#ruikō kuroiwa

[dawn-falls]

Do you know what time it is? Time for BSD OCs! This time, I'll be bringing something mentioned on my previous OC post of the Younger Siblinghood: the Shield Society!

The Shield Society is small, but very popular amongst the army, having even aided and been aided by the Hunting Dogs themselves. They take on medium level missions to high level missions, such as Lyubov Dostoievskaya herself. This post will have a different kind of description from the previous one, because I think this is better for me, thank you.

Yukio Mishima: Captain of the Shield Society

Aliases: Kimitake Hiraoka

Age: 17, but pretends he's 42

Ability: Deception of a Mask (Confessions of a Mask)

— Allows him to shape-shift into any other form he wants, being it other people or some small alteration of himself.

— Needs to have seen said form.

— Can copy the voice if heard or imagined it, depending on what form he takes.

— Cannot copy abilities, but can copy physical abilities, like strength and speed.

The young Yukio Mishima has been pretending to be an adult while wearing the military uniform of the Shield Society. He lives a double life, with struggles from both double identities and school. He's not simply pretending to be someone else, he's pretending to be his father, the previous captain of the unit, after he passed away when he was 12. Why? That's a long story to explain another time. The Shield Society knows about his true identity of a kid, but won't say or do anything, they might say that it's to not earn any weird comments or lose their honour, but it's more than that.

He's gay, and is kinda afraid of admitting it, but he has told his unit about it and they're okay with it. One of the members enjoyed that fact a little bit too much. He has been in a relationship with a teenage girl named Sonoko, related to another military unit that went to the same school as his, while being in love with a boy named Omi. Both were killed during his 14s.

He's very insecure of himself, tends to have silent breakdowns when alone and takes to easily admire those strict, tall, good-looking, strong and organised men with powerful physiques or abilities and leadership skills. Some examples of those are Ōchi Fukuchi, Suehiro Tecchō, Yukichi Fukuzawa and his most recent and top of the list, Doppo Kunikida. Changes his personality a lot based on his surroundings, such as the unit, school and with the ADA. Some of his current close friends are Hideaki Sena, Mari Mori, Jun'ichiro Tanizaki, Yasunari Kawabata and Marcel Proust.

• Yukio Mishima is the main core of the SS, which means lots of characters here we're chosen for a certain connection with him.

• Used his real life story to make his character, so for more reference, check his background! Just warning that there will be mentions of suicide by seppuku (beheading), so go with the warning and caution over that.

Hiromi Kawakami: Vice-captain of the Shield Society

Age: 36

Ability: Tread on a Snake (Novel with same name)

— Can turn into a giant snake

— Has fangs due to that

— Her bite will poison the bitten (but at will, no accidents)

— Her skin is very hard, bullets barely tickle

Hiromi Kawakami is considered one of the very few "pioneer Shield soldiers", since she was part of the unit multiple years before Yukio's father's death. Reached the vice-captain position easily and was a little annoyed at the situation of forced promotion that Yukio had to become captain (unwillingly). Tends to be very calm and collected, and some even say she's the mother of the unit.

Has rescued Mari back when she and her brother lost each other, becoming her mentor, as well as Yukio's (since he surely needed advice, he barely had much idea of what to do as the captain). Both quickly rose in power and strategy, and she's proud of them. Of lately, she has grown a small obsession on seeking Mieko Kawakami, the doctor of a small mafia and former singer that she had an acquaintance with, as visible whenever she's allowed to take over for Yukio during his "outside businesses".

• One of the only two that had no relation or connection whatsoever with RL Yukio Mishima.

• Real Life Mieko and Hiromi never met each other that I'm aware, I just wanted to use it because I found it sillily funny that they have the same surname and kanji for said surname. Not that it's impossible, just wanted to mess with it.

Mari Mori was explained on the previous post, but this is just to put depth of her role in the SS. Check the previous OC post to find her ability and more.

