In Satō Haruo and Modern Japanese Literature, Charles Exley examines Satō’s novels and short stories from the 1910 s through the 1930s, placing them in discursive and historical context.

Sato Haruo has been called one of the most representative writers of the Taisho era (1912-1926), a transitional period following Japan's monumental push toward modernization. Although he never identified himself as a modernist, Sato exhibited what some writers have identified as a characteristic of modernism: a complex net of contradictory impulses that embrace both the revolutionary and the conservative, revealing both an optimistic looking to the future and a pessimistic nostalgia for the past. Six stories of amazing diversity and two critical essays revealing the understated Japanese ideals of beauty make up this volume, all translated into English for the first time. Forming a sequel to the three stories published in Sato's The Sick Rose, these stories exhibit an extraordinary variety of themes and styles, ranging from poetic fairy tales to psychological portraits to who-done-it crime stories. The title story is a utopian dream of a better city, populated by ideal people, that vanishes in a mirage. Another tale portrays the loneliness of a man unsuccessful with women. A third embellishes a bare Basho haiku about the man next door. Here too are the dream ballad of a Chinese prince, the imaginary world of a mad Japanese artist in Paris, and the probing search for an opium-drugged murderer. Sato's critical essays that conclude this volume have their themes in an exploration of the sad beauty of impermanence, the nature of enlightenment, the awareness of self, the merging of the instant and the eternal, and the "self-indulgent, unrestrained beauty" of the Japanese language. This collection not only affords insights into the complexity of the work of a gifted writer, but also significantly broadens the perspective of the literary world of the Taisho period.

The shift in attitudes and concerns that took place in the Taisho period (1912-1926) was signaled by the emergence of a new and authentically contemporary Japanese sense of self. For many, Sato Haruo's novella Gloom in the Country marked that shift. Originally entitled The Sick Rose, this story has long been regarded as an icon of the period and is the masterpiece that made Sato instantly famous when it burst on the literary scene in 1918. Introduction by Thomas J. Rimer

Representing the Other in Modern Japanese Literature looks at the ways in which authors writing in Japanese in the twentieth century constructed a division between the ‘Self’ and the ‘Other’ in their work. Drawing on methodology from Foucault and Lacan, the clearly presented essays seek to show how Japanese writers have responded to the central question of what it means to be ‘Japanese’ and of how best to define their identity. Taking geographical, racial and ethnic identity as a starting point to explore Japan's vision of 'non-Japan', representations of the Other are examined in terms of the experiences of Japanese authors abroad and in the imaginary lands envisioned by authors in Japan. Using a diverse cross-section of writers and texts as case studies, this edited volume brings together contributions from a number of leading international experts in the field and is written at an accessible level, making it essential reading for those working in Japanese studies, colonialism, identity studies and nationalism.

"This book examines the development of Japanese literature depicting the native place (furusato) from the mid-Meiji period through the late 1930s as a way of articulating the uprootedness and sense of loss many experienced as Japan modernized. The 1890s witnessed the appearance of fictional works describing a city dweller who returns to his native place, where he reflects on the evils of urban life and the idyllic past of his childhood home. The book concentrates on four authors who typify this trend: Kunikida Doppo, Shimazaki Tōson, Satō Haruo, and Shiga Naoya. All four writers may be understood as trying to make sense of contemporary Japan. Their works reflect their engagement with the social, intellectual, economic, and technological discourses that created a network of shared experience among people of a similar age. This common experience allows the author to chart how these writers’ works contributed to the general debate over Japanese national identity in this period. By exploring the links between furusato literature and the theme of national identity, he shows that the debate over a common language that might “transparently” express the modern experience helped shape a variety of literary forms used to present the native place as a distinctly Japanese experience."

In Detective Fiction and the Rise of the Japanese Novel, Satoru Saito sheds light on the deep structural and conceptual similarities between detective fiction and the novel in prewar Japan. Arguing that the interactions between the two genres were not marginal occurrences but instead critical moments of literary engagement, Saito demonstrates how detective fiction provided Japanese authors with the necessary frameworks through which to examine and critique the nature and implications of Japan’s literary formations and its modernizing society. Through a series of close readings of literary texts by canonical writers of Japanese literature and detective fiction, including Tsubouchi Shoyo, Natsume Soseki, Shimazaki Toson, Sato Haruo, Kuroiwa Ruiko, and Edogawa Ranpo, Saito explores how the detective story functioned to mediate the tenuous relationships between literature and society as well as between subject and authority that made literary texts significant as political acts. By foregrounding the often implicit and contradictory strategies of literary texts—choice of narrative forms, symbolic mappings, and intertextual evocations among others—this study examines in detail the intricate interactions between detective fiction and the novel that shaped the development of modern Japanese literature.