{"id":235,"date":"2017-01-29T11:45:33","date_gmt":"2017-01-29T19:45:33","guid":{"rendered":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/?page_id=235"},"modified":"2017-01-29T11:47:52","modified_gmt":"2017-01-29T19:47:52","slug":"fiction-reading-list","status":"publish","type":"page","link":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/?page_id=235","title":{"rendered":"Fiction Reading List"},"content":{"rendered":"\n\n\n
Modern Japanese Literature Reading List<\/p>\n

The following is the recommended list of basic fictional readings in Japanese literature.
\nPlease see the various explanations and caveats<\/a> below.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n

\n<\/i><\/p>\n
Author<\/div>\n<\/td>\n

\n<\/i><\/p>\n
Title<\/div>\n<\/td>\n

\n<\/i><\/p>\n
Translation<\/div>\n<\/td>\n<\/tr>\n
\u4e8c\u8449\u4ead\u56db\u8ff7<\/a>
\nFutabatei Shimei<\/td>\n		\u300e\u6d6e\u96f2\u300f<\/td>\nMarleigh Grayer Ryan, Ukigumo, Japan’s First Modern Novel<\/a> <\/em>(Amazon)
\n<\/em>
\n<\/em><\/td>\n<\/tr>\n
\u68ee\u9d0e\u5916<\/a>
\nMori \u00d4gai<\/td>\n		\u300e\u821e\u59eb<\/a>\u300f<\/td>\nRichard Bowring, “Maihime; the Dancing Girl<\/a>” (JSTOR)<\/td>\n<\/tr>\n
\u6a0b\u53e3\u4e00\u8449<\/a>
\nHiguchi Ichiy\u00f4<\/td>\n		\u300e\u305f\u3051\u304f\u3089\u3079<\/a>\u300f<\/td>\nRobert Lyons Danly, “Child’s Play<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u56fd\u6728\u7530\u72ec\u6b69<\/a>
\nKunikida Doppo<\/td>\n		\u300e\u5fd8\u308c\u3048\u306c\u4eba\u3005<\/a>\u300f<\/td>\nJay Rubin, “Unforgettable People<\/a>” (JSTOR)<\/td>\n<\/tr>\n
\u5cf6\u5d0e\u85e4\u6751<\/a>
\nShimazaki T\u00f4son<\/td>\n		\u300e\u7834\u6212<\/a>\u300f<\/td>\nKenneth Strong, The Broken Commandment<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u7530\u5c71\u82b1\u888b<\/a>
\nTayama Katai<\/td>\n		\u300e\u84b2\u56e3<\/a>\u300f<\/td>\nKenneth G. Henshall, The Quilt<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u6cc9\u93e1\u82b1<\/a>
\nIzumi Ky\u00f4ka<\/td>\n		\u300e\u9ad8\u91ce\u8056<\/a>\u300f<\/td>\nCharles Inouye, “The Holy Man of Mount Koya<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u590f\u76ee\u6f31\u77f3<\/a>
\nNatsume S\u00f4seki<\/td>\n		\u300e\u3053\u3053\u308d<\/a>\u300f<\/td>\nEdwin McClellan, Kokoro<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u6c38\u4e95\u8377\u98a8<\/a>
\nNagai Kaf\u00fb<\/td>\n		\u300e\u58a8\u6771\u7dba\u8b5a<\/a>\u300f<\/td>\nEdward Seidensticker, “A Strange Tale from East of the River<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u7530\u6751\u4fca\u5b50<\/a>
\nTamura Toshiko<\/td>\n		\u300e\u5973\u4f5c\u8005\u300f<\/td>\nYukiko Tanaka, “A Woman Writer<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5fd7\u8cc0\u76f4\u54c9<\/a>
\nShiga Naoya<\/td>\n		\u300e\u548c\u89e3\u300f<\/td>\nTed Goossen, Reconciliation<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u5fd7\u8cc0\u76f4\u54c9<\/a>
\nShiga Naoya<\/td>\n		\u300e\u6697\u591c\u884c\u8def\u300f<\/td>\nEdwin McClellan, A Dark Night’s Passing<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u82a5\u5ddd\u9f8d\u4e4b\u4ecb<\/a>
\nAkutagawa Ry\u00fbnosuke<\/td>\n		\u300e\u85ea\u306e\u4e2d<\/a>\u300f<\/td>\nJay Rubin, “In a Grove<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u8c37\u5d0e\u6f64\u4e00\u90ce<\/a>
\nTanizaki Jun’ichir\u00f4<\/td>\n		\u300e\u6625\u7434\u6284<\/a>\u300f<\/td>\nHoward Hibbett, “A Portrait of Shunkin<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5bae\u6ca2\u8ce2\u6cbb<\/a>
