"The literary career of Uchida Hyakken (1889–1971) encompassed a wide variety of styles and genres, including fiction, zuihitsu (essays), war diaries, poetry, travelogues, and children’s stories. In discussing his oeuvre, critics have circumscribed Hyakken to a private literary realm detached from the era in which he wrote. Rachel DiNitto provides a critical corrective by locating in Hyakken’s simple yet powerful literary language a new way to appreciate the various literary reactions to the modernization of the early decades of the twentieth century and a means to open up a literary space of protest, an alternate intellectual response to the era of militarism. This book takes up Hyakken’s fiction and essays written during Japan’s prewar years to investigate the intersection of his literature with the material and discursive surroundings of the time: a consumer-oriented print culture; the popular entertainment of film; the capitalist and cultural force of an emergent middle class; a planned, yet sprawling metropolis; and the war machine of an expanding Japanese empire. Emerging from this analysis is a writer who relied on the quotidian language of the everyday and the symbols of cultural modernism to counter the harsh realities of modernization and imperialism and to express sentiments contrary to the mainstream ideological rhetoric of the time."

This fantastically varied and exciting collection celebrates the great Japanese short story, from its modern origins in the nineteenth century to the remarkable works being written today. Short story writers already well-known to English-language readers are all included here - Tanizaki, Akutagawa, Murakami, Mishima, Kawabata - but also many surprising new finds. From Yuko Tsushima's 'Flames' to Yuten Sawanishi's 'Filling Up with Sugar', from Shin'ichi Hoshi's 'Shoulder-Top Secretary' to Banana Yoshimoto's 'Bee Honey', The Penguin Book of Japanese Short Stories is filled with fear, charm, beauty and comedy. Curated by Jay Rubin, who has himself freshly translated several of the stories, and introduced by Haruki Murakami, this book will be a revelation to its readers.

Featuring choice selections from the core anthologies The Columbia Anthology of Modern Japanese Literature: From Restoration to Occupation, 1868–1945, and The Columbia Anthology of Modern Japanese Literature: From 1945 to the Present, this collection offers a concise yet remarkably rich introduction to the fiction, poetry, drama, and essays of Japan's modern encounter with the West. Spanning a period of exceptional invention and transition, this volume is not only a critical companion to courses on Japanese literary and intellectual development but also an essential reference for scholarship on Japanese history, culture, and interactions with the East and West. The first half covers the three major styles of literary expression that informed Japanese writing and performance in the late nineteenth and early twentieth centuries: classical Japanese fiction and drama, Chinese poetry, and Western literary representation and cultural critique. Their juxtaposition brilliantly captures the social, intellectual, and political challenges shaping Japan during this period, particularly the rise of nationalism, the complex interaction between traditional and modern forces, and the encroachment of Western ideas and writing. The second half conveys the changes that have transformed Japan since the end of the Pacific War, such as the heady transition from poverty to prosperity, the friction between conflicting ideologies and political beliefs, and the growing influence of popular culture on the country's artistic and intellectual traditions. Featuring sensitive translations of works by Nagai Kafu, Natsume Soseki, Oe Kenzaburo, Kawabata Yasunari, Mishima Yukio, and many others, this anthology relates an essential portrait of Japan's dynamic modernization.

This work will become not only the newly definitive study of Kurosawa, but will redefine the field of Japanese cinema studies, particularly as the field exists in the west.

In these twelve interconnected tales, David Peace—acclaimed author of the Red Riding Quartet, Occupied City, and Tokyo Year Zero—weaves fact and fiction as he takes up the brief but fiercely lived life of the early-twentieth-century Japanese writer Ryūnosuke Akutagawa. Unique and offbeat, Patient X delves into Akutagawa’s rich and complicated private life: his fears and battles with mental illness; his complex reaction to the Westernization of Japan; his exacting creative process; and his suicide, weaving these facets into a hauntingly evocative portrait. But Patient X is more than a paean to one remarkable writer: it is also an incandescent exploration of the act and obsession of writing itself, and of the role of the artist in times that darkly mirror our own.

"As we passed from the city center into the Fukushima suburbs I surveyed the landscape for surgical face masks. I wanted to see in what ratios people were wearing such masks. I was trying to determine, consciously and unconsciously, what people do in response. So, among people walking along the roadway, and people on motorbikes, I saw no one with masks. Even among the official crossing guards outfitted with yellow flags and banners, none. All showed bright and calm. What was I hoping for exactly? The guilty conscience again. But then it was time for school to start. We began to see groups of kids on their way to school. They were wearing masks." Horses, Horses, in the End the Light Remains Pure is a multifaceted literary response to the earthquake, tsunami, and nuclear meltdown that devastated northeast Japan on March 11, 2011. The novel is narrated by Hideo Furukawa, who travels back to his childhood home near Fukushima after 3/11 to reconnect with a place that is now doubly alien. His ruminations conjure the region's storied past, particularly its thousand-year history of horses, humans, and the struggle with a rugged terrain. Standing in the morning light, these horses also tell their stories, heightening the sense of liberation, chaos, and loss that accompanies Furukawa's rich recollections. A fusion of fiction, history, and memoir, this book plays with form and feeling in ways reminiscent of Vladimir Nabokov's Speak, Memory and W. G. Sebald's The Rings of Saturn yet draws its own, unforgettable portrait of personal and cultural dislocation.