When fourth grader Akiko finds a spacecraft hovering outside her window one night, she begins the adventure of a lifetime. She is whisked off to the planet Smoo to lead a team searching for the King of Smoo’s kidnapped son. Akiko the head of a rescue mission? She’s afraid to be on the school’s safety patrol! So begins the adventures of Akiko, wherein she meets her team — Spuckler Boach, Gax, Poog, and Mr. Beeba — and sets off on a journey across Smoo to find a prince and become a leader.

Akiko and her crew — Spuckler Boach, Mr. Beeba, Poog, and Gax — have faced dangers unimaginable to the average fourth-grade earthling. Now their mission is finally coming to an end. At last they’ve reached the castle of Alia Rellapor — but that doesn’t mean that things have gotten any easier. The castle is heavily guarded by robots and getting inside won’t be easy. If they do get in, they have to locate Prince Froptoppit, free him from captivity, and escape from the castle without alerting the guards or their leader, the half man — half machine Throck. Can a girl who’s too scared to be school safety leader pull it off? If anyone can, Akiko can!

Kikko sets out after her father with a forgotten pie for Grandma. When she arrives at a strange house in the wintry woods, a peek in the window reveals that the footprints Kikko had been following did not belong to her father at all, but to a bear in a long coat and hat! Alice in Wonderland meets Little Red Riding Hood in this charmed tale.

In this companion novel to Akiko on the Planet Smoo, fourth-grade earthling Akiko and her odd team are on a journey to save the kidnapped Prince Froptoppit from the evil Alia Rellapor. Unfortunately, on their way to Alia Rellapor's castle, the group has gotten lost while sailing over the Moonguzzit Sea in their flying boat. With no maps available, the team's best hope is to find Queen Pwip of the Sprubly Islands, a clairvoyant, who will be able to point them in the right direction. But the Sprubly Islands aren't like Akiko's hometown, and when Spuckler and Mr. Beeba disappear one night, Akiko is left to decide how she is to survive in this strange new world.

A gentle, dreamlike tale about heading home in the night. A mother rabbit carries her young bunny home through the dark, quiet streets. The lights are on in many of the animal neighborsê windows, so the bunny can see, hear and smell whatês happening inside: a pie being pulled out of the oven, a party, a goodbye hug. When they reach home, the father rabbit tucks the bunny into bed. But the bunny continues to wonder about the neighborsê activities. –Are the party guests saying goodnight?” Will the one saying goodbye –take the last train home?” Until finally, the tired bunny falls asleep. The perfect story for the end of the day.

Yosano Akiko (1878–1942) has long been recognized as one of the most important literary figures of prewar Japan. Her renown derives principally from the passion of her early poetry and from her contributions to 20th-century debates about women. This emphasis obscures a major part of her career, which was devoted to work on the Japanese classics and, in particular, the great Heian period text The Tale of Genji. Akiko herself felt that Genji was the bedrock upon which her entire literary career was built, and her bibliography shows a steadily increasing amount of time devoted to projects related to the tale. This study traces for the first time the full range of Akiko’s involvement with The Tale of Genji. The Tale of Genji provided Akiko with her conception of herself as a writer and inspired many of her most significant literary projects. She, in turn, refurbished the tale as a modern novel, pioneered some of the most promising avenues of modern academic research on Genji, and, to a great extent, gave the text the prominence it now enjoys as a translated classic. Through Akiko’s work Genji became, in fact as well as in name, an exemplum of that most modern of literary genres, the novel. In delineating this important aspect of Akiko’s life and her bibliography, this study aims to show that facile descriptions of Akiko as a “poetess of passion” or “new woman” will no longer suffice.