\nMiyazawa Kenji<\/td>\n		\u300e\u6ce8\u6587\u306e\u591a\u3044\u6599\u7406\u5e97<\/a>\u300f<\/td>\nJohn Bester, “The Restaurant of Many Orders<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5ddd\u7aef\u5eb7\u6210<\/a>
\nKawabata Yasunari<\/td>\n		\u300e\u96ea\u56fd\u300f<\/td>\nEdward Seidensticker, Snow Country<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u4e95\u4f0f\u9c52\u4e8c<\/a>
\nIbuse Masuji<\/td>\n		\u300e\u9ed2\u3044\u96e8\u300f<\/td>\nJohn Bester, Black Rain<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u592a\u5bb0\u6cbb<\/a>
\nDazai Osamu<\/td>\n		\u300e\u4eba\u9593\u5931\u683c<\/a>\u300f<\/td>\nDonald Keene, No Longer Human<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u6797\u8299\u7f8e\u5b50<\/a>
\nHayashi Fumiko<\/td>\n		\u300e\u653e\u6d6a\u8a18\u300f<\/td>\nJoan Ericson, “Diary of a Vagabond<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5317\u6761\u6c11\u96c4<\/a>
\nH\u00f4j\u00f4 Tamio<\/td>\n		\u300e\u3044\u306e\u3061\u306e\u521d\u591c<\/a>\u300f<\/td>\nKathryn M. Tanaka, “The First Night of Life<\/a>” (Japan Focus<\/em>)<\/td>\n<\/tr>\n
\u5742\u53e3\u5b89\u543e<\/a>
\nSakaguchi Ango<\/td>\n		\u300e\u767d\u75f4<\/a>\u300f<\/td>\nGeorge Saito, “The Idiot<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5927\u5ca1\u6607\u5e73<\/a>
\n\u00d4oka Sh\u00f4hei<\/td>\n		\u300e\u4fd8\u865c\u8a18\u300f<\/td>\nWayne P. Lammers, Taken Captive: A Japanese POW’s Story<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u4e09\u5cf6\u7531\u7d00\u592b<\/a>
\nMishima Yukio<\/td>\n		\u300e\u91d1\u95a3\u5bfa\u300f<\/td>\nIvan Morris, The Temple of the Golden Pavilion<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u5927\u6c5f\u5065\u4e09\u90ce<\/a>
\n\u00d4e Kenzabur\u00f4<\/td>\n		\u300e\u500b\u4eba\u7684\u306a\u4f53\u9a13\u300f<\/td>\nJohn Nathan, A Personal Matter<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u68b6\u4e95\u57fa\u6b21\u90ce<\/a>
\nKajii Motojir\u00f4<\/td>\n		\u300e\u6ab8\u6aac<\/a>\u300f<\/td>\nRobert Ulmer, “Lemon<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u4e2d\u5cf6\u6566<\/a>
\nNakajima Atsushi<\/td>\n		\u300e\u5c71\u6708\u8a18<\/a>\u300f<\/td>\nIvan Morris, “Tiger-poet<\/a>” (Amazon)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u576a\u5185\u900d\u9065<\/a>
\nTsubouchi Sh\u00f4y\u00f4<\/td>\n		\u300e\u5c0f\u8aac\u795e\u9ac4\u300f<\/td>\nNanette Twine, “The Essence of the Novel<\/a>” (NYU Archive)<\/td>\n<\/tr>\n
\u68ee\u9d0e\u5916<\/a>
\nMori \u00d4gai<\/td>\n		\u300e\u963f\u90e8\u4e00\u65cf<\/a>\u300f<\/td>\nDavid Dilworth, “The Abe Family<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5e78\u7530\u9732\u4f34<\/a>
\nK\u00f4da Rohan<\/td>\n		\u300e\u4e94\u91cd\u5854<\/a>\u300f<\/td>\nChieko Irie Mulhern, “Pagoda<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5fb3\u7530\u79cb\u58f0<\/a>
\nTokuda Sh\u00fbsei<\/td>\n		\u300e\u3042\u3089\u304f\u308c<\/a>\u300f<\/td>\nRichard Torrance, Rough Living<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u590f\u76ee\u6f31\u77f3<\/a>
\nNatsume S\u00f4seki<\/td>\n		\u300e\u305d\u308c\u304b\u3089<\/a>\u300f<\/td>\nNorma Moore Field, And Then<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u6b66\u8005\u5c0f\u8def\u5b9f\u7be4<\/a>
\nMushanok\u00f4ji Saneatsu<\/td>\n		\u300e\u53cb\u60c5\u300f<\/td>\nRyozo Matsumoto, Friendship<\/em><\/a><\/td>\n<\/tr>\n
