NaNoWriMo



I'm a gonna do it this year! I already started a day late (started November 2nd) and have only 1,084 words clocked in. I'm not panicking. I'm writing. No working on the Shig book for this though, since it is a novel writing deal breaker, but the good news is that I have indeed started writing parts of the Shig book too. I'm turning in a short biography piece for the 50th Anniversary issue of Beatitude on Monday, and it better look good since the audience is 100% Shig cronies. Eek.

But back to the novel-

May Sky: Violet de Cristoforo (1917-2007)


VIOLET KAZUE DE CRISTOFORO She and her family were detained at camps in California and Arkansas. Her experiences there inspired her to write poems, for which she recently was honored by the National Endowment for the Arts.


I am sad to report that dear Violet de Cristoforo has died, at the wonderful ripe age of 90. Her death comes merely two weeks after she had returned from Washington D.C., where she was nationally recognized for her influence and artistic contributions to haiku, in particular the work she has written, translated and anthologized from the Japanese American internment camps of World War II. Prominent obituaries have appeared in the SF Chronicle, the Hokubei Mainichi, and the LA TImes (which I have copied and reposted in its entirety below). I was also surprised to receive an email last week from Valley Public Radio in Fresno asking for people to interview who knew Violet when she was a Fresnan.

As it turns out, on a very recent trip home to Fresno (where I was attending another funeral, a service for my uncle, John M. Wakida) Violet's name was mentioned several times by my extended family members and others. Clearly, Violet was to be remembered. My aunt Julie Nakagawa said that Violet used to visit Fresno monthly to see friends, and recalls her as "strong- she had lived a hard life." But her poetry will be with us.

My thanks to Bessie Chin, J.K. Yamamoto, and Stan Yogi for all writing to tell me about Violet's passing.

****************************************************
Violet de Cristoforo, 90; California haiku poet survived WWII internment camps

By Elaine Woo, Los Angeles Times Staff Writer
Violet Kazue de Cristoforo, a California poet and scholar who wrote, collected and translated haiku that compressed into a few lines the heartaches and realities of the detention camps where thousands of Japanese Americans were incarcerated during World War II, died Wednesday at her home in Salinas. She was 90.

De Cristoforo died two weeks after returning from Washington, D.C., where she was honored by the National Endowment for the Arts with a National Heritage Fellowship award for achievement in traditional and folk arts. She died of complications from a stroke, said her daughter, Kimi de Cristoforo of Santa Rosa.

A native of Hawaii who grew up in Fresno, De Cristoforo was one of about 110,000 Japanese Americans who were sent to 10 camps in seven states after the bombing of Pearl Harbor cast suspicion on people of Japanese heritage.

De Cristoforo, who ran a Japanese-language bookstore in Fresno with her husband, had two young children and was expecting a third. She still was weak from an operation to remove a tumor when an executive order was imposed on Feb.19, 1942, authorizing the military to remove any citizen from a broad swath of the West Coast who might be a threat to national security.

By April of 1942, she and her family were living in 110-degree heat in a tar-paper shack at the Fresno Assembly Center, formerly a horse track.

She gave birth to her third child over an orange crate and two weeks later was on a dilapidated train with a sick baby to another camp in Jerome, Ark.

At Jerome, her husband, Shigeru Matsuda, and his parents decided that because they were forced to leave behind everything of value in Fresno they would return to Japan, where they still held some property. When it came time to fill out a loyalty questionnaire, De Cristoforo followed her husband's advice. "My husband had told me, 'Don't answer this. . . . Don't trust the government. Don't trust anybody. Just say you're seeking repatriation with my family.' And that is the only thing that I wrote. I did not answer yes or no to the questionnaire," she said in "And Justice For All," a 1999 oral history of Japanese-American internees by John Tateishi.

From Jerome they were sent to the Tule Lake Relocation Center, a high-security camp built on old lava beds in Northern California, near the Oregon border, where Japanese internees who had refused to sign the loyalty oath were imprisoned.

Her husband and her brother were arrested after they joined a committee to investigate food shortages at the camp. Her brother was thrown into the stockade, and her husband was sent to a camp in Santa Fe, N.M. De Cristoforo remained at Tule Lake for the duration of the war with her three young children, a sick mother-in-law and a father-in-law who went mad with grief after his wife's death from cancer.

