotypesabound in Paper Fortress, set in postwar occu-pied Japan. TcLukaincl udescaricatures ofa dim- winedAfri-can- American soldier. White American raci\t lechers. and Japa-nese "bimbos" who cater to the occupation forces. For more information on Tezuka andhi s work. \ee M ANGAJJNNo. I B. MAN GAJI N11 D'EC.\08)1'Nt\NTTO BEA M\ll\CJNt\IRE '1-1\iEN1 Calvin and Hobbes 't.Jt.ll. '{QIJ'LL AA\Jt. 1b PR8i'f\-tt>-RD10 GETt\ tJ\ILLIONOOLLAIt.::.a;ri h14: .e;IJt.::.",-=>-riR:.C.Lt..:AJ!.. Oronaui ucmarahyakwlltmchojaui uaritaittekesshiu shiw11da adultwhen becomemillionairewant to become(that )decided(explan. ) have decided li decideri.R:-LTo/i.R:at:>.OJO).fJl(Citf"t'f-t-rt.:iJH.LJ:JO).fJ. o millionl.t .i'Ih-c'.l'flriJj (millionaire)/1'-c'l;l: bil-lionaire (billionli 1 zillionaire }j tmillion1.: C,?-r )t,j -)}j ;/){ ,Jt 1# ;/){ il? .0 , grow upl;l,/!X R: T7.>,*.A 1.:6Grown-up (j ,*A, adult 0) .tJ. Dad:"WeiiJ you'll have toworlQretty hardto geta million dollars." 1:' {, :i-3 ;t ,i IJ: L(1:'17t-f..: :t,-j IJ ( 7.>t..:N.> 1.:(IJj r II- -(f !J Demo hyakumandorute 11isuru 11iwa.u11-10hararakanakucha damedayo. butmilliondollar(s)in order to getvery muchmu\1work(it) i s(emph.) fl..f.: .. lt-c>t=i-Jt.cl.1-)1JIvLo work pretty hard 0) prettyVery1.:C, i"J'.pretty 0) }j;l){,r l utf(lgo get XXXdollars t'. .t:; 1i I)!.: earnN! ;t 6 0Get 0) }J;IJtna million !;l,one million (B lilt 1.' -).: t 0) -c',dollarstJl.[l.",{ C. 6 0Cal vin:"NQ.J_y.ton't.Youwill." -+fj'f) -k *-x'S:W L?L t?'(' '? t.:. Kal'akuo gunpowder (obj) kirashichatta usedup be out of I: ,Jl ;{_ IJ< tt-c ,7;. 1J -JJ;.,7"'"' t' 1 k'J.i.i H! ?-c t-c '? 'b "\ .::.t.a- L I: fJ' -t t.:. ?t.:. L "I Calvin:"Sheesh,Ididn'tevendoityet." -T:Lt.L Lt.:.-flti. t.! 7- ::r..-J .it:.Jd:lv (.:if.> '? -c (/) (.: Che!mada11W111i1110yatte-11ai11011i (aggravati on)yetdidn"t do anythingeven though sheeshti

do it ti,.:135}0) t 'b1.>.:t o Calvinti .t:>I:J: 1-v ifr tmitJ{}tL -c 1: &. 1! -r 1.> t.:. 1!11t. .i6 h-c "' J.> o MAN GAJIN1 3 The Translators Talk We asked Frederik Schodt, a translator himse/f(also an inter-preter and author/free" lance writer),to inter" view a few pro]essional translators and give our readers a picture of . what these curious animals are reqlly like. Becau8ereadership is among Americans learning Japanese, we limited our interviews to non-\. luitive speakers of Japanese who were making their living as translators.Wewere able to get a good , variety-two nym and two women; tWo in Califomia and two in Tokyo;translating material ranging from technical and riJedical to literary andpolitical. Their backgrounds are as different as their approaches to their profession. 14MA NGAJIN Interviews with four professional translators DonaldPhilippi,SanFrancisco; free-lancerspecializingintechni-cal and medical. Don,youarewidelyregarded asthe "teclmical translation guru" in this area. Canyoutellusalittlebitabout your background, and how you got into tech-nical translation? I began living and studyinginJapan in 1956. My Rockefeller Foundation grant ran out in1961, and I was asked by J apa-nese acquaintances to do technical transla-tionsfor Hitachi,Ltd.The rationale was: " Weknow you havetranslated theKojiki and arcfamiliarwiththeManyoslrii, and weknowthatanyonewho hasmastered archaic Japanese to that extent could, with acertain amount ofeffort, master contem-porarytechnicalJapanese."Thatsealed my fate for thenext 31years or so. How long did you live in Japan? From1956 untiltheend of 1970. How did you first team Japanese,and do you know any other languages? IwassurroundedbyJapaneselan-guage speakersinL.A. duri ngmychild-hood, and wasmysteriously drawnto the language.Itookthreemonthsoff from university andmemorized kanji, and con-tinued studyingthelanguage untilI went tolive in Japan.I also was drawntoRus-s ian and other Slavic languages, and I read Russian quite nuently. I have done consid-erable research into the Ainu language and epic folklore. I think you're being modest about the languages you know.Tell me,what kind of translation do you mainly do 110w? I havebeendoing technicaltransla-tion since 1961, mostly inmechanical and electricalengineering, butalso medicine andcomputers.I' mespeciallyfondof translatingpatents.Ifanyoneislooking foranexperiencedtechnicaltranslator, my phone number is (415) 752-7735! Do youwork through agencies ordi-rectly with clients, and why? Veryseldomwithclients.Myrela-tionshipswith afewagencies have been builtupovertheyears.Iliketohavea cushionbetween myself and the client. You have in the past referred to a mys-terious"translator'shigh"yousome-times experience.What do you particu-larly like about translation? It' s the perfect career for an introvert or a misanthrope.lfyou don't like people, you canstayathomeandavoidcontact with them. Its j ust you and your dic tionar-ies andglossaries. On the subject ofdictionaries and glos-saries,what reference materials do you use? For medicine, I use a whole shelf full of J-E and E-Emedical dictionaries.For nuclearpowerplants,therenosingle dictionary. and over the yearsI have built up my own glossary/ authority tile, which contains not only definitions but also quo-tations from writing by specialists. Youhave in the past advocated having the fastest computer possible, and,I be-lieve, listening to Motorhead tapes while translating.Whatsortof hardwaredo you use, and what sort of musicdo you recommend? Motorhead ishilarious butI findthat pagan music from the Byzant ine Empire is moreconducivetotranslation.Irecom-mend it to all translators. A very fast com-puteri.necessarybecauseof thegreat lengthofmyauthorityfile,whichhas nearl y2MBandhastobeconstantly searched through and updated.I also like toopenupnumerousfil esindifferent windows and copy blocks from one file to another.I' m afraidomeday I wi ll reach a saturationpoint-apointbeyondwhich anMS-DOS machine wi llnotbe ableto go.Ihavebeencontemplatingthepur-chase of afaster (fastest)Maci ntosh,but can't afford one justnow. L i II c I ll ll b Q I; D a c u G fa d While on the subject ofaffording some-thing, how much can you make translat-ing,and how many hours a day do you normally work? I ordinarily doabout3,000wordsa day.l could never count how many hours I workbecause of the constantinterrup-tions. The income is quite good if there is a steady supply of work, but recently there hasn'tbeen.Last week I made$98.08.I do not rule out the possibility that some trans-lators earn more than $100,000 a year. What is your normal day like?Do you work in the daytime or at night? I tend to get up late in the day-around II :00 or 12:00 noon.Iwork intheafter-noon and evening. Sometimes I stay up all nightworking.Nighttimeseemsmore conducive to concentration. There are fewer interruptions. I also like to shop after mid-night.You can have the whole Safeway to yourself. Do you ever go shopping at 2:00 AM? No,it'sascary thoughtaround here. On another subject, what is the most dif-ficult aspect of translation for you? Are there anyexpressions orwords that you FeatureStory find impossible to translate? The most baffling and difficult words for me are names of foreigners, artifacts or products written in katakana. This creates real problems for all translators, especially since theJapanese havesuch apenchant fortelescopingtwowordsintoasingle j umble,asinkondemiorpasokon-kondemiis"condensatedemineralizer," as I am sure everyone knows. Kuraddo can be either "clad" or "crud" in a power plant. Doyoufeelthreatenedbymachine translation? Having examined some of the output, IknowwhatMTiscapableof doing.I don't feel exactlythreatenedbyit,butI can seethatit couldbe applied success-fully in translation of parts lists and the like where one si mply matches up single terms. Like natto =nut, and boruto = bolt.That sortof applicationcanbehandledvery well by a machine. With any kind of com-plicatedsentence,however,MTworks verypoorly,andweknowhowcompli-cated and ambiguous