Names in this site follow the Japanese custom of family name first.

February 28, 2016

Five Best Books on the Japanese Cuisine

My rating: 5 of 5 stars

Shizuo Tsuji (1933-93) was the founder of the Tsuji Culinary Institute in Osaka, today still Japan's most prestigious institution for training professional chefs, so you can be certain that this "Renaissance man of Japanese and world gastronomy" knows what he is talking about! Although "Japanese Cooking, A Simple Art" is a cookbook containing recipes, it is also much more. The author first discusses the essence of Japanese cooking, with its emphasis on simplicity, seasonal freshness and beauty of presentation; next he introduces ingredients and utensils; and after that follow 20 chapters presenting all the basic Japanese food techniques, such as making basic stock (dashi), making soups, slicing and serving sashimi, grilling, simmering, deep-frying, steaming, one-pot cooking, making pickles, sushi, noodles, etc. This is followed by a second part containing 130 carefully selected recipes, which together with the 90 recipes already contained in the first part, help you to build up a repertory ranging from the basic everyday "soup and three dishes" formula to preparing gala dinners. This book is truly the Bible of Japanese Cuisine!

Washoku


A Dictionary of Japanese Food: Ingredients & CultureA Dictionary of Japanese Food: Ingredients & Culture by Richard Hosking
My rating: 5 of 5 stars

Not so much a dictionary as an encyclopedia, as Japanese food terms are not only defined in English, but also copiously annotated and explained, making this book a good overall introduction to the Japanese cuisine. That quality is enhanced by the 17 appendices which focus on important elements of Japanese cuisine, from explanations how sake is made, or miso, to articles on umami and sushi.


World Food JapanWorld Food Japan by John Frederick Ashburne
My rating: 5 of 5 stars

Excellent, concise introduction to Japanese food and drink, from ingredients to types of restaurants, and from regional dishes to seasonal foods. Foodies should carry this with them to Japan, together with Hosking's Dictionary of Japanese Food (Tsuji's book is a bot too heavy, but be sure to read it before leaving your home).


Modern Japanese Cuisine: Food, Power and National IdentityModern Japanese Cuisine: Food, Power and National Identity by Katarzyna J. Cwiertka
My rating: 5 of 5 stars

With "Modern Japanese Cuisine: Food, Power and National Identity" Katarzyna J. Cwiertka has written one the best books about Japanese food culture I know. It is much more than the title says: this essay is not only about modern cuisine, that is to say how the Japanese came to eat meat and other outlandish dishes, but much more importantly, it reveals how Japanese food as such was defined. Like many other “typically Japanese” cultural experiences, washoku, the “traditional” Japanese cuisine was only devised in the late 19th - 20th century, after Japan opened its gates to the world.
Take rice, which is still considered as an almost sacred, Ur-Japanese basic food: in pre-modern times rice was only eaten by a few percent of the population, the upper classes, the rest – including those who cultivated it – could not afford it. Farmers paid their taxes in rice and only in very good years could they eat some of it, mixed with other grains and vegetables – and that was not the present-day white rice.
Read my complete review on my blog Japan Navigator.


Tsukiji: The Fish Market at the Center of the WorldTsukiji: The Fish Market at the Center of the World by Theodore C. Bestor
My rating: 5 of 5 stars

Absorbing ethnographic study of Tsukiji in Tokyo, the world's largest seafood market. A jewel of a book that explains the complex social institutions behind Tsukiji's hundreds of morning auctions. Bester portrays Tsukiji's rich internal culture, its central place in Japanese cuisine and the mercantile traditions that have shaped it since the 17th c. Bester shows how the fish market is a combination of (free) marketplace and binding customs that inhibit total competition (much like Japan's economy at large). In this way, Bester in fact provides a powerful analysis of the everyday workings of Japanese culture. "Tsukiji, the Fish Market at the Center of the World" is an academic book, but with a twist, for in an appendix the author provides a tourist guide to Tsukiji as well.
You have perhaps heard that the fish market will move to a new location in November this year, but don't worry, it will remain "Tsukiji."

When you are interested in Japanese food and drink, please also see my blog Japanese Food and Sake Dictionary. 
View all my reviews at Goodreads

February 25, 2016

Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion (Book review)

Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient ReligionShinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion by Joseph Cali
My rating: 5 of 5 stars

An excellent guide to the most interesting Shinto shrines in Japan, with a very complete introduction about Shinto, Shinto architecture, etc. Shinto shrines so far have played second fiddle to Buddhist temples, so this guide is very welcome. Although there are usually no statues or gardens, and you can't enter the buildings, Shinto shrines can give visitors a feeling of great purity with their gracious architecture and the beautiful natural locations in which they are often situated.


View all my reviews

February 24, 2016

Hyakunin Isshu (One Hundred Poets, One Poem Each), Poem 9 (Ono no Komachi)

Hyakunin Isshu, Poem 9

hana no iro wa
utsurinikeri na
itazura ni
waga mi yo ni furu
nagame seshi ma ni

花の色は
うつりにけりな
いたづらに
わが身世にふる
ながめせしまに

As the color of the cherry blossoms
has lost its luster
in vain
so I have passed through the world
gazing at the falling rains.

Ono no Komachi (ca. 850)

Zuishinin, Kyoto
[Zuishinin, Kyoto, a temple associated with Ono no Komachi]

Sadness about the decay of human life, symbolized by the fading of the color of the cherry blossoms.

"The color of the cherry blossoms has faded to no purpose, while the long rains of spring were falling. My beauty has also faded, while I was lost in idle thoughts." 

