In her reading of detective fiction and passing narratives from the end of the nineteenth century forward, Jinny Huh investigates anxieties about race and detection. Adopting an interdisciplinary and comparative approach, she examines the racial formations of African Americans and Asian Americans not only in detective fiction (from Sherlock Holmes and Charlie Chan to the works of Pauline Hopkins) but also in narratives centered on detection itself (such as Winnifred Eaton’s rhetoric of undetection in her Japanese romances). In explicating the literary depictions of race-detection anxiety, Huh demonstrates how cultural, legal, and scientific discourses across diverse racial groups were also struggling with demands for racial decipherability. Anxieties of detection and undetection, she concludes, are not mutually exclusive but mutually dependent on each other's construction and formation in American history and culture.

This is the true story of the tragic life of Okichi Saito who became the pawn to placate Townsend Harris, the first American Consul to Japan in the turbulent mid 1800's. This poignant story takes place during a period in history when the "Black Ships" arrived in Japan and changed many lives, especially those of Okichi and her fianc and lover, Tsurumatsu. Like a butterfly, Okichi was beautiful but fragile, easily tossed about and bruised by the stronger forces of political wheeling and dealing. The story takes the readers on a journey from the wild windswept fishing village of Shimoda to the colorful world of the geishas Okichi was literally sold into, then onto the awesome stage of politics and power and finally to a lonely outcast who walked into the icy waters of the Shimoda Bay one cold grey March morning....

Japanese and Western Literature delves deeply into Japanese culture to discover the concepts that similarize and differentiate Japanese and Western literary creations. Paralleling Japanese literary creations and fundamental thought with those of the West, the author draws many illuminating comparisons: for example, between the novels of Murasaki Shikibu and Marcel Proust, between the Portuguese poet Torga and the haiku master Issa, and between the picaresque novel in Japan and in the West. Contrastive studies are also made into such concepts as time, nature, love, and tragedy. This broad yet incisive survey of Japanese literarily genres and themes is more than a comparative study of literature, however; it is an attempt to grasp the core of Japanese culture by setting it against world culture. From this born a complex of new ideas and problems, and author is able to probe the extent of Western influence on Japanese fiction, poetry, and essays in the past hundred years.

In April 1859, at age fifty, Shinohara Chūemon left his old life behind. Chūemon, a well-off farmer in his home village, departed for the new port city of Yokohama, where he remained for the next fourteen years. There, as a merchant trading with foreigners in the aftermath of Japan’s 1853 “opening” to the West, he witnessed the collapse of the Tokugawa shogunate, the civil war that followed, and the Meiji Restoration’s reforms. The Merchant’s Tale looks through Chūemon’s eyes at the upheavals of this period. In a narrative history rich in colorful detail, Simon Partner uses the story of an ordinary merchant farmer and its Yokohama setting as a vantage point onto sweeping social transformation and its unwitting agents. Chūemon, like most newcomers to Yokohama, came in search of economic opportunity. His story sheds light on vital issues in Japan’s modern history, including the legacies of the Meiji Restoration; the East Asian treaty port system; and the importance of everyday life—food, clothing, medicine, and hygiene—for national identity. Centered on an individual, The Merchant’s Tale is also the story of a place. Created under pressure from aggressive foreign powers, Yokohama was the scene of gunboat diplomacy, a connection to global markets, the birthplace of new lifestyles, and the beachhead of Japan’s modernization. Partner’s history of a vibrant meeting place humanizes the story of Japan’s revolutionary 1860s and their profound consequences for Japanese society and culture.

In this fascinating and wide-ranging book, Yoko Kawaguchi explores the Western portrayal of Japanese women—and geishas in particular—from the mid-nineteenth century to the present day. She argues that in the West, Japanese women have come to embody certain ideas about feminine sexuality, and she analyzes how these ideas have been expressed in diverse art forms, ranging from fiction and opera to the visual arts and music videos. Among the many works Kawaguchi discusses are the art criticism of Baudelaire and Huysmans, the opera Madama Butterfly, the sculptures of Rodin, the Broadway play Teahouse of the August Moon, and the international best seller Memoirs of a Geisha. Butterfly’s Sisters also examines the impact on early twentieth-century theatre, drama, and dance theory of the performance styles of the actresses Madame Hanako and Sadayakko, both formerly geishas.

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