Japanese sentences can be. I know you only translate, not interpret. How do you stay fit with all the sitting? I am sedentary and overweight and do not believe in any ki nd of exercise.Other than that I am in good health. Probably the mentaloutlookinfluencesthephysical health. You know, a "cheerfulmind" and allthat. Is there anything you don't like about translation? No. Is therea futureintechnical transla-tion? I think there wi ll always be J-E tech-nicaltranslation workunless Japan sinks into the ocean or something. However, the last year has been very difficult on account of therecession, and I see very little hope for a bright future. I would not recommend anynewcomer to entertheprofession at thepresent time. Youhaven'tbeenback to Japanina while. How do you keep up with the lan-guage outside of the fields you work in? Do you watch films, read books or mango? Aftermore than 30 years of translat-ing Japanese I findthat I have completely lostallinterestinJapanandJapanese (continued on page 17) ama:inK word processor for rlrc Apple Macintosh Berlitz Translation Services Thethat speaks your language. Whenwriting inEnglish isn't enough to get your message across, turn to Nisus for completely localized foreignlanguage wordprocessing. Nisus is loaded with powerful features that include easy crossreferencing, indexing, macros for repetitive tasks, the ability to integrate graphics & text, and the most sophisticated thesaurus andspelling check available. So for a highend wordprocessor that speaks your language, makeit Nisus. English & Japanese in the same document Other languages available: Arabic Hebrew Czech Hungarian Finnish Korean German Polish Russian For mote infotmation cal: 1-800-922-2993 Ext.120 NiSUS lfl i' When You can't Afford Mistakes With our worldwide network of 30 Translation Centers in 18 countries, Berlitz Translation Services gives you access to the largest pool of translation expertise and technical support available worldwide. 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In the U.S. (800) 628- 4808 In Japan ( 81- 3) 3505-3356 MAN GAJ I N1 5 FeatureStory So youwant tobe atranslator . byCarlKay Soyouthinkyou wanttobeaJapanese translator.Whatdoesthatreallymean? What training and credentials do you need? What equipment must you invest in? What are your prospects for employment? What kind of income can you expect? What kind of lifestyle? Translators spendmostof their time silting at a computer terminal. Transl ation involvesreadinginonelanguage(inthis case. Japanese) and wri ting in another (En-gli sh). Translators don't get much exercise in the course of thei r work, and don't have a l otof contactwithother people.This is especially true if youwork asafreelance transl ator at home. Ifyou want to be a doctor or a lawyer. you need to undergo training by an accred-ited body and follow established standards of professional practice and ethics.I fyou don' t do these things. you can get in a lot of troubl e.I fyouwanttobea translator,all youreally have to do is call yourself one. There are a few institutions that offer pro-fessional translati on training (and the num-beri sgrowi ng).Mostseri ous translators join the American Translators Association. which offers an accreditation program and i ssuesprofessionalandethicalstandards that it polices to some degree.But you can work as a transl ator without doing any of thesethings,andnoorganizedbodywill come after you. There i s al so no clear defi -nitionofthel iabilityoftranslatorsfor mistransl ations, so in this way too. transl a-tion i s a "quasi-profession" inAmerica at thi s point. Asidef romtheinvestmentyou've madein learningto read Japanese,you' ll needsome equipment(you' regoinginto business after all, though one that costs a l ot less than opening a restaurant. forexample): computer,fax.modem,dictionariesand other reference materials. I f you work as an in-house translator. your employer will pro-vide these things. Theprospectsforfull-time employ-ment at a company as a Japanese translator in theUnited Statesarenotgood.Only a fewlarge Americanfirms have such posi-tions.Smallfirmsthatdoasignificant porti on oftheir businesswith Japan occa-sionally al so have openings. A few transla-tion companies hire full-time translators. A morelikelysourceofemploymentisthe 16MANGAJIN l argeJapanesecorporationsintheUnited States,whichsometimeshavein-housede-partmentsto handletranslation of technical manuals.Iest imatethattherearenotmore than1.000 such jobs in the UnitedStates at this time. There arealso jobs where transla-tioni s just one part of the job descri ption. In-houseemploymentprovidessteady income,anowof workinonefield.and colleagues to communicate with. Most Japa-nese-to-Engli shtranslatorsintheUnited States,however.work asfreelancers.Iesti-mate that about 5,000 people do atleast one Japanesetranslationj obperyearandthat therei s a coreof 250-500seriousfull-time freelancers. These people usually work both for translationcompaniesaswell asdirectly for the end users of the translations. Full-time freelance Japanese translators in America constitute an i nformal. geographi-cally-dispersedyetclosecommunity.Meet-ingpointsinclude theannual conventionof the American Translators Association; a San Francisco area group that meets monthly, and aseriesof annualconferencesaroundthe worldorganizedbyaloosenetworkcalled IJET (International Japanese-English Trans-lators).SomeAmericantranslators of Japa-neseliveinJapan,andmanyof themare members ofJAT (Japan Association ofTrans-l ators). These organizations and thei r various newsletters,electronic bulletin boards,etc., provide aninfrastructure for practi tioners in the field. Many freelance Japanese translators work pan-time. Some are native Japanese who work full -time in a technical fi eld and on the side do transl atingintheir specialfield.Someare Americans who have studied Japanese in col-l ege or learned it living in Japan, and translate to earn extraincome, keep up their l anguage skills.ormakea livingduring gapsin their career path. Some peoplein all ofthe above categories also perform other services such as interpreting, business consulting, or l anguage teaching. Translation in America in the late twen-tieth centuryi s not a likely roadtofabulous wealth. but good translat ors can certainl y as-piretoearnwhat.forexample,engi neers mightearn.Customersof Japanese-to-En-glish translati on pay between 12 and 25 cents per word. Translation agencies typically pay freelancetransl atorsabout half of whatthe client pays, i.e. about 6- 12 cents per word. It ismorelucrative, obviously,to work di-rectlyfortheenduser.buttheservice demandedbyend-user customers canre-quireadditionaloverheadandtime com-mitments not all translators want to make. In-housetranslatorsof Japaneseap-peartocommandsalariesrangingfrom about$25.000-50.000peryear.plusthe benefits that come from working at a com-pany. Freelancers take on more ri sk, but the best ones make more money than in-house transl ators. Since a good translator of Japa-nese to English usually translates on aver-age at l east 200-250 words per hour, hourly earnings can range from about $15 to about S60. depending on the customer.Remem-berthatfreelancersdonotalwayshave smooth now ofwork (feast or famine syn-drome). No hard data is available. but I believe that a competent, serious freelance transla-tor of Japanese can earn between $30,000-$50.000 per year after making some con-tacts in the marketplace. Earning more than that requires developi ng expenise required by a few hi gh-paying customers. becoming muchfasterthantheaveragetranslator. workingmanynightsandweekends,or doing a lot of marketing to devel op a very even now of relati velyhigh-paying work. It might also involve providing other ser-vices such as consulting, or perhaps doing asIhavedone-changingfromani ndi-vidualtransl atorintothepresidentofa company specializing in Japan-rel