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“The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” BOOKS & ARTS Into the Sea Mai Ishizawa · Polly Barton “The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 The Place of Shells by Mai Ishizawa (New Directions, March 2025). Cover design and illustration by Janet Hansen. Image Courtesy StudioM1. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Essay Japan Japanese Literature Translation Debut Novel Mai Ishizawa Polly Barton Survivors Earthquakes Memory Trauma Sensory Identity Seascapes Seam Contemporary Literature Melancholy Tender Imagery Fiction Ecology Environmental Disaster Gottingen's Scale Solar System Iconography Time & Space Magical Realism Literary Fiction Poetry Akutagawa Prize MAI ISHIZAWA a was born in 1980 in Sendai City, Japan, and currently lives in Germany. Her debut novel, The Place of Shells , won the Akutagawa Prize. POLLY BARTON is a writer and Japanese translator based in Bristol. Her translations include Aoko Matsuda’s Where the Wild Ladies Are , Kikuko Tsumura’s There’s No Such Thing as an Easy Job , and Tomoka Shibasaki’s Spring Garden . In 2019, she won the Fitzcarraldo Editions Essay Prize for her debut book Fifty Sounds . Her second book, Porn: An Oral History , is forthcoming. Essay Japan 19th Apr 2025 On That Note: Who is Next? 5th MAR Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” 21st JUN The Craft of Writing in Occupied Kashmir 24th JAN

“The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” BOOKS & ARTS Into the Sea “The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” Mai Ishizawa · Polly Barton It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making The Place of Shells by Mai Ishizawa (New Directions, March 2025). Cover design and illustration by Janet Hansen. Image Courtesy StudioM1. SHARE Facebook Twitter LinkedIn Essay Japan Japanese Literature Translation Debut Novel Mai Ishizawa Polly Barton Survivors Earthquakes Memory Trauma Sensory Identity Seascapes Seam Contemporary Literature Melancholy Tender Imagery Fiction Ecology Environmental Disaster Gottingen's Scale Solar System Iconography Time & Space Magical Realism Literary Fiction Poetry Akutagawa Prize MAI ISHIZAWA a was born in 1980 in Sendai City, Japan, and currently lives in Germany. Her debut novel, The Place of Shells , won the Akutagawa Prize. POLLY BARTON is a writer and Japanese translator based in Bristol. Her translations include Aoko Matsuda’s Where the Wild Ladies Are , Kikuko Tsumura’s There’s No Such Thing as an Easy Job , and Tomoka Shibasaki’s Spring Garden . In 2019, she won the Fitzcarraldo Editions Essay Prize for her debut book Fifty Sounds . Her second book, Porn: An Oral History , is forthcoming. 19 Apr 2025 Essay Japan 19th Apr 2025 Ghostmother Aria Pahari 10th Apr Who is Next? Noor Bakhsh · Qasum Faraz · Sajid Hussain 5th Mar Dukkha Sumana Roy 4th Jul Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” Sanjena Sathian 21st Jun The Craft of Writing in Occupied Kashmir Huzaifa Pandit 24th Jan On That Note:

· BOOKS & ARTS Essay · Japan Into the Sea “The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” The Place of Shells by Mai Ishizawa (New Directions, March 2025). Cover design and illustration by Janet Hansen. Image Courtesy StudioM1. It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Essay Japan Japanese Literature Translation Debut Novel Mai Ishizawa Polly Barton Survivors Earthquakes Memory Trauma Sensory Identity Seascapes Seam Contemporary Literature Melancholy Tender Imagery Fiction Ecology Environmental Disaster Gottingen's Scale Solar System Iconography Time & Space Magical Realism Literary Fiction Poetry Akutagawa Prize Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 19th Apr 2025 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

“The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” BOOKS & ARTS Into the Sea “The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” GENERAL ESSAY AUTHOR AUTHOR AUTHOR The Place of Shells by Mai Ishizawa (New Directions, March 2025). Cover design and illustration by Janet Hansen. Image Courtesy StudioM1. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 The Place of Shells by Mai Ishizawa (New Directions, March 2025). Cover design and illustration by Janet Hansen. Image Courtesy StudioM1. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Essay Japan 19th Apr 2025 Essay Japan Japanese Literature Translation Debut Novel Mai Ishizawa Polly Barton Survivors Earthquakes Memory Trauma Sensory Identity Seascapes Seam Contemporary Literature Melancholy Tender Imagery Fiction Ecology Environmental Disaster Gottingen's Scale Solar System Iconography Time & Space Magical Realism Literary Fiction Poetry Akutagawa Prize Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). More Fiction & Poetry: Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5 Date Authors Heading 5

