• Tokyo Poetry Journal

Born in the pandemic, Tokyo Poetry Journal Volume 10 took much longer to emerge from the chaos we’ve all been in. Created as a ray of light in dark times of the 2020 mid-pandemic summer, V10 was delivered to the world one year later. On July 24, 2021, we gathered in the safest place one can go in a metropolis right now – the park.

ToPoJo editors, contributors and loyal supporters came together to read poetry, play music, dance and bask in the afternoon sun. Uncharacteristic for Japan’s sweltering summer, the day of Topojo Vol.10 Lazy Launch was one with a fluttering breeze.

Readers included Oshima Takeo (Poetry Slam Japan champion), Steven Karl, Todd Silverstein, Ryan Dzelzkalns, Simon Scott, Taylor Mignon, Jordan A. Y. Smith, Zoria Petkoska, Mat Chiappe, Joy Waller, and Eri Hara.

From top left: Jordan A.Y. Smith, Oshima Takeo, Steven Karl, and Taylor Mignon

Taylor Mignon also performed a poem accompanied by Joan Anderson on flute, and a collaborative poem co-written with Zoria Petkoska.

Todd Silverstein's poem "Fugue" was performed by four different voices, circling around the audience and creating a 360 degree theater stage feeling.

Ryan Dzelzkalns and Simon Scott, reading Todd Silverstein's poem

More photos from the event:

You can still get a copy of ToPoJo Vol.10. Just go to our online store here.

*All photos by Simon Scott

Updated: Jun 19

Year 2933

(translated into early third millennium Global English)

The scattered encrypted chunks of retrieved data from The Great Internets Extinction of the 22nd century have been mined extensively for clues about the lives of our ancestors. Along with the physical dig sites, they were recently transferred to our department for literary extractions, as humans are preferred over AI for this work. While still sorting through, and having heated debates over what is considered literature and what not, we want to share some of our early findings.

We have restored damaged poems from the early 21st century written in the Global vernacular of the time. Uncovered in the physical dig sites, these poems were missing about 30% of text, so we studied the surviving texts about these poets to fill in the gaps. The restorers then fill in the gaps in a poem while assuming the style of the poet in question.

We use this opportunity to also call forward anyone who might have similar ancient texts in possession to share them with us.

Archeologia Poetika Project #5

"Frequencies of Chaos" by Joy Waller

One of the best preserved poems from a time capsule in a physical dig site in Ancient Edo of the 2000s. Only a small portion of the verse was missing. The restored elements are given in bold.

Frequencies of Chaos

original by: Joy Waller

Poetry archeologists: Zoria P.K., Mat C., Ryan Dz.

Mayhem behind the nigh shift

the smiles, the fingers

of the clerks

at the convenience store, flickering


at the gas station cum

discotheque — worst party ever

Shinsuke fails yet again

to score us drugs

and I lay down like a fucked up princess

beside the gas pumps

to calm my eyes

He wakes me up fruitless

at sun-up

with a cinnamon bun

and a paper cup

of coffee


JOY-CHAN he says


like an old boring ever after

[*scroll to the end for the original]

The artefact we worked with.

Archeologia Poetika Project #7

"Lady of the Wild Thin Line" by Taylor Mignon

Another well-preserved artefact that we want to present.

Lady of the Wild Thin Line

Homage for Shiraishi Kazuko

original by: Taylor Mignon

Poetry archeologists: Zoria, Mat, Joy

10,000 ears take flight,

Cartilage cut the Indian contraband

Hear the stupendous succubus sucking

You to the shore of splash-fall

Paisley mutants, frolicking flock

Of seagulls lull a by, bye-bye,

Hello lullaby by the venerable Vogon

Chanted, mutually enchanted

Yr kanji voice body choking

The leaves of your kakemono

Are the fluent characters of you.

Walking into the Phryne

The whole works, like Anima Machina

As Medusa, a muse-maker

Cybele or Anatolia, the earth-shaker,

Athirat Sea of the Rays Shamallah

The all-encompassing, The ever-devouring,

You take us there, all the wackos, all the ways.

