{"id":51869,"date":"2013-05-06T16:15:10","date_gmt":"2013-05-06T20:15:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=51869"},"modified":"2013-05-07T14:19:16","modified_gmt":"2013-05-07T18:19:16","slug":"kent-johnsons-araki-yasusadas-tosa-motokiyus-mad-daughter-and-the-big-bang","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/05\/06\/kent-johnsons-araki-yasusadas-tosa-motokiyus-mad-daughter-and-the-big-bang\/","title":{"rendered":"Kent Johnson\u2019s \/ Araki Yasusada\u2019s \/ Tosa Motokiyu\u2019s \u201cMad Daughter and Big-Bang\u201d"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/05\/images.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-51872\" alt=\"images\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/05\/images.jpg\" width=\"259\" height=\"194\" \/><\/a><\/p>\n<p>Pen names have long been a means for writers to inhabit another identity\u2014to attain privacy, assume the acceptably literate gender, or play with the freedom of a psychic unburdening. But at what point does a pseudonym become obfuscation, transgression? What happens when a poem of witness\u2014a poem set in the aftermath of the August 6, 1945 atomic bombing of Hiroshima, a poem more compelling than many of its peers for its haunting, even oblique and morbid surrealist humor\u2014is in fact written by a middle-aged white community college professor named Kent Johnson, rather than a <em>hibakusha<\/em>, or actual Hiroshima survivor?<\/p>\n<p><!--more--><\/p>\n<p>It\u2019s been over a decade since the poetry of Johnson\u2019s heteronym, Araki Yasusada, excited, provoked, and even outraged the poetry community. The nuances of his \u201choax\u201d were revealed and debated; the manuscript \u201cDoubled Flowering\u201d was dropped by Wesleyan University Press. Johnson vigorously denied authorship, attributing the poem \u201cMad Daughter and Big-Bang,\u201d along with manuscript\u2019s letters and poetry, to Yasusada, and then, a potentially fictitious (and conveniently deceased) translator, Tosa Motokiyu. Scandal abounded, but \u201cMad Daughter and Big-Bang,\u201d is beautiful and strange in spite of it all.<\/p>\n<p>In the poem, the narrator\u2019s daughter is reduced to a talking severed head, while her dark hair \u201ccomet-like, trail[s] behind\u2026\u201d The father-narrator is suggested to pluck her from the earth as unceremoniously as harvesting a single turnip, ripe with rot. Whether written in an English Department office in Illinois in the mid 90s, or found among a sheaf of yellowed papers belonging to the deceased Yasusada\/Motokiyu, it places the reader\u2019s unsuspecting feet on radioactive soil. That after the A-bomb a father should ask his dead daughter, \u201cWhat on earth are you doing? &#8230;You look ridiculous,\u201d warrants lingering for a moment. With intimations of the cosmos and the juvenility of war, I find this poem more arresting than the hoopla surrounding its origins.<\/p>\n<p>Some argue Johnson wrongfully appropriated a victim\u2019s voice, others counter that Johnson himself was a victim, suffocated by expectations of truthiness. I\u2019d suggest that sometimes the victim is the poem. By looking past the meta-politics of authorship, we may return to the Mad Daughter. We may also water ourselves, as vegetables in the ground.<\/p>\n<blockquote>\n<p>Walking in the vegetable patch<br \/>late at night, I was startled to find<br \/>the severed head of my<br \/>mad daughter lying on the ground.<br \/>Her eyes were upturned, gazing at me, ecstatic-like\u2026<br \/>(From a distance it had appeared<br \/>to be a stone, haloed with light,<br \/>as if cast there by Big-Bang.)<br \/>What on earth are you doing, I said,<br \/>you look ridiculous.<br \/>Some boys buried me here,<br \/>she said sullenly.<br \/>Her dark hair, comet-like, trailed behind\u2026<br \/>Squatting, I pulled the <br \/>turnip up by the root.<\/p>\n<\/blockquote>\n<p><em>\u201cMad Daughter and Big-Bang\u201d first appeared in Issue #5 (1996) of <\/em>First Intensity<em>.<\/em><\/p>\n<p><em>LuLing Osofsky graduated from UW\u2019s Master of Fine Arts program in writing.<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pen names have long been a means for writers to inhabit another identity\u2014to attain privacy, assume the acceptably literate gender, or play with the freedom of a psychic unburdening. But at what point does a pseudonym become obfuscation, transgression? What happens when a poem of witness\u2014a poem set in the aftermath of the August 6, [&hellip;]<\/p>\n","protected":false},"author":526,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4715],"tags":[10811,10810,7297,165,7578,10812],"class_list":["post-51869","post","type-post","status-publish","format-standard","hentry","category-the-poem-stuck-in-my-head","tag-araki-yasusada","tag-hiroshima","tag-kent-johnson","tag-poetry","tag-pseudonyms","tag-tosa-motokiyu"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Kent Johnson\u2019s \/ Araki Yasusada\u2019s \/ Tosa Motokiyu\u2019s \u201cMad Daughter and Big-Bang\u201d by Luling Osofsky<\/title>\n<meta name=\"description\" content=\"May 6, 2013 \u2013 Pen names have long been a means for writers to 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