Front Matter, including a foreword by Cheryl Crowley

Cheryl Crowley

POETS, PLACES, GENDER, AND GENRE: SOCIAL ASPECTS OF PREMODERN POETRY

Banquet Poetry and the Gendering of Social and Textual Spaces in the Man’yōshū

Danica Truscott

Poets to Unite and Poems to Divide: What Audience Reactions Reveal About the Social Functions of Heian Waka

Gian Piero Persiani

Imagined Journeys: Daiei Travel Poetry in Senzaishū

Bonnie McClure

Crossing the Threshold: Genre, Gender, and Reading in Ema Saikō’s Poetry

Matthew Mewhinney

BUILDING AND BREAKING BOUNDARIES: SCIENCE, FICTION, AND SCIENCE FICTION FROM MEIJI AND BEYOND

Creative Science: Meiji-Era Science Fiction and the Discursive Location of Zōkaki-ron

Kumiko Saito

Mixed Media: Science Fiction and the Social Force of Genre

Brian White

THE CORPOREALITY OF BELONGING: REPRESENTATIONS OF WOMEN AND WORK

Seizing/Ceasing Reproduction: Matsuda Tokiko, Birth Control Politics, and Proletarian Solidarity in “Chichi o uru”

Edwin Michielsen

Vulnerability of Women’s Bodies through Post War and Post Fukushima Literature

Saeko Kimura

INCLUDING THE YOUNG IN MODERN LITERATURE

Children as Cultural Imaginary: the Making of “Little Citizens” Through Shōnen sekai, 1895–1914

Wakako Suzuki

Love and Sexuality in Tomishima Takeo’s Junior Fiction

Hiromi Tsuchiya Dollase

Countdown to the Demise of Novels for Girls

Kume Yoriko; Barbara Hartley (trans.)

ACCEPTABLE RETELLINGS AND TRANSFORMATIVE WORKS: TRANSLATIONS AND ADAPTATIONS

Researching Adaptation: Reading/Watching “The Hell Screen”

Michele Eduarda Brasil de Sá

Sympathy for an Invert: the Translation and Reception of Mishima Yukio’s Kamen no Kokuhaku (Confessions of a Mask) in English

Patrick Carland-Echavarria

Matayoshi Naoki and Dazai Osamu: Rethinking the Solitary Masculine Literary Subject

Anri Yasuda

DIFFERENCE AND INDIFFERENCE: INCLUSION AND EXCLUSION IN CONTEMPORARY LITERATURE

Murakami Haruki on a Little Planet

Masaki Mori

Dead Man Walking: Yū Miri’s JR Ueno Eki Kōenguchi

Doug Slaymaker

The Gentle Inclusivity of Kawakami Hiromi’s “Summer Break”

Kathryn Hemmann