Search results for ""Author J. Keith Vincent""

Until the late nineteenth century, Japan could boast of an elaborate cultural tradition surrounding the love and desire that men felt for other men. By the first years of the twentieth century, however, as heterosexuality became associated with an enlightened modernity, love between men was increasingly branded as “feudal” or immature. The resulting rupture in what has been called the “male homosocial continuum” constitutes one of the most significant markers of Japan’s entrance into modernity. And yet, just as early Japanese modernity often seemed haunted by remnants of the premodern past, the nation’s newly heteronormative culture was unable and perhaps unwilling to expunge completely the recent memory of a male homosocial past now read as perverse.Two-Timing Modernity integrates queer, feminist, and narratological approaches to show how key works by Japanese male authors—Mori Ōgai, Natsume Sōseki, Hamao Shirō, and Mishima Yukio—encompassed both a straight future and a queer past by employing new narrative techniques to stage tensions between two forms of temporality: the forward-looking time of modernization and normative development, and the “perverse” time of nostalgia, recursion, and repetition.

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One morning, Takahashi, a writer who has just stayed up all night working, is interrupted by a phone call from his old friend Sonomura: barely able to contain his excitement, Sonomura claims that he has cracked a secret cryptographic code based on Edgar Allan Poe’s The Gold-Bug and now knows exactly when and where a murder will take place—and they must hurry if they want to witness the murder, because it’s later that very night! Sonomura has a history of lunacy and playing the amateur detective, so Takahashi is of course reluctant to believe him. Nevertheless, they stake out the secret location, and through tiny peepholes in the knotted wood, become voyeurs at the scene of a shocking crime… Atmospheric, erotic, and tense, Devils in Daylight is an early work by the master storyteller who “created a lifelong series of ingenious variations on a dominant theme: the power of love to energize and destroy” (Chicago Tribune).

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From Cutie Honey and Sailor Moon to Nausicaä of the Valley of the Wind, the worlds of Japanese anime and manga teem with prepubescent girls toting deadly weapons. Sometimes overtly sexual, always intensely cute, the beautiful fighting girl has been both hailed as a feminist icon and condemned as a symptom of the objectification of young women in Japanese society. In Beautiful Fighting Girl, Saito Tamaki offers a far more sophisticated and convincing interpretation of this alluring and capable figure. For Saito, the beautiful fighting girl is a complex sexual fantasy that paradoxically lends reality to the fictional spaces she inhabits. As an object of desire for male otaku (obsessive fans of anime and manga), she saturates these worlds with meaning even as her fictional status demands her ceaseless proliferation and reproduction. Rejecting simplistic moralizing, Saito understands the otaku’s ability to eroticize and even fall in love with the beautiful fighting girl not as a sign of immaturity or maladaptation but as a result of a heightened sensitivity to the multiple layers of mediation and fictional context that constitute life in our hypermediated world—a logical outcome of the media they consume. Featuring extensive interviews with Japanese and American otaku, a comprehensive genealogy of the beautiful fighting girl, and an analysis of the American outsider artist Henry Darger, whose baroque imagination Saito sees as an important antecedent of otaku culture, Beautiful Fighting Girl was hugely influential when first published in Japan, and it remains a key text in the study of manga, anime, and otaku culture. Now available in English for the first time, this book will spark new debates about the role played by desire in the production and consumption of popular culture.

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