Reflected Galaxies: A Personal Interpretation of Takahiko Osaki's 'Shigure'
More than a decade has passed in the blink of an eye since Takahiko Osaki first gifted me his debut collection, 'Shigure' (Drizzle). He later published 'Hinro' (Frequent Waves) and 'Tanabata' (Shelf Edge) (both self-published by the author in 1988), followed by 'Tami-kusanagi' (1989), effectively completing his four-part poetry series for the time being. Looking back at the poet's past, prior to these works, he joined the tanka magazine 'Amora' in 1982, which focused on classical literary language. Re-reading the seventeen issues published over the subsequent six years, I am surprised to find works that seem far removed from the pieces in 'Tami-kusanagi', perhaps influenced by the style of the tanka poets from whom he received close instruction in composition.
As I gently stroke, the duet ends, and the ripples on the hem swell even more.
This is one of the twenty tanka poems he first published as a member of the magazine. (Amora No. 15, 1982). Since 'azunahi' can be interpreted as a double suicide between men, he unveiled a bold poem right from the start. After all, it is difficult to even imagine a connection between this poet and Edo customs. I have heard that the members of 'Amora' translated works by Izumi Shikibu and others, so even if he occasionally looked through pre-modern poetry books, the Edo period does not seem to connect with the poet's tastes as I know them. I should add that the author himself, perhaps having his own reasons, did not let this work be buried and included it in 'Shigure'.
By the way, some poems follow a 7-7-5-7-7 syllable structure, which could be said to have predicted his departure from fixed forms early on.
If blood is honey and it spills, even the ideal land of Mahoroba shimmers in the hour of the demon, in the daytime of only milk.
Gradually, he began to use diverse rhythms such as 5-5 and 6-8, unable to remain within the framework of traditional tanka, and he resigned from the magazine in 1986. Following this development, 'Shigure' was published. Incidentally, the author himself calls his works 'short poems,' and it is for the same reason that I call the person who composed the poems quoted here a poet.
'Shigure' contains over 220 short-form poems, including those published in 'Amora,' and one poem spanning eighteen lines. While I should perhaps first discuss themes like water or the folds of clothing, in this essay, I would like to focus on subjects related to the silver screen and Western films. So, if I list the homages to the artists he loves,
Piercing through the mist reflected today,
The figure of Edith Scob appears,
The fine hair tangles and falls into the rushing rapids.
A work that brings to mind a scene from Franju's 'Eyes Without a Face,' in which Scob starred. He also compiled works under the title 'Dedicated to Edith Scob' in 'Amora,' and one can see that the poet was greatly inspired by the voice and appearance of the singer. Incidentally, regarding singers, he also focused on the individuality of Anna Identici, dedicating a thirty-line prose poem titled 'Mokuromi' (The Plan) (1988, published in 'Sen' in 1990) to her.
Speaking of favorite actors, one cannot omit Michael Gough, who has been active in a wide range of roles from Fisher's 'Dracula' to Burton's 'Sleepy Hollow.' His deep admiration for this actor is such that, alongside the aforementioned tribute to Identici, he wrote a prose poem titled 'The Doctor's Breeding Room' (ibid.) with the subtitle 'In the Image of Michael Gough.' The definitive film chosen by the poet from his filmography is 'Crucible of Horror' (directed by Victor Ritelis, 1972), a work in which Gough resolutely plays a stern father who is immortal despite being plotted against by his daughter and wife, and who forces the meddlesome women to submit once again.
'You must break the rules,'
For it is the proof of being a father,
As the awakening draws near.
It is truly an anti-era maxim, as if urging awareness in the only son he acknowledges within the family.
Regarding the music that colored the silver screen, he listens to Goblin, whom he likely encountered through Argento's works.
The break in the rainy season I waited for,
In my mind's eye, a pale blue,
Faint prospect,
The melody of Goblin.
To 'Goblin',
If the wind whispers a voice,
Twenty years have passed,
Without connection.