De Cristoforo, who had belonged to a haiku club in Fresno, wrote poems on whatever scraps of paper she could find.

"Throughout, haiku helped hold me together," she told the Salinas Californian in 1993. "It was an escape, and it let me express my feelings."

Sometimes what she expressed was simply that life went on:

Myriad insects

in the evening

my children are growing

Other times her thoughts drifted miles away to her husband, whose letters were rendered almost indecipherable by the censors' scissors:

Misty moon

as it was

on my wedding night

She also was inspired by Castle Rock Mountain, a landmark east of the camp where the Modoc Indians had made their last stand. But any thoughts of rebellion she may have had were contained, repressed, transformed:

Foolishly -- simply existing

summer days

Castle Rock is there

De Cristoforo left Tule Lake with her children in 1946. Her husband had been repatriated to Japan first, and when she arrived in March of that year she learned that he had remarried.

Seeking reunion with her mother, she took a train to Hiroshima but found only the devastation from the atomic bomb dropped eight months earlier. When she finally found her mother, after walking two days through the mountains, the older woman "looked like a monster" with severe burns and barely any hair.

De Cristoforo returned to the U.S. in 1956 after marrying Wilfred H. de Cristoforo, an Army officer who had been stationed in Japan after the war. They moved to Monterey, where he attended the Army Language School, and she went to work for the McGraw-Hill educational publishing company.

Wilfred died in 1998. De Cristoforo's survivors include two daughters, a son and two grandchildren.

Wilfred "is the one who really encouraged my mother to publish her work," daughter Kimi said in an interview Monday. Her books include "Poetic Reflections of the Tule Lake Internment Camp, 1944" (1987) and "May Sky: There Is Always Tomorrow" (1997), an anthology of free-form haiku, called kaiko, written in the camps.

According to her daughter, De Cristoforo spoke little of her wartime experiences except in her poems. She was to read one of them at the ceremony in Washington, when she was one of 12 artists honored as a National Heritage Fellow. "She was so excited about it," her daughter said. "This trip to Washington, D.C., was the culmination for her."

Already in poor health, De Cristoforo was unable to recite the poem she had chosen.

It was read instead by Norman Mineta, the former congressman and George W. Bush administration official who as a boy was incarcerated at the Heart Mountain Relocation Center in Wyoming.

My heart perceives nothing

day to day

summer at its peak in highland

A notation suggests that the poem was written when prisoners in the Tule Lake stockade were on a hunger strike. Her brother, who had been falsely accused of taking part in a food riot, was locked up for 10 months.

Another cruel injustice came afterward, when De Cristoforo struggled to make a living for herself and her children in Japan. She found a place to live outside of Hiroshima and worked as an interpreter, but the economy was in ruins and Japanese Americans often were not warmly received.

When De Cristoforo's oldest child, Ken, was 12, she begged friends in the U.S. to find him a home. Two years later, she sent her second child, Reiko, too. Bounced from one place to another, the children felt abandoned, and De Cristoforo, as a noncitizen, was powerless to help them. De Cristoforo spoke frankly in her oral history of their rejection of her but also tried to accentuate the positive: how she kept track of their lives, how well they turned out without her.

"I've learned to realize there are so many things in life beyond your control," she told the Salinas Californian some years ago. "Rather than being bitter or angry over it, I began to think it was a mission in my life. . . . God gave me the gift to go and come back."

elaine.woo@latimes.com

Me n' Mas in Merced



The UC Merced Reading Series has invite meself and my central valley ja senpai, David Mas Masumoto, to conduct a literary conversation of sorts in late October. Here are the deets:

Thursday, October 25, 2007
Merced Multicultural Arts Center
645 West Main Street,
Downtown Merced, CA
7:00-9:00 p.m.

Utilizing the format of a "literary interview" David Mas Masumoto (sansei) and I (yonsei) will talk about growing Japanese American in the Central Valley, our literary beginnings and inspiration, and stuff about books. Books! Mas has a new book out by Heyday's Great Valley Books imprint (of course) entitled "Heirlooms" which he will be signing; I'll talk briefly about my Shig project.