ated ser-vices.But asa businessman,Inolonger have the lifestyle ofa translator. Atranslatorisamanorwomanof letters (or characters!). You live in a world of lingui sticreality,travelinginthevery esotericbutinterestingzonebetweenthe two languages and cultures. There is a tan-gible feeling of sati sfaction as the stack of sheets of each job (or the now of bytes over the modem) i s deli vered. When you trans-late a contract, and see an announcement of the deal in the paper a few months l ater, you know that you played a part in the process of communicationbetweentwovery dif-ferent cultures. CarlKayispresidentof JapaneseLan-guage Services inBoston.He also teaches JapaneseTechnicalTranslationat M.I.T. (continued from page 15) culture. ! read Japanese texts every day for my work, but for relaxation I prefer to read booksornewspapersinother languages, mostlyEnglishor Russian.I watchRus-iantelevisionallIcan.Onceyou've reached thepoint of total jadedness,it's difficul t,almostimpossible,tofindany-thing at all to read in any language.And if itisinte restingitprobablywouldn'tbe writtenin Japanese.Don't you agree? Geraldine (Gerry)Harcourt,Pa-cificGrove,California;technical and literary; now teaching transla-tion at MontereyInstitute of Inter-national Studies. Gerry,youhave aninterestingback-ground as aworking translator.I first met you in Japanyears ago, but you're f romNewZealandoriginally.Tellus how youwound up in California. I grew up in New Zealand and started studying Japanese in high school there. It was a new course offered in1968, and one of thefirst of itstypeinNew Zealand.I Your source for FeatureStory kept studyingthroughcol legebecause I was fascinated by the language and couldn't bringmyself to stop studyingit,butmy major was actually marine biology. Ifirst wenttoJapanin1973onaMinistryof Educationscholarshiptostudybiology. After two years I returned to New Zealand butbecauseIwas stillfascinatedbythe languageIwentbacktoJapan,tooka translating job and ended up living there sixteen years.I've been teachingtransla-tionatthe MontereyInstituteof Interna-tional Studies since thebeginning of this year, when I came tothe States. So most ofyour Japanesewas learned in New Zealand? I studied fornmlly in high school and at Auckland University, but not in Japan. I st ill had a long way to go when I arrived in Japan. I really learned most of my Japa-nese on the job, working as atranslator. How did you get into translation? HavingfirstgonetoJapanto study biology, Iwas at cross purposes with my-self when my scholarship ended.I felt as thoughIhadn' texperiencedenoughof Japan. I wanted to live in Tokyo and con-centrate on the language because I had just begun to be able to express myself and to makefriendsandsoon.Iwentbackto NewZealandforawhile,butI couldn't settledown,becauseIhad just whet my appetite. I chose to go back and do transla-tion because 1 wanted to be involved with languagebutIdidn' twanttoteachEn-glish.I didn' t really think of translation as a career at that point, however. When /first met you, you were a techni-cal translator at Simul International in Tokyo.Why did you switch to literature? I didn't switch completely. T went on doingallthe differenttypesof material yougetatSimul,butIhadreacheda plateau. I had started out in technical trans-lation but they began giving me work in all sorts ofdifferent fields, including speeches for governmentministers.AtfirstT was learning,andit was always chal lenging, butthenIreachedapointwhereIwas familiar with thematerial andit wasn' t so challengi nganymore-JfeltlikeIwas spinningmywheels.Afterfourorfive years in Japan I also began to be aware of losing my English vocabulary and writing Japanese on the 386PC-Kanji386! r BOOKS ON JAPAN The Kanji386 system software, developed by San yo Electric Corp., the official AX bilingual U.S. & japanese operating system for running over 1,000 japanese software programs on 80386based AT compatible PCs. Endorsed and promoted in japan by over 650 japanese hardware, peripheral, and software companies, Kanji386 supports lchitaro V4.0,Lotus 1-2-3)R22J,Netware386),Excel for Windows 3.0), Pagemaker 3.0)/ SE, and other AX compatible applications. Requires an 80386SX or better CPU, VGA, 2MB RAM. 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I would readomething inEnglish and run across aword I hadn' t seen in years and think, Oh what a wonder-ful word!I feltfrustrated because English has such wonderful resources yet I wasn' t drawingonthem.Iwantedtotranlate really good Japaneeinto really good En-glish. Ialso noti ced atsome point, around 1980,thathardlyanyJapanesewomen writershadbeentranslated.Manyother women translators apparently noticed thi s atthesametime,becausethere'sbeen quiteaboomintranslationofwomen writersin thetwelve years since then. Which do you think is harder, technical translation or literary translation ? Literary translation is harder because it's generally poible to keep on polishing thetranslationuntilyouarecompletely satisfied.If you have a deadline, it's likely to be a long one, atleast a year, and cften yougettoworkonsomethingwithno deadline at all,oreven without a publisher. You have time to go back toitagain and FeatureStory again.andasaresultyouneverreally reachapointwhereyoucansay,"now that'sfinished.''Evenwhenabookis published, you stillfindthingsyou'd do differently.Withtechnicaltranslation there's a clearer end point because there is an end user whousually wants something done by a certaindeadline. Andthere's a differencebetweentranslatingforinfor-mation and translating for publication. How many books have you translated? I' vetranslatedsixbooks.Ihavea couple ofother projects on the back burner, butIdon'thaveadateor publisher for the m yet. I know you've translated at least three booksbyTsushimaYiiko.Are youher sole translator at this point? No, there are several others also work-ing on her stories. Is iJ possible to support yourselfsolely with literary translation today? o, it's not. If you ask somebody who translates Murakami Haruki or some other best selling author, they might give you a different answer, but I think its extremely rare to be able to support yourself during the time that it takes to do the translation. Youmentioned that you areteaching translation at Monterey now.Let me ask you point blank-do you think that trans-lationissomething that can be taught? And ifso, how? There is abasic aptitude requiredfor translator, andifit's not there,you can't teachit.Butifapersonhaslheright language skills in both the target and source languages,Ithink they canlearn agreat deal from a more experienced translator. I personall ylearnedagreatdealoverthe years, not in a formal academic setting, but throughhavingmytranslati onschecked and revised by nati ve Japanese speakers, andevenmore,byhavi ngpeoplewho couldn't readthe originalJapaneseread them.Theytaughtmethatyoualways havetobe aware that your translationis going to be read asEnglish. One of the advantages ofli terary trans-lationisthat,asImentioned,youoften have longer deadlines and you are there-fore able to put the draft version aside for several months. Then when you come back to it, you have actually forgotten the Japa-SITUATIONALJAPANESE FUNCTIONALNKJB\I\"ol\lofloi!OII' PUBUC AND PRIVATE SELF IN JAPAN AND THE UNITED STATES A lithefor tram. fer and adjuMment to Japan ew insights into interactions between Japanese and Americans Update Japan and Public and Private Self in Japan and the U.S. are just twotitles we offer from a list ofover 80 lxx>k,videotapes,andtrainingmaterialsrelatingto intercultural communication, cross-cultural adaptation, diversityandmulticulturaleducation.Pleasecallor write to receive a free copy of our catalogue. 18MAN GAJIN Inte rc ultura lPress, Inc. 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h \ lc II \1 li WI cis m: n:u latl Ke e COl the ea.