It is only natural that the poet is so deeply interested in film; around the time this book was published, he was actively holding screenings centered on horror films with friends. I would like to discuss the history of these screenings, which he named 'Gensou Eigashitsu: Hakuyokyu' (Fantasy Film Room: Aries), in a later article, but even in works that seem unrelated to film at first glance, there are likely many images born from inspiration from the films shown. For that very reason, 'Shigure' should find its best readers among film connoisseurs.
I, too, gained the poet's acquaintance through film. I vividly remember the early spring of 1986, during the 'Cineteca Italiana: Entertainment Part 6' held over four nights at the Italian Cultural Institute. After watching Bava's 'Black Sunday' (screened as 'Satan's Mask') on the first night, and then Margheriti's 'The Virgin of Nuremberg' (screened as 'Dr. Hitchcock's Terrible Secret') on the second night, we introduced ourselves on the way to a cafe late at night. Incidentally, even now, I have only seen the former in the US version with the replaced music, and the third night's 'The Blancheville Monster' (screened as 'Dance of Death') only in the Okura Film version with the beginning cut and the US version, so this screening of the original Italian version was precious even in retrospect. The fact that I was later able to see the rare Okura version was a bonus of my chance meeting with Toshiyuki Shigeta, the master of 'Hakuyokyu,' along with the poet; the matchmaker who brought me together with another connoisseur was also the 'Cineteca Italiana.' On the final day, I called a friend who had no interest in movies at the time to the same venue, hoping to report my encounter with the poet, who looked like Tatsuhiko Shibusawa, to a close painter as soon as possible. However, the audience, where I had seen other enthusiasts I had newly met, was completely empty that day, and Avati's 'The House with Laughing Windows,' which was screened, did not suit my taste as it was different in tone from the previous three films, but I was left alone with a strange sense of exhilaration.
'Rewind the frames,' I carve deeply,
Even if the passing moments,
Reflect vividly in my field of vision.
＊The original kanji have been replaced with simplified characters. (October, Year of the Dragon)
Takahiko Osaki: Brief Chronology
Born in 1957.
1977/78: Responded to a call for submissions from the magazine 'Kashin' and submitted his own work. Selected as one of ten honorable mentions.
1982: Learned of 'Anbora,' the only tanka association claiming to 'transcend modern tanka,' in the 'Tanka Nenkan' (Tanka Yearbook) and obtained back issues from its representative, Kensuke Okumura. Submitted his own work and readily accepted when asked by Okumura whether it could be published.
July 1983: Published an essay on Arthur Machen titled 'Two Fragments on the City and the Demon World'.
Same year: Collaborated with Toshiyuki Shigeta on a project to screen films formerly held by Okura Pictures, naming the screening group 'Gensō Eigashitsu Hakuyōkyū' (Phantasm Film Room: Aries). On October 14, held the first 'Hakuyōkyū' screening at Ichigaya Cinearts.
Early autumn 1986: Published his first collection of works, 'Shigure' (Drizzle). Private edition, limited to 100 copies.
Left 'Anbora' after the publication of issue 31 in March 1988.
Same year: Published his second collection, 'Tanabata' (Shelf Edge), and third collection, 'Hinrō' (Frequent Waves). Both were private editions, limited to 100 copies. June 1989: Published his fourth collection, 'Tamakusanagi' (Mowing the People's Grass). Private edition, limited to 100 copies. The four-part series was completed. (Omitted)
May 2017: Delivered a lecture titled 'The Elliptical Trajectory in Keats' Poetic Thought: Focusing on
Ode to Leisure
and Ode to Melancholy' at the 'Oberon Society,' an English and American literature study group led by Aiko Negishi and others.May 2018: Delivered a lecture on 'Keats' Fairy Poem: A Song of Four Faeries' at the 'Oberon Society'.May 2019: Delivered a lecture on 'Keats' Ode to Psyche' at the 'Oberon Society'.