Poetry. Translated by Sarah O'Brien. The role of proper names and their power over both named and namer is a subject Sekiguchi has addressed in her critical work. Now she returns to the theme in these poetic prose blocks. Set in a Portuguese botanical garden, they reconstruct the plant, animal, and aviary worlds through the lens of language--a Wittgensteinian language that dreams of impossible precision while actually constructing a kaleidoscope that interleaves the boundaries of its subjects until the myriad forms that life can assume become a single, triumphant category. Ryoko Sekiguchi was born in Tokyo. She received a Ph.D. in comparative literature from the University of Tokyo, and has lived in Paris since 1997, where she teaches at the Paris Research Center for Oriental Languages. She writes in both Japanese and French and has published seven collections of poetry.
Born in Tokyo, Ryoko Sekiguchi has lived in Paris since 1997. Her work has appeared widely in French and Japanese; her books in French include La Voix sombre (2015), Manger fantôme (2012), L'Astringent (2012), Ce n'est pas un hasard (2011), adagio ma non troppo (2007), Deux Marchés (2005), and Héliotropes (2005). Three of her collections have previously been translated into English: HELIOTROPES (Sarah O'Brien, La Presse, 2008), TWO MARKETS, ONCE AGAIN (Sarah Riggs, Post-Apollo Press, 2008), and Tracing (Stacy Doris, Duration, 2003). In addition to her recent culinary performances, Sekiguchi has collaborated with visual artists and sound artists including Suzanne Doppelt, Christian Boltanski, and Ranier Lericolais. Her translations into Japanese include works by Jean Echenoz, Mathias Enard, Atiq Rahimi, and Daniel Heller- Roazen.Author City: PARIS FRA