He begins to piece together the connection of two young people who are inextricably linked to the crime; the dark, taciturn son of the victim and the unexpectedly captivating daughter of the main suspect. Over the next twenty years we follow their lives as Sasagaki pursues the case - which remains unsolved - to the point of obsession. Stark, intriguing and stylish, Journey Under the Midnight Sun is an epic mystery by the bestselling Japanese author.

    Covering courtly fiction, Buddhist writings, war tales, diaries, poems, and more, Seeds in the Heart explores a vast and variegated treasury of writings. Detailed textual examinations of classic texts--from the Kojiki to The Tale of Genji, from The Pillow Book of Sei Sh�nagon to Zeami's N� plays--allow students, lay readers, and scholars a new understanding and enjoyment of this great literature.

    

    The camera is generally assumed to be unable to depict that which is not visible to the eye. And yet the photographer who wields it well can depict what lies unseen in his memory. --Eikoh HosoeEikoh Hosoe is an integral part of the history of modern Japanese photography. He remains a driving force in photography, not only for his own work, but also as a teacher and as an ambassador, fostering artistic exchange between Japan and the outside world. His influence has been felt in his native country and throughout the international photographic community.

    Senryu are interesting, however, precisely because they reflect the thoughts and feelings of ordinary townspeople in a way that other more orthodox types of Japanese literature do not. In his introduction on the nature and historical background of the form, Makoto Ueda explores the elements of humor and satire contained in senryu, highlighting the mores that lie behind the laughter the poems evince.

    In his long career, Kitasono was instrumental in creating Japanese-language work influenced by futurism, dadaism, and surrealism before World War II and in contributing a Japanese voice to the international avant-garde movement after the war. This critical biography of Kitasono examines the life, poetry, and poetics of this controversial and flamboyant figure, including his wartime support of the Japanese state. Using Kitasono as a window on Japanese literature in the twentieth century, John Solt analyzes the relationship of Japanese writers to foreign literary movements and the influence of Japanese writers on world literature.

    As female writers they both inhabited and helped create a discursive world obsessed with the arts of concealment and self-display, the perils and possibilities—erotic, political, and literary—of real and metaphorical peepholes. As memoirists they were virtuosos in the exacting art of feminine self-representation.Fictions of Femininity explores the Heian memoirists' creations of themselves in four texts: Kagero nikki (The Kagero Memoir, after 974), Makura no soshi (The Pillow Book, after 994), Sarashina nikki (The Sarashina Memoir, after 1058), and Sanuki no suke nikki (The Memoir of the Sanuki Assistant Handmaid, after 1108). Essays on the individual memoirs pursue a dual interest, asking how each text works as a rhetorical construct and how it reflects the author's negotiations with Heian fictions about women and writing.Letting the memoirs themselves set the terms for exploring gender constructions, Fictions of Femininity addresses a spectrum of related issues. The reading of The Kagero Memoir probes two traditional avenues of feminine expression: the writing of waka and the discourse of Buddhist nunhood. Two essays on The Sarashina Memoir reveal a fine weave of literary, religious, and autoerotic fantasies, highlighting the intellectual gifts of a memoirist long misread as naive and girlish.The essay on The Memoir of the Sanuki Assistant Handmaid examines the use of spirit possession as metaphor for commemorative writing, tracing the balancing act its author performed in the midst of political intrigues at court. The relationship between the memoir and voyeurism takes center stage in the closing essay on The Pillow Book, which compares its author's treatment of the thematics of "seeing and being seen" with that of her chief rival, Murasaki Shikibu, creator of The Tale of Genji. Taken together, the essays in this book underscore the diversity of the Heian memoirists' responses to their roles as women and as writers in one of the most unusual epochs of Japanese history.

    It is written as a diary kept from April 1945 to April 1946 by Shinsuke Yamanaka, a fifty-three-year-old fan-maker living in Nezu, part of Tokyo's shitamachi (old-town) district. After the war, Shinsuke learns by chance that the Occupation forces are plotting a nefarious scheme: in order to cut Japan off from its dreadful past, they intend to see that the language is written henceforth using the alphabet. To fight off this unheard-of threat to the integrity of Japanese culture, seven beautiful women - the Seven Roses - take a stand. They include Tomoe, whose husband perished in a B29 raid and whose stepfather has gone mad; Fumiko and Takeko, whose elder sister died in an air raid; Sen, another war widow; Tokiko, who lost her parents and older brother; and Kyoko and Fumiko, whose entire families were wiped out.The seven, while resentful of Japan's leaders for having lured the country down the path to war and, painfully aware of their own responsibility in being so gullible, hate the United States. They set their sights on three powerful members of the education delegation who have come to finalize official policy regarding the Japanese language. The year portrayed was a bleak and painful time for Japan. Shinsuke's diary, however, is surprisingly cheerful, filled with a wealth of details of ordinary people's openhearted lives. The author draws a lively portrait of Japanese who, despite privation, find relief in laughter.

    It is written as a diary kept from April 1945 to April 1946 by Shinsuke Yamanaka, a fifty-three-year-old fan-maker living in Nezu, part of Tokyo's shitamachi (old-town) district. After the war, Shinsuke learns by chance that the Occupation forces are plotting a nefarious scheme: in order to cut Japan off from its dreadful past, they intend to see that the language is written henceforth using the alphabet. To fight off this unheard-of threat to the integrity of Japanese culture, seven beautiful women - the Seven Roses - take a stand. They include Tomoe, whose husband perished in a B29 raid and whose stepfather has gone mad; Fumiko and Takeko, whose elder sister died in an air raid; Sen, another war widow; Tokiko, who lost her parents and older brother; and Kyoko and Fumiko, whose entire families were wiped out.The seven, while resentful of Japan's leaders for having lured the country down the path to war and, painfully aware of their own responsibility in being so gullible, hate the United States. They set their sights on three powerful members of the education delegation who have come to finalize official policy regarding the Japanese language. The year portrayed was a bleak and painful time for Japan. Shinsuke's diary, however, is surprisingly cheerful, filled with a wealth of details of ordinary people's openhearted lives. The author draws a lively portrait of Japanese who, despite privation, find relief in laughter.

    The Western world became aware of this when Akira Kurosawa's Rashomon was awarded the Grand Prize at the Venice film festival in 1951 and the Oscar for best foreign film in 1952. More recent examples include Shohei Imamura's Eel, which won the Palm d'Or (Best Picture) at Cannes in 1997.From Book to Screen breaks new ground by exploring important connections between Japan's modern literary tradition and its national cinema. The first part offers an historical and cultural overview of the working relationship that developed between pure literature and film. It deals with three important periods in which filmmakers relied most heavily on literary works for enriching and developing cinematic art. The second part provides detailed analyses of a dozen literary works and their screen adoptions.

    In his Maruyama Lecture, "The Language of Masao Maruyama," he focuses on the problem of political responsibility in the modern world, taking Maruyama’s major work as his point of departure. In a second (unrelated) lecture, "From the Beginning to the Present, and Facing the End: The Case of One Japanese Writer," Kenzaburô Ôe offers an account of his own development as a writer of both fiction and non-fiction.