signers of the prints, a trend noticeable in recent literature on ukiyoe as well. The publisher has generously included copious illustrations of the specifi c works referred to by the various writers, making it generally unnecessary to fl ip back and forth among the sections of the book to check visual details. The closing history also touches on the diffi culties of printmakers during the war years, here interpreted broadly as lasting from 1931 through 1945, and the occupation and postwar period to 1960, a somewhat arbitrary ending date. The catalogue, taking up fully two-thirds of the volume, illustrates and describes each of the 277 works in the exhibition grouped by the 56 artists who created them. The presentation is generally chronological, but the ordering of the artists in the catalogue is a bit opaque, making it somewhat diffi cult to locate a specifi c printmaker without reference to the index. Brief biographies of the artists accompany the illustrations of their prints, and archival photographs of most of the printmakers are included as well. The selection of artists is, as noted, relatively comprehensive (with the exception of Saitō) and extends to comparatively minor fi gures, one woman (the sōsaku hanga printmaker Hasegawa Tatsuko [b. 1901]) and one non-Japanese artist (Felix Capelari [1884–1950], who worked briefl y with the shin hanga publisher Watanabe Shōzaburō around 1915). Overall, Waves of Renewal is an excellent resource, combining the best aspects of scholarly monograph and exhibition catalogue. The hardback format and large scale of the volume make it slightly expensive, and while the beautifully modern design is attractive, the small font makes it a bit diffi cult to read. There are a few failures in copy editing, with occasional words left out after edits and other infelicitous constructions. However, the back matter, including a good index, lists of artists with dates and print numbers, and thumbnail biographies of the contributors, provides a strong fi nish for this excellent volume.

中文翻译：

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东京选集：日本现代都市文学，1850-1920 年版。作者：Sumie Jones 和 Charles Shirō Inouye

版画的签名者，最近有关浮世绘的文献中也有明显的趋势。出版商慷慨地收录了不同作者提到的特定作品的大量插图，因此通常无需在本书的各个部分之间来回翻阅以检查视觉细节。收尾历史还涉及到战争年代版画家的困难，这里广义地解释为从 1931 年到 1945 年，以及占领和战后时期到 1960 年，一个有点随意的结束日期。该目录占据了整卷的三分之二，对展览中的 277 件作品进行了说明和描述，由 56 位创作它们的艺术家分组。介绍一般是按时间顺序排列的，但目录中艺术家的排序有点不透明，这使得在不参考索引的情况下很难找到特定的版画家。艺术家的简要传记附有他们的版画插图，大多数版画制作者的档案照片也包括在内。如前所述，艺术家的选择相对全面（除斋藤外）并扩展到相对较小的人物，一位女性（sōsaku hanga 版画家 Hasegawa Tatsuko [b. 1901]）和一位非日本艺术家（Felix Capelari [1884-1950]，他在 1915 年左右与 shin hanga 出版商渡边翔三郎短暂合作）。总的来说，Waves of Renewal 是一个极好的资源，结合了学术专着和展览目录的最佳方面。精装版和大体积使它略贵，而精美的现代设计很有吸引力，小字体使它有点难以阅读。文案编辑有一些失败，编辑后偶尔会遗漏一些词和其他不恰当的结构。然而，背后的材料，包括一个很好的索引、艺术家名单、日期和印刷编号，以及贡献者的缩略图，为这本优秀的卷提供了一个强有力的完成。