\u8c37\u5d0e\u6f64\u4e00\u90ce<\/a>
\nTanizaki Jun’ichir\u00f4<\/td>\n		\u300e\u75f4\u4eba\u306e\u611b\u300f<\/td>\nAnthony Chambers, Naomi<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u6709\u5cf6\u6b66\u90ce<\/a>
\nArishima Takeo<\/td>\n		\u300e\u6216\u308b\u5973\u300f\u524d<\/a>\u3001\u5f8c<\/a><\/td>\nKenneth Strong, A Certain Woman<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u4f50\u85e4\u6625\u592b<\/a>
\nSat\u00f4 Haruo<\/td>\n		\u300e\u7f8e\u3057\u304d\u753a\u300f<\/td>\nFrancis B. Tenny, “Beautiful Town<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6a2a\u5149\u5229\u4e00<\/a>
\nYokomitsu Riichi<\/td>\n		\u300e\u6625\u306f\u99ac\u8eca\u306b\u4e57\u3063\u3066<\/a>\u300f<\/td>\nDennis Keene, “Spring Riding in a Carriage<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5ddd\u7aef\u5eb7\u6210<\/a>
\nKawabata Yasunari<\/td>\n		\u300e\u4f0a\u8c46\u306e\u8e0a\u5b50\u300f<\/td>\nEdward Seidensticker, “The Izu Dancer<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u4e2d\u91ce\u91cd\u6cbb<\/a>
\nNakano Shigeharu<\/td>\n		\u300e\u6751\u306e\u5bb6\u300f<\/td>\nBrett de Bary, “The House in the Village<\/a>“<\/td>\n<\/tr>\n
\u5c0f\u6797\u591a\u559c\u4e8c<\/a>
\nKobayashi Takiji<\/td>\n		\u300e\u87f9\u5de5\u8239<\/a>\u300f<\/td>\nZeljko Cipris, “The Cannery\u00a0Ship<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6c5f\u6238\u5ddd\u4e71\u6b69<\/a>
\nEdogawa Ranpo<\/td>\n		\u300e\u4eba\u9593\u6905\u5b50\u300f<\/td>\nJames B. Harris, “The Human Chair<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u4e95\u4f0f\u9c52\u4e8c<\/a>
\nIbuse Masuji<\/td>\n		\u300e\u9065\u62dd\u968a\u9577\u300f<\/td>\nJohn Bester, “Lieutenant Lookeast<\/a>“<\/td>\n<\/tr>\n
\u592a\u5bb0\u6cbb<\/a>
\nDazai Osamu<\/td>\n		\u300e\u5bcc\u5dbd\u767e\u666f<\/a>\u300f<\/td>\nRalph McCarthy, “One Hundred Views of Mount Fuji<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5ca1\u672c\u304b\u306e\u5b50<\/a>
\nOkamoto Kanoko<\/td>\n		\u300e\u9ba8<\/a>\u300f<\/td>\nKazuko Sugisaki, “Sushi<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u77f3\u5ddd\u6df3<\/a>
\nIshikawa Jun<\/td>\n		\u300e\u713c\u8de1\u306e\u30a4\u30a8\u30b9\u300f<\/td>\nWilliam Jefferson Tyler, “The Jesus of the Ruins<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u91ce\u9593\u5b8f<\/a>
\nNoma Hiroshi<\/td>\n		\u300e\u6697\u3044\u7d75\u300f<\/td>\nJames Raeside, “Dark Pictures<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6885\u5d0e\u6625\u751f<\/a>
\nUmezaki Haruo<\/td>\n		\u300e\u685c\u5cf6<\/a>\u300f<\/td>\nD.E. Mills, “Sakurajima<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6b66\u7530\u6cf0\u6df3<\/a>
\nTakeda Taijun<\/td>\n		\u300e\u3072\u304b\u308a\u3054\u3051\u300f<\/td>\nYusaburo Shibuya and Sanford Goldstein, “Luminous Moss<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5b89\u90e8\u516c\u623f<\/a>
\nAbe K\u00f4b\u00f4<\/td>\n		\u300e\u7802\u306e\u5973\u300f<\/td>\nE. Dale Saunders, The Woman in the Dunes<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u5c0f\u5cf6\u4fe1\u592b<\/a>
\nKojima Nobuo<\/td>\n		\u300e\u62b1\u64c1\u5bb6\u65cf\u300f<\/td>\nYukiko Tanaka, Embracing Family<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u4e2d\u4e0a\u5065\u6b21<\/a>
\nNakagami Kenji<\/td>\n		\u300e\u5cac\u300f<\/td>\nEve Zimmerman, “The Cape<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5b87\u91ce\u6d69\u4e8c<\/a>