Who's Behind Archeologia Poetika?

Let's step out of character and come back to 2021 (the year of writing this post). Archeologia Poetika is a poetry restoration method of creative writing devised by Tokyo-based poet and ToPoJo Associate Editor Zoria April (Petkoska Kalajdjieva). The poetry group using the method was co-founded in 2019 by Zoria, Mat Chiappe (currently Associate Editor at ToPoJo), and Ryan Dzelzkalns. Other people who have participated so far are Joy Waller (Copy Editor at ToPoJo) and Ingrid Vera.

The Archeologia Poetika method invites us to assume the voice of a poet and write as if we were them. More specifically, to restore a poem that has missing parts. To make things more exciting, the poems are physically destroyed (burned, torn, spilled ink) and restored through group work.

The poems used so far were with the permission of the authors. Actually anyone can submit a poem to be put through destruction and reconstruction by the Archeologia Poetika group. You can contact them via Specify in the email subject line that you are writing to Archeologia Poetika.


Here are the original poems by Joy Waller and Taylor Mignon:

Frequencies of Chaos

Mayhem behind

the smiles

of the clerks

at the convenience store


at the gas station


Shinsuke fails

to score drugs

and I lay down

beside the gas pumps

to calm my eyes

He wakes me

at sun-up

with a cinnamon bun

and a paper cup

of coffee

JOY-CHAN he says


like an old lady


Lady of the Wild Things

Homage for Shiraishi Kazuko

10,000 ears take flight, our

Cartilage cut the Indian winds

Hear the stupendous sutra call

You to the shore of splendored

Paisley elephants, frolicking flocks

of seagulls lull a by, bye bye Babylon

Hello lullaby by the verse libre

Chanted, mutually enchanted

Yr kanji voice body choice

the leaves of your kakemono

Are the fluent characters of your blood

Walking into the Phryne

The whole works, like Anima Mundi

As Medusa, a muse-maker

Cybele or Anatolia, the earth mama

Athirat Sea of the Rays Shamra

The all-encompassing, The Vierge Ouvrante

You take us there, all the way.

  • Tokyo Poetry Journal

ToPoJo is proud to announce that two new members have joined the editorial team: Zoria Petkoska Kalajdjieva and Mat Chiappe. Both have been ardent ToPoJo supporters and active in the Tokyo poetry and literature community since 2016, when they came to the Tokyo University of Foreign Studies with the MEXT scholarship.

We asked them both a few questions to find out more about them.

You have contributed to Tokyo Poetry Journal before. Tell us more about your previous ToPoJo work?

Mat: The last translations from Japanese into English that I published in ToPoJo were a couple of Yoshihara Sachiko’s poems. She was a feminist pioneer, a strong and potent voice that wrote mainly in the 1970s and 1980s. The topics most common in her literature are violence and freedom. Two of her pieces, “Confession” and “Woman”, were most inspiring and moving to translate. Another poet that I translated for ToPoJo (yet one with a very different tone than Yoshihara) is Takako Arai, whose interests rely on travel and nature. I have translated a poetic essay about her trip across the Mediterranean that will see light in the upcoming issue of ToPoJo concerning Japan and the Middle East. I have also translated Latin American poets from Spanish into English for ToPoJo Volume 7: Yamato-Sepharad Constellations. These were Luisa Futoransky, Juan Gelman, José Watanabe and Ámbar Past, all of whom were linked to Japan in one way or another. A verse by Futoransky perhaps captures what many foreigners feel here in Japan: “Who has so accurately catapulted me to this final point of remoteness?”. I encourage you all to get that volume if you want to know more about those poets!

Zoria: I am forever sad to have missed the music-themed ToPoJo issue with its touches of visual poetry—my poetry would have fit in there perfectly! However, ToPoJo editor Taylor Mignon, a fellow VisPoe fan, always makes space for experimental poetry in any volume, so one of my visual poems written with punctuation only was published in vol. 6 of ToPoJo, the Butoh issue. This volume is also home to my poem “Golden Fears”, written from a prompt at the Drunk Poets See God monthly event.