Mari Mori is far from a paragon of a soldier in terms of behaviour, but can be a great example of a soldier physique and physical abilities. Her speed is almost unmatchable, and that is with no ability. She's considered to be the best friend of the captain, mostly because she's the second youngest of the unit, losing to the captain himself only, who she's more than happy to share her male-male romance novels with, and confident on doing so, because he won't judge the love, but might judge the storyline written. She doesn't care, honestly, good criticism is accepted.

• Daughter of Ōgai Mori known for her male-male romances, which were read by Yukio Mishima.

Ruikō Kuroiwa: The biggest brain

Age: 26

Ability: Muzan (Novel with same name)

— Allows him to manifest two sides of his brain: Intuition and Logic

— Both look exactly like Kuroiwa, but Intuition is a sorta red vision of him while Logic is blue

— Intuition sometimes acts as reflex and instinct, mostly being listened to in combat rather than in investigation and interrogation, with Logic taking over that aspect. Intuition also helps him figure out things like poison on a cup or a hidden knife, while Logic helps him figure out locations of evidence

— His brain sides can be separated and stay invisible for others, with only Kuroiwa seeing them

— They can go away from Kuroiwa, but if they start going far, he will start to doze off, like sleeping with eyes open. If they're far enough, he might not react to his surroundings

Ruikō Kuroiwa is a young soldier that may not be considered one of the pioneer soldiers of the SS, due to him joining just a few years before the former captain died, but he's a brilliant and loved soldier known for both his great physical abilities and his great intelligence, that may not be close to Ranpo Edogawa or Yukito Ayatsuji (who he met and is having a small problem with), but is still very impressive.

A huge fan, and calls himself the number one, of Ranpo Edogawa. Would love to work alongside him and is not afraid to admit said admiration towards the man. He's considered to be a fanboy in terms of excessiveness, and some even theorise he started working as an investigative soldier because of him. Usually is the one after evidence of others and hidden documents, since his ability can separate and sneak into places and get stuff without being caught or noticed. Considered to be one of the greatest pieces of the unit, even if not the greatest in terms of combat.

He firstly made acquaintance with Natsuko Imamura, and then went ahead and met Yukito Ayatsuji and Mizuki Tsujimura. Later on, he met Ranpo, Poe and Mushitarō, as well as Agatha Christie and Yōko Ogawa, due to some incidents involving a group called the Falkner.

Kōbō Abe: The Arrester

Age: 24

Ability: The Woman in the Dunes (Novel with same name)

— Traps people in a house in the dunes

— Can either trap everyone inside the same room as his or the particular people he touches, depends on his wishes of who to trap

— The longer people stay in the house, the less they want to leave

— Abilities don't work in the house

Kōbō Abe started of as a pupil of Jun Ishikawa back in a private academy for ability users, and soon joined the military unit Shield Society after catching the attention of the previous captain, Azusa Mishima. He tried his best to avoid a life in the battlefield, but thanks to his father and the previous SS captain, it was all in vain.

A man who tends to play with memories of himself and others (good or bad, anything to his advantage), Abe is often in the front line, usually side by side with Mishima or Kuroiwa, whose abilities are not very fit for combat. Can be considered ruthless and cruel, but just to those he views as an opponent and/or threat. Is not afraid of being honest, and that led to a few beefs with other soldiers from other units and some other people. Abe is the person that understands Mishima the most, since both ended up in positions that neither really wanted to be in.

• Has a connection to Yukio Mishima, and even participated of a protest with him, Jun Ishikawa and Yasunari Kawabata.

[ericmorseblog]

For our next profile for Writers in Horror Month 2023 we have Edogawa Ranpo…

Born Tarō Hirai

October 21, 1894

Mie, Empire of Japan

Died July 28, 1965 (aged 70)

Occupation Novelist, literary critic

Language Japanese

Nationality Japanese

Alma mater Waseda University

Genre Mystery, weird fiction, thriller

Tarō Hirai (平井 太郎, Hirai Tarō, October 21, 1894 – July 28, 1965), better known by the pen name Edogawa Ranpo (江戸川 乱歩)[a] was a Japanese author and critic who played a major role in the development of Japanese mystery and thriller fiction. Many of his novels involve the detective hero Kogoro Akechi, who in later books was the leader of a group of boy detectives known as the "Boy Detectives Club" (少年探偵団, Shōnen tantei dan).

