Kevin Niehaus

Scholarship on letters in modern Japanese literature typically describes their discursive transformation from objects of practical import to texts of literary significance in the late Meiji 30s and 40s, a transformation contemporaneous to and engendered by the sudden explosion of interest in autobiographical literary texts. Such an approach, however, unintentionally denigrates the complexity of late-Meiji era fiction’s negotiation with the epistolary discourse that flourished in this era. Seeking a broader engagement with this hitherto underexamined discourse, I take Tayama Katai’s (1872–1930) famous I-novel, The Quilt (1907), as a test case, arguing that the letters embedded there engage with the contemporary conversation on letters on four levels: content, linguistic style, subjectivity, and hermeneutics. I argue that, far from reaffirming the overlap between letters and literature, Katai’s text evinces a consistently oppositional stance toward contemporary epistolary dogma, problematizing, interrogating, and subverting it at every turn. I conclude by proposing that this defiant stance toward typical conceptualizations of the letter is common to other I-novels of the period, suggesting that the I-novel was only born through a conspicuous disavowal of the letter form.