Revolutionary Flesh: Nakamoto Takakoâs Early Fiction and the Representation of the Body in Japanese Modernist and Proletarian Literature Brian Bergstrom Introductions: Nakamoto Takako as Modernist Writer, Proletarian Writer, and Woman Writer In March of 1929, Tokyo Asahi Shinbun began serializing a three-part feature by established mainstream literary critic Hirotsu Kazuo under the title âRecent Women Writers.â Hirotsu begins by admitting that he was reluctant to read a recent issue of the relatively new journal Women in the Arts (Nyînin geijutsu), but did so anyway out of a sense of obligation to the editor, Hasegawa Shigure, who was an acquaintance. His reluctance transformed into enthusiasm, however, when he read a story by Nakamoto Takako called âThe Female Bell-Cricket.â1 Impressed by the âstrength,â âtenacity,â and âicy crueltyâ Nakamoto displays in this work, Hirotsu seeks out another of her stories, âTemporary Closure,â and finds it to be similarly ruthless.2 Reading these stories leads him to assert that Nakamoto differs from her positions 14:2 doi 10.1215/10679847-2006-004 Copyright 2006 by Duke University Press positions 14:2 Fall 2006 cruel contemporaries, such as Masamune Hakucho, in that her cruelty does not âproceed from her headâ but rather from her willingness to submerge herself in the
positions asia critique – Duke University Press
Published: Sep 1, 2006
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