Ranpo was an admirer of Western mystery writers, and especially of Edgar Allan Poe. His pen name is a rendering of Poe's name. Other authors who were special influences on him were Sir Arthur Conan Doyle, whom he attempted to translate into Japanese during his days as a student at Waseda University, and the Japanese mystery writer Ruikō Kuroiwa.

Biography

Before World War II

Tarō Hirai was born in Nabari, Mie Prefecture in 1894, where his grandfather had been a samurai in the service of Tsu Domain. His father was a merchant, who had also practiced law. The family moved to what is now Kameyama, Mie, and from there to Nagoya when he was age two. At the age of 17, he studied economics at Waseda University in Tokyo starting in 1912. After graduating in 1916 with a degree in economics, he worked a series of odd jobs, including newspaper editing, drawing cartoons for magazine publications, selling soba noodles as a street vendor, and working in a used bookstore.

In 1923, he made his literary debut by publishing the mystery story "The Two-Sen Copper Coin" (二銭銅貨, Ni-sen dōka) under the pen name "Edogawa Ranpo" (pronounced quickly, this humorous pseudonym sounds much like the name of the American pioneer of detective fiction, Edgar Allan Poe, whom he admired). The story appeared in the magazine Shin Seinen, a popular magazine written largely for an adolescent audience. Shin Seinen had previously published stories by a variety of Western authors including Poe, Arthur Conan Doyle, and G. K. Chesterton, but this was the first time the magazine published a major piece of mystery fiction by a Japanese author. Some, such as James B. Harris (Ranpo's first translator into English), have erroneously called this the first piece of modern mystery fiction by a Japanese writer,[3] but well before Ranpo entered the literary scene in 1923, a number of other modern Japanese authors such as Ruikō Kuroiwa, Kidō Okamoto, Jun'ichirō Tanizaki, Haruo Satō, and Kaita Murayama had incorporated elements of sleuthing, mystery, and crime within stories involving adventure, intrigue, the bizarre, and the grotesque.[4] What struck critics as new about Ranpo's debut story "The Two-Sen Copper Coin" was that it focused on the logical process of ratiocination used to solve a mystery within a story that is closely related to Japanese culture.[5] The story involves an extensive description of an ingenious code based on a Buddhist chant known as the "nenbutsu" as well as Japanese-language Braille.

Over the course of the next several years, Edogawa went on to write a number of other stories that focus on crimes and the processes involved in solving them. Among these stories are a number of stories that are now considered classics of early 20th-century Japanese popular literature: "The Case of the Murder on D. Hill" (D坂の殺人事件, D-zaka no satsujin jiken, January 1925), which is about a woman who is killed in the course of a sadomasochistic extramarital affair, "The Stalker in the Attic" (屋根裏の散歩者, Yane-ura no Sanposha, August 1925), which is about a man who kills a neighbor in a Tokyo boarding house by dropping poison through a hole in the attic floor into his mouth, and "The Human Chair" (人間椅子, Ningen Isu, October 1925), which is about a man who hides himself in a chair to feel the bodies on top of him Mirrors, lenses, and other optical devices appear in many of Edogawa's other early stories, such as "The Hell of Mirrors".

Although many of his first stories were primarily about sleuthing and the processes used in solving seemingly insolvable crimes, during the 1930s, he began to turn increasingly to stories that involved a combination of sensibilities often called "ero guro nansensu", from the three words "eroticism, grotesquerie, and the nonsensical" The presence of these sensibilities helped him sell his stories to the public, which was increasingly eager to read his work. One finds in these stories a frequent tendency to incorporate elements of what the Japanese at that time called "abnormal sexuality" (変態性欲, hentai seiyoku). For instance, a major portion of the plot of the novel The Demon of the Lonely Isle (孤島の鬼, Kotō no oni), serialized from January 1929 to February 1930 in the journal Morning Sun (朝日, Asahi), involves a homosexual doctor and his infatuation for another main character.