************************************
David Mas Masumoto is an organic peach and grape farmer and the author of Letters to the Valley, A Harvest of Memories, published by Heyday Books, 2004. His previous books include Four Seasons in Five Senses, Things Worth Savoring (2003, W.W. Norton), Harvest Son, Planting Roots in American Soil (1998, W.W. Norton) and Epitaph For A Peach: Four Seasons on My Family Farm (1995, HarperCollins).

A third generation farmer, Masumoto grows certified organic peaches, nectarines, grapes and raisins. He works with his family on their organic 80 acre farm south of Fresno, California and also helps care for his parents who still live on the family farm.

Masumoto is currently a columnist for The Fresno Bee and has written for USA Today and The Los Angeles Times. His other books include Silent Strength (1984), Home Bound (1989) and Country Voices, The Oral History of a Japanese American Family Farm Community (1987). He received the James Clavell Japanese American National Literacy Award in 1986.

Outskirts of the Moment

I was recently commissioned to do the sweetest, loveliest job ever. That was to hand bind a copy of a woman's poetry (her milestone birthday was approaching, and her partner of many years wanted to have a "real book" (cloth hardcover with sewn signatures) to give her as her gift). She had discovered me via the vast world of the interweb, after learning that I was teaching an upcoming Introduction to Book Arts class via the Associated Students of UC Berkeley art studio.

So inbetween the hectic work of special donor development for The Crucible, lecturing at UC Merced, and doing research for the California Council for the Humanities, I was given reprieve by retreating into the quiet concentration of doing Julie's book of poetry justice. Her partner Toodie chose the book cloth and endpapers, did the designwork and even chose the color of the ink I'd use on the front cover- a real custom job. I ended up with three finished books rather than one, which was a bonus.

I forgot to take photographs of the final product (gun to head, duh) but here are a few shots of the work in progress. Happy Birthday, Julie. It was a real pleasure to put this together in your honor.



Lots of little lino blocks for sale!


Buddyray manning the wasabi press table (along with Kathy Aoki's prints) , very manly style.


Our beloved former executive directors, Anne Smith and Kathy Barr.


Colleen is a freaking superstar. Only girls drove the steamrollers here. Katherine Case is the real hero of the day, but somehow she evaded my camera (not only did she organize the whole shebang, she also drove the steamroller inbetween leaping tall buildings).


Mary Laird's goddess block


The genius carver Maia de Raat inking up her insane mermaid block.


Here's Kathy Aoki! We finally met after passing like ships in the night for many years. She has amazingly produced a blue eyed blond little girl.


Kathy's teddybear construction worker block.


Kind volunteers inking up my very own Akuma block.


The inky block is placed on premarked areas of the street, right in the path of the steamroller...


Then they lay down the damp paper onto of the blocks, and add some heavy blankets, which Colleen runs over.


Voila! Roadworks steamroller print.


Michael Carabetta (creative director at Chronicle Books) did this amazing color print.


But as always, Rik Olson steals the show. This is his fourth year of carving a 3 x 3 lino for Roadworks, and as expected, the results were mindboggling.

Shbolts.




Mysterious seasick green photo.

Two more cruddy days of carving! I'm in a sad, permanent Quasimoto hunch, hands palsyed, and scraps of battleship linoleum keep sneaking around, appearing in unexpected places like in the kitchen sink, one's underwear drawer, and on the ice cream bonbons. The good news is- I got a job (part-time) AND Roadworks is Saturday so lord, the end is in sight.

eleven days to go...


details of Akuma's gnarly face



details of clouds and Kitsune's paw



clouds complete. now onto those lightning bolts.

Kitsune and Akuma Fight For the Soul of Man



Preliminary photos of my most ambitious linoleum project yet- a 3' x 3' block that will be inked up and run over repeatedly at the upcoming Roadworks Steamroller Prints to benefit the San Francisco Center for the Book on Saturday, September 8th.

The block laying on my living room floor, with the preliminary drawing pencilled in. Not as innocent a process as it looks at first glance. I did the drawing in pencils and inks at 6 x 6 (inches) then scanned it and took it to Kinko's to blow up to the 3 x 3 (feet) dimensions and print out. From their printout, I used carbon paper to retrace the image onto the block. I would have drawn directly onto the block had it not been for two pretty major challenges:

1.) when doing linoleum carvings, everything has to be done in reverse. So what you see now is going to be printed backwards, so its best not to fool with that unless you really know what you're doing.
2.) I've never in my life worked on something of this dimension. Freehand drawing at this scale scared the pants off of me.