-. me to; !err trar qui. con n war whc tran poir nese original and you are able look at it as English. It can be a shock. Even if you' re not ableto put the translation aside long enough to forget it, having done so afew ti mesinthepast,andhavinglookedat your own work with fresh eyes, or having had an editor take a fresh look at it, alerts you learn to look for certainthings.You learnwhat'smost likelytoneedpolish-ing-too manyrepetitionsof thesame word, for example. What is your translCltion work routine like? Do you have page quotas? The work I do for clients depends on theirdeadline.Forliterarytranslations, whereIhaveuptofifteenmonthsto deliver abook,Itendto gofastatfirst, keeping to a daily quota, just to get it into orneson of English.Itdoesn'tmatter how rough the translation is, it helps just 10 get it physically intoEnglish.AsI go along,I note the points that I'm going to spendmoretimeonlater.Isometimes write down three or four alternatives with aslashbetweenthem.Thatfirstdraftis physically quite exhausti ng work, so I just try to keep pushing along.1f1've got three hundred printed pages in Japanese, 1 try to keep up the momentum- say, six pages a day- just to get me through the book.I do the second draft much more slow! y, maybe only three typed pages a day. Then I put it away and forget it, and give the Engl ish its fi nalpolishing inthe third draft. Doyouuse acomputer,and do you have any favorite reference materials? IuseaMacintosh,withMi crosoft Word. !like the little Sanseido New Con-cise Japanese-English Dictionary that fits in your pocket. I use aKenkyusha dictio-nary too, but I prefer Sanseido because the latter'sEnglishisoftenmoreusable. Kenkyusha has to be used more cautiously. What are the biggest problems you en-counter in your translations? One of the main problems is making the dialog sound real. This isnot always easy if you live in Japan, or if you're like me and speak in a more British as opposed to Ameri can style ofEnglish. These prob-lems don't show up so much in technical translation, but in something more collo-quialitbecomesimportantto choosea consistent idiom. Whatwould you advise someone who wants to get into literary translation? I would advise them to find an author whose work they reallylike, because the translation is a laboroflove. As a practical point,I'dalsoadvisefindingoutif the FeatureSto ry ; rightstowhatyouwantto translateare avai lable-beforeputting agreat dealof time into translating it-because there have been asurprising number of cases where two people have been translating the same work atthe same time.When you pick a book you should contact the author, which canbedonethroughthepublisher.The author may want to see a sample, in which case you can polishup asmall section of the work into the very best English before you send it.But you should get permission before you translate all of it. What do you enjoy most about transla-tion? I enjoy the feedback I get from readers of the translation, particularly people who can only read the work in translation, and alsofrombookreviewsintheEnglish language press. 1 also enjoy the contacts that being published inEnglish opens up for the author. All the authors that I trans-late are living, andI have interpretedfor Tsushima Yuko in several interviews with visiting journalists.Thosekindsof con-tacts are veryrewarding. Also,1choosebooksthatIreally enjoy and want to recommend to people by translatingthem.FromthetimethatI began translating contemporary fiction,I felt that the image of Japan that was avail-ableintranslatedliteraturedidn'tcome close to the Japanthat Iknew,orgive a sense of thelivesof the Japanese people thatIknew.Inthe last fewyears, inpar-ticular,I'vefeltit's veryimportantthat Englishreadershaveaccesstodifferent pointsofview,andtodifferentvoices from Japan, because so much of the Japan-bashing going onpresents the image of a nationwithno dissentingvoices.Ithink it' simportant to get more of the diversity of Japanese writingintoEnglish. Just be-ing apart of that process is rewarding. What do you like most about the Japa-nese language? Thesame thing that attracted me to it inthe firstplace.It's sodifferentfrom English.It joltsmywayof thinking.I enjoy the surprises. FrankBaldwin,Tokyo;political, journalistic,academic;recently translated Ishihara Shintaro's The Japan That Can Say "No. " Canyoutellmealittleaboutyour background, and how long you've lived in Japan? IfirstcametoJapaninJuly,1956, courtesy of the US Army.I washere for two years,1956 to1958, and then I came backlatein'64 andwasheretwomore years,working onmydoctoraldisserta-tionforColumbia University. Then Ire-turned to Japan again in 1972 on a Fulbright to work on the Japan Interpreter, a quar-terly then being published.Basically, I've been in Japan since 1972 with time off for badbehaviorintheStates.Icurrently work at the Translation Service Center, a project of the Asia Foundation since 1980. What kindoftrallslation do you do? At the Center we select and translate articles from the Japanese press- the five major newspapers and other media, mainly monthlies. The Center provides those trans-lations to over two hundredUSnewspa-pers free ofcharge. The idea was that there was a tremendous imbalance between what Japanese knewoabout America compared withwhat Americans know about Japan. Theprojectwasstartedtofindopinion pieces for the op-ed pages of USnewspa-pers, and that' s what we stilldo.We have certain criteria. We focus on areas ofcom-moninterest betweentheUSand Japan. Wedon'tdonewsat all.All the articles we translate also have to be signed, or the US papers won't use them. Wedon' tdoedito-rialsforthatreason,butthey'dbetoo boring,anyway.The subjectsof the ar-ticleswetranslaterangefromtrade,to lifestyle,toJapan-bashingtoAmerica-bashing,toreligion.Someof themare "hard"topics-directly relatedtoissues of current concern. Then there are "soft" features that demonstrate thediversity of news here, or that we think theUSpublic simply ought to know about.Sometimes the US editors wonder why we select them. Thekeytothisoperationisthatthe editor(whomayalsobethetranslator) goesoverthetranslationandchecksit againsttheoriginal,andthensits down and discusses itwiththe Japanese editor, Kano Tsutomu.Thatiswhatmakesthis translationprojectdifferentfrommany others. Weuse both in-house and outside translators. How did you leamJapanese? I discoveredin Julyof 1956, when I was here in the military, that if! wanted to get off the base, I had to learn Japanese.I startedoutwiththeNaganumatexts-Korewa han desu, kore wa enpitsu desu, that son of thing-butI also took lessons after work fromatranslator who worked for our unit. He had been an English teacher (continued on page 30) MAN GAJIN19 f Sumo Specia l Sumo Japan's trendy old sport What iJapanpopular . port? For year.theanswerwasbaseball(!ff.;.R. yakyt7).Andforyearsthemainreason forbaseball' sascendancywasthena-tionwidepopularityofthetheYomiuri Giants,whomtheirlegions of fansre-ferredto as either Jaiantsu( ':J-\' 1 7/ '/) or Kyojin(IBut after winning ninestraightJapanSeriestitlesinthe '60sandearl y'70s,theKyojinhave foundit hardtomaintaintheir suprem-acy.Theonce-fabl edteamof Naka-shimaShigeruandOhSadaharuhita newnadirlastseasonwhenitslidinto thecell ar- andTVratingsoftheir gamesfel I to levels unthinkable intheir gloryyears. This seasontheKyojin arcleadi ng theCentralLeague- andtheirratings areperking up- buttheyarcno longer theonlymajorplayersinthesports arena.Japan'soldestsport,swniJ,is threatening to become its most popular. HK'broadcatof thelast day of the Natsu Bas/to ( "Summer Tourna-ment'')awhopping34.8rating accordingtotheA.C.iclsonrating AndtheGiants?Agamethe sameweekbetweentheKyojin andthe HanshinTaigiiw(P;i fill'117f-7-., Han-shinteambasedinOsaka-recorded a so-so 21. Irating. Attendanceisanothermeasureof sumo'spopularity.TheJapanSumo Associationor SumoKyokai,thegov-erning body of professional sumo, holds sixI 5-daytournaments a year in arenas thathave onl yone-fifththenumberof 20MAN GAJIN seats as theKyojin'!