By the 1930s, Edogawa was writing regularly for a number of major public journals of popular literature, and he had emerged as the foremost voice of Japanese mystery fiction. The detective hero Kogorō Akechi, who had first appeared in the story "The Case of the Murder on D. Hill" became a regular feature in his stories, a number of which pitted him against a dastardly criminal known as the Fiend with Twenty Faces (怪人二十面相, Kaijin ni-jū mensō), who had an incredible ability to disguise himself and move throughout society. (A number of these novels were subsequently made into films.) The 1930 novel introduced the adolescent Kobayashi Yoshio (小林芳雄) as Kogoro's sidekick, and in the period after World War II, Edogawa wrote a number of novels for young readers that involved Kogoro and Kobayashi as the leaders of a group of young sleuths called the "Boy Detectives Club" (少年探偵団, Shōnen tantei dan). These works were wildly popular and are still read by many young Japanese readers, much like the Hardy Boys or Nancy Drew mysteries are popular mysteries for adolescents in the English-speaking world.

During World War II

In 1939, two years after the Marco Polo Bridge Incident and the outbreak of the Second Sino-Japanese War in 1937, Edogawa was ordered by government censors to drop his story "The Caterpillar" (芋虫, Imo Mushi), which he had published without incident a few years before, from a collection of his short stories that the publisher Shun'yōdō was reprinting. "The Caterpillar" is about a veteran who was turned into a quadriplegic and so disfigured by war that he was little more than a human "caterpillar", unable to talk, move, or live by himself. Censors banned the story, apparently believing that the story would detract from the current war effort. This came as a blow to Ranpo, who relied on royalties from reprints for income. (The short story inspired director Kōji Wakamatsu, who drew from it his movie Caterpillar, which competed for the Golden Bear at the 60th Berlin International Film Festival.)

Over the course of World War II, especially during the full-fledged war between Japan and the US that began in 1941, Edogawa was active in his local neighborhood organization, and he wrote a number of stories about young detectives and sleuths that might be seen as in line with the war effort, but he wrote most of these under different pseudonyms as if to disassociate them with his legacy. In February 1945, his family was evacuated from their home in Ikebukuro, Tokyo to Fukushima in northern Japan. Edogawa remained until June, when he was suffering from malnutrition. Much of Ikebukuro was destroyed in Allied air raids and the subsequent fires that broke out in the city, but the thick, earthen-walled warehouse which he used as his studio was spared, and still stands to this day beside the campus of Rikkyo University.

Postwar

In the postwar period, Edogawa dedicated a great deal of energy to promoting mystery fiction, both in terms of the understanding of its history and encouraging the production of new mystery fiction. In 1946, he put his support behind a new journal called Jewels (宝石, Hōseki) dedicated to mystery fiction, and in 1947, he founded the Detective Author's Club (探偵作家クラブ, Tantei sakka kurabu), which changed its name in 1963 to the Mystery Writers of Japan (日本推理作家協会, Nihon Suiri Sakka Kyōkai). In addition, he wrote a large number of articles about the history of Japanese, European, and American mystery fiction. Many of these essays were published in book form. Other than essays, much of his postwar literary production consisted largely of novels for juvenile readers featuring Kogorō Akechi and the Boy Detectives Club.

