The book focuses on the work of three influential Japanese writers: Yosano Akiko, Tamura Toshiko, and Hayashi Fumiko
Influenced by writers as diverse as Flannery O'Connor, Anne Tyler, Hayashi Fumiko
, and Reinaldo Arenas, (2) she began as a romance writer but decided there was really no market for romance novels in Japan, an interesting fact given that romance novels outsell every other type of fiction in the United States.
For example, the novel Horo-ki (Diary of a Vagabond, 1930), by Hayashi Fumiko, (6) was first published in instalments in Nyonin and subsequently reached national prominence.
Particularly, Nyonin produced a number of women writers coming out of that time, including Enchi Fumiko, Hirabayashi Taiko and Hayashi Fumiko.
6) Hayashi Fumiko (1904-1951) was born in Yamaguchi.
Through an examination of the writings of women writers of the period, I hope to disrupt the continuing androcentric discourse on colonialism and delineate a women's imperial history as reflected in their narration of their own storiea In the following section I will examine three Japanese female authors, Hayashi Fumiko ([TEXT NOT REPRODUCIBLE IN ASCII], 1903-51), Masugi Shizue ([TEXT NOT REPRODUCIBLE IN ASCII], 1901-55) and Sakaguchi Reiko ([TEXT NOT REPRODUCIBLE IN ASCII], 1914--), focusing on their writings on Taiwan and the other southern colonies.
In particular, I would first explore the intersection of colonialism, modernism, body, and the female writing subjectivity in rarely discussed female colonial writers such as Hayashi Fumiko, (15) Masugi Shizue and Sakaguchi Reiko, whose lives were intricately linked to the colony and the metropole through their bold acts of boundary crossing.
In other words, the access of these women we will discuss below to modernity inescapably was mediated through colonialism Although Hayashi Fumiko does not write specifically about the colony Taiwan, her eroticizing of the ideal "South" transforms the sociopolitical colonial condition into a bodily experience.
As the daughter of a humble itinerant peddler, Hayashi Fumiko experienced privation and want through her early years.
Hayashi Fumiko is remarkably deft in translating the complexity of abstract epistemes of race and class into a concrete, genderized situation.
Three of the new works are by women: Enchi Fumiko, Hayashi Fumiko
, and Okamoto Kanoko.
Part 4, "Locating 'Woman' in Culture," contains essays of a sort we may expect more of in the future, as it considers women's texts, particularly works of Hayashi Fumiko
(by Noriko Mizuta), Tsushima Yuko (by Livia Monnet), and Yamada Eimi (by Nina Cornyetz), at the intersection of gender and other ideological structures.