Posted by Tom Baker

Preparations are underway for the 2025 Japan Writers Conference. If you are a writer who will be in Tokyo in November, this is your chance to speak to other writers and share your tips and wisdom about how to write, how to write better, or how to get published.

Current and former JETs have always been a major presence at the conference, as you can see from this 2023 article in AJET Connect magazine.

If you want to join in, here are the official details on how to submit a proposal for a presentation.

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Submission Guidelines
Deadline: Sunday, July 8, 2026 (18:00 JST). However, submissions for a genre may close earlier when it has reached its quota of 30 (90 submissions in total).

As in previous JWCs, we have three presentation rooms, each for poetry, fiction/nonfiction, and other topics (publishing, translating, marketing, editing, technical, workshops, residencies, communities, or any topics that apply to all genres). During the two-day JWC, each genre would have 10-12 sessions.

To increase your acceptance rate, please READ OUR GUIDELINES below carefully before submitting your proposals.

All published writers, translators, editors, agents and publishers, who are planning to be in Japan during the conference dates, are welcome to submit presentation proposals. We especially encourage proposals from new submitters. One of our strengths has been variety, and the best way to foster variety is to have new presenters each year. Those who have presented at past conferences are (of course) welcome to submit new proposals. But please, in the words of Ezra Pound, “Make it new.” Selected speakers will have an opportunity to sell their books in the exhibition room.

Who can submit?
All published writers, translators, editors, agents and publishers in English. Publications must be in English, either in magazines, literary journals, newspapers, or books.
New submitters are especially encouraged. Those who have presented in the past are also welcome, but make it new.
All nationalities are welcome, but contents must be in English.
2026 JWC is fully in-person. We do not offer online sessions. So, presenters must be able to come physically to the venue.
All presenters must plan their trips themselves. JWC is a free event and does not have the resources to help with travel expenses or to help get a visa to come to Japan.
What are we looking for?
Presentations that focus on the craft of writing, publishing, and marketing our work, since JWC audiences are writers concerned with creating publishable writing. Click HERE to view our past presentations.
Presentations that are NOT ABOUT single author readings, teaching, academic, literary studies, and private self-expression.
Proposals must be written clearly. NO vague description.
The topics are NOT too narrow or NOT too broad. Too limited topics could be difficult to attract audiences, while too general topics will lack focus.
Presentation time is 50 minutes, including discussions. So, prepare topics that can be presented within the allocated time.
One person may submit up to TWO proposals. If you submit more than two, we will only review the first two submissions.
All genres are welcome.
The rooms are equipped with projectors, microphones, and Wi-Fi.
What are the benefits of giving a talk at the JWC?
While JWC is a free event and does not have the resources to provide honorariums, you may expect some benefits by giving a talk in JWC, such as:

An opportunity to sell your books in the book room.
Invite your publishers to market their books in the book room.
An opportunity to share your writing journey with others.
Closer connections with writers at any level.
Expand your network.
Submission deadline
July 8, 2026 (18:00 JST). However, to ensure that our small team can review carefully all submissions, the submissions for a genre may close earlier once it has reached its quota.

Acceptance notification
The decision will be notified to all submitters by late-July, early August 2026.

How to submit?
Each proposal must include up to five keywords, abstract, bio in the third person, and up to seven past published works. Please keep the length of the abstract (150 words or fewer) and bio (50 words or fewer).

All proposals must be submitted through one of the forms below, depending on what you focus on. For example, if your proposal is about how to write a better memoir, please use “fiction/nonfiction” form. But if you will present how to publish or market your memoir book, you should use the “miscellany” button. If your proposal is in between, just use the form that you think is most suitable. One form is for one proposal. So, if you submit two, please submit them separately.

Please note, we DO NOT consider email submissions. Contact us at japanwritersconference@gmail.com if you can’t access the form.

Inquiry
Questions? Contact us at: japanwritersconference@gmail.com

Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Senior Project Manager
Posted by: Tomokazu Matsuyama Studio
Location: Brooklyn, NY, USA
Contract: Full-Time

Thanks to Tomokazu Matsuyama Studio for passing along the following job opening.

Position Overview
The Senior Project Manager oversees multiple exhibitions and public art projects from concept through completion. This role is responsible for expanding public art opportunities to further elevate and position Tomokazu Matsuyama’s work globally. The position leads and develops a team of three members, working closely with internal and external stakeholders to ensure efficient execution, operational excellence, and the highest standards of quality.