In the 1950s, he and a bilingual translator collaborated for five years on a translation of Edogawa's works into English, published as Japanese Tales of Mystery and Imagination by Tuttle. Since the translator could speak but not read Japanese, and Edogawa could read but not write English, the translation was done aurally, with Edogawa reading each sentence aloud, then checking the written English.[3]

Another of his interests, especially during the late 1940s and 1950s, was bringing attention to the work of his dear friend Jun'ichi Iwata (1900–1945), an anthropologist who had spent many years researching the history of homosexuality in Japan. During the 1930s, Edogawa and Iwata had engaged in a light-hearted competition to see who could find the most books about erotic desire between men. Edogawa dedicated himself to finding books published in the West and Iwata dedicated himself to finding books having to do with Japan. Iwata died in 1945, with only part of his work published, so Edogawa worked to have the remaining work on queer historiography published

In the postwar period, a large number of Edogawa's books were made into films. The interest in using Edogawa's literature as a departure point for creating films has continued well after his death. Edogawa, who had a variety of health issues, including atherosclerosis and Parkinson's disease, died from a cerebral hemorrhage at his home in 1965. His grave is at the Tama Cemetery in Fuchu, near Tokyo.

The Edogawa Rampo Prize (江戸川乱歩賞 Edogawa Ranpo Shō?), named after Edogawa Rampo, is a Japanese literary award which has been presented every year by the Mystery Writers of Japan since 1955. The winner is given a prize of ¥10 million with publication rights by Kodansha.

Works in English translation

Books

• Edogawa Rampo (1956), Japanese Tales of Mystery and Imagination, translated by James B. Harris. 14th ed. Rutland, VT: Charles E. Tuttle Company. ISBN 978-0-8048-0319-9.

• Edogawa Ranpo (1988), The Boy Detectives Club, translated by Gavin Frew. Tokyo: Kodansha. ISBN 978-4-0618-6037-7.

• Edogawa Rampo (2006), The Black Lizard and Beast in the Shadows, translated by Ian Hughes. Fukuoka: Kurodahan Press. ISBN 978-4-902075-21-2.

• Edogawa Rampo (2008), The Edogawa Rampo Reader, translated by Seth Jacobowitz. Fukuoka: Kurodahan Press. ISBN 978-4-902075-25-0. Contains many of Rampo's early short stories and essays.

• Edogawa Rampo (2009), Moju: The Blind Beast, translated by Anthony Whyte. Shinbaku Books. ISBN 978-1840683004.

• Edogawa Rampo (2012), The Fiend with Twenty Faces, translated by Dan Luffey. Fukuoka: Kurodahan Press. ISBN 978-4-902075-36-6.

• Edogawa Ranpo (2013), Strange Tale of Panorama Island, translated by Elaine Kazu Gerbert. Honolulu: University of Hawaiʻi Press. ISBN 978-0824837037.

• Edogawa Rampo (2014), The Early Cases of Akechi Kogoro, translated by William Varteresian. Fukuoka: Kurodahan Press. ISBN 978-4-902075-62-5.

• Edogawa Rampo (2019), Gold Mask, translated by William Varteresian. Fukuoka: Kurodahan Press. ISBN 978-4909473066.

Short stories

• Edogawa Ranpo (2008), "The Two-Sen Copper Coin," translated by Jeffrey Angles, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 270–89.

• Edogawa Ranpo (2008), "The Man Traveling with the Brocade Portrait," translated by Michael Tangeman, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 376–393.

• Edogawa Ranpo (2008), "The Caterpillar," translated by Michael Tangeman, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 406–422.

Major works

Private Detective Kogoro Akechi series

Main article: Kogoro Akechi

• Short stories

o "The Case of the Murder on D. Hill" (D坂の殺人事件, D-zaka no satsujin jiken, January 1925)

o "The Psychological Test" (心理試験, Shinri Shiken, February 1925)

o "The Black Hand Gang" (黒手組, Kurote-gumi, March 1925)

o "The Ghost" (幽霊, Yūrei, May 1925)

o "The Stalker in the Attic" (屋根裏の散歩者, Yaneura no Sanposha, August 1925)

o "Who" (何者, Nanimono, November 1929)

o "The Murder Weapon" (兇器, Kyōki, June 1954)

o "Moon and Gloves" (月と手袋, Tsuki to Tebukuro, April 1955)

• Novels

o The Dwarf (一寸法師, Issun-bōshi, 1926)

o The Spider-Man (蜘蛛男, Kumo-Otoko, 1929)

o The Edge of Curiosity-Hunting (猟奇の果, Ryōki no Hate, 1930)

o The Conjurer (魔術師, Majutsu-shi, 1930)

o The Vampire (吸血鬼, Kyūketsuki, 1930) First appearance of Kobayashi

o The Golden Mask (黄金仮面, Ōgon-kamen, 1930)

o The Black Lizard (黒蜥蜴, Kuro-tokage, 1934) Made into a film by Kinji Fukasaku in 1968

o The Human Leopard (人間豹, Ningen-Hyō, 1934)

o The Devil's Crest (悪魔の紋章, Akuma no Monshō, 1937)

o Dark Star (暗黒星, Ankoku-sei, 1939)

o Hell's Clown (地獄の道化師, Jigoku no Dōkeshi, 1939)

o Monster's Trick (化人幻戯, Kenin Gengi, 1954)

o Shadow-Man (影男, Kage-otoko, 1955)

• Juvenile novels

o The Fiend with Twenty Faces (怪人二十面相, Kaijin ni-jū Mensō, 1936)

o The Boy Detectives Club (少年探偵団, Shōnen Tantei-dan, 1937)

Standalone mystery novels and novellas

• Available in English translation

o Strange Tale of Panorama Island (パノラマ島奇談, Panorama-tō Kidan, 1926)

o Beast in the Shadows (陰獣, Injū, 1928)

o The Demon of the Lonely Isle (孤島の鬼, Kotō no Oni, 1929-30)

o Moju: The Blind Beast (盲獣, Mōjū, 1931)

• Novels and novellas which have not been translated into English

o Incident at the Lakeside Inn (湖畔亭事件, Kohan-tei Jiken, 1926)

o Struggle in the Dark (闇に蠢く, Yami ni Ugomeku, 1926-27)

o The White-Haired Demon (白髪鬼, Hakuhatsu-ki, 1931-32)

o A Glimpse Into Hell (地獄風景, Jigoku Fūkei, 1931-32)

o The King of Terror (恐怖王, Kyōfu Ō, 1931-32)

o Phantom Bug (妖虫, Yōchū, 1933-34)[15]

o The Great Dark Room (大暗室, Dai Anshitsu, 1936)

o Ghost Tower (幽霊塔, Yūrei tō, 1936) Based on the adaptation of the Meiji-period adaptation of Alice Muriel Williamson's A Woman in Grey by Ruikō Kuroiwa (黒岩涙香).

o A Dream of Greatness (偉大なる夢, Idainaru Yume, 1943)

o Crossroads (十字路, Jūjiro, 1955)

o Petenshi to Kūki Otoko (ぺてん師と空気男, 1959)

Short stories

• Available in English translation

o "The Two-Sen Copper Coin" (二銭銅貨, Ni-sen Dōka, April 1923)

o "Two Crippled Men" (二癈人, Ni Haijin, June 1924)

o "The Twins" (双生児, Sōseiji, October 1924)

o "The Red Chamber" (赤い部屋, Akai heya, April 1925)

o "The Daydream" (白昼夢, Hakuchūmu, July 1925)

o "Double Role" (一人二役, Hitori Futayaku, September 1925)

o "The Human Chair" (人間椅子, Ningen Isu, October 1925)

o "The Dancing Dwarf" (踊る一寸法師, Odoru Issun-bōshi, January 1926)

o "Poison Weeds" (毒草, Dokusō, January 1926)

o "The Masquerade Ball" (覆面の舞踏者, Fukumen no Butōsha, January–February 1926)

o "The Martian Canals" (火星の運河, Kasei no Unga, April 1926)

o "The Appearance of Osei" (お勢登場, Osei Tōjō, July 1926)

o "The Hell of Mirrors" (鏡地獄, Kagami-jigoku, October 1926)

o "The Caterpillar" (芋虫, Imomushi, January 1929)

o "The Traveler with the Pasted Rag Picture" aka "The Man Traveling with the Brocade Portrait" (押絵と旅する男, Oshie to Tabi-suru Otoko, August 1929)

o "Doctor Mera's Mysterious Crimes" (目羅博士の不思議な犯罪, Mera Hakase no Fushigi na Hanzai, April 1931)

o "The Cliff" (断崖, Dangai, March 1950)

o "The Air Raid Shelter" (防空壕, Bōkūgō, July 1955)