Carbon paper works wonders!



Akuma (the demon) is starting to take shape. I've enjoyed adding detail to his face, and will continue to do so with Kitsune (fox).



Its mighty hard to tell from this perspective and at this point in the game, but the finished drawing will reveal the two gods wrestling up in the clouds, while electric lightning bolts whiz from their conjoined fists. Onwards!

two-ton lino: come, I'm one of the artists!


THE SAN FRANCISCO CENTER FOR THE BOOK PRESENTS
THE FOURTH ANNUAL ROADWORKS:
STEAMROLLER PRINTS AND STREET FAIR
Sat, Sept 8, 2007
11 am to 5 pm
De Haro Street (between 16th and 17th Streets)
Free!

Every year, the San Francisco Center for the Book brings local artists and the community together to create unique large linocut prints that are inked and pressed by a two ton steamroller. This unique fundraiser doubles as a rollicking street fair where this year we're featuring an expanded book arts and printers sale, with tables both in the Center for the Book and outside where the printing action takes place. There will also be music, kids activities, tours of the Center for the Book and a chance to pull your own print off the letterpress! The large prints will be auctioned off at our annual Gala Dinner/Fundraiser.

This year watch us pull prints from large-scale linoleum blocks carved especially for the occasion by: Kathy Aoki, East Side Editions, Michael Carabetta, Leif Fairfield, Mary Laird, Paul Madonna, Brandon Mise, Rik Olson, Maia de Raat, Patricia Miye Wakida, and William T. Wiley.

"Little Linos"
Everyone can be a Roadworks artist! The Little Linos print sale will feature 1' x 1' pieces of linoleum carved especially for this year's Roadworks street fair by members of the SFCB community. We'll steamroller print two copies of each block on the morning of the event, one for the artist to keep and one to be sold that day to benefit SFCB. If you're interested in carving a Little Lino, please contact Katherine Case at katherine@sfcb.org to register. Never carved linoleum before? Get a crash course in our Little Linos class taught especially for the occasion by expert wood engraver and four year Roadworks artist Rik Olson on Wednesday September 5.

Also....fabulous SFCB t-shirts for sale, unique book arts vendor sales, kids' activities, and music music music to print to.

I, the Judge

Ok so I hope that I'm not breaking some rule or something by talking about this, and now that I have blogged, I fear that someone will stealthily come at night and beat me with bamboo rods for my "loose lips sink ships" behavior. However, I am truly psyched that I was asked by Quang Bao of the Asian American Writers Workshop in NYC to be one of the judges this year for their annual Asian American Literary Award, in the nonfiction category.

To qualify for this very prestigious award, a work must have been written by an individual of Asian descent living in the United States and published originally in English during the calendar year preceding the award year (for example, works published in 2004 are eligible for the 2005 Literary Awards). Self-published works apparently don't make the cut. Beyond that, anyone can submit a book within these guidelines for consideration.

Here are the full guidelines and list of previous winners in the fiction, nonfiction, and poetry categories (plus there is a Members' Choice Award that is presented annually) : http://www.aaww.org/aaww_awards.html

The four books that I am currently reading and judging for this award are all thrillingly different and quite impressive in their lyrical voices, the range of research, and general insightfulness with which they each approach their book's subjects. What a treat to curl up to more books!

I won't disclose anything more for fear that I'm already disqualifying myself as judge-worthy, but here are the books in the running.




How I Spent My Summer Vacation





Seeing that I haven't officially HAD a summer vacation since, oh 1992 (I've had no rest! I'm a workin girl), I am rediscovering the bliss of camping, hiking, kayaking, picnicking and tooling the motor boat around the lake while the boys go fishing IN THE MIDDLE OF THE FREAKING WEEK.

Kimi and Anthony apparently won some power boat rental out at San Pablo Reservoir, so we piled the boys into the car, packed our bentos and headed for the water. Let us say now that noone caught a single durned catfish, but glory be, noone hooked someone's eyelid or cheek with carelessly wielded rods.



In fact, it was downright scary being on that boat with three rowdy guys who still got their rocks off flinging sardine guts and worms on each other.