Zoria's visual poem from ToPoJo Volume 6, from her Distilled Emotion: Neuromancer's Tokyo series made with the punctuation from William Gibson's cult cyberpunk classic

What’s your favorite ToPoJo moment from a launch?

Mat: The drag show for the Volume 9: Gender / Queer / Here launch was amazing. I also enjoyed the Butoh performance for Volume 6: Butoh and Poetry and the launch party for Pause :: Heartbeat by Joy Waller, because I absolutely love her poetry. I am really looking forward to resuming our live poetry reading activities. I think that one of the distinguishing features of ToPoJo is the strong emphasis it puts on performance and reading as actions equally important to composition and creation. This idea has definitely proved successful as it called upon many Japanese contemporary poets who also feel that poetry is a collective, ludic, and social activity.

Zoria: The Butoh dance performance for the Volume 6 launch lives rent-free in my head. The whole stage got destroyed as part of the performance, and to this day no one I have spoken to knows for certain whether that was choreographed or impromptu. The same event also had a mesmerizing bilingual reading by Nagae Yuki and Jordan Smith, as well as a solo performance by Nagae Yuki over a Buddhist chant. It was definitely poetry beyond poetry, and very inspiring.

Top two photos are from Volume 9 launch, bottom two photos from Volume 6 launch

What current or future projects and plans are you excited about?

Zoria: Wordigami, my book of poetry calligrams, is finally wrapping up the design phase and will be published as a trilingual book this year. In the meantime, I am obsessed with the cyberpunk poetry collection I am writing, which features everything from Neuromancer quotes to robot poems and future etymology projections. And finally, I am incredibly excited about helping the editorial team with future ToPoJo issues and dreaming of the next chance we can do a launch or a poetry event.

Mat: Despite being busy the past few years, I managed to translate Hagiwara Sakutaro’s Aoi Neko (Blue Cat) from Japanese to Spanish for a Chilean editorial house and it’s coming out in a matter of weeks. Hopefully, it will shed new light on that idea that still lingers in the Spanish-speaking world according to which the most important type of poetry in Japan is haiku. Hagiwara utterly broke that idea apart and wrote in free-verse style and daily speech, with some traits of French Symbolism. Yoshihara Sachiko, whom I hope to keep translating in the future, actually praised his poetry and highlighted his influence on her. Finally, I have also been compiling and writing a series of anecdotes and accounts about my now nearly six-year-long life in Japan. I am looking forward to publishing them in Spanish and will eventually translate them into English. Now that I have completed my Ph.D., I look forward to writing more of my own poetry and fiction. A special thanks to my poetry gang for helping me fish out the poet in me these past few months!

Zoria Petkoska K., bio

Currently working as an assistant editor and writer at Tokyo Weekender magazine, Zoria Petkoska specializes in travel writing and has written for several media outlets in Japan. She holds undergraduate and Master’s degrees in English Literature and Translation, with postgraduate research studies in Japanese visual poetry from TUFS.

She is an award-winning translator, editor in chief of the literary journal [Ш], and a published poet. Her first poetry book was published when she was 10 years old, and ever since her poetry book Wordigami she has been dedicating herself to concrete poetry. She writes in English, Macedonian, and Japanese, and has been published in poetry magazines and anthologies in Japan, China, Hong Kong, and the USA, among others.

FB Page / Instagram

Mat Chiappe, bio

A professor and researcher at Waseda University, Mat Chiappe teaches translation of Japanese literature into English and studies the links between Japanese and Latin American literature. He completed his Ph.D. at Waseda, his Master’s at El Colegio de México, and his undergraduate degree in comparative literature at the University of Buenos Aires. A published author and translator in several languages, he regularly translates poetry for the ToPoJo issues.

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