> home: the50.000-capacityTokyoDome- alsoknownas theBigEgg.But competitionf orthose seatsis fierce:fans camp out in front of theKokugikanthe..ational SportArena" inRyogoku,Tokyo,days before tickets go onsale, hoping to get a masuseki (boxseat)onsenshtlraku( T-thelast day of thetournament). TheSumoKvokaihalowereda man 'inon rei (it:tlfHJHL, "thankyoufor a fullhouse'')banner everytournament daysincethelithdayofthe1989 Kyiisht7 Basho (}t.HI#M11r.Kyushu Tour-nament):245strai ghttimes.Andthe sumo boom shows no signs of ending. What setit off? The short answer is Takahanada( Ct-i'EHI)andWakahanada (:;5'-iEFA).Thesonsof an( .kl)g, "champion") of theI 970s andtheneph-ewsof a({3(*11!."grand cham-pion") of the1950s-both tremendously popularrikishi(}J!:."wrestlers")in theirtime-TakahanadaandWakaha-nadaaresumoroyaltyina lineage-conscious country. Theyevenhaveastrongphysical resemblancetotheirdi stinguishedfor-bears;20- year- oldTakahanadahasa handsomeness that recalls hi s father, the former Takanohana,whosesumonick-name was kakukai 110purinsu (ffJ fN(J) 7' 1)/7-.,'princeof thesumoworld"), while2 I -year-oldWakahanadatakes after hisuncle,Wakanohana,whowas knownasdohyiJnooni(I':{}{(J) !ill, "demon of thesumo ring''). Butthesetwoyoungmenarcnot popular for their looks alone. Since join-ing professional sumo in the1988 Ham Bas/to( :{f:tJJ;Tfr.''Spring Tournament.'' held in Osaka), they have beenbrilliant. fast- rising performers in a tough, highly competitive sport. Outof theI 00or soI 5-year-olds whoenterthesumo's43heya(il'!lht stables")everyyear,onlyahandful evermakeit tothetopormakunouclti " insi de- the-curtain") division. (Note:older boys can also join, but most shindeshi " newsumoappren-tices"[,have just completedtheir com-pulsory education; in Japan, junior high school.) But the Hanada brothers- their sltikona( L. .:::.:71 ."fightingnames") combinetheir realsurnameswithchar-actersusedbytheir fatheranduncle-madetheclimbtomakunouchiwith dazzling speed.Takahanada enteredthe divisionin the1990 NatsuBas/to O:.Uld "Summer Tournament'').afteronly twoyearsandtwomonthsinprofes-sionalsumo.At the ageof 17years and nine months he was the youngest rikishi evertoaccomplishthisfeat.Hi s older brotherfollowedhimintothe makunouchi one tournamentlater. SincethentheHanadabrothers have joinedtheelitegroupof young rikishi who are competing for promotion tosumo'shi ghestranks:ozekiand yokozuna.IntheprocessTakahanada has collectedsevensanshu (:=: 'D:.three awardsgi veneverytournamenttoout-standingrikishibelowthetwotop ranks)andayt7sho " tournament victory"). His win inJanuary1992-an-otheryoungest-everrecord-wasan outstanding14-1performance.It also had aspecialmeaningforhisuncle; his handing of the yilshOki (fllmfiit "tourna-mentwinner's flag")to hi snephew was his lastpublic gesture as retiring rijicho ( l!$--9:, JSA director)and afittingend to his 47- year sumo career. Foreignriki shiareanother reason whysumoisgoingoverbig.Thethree non-natives in the top divi sion-Hawai-iansKoni s hiki,Akebonoand Musashimaru-aregivingsumoanin-ternationalfl avorthatthefansseemto like.But Akebono, especially,seemsto havewontheaffectionandrespectof notonlyfansbutsumooyakataeiders").SaidSadogatake-oyakata, whorunsthelargeststabl einsumo: [Foreignriki shi]arefullof fighting spirit.They cameheretoseektheirfor-IUne, especiallyAkebono. Thetimehas comewhenallJapaneseriki shishould learnfrom him. " Born ChadRowanontheisland ofOahu,Akebono(Bli-hi sshikona Sumo S p eca l means"dawn")isastandoutnotonl y because of hissize- at 204 em (6' 81!4") heissumo's tallest rikishi - but because of his take- no- prisoners rivalry with the Hanadabrothers.Allthreecameinto sumoatthesametimeandhavebeen battlingeachotherthroughtheranks eversince.(Asofthe1992Nagoya Basho,whichAkebonosatoutwithan injuredleg,hi smakunouchirecord againstWakahanadawas6- 3,against Takahanada,7- 3.)Oneindicationof Akebono' sfame:heappears,together with the Hanada brothers, on a 110ren ( HffiiRJlti.Q o Heisel Kaku-GothicWm r:.M l,., -r::r;t 'b? o MANGAJ IN23 l'"""Jfrnmpage/9) andl.ne''omething aboutteachinglan-guage. I did that for about a year and then \\enl to graduate school in '59 and began formal studyat Columbia.WhenI came backin'64,Istudiedwithavarietyof teachers.I didn' t have any formal training in Japanese after gradschool,butI have continued studyingon my own withpri-vate teachers. How didyougelinvolved intransla-tion? Did you set out to be a translator? o.I have to word thjs carefully. but asareultofmyparticipationinanti-Vietnam war protests in1972,I feltI had no future in academia inthe US.l wanted to learn about editing and translation, and more about contemporary Japan. so I ap-plied for a Fulbrightcholarship- which was a work-study grant at the Japan Inter-preter.l found that I liked both translation andeditingverymuch.muchmorethan teaching.infact,so I've essentially been doing both. with some part time teaching. since1972. What is your positionwith the Center? Is it like working for an agency? TheAsiaFoundationis anon-profit FeatureStory foundationheadquarteredinSanFran-cisco, and they have a variety of programs in Japan, one of which is this Center. I am ineffect a consultant, hired on a contrac-tual basis as the senior US editor.I also do other translationwork on my own. Do youever dointerpreting? And do you think it requires adifferent typeof personality? No,Idon'tinterpret.1 don'tknow about personality, butitrequires a differ-entauitudetowardthelanguageanda differentet of skjlls. Simultaneous inter-preter. in my experience, don't make good translators. Whatsortof worksituationdoyou have? Do youwork fortyhours aweek? On this job, I work three days a week andampaid onanhourlybasis.IfI do translations on my own, then I get paid on the basis a standard four hundred character page, or genkoyoshi, and I charge as much as the market willbear. Whatkind translationsdoyoudoon your own? I do essays from monthly magazines, or academictranslations.I'm now doing vi h ,:._ IJ) IJ' ") 1 7 vl n t 'J an articlebyIenagaSaburothatwillbe usedin aUS scholarly journal (it's over-due,infact).ThelastmajortranslationI did on my ownwas theIshihara Shintaro book,The JapanThatCan Say "No. " Doyouuse anyspecial kind of hard-ware or software in your work? I work with an IBM Seleclric and then a secretary inputs the articles into a word processor and I edjt the hardcopy. At home, lhaveaSanyo computer,butI'm com-puter-incompetent,omywifedoesthe inpuuing for me. r m afraid this condition can' tcontinuemuchlonger,asyoucan imagine.As far as reference materials go, we'vegotthestandardoneshereinthe office and I've accumulated many at home. Doyoufeelthreatenedbymachine translation? Notat all.I readarticlesintheJAT Bulletin, and anything else that I see about machinetranslation,andIhaven' tseen anything the least bit threatening yet. With the pre-editing required, I doubt that they'll ever get to the point that a machine can do unaidedwhat a skjlled human can do. Do you have any examples of "unlrans-'l-") ') 11 ~ f tMacSUNRISE Script L- tcr r ~NEWRELEASE2. 