\nUno K\u00f4ji<\/td>\n		\u300e\u8535\u306e\u4e2d\u300f<\/td>\nElaine Gilbert, “In the Storehouse<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6df1\u6ca2\u4e03\u90ce<\/a>
\nFukazawa Shichir\u00f4<\/td>\n		\u300e\u6962\u5c71\u7bc0\u8003\u300f<\/td>\nDonald Keene, “The Songs of Oak Mountain<\/a>” (Amazon)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u5fb3\u7530\u79cb\u58f0<\/a>
\nTokuda Sh\u00fbsei<\/td>\n		\u300e\u753a\u306e\u8e0a\u308a\u5834\u300f<\/td>\nRichard Torrance, “The Town’s Dance Hall<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u82a5\u5ddd\u9f8d\u4e4b\u4ecb<\/a>
\nAkutagawa Ry\u00fbnosuke<\/td>\n		\u300e\u6216\u308b\u963f\u5446\u306e\u4e00\u751f<\/a>\u300f<\/td>\nJay Rubin, “A Fool’s Life<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u8c37\u5d0e\u6f64\u4e00\u90ce<\/a>
\nTanizaki Jun’ichir\u00f4<\/td>\n		\u300e\u7d30\u96ea\u300f<\/td>\nEdward Seidensticker, The Makioka Sisters<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u845b\u897f\u5584\u8535<\/a>
\nKasai Zenz\u00f4<\/td>\n		\u300e\u5b50\u3092\u3064\u308c\u3066\u300f<\/td>\nMasako Nakagawa, “With the Children in Tow<\/a>” (JSTOR)<\/td>\n<\/tr>\n
\u4f50\u85e4\u6625\u592b<\/a>
\nSat\u00f4 Haruo<\/td>\n		\u300e\u7530\u5712\u306e\u6182\u9b31\u300f<\/td>\nFrancis B. Tenny, “A Pastoral Elegy<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u8449\u5c71\u5609\u6a39<\/a>
\nHayama Yoshiki<\/td>\n		\u300e\u30bb\u30e1\u30f3\u30c8\u6a3d\u306e\u4e2d\u306e\u624b\u7d19<\/a>\u300f<\/td>\nIvan Morris, “Letter Found in a Cement Barrel<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u6a2a\u5149\u5229\u4e00<\/a>
\nYokomitsu Riichi<\/td>\n		\u300e\u6a5f\u68b0<\/a>\u300f<\/td>\nDennis Keene, “The Machine<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5ddd\u7aef\u5eb7\u6210<\/a>
\nKawabata Yasunari<\/td>\n		\u300e\u6d45\u8349\u7d05\u56e3\u300f<\/td>\nAlisa Freedman, The Scarlet Gang of Asakusa<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u5bae\u672c\u767e\u5408\u5b50<\/a>
\nMiyamoto Yuriko<\/td>\n		\u300e\u4f38\u5b50<\/a>\u300f<\/td>\nYukiko Tanaka, ed., “Nobuko (selections)<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5c3e\u5d0e\u4e00\u96c4<\/a>
\nOzaki Kazuo<\/td>\n		\u300e\u866b\u306e\u3044\u308d\u3044\u308d\u300f<\/td>\nChris Brockett, “Entomologica<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u592a\u5bb0\u6cbb<\/a>
\nDazai Osamu<\/td>\n		\u300e\u659c\u967d<\/a>\u300f<\/td>\nDonald Keene, The Setting Sun<\/a><\/em> (Amazon)<\/td>\n<\/tr>\n
\u6797\u8299\u7f8e\u5b50<\/a>
\nHayashi Fumiko<\/td>\n		\u300e\u6d6e\u96f2<\/a>\u300f<\/td>\nLane Dunlop, Floating Clouds<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u53e4\u4e95\u7531\u5409<\/a>
\nFurui Yoshikichi<\/td>\n		\u300e\u6773\u5b50\u300f<\/td>\nDonna George Storey, “Y\u00f4ko<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5e84\u91ce\u6f64\u4e09<\/a>
\nSh\u00f4no Junz\u00f4<\/td>\n		\u300e\u9759\u7269\u300f<\/td>\nWayne Lammers, Still Life<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u5b89\u5ca1\u7ae0\u592a\u90ce<\/a>
\nYasuoka Sh\u00f4tar\u00f4<\/td>\n		\u300e\u6d77\u8fba\u306e\u5149\u666f\u300f<\/td>\nKaren Eigen Lewis, A View by the Sea<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u5b87\u91ce\u5343\u4ee3<\/a>
\nUno Chiyo<\/td>\n		\u300e\u304a\u306f\u3093\u300f<\/td>\nDonald Keene, “Ohan<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5927\u5ead\u307f\u306a\u5b50<\/a>