Key Responsibilities
 Lead, mentor, and develop team members, ensuring performance objectives are met and professional growth is supported
 Oversee end-to-end execution of exhibitions, public art installations, and commercial collaborations, including planning, design coordination, and deployment
 Develop and manage comprehensive project timelines, ensuring milestones and deadlines are consistently achieved

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Library Assistant
Posted by: Temple University, Japan Campus
Location: Tokyo, Japan
Contract: Full-Time

Thanks to Temple University, Japan Campus for passing along the following job opening.

OVERVIEW OF POSITION

Temple University, Japan Campus (TUJ) is hiring a full-time Library Assistant. We are looking for a service-oriented individual with strong library skills to assist with daily library operations and provide high-quality service to students, faculty, and staff.

The position supports circulation services, collection management, technical processing, and general library operations. The duties listed below are representative of the work typically performed in this role.

The Library operates across TUJ’s City Campus (Sangen-jaya station) and the newly established Hillside Center (Mizonokuchi station), and staff members work between both locations to support university operations.

Circulation & Patron Services

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Associate Corporate Liaison
Posted by: Noven Pharmaceuticals, Inc.
Location: Miami, FL, USA
Contract: Full-Time

Thanks to Noven Pharmaceuticals, Inc. for passing along the following job opening.

Serve as CEOs Liaison/Translator/Interpreter converting written (translation) and spoken (interpretation) information between English and Japanese, ensuring accuracy, tone, and context are maintained. Responsibilities include facilitating real-time verbal communication, translating documents, managing terminology databases, and adhering to confidentiality protocols, typically requiring high fluency in these two languages. This liaison role must be detail-oriented and have the ability to convert written materials from one language to another while preserving the original meaning, tone, and format. You will work with diverse documents.

Responsibilities
• Translation (Written): Translate documents (emails, reports, legal documents) while maintaining the original style, format, and technical terminology.
• Interpretation (Spoken): Provide consecutive or simultaneous interpretation for meetings, conferences, interviews, or phone calls.
• Accuracy & Context: Ensure precise conversion of messages, ensuring that cultural nuances are accurately communicated.
• Confidentiality: Strictly adhere to ethical standards and confidentiality agreements.

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Deputy Director, Japan Chair Program
Posted by: Center for Strategic and International Studies (CSIS)
Location: Washington, D.C., USA
Contract: Full-Time

Thanks to Kristi Govella (Niigata, 2005-2006) for passing along the following job opening.

The Japan Chair program is recruiting a Deputy Director who will report directly to the Japan Chair and play a central role in program administration and activities. This is an in-person position at the CSIS headquarters. The Deputy Director is responsible for managing day-to-day operations and administrative functions of the Japan Chair program.

Essential duties include but are not limited to the following:

• Develop and manage programmatic aspects of large-scale projects in coordination with the Japan Chair, including identifying potential sources of funding, proposal development, project implementation, and reporting
• Work closely with the Japan Chair on short- and long-term strategy planning and development
• Organize and execute public and private events related to the work of the Japan Chair program, including engagements with visiting fellows and executive education programs
• Draft program materials and edit publications
• Develop communications strategies to promote program research and activities
• Provide direction and oversight for program staff and interns, ensuring high-quality outputs and providing mentorship
• Build relationships with CSIS administrative teams and external partners
• At the direction of the Japan Chair, provide support for research on topics such as Japanese politics and foreign policy, U.S.-Japan relations, and Indo-Pacific geopolitics related to reports, policy briefs, and other publications

Knowledge, education, and experience

• Bachelor’s degree and at least 6 years of relevant experience or an advanced degree in a related field
• Excellent written and verbal communication skills in English
• Excellent attention to detail, organizational skills, and ability to manage competing priorities in a fast-paced work environment
• Ability to manage projects, personnel, budgets, and grants
• Experience coordinating events and working with external stakeholders across government, industry, academia, and/or media
• Effective interpersonal skills and ability to work flexibly as part of a team
• High degree of professionalism
• Demonstrated expertise on issues driving Japan’s policy debate and the agenda for U.S.-Japan relations
• Proficiency in Japanese required (JLPT N1 or above)

Application Process: For more information and to apply, please click here –  https://careers.csis.org/opportunities/1739

Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Sales Engineer (Sales Representative)
Posted by: Quick USA
Location: Plano, TX, USA
Contract: Full-Time

Thanks to Carlos Medina (Oita, 2019-2022) for passing along the following job opening.