0 Japanesekanji-learning softwarefor HyperCard Readings,meanings,compounds,pronunciations,note windows,strokeorders,finder,browser,andnewcus-tomizer forsaving kanjiinanyorder or combinati on. JAPANESE LANGUAGE SERVICES, INC.100 kanji: $99 500 kanji: $249 2,000 kanji: $499 demo disk: $5 1800-USA)APAN Call for a16-page translation services brochure 30MAN GAJIN STONEBRIDGEPRESS,P.O. Box 8208, BERKELEY,CA94707 TEL510-524-8732FAX510-524-8711 3 l J ll '[i (] 3 f; D e d 0 a A 2 F E D laJableexpressions" or things you par-ticularlywrestle with in your work? I teach a course at Sophia University ontranslatingfromJapanese toEnglish, andonelectureIgivehastodowith translatinghumor.I find many aspects of Japanesehumor simply cannot be trans-lated and still be funny. They can be trans-lated for scholarly purposes, with lengthy notes, but for our Translation Service Cen-ter purposes- conveying the original hu-mor in a newspaper article- certain kinds of material,suchaspuns,arevi rtually tmpossibletotranslate.Other examples are humorous references to pop culture-toTVculture,TVpersonalities,orto manga,etc.Youhavetoaddsomuch explanatory material that the reader would reading and the point would be lost in the details of the explanation. I can give you another example.We '-'Orkedhere onthe Miyazawa statement onAmericans and the work ethic.Ithink that s an example of something that defied goodtranslation, at least under thework-mg conditions of deadline journalism.It v. ascomplicated bythe malice involved FeatureStory withUSjournalistsandtheirdesireto convey his remarks in asensationalway. But even with the best of intentions, it was a real puzzler. We did publish a translation of ittwomonthsafterthefact,butwe called it an"interpretivetranslation." Translating aspontaneousstatement by aJapanese politicianinvolves reading tea leaves and the entrails of agoat.You want to be fair and not misrepresent what he issayi ng,but on the other handatrip intotherecessesof aprimeminister's mind isfullof pitfalls and dead ends. Whathasbeenyourtoughestjob?Was it Ishihara's book? Do you do many po-litically sensitive translations? I don't think the Ishihara project was politicallysensitive.It wasdifficultbe-cause I knew that many, many people were goingtocomparetheoriginalandthe pirate edition withthis edition. Iwas un-usually aware of peer review.The chips can fall where they may as far as US- Japan relations go,I just wanted to get the text right and not makeit better tl'lanit was or Jess than it was. Many of theessayswedoarevery difficultbecausethewritingisabstract and requires a good deal of interpretation. We often have to explain to the author why we have added material to his original text. Most authorsunderstandand acceptthis necessity, but sometimes there are people who objectviolently.We'reusedto this now. Iwrite aletter of explanation to the author now if Ithjnk he or she will ques-tionwhat we've done. r didn't used to do this,but Ithink astranslatorswe need to appreciatethevalid concernsof theau-thor.Irecommendthisprocedure.Usu-ally, in writing the letter, ifthe translator or editor picks outacouple of examples of howwehave changedthetext,thenthe authorrealizesthatweareseriousand trying to represent the views in the article correctly.It's atype of "preemptivetact-fulness." Do you think translation corrects inter-nationalmisunderstandings,orcanit create them? Well,agoodtranslationcertainly avoids misunderstanding, and you can do some damage control with it after the fact, Isuppose,butthere's no way translatqrs IBM-COMPATIBLECOMPUTER SOFTWARE tc?JJO) 'J 7r ryzY To EnhanceYour JapaneseLanguageCapability ToHelp You Learn Japanese EZ- II\ . .... Ia noun meaning "letting off steam/venting rone's1 anger." Bird:;f.;'17 lv;f.;'17 lv 0-wke-mn0 -wke-.wn (hon.-namc hon.)(hon.-name-hon.) " Miss Take" Miss Take."(PL3) Tanaka-kun: (})1 \tJ7;f;7Y.7! Kac/u)110bakaalwllltlllllke sec1ionhead C=lfoolidio1blockhead " Theboss is a fool,idiot, blockhead!"( PL I ) 0 -take-san is a polite, andnow somewhat old-fashioned, way of re-ferringto a gi rlor woman whose actual nameis Take.Botho- and - san are essentiall y honori fic."0-take-san"isthe standard line for talking birds in Japan. nocanindicate awidevariety of relationshipsbetweentwonouns, butinthis case it means thetwo are equal/the same. Japanese refer totheir superiors at work by their titles rather thanan equivalent of the English "boss'' - even wheninsultingthem. baka,aho,andmanukeareallprettymuchalike,meaning"idiot/ fool/blockhead."Manukeisperhapsreserved abitmorefor imply-ing the person is not so much a "jerk" as he is missing something up-stairs"halfwit/moron."Mildasthesewordsmaysoundwhen translatedintoEnglish,theyarethemost insultsin Japanese, andtone makes the difference in how strong the insult be-comes. Bird:;f3'17 1-v;f.; '17 lv 0 -rake-san0 -rake-san " Miss Take,Miss Take."(PL3) Tanaka-kun: R:(f)I'\ tJ7;f;7Y.7 ! Kachii110bakaahomanuke scc1ion head(=)foolidiolblockhead "Theboss is a foolidiotblockhead!"( PLI ) Bird:;f3'17 lv;!:;'17 lv;f.; '17 lv O-rake-.1an0-rake-san0-take-san " Miss TakeJMiss Take,Miss Take."(PL3) Tanaka-kun:Er:(})1 '\ tJ7*7Y.7! Kac/u)nobakamanuke sec1ion headfool "The boss is a fool(PL I) Tanaka-kun:;f.; '17 lv;!:; '17 lv;f.; '17 lv 0-wke-san0-rake-sanO-wke-sw1 " Miss Take ... Miss Take . .. Miss Take ..."(PL3) MAN G A JIN35 36M ANGAJtN 0-jama Shimasu Title:Wu Junbitaiso preparation cxcrci;,canother interjecti on that can be used to show one is about to do but with a feelingmore like "Well now, let' s/1 thinkI'll..... neru can mean ei ther "sleep" or go tobed." Narra tion:t'/ :/1l'... Hitsujigaippiki . .. (subj.)one One s heep... Sound FX:!::'"/ Pi! (effect of a short tweet of the whistle) ippikiisacombinationof ichi("one")and-hiki,thecounter suffixformostsmallanimals.-hiki changesto-ppikiwhen combined with ichi,roku ("six"- roppiki), hachi ("'eight" -lwppiki), andjtl ("ten" - juppiki). and to -biki when combined with san("three"- sanbiki). 0-jama Shimasu Title:158 Kokuhaku Confession Sound FX:tJ/tJ/tJ/ Kankankan Clang clanclan(sound of warning bellfor railroad crossing gate) Man:.li!,J,v'W-? -cv' iTo Omoikitteiimasu. boldly/daringlysay "I'm going to comeright out and say it." (PL3) Sound FX:t-.:t- F -t-Doki doki Thump thump(effectof heartbeating/nerv-ousness) omoikitte means "boldly/daringly/resolutely";it is the -te form of omoikiru ("resign oneself to/give up/abandon allcaution"). iimasuisthePL3form of iu ("say/will say"). l2JSound FX:n-7/tJ" -7/t;-$'/t;-$'/ Gatangatangatangatan (heavy clickety-clack sound of trainrushing by) 0Woman:b-?- Ji0"'(r ~ ? ~ v'? Moichidoitlekudasaranai? moreone timesayplease "Could you sayit again,please?"(PL2-4) mo before a number means thatmany "more." -do is the counter suffix for "times/occasions," so ich.ido means "one time"and mo ichido means "onemore time" -> "again." ifleisthe -teformof iu ("say"), and kudasaranai isthenega-tive form of kudasaru,a PL4verbmeaning "give (to me/us)." Kudasaruafter the -le form of averb means "do - for me/us," or with the rising intonation of aquestion,"willyou do - for me/us?" Asking the question with the negative form adds to the politeness and sounds very feminine, but because they are close friends and the situation is informal, she still uses the plain PL2 form, -nai, at the end of her sentence rather than a PL3 -masul masenform.For more on informal politeness, seeBasic Japa-nese18. 0Man:;t; 7'.:r..1 ;( -z--t o Bokuwaeizudesu. Umeas-for AIDSam "I am AIDS." -->" Ihave AIDS."(PL3) Sound FX:.Y :; Da! (effect of dashing away as fast as she can) eizuis a katakana rendering of the English acronym "AIDS." M ANGA JI N3 7 38MAN GAJIN \jl 7 I Obatarian Narration::;f 1\ 7') 7/... Obataria11 Obatarians(;) Sound FX:'\'71- '\' Pechakucha(!alking/chattering) '7{'71 Waiwai crowd noise) pecha kuclw (or peclw pecha) gives thefeeling of animated gab-bing/chattering.Waill'airepreentsthegeneralclamor/commo-ti on of alarge group of people. awe secinlhc subsequentframes,the word Obatarianisbeing usedhere tostatethe general topic. Narration:tJJ !JQ) r.ll Shoka110Kwl ro early summer ofKyoto Kyoto in earl y summer Sound .: -t - .: "\'-Griigyli(yelli ng andscreaming) ti '/ti '/ Garsugarsu(voraciouseating) Narration:1L. Horoke110mi-kokoro11if ureru Buddha('s)(hon.)