Front Matter, with a foreword by Eiji Sekine

Eiji Sekine

Beyond home and city: poems by Ishigaki Rin and Shiraishi Kazuko

Mizuta Noriko; Eiji Sekine (Translator)

Rewalking along the way of poetry

Yoshimasu Gōzō; Eiji Sekine (Translator)

Narrative and poetic progression: the logic of associativity

Rein Raud

From the pages of classics to the fantastic tales: Kyokutei Bakin and seven rules of fiction

Aiko Okamoto MacPhail

Poetry and poetics in tension: Kuki Shūzo’s French and German connections

Michael F. Marra

Nomori no kagami and the perils of poetic heresy

Keller Kimbrough

Down the primrose path: Ariwara no Narihira as love god in medieval poetic commentaries and noh theater

Susan Blakeley Klein

Yosa Buson and humor: Shin hanatsumi (New ‘Flower Gathering’) and kokkei

Cheryl Crowley

Poetry fit to sing: Tachibana Moribe and the chōka revival

Roger K. Thomas

The formation of allusive resilience in waka and its relevance to Meiji shintaishi

Dean Brink

Sketching out the critical tradition: Yanagita Kunio and the reappraisal of realism

Melek Ortabasi

Out of the shadows: applying a feminist framework to translation in Meiji and modern-day Japan

Judy Wakabayashi

Whoever said springtime was for blossoms? Kokinshū poetics, Ainu orality, and Chiri Yukie’s preface to the Ainu Shin’yōshū

Sarah M. Strong

Unsealing Yamakawa Tomiko’s tanka: construction of Tomiko’s gendered image in contrast to Akiko’s

Mitsuko Tanaka

The heritage of symbolism: the ‘aesthetic’ style of Kitahara Hakushū and Murayama Kaita

Jeffrey Angles

Colonial Manchuria in the surrealist imagination: the poetry and prose of Kitagawa Fuyuhiko as modernist history

Annika Culver

Poeticity of feminine subjectivity: contemporary women’s poetics from Tomioka Taeko to shōjo manga

Kumiko Sato

With traces: the iterability of memory and narration in Kanai Mieko’s Yawarakai tsuchi o funde

Atsuko Sakaki

Plain water with a twist of lime(stone): magical realism in Medoruma Shun

Davinder L. Bhowmik

Shifting discourses: a comparative study of Nakagami Kenji’s style to those of Tanizaki Jun’ichirō, Murasaki Shikibu, and William Faulkner

Mikiko Iwaya

Wagahai wa neko dearu satsujin jiken as a postmodern sequel

Irena Hayter