A Japanese Manufacturing company is currently looking for a full time, fully onsite Sales Engineer ( Sales Representative) to join their Plano, TX location.

The ideal candidate will drive new business growth, manage key accounts, provide technical sales support, and share market insights to strengthen brand presence and support continuous improvement. This is also an entry level position, so candidates with existing engineering and/or sales experience are ideal, but candidates with no prior experience in these fields but interested are encouraged to apply.

Japanese proficiency, although a very big plus, is not required. DOE and skills, the pay range for this opportunity will be between 55k-80k with great benefits.

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Sales Representative
Posted by: PASONA North America
Location: Novi, MI, USA
Contract: Full-Time

Thanks to JAMES WILLIAMS (Hyogo, 2008-2012) for passing along the following job opening via PASONA North America.

About the Company

A globally recognized automotive supplier specializing in plastic injection-molded components and decorative trim systems is seeking a Sales Representative to support its Michigan office.

With strong product knowledge and awareness of industry trends, the Sales Representative will develop new business opportunities, communicate directly with clients and prospects, understand their operational needs, and recommend solutions that maximize value.

This role is primarily desk-based and centers on communication between customers and the Illinois manufacturing plant. The position works closely with a bilingual team that includes Japanese expatriates, so comfort in a cross-cultural environment is important.

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Executive & Development Assistant
Posted by: U.S.-Japan Council
Location: Remote (Pacific time zone preferred)
Contract: Full-Time

Thanks to the U.S.-Japan Council for passing along the following job opening.

About the U.S.-Japan Council (USJC)
Founded by Japanese Americans in 2009, the U.S.-Japan Council strengthens U.S.-Japan relations through people-to-people connections. Through our U.S.-Japan Leadership Institute, we build a pipeline of global leaders across sectors and generations committed to a strong and enduring partnership. Through signature convenings, leadership programs, and initiatives, we cultivate and connect leaders to address key bilateral issues. Our vibrant community of 1,200 members across the United States and Japan is a dynamic professional network that fosters deep connections and drives meaningful impact.

We are a global team with 13 members based in the United States and 10 in Japan. We strive to build a culture that reflects our core values of appreciation, balance, and collaboration that encourages team members to be driven, engaged and have fun.

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Full-time English Communication Teacher
Posted by: Tsuchiura Nihon University Secondary School
Location: Tsuchiura, Ibaraki, Japan
Contract: Full-Time

Thanks to Engel Villareal (Communication Department Head at Tsuchiura Nihon University Secondary School) for passing along the following job opening.

TNUSS English Communication teachers are responsible for teaching English Communication and Academic English classes to junior and senior high school students, and for supporting the use of English across the school community.

We are looking for teachers who are currently residing in Japan.

Application Process: For more information and to apply, please click here – https://drive.google.com/file/d/1PkzmUOOLyFoZSpuvJlmVUH-q8PRbJ85B/view

Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Korean-English Bilingual Sales Associate
Posted by: Quick USA
Location: Houston, TX, USA
Contract: Full-Time

Thanks to Carlos Medina (Oita Prefecture, 2019-2022) for passing along the following job opening via Quick USA.

A Japanese food company is currently for a full time, fully onsite Korean Bilingual Sales Associate to join their Houston, TX location.

The Sales Associate is the principal selling agent for the company and is responsible for achieving the short and long-range sales objectives. Objectives will be achieved by maintaining existing customers in their assigned area. As a Sales Associate we must have a high level of flexibility.

The person is required to coordinate sales activities and promotions with other employees and administrators of the company as well as customers and clients of the company with respect to their needs, concerns, and schedules.

Having sales experience in the food industry would be the best, if you have previous in the restaurants or in supermarkets, have an interest in Asian food and would like to jump into the sales field, this opportunity might be just for you. DOE and skills, the pay range for this position would be between the 42k-55k with great benefits!

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By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Justin has written about Japanese arts and entertainment for JETAA since 2005. For more of his articles, click here. 

