The Pleasures Of Japanese Literature

Perhaps no one is more qualified to write about Japanese culture than Donald Keene, considered the leading interpreter of that nation's literature to the Western world. The author, editor, or translator of nearly three dozen books of criticism and works of literature, Keene now offers an enjoyable and beautifully written introduction to traditional Japanese culture for the general reader. The book acquaints the reader with Japanese aesthetics, poetry, fiction, and theater, and offers Keene's appreciations of these topics. Based on lectures given at the New York Public Library, The Metropolitan Museum of Art, and the University of California, Los Angeles, the essays -though written by a renowned scholar- presuppose no knowledge of Japanese culture. Keene's deep learning, in fact, enables him to construct an overview as delightful to read as it is informative. His insights often illuminate aspects of traditional Japanese culture that endure today. One of these is the appreciation of "perishability." this appreciation os seen in countless little bits of Japanese life: in temples made of wood instead of durable materials; in the preference for objects -such as pottery- that are worn, broken, or used rather than new; and in the national love of the delicate cherry blossom, which normally falls after a brief three days of flowering. Keene quotes the fourteenth-century Buddhist monk Kenko, who wrote that "the most precious thing about life is its uncertainty." Throughout the volume, Keene demonstrates that the rich artistic and social traditions of Japan can indeed be understood by readers from our culture. This book will enlighten anyone interested in Japanese literature and culture.

In the seventeenth century, Japanese popular prose flourished as waves of newly literate readers gained access to the printed word. Commercial publishers released vast numbers of titles in response to readers’ hunger for books that promised them potent knowledge. However, traditional literary histories of this period position the writings of Ihara Saikaku at center stage, largely neglecting the breadth of popular prose. In the first comprehensive study of the birth of Japanese commercial publishing, Laura Moretti investigates the vibrant world of vernacular popular literature. She marshals new data on the magnitude of the seventeenth-century publishing business and highlights the diversity and porosity of its publishing genres. Moretti explores how booksellers sparked interest among readers across the spectrum of literacies and demonstrates how they tantalized consumers with vital ethical, religious, societal, and interpersonal knowledge. She recasts books as tools for knowledge making, arguing that popular prose engaged its audience cognitively as well as aesthetically and emotionally to satisfy a burgeoning curiosity about the world. Crucially, Moretti shows, readers experienced entertainment within the didactic, finding pleasure in the profit gained from acquiring knowledge by interacting with transformative literature. Drawing on a rich variety of archival materials to present a vivid portrait of seventeenth-century Japanese publishing, Pleasure in Profit also speaks to broader conversations about the category of the literary by offering a new view of popular prose that celebrates plurality.

This collection of 20 essays focuses on the rich tradition of Japaneseulture. It illuminates important aspects of Japanese literature for theeneral reader and places each subject within the context of the tradition as whole.

Afraid to make your first foray into the magical and majestical world of Japanese literature? Then here is a perfect introduction for you. Within this slim volume numerous wonderful recommendations abound, although there is one small oversight -- "Musashi" by Eiji Yoshikawa isn't mentioned. Ah well. Also look into, "The Pleasures of Japanese Literature," by Donald Keene. And for lovers of poetry, I cannot say enough wonderful things about, "The Ink Dark Moon," translated by Jane Hirshfield, and "Modern Japanese Tanka" by Makoto Ueda.

Donald Keene's definitive history of modern Japanese literature is an achievement beyond the range and scope of any other western writer.

"The Canadian internment of Japanese citizens leading up to and during the Second World War. The story follows three main characters as they negotiate this extremely difficult time for Japanese-Canadians."--

The New Yorker has called Donald Keene "America's preeminent scholar of Japanese literature." Now he presents a new book that serves as both a superb introduction to modern Japanese fiction and a memoir of his own lifelong love affair with Japanese literature and culture. Five Modern Japanese Novelistsprofiles five prominent writers whom Donald Keene knew personally: Tanizaki Jun'ichiro, Kawabata Yasunari, Mishima Yukio, Abe Kobo, and Shiba Ryotaro. Keene masterfully blends vignettes describing his personal encounters with these famous men with autobiographical observations and his trademark learned literary and cultural analysis. Keene opens with a confession: before arriving in Japan in 1953, despite having taught Japanese for several years at Cambridge, he knew the name of only one living Japanese writer: Tanizaki. Keene's training in classical Japanese literature and fluency in the language proved marvelous preparation, though, for the journey of literary discovery that began with that first trip to Japan, as he came into contact, sometimes quite fortuitously, with the genius of a generation. It is a journey that will fascinate experts and newcomers alike

Remarkably little has been written on the subject of modernism in Japanese fiction. Until now there has been neither a comprehensive survey of Japanese modernist fiction nor an anthology of translations to provide a systematic introduction. Only recently have the terms "modernism" and "modernist" become part of the standard discourse in English on modern Japanese literature and doubts concerning their authenticity vis-a-vis Western European modernism remain. This anomaly is especially ironic in view of the decidedly modan prose crafted by such well-known Japanese writers as Kawabata Yasunari, Nagai Kafu, and Tanizaki Jun’ichiro­. By contrast, scholars in the visual and fine arts, architecture, and poetry readily embraced modanizumu as a key concept for describing and analyzing Japanese culture in the 1920s and 1930s. This volume addresses this discrepancy by presenting in translation for the first time a collection of twenty-five stories and novellas representative of Japanese authors who worked in the modernist idiom from 1913 to 1938. Its prefatory materials provide a systematic overview of the literary movement’s salient features—anti-naturalism, cosmopolitanism, the concept of the double self, and actionism—and describe how modanizumu evolved from its early "jagged edges" into a sophisticated yet popular expression of Japanese urban life in the first half of the twentieth century. The modanist style, characterized by youthful exuberance, a tongue-in-cheek tone, and narrative techniques like superimposition, is amply illustrated. Modanizumu introduces faces altogether new or relatively unknown: Abe Tomoji, Kajii Motojiro, Murayama Kaita, Osaki Midori, Tachibana Sotoo, Takeda Rintaro, Tani Joji, Yoshiyuki Eisuke, and Yumeno Kyusaku. It also revisits such luminaries as Kawabata, Tanizaki, and the detective novelist Edogawa Ranpo. Key works that it culls from the modernist repertoire include Funahashi Seiichi’s Diving, Hagiwara Sakutaro’s "Town of Cats," Ito Sei’s Streets of Fiendish Ghosts, and Kawabata’s film scenario Page of Madness. This volume moves beyond conventional views to place this important movement in Japanese fiction within a global context: an indigenous expression born of the fission of local creativity and the fusion of cross-cultural interaction.