A collection of six stories by Japanese women edited and translated by Phyllis Birnbaum, taken from a cross-section of eras. Birnbaum’s selection features Kanai Mieko’s now-classic “Rabbits” a surreal, intensely disturbing tale from 1972. Kanai plays with aspects of Lewis Carroll’s Alice in Wonderland which was enjoying a moment of renewed popularity in Japan at the time. As with other instances of Kanai’s work this revolves around a writer, here dealing with some kind of writer’s block, who encounters a strange, hermit-like girl who’s chosen to live inside a rabbit costume made from their bloody skins. It’s a cruel, visceral and striking examination of trauma, relations between fathers and daughters, greed, sensuality and death.
Equally striking is Kono Taeko’s “Crabs” which won the 1963 Akutagawa Prize. Kono’s frank discussion of resentment and sexual desire in a conventional marriage is centred on a wife recovering from illness in a coastal town, a memorably perverse exploration of power and masculinity which contains echoes that trace back to WW2 and Japanese militarism.
Sono Ayako’s “Fuji” is a conversational, subtle glimpse of issues around class divides, domesticity and gender rules, issues that also surface in Enchi Fumiko’s 1957 “A Bond for Two Lifetimes: Gleanings” a detailed tale of grief, sexual exploitation, and grief surfacing in the interaction between a woman and her former professor.
Poet and Buddhist scholar Okamoto Kanoko’s “A Mother’s Love” dates back to the late 1930s. An evocative story centred on a woman recently returned to Tokyo from Paris, where her son has remained to study art. There are some interesting observations linked to the tension between cultures as well as some fascinating nationalistic undercurrents. But the piece revolves around the woman’s growing obsession with a young man who resembles her lost son, leading to an unusual tangle of the erotic and the maternal that sometimes reminded me of Colette’s work. Fluid but marred by overwrought passages. For me the weakest entry in the collection was Uno Chiyo’s 1970 “Happiness” about an older women looking back at her life, particularly during wartime, and her attempts to order her existence. A curious mix of styles that didn’t work for me.