Start the new year right by heading down to your local concert venue, cinema, or arts center for some fantastic new year’s fare. Whether you enjoy movies, travel, or orchestral performances, treat yourself and catch a break from the cold.

This month’s highlights include:

Jan. 4-6

Lupin the IIIrd the Movie: The Immortal Bloodline

Various theaters

Various prices

After fending off a series of skilled assassins, gentleman thief Lupin III and his band of allies follow a strange invitation to an uncharted island. When their plane is shot down, the gang is stranded and soon hunted by the island’s inhabitants, past enemies, and a monstrous immortal being known as Muom, who threatens to destroy Lupin’s legacy. As a deadly toxic fog settles over them, Lupin must confront his greatest enemy in his most daring escapade yet. Legendary director Takeshi Koike (Redline, The Animatrix) returns to the LUPIN THE IIIRD franchise after six years with his latest devilish spin on Monkey Punch’s original manga. LUPIN THE IIIRD: The Movie – The Immortal Bloodline infuses Koike’s signature stylish action with the classic pulpy tones of Monkey Punch’s work for an exhilarating sci-fi tour de force.

Jan. 8-11

Kinoshita Kabuki’s Kanjincho

Japan Society, 333 East 47th Street

Various prices

$30-$63

A group of refugees fleeing to safety. An uncompromising inspector whose life depends on apprehending the fugitive among the group. Can they cross the border? Recognized as a masterpiece of kabuki theater, Kanjincho draws its tale from the 12th century, featuring deception, quick wit, and a riotous and nail-biting tit-for-tat with impossibly high stakes as its centerpiece. Kinoshita Kabuki gleefully charges across the boundary between bombastic traditional kabuki drama and contemporary theater in a hip and pop culture-drenched take on this surprisingly evergreen tale about transcending borders. Created by brilliant young dramaturg Yuichi Kinoshita with in-demand guest director Kunio Sugihara, experience the international sensation that has cemented Kinoshita Kabuki’s place in the current pantheon of sterling modern theater companies. Performed in Japanese with English supertitles.

Jan. 8-11

Labyrinth 40th Anniversary

Various theaters

Various prices

Fathom Entertainment presents a 40th anniversary presentation with a special featurette celebrating the fans of Labyrinth, filmed on location at the UK’s recent “Labyrinth Experience & Masked Ball,” presented by Thames Con in association with The Jim Henson Company! Frustrated with babysitting on yet another weekend night, Sarah (Jennifer Connelly), a teenager with an active imagination, summons the Goblins to take her baby stepbrother away. When little Toby actually disappears, Sarah must follow him into a fantastical world to rescue him from the Goblin King (David Bowie). Guarding his castle is the labyrinth itself, a twisted maze of deception, populated with outrageous characters and unknown dangers. To get through it in time to save Toby, Sarah befriends the Goblins, in hopes that their loyalty isn’t just another illusion in a place where nothing is as it seems. 

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Interpreter/Translator/Writer Stacy Smith (Kumamoto-ken CIR, 2000-03) presents WIT Life, a periodic series about aspects of Japanese culture such as art, film, food and language. Stacy starts her day by watching Fujisankei’s newscast in Japanese, and here she offers some interesting tidbits and trends along with her own observations.

We are quickly coming to the end of another year; where does the time go? I hope everyone had a lovely holiday season and is looking forward to what 2026 will bring. I’m particularly excited as next year is 午年 (うまどし, umadoshi or year of the horse), which is my animal year. If I get lucky, perhaps it will be an 当たり年 (あたりどし, ataridoshi or banner year). Funnily enough, one of my first memories from when I started to study Japanese in high school was learning how to say what our animal years were. 「午年です」will forever be inscribed on my brain (arigatou Sensei Watson!).

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By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Justin has written about Japanese arts and entertainment for JETAA since 2005. For more of his articles, click here. 

With Thanksgiving (and the hopes of sensible eating) now just a memory, we turn to colder weather, falling snow, and the new year to come. Fortunately for Japanese culture fans, December is just as busy as the holiday season itself. Whether you’re hosting guests from out of town or looking to squeeze in an event or two in between parties, we’ve got you covered. 

