Writing Off Gran (Press, 6 June 1984)

Sawako Ariyoshi, Japan's leading woman novelist, discussed the challenges Japanese women's literature faces in being translated into English. She attributes this largely to the historical focus of many Japanologists on male writers, particularly Yukio Mishima, whose works were prioritised for translation. In contrast, the only notable translations of Japanese women's literature pertained to the court ladies of the eleventh century. Ariyoshi, in her early fifties, comes from a well-off family and overcame health issues during her childhood, thanks in part to the societal changes following World War II. She utilised her recovery period to delve into literature and theatre, ultimately becoming a prolific writer with around 70 novels, numerous plays, and film scripts to her name. Over the past two decades, her novels have gained attention for exploring significant social themes. Moreover, she has established herself as a social commentator and intellectual on Japanese television. One of her early works, written after spending time in America, tackled the topic of a Japanese girl marrying an African American—an issue that shocked many in Japan at the time. In addition, her non-fiction work released in 1975 regarding pollution became a significant bestseller. However, her novel "The Twilight Years," published in English in 1984, is perhaps her most influential, tackling the sensitive issues of ageing and senility within Japanese families. The book brought to light the cultural stigma surrounding families with elderly members who suffer from cognitive decline, particularly the fear that such burdens could affect the marriage prospects of younger family members. The discussions sparked by the novel shifted public perceptions around this social stigma. Despite her success in Japan, Ariyoshi faced challenges when trying to penetrate the European market. After the success of her translation "The Doctor's Wife" in France in 1981, she was overwhelmed with media attention, but frustratingly, most interviews focused on cultural questions rather than her literary work. She expressed a weariness with having to repeat cultural explanations and often quipped back with the phrase, "Misunderstanding is the beginning of understanding." Ariyoshi acknowledges that her stories might reinforce existing stereotypes, while simultaneously pointing out the complexities of Japanese women's roles in society. She hints at an enduring view that the circumstances faced by Japanese women have historically been misinterpreted by Western perspectives, noting that Japan's women’s movement has a longer history than its Western counterpart. Her comments suggest a deep understanding of cultural nuance and a playful acceptance of the misconceptions surrounding Japanese women's lives.

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