\n\u00d4ba Minako<\/td>\n		\u300e\u4e09\u5339\u306e\u87f9\u300f<\/td>\nYukiko Tanaka and Elizabeth Hanson, “The Three Crabs<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5409\u884c\u6df3\u4e4b\u4ecb<\/a>
\nYoshiyuki Jun’nosuke<\/td>\n		\u300e\u9a5f\u96e8\u300f<\/td>\nGeoffrey Bownas, “Sudden Shower<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5cf6\u5c3e\u654f\u96c4<\/a>
\nShimao Toshio<\/td>\n		\u300e\u51fa\u767a\u306f\u9042\u306b\u8a2a\u308c\u305a\u300f<\/td>\nFrancis B. Tenny, “The Departure Never Came<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u7e54\u7530\u4f5c\u4e4b\u52a9<\/a>
\nOda Sakunosuke<\/td>\n		\u300e\u592b\u5a66\u5584\u54c9<\/a>\u300f<\/td>\nBurton Watson, “Hurray for Marriage, or Sweet Beans for Two<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u4f0a\u85e4\u5de6\u5343\u592b<\/a>
\nIt\u00f4 Sachio<\/td>\n		\u300e\u91ce\u83ca\u306e\u5893<\/a>\u300f<\/td>\nSaburo Yamamura, “Nogiku no haka<\/a>” (Amazon)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
\u5c3e\u5d0e\u7d05\u8449<\/a>
\nOzaki K\u00f4y\u00f4<\/td>\n		\u300e\u91d1\u8272\u591c\u53c9<\/a>\u300f<\/td>\nA. and M. Lloyd, The Gold Demon<\/em><\/a> (Internet Archive)*<\/td>\n<\/tr>\n
\u5fb3\u5bcc\u8606\u82b1<\/a>
\nTokutomi Roka<\/td>\n		\u300e\u4e0d\u5982\u5e30<\/a>\u300f<\/td>\nSakae Shioya and E.F. Edgett, Nami-ko, a Realistic Novel<\/em><\/a> (Internet Archive)*<\/td>\n<\/tr>\n
\u4e2d\u91cc\u4ecb\u5c71<\/a>
\nNakazato Kaizan<\/td>\n		\u300e\u5927\u83e9\u85a9\u5ce0<\/a>\u300f<\/td>\nC.S. Bavier, Great Bodhisattva Pass<\/a>*<\/em><\/td>\n<\/tr>\n
\u67f3\u7530\u56fd\u7537<\/a>
\nYanagita Kunio<\/td>\n		\u300e\u9060\u91ce\u7269\u8a9e<\/a>\u300f<\/td>\nRonald A. Morse, The Legends of Tono<\/a>\u00a0<\/em>(Amazon)<\/td>\n<\/tr>\n
\u6298\u53e3\u4fe1\u592b<\/a>
\nOrikuchi Shinobu<\/td>\n		\u300e\u6b7b\u8005\u306e\u66f8<\/a>\u300f<\/td>\nThomas Rimer, “Writings from the Dead<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5922\u91ce\u4e45\u4f5c<\/a>
\nYumeno Ky\u00fbsaku<\/td>\n		\u300e\u6050\u308d\u3057\u3044\u6771\u4eac<\/a>\u300f<\/td>\nLawrence Rogers, “Terrifying Tokyo<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u91d1\u53f2\u826f<\/a>
\nKim Sa-ryang<\/td>\n		\u300e\u5149\u306e\u4e2d\u3078<\/a>\u300f<\/td>\nChristopher Scott, “Into the Light<\/a>”\u00a0(Amazon)<\/td>\n<\/tr>\n
\u6cb3\u91ce\u591a\u6075\u5b50<\/a>
\nK\u00f4no Taeko<\/td>\n		\u300e\u5e7c\u5150\u72e9\u308a\u300f<\/td>\nLucy North, “Toddler-hunting<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u677e\u672c\u6e05\u5f35<\/a>
\nMatsumoto Seich\u00f4<\/td>\n		\u300e\u7802\u306e\u5668\u300f<\/td>\nBeth Cary, Inspector Imanishi Investigates<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n
\u5185\u7530\u767e\u9593<\/a>
\nUchida Hyakken<\/td>\n		\u300e\u51a5\u9014\u300f<\/td>\nRachel DiNitto, “Realm of the Dead<\/a>” (Amazon)<\/td>\n<\/tr>\n
\u5409\u5ddd\u82f1\u6cbb<\/a>
\nYoshikawa Eiji<\/td>\n		\u300e\u5bae\u672c\u6b66\u8535\u300f<\/td>\nCharles S. Terry, Miyamoto Musashi<\/em><\/a> (Amazon)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
\n
The above list was compiled in response to requests from my students for a reading list that would expose them to the “canon” of modern Japanese literature. It is divided into four parts, moving from the most central works to a series of important works that have sometimes been excluded from the canon.<\/p>\n

