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1 I Rina Kikuchi / autumn / No.393
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19 1 4 Hasegawa Shigure and Women s Arts, ): What were women fighting for? The impact of confessional writings: Ikuta Hanayo s Sankaku kankei no ittan yori (Fragments of ménage à trois) Japan Foundation Tokiko Kiyota Carol Hayes autumn / No.393
20 Ikuta Hanayo and Women s Arts: First Person Confessional Narrative and its Literary Challenges Rina Kikuchi This paper discusses the impact and significance of the first person confessional narrative in the literary genre called kanso (confessional remarks), which was a popular literary device by women pioneer writers of Japan in the 1920s and 30s. My focus is on Ikuta Hanayo ( ) and one of her kanso, Fragments of ménage à trois ( Sankaku kankei no ittan yori ), which was initially published in the newly founded women s literary journal for women by women, Women s Arts (Nyojin Geijutsu) in 1928 as a piece of kanso writings, and was then published as a piece of fiction in her collection in Hanayo wrote many kanso writings with feministic insights, but Fragments of ménage à trois is especially crucial because it suggests a possibility of kanso, which is thought to be a non-fiction piece of work, to be paradoxically read as a piece of fiction. It demonstrated that personal remarks of a woman s own (rater miserable) experience in her suppressed life could be a literary theme. The paper first discusses the social and literary backgrounds of Hanayo s kanso writings published prior to Fragments of ménage à trois and analyses the self-image of Hanayo illustrated in these non-fiction writing s. Secondly, it analyses the literary devices, which Hanayo uses in Fragments of ménage à trois to be read as a piece of creative writings. In conclusion, the paper suggests the importance of reassessing these largely forgotten pioneer women s writings even if their literary attempts are not always successful, because their literary challenges, as a result, apparently encouraged more women writings to be followed and to be more successful in the generations to come. Ikuta Hanayo and Women s Arts Rina Kikuchi 037
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