To Our Readers

Jung Journal Culture & Psyche ISSN: 1934-2039 (Print) 1934-2047 (Online) Journal homepage: https://www.tandfonline.com/loi/ujun20 To Our Readers Katherine Olivetti & Paul Watsky To cite this article: Katherine Olivetti & Paul Watsky (2016) To Our Readers, Jung Journal, 10:1, 1-5, DOI: 10.1080/19342039.2016.1119000 To link to this article: https://doi.org/10.1080/19342039.2016.1119000 Published online: 29 Feb 2016. Submit your article to this journal Article views: 270 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ujun20 To Our Readers Over a year ago Poetry Editor Paul Watsky suggested that JUNG JOURNAL: CULTURE & PSYCHE publish a special issue featuring the poetry of Japan. Paul thought that as a precursor to the IAAP 2016 Congress in Kyoto, such an issue would give our readership the opportunity to dip into Japanese culture and in that way be inspired and beckoned to Kyoto this coming summer. I was enthusiastic about Paul’s vision and invited him to become a Guest Editor for the project. He accepted the invitation, and together we began to assemble a very special issue of JUNG JOURNAL. Three feature articles open doors to Japanese themes from various perspectives. Kathy Gusewelle discovered profound personal and clinical meaning in the Japanese myth of Amaterasu. In her article “Amaterasu—A Path to Embodiment after Sexual Trauma,” Kathy connects the patterns implicit in the myth to the wounding and healing patterns embedded in the clinical process of severe trauma. Megumi Yama, a professor of clinical psychology and depth psychology at Kyoto Gakuen University, has written a provocative article focused on the writer Haruki Murakami. She discusses his creative process, one that resonates deeply with Jungian notions about the nature of the psyche and where creative impulses originate. Masayoshi Morioka, a professor in Faculty of Human Development and Environment at Kobe University in Japan, shares a clinical example of how he works at the personal, cultural, and archetypal levels. Through a clinical lens he discusses the mourning process of a woman, adding insight into the cultural context and the connection that it has to her process. The influence of Japanese culture on the West is perceived nowhere more vividly than in the art of Tom Killion. While we were assembling this issue, Paul Watsky serendipitously came upon a show of Tom’s work. Paul felt no contemporary, occidental artist better embodied the Japanese sensibility than Killion, who applies the technique and style of his great model Hokusai, and Hokusai’s peers, to his own native California landscape. Tom responded to our invitation to join the Japan issue and generously agreed to share his original art with the journal and to engage in conversation with Paul and me, where we explored Tom’s history, insights, and art. Though the issue is heavily balanced toward the theme of Japan, the STREAMS & CURRENTS section focuses on dreams—universal, cultural, and personal. There, you will find intriguing examples of how the dream world leads individuals into life and toward cherished values. All three authors, Patricia Reis, Felicia Matto-Shepard, and Sami Al-Badri, have shared intimate, personal dream material that illuminates our understanding of the relationship between the deep unconscious and the ego. Jung Journal: Culture & Psyche, Volume 10, Number 1, pp. 1–5, Print ISSN 1934-2039, Online ISSN 1934-2047. q 2016 C. G. Jung Institute of San Francisco. DOI: 10.1080/19342039.2016.1119000. 2 JUNG JOURNAL: CULTURE & PSYCHE 10 : 1 / WINTER 2016 Finally, Brian Donovan’s review of Sherry Salman’s book Dreams of Totality: Where We Are When There’s Nothing at the Center, takes us deep within the world of the collective, illuminating the clinical situation and its relationship to the greater psyche. A. Cavalli, L. Hawkins, and M. Stevns have written Transformation: Jung’s Legacy and Clinical Work Today. Reviewed by Patricia Vesey-McGrew, this book explores the expedition of a Jungian journey through the work of ten respected Jungian analysts. I hope this issue of JUNG JOURNAL will inspire and seduce you, will transport you, by bringing you what Jung refers to as the “unexhausted mana” of unfamiliar images (1954/1968, CW 9i, {26). As you read through the issue with its expanded Poetry section, I hope that evocations of Japan will draw you to Kyoto this coming summer. Katherine Olivetti, Editor When Editor Katherine Olivetti, who has been extremely supportive of the poetry component of JUNG JOURNAL, endorsed the idea of a Japan-themed issue featuring an expanded poetry section, I gratefully, and perhaps foolishly, accepted the invitation to take on a project I feared might be an overreach. After all, I speak and read no Japanese, and would have had to scrub the idea if not for the participation of my two Guest Poetry Editors, Emiko Miyashita and Yōsuke Tanaka, who selected and recruited contributors, made sure all parties were satisfied with how their work was being rendered into English (i.e., herded the cats), wrote the essays and endnotes, and brainstormed with Managing Editor LeeAnn Pickrell (another dedicated trouper) about the production of bilingual texts. They were significantly assisted by poet Mina Ishikawa, who shaped the tanka section, and translator David Boyd. Taylor & Francis, publisher of JUNG JOURNAL, merits special thanks, too, especially for allocating space and resources to reprint the poems’ Japanese originals. These above all deserve the credit for a perhaps unique mini-anthology of all three major genres of contemporary Japanese poetry: haiku, tanka, and free verse, already scarce in separate English translations, but in my experience previously impossible to locate together under a single cover. Readers may notice cross fertilization between Western and Japanese poetry, increasingly common since the late nineteenth century: haiku having been introduced to the English-speaking world by such pioneers as Lafcadio Hearn, a familiarity greatly expanded in the 1950s and afterward by R. H. Blyth and major Beat-era poets, notably Gary Snyder. Today numerous groups dedicated to writing haiku and related forms exist in the United States, loosely modeled on poetry organizations in Japan, where the current number of haiku writers has been estimated at greater than ten million. Meanwhile, influence also has traveled from West to East, notably on the form and atmosphere of Japanese free verse, but to some extent also in tanka and haiku, where French surrealism has played a major role, as well, more recently, as has the Beat sensibility. Poetry in both languages is evolving as a function of these trans-Pacific conversations, a further indication of which is evident in how our Guest Poetry Editors have arranged contributor names, the haiku poets surname first, in traditional Japanese fashion, and the tanka and free verse poets surname last, the Western approach. Paul Watsky, Guest Editor Katherine Olivetti and Paul Watsky, To Our Readers NOTE References to The Collected Works of C. G. Jung are cited in the text as CW, volume number, and paragraph number. The Collected Works are published in English by Routledge (UK) and Princeton University Press (USA). BIBLIOGRAPHY Jung, C. G. 1954/1968. Archetypes of the collective unconscious. The archetypes of the collective unconscious. CW 9i. 3 4 JUNG JOURNAL: CULTURE & PSYCHE 10 : 1 / WINTER 2016 Paul Watsky, Guest Editor Emiko Miyashita, Guest Poetry Editor (Photograph: Kit Pancoast Nagamura) Katherine Olivetti, Editor Yōsuke Tanaka, Guest Poetry Editor Katherine Olivetti and Paul Watsky, To Our Readers PAUL WATSKY, PhD, ABPP, a member of the C. G. Jung Institute of San Francisco and Poetry Editor of Jung Journal, has a practice specializing in creativity issues in the arts and sciences. He has co-translated, with Emiko Miyashita, Santoka (PIE Books, 2006), as well as written two poetry collections, published by Fisher King Press, Telling The Difference (2010) and Walk-Up Music (2015), which received a Recommended Review from Kirkus. KATHERINE OLIVETTI, MA, MSSW, is a Jungian analyst who practices in Woodside, California, and is a member of the C. G. Jung Institute of San Francisco. She is a graduate of Columbia University; the C. G. Jung Institute of New York, where she taught, supervised, and served as president; and the Philadelphia Child Guidance Clinic, where she was certified as a family therapist. She also served as a clinical instructor at the Child Study Center at Yale University. She is Editor of JUNG JOURNAL: CULTURE & PSYCHE. is a haiku poet writing in both Japanese and in English since 1993. She translated Santoka with Paul Watsky and Hyakunin Isshu with Michael D. Welch. She is a director of the JAL Foundation, which has held the World Children’s Haiku Contest since 1990. She enjoys writing English-language haiku with the members of the Ginza Poetry Society in Tokyo. EMIKO MIYASHITA YŌSUKE TANAKA is the author of two poetry collections, Yama ga mieru hi ni (A Day When the Mountains Are Visible, Shichōsha, 1999, in Japanese) and Sweet na gunjō no yume (Sweet Ultramarine Dreams, Michitani, 2008, in Japanese). He is also recognized as a cell biologist at The University of Tokyo and has published many excellent scientific papers on “molecular motors.” In 1989, early in his poetry career, he was chosen as “annual poet of Eureka.” He serves as editor-in-chief of the poetry magazine Kisaki. 5