Ericson reviews the role of gender in classical and early modern
Japanese literary traditions, examining the preeminent position of
women writers in the classical canon and the virtual eclipse of
women's voices prior to their reemergence in the modern era. Her
assessment of recent feminist debates that shifted the terminology
used to categorize writing by women leads her to an original
interpretation of the origins and significance of the concept of
women's literature. Utilizing sources in both Japanese and Western
languages, Ericson interprets the crystallization in the 1920s of
the category "women's literature" by considering both literary
aesthetics by gender shifted with the growth of women's journals,
the increasing sophistication of female readers, and the greater
disposable income of working women and housewives. Her approach
adds to the recent Japanese feminist discovery of male patrons
editing the work of women writers to conform to expectations of
femininity by relating gendered institutional practices in the
publishing industry to the rise of mass female readership and the
increasingly polarized environment in politics and the arts. A
close scrutiny of Hayashi Fumiko's work - in particular the two
pieces masterfully translated here, the immensely popular novel
Horoki (Diary of a Vagabond) and Suisen (Narcissus) - shows the
inadequacies of categorizing her writings as "women's literature".
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