According to Meredith Mckinney in the Kyoto Journal article, who contributed to the translation of The Pillow Book from Japanese into EnglishThe Pillow Book is a special case, and it is a genre-bending miscellany of short, largely unrelated pieces. Three types of classification were proposed by Kikan Ikeda. It is composed primarily in Japanese hiragana, which is a syllabary that is actually derived from Chinese characters, and generally many of her short stories were written in a witty literary style.
Sunday, awake with this headache. I pull apart the evening with a fork. White clot behind the eyes. Someone once told me, before and after is just another false binary.
The warmed-over bones of January. I had no passport. Beneath the stove, two mice made a paradise out of a button of peanut butter. Suffering operates by its own logic. Its gropings and reversals. Ample, in ways that are exquisite. And how it leaves—not unlike how it arrives, without clear notice.
The stench making me look hard at everything. Summer mornings before the heat has moved in. Joy has been buried in me overnight, but builds in the early hours. The babbling streets of Causeway Bay, out of which the sharp taste of the city emerges. Nothing can stay dry here.
The dark cherries of eyes come and go, as they please. Let there be no more braiding of words. I want a spare mouth.
My father taught me wherever you are, always be looking for a way out: Sharp enough to slice a hole for you to slip through. The stale odor of plush seats and sun-warmed cola. I grow adept at tunneling inward, a habit I have yet to let go of. I am protective of what eyes cannot pry open.
The infinite places within language to hide. A Zen priest once told me that without snagging on a storyline, the body can only take loss for ninety seconds.
The physical body has its limits, is what I heard. The imagination can break through them. Cotton thinning out into thread. Ice water from the spigot. The sacred and profane share a border.
In the desert, small droppings of unknown origin. Even when I was young, I loved peering at faces in films. The pleasure of watching and of not being watched.Who was the author of The Pillow Book?
3. In the Edo period, Zuihitsu found mainstream appeal through which group? 4. Which group began customarily writing in this style in this time period? 5. Matsudaira Sadanobu, a Japanese daimyo of the Edo period, wrote what kind of text about his life as a daimyo? The Columbia Anthology of Japanese Essays: Zuihitsu from the Tenth to the Twenty-First Century Paperback – October 21, by Steven Carter (Editor)4/5(1).
Zuihitsu: the literary genre in which the text can drift like a cloud and parts in prose, whose function is to absorb the sentimentalism in a way that verse cannot. Reading or writing zuihitsu is Tagged: Japanese art, japanese literature, Kimiko Hahn, literary genres, literature, The Pillow Book Sei Shonagon, Zuihitsu.
RELATED POSTS. Japanese zuihitsu (essays) offer a treasure trove of information and insights rarely found in any other genre of Japanese writing. Especially during their golden age, the Edo period (–), zuihitsu treated a great variety of subjects.
In the pages of a typical zuihitsu the reader encountered facts and opinions on everything from martial arts to music, . The best writing for popular journalism is some of the best writing in journalism, and is hard to do. It is readily understandable, instantly readable and, if it is done well, makes you want to.
Jenny Xie Jenny Xie is the author of Nowhere to Arrive, recipient of the Drinking Gourd Chapbook Prize, and her poems have appeared in the American Poetry Review, the New Republic, Poetry, Tin House, and r-bridal.com lives in New York and teaches at New York University.