Chikamatsu's domestic dramas are accurate reflections of Japanese society at the time: his characters are samurai, farmers, merchants, and prostitutes who speak colloquially, and who people the shops, streets, teahouses, and brothels that constituted their daily environment.

Chikamatsu Monzaemon (1653-1725), often referred to as "Japan's Shakespeare" and a "god of writers," was arguably the most famous playwright in Japanese history and wrote more than 100 plays for the kabuki and bunraku theaters. Today, the plays of this major literary figure are performed on kabuki and bunraku stages as well as in the modern theater, and forty-nine films of his plays have been made, thirty-one of them from the silent era. Translations of Chikamatsu's plays are available, but we have few examples of his late work, in which he increasingly incorporated stylistic elements of his shorter, contemporary dramas into his longer period pieces. Translator C. Andrew Gerstle argues that in these mature history plays, Chikamatsu depicted the tension between the private and public spheres of society by combining the rich character development of his contemporary pieces with the larger political themes of his period pieces. In this volume Gerstle translates five plays--four histories and one contemporary piece--never before available in English that complement other collections of Chikamatsu's work, revealing new dimensions to the work of this great Japanese playwright and artist.

Preserved buildings and historic districts, museums and reconstructions have become an important part of the landscape of cities around the world. Beginning in the 1970s, Tokyo participated in this trend. However, repeated destruction and rapid redevelopment left the city with little building stock of recognized historical value. Late twentieth-century Tokyo thus presents an illuminating case of the emergence of a new sense of history in the city’s physical environment, since it required both a shift in perceptions of value and a search for history in the margins and interstices of a rapidly modernizing cityscape. Scholarship to date has tended to view historicism in the postindustrial context as either a genuine response to loss, or as a cynical commodification of the past. The historical process of Tokyo’s historicization suggests other interpretations. Moving from the politics of the public square to the invention of neighborhood community, to oddities found and appropriated in the streets, to the consecration of everyday scenes and artifacts as heritage in museums, Tokyo Vernacular traces the rediscovery of the past—sometimes in unlikely forms—in a city with few traditional landmarks. Tokyo's rediscovered past was mobilized as part of a new politics of the everyday after the failure of mass politics in the 1960s. Rather than conceiving the city as national center and claiming public space as national citizens, the post-1960s generation came to value the local places and things that embodied the vernacular language of the city, and to seek what could be claimed as common property outside the spaces of corporate capitalism and the state.

The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.

Donald Keene's definitive history of modern Japanese literature is an achievement beyond the range and scope of any other western writer.

In this beautiful and haunting debut novel in verse, called “a tender piece on connectedness” in a starred review from Kirkus Reviews, a Japanese-American girl struggles with the loneliness of being caught between two worlds when the tragedy of 9/11 strikes an ocean away. Eleven-year-old Ema has always been of two worlds—her father’s Japanese heritage and her mother’s life in America. She’s spent summers in California for as long as she can remember, but this year she and her mother are staying with her grandparents in Japan as they await the arrival of Ema’s baby sibling. Her mother’s pregnancy has been tricky, putting everyone on edge, but Ema’s heart is singing—finally, there will be someone else who will understand what it’s like to belong and not belong at the same time. But Ema’s good spirits are muffled by her grandmother who is cold, tightfisted, and quick to reprimand her for the slightest infraction. Then, when their stay is extended and Ema must go to a new school, her worries of not belonging grow. And when the tragedy of 9/11 strikes, Ema, her parents, and the world watch as the twin towers fall… As her mother grieves for her country across the ocean—threatening the safety of her pregnancy—and her beloved grandfather falls ill, Ema feels more helpless and hopeless than ever. And yet, surrounded by tragedy, Ema sees for the first time the tender side of her grandmother, and the reason for the penny-pinching and sternness make sense—her grandmother has been preparing so they could all survive the worst. Dipping and soaring, Somewhere Among is the story of one girl’s search for identity, a sense of peace, and the discovery that hope can indeed rise from the ashes of disaster.