Former Fresnan soaks up the latest tome by Valley writer extraordinaire, Mark Arax. Alas, no pictures of Kimi in this series, since she was the faithful photographer. Given a choice though, I would have taken a shot of the moment when she spit up a mouthful of mint lemonade when 10 minutes into the journey, Doug loudly announced that someone had already hooked his foot.

August 6, 1945

And on that very note, let us not forget that 55 years later, we as humans all live under the shadow of our own destructive powers. Man's introduction to the atomic age came when uranium a-bomb "Little Boy" was detonated above the military port city of Hiroshima at 8:15 a.m. on August 6, 1945- a perfectly clear day. Nearly 140,000 people died (many were instantly vaporized by the intense heat of the bomb, while others recovered, only to succumb later to extreme radiation related maladies). As the writer Yuichi Serai once wrote, "When mankind dropped the atomic bomb, I think, people abandoned God and their humanity."



To gain some perspective on my choice of this horrific image, I wrote my entire senior thesis on the literature of the Atomic Bomb experience, or "Genbaku no Bungaku" and have spent years collecting books on the bizarre culture that was born out of Hiroshima and the atomic age in Japan in general.


Draft press release by U.S. President Truman. Seeing that I have been spending a considerable amount of time reading and researching original documents on the occupation of Japan (and the role that Japanese American military intelligence translators played in the days, months and years after the Emperor surrendered), re-reading Truman's pr machine in action is sort of a mindfuck.

8 Random Things About PMW

as tagged by my dear friend Cheryl of Poets & Writers! Except that I'm going to break the rules and just post eight things without passing on cuz I"m just like that.



ˆMy portrait as taken by relatives in Hiroshima, Japan. They insisted on gussying me up in full kimono and taking formal pictures for wedding prospects. Needless to say, I only went halfway and just had pictures taken in the house, not in some fussy studio and never got the hookup. See Random Item #5.ˆ

1.) When I was growing up, my bro, sister, mom and I raised Guide Dogs for the Blind. I also read those encyclopedias of dog breeds voraciously and can now spot and identify over 50 breeds as they mosey down the street.

2.) I am super well versed in California native plants- I love me a sisyrinchium bellum, a philadelphia lewisii, quercus agrifolia. I attribute the bulk of this to the fact that when I was in third grade, I met this rad girl named Misty whose parents owned land up in the Sierra Foothills above Fresno. We would go up there on the weekends and stay at their amazing rustic cabin (like we were in Little House in the Prairie), battling rattlesnakes, building stone dams in the creek, trucking dirt roads in a white golf cart, and yes, learning the names of native plants to earn us Girl Scout badge points. If you don't believe me, let's go for a hike.

3.) I wish I were more metal. Go figure.

4.) I have had two boyfriends in a row with the same birthday- December 7th- the day of infamy, no less. Tora! Tora! Tora!

5.) Both sides of my family (mother and father) are descendants from HIroshima, Japan. That makes me 4th Generation Japanese American/California, but 100% Hiroshima-jin.

6.) I can't do handstands. Nor cartwheels. I suck. Katonk.

7.) The first record I ever fell in love with was ELO's "Discovery". You know, the one with the Aladdin guy stealing the neon ELO disk out of the silken purses of like, the Shah. Then on the back of the album there is an army of angry guards waving scimitars over their heads while they race through the dunes- our hero still clutching the musical talisman against his vest...

8.) Once, when I was over at my friend Nguyen Qui Duc's house (he is an international journalist, writer, photographer and former host of the KQED program "Pacific Time") I accidentally set fire to one of his original polaroid prints. As in I burned a piece of artwork that commands hundreds of dollars in galleries. At this writing, we are in fact somehow still friends.

Thanks Cheryl! That was was oddly satisfying and therapeutic.

scarf!

So the not so secret reason why we all love to visit Japan is for the food. Bamby and I are both pretty wise on our favorite places to eat in Tokyo, and we also took a few special trips out to Yokohama and Takao for some super special hardcore grinding of the molars.



sashimi chillin on ice



nabe with fish, negi, shitake, and roe. served with a lively ponzu sauce.



tempura (which included goya, the super bitter chinese melon)



yakinasu with miso. the leaf atop is sansho, a plant of many culinary uses, I learned. The berries are eaten either whole or ground (and served atop unagi, for one) and the wood of the plant, which is very dense, is commonly used as a pestle for grinding spices.

check out the crazy beautiful ashtray sitting right across from my plate. yes, it was clean, but it IS a haizara, so don't just drop your fishbones or edamame shells in there by accident, doh.