“The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” BOOKS & ARTS Into the Sea AUTHOR AUTHOR AUTHOR “The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories.” SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Essay Japan Japanese Literature Translation Debut Novel Mai Ishizawa Polly Barton Survivors Earthquakes Memory Trauma Sensory Identity Seascapes Seam Contemporary Literature Melancholy Tender Imagery Fiction Ecology Environmental Disaster Gottingen's Scale Solar System Iconography Time & Space Magical Realism Literary Fiction Poetry Akutagawa Prize Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Essay Japan 19th Apr 2025 It isn’t just images that become memories. Different parts of my body stored up memories, which they silently retained. Those afterimages carried that way in the body would most likely never be erased. Skin cells regenerate periodically, becoming new, but the time that passed after the earthquake and sensations from that period seemed to linger on, as a transparent layer on my skin. And yet, when I tried to pass beyond my memories, all I could see was a two-dimensional whiteness. Connecting together all my physical memories only left me with a dense accumulation of fragments—I never managed to summon up a complete picture of that day. The attributes of the memories held by each part of my body may have been a part of me, but I couldn’t combine them into any self-identifying symbols, like those of the saints. Being in a place so far away from the sea and nuclear power plants had loosened my grip on my memories of that day, obscuring my connection to them. Eventually, this sea inside me was overlayed by images of numerous paintings, which yielded new impressions. My connotations with the sea came to include those folds of pale green out of which Botticelli’s Venus rose; Caspar David Friedrich’s desolate icy sea, with the blue-black shape of the wanderer gazing out mutely at it; the sea as rendered by the impressionists, with its musical depiction of the particles of light and color dancing there; Canaletto’s sea inextricably bound to his crisp renditions of Venice; and then the peaceful blue gaze of the sea meeting the sky in Albrecht Altdorfer’s The Battle of Alexander at Issus. This final version merged with the sea as Nomiya had described it. The peaceful times before dawn, or after sunset. The dialogues in blue that one witnessed there. Even as it served as a giant mirror reflecting the sky through which the colors flowed and passed, the powerful force of its current eddied and whirled around beneath. Yet the impressions making up this stratum had been swallowed up by the sea that March, and had vanished. None of my own memories of water were violent. I was one of those who’d watched those video clips of the sea as it destroyed everything—those scenes of destruction shown repeatedly on TV and online. That weighty gray, white and black mass surging through the town, growing heavier with the things it acquired along the way, forming new masses, encroaching still further. Watching these videos, my eyes superimposed on Nomiya’s final moments, which they’d never actually seen. Those scenes of agony that my eyes took in, the spatial and temporal holes gaping wide open in a way that could never be depicted in a painting, covering over all my other connotations. What I saw in those photos and videos hadn’t integrated with the impressions of the sea that lived inside me. Now, there wasn’t so much as a trace remaining of the pool I’d visited as a child. The pine forest, too, had been irrevocably damaged by the sea’s violence. Since seeing the destruction, the places that I’d visited had been ripped apart into tiny fragments, which returned my gaze in inert silence. This was the silence of words that had been stewing for too long. The severed words of the dead, the words of the survivors which now had no place to go—these lay soaking endlessly inside me alongside the voices in my memories. As I looked at the city, the place I’d once lived would quietly flicker past, a pale shadow. There, memories of the sea’s violence assumed particular shapes: monuments attesting to the dangers of tsunamis, the remains of a school where many people had lost their lives. How should we carry with us the memories of those who had disappeared to the other side of time? Was it a case of endlessly tracing their contours in our memories, until their names were eventually rubbed away, forgotten? The sea, which contained so many like Nomiya who’d never returned, didn’t bear their names—it was always people’s memories that did so. Nine years later, they continued searching, quietly yet unceasingly, to bring home the dead who had vanished into the sea. Even knowing that the city of Göttingen contained dark, bitter elements to its memories, like the rings of a tree, I was still enticed by the impression it left on me—the twisting alleys and dead-ends that my feet traced, the lush greenery spilling forth, the movement of all kinds of shadow patterns woven by the sun. Wandering around someplace, without any particular focal point, letting my eyes roam across the scenery in front of me, I would find a portrait of the city, of that particular location rising up before me. When I saw a new face of this kind that I couldn’t comprehend except through my feet, my eyes would do their best to understand how it had shifted over time. The multiple faces buried within the strata comprising numerous eras and memories would merge, then peel apart. The city reflected those different faces in flashes, like the blinking of an eye—including the face from that time when it had been known by those three characters, 月沈原. Tracing the portraits from various times with my eyes, my feet kept on pushing forward, until I reached a white plastered building with a red wooden frame creating a geometric pattern. This was the Junkernschänke—squires’ tavern—which dated back to the fifteenth century. The building had changed expression through the decades depending on its owner: from private accommodation to a vacant house, from a hardware business to a wine dealership. Its traditional wooden structure had sustained considerable damage in the March 1945 air raid, but over time, repairs had restored it to its original form. The walls were decorated with pictures rendered in multicolored wood, a number of faces peering out from small circular portraits. The sets of eyes peering out from those portholes onto a distant time belonged to seven astrological gods: those for the planets from Mercury through to Saturn—excluding Earth—plus those of the Sun and the Moon. Coincidentally enough, the seven planets as they were classified at the time of the geocentric system were preserved here, right inside the old town. The swords, scepters, bows, and other objects that the gods bore so carefully were drawn according to traditional symbolism. Here, too, their attributes protected them from anonymity, bringing their names into relief.∎ Excerpted from The Place of Shells by Mai Ishizawa, translated by Polly Barton (New Directions, March 2025). Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Next Up: