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Jennifer Hayashida

Doktorand

Enheten för film, fotografi och litterär
gestaltning
Besöksadress
Storgatan 43
41138 Göteborg
Postadress
Box 131
40530 Göteborg

Om Jennifer Hayashida

Poet, translator and visual artist Jennifer Hayashida was born in Oakland, CA, and grew up in the suburbs of Stockholm and San Francisco. She received her B.A. in American Studies from the University of California at Berkeley, and completed her M.F.A. in poetry from the Milton Avery Graduate School of the Arts at Bard College. She is the author of the poetry collection A Machine Wrote This Song (Gramma Poetry, 2018). Additionally, she is most recently the translator, from the Swedish, of Athena Farrokhzad's White Blight (Argos Books, 2015), Ida Börjel's Miximum Ca'Canny The Sabotage Manuals (Commune Editions, 2014), and Karl Larsson's Form/Force (Black Square Editions, 2015). Previous work includes Fredrik Nyberg's A Different Practice (Ugly Duckling Presse, 2007), and Eva Sjödin's Inner China (Litmus Press, 2005). With Ida Börjel, she is the co-translator of the Swedish translation of Solmaz Sharif’s Look (Rámus Förlag, 2017). Her poetry and translations have been published in journals such as The Asian American Literary Review, Salt Hill, Chicago Review, and Circumference, while her collaborations in film/video have been exhibited in the U.S. and abroad, including the Centre Pompidou, the Flaherty Film Seminar, the New Museum, and the Vera List Center for Art and Politics. She is the recipient of awards from, among others, the Lower Manhattan Cultural Council, the New York Foundation for the Arts, PEN, the Witter Bynner Poetry Foundation, the Jerome Foundation, and the MacDowell Colony. She serves on the board of the Asian American Writers' Workshop.

Her doctoral research project, Ten Tongues to Talk/Tio tungor att tala, is a durational public and text-based project investigating the act of translation as a site of social change. Rather than accepting literary translation as a solitary, monovocal, and unidirectional transmission between original and translation, this project proposes that translation enact an intervention, not merely by excavating the obscure or the radical, but by foregrounding the translator as a racialized, classed, and gendered political subject – not the liberal postracial technician of our collective literary imagination. It seeks to produce a critical, even insurgent, translation practice against dictates of “world literature” and contemporary art that focus on the subjects of the text or biography of the author/artist. At the same time, Ten Tongues to Talk suggests that translingual collective translation offers an opportunity to polyvocally represent the often contested nature of national scripts of belonging and exclusion. This project seeks to serve as a laboratory for examining the potential decolonization of translation practices, literary and otherwise, by staging multi-modal critiques of existing nation-state models of linguistic and juridical belonging.