While these works have enjoyed critical acclaim and have had a demonstrable impact on the course of literary production in Japan, they should not be considered fully representative of “modern Japanese literature.” A vast body of literary production remains untranslated. This list is only a start.<\/p>\n

Because the list was meant primarily for native English speaking readers, I have limited the list to works that exist in English translation. Note that this has resulted in a number of important omissions. Also note that the quality of translations varies dramatically. Needless to say, it is always preferable for the works to be read in the original.<\/p>\n

Links to amazon.com are merely for reference and do not result in any economic benefit for the site owner or the University of Washington. They do not constitute a recommendation of amazon.com.<\/p>\n

Files marked (JSTOR) are available to subscribers through Journal Storage<\/a>.<\/p>\n

Recommendations and corrections are welcomed.<\/p>\n

For more information about translations, please use the Japan Foundation’s Japanese Literature in Translation search engine<\/a>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n
\n

Ted Mack<\/b>, Associate\u00a0Professor of Modern Japanese Literature, University of Washington<\/p>\n

Return to Home Page<\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Modern Japanese Literature Reading List The following is the recommended list of basic fictional readings in Japanese literature. Please see the various explanations and caveats below. Author Title Translation \u4e8c\u8449\u4ead\u56db\u8ff7 Futabatei Shimei \u300e\u6d6e\u96f2\u300f Marleigh Grayer Ryan, Ukigumo, Japan’s First Modern Novel (Amazon) \u68ee\u9d0e\u5916 Mori \u00d4gai \u300e\u821e\u59eb\u300f Richard Bowring, “Maihime; the Dancing Girl” (JSTOR) \u6a0b\u53e3\u4e00\u8449 Higuchi […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":114,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-235","page","type-page","status-publish","hentry","post-preview"],"_links":{"self":[{"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=235"}],"version-history":[{"count":15,"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/235\/revisions"}],"predecessor-version":[{"id":254,"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/235\/revisions\/254"}],"up":[{"embeddable":true,"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/114"}],"wp:attachment":[{"href":"https:\/\/faculty.washington.edu\/tmack\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}