-hcart(obj.) touch Communewith the spirit of Buddha Sound FX:I! - I! -Piipii(high-pitchednoiseorwhistling) '71ry{ Waiwai(boisterouscrowdnoi,e) mi- isanhonorificprefixlikeo-.and,infact.whenwriuenin kanjiiswriuen with the same kanji as o-,f11J. kokoro can mean "mi nd"or "spirit" in addition to themore literal translation of "heart.'' fureru is literally " touch,'' but it can refer to bringing oneself close to something or exposi ngoneself to a certainatmosphere. pii pii could bemerelyhighpitched crowdnoise.or itcouldbe shrillwhitiesinresponse tothesinging. Narration:'/ 7-Tstul tour Tour Sound FX:7- tJ7- tJ Ktlkaktlka (effect of breathing of someone who is asleep) inan effectthatEnglish cannot duplicate.thecompletethought/ sentence of thefirst three frames suddenly turns out tobe amodi-fierforthewordtsuli (akatakanarendering of English"tour"). Takenalltogether.Obatarian,shokanoKy- o Malafutoru-. againgetfat/gainweight " I' ll gain some more weiht"(PL2) mara isliterally "again'' butincases where degree/quantityisin-volveditoftenmeans'"againincrease/decrease'"'"(become) more/less .. : lt"s abit ambiguous here, butitprobably does not mean that shelostweight before and will now gainitback again: it's s imply thatshe wi llgainmore weight. Obatarian: lv-" It'snevergoing to chill that waJ', is it."(PL2) ja is a contraction of de wa. nakanaka means "fairly" or"pretty much" with positi veverbs and adjectives, but with a negativeit means ' '(not)readi l y/(not)really.'' hienaii sthenegati veof flieru ("[something 1 becomeschilled"),theintransitivepartnerof hiyasu ("chill)something\ )." daro t!. (standard spell i ng= t!.-??) i s the PL2 equivalent of desha. [Ql _____ ." Huh?!" M ANGAJtN43 Dai-Tokyo BinbO Seikatsu Manyuaru 44MAN GAJIN Dai Tokyo Binbo Seikatsu Manyuaru Hiroko: SokodegakiiJei-Hmniatw110. theren1siUdcnt(hon.)tomet(cxplan. ) " Imetthe !OtudenUustdown the street."(PL2) wko.li terally "there: i s used a vague way to refer to a destinati on or location. de marks the placewhere an action people who arema)add the honorific -sanwhen talking about Mudents in theenceof a student.' 'The student" next doortoKosuke andb referredtoastonori no 8akusei." the student next door." Hb name i s never revealed. lllta i s the past tense of a11,"meet." here. in the sense of "ran into."Note that the person met i s markedwith ni. not o. cc? " Don' tyou want to go sec?"(PL2) Kosukc:3 A-c11'.: - n'o sa1111indeikiJka. 3peoplebeingshallwe go(?) "Shall thethreeof us go?" " Why_ don' t allthreeof us go?"(PL2) Student: (J) .:7 .ly:JF-1lj: A- -c .. . Ano,boku.as/ritashike1111011 de . . . umItomorro"'IC'tbeing that Ihave atesttomorrowso ..." - te mint means to do somethingin order to seewhat it is like or to secwhat happens. invitations are i ssued asnegati vequestions. If shewere usingPL3.she would say iue mimase11 ka. .wn11i11 de i s 'as (a group of) 3 people: Futari deis "as a pair/the two of us." andhitori de i s "al one... a11oi s short for a11iJ.a typical hesitation noi se. Japanesehold classeswell i nto the summer. and summervacationi s onl y about sixweek>. na 11de is a contraction of 1W 110 de."being that it i s... Student:11th-c* o 1.:li?% i.. -r oA- L. lj: -c -t n' o Kael/ekurukoroniwahietem11 jatwi desuka. rcwrningcomeapproximate timeala,.forbe chilledi'n't 11 (? ) "8 the time you comeback, Ibet it' llbe chilled."(PL3) Kosukc: -c -t ... Sr)desune >0is(cmph.) " I guess so." hiete-(i)ru refersto thestate of already being chilled,not to the process of becoming chilled. addingjanai (desu ka) tO a turns it into a mild assertion. Sign:i!tc - b 0.: L. Yakitomorokoshi.tmwi. Roast corn onthe cob. Delicious. Sign:Wata-ame. Cotton candy. Sign:t.:..:Takoraki. fritters. at stalls like this corn on the cob is basted with soy sauce androastedover a charcoalfire. takoyaki arespherical .. .. of chopped octopus meatmixedwi thflavorings (gi nger. onion. etc.) in a baller and cooked ona special griddle with rounded Sign:13't-Yaki (thisis a close-up of the takoyakibooth) M ANGAJIN47 Sound FX:1::.;1. -Hyil(soundofsomethingwhi zzi ngthroughtheair) Sound FX:1::.;1.-Hyil 48MAN GAJ I N SoundFX:Bablin(soun "'\ - /dofahugeexpl osi on) I N4 9M ANGA J Dai-Tokyo Binbi5 Seikatsu Manyuaru 50MANGAJ IN Dai Tokyo BinbO Seikatsu Manyuaru Student:JH' L.\.':A111 Oishiisuika -z"T desuIll'. deliciouswatermelonisisn'tit " Deliciouswatermelon,isn' tit?"( PL3) Hiroko::Z:ZJ:.,;.,1.:J:~ .,..: A.L- U+:'1 t:::.1:~!!'?faJtl -r1Ft Eigyo Tenteko Nisshi Eigyo Tenteko Nisshi ------------------------------------------ --------------------------------------------------(cominuedfrom previouspage) :-- r: .;!.. - -lf- (/).f.1.:i!.!t -.r.:.c t;t -r:.Qn' o endo yt7zlinoteniwa1asukoto ga dekiruka. enduser('s) handintodelivercan do? " How can we send even one more aIiance into themarket and deliver it intothe handsof the end user?"(PL2) domeans "how/ inwhatway,"and yatteisthe-te form of yaru, aless formal wordfor sum ("do''). Both do yarre and do shiremean"doinghow how,"but do shire can also mean "how comewhy.' ' okuri isfrom okun1("send"), and-komi isa continuingform of theverb suffix-komu, whichindicates theac-tionis directed "into"something. watasumeans' 'hand over to/deliver," and .. . koto gadekiru is an expressionmeaning "can/beabletodo... Minamida: r a(J)J-:J ltj !v -r: i' n'? A no- shiromonottenandesu ka? uhhwhile goods(quote)whatis it/arc they? " Uhh ,what are ' white (PL3) FX:1l7 '/ Cata!(aslapstickeffectof s urpri se/astoni shment) ..,4 Shibata: ) { 1J -\"D -! 1H-r:filJ if- )Ltt -:J -cl.:>lvt..:' ! ! Bakayaro!Uchidencmnenmeshikutte-run da! idiotguy/fellowour/thi:;companyathowmany years rice/mealseati ng(ex plan.) " Idiot!How manyyears hasthiscompany been feeding you?!"(PL2) . uchi literallymeans "inside/ within," but it 's often usedtorefer toone' s own house or company.Us ingthe kanji normallyread kaisha (="company'') makes it clear that hedoesn' tmean "athome.'' . kutte-ruis acontraction of kutte-iru, from kuu, aninformal word for "eat''usedmost lybymales . Shib.!!_t l_!:ra (J) J1::: "' -) (/) !i i% jijJ!li' 'lj t (/) :..1:::t.: ! ! Shiromonotoiunowareizoko,sentakuki.kansiJkinadonokotoda! white goods(quote)say(nom.) as-forrefrigeratorswashingmachines dryersthings likeis about/is a maucr of " 'Whitegoods' meansthings like refrigerators,was hingmachines, {and)drxers!!"(PL2) 2:.. I? (/)mf n"\'1!i'bi:::'b i:::B v'fl iJ' Kore-ra noshohinwamoro-moro shiroirosoga thesemerchandiseas-for originallywhitepaint(subj.) n -c "' t::.1::::..h n' r; "':)It> t::. i=!Hff t..:' !!(PL2) sarete-iratokorokaratsuitagyokaiyo goda! donecircumstancefromauachedindus1ryjargonis " It'san indus trv term that was used because these itemswere origina llypainted white!!" . to iunowa (or just rowa. asin thenext frame) often functions justlike wa (''as for''). . kore canmean either "thi s" or "these" ; kore-raisan unambiguous ' 'these.'' . sa rete-itaisthepast form of sarete-iru, from sareru, thepassive form of suru ("do"). . shiroi tosiJ gasarete-itais acompletethought/sentence ("was/werepaintedwhite") modifyingrokoro, whi ch literallymeans ' 'place"butisoften usedtomean "situation/circumstance.'' . tsuitaisthepl ain/abrupt pastform of tsuku ("attach to") . Shibata:= A(: -97.:> !!b(/) >d:- J.:,c (j:t -)v>-) .::.1:::iJ' !? Futari nishitsumonsum!Mono0uru10wado iukotoka? twopeopleques1iondo/askthing/product (obj.) sell(quole)as-forwhat kind ofthing/mauer? " I ' m going toaskyoutwo aq uestion.Asfor selli ng aproduct,what kind of thing isit?" - " Letme ask vou something!! What do vou thinkaproduct e ntails?!"(PL2) M&T: ")!? !'! "Huh?!"(PL2) Shibata: -)1:,(j: I:J JT.t'(>tu. 1v t..:J: o UchiIVC/MatsushitaHitachi ja nendayo. this co.as-for(name)(name)is not(explan.) (cmph.) ;"Qt&l.'(>f3tJT: htjv'-i'' !!(PL2) Kanbanj aiclzidai1110urenaizo! sign/nameplatebyone machineevencan' t sell(emph.) " Thiscompa n yis n ' tMats us hita or Hitachi. Youwon't sell asingleaooliance on our name!!" . ja is a contraction of de ll'a and neisarather rough-sounding masculinecorruption of the negative nai. . urenai isthenegati veform of urem , thepotential "can/abl e to"form of uru ("sell"). ( COlliIll lied 011 fol/owlllg page) M ANGAJ I N59 Eigyi5 Tenteko Nisshi 60MAN GAJIN Eigyo Tenteko Nisshi Shibata:- rJtti tt.;{_1.>o{>(J)1.>tti:. -? 1':>(!)tl10C J.J. /1..1.>lv t.!. o lchidodakeoshieru.MonooumrowokorchiJWseiio11m11 da. one timeonlytell/teachthing(s)(obj.)sellas-forthis sidesincerity(obj.)(explan. ) " l ' l!!ellouthis just once. To sellisto sellour/your own sincerity."(PL2) Shibata:11; 1.>C:.f!:.'.-?1&:!! M&T: Rei:okovasemak11kio11ruroomou11l1! refrigerator" ashingmachine(obj.)(quote) 1hinkdon't (abruptneg. comm.) " Don' tthink you are sellingrefrigeratorLand washing machines!!"(PL2) Hii? "Ye-e-s?"(PL2) kotchi (informalform of kochira. " this side/di rection") i s used to mean "we/our side: Hai s a rather tentati vesounding lwi ("yes/okay"). Shibata:fl 7} 'fl-.1.>lv t.!. o SoundFX:r / Doll Jibtmourun da. oncOfar kindly &thoroughlywillyou (PL2) .::.-?L. 1::1!! lj I\:" II-? f.::I)T .QlvC. b. .Z-f'!! li sl1iro!IKoshiro!IToc/111 desabottari sum 11 jane-;.o! do thai wayIdo thi' wayImidwaythingslike loafingdon't do(emph.) " Do that! Do this! Noloafing alonthe wa!"(PL2) Shibata:MUL.t.::l?:ffl.;';-.t::(J)f'f-IOC! !-::>eo-f'-'li L !! Kislw shiwralu1ko/..11slw110sakusei!Tsukisoill'a11ashi! when returnto officercponofwriting up attendant/e\cona\-fornone " When you get back to the office.. write uareport. ( You'll have no escort) You're on your own!"(PL2) sltinse1su( -ni) ("in a kind/generous/obliging manner' ')and teinei-ni ("courteously/carefully/thoroughly") are bothbei ng used asThe first -11ii s often dropped when two adverbs are spoken in sequence. (continued on folloll'inx Jill lie I M ANGAJIN63 Eigyo Tenteko Nisshi 64MAN G A J IN Eigyo Tenteko Nisshi (continuetl from prel'ious {Jage) sabouari i s from .wboru ("loaf/neglect work/play hooky''); the -tori form of a verb isfollowed by sum ("do") to make anexpression meaning "do things l ike -: kisha shitara is a conditional "if/when" form of kisha suru ("return to the company/office"). sakusei surtt means "write out/draw up (adocument)": here.its noun formis being as a command. Shibata:;b iJ'-::>t::.lj:!! Wakauana! understoodright?/isn't it? "Youunderstand, don't you?" "Understand?!"(PL2) FX:il- / Minamida: Ga-n(effect of head spinning. asif from a heavy blow) t!... . Knr)'ataihenda . .. problem is/are "This is terrible ... " Manare wein trouble!"(PL2) knryais a contraction of knrewa("as for this I situation 1"). Demo... butir don't do " But we have to do it ..."(PL2) Terashima:i-::>t:.t::.< Mauaku. " Rca!!y_,_ .."(PL2) yamwkya is a contraction of yaranakereba, and implies yaranakereba ike-nai. ''if 1/we don't do it, it' s no good/it won't do""1/we must do it: Wakauarakakujitallti)tenniaisatsu-mawarida! if underMandeach one assigned'hops to tslare " If )'9Uundertandthen be off on vourroundstoour assigned shops!"(PL2) M&_I:(;l:lt'!! Hai! " Yes Sir!"(PL3) wakauara is a conditional "if/when" form of ll'akaru ("come to know/understand"). SoundFX:T/ Doten(effectof something relatively heavyfalling/toppling over) Mina mida:ih -::> A! " Yikes!" Charin Minamida:it?-::> clrarinchari11 clwrin(ringing/clinkingsound of coinsstriking floor) A! "Oh, no!" Minamida:ilt J :EirLE JL7en-damalt7en-dama tenyen coinsten yen coin< "My tenyen coins.mytenyen coins . . . .. " My phone mone.l'.t...!rlyphone money . . ."(PL2) when Minamida said farewell to his former col l eagues inthe General Affairs Department. they gave him a boxful lof tenyen coins because theyknew hewould have to be making a lot of calls back to theoffi ce. G:QSound FX:;( / Zw1(effect of stepping forward firmly: ::.un-::.unthe effect of somethingchanging noticeably. and a single zwt representsa momentary/single change or progression.) (continued 1111 folloll'ingpaxe) M ANGAJIN65 Eigyo Tenteko Nisshi 66MANGAJIN Eigyi5Tenteko Nisshi -----"-'--( colllitwed from pre1io11.f filii/I') S hibata: t..:. t..:. Mow-moraSllfll Ill/! be slow/dawdle don't " Don' t dawd le/fool around" to it!"( PL2) S ignonRoof: *'m ToaDenki loa Electric Sound FX:l!.:z.-Pyti(effectof whiMiingwind) Minamida:-If 7----Sabu- Sound FX:-;r Jv -;r Jv coldBuruburu " It 's cold." " Brrrr."(effect of shiveringfrom thecold) . .wbu- is a short form of sabui. which is an alternateformof samui ("cold" when referring to ambienttern-perature).Both salm- and S{ll/111- are used like English speakers would use "Brrrr... FX:7'1 '/ Gui.l(effect o flift inghi sheadands traighte ninghi ss houlderswith de terminati on) Mina mida :c 1: "IJ>"Thisis mlatest brood of children."(PL3) kondo isliterally "this time/occasion," but it can variously mean "recently," "now," or"soon/ next time," depending onthe context. umareta is theplain/abrupt past form of umareru ("be born"). Kondowatashi ni umareta is a complete thought/sentence ("wereborn to merecently/this time")modifying kodomo-rachi ("chi ldren"). kodomoby itself can be either "child"or "children," but adding -tachimakes it unambiguously plural. 0Sound FX:!:::"/ Pi/ Chirp(another FXfor abird's chirp, especially ababy bird) (continued from page 23) fonts.Inaddition,duetodesignshort-comings in the TrueType Installer script, theInstallerfailsto installtheupdated KanjiTalk system extension and the font cachesettingsfi le,bothofwhichare requiredforproperoperation.Ihave reported this to the proper channels, but I cannot predict how soon arevisedIn-staller wi llbe released. TheKanjiTrueTypepackageis priced at $150 for two typefaces,while ATM-Jispricedat$295 fortheATM system extension software and two kanji Computer Corner PostScript typefaces. For the indi vidual or smallbusinessuserwhoanticipates printingonlysmallquantitiesof Japa-nese, TrueType is probably a better value. Someusersmayfindtheypreferthe appearance of the ATM fonts and decide they don't mind the copy protection and the longer wait for printout. Service bu-reausor businesses thatexpectto print large quantities of J apanese might want tohavethesefontsavailable,butthey will likely find it more economical in the longruntobuyanNTX-Jprinter,de-spite the cost. Kanji True Type and ATM-J are both avai lablefromApple'sauthorized KanjiTal kdealernetworkinNorth America. (MANGAJIN&IwouldlikerorhankAndy Taylor of JapanPacificPublica lions,Inc., in Sealllefor his help in supplying rhe NTX-J prilller benchmarks for rhis review. -D.S.) Daryl Shadrick operates a consulumcy,Ja-pan Now,Inc.(Tel.8/2-336-5688;fax812-336-8917). M ANGAJIN71 II!? "('?c A. l;t 72MAN GAJIN :kalso "Then you know allabout the animals called' humans,' too?"(PL2) Phoeni x:.fL11{-ff 11=. i' J.>JJt.!.?"lArJi L.-::l "l "' "l \Vatasfriga11aga-iki surutoridalie11i11ge11gashiue-ire. .. I(subj.)live longbirdi'/am(quote) human beings(>ubj.)know-and ' 'The humans know that I am abird that lives long, and ..."(PL2) the baby bi rd uses tte as a contraction of roiu, here meaning "called." whi le the phoenix usesit as a contrac-tion of ro iu koto o. which i s an expression meaning "the fact that ..... shitte-itei s the teform ofshitte-iru("know' '); it functions like"and.''indi catingthatthesentencei s not complete and will continue. (conrinued 011 Jollowi11g page) M ANGAJIN75 *()) ~ The Phoenix 76M ANGAJ I N 'k Q) The Phoenix Phoenix:"ft.(}) >a:-*"'" ,.;t:iJ' "\ t:..f) t:..i'JL-r Wawshi110sugata0e11ikairarilwuarishire myform/image(obj.) pictureinpaim-andlorcarve-and/or do-and Phoenix:iJ't:..I):fJT? t..:I')(}) lo kazauariinouarishite-iru110yo. decorate-and/orpray-and/orhave done/arc doing(e,plan.) (emph.) " . .. theaintmy_ ima_gein pictures a nd it on dis.Piay and pray_ to i_V'(PL2) no after a name or personalpronounmost often indicates possession, sowarashi 110= "my/mi ne."' shire i s the -re form of sum ('"do''). and shire-im canrefer either to anaction in progress ('"is/arc doing") or the result of anaction ('"have done"). . . .-wri . . .-rari suru is anexpression meaning "do things like ... and/or .. : kaitari is from kaku ("paint/ draw"). houari is from horu ("carve/scul pt"'). ka:.auari isfrom kawru ("displ ay/decorate"), andi11o11ariis fromi11oru ("'pray"). Siiwarashiojiuomire goran nO'-'1/me(obj.) imently/carefullylool..(polite command) frJ,. (J)if: J: