How can literary forms fashion a nation? Though genres such as the novel and newspaper have been credited with shaping a national imagination and a sense of community, during the rapid modernization of the Meiji period, Japanese intellectuals took a striking—but often overlooked—interest in poetry’s ties to national character. In Idly Scribbling Rhymers, Robert Tuck offers a groundbreaking study of the connections among traditional poetic genres, print media, and visions of national community in late nineteenth-century Japan that reveals the fissures within the process of imagining the nation. Structured around the work of the poet and critic Masaoka Shiki, Idly Scribbling Rhymers considers how poetic genres were read, written, and discussed within the emergent worlds of the newspaper and literary periodical in Meiji Japan. Tuck details attempts to cast each of the three traditional poetic genres of haiku, kanshi, and waka as Japan’s national poetry. He analyzes the nature and boundaries of the concepts of national poetic community that were meant to accompany literary production, showing that Japan’s visions of community were defined by processes of hierarchy and exclusion and deeply divided along lines of social class, gender, and political affiliation. A comprehensive study of nineteenth-century Japanese poetics and print culture, Idly Scribbling Rhymers reveals poetry’s surprising yet fundamental role in emerging forms of media and national consciousness.

Comedian Gabbie Hanna brings levity to the twists and turns of modern adulthood in this exhilarating debut collection of illustrated poetry. In poems ranging from the singsong rhythms of children’s verses to a sophisticated confessional style, Gabbie explores what it means to feel like a kid and an adult all at once, revealing her own longings, obsessions, and insecurities along the way. Adultolescence announces the arrival of a brilliant new voice with a magical ability to connect through alienation, cut to the profound with internet slang, and detonate wickedly funny jokes between moments of existential dread. You’ll turn to the last page because you get her, and you’ll return to the first because she gets you.

In recent years Japan's cuisine, or washoku, has been eclipsing that of France as the world's most desirable food. UNESCO recognized washoku as an intangible cultural treasure in 2013 and Tokyo boasts more Michelin-starred restaurants than Paris and New York combined. International enthusiasm for Japanese food is not limited to haute cuisine; it also encompasses comfort foods like ramen, which has reached cult status in the U.S. and many world capitals. Together with anime, pop music, fashion, and cute goods, cuisine is part of the "Cool Japan" brand that promotes the country as a new kind of cultural superpower. This collection of essays offers original insights into many different aspects of Japanese culinary history and practice, from the evolution and characteristics of particular foodstuffs to their representation in literature and film, to the role of foods in individual, regional, and national identity. It features contributions by both noted Japan specialists and experts in food history. The authors collectively pose the question "what is washoku?" What culinary values are imposed or implied by this term? Which elements of Japanese cuisine are most visible in the global gourmet landscape and why? Essays from a variety of disciplinary perspectives interrogate how foodways have come to represent aspects of a "unique" Japanese identity and are infused with official and unofficial ideologies. They reveal how Japanese culinary values and choices, past and present, reflect beliefs about gender, class, and race; how they are represented in mass media; and how they are interpreted by state and non-state actors, at home and abroad. They examine the thoughts, actions, and motives of those who produce, consume, promote, and represent Japanese foods.

The poetry of Yosano Akiko covers all the many and varied aspects of the experience of love—from early romantic encounters between the lover and beloved to the intimate pleasures of mutual infatuation and then true love. The journey outlined in Akiko’s verse also grapples with jealousy and unrequited passion, as Akiko’s poem-narrative treats the rivalry between herself and her best friend, the poet Yamakawa Tomiko, for the affection of the dashing young literary lion, Yosano Tekkan, who later became Akiko’s husband. Thus, How Dark Is My Flower: Yosano Akiko and the Invention of Romantic Love tells a number of stories: a real-life romance unfolds in the poetry of these three poets examined in the book, as well as the story of the journey from romanticism to modernism undertaken by early 20th century Japanese poetry. How Dark Is My Flower emphasizes the astonishing innovations in diction and style, not to mention content, in Akiko’s work that transformed the tanka genre from a hidebound and conservative mode of verse to something much more daring and modern. This book pays particular attention to poetry, particularly the tanka genre, in the evolution of modernism in Japanese literature and breaks new ground in the study of modern Japanese literature by examining the invention and evolution of the concept of romantic love.

In The Ends of Meter in Modern Japanese Poetry, Scott Mehl analyzes the complex response of Meiji-era Japanese poets and readers to the challenge introduced by European verse and the resulting crisis in Japanese poetry. Amidst fierce competition for literary prestige on the national and international stage, poets and critics at the time recognized that the character of Japanese poetic culture was undergoing a fundamental transformation, and the stakes were high: the future of modern Japanese verse. Mehl documents the creation of new Japanese poetic forms, tracing the first invention of Japanese free verse and its subsequent disappearance. He examines the impact of the acclaimed and reviled shintaishi, a new poetic form invented for translating European-language verse and eventually supplanted by the reintroduction of free verse as a Western import. The Ends of Meter in Modern Japanese Poetry draws on materials written in German, Spanish, English, and French, recreating the global poetry culture within which the most ambitious Meiji-era Japanese poets vied for position.

In the early twentieth century, Japan was awash with typographic text and mass-produced print. Over the short span of a few decades, affordable books and magazines became a part of everyday life, and a new generation of writers and thinkers considered how their world could be reconstructed through the circulation of printed language as a mass-market commodity. The Typographic Imagination explores how this commercial print revolution transformed Japan’s media ecology and traces the possibilities and pitfalls of type as a force for radical social change. Nathan Shockey examines the emergence of new forms of reading, writing, and thinking in Japan from the last years of the nineteenth century through the first decades of the twentieth. Charting the relationships among prose, politics, and print capitalism, he considers the meanings and functions of print as a staple commodity and as a ubiquitous and material medium for discourse and thought. Drawing on extensive archival research, The Typographic Imagination brings into conversation a wide array of materials, including bookseller trade circulars, language reform debates, works of experimental fiction, photo gazetteers, socialist periodicals, Esperanto primers, declassified censorship documents, and printing press strike bulletins. Combining the rigorous close analysis of Japanese literary studies with transdisciplinary methodologies from media studies, book history, and intellectual history, The Typographic Imagination presents a multivalent vision of the rise of mass print media and the transformations of modern Japanese literature, language, and culture.

Interdisciplinary Edo brings together scholars from across the methodological spectrum to explore new approaches to innovative humanistic research on early modern Japan (1603–1868). It makes an intervention in the field by thinking across conventional disciplinary boundaries toward a holistic and cohesive approach to Japan’s early modern period. By taking historical, religious, literary, and art historical analyses into account, the contributors hope to begin a new, transdisciplinary conversation on political formation, social interaction, and cultural proliferation under the “Great Peace” of the Tokugawa regime. This book comprises 14 essays by specialists of history, literature, religious studies, and art history. Major topics include Edo-period Japan’s cultural, intellectual, and economic connections to the early modern world; environmental humanities and material culture; popular culture and aesthetics; and the question of how contemporary academic demarcation lines impact the current study of Tokugawa Japan. Individual essays range in scale from individual paintings and works of prose fiction to the tectonic plates underlying the Yamashiro basin and span topics from overseas medicinal exchange and premodern cartography to the history of intoxication. Interdisciplinary Edo will be of immediate interest to all scholars focusing on the early modern period, as well as to researchers studying other periods of Japanese studies. As part of an ongoing and inclusive process of pluralizing and deprovincializing global conceptions of early modernity, this book will contribute to historiographical interventions outside Japan studies as well.