Karatani Kojin is one of Japan's leading critics. In his work as a theoretician, he has described Modernity as have few others; he has re-evaluated the literature of the entire Meiji period and beyond. As one critic has said, Karatani's thought "has had a profound effect on the way we formulate the questions we ask about modern literature and culture ... [his] argument is compelling, moving even, and in the end the reader comes away with a different understanding not only of modern Japanese literature but of modern Japan itself." Among the many authors discussed are Soseki Natsume, Doppo Kunikida, Katai Tayama, and Shoyo Tsubouchi.

The English-language debut of Hiroko Oyamada—one of the most powerfully strange young voices in Japan The English-language debut of one of Japan's most exciting new writers, The Factory follows three workers at a sprawling industrial factory. Each worker focuses intently on the specific task they've been assigned: one shreds paper, one proofreads documents, and another studies the moss growing all over the expansive grounds. But their lives slowly become governed by their work—days take on a strange logic and momentum, and little by little, the margins of reality seem to be dissolving: Where does the factory end and the rest of the world begin? What's going on with the strange animals here? And after a while—it could be weeks or years—the three workers struggle to answer the most basic question: What am I doing here? With hints of Kafka and unexpected moments of creeping humor, The Factory casts a vivid—and sometimes surreal—portrait of the absurdity and meaninglessness of the modern workplace.

This book examines three examples of late nineteenth-century Japanese adaptations of Western literature: a biography of U.S. Grant recasting him as a Japanese warrior, a Victorian novel reset as oral performance, and an American melodrama redone as a serialized novel promoting the reform of Japanese theater. Written from a comparative perspective, it argues that adaptation (hon'an) was a valid form of contemporary Japanese translation that fostered creative appropriation across many genres and among a diverse group of writers and artists. In addition, it invites readers to reconsider adaptation in the context of translation theory.

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.

Rhetoric in Modern Japan is the first volume to discuss the role of Western rhetoric in the creation of a modern Japanese oral and narrative style. It considers the introduction of Western rhetoric, clarifying its interactions with the forces and synergies that shaped Japanese literature and culture in the late nineteenth and early twentieth centuries. Focusing on the Meiji and Taishō years (1868-1926), it challenges the prevailing view among contemporary scholars that rhetoric did not play a significant role in the literary developments of the period. Massimiliano Tomasi chronicles the blooming of scholarship in the field in the early 1870s, providing the first descriptive analysis and cogently articulated critique of the major rhetorical treatises of the time. In discussing the rise of public speaking in early Meiji society, he unveils the existence of crucial links between the study of rhetoric and the social and literary events of the time, underscoring the key role played by oratory both as a tool for social modernization and as an effective platform for the reappraisal of the spoken language. The collusion and conflicts characterizing rhetoric and its relationship with the genbun itchi movement, which sought to unify spoken and written language, are explored, demonstrating that their perceived antagonism was the uh_product of a misguided notion of rhetoric and the process of rhetorical signification rather than a true theoretical conflict. Tomasi makes a convincing argument that, in fact, Western rhetoric mediated between these equally compelling pursuits and paved the way toward an acceptable compromise between classical and colloquial written styles.

The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.