Pa-jan



Ah, a few obligatory photos from the 10-day jaunt to Tokyo. Alas, alas, our highly anticipated stoner fantasy underwater scuba tour of Oshima was derailed by Mo Nature in the form of a vicious typhoon. Just days before, major earthquake hit Niigata (but we were totally oblivious and unscathed).



Met up with my best buddies Kimi and Anthony on this trip, for one blissful rainy afternoon of giant tvs, katsudon, soggy Harajuku chicks, and a stroll through Meijiniwa as the gardeners partook in their annual ripping up of the spent irises. Anthony kept asking, "why is he [the gardeners tending the royal grounds] so old?"


The inimitable, inscrutable Bamby Jonez in Saitama. The electricity in this joint kept going out, much to the consternation of the super fine bar guy, who confessed that it must have been our presence that kept shorting out the wires.


Kappa, one of my all time favorite pranksters of Japanese folklore. Somewhat innocent water imps, these guys do pack a punch when the going gets tough. They are equally well known for their great talent in farting contests as well as yanking out the intestines of an innocent by-stander through their anuses. Everyone knows that to beat a kappa, you must make them bow, thereby spilling the reserve of water they keep in the concave on top of their heads, thereby rendering them utterly powerless. This was a rather spectacular golden Olympic sized kappa, found in (of course) Kappabashi district of Tokyo. I went there specifically to buy $400 of super fancy knives for my chef brother, Doug.

Finally, since it was summer and the time of matsuri, I had plenty of opportunities to ogle the latest in yukata fashion. Here are a few lovely specimens wandering the streets of Zushi.

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One sad, down in the mouth obi bow. One perky, bright eyed and bushy tailed obi bow.



I want to eat this little girl, she is so cute. Plus, she has bags under her eyes! This child is what...four years old, and she has hard knock life bags! I love her.



How hot is this girl with her black yukata and the EYEPATCH?

bella, Bella Vista

You know you've got it bad when you consistently dream about watering your sad, freakin urban garden plopped next to the neighborhood elementary school while you are on vacation in glamorous Tokyo. So alright already, I'm obsessed with my two 4x4 raised plots down the street. Just a few months ago, I got wind that the Bella Vista Community Garden had plots up for grabs, and for a mere $25 annually plus some volunteer hours on Saturdays, those squares of dirt would be mine, all mine.







I'm well into my second season of planting so far- the first was dominated by lettuces and a few hoary, peppery radishes. Summer is here and I'm pleased to say that things are going swimmingly so far- the tomatoes, the bushy basil (two types), the Kentucky Pole beans, shiso (red and green), strawberries, and eggplants are faring well. Armenian cuke seedling taking over the kitchen window and I'd say its ready to be transplanted too.




yum! yum! yum!


slydini

Bill and Vicky just sent off the final files to the cd production today! Very exciting- my first cd artwork and design project. I couldn't have done it without last stage homestretch digital handiwork executed by my gorgeous boyfriend and his friends at Ex'pression Digital Arts College (thanks for fixing that kerning and other text issues!) Cover image done in pencils, pastels, with some digital futzing. The tigers are linoblock prints digitally colored and slightly enhanced (ie corners smoothed).




Violet Kazue Yamane Matsuda de Cristoforo


I just discovered a dear writer colleague of mine, Violet de Cristoforo,of Salinas, CA, has been awarded a Lifetime Honor from the National Endowment for the Arts. I am thrilled to learn that she will be traveling to Washington D.C. to pick up her award amongst the other receipients. This particular award recognizes artists who have contributed to folk or traditional arts of the United States, over a lifetime. It is also great to know that she is being recognized not only for her writing but her role as a historian in preserving and translating so much haiku and tanka written by the Issei in the camps.

