One of Japan's best-loved children's stories brought to life by the extraordinary imagery of an early nineteenth-century handscroll. The amazing adventures of Momotaro, a boy found inside a peach and raised by an elderly couple, is one of Japan's most popular folktales. An exquisite handscroll painted by Kano Naganobu (1775-1828) contains one of the finest illustrated versions of the tale known today. The illustrations are reproduced in their entirety as the story follows Momotaro's journey to the terrifying Island of Ogres. After befriending a dog, a monkey, and a pheasant, Momotaro crosses the sea with his new companions and lays siege to the demons' fearsome mountain fortress. The battle is a fierce one, but Momotaro and his friends prevail; they recover the demon's ill-gotten treasure and restore it to its rightful owners. One of the first Japanese folktales to have been translated into English, the story of Momotaro is a delightful and lively voyage of the imagination that can be enjoyed by young and old alike. A lengthy postscript to the tale looks at the tradition of illustrated folk stories in Japan, with examples of Momotaro pictures and related imagery in various forms of art, including painting and woodblock printing. The career of the artist, Kano Naganobu, and the artistic climate in which he worked are also reviewed.

This collection of Japanese fairy tales is the outcome of a suggestion made to me indirectly through a friend by Mr. Andrew Lang. They have been translated from the modern version written by Sadanami Sanjin. These stories are not literal translations, and though the Japanese story and all quaint Japanese expressions have been faithfully preserved, they have been told more with the view to interest young readers of the West than the technical student of folk-lore.... In telling these stories in English I have followed my fancy in adding such touches of local color or description as they seemed to need or as pleased me, and in one or two instances I have gathered in an incident from another version. At all times, among my friends, both young and old, English or American, I have always found eager listeners to the beautiful legends and fairy tales of Japan, and in telling them I have also found that they were still unknown to the vast majority...

Tropics of Savagery is an incisive and provocative study of the figures and tropes of "savagery" in Japanese colonial culture. Through a rigorous analysis of literary works, ethnographic studies, and a variety of other discourses, Robert Thomas Tierney demonstrates how imperial Japan constructed its own identity in relation both to the West and to the people it colonized. By examining the representations of Taiwanese aborigines and indigenous Micronesians in the works of prominent writers, he shows that the trope of the savage underwent several metamorphoses over the course of Japan's colonial period--violent headhunter to be subjugated, ethnographic other to be studied, happy primitive to be exoticized, and hybrid colonial subject to be assimilated.

Urikohime, a girl born from a melon, battles the monstrous oni, who steal babies to eat their tasty belly buttons.

Cartoonist Osamu Tezuka (1928?1989) is the single most important figure in Japanese post-World War II comics. During his four-decade career, Tezuka published more than 150,000 pages of comics, produced animation films, wrote essays and short fiction, and earned a Ph.D. in medicine. Along with creating the character Astro Boy (Mighty Atom in Japan), he is best known for establishing story comics as the mainstream genre in the Japanese comic book industry, creating narratives with cinematic flow and complex characters. This style influenced all subsequent Japanese output. God of Comics chronicles Tezuka's life and works, placing his creations both in the cultural climate and in the history of Japanese comics. The book emphasizes Tezuka's use of intertextuality. His works are filled with quotations from other texts and cultural products, such as film, theater, opera, and literature. Often, these quoted texts and images bring with them a world of meanings, enriching the narrative. Tezuka also used stock characters and recurrent visual jokes as a way of creating a coherent world that encompasses all of his works. God of Comics includes close analysis of Tezuka's lesser-known works, many of which have never been translated into English. It offers one of the first in-depth studies of Tezuka's oeuvre to be published in English.

Based on a South African tale, this story tells what happens when a giant who had been banished from a town by a magician thirty years earlier is called back to save the town from flooding. The little town that was once threatened by the giant Abiyoyo has grown by leaps and bounds. But now that the townspeople have chopped down all their trees, every year they have floods and droughts. Worse yet, there's a giant boulder blocking up the site of their new dam! Something has to be done. Well, the young boy who helped make Abiyoyo disappear way back when now has a little girl of his own. And she knows the only way to save the town: Bring back Abiyoyo to help move the boulder. "Bring back Abiyoyo?" the townspeople cry. "The giant that eats people up?" But the little girl has a plan for that, too. Fifteen years after Pete Seeger's storysong "Abiyoyo" came to life as a picture book, his beloved giant is back in a wonderful new story. With Michael Hays's brilliant illustrations and a sing-along score included, Abiyoyo Returns is destined to become a family favorite.

A Buddhist parable best known as The Ten Ox Herding Songs, likens a herdsman's search for a missing ox to an individual's journey toward enlightenment and features color artwork taken from its earliest known Japanese handscroll.