stream narratives about Tokyo have been challenged by various Japanese authors rather than a representative sample of post-1980s discourse on the city. In Chapter 1, Jeffrey Angles focuses on contemporary feminist poet Itō Hiromi and her portrayal of Sugamo and its ‘Thorn-Pulling Jizō’ as an unchanging space of nostalgia, solace and healing, where Tokyoites can turn to in times of trouble. Kristina Iwata-Weickgenannt in Chapter 2, on the other hand, takes us on a zigzag walking tour of the whole city and its margins through her chosen texts, Fujita Yoshinaga’s Tenten andMiki Satoshi’sAdrift in Tokyo, revealing the numerous layers of small, individual memories that make up this enormous city. BothMark Pendleton (Chapter 3) and Bruce Suttmeier (Chapter 5) explore the reclaimed island of Yumenoshima, albeit in very different ways. In Pendleton’s analysis, Hino Keizō’s Yumenoshima represents the nation’s cycle of renewal (grass growing ‘on earth made from garbage’ (Sano 1985, 138)) and ruin, caused by capitalist and expansionist greed, while Suttmeier explores Okuda Hideo’s counterfactual representation of the area as a scenic refuge in an otherwise extremely historically precise narrative. In Chapter 4, Evelyn Schulz gives an overview of ‘Tokyo spatial (auto)biographies’, which refer to ‘works that are based on a close linkage between transformations that have taken place within Tokyo urban space and a writer’s memories about her or his life there’ (69). In Chapter 6, Barbara E. Thornbury explores old downtown sites including Kishibojin, Jinbōchō, Kōenji and Asakusa as matriarchal lieux de mémoire, while Angela Yiu also focuses on a feminine perspective on the city in Chapter 7, through Nakajima Kyōko’s 2003 rewriting of Tayama Katai’s Futon. Yiu explores how Nakajima’s female gaze challenges both the concept of yamanote, or ‘uptown’, Tokyo (by revealing shitamachi-like pockets within it) and the shitamachi, which is much more multicultural in her novel than it is commonly perceived. And lastly, Chapter 8, by Eve Zimmerman, traces various Tokyo locales in Tsushima Yūko’s works, and how Tsushima’s representations of these challenge ‘narratives of national progress’. Some general themes emerge from the book, which could be explored further in future studies: Tokyo as a space consisting of numerous physical and metaphorical layers, in the sense of buildings as well as memory; Tokyo as a site of national-identity construction; the constant tension between the old and the new (which could make for an interesting comparative study with other cities); female authors using the city as a way to challenge Japanese patriarchy; and how fictional depictions of Tokyo often deviate from the physical realities of the city. Whether one is working on one of these topics or not, the book is a must-read for researchers looking to study this fascinating city.

中文翻译：

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辩论东亚和平：它是什么。它是如何产生的。它会持续吗？

关于东京的流叙事受到了多位日本作家的挑战，而不是 1980 年代后关于这座城市的话语的代表性样本。在第 1 章中，杰弗里·安格尔斯关注当代女权主义诗人伊藤博美，以及她对巢鸭及其“拔刺地藏”的描绘，这是一个不变的怀旧、慰藉和治愈空间，东京人在遇到困难时可以求助于这里。另一方面，Kristina Iwata-Weickgenannt 在第 2 章中，通过她选择的文本，藤田吉永的 Tenten 和 Miki Satoshi 的东京漂流，带我们进行了整个城市及其边缘的曲折徒步旅行，揭示了许多小的、个人的构成这座巨大城市的记忆。Mark Pendleton（第 3 章）和 Bruce Suttmeier（第 5 章）都以截然不同的方式探索了被开垦的梦之岛。在 Pendleton 的分析中，Hino Keizō 的 Yumenoshima 代表了国家的更新循环（草在地球上由垃圾生长（Sano 1985, 138））和毁灭，由资本主义和扩张主义的贪婪造成，而 Suttmeier 探索奥田秀夫对该地区的反事实表述作为一个风景如画的避难所，在其他极其精确的历史叙述中。在第 4 章中，伊夫林舒尔茨概述了“东京空间（自）传”，它指的是“基于东京城市空间内发生的变化与作家对她或他的生活的记忆之间的密切联系的作品那里'（69）。在第 6 章中，Barbara E. Thornbury 探索了旧市区遗址，包括 Kishibojin、Jinbōchō、Kōenji 和 Asakusa 作为母系家族的回忆录，而安吉拉·姚也在第 7 章中通过中岛恭子 2003 年对田山片泰的蒲团的改写，关注城市的女性视角。耀探索了中岛的女性凝视如何挑战东京的山手或“住宅区”（通过揭示其内部类似下町的口袋）和下町的概念，后者在她的小说中比通常认为的更具多元文化。最后，伊芙·齐默尔曼 (Eve Zimmerman) 撰写的第 8 章追溯了对马优子作品中的各种东京地区，以及对马对这些地方的表现如何挑战“国家进步的叙事”。书中出现了一些普遍的主题，可以在未来的研究中进一步探索：东京是一个由众多物理和隐喻层组成的空间，在建筑和记忆的意义上；东京作为国家认同建设的场所；新旧之间的持续紧张（这可以与其他城市进行有趣的比较研究）；女性作家利用这座城市挑战日本的父权制；以及对东京的虚构描绘如何经常偏离城市的物理现实。无论人们是否正在研究这些主题之一，对于希望研究这座迷人城市的研究人员来说，这本书都是必读的。