Handbook of Modern and Contemporary Japanese Women Writers
Handbook of Modern and Contemporary Japanese Women Writers
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Asian Studies
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Part 1: Expanding Genre and the Exploration of Gendered Writing
1 When Women Write History: Nogami Yaeko, Ariyoshi Sawako, Nagai Michiko (Susan W. Furukawa)
2 Writing Within and Beyond Genre: .kura Teruko, Miyano Murako, Togawa Masako, Miyabe Miyuki, Minato Kanae and Mystery Fiction (Quillen Arkenstone)
3 Feminist “Failed” Reproductive Futures in Speculative Fiction: .hara Mariko, Murata Sayaka, and Ueda Sayuri (Kazue Harada)
Part 2: Owning the Classics
4 Tales of Ise Grows Up: Higuchi Ichiy., Kurahashi Yumiko, and Kawakami Mieko (Emily Levine)
5 Japanese Women Writers and Folktales: “Urashima Tar.” in the Literary Production of .ba Minako and Kurahashi Yumiko (Luciana Cardi)
6 Women and the Non-human Animal: Rewriting the Canine Classic: Tsushima Y.ko, Ito Hiromi, Tawada Y.ko, Matsuura Reiko, Sakuraba Kazuki (Lucy Fraser)
Part 3: Sexual Trauma, Survival, and the Search for the Good Life
7 Writing Women and Sexuality: Tamura Toshiko and Sata Ineko (Michiko Suzuki)
8 Voicing Herstory’s Silence: Women Playwrights in Japan, Hasegawa Shigure, Ariyoshi Sawako, and Dakemoto Ayumi (Barbara Hartley)
9 Writing Women’s Liberty and Happiness in the 1980s: Kometani Foumiko, Hayashi Mariko and Yoshimoto Banana (Nozomi Uematsu)
10 Risky Business: Overcoming Traumatic Experiences in the Works of Kakuta Mitsuyo and Kanehara Hitomi (David Holloway)
Part 4: Food, Family, and Feminist Critique
11 Watching the Detectives: Writing as Feminist Praxis in Enchi Fumiko and Kurahashi Yumiko (Julia C. Bullock)
12Food as a Feminist Critique: Osaki Midori, .ba Kanai Mieko, Ogawa Y.ko (Yoshio Hitomi)
Part 5: Beyond the Patriarchal Family
13 “The Mommy Trap,” Childless Women Write Motherhood: K.no Taeko, Takahashi Takako, and Murata Sayaka (Amanda C. Seaman)
14 Women and Queer Kinships: Matsuura Rieko, Fujino Chiya, and Murata Sayaka (Anna Specchio)
Part 6 : Age is Just a Number
15 Beyond Sh.jo Fantasy: Women Writers Writing Girlhood, Yoshiya Nobuko, Tanabe Seiko, and Hayashi Mariko (Hiromi Tsuchiya Dollase)
16 Writing the Aged Woman: Enchi Fumiko and Tanabe Seiko (Sohyun Chu)
17 Parody and Humor: Ogino Anna, It. Hiromi, and Kanai Mieko (Tomoko Aoyama)
Part 7: Colonies, War, Aftermath
18 Women and War: Yosano Akiko and Hayashi Fumiko (Noriko J. Horiguchi)
19 Women and Colonies: Shanghai and Manchuria in the Autobiographical Writings of Hayashi Ky.ko, Sawachi Hisae, and Miyao Tomiko (Lianying Shan)
20 Koza as Topos in Japanese Literature from Okinawa: T.ma Hiroko, Yoshida Sueko, and Sakiyama Tami (Davinder L. Bhowmik)
Part 8 : Environment and Disaster
21 Writing Human Disaster: Hayashi Ky.ko, Ishimure Michiko, and Kawakami Hiromi (Rachel DiNitto)
22 Teeming Up with Life: Reading the Environment in Ishimure Michiko, Hayashi Fumiko, and Osaki Midori (John L. Pitt)
Part 9: Crossing Borders: Writing Transnationally
23 Women and the Ethnic Body: Lee Jungja, Y. Miri, and Che Sil (Christina Yi)
24 Transnational Narratives and Travel Writing: Yoshimoto Banana, Takahashi Takako, and Yi Yang-ji (Pedro Thiago Ramos Basso)

Rebecca Copeland (ed.)

Handbook of Modern and Contemporary Japanese Women Writers

The Handbook of Modern and Contemporary Japanese Women Writers offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women’s writing in Japan.

Rebecca Copeland

Rebecca Copeland, professor of modern Japanese literature at Washington University in St. Louis, is the author of Lost Leaves: Women Writers of Meiji Japan (Hawai’i UP, 2000), editor of Woman Critiqued: Translated Essays on Japanese Women’s Writing (Hawai’i UP, 2006), and co-editor with Melek Ortabasi of The Modern Murasaki: Selected Works by Women Writers of Meiji Japan 1885-1912 (Columbia UP, 2006), among other works. She has also translated the works of Uno Chiyo, Hirabayashi Taiko, and Kirino Natsuo and has recently completed the novel The Kimono Tattoo (Brother Mockingbird, 2021).