This month’s highlights include:

Wednesday, Dec. 3 (IMAX early access), opens everywhere Dec. 5

Jujutsu Kaisen: Extinction

Various theaters

Various prices

For the first time on the big screen, the Shibuya Incident—the greatest battle in Jujutsu Kaisen to date—will be presented in a special compilation format. Jujutsu Kaisen: Execution presents the debut of the first two episodes of Season 3’s upcoming arc, “Culling Game Part 1” ahead of its January 2026 streaming debut. By connecting the directly linked episodes of the “Shibuya Incident” and “Culling Game,” arcs, fans can relive all the mayhem and heartbreak of the Shibuya Incident and witness the reveal of the Culling Game as the story transforms into a new experience crafted specially for the big screen. The desperate confrontation between Satoru Gojo’s two beloved students comes to the big screen with an early preview. Be the first to experience Yuji and Yuta’s fateful battle with the hotly anticipated kickoff to Season 3 in theatres nationwide!

December 4-6, 7:30 p.m.

Mishima’s Muse – Noh Theater

Japan Society, 333 East 47th Street

Sold out; limited access seats for $40 may be available for performances on December 5 & 6 only

Hosho Noh School’s U.S. Debut! A pre-performance lecture on noh theater begins one hour prior to the start of each show.

Yukio Mishima immersed himself in Japan’s traditional arts and, notably, traditional noh theater, enchanted by its noble elegance and refined beauty. His love for noh resulted in a series of esteemed dramatic works, Modern Noh Plays, growing to encompass eight contemporary adaptations of noh stories. Now, the distinguished Hosho Noh School, originating in the early 15th century and led by 20th Grand Master Kazufusa Hosho, brings this elegant art form to the U.S. in the company’s historic North American debut. In accordance with centuries-old tradition, each evening features a rotating offering of the authentic classic repertoire of noh alongside comedic kyogen theater (performed by the prominent Yamamoto Tojiro Family).  Each play selected for this program served as a source of inspiration for Mishima to adapt as modern stories centuries later.

PROGRAM:

December 4: Noh Music: Shishi (Lion Dance) / Kyogen: Busu (Poison) / Noh: Aoi no Ue (Lady Aoi)

December 5: Noh Shimai (unmasked excerpt): Kantan / Kyogen: Busu (Poison) / Noh: Aya no Tsuzumi (The Silk Drum)

December 6: Noh Shimai (unmasked excerpt): Yoroboshi / Kyogen: Busu (Poison) / Noh: Aoi no Ue (Lady Aoi)

Performed in Japanese with English supertitles.

Dec. 10-14

New Dances: Edition 2025

Peter Jay Sharp Theater at Juilliard, 155 West 65th Street

$20 members, $40

Four exceptional choreographers are working with Juilliard dancers creating new works here on campus. Be the first to see New Dances: Edition 2025. Gianna Reisen has created works for New York City Ballet and the Los Angeles Dance Project and sets her new piece for first-year dancers to sections of Philip Glass’ Einstein on the Beach, with third-year dancers as the narrators. Juilliard alum, former Paul Taylor dancer, and founder of TAKE Dance Takehiro Ueyama is creating a work for second-year dancers to communicate something “human, honest, and hopeful.” Juilliard alum My’Kal Stromile, currently choreographing with the Boston Ballet, has third-year dancers sharing the stage with Dolphin Quartet, playing Paganini live. Jessica Wright from Studio Wayne McGregor introduces the first phase of a large-scale work with fourth-year dancers, before it expands to a multi-part performance McGregor will direct this spring in New York, culminating in the world premiere at Sadler’s Wells East in May, featuring the Juilliard dancers and dancers from London’s Rambert School.

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By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for JQ magazine. Justin has written about Japanese arts and entertainment for JETAA since 2005. For more of his articles, click here. 

Mamoru Oshii’s Angel’s Egg is one of those films that people talk about in a lowered voice, as if it were a mystery that might vanish if confronted too directly. It is a film of austere beauty and radical quiet—70-odd minutes of shadowed corridors, abandoned cathedrals, fossilized leviathans, and two nameless travelers: a girl who cradles a giant egg as if it were her entire future, and a boy who cannot stop asking what’s inside.