• Short stories which have not been translated into English

o "One Ticket" (一枚の切符, Ichi-mai no Kippu, July 1923)

o "A Frightful Mistake" (恐ろしき錯誤, Osoroshiki Sakugo, November 1923)

o "The Diary" (日記帳, Nikkichō, March 1925)

o "The Abacus Tells a Story of Love" (算盤が恋を語る話, Soroban ga Koi o Kataru Hanashi, March 1925)

o "The Robbery" (盗難, Tōnan, May 1925)

o "The Ring" (指環, Yubiwa, July 1925)

o "The Sleepwalker's Death" (夢遊病者の死, Muyūbyōsha no Shi, July 1925)

o "The Actor of a Hundred Faces" (百面相役者, Hyaku-mensō Yakusha, July 1925)

o "Doubts" (疑惑, Giwaku, September–October 1925)

o "Kiss" (接吻, Seppun, December 1925)

o "Scattering Ashes" (灰神楽, Haikagura, March 1926)

o "Monogram" (モノグラム, Monoguramu, July 1926)

o "A Brute's Love" (人でなしの恋, Hitodenashi no Koi, October 1926)

o "The Rocking-Horse's Canter" (木馬は廻る, Mokuba wa Mawaru, October 1926)

o "Insect" (虫, Mushi, Jun-July 1929)

o "Demon" (鬼, Oni, November 1931-February 1932)

o "Matchlock" (火縄銃, Hinawajū, April 1932)

o "Pomegranate" (石榴, Zakuro, September 1934)

o Horikoshi Sōsa Ikkachō-dono (堀越捜査一課長殿, April 1956)

o "The Wife-Broken Man" (妻に失恋した男, Tsuma ni Shitsuren-shita Otoko, October–November 1957)

o "Finger" (指, Yubi) January 1960

Adaptations of Western mystery novels

• The Demon in Green (緑衣の鬼, Ryokui no Oni, 1936) Adaptation of The Red Redmaynes by Eden Phillpotts

• The Phantom's Tower (幽鬼の塔, Yūki no Tō, 1936) Adaptation of The Hanged Man of Saint-Pholien by Georges Simenon

• Terror in the Triangle-Hall (三角館の恐怖, Sankaku-kan no kyōfu, 1951) Adaptation of Murder among the Angells by Roger Scarlett

Essays

• "The Horrors of Film" (1925)

• "Spectral Voices" (1926)

• "Confessions of Rampo" (1926)

• "The Phantom Lord" (1935)

• "A Fascination with Lenses" (1936)

• "My Love for the Printed Word" (1936)

• "Fingerprint Novels of the Meiji Era" (1950)

• "Dickens vs. Poe" (1951)

• "A Desire for Transformation" (1953)

• "An Eccentric Idea" (1954)

These ten essays are included in The Edogawa Rampo Reader.

[jpf-sydney]

Purloined letters

New item:

Shelf: 910.26 SIL Purloined letters : cultural borrowing and Japanese crime literature, 1868-1937. by Mark Silver. Honolulu University of Hawaiʾi Press 2008. xiii, 217 p. ; 24 cm. Includes bibliographical references (p. 201-207) and index. Text in English. ISBN: 978-0-8248-3188-2 "Japanese fiction - Western influences

Table of contents:

Cultural borrowing and Japanese crime literature.

Affirmations of authority : premodern and early Meiji crime literature.

Borrowing the detective novel : Kuroiwa Ruikō and the uses of translation.

Arresting change: Okamoto Kidō's stories of nostalgic remembrance.

Anxieties of influenc : Edogawa Ranpo's horrifying hybrids

Coda : cultural borrowing reconsidered.