I first met Violet de Cristoforo through poet Lawson Inada, who told me there was an amazing poet named Violet, from Fresno (Lawson and I are both Fresnans) who I had to meet. Her compilation of poetry written in the internment camps "May Sky" was nothing like anything I'd ever seen before. I spent three days at Violet's house in Salinas while heavily researching literature from the Japanese American World War II internment camp experience for the book "Only What We Could Carry". All the while, Violet bustled between sheafs of poetry manuscripts from cabinets and under the bed to making heavenly pies and dishing pickled veggies. Her house smells of strawberries.

Violet de Cristoforo was born Kazue Yamane in Ninole, Hawaii. At the age of eight, she was sent to Hiroshima, Japan, for her primary education. She returned to the United States when she was 13 to attend high school in Fresno, CA. Upon graduation she married Shigaru Matsuda and she joined a School of Haiku and became well known for her poetry in the kaiko or free style haiku form. Starting in 1915 two Tokyo poets Ippekiro Nakatsuka and Kawahigashi Hekigodo had developed a modernist haiku called "kaiko." Japanese-Americans in California had formed haiku-writing clubs to write these modernist haiku in Japanese. One of the haiku clubs was in Fresno while the other one was in Stockton. The modernist haiku were not restricted to the vocabulary of the seasons and the strict 5-7-5 syllables of traditional haiku. The haiku poets worked hard on their writing, putting it up to serious criticism in the clubs, and they also collected Japanese literature. De Cristoforo says that right before the internment the Japaense-American poets in Stockton and Fresno destroyed their collections of haiku and much Japanese literature--a tragedy for Japanese-American literature. During those pre-war years, she and Shigaru also owned and ran a Japanese bookstore in Fresno.


Following President Roosevelt's Executive Order 9066, in 1942, the Matsudas were forcibly evacuated to Fresno Assembly Center (the Fairgrounds) along with the thousands of other Japanese Americans in the Central Valley (including my family) and then onto the permanent internment camp in Jerome, Arkansas. Yet throughout the internment, she, along with dozens of other Japanese American poets, kept writing haiku in Japanese which they published in camp newspapers. In 1943, her husband refused to sign the so called "loyalty questionnaire" distributed by the US Government to camp internees, leaving questions numbered 27 and 28 blank, so he was then sent to the Justice Department camp in Santa Fe, New Mexico. Violet, her brother, mother-in-law, and three children were then deported to Tule Lake segregation camp and expatriated with Shigeru to Japan in March 1946. After several years in post-war occupied Japan, she later resettled in the United States with her second husband.

Over a period of 50 years Violet has both written haiku poetry and collected and translated haiku from the internment camps and the various haiku clubs. Her book, "Poetic Reflections of the Tule Lake Internment Camp, 1944", was published after 1984. The culmination of her life's work is the anthology she edited entitled "May Sky: There Is Always Tomorrow; An Anthology of Japanese American Concentration Camp Kaiko Haiku" (1997, Sun Moon Press).

http://www.arts.gov/honors/heritage/fellows/fellow.php?id=2007_03

1000 plus cranks!


Finished printing 500 covers (two colors) for Kearny Street Workshop's Intergenerational Writers Series chapbook, "12 Ways". It was a last minute print job, since the letterpress printer they had lined up couldn't do the job after all. Turns out that it was better at any rate, since she only had a small hand platen Kelsey which really would have been a nightmare for this job. The polymer plates themselves were about 9.5 x 13.5, barely fitting on the largest magnets I had access to. Even on the Vandercooks, this was a tough job to do in two print runs.

Spent all day Friday cutting paper (sleepily. Sam and I both need coffee before measuring in the morning) and mixing inks, getting the alignment set. Saturday night, I was back on the presses and finished the job at around 11:30. Then the real nightmare began, when I discovered that I didn't know how to lock the front doors to the Center. Let's just say we came up with a hoop-dee solution, and Sam saved my ass the next morning. (sound effect of much air being released from pressure gauged head).

Artwork and design by Mark Baugh-Sasaki. Letterpress printed using polymer plates, two color inks.

12 Ways: a reading and book release
A collaboration of Kearny Street Workshop, Intersection for the Arts and Galeria de la Raza
Wednesday, July 11, 2007
7-9 p.m.
KSW's space180, 180 capp street, 3rd floor @ 17th street, SF

BR biz cards

Reprinted a big batch of 'em a few weeks ago...