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Reflections on the Topos of Sagawa Chika
Insects pierce green through the orchard
Crawl the undersides of leaves
Ceaselessly multiplying.
Mucous expelled from nostrils
Seems like blue mist falling.
At times, they
Without a sound flutter and vanish into the sky.
The ladies, always with bleary eyes
Gather the unripe fruit.
The sky has countless scars.
Hanging like elbows.
And then I see
The orchard cleaving from the center.
The skin of the earth emerges there, burning like a cloud.
A red riot takes place.
In the early evening the sun dies alongside the ocean. The waves are unable to catch the clothes that float away after them.
The ocean builds a blue road from the vicinity of my eyes. Countless gorgeous corpses are buried below it. Annihilation of a band of tired women. There is a boat that hurriedly covers its tracks.
There is nothing that lives there.
2022 at Aoyama Gakuin University,
Tokyo Japan
On “Green”
Kawasaki: This is it. I chose the poem “Midori”, because when I met Chika Sagawa, or when I positioned her as an important poet in my heart, many people For example, the name of Yumi Sato came up earlier, but I think you can count the impact of how someone read Chika Sagawa and what kind of things they said.
For me, I loved Junzaburo Nishiwaki and Minoru Yoshioka, and for me, poets who are gods of modernism poetry. Taeko Tomioka touched on the last line, “I was abandoned by people. He said that it was rare for a poet to become a poet by writing down what he said, and that really piqued my interest. Read this.
“green”. From the balcony in the morning, waves rush in / Everywhere is overflowing / I almost drown in the mountain road / I hold my breath every time I fall into a daze / In my sight The city opens and closes like a dream / They crumble around it in a frightful way / I’ve been abandoned. Could you please turn over?
yes. First of all, I don’t know if it’s okay to point out the writing style and narrative in this modern poem, but I’m a prose person, so I tend to read things like that. I feel the beauty of movement as dynamics. So, the poetic line as dynamics and this destructive power of verbs. ‘, ‘overflowing’, ‘almost drowning’, ‘lean forward’, and ‘collapse with terrifying force’. .
So, that continuous transformation and its continuation, this continuation also includes the Bergsonian continuation of life, and that continuation, um, this is also in Chika Sagawa’s poem. It often happens, but the last line is very cutting and imprints something on the reader. The intensity of this cutting, this dislocated “I” is very interesting. Teacher, could you turn over one more sheet?