Released in 1985 and long unavailable through official channels in North America, Angel’s Egg has gathered its legend through bootleg tapes, festival whispers, and the occasional late-night screening. Now, four decades on, it returns today (Nov. 19) in theaters nationwide in a new 4K restoration supervised by Oshii and presented nationwide by GKIDS, which included Dolby Cinema early access engagements before the general theatrical rollout. For a film that has lived so much of its life in the margins, the chance to experience it in a calibrated premium room with Dolby Vision and Atmos support feels almost paradoxical—and absolutely right.

This anniversary run isn’t just a new coat of paint. The restoration—which debuted on the 2025 festival circuit and now arrives coast to coast—was reconstructed from the original 35mm materials, with a Dolby Cinema version created alongside a rebuilt soundtrack that expands the original mono presentation into 5.1 and Dolby Atmos options. That last detail may raise eyebrows for purists, but in practice the approach respects the film’s fundamental quietude; it simply gives the silence more dimensions.

To remember Angel’s Egg in the context of anime history is to remember how unstandardized the medium felt in the mid-1980s. It premiered in a decade when the OVA market was exploding and when directors like Oshii and artists like Yoshitaka Amano (Final Fantasy, Vampire Hunter D) were testing the boundaries of animation’s visual grammar. The film’s surface—textured stone, dripping water, the faint pulse of bio-mechanical curiosities—speaks in symbols rather than exposition. There is barely any dialogue. The camera (or rather, Oshii’s implied lens) prefers long lateral moves, as if pacing the nave of an endless church, and the compositions are arranged like prints: light carved out of darkness, characters dwarfed by architecture, the egg always nestled in white cloth at the frame’s center.

When viewers call the film “obscure,” they don’t just mean it’s hard to find; they mean it resists the usual ways we talk about plots. If Oshii’s Ghost in the Shell (1995) became the textbook for cyber-philosophy in animation, Angel’s Egg is the poem scrawled in the margins. The imagery anticipates later techno-gothic strains of anime, but without the anchor of a conventional narrative. In this sense, its return to theaters matters historically: one rarely sees repertory engagements for 1980s anime outside of a handful of well-known titles, and the film’s own distributors underscore how rarely screened it’s been in any official capacity. Seeing it at scale isn’t a curiosity; it’s an act of historical restoration.

Oshii’s collaboration with Amano yields a film that looks simultaneously medieval and futuristic. Statues of saints are strapped to rolling platforms and carted through fog-wet streets; hunters hurl harpoons at shadow-fish that pass across stone facades like projected ghosts; the girl and the boy ride a gargantuan, half-submerged machine that could be a cathedral or a vessel or a fossilized beast. The film’s religious aura—crosses, chalices, a literal ark—threads through its central question: does faith require the egg to remain closed, or the courage to break it? The boy, carrying a rifle and speaking in riddles, keeps needling: “What’s inside?” The girl maintains her vigil.

What’s remarkable, especially on a big screen, is how the movie makes time feel tactile. Shots hold until your breathing matches the drip of water; the rhythm of footsteps through an empty hall becomes as musical as Kenji Kawai’s glassy, ascetic score. And then, at intervals, Oshii punctures the stillness with kinetic episodes: a barrage of thrown spears; a dissolve-drunk montage of monuments and bones; an unforgettable nocturne of the boy swinging the egg like a hammer. These moments carry a kind of moral vertigo that’s hard to feel at home; they need the dark, the scale, the sense that the film surrounds you.

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Posted by Sydney Sparrow. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.

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Position: Travel Experience Specialist
Posted by: Inside Travel Group
Location: Remote-Optional
Contract: Full-Time

Thanks to Madeline Bradshaw with Inside Travel Group for passing along the following job opening.

Your role as a Travel Experience Specialist is twofold: proactively seeking opportunities to improve clients’ travel experience and reactively assisting in resolving inbound customer issues, concerns, or requests. As a key member of the Customer Experience team, you’ll play a pivotal role in delivering exceptional customer service while monitoring the day-to-day travel landscape. This includes surveying air and rail services, weather events, and public health risks to keep our travelers informed of any potential disruptions.

No two days are the same for our Customer Experience team, as you’ll manage itinerary-related inquiries, provide assistance with missed transfers, and fulfill requests for additional guides or unique travel experiences. You’ll also support clients in more challenging situations such as lost items, medical emergencies, or unexpected delays. This is a multitasking role that involves managing the customer support phone line, inbox, and TESS (our customer support ticketing system) to calmly, efficiently, and effectively deliver solutions.

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