This is a complex poem, rich in puns, all the more so as Ono no Komachi was a symbol for feminine beauty. Of course the cherry blossoms in the first two lines are to be interpreted as symbols for Komachi's decline - her beauty is fading like the color of the blossoms. Moreover, the cherry blossoms - which anyway only bloom a short time before falling off - have faded before their time due to the long rains; in the same way, the beauty of the poetess has faded before reaching fullness. That is why her life has been in vain...

The adverb "in vain" (itazura ni) in the third line modifies both what goes before it as what follows after it. So the blossoms (and her beauty) have faded in vain, and her life has also been in vain. "Furu" in line 4 and "nagame" in line 5 are both pivot words (kakekotoba). "Nagame" means both "long rains" (naga-ame) and "to gaze pensively;" "furu" means "to fall" (of rain) and "to pass time" (or even "to grow old"). 

Zuishinin, Kyoto
[Inscription of the present poem in Zuishinin, Kyoto]

Ono no Komachi (fl. mid 9th c., dates perhaps 825-900) was ranked among the "Six Poetic Geniuses" by Ki no Tsurayuki, the compiler of the Kokinshu. Komachi was probably born in the northern provinces in the first decades of the 9th c. About a hundred poems have been transmitted under her name in various collections, of these only about 20 (those included in the Kokinshu and Gosenshu) can be considered as genuine. Nearly all her poems are about passionate, but unhappy love and the infidelity of men. They are verbally complex and contain difficult to translate puns. Ono no Komachi's life has become the stuff of legends, whereby it is rather convenient that practically nothing is known about her. She is considered to have been very beautiful in her youth, but also haughty and cruel towards her lovers - for that last attitude she was "punished" with an unhappy old age. 

[Ono no Komachi as an old woman]

Most notable among the legends about her cruel treatment of her lovers is the one about Captain Fukakusa, a high-ranking courtier. Komachi promised that if he visited her continuously for a hundred nights, she would become his lover. He visited her every night, regardless of the weather, but died (of exhaustion, or the cold?) on the ninety-ninth night... Another type of legend tells how, as punishment for her mistreatment of her lovers, when her beauty had faded, she was forced to wander around in rags, looking so wretched that all mocked her. There is even a legend about her death: how her skull was left in the fields, the wind blowing through the eye sockets with an eerie sound... (I taste some male revenge in these stories). In the 14th and 15th centuries, the Ono no Komachi of legend became the subject of five Noh plays and even Mishima Yukio continued the tradition by writing a play about her. The present poem fits nicely into that tradition of legends and may in fact have formed the basis of it.

As the pictures show, the Zuishinin temple in Kyoto's Yamashina ward, propagates its association with Ono no Komachi (she presumably found a refuge here later in life; others say it is supposedly the place where Captain Fukakusa visited her), but there is no historical proof for that - just as, for example, the association of Murasaki Shikibu, the author of the Genji Monogatari, with Otsu's Ishiyamadera is spurious.  (Another Kyoto temple associated with Ono no Komachi is Onodera (Fudarakuji) near Ichihara Station on the Kurama line of the Keifuku Dentetsu).

[Same poem in Kokinshu 113]
References: Pictures of the Heart, The Hyakunin Isshu in Word and Image by Joshua S. Mostow (University of Hawai'i Press, 1996); Traditional Japanese Poetry, An Anthology, by Steven D. Carter (Stanford University Press, 1991); Hyakunin Isshu by Inoue Muneo, etc. (Shinchosha, 1990); Genshoku Hyakunin Isshu by Suzuki Hideo, etc. (Buneido, 1997); Ogura Hyakunin Isshu at Japanese Text Initiative (University of Virginia Library Etext Center); Hyakunin Isshu wo aruku by Shimaoka Shin (Kofusha Shuppan); Basho's Haiku (2 vols) by Toshiharu Oseko (Maruzen, 1990); The Ise Stories by Joshua S. Mostow and Royall Tyler (University of Hawai'i Press, 2010); Kokin Wakashu, The First Imperial Anthology of Japanese Poetry by Helen Craig McCullough (Staford University Press, 1985); Kokinshu, A Collection of Poems Ancient and Modern by Laurel Rasplica Rodd and Mary Catherine Henkenius (University of Tokyo Press, 1984); Kokin Wakashu (Shogakkan, 1994); Shinkokin Wakashu (Shogakkan, 1995); Taketori Monogatari-Ise Monogatari-Yamato Monogatari-Heichu Monogatari (Shogakkan, 1994).
Hyakunin Isshu Introduction - Poem 1 - Poem 2 - Poem 3 - Poem 4 - Poem 5 - Poem 6 - Poem 7 - Poem 8 - Poem 9 - Poem 10 - Poem 11 - Poem 12 - Poem 13 - Poem 14 - Poem 15 - Poem 16 - Poem 17 - Poem 18 - Poem 19 - Poem 20 -

February 19, 2016

Daishichi Sake (2) - Yukishibori Honjozo Nigorizake

Besides the Yukishibori Honjozo Namagenshu, Daishichi has one more seasonal sake for the winter season: Yukishibori Honjozo Nigorizake.

Daishichi Yukishibori Nigori, a nigori sake with a light fizz by the Daishichi Sake Brewery 

Yukishibori Honjozo Nigorizake is Daishichi's only "nigori" or "cloudy sake," a sake which during pressing has been passed through a wide mesh so that the sake is not transparent as usual, but contains a "milky" or "cloudy" sediment of fine rice particles. This settles on the bottom of the bottle during storage, and as you want it in your glass (in contrast to sediment in wine) as the cloudiness is the whole point of this sake, you should gently turn the bottle a few times up and down so that the cloudiness is evenly divided before pouring.

The sediment in fact not only contains rice particles, but also koji and yeast. The rice particles are good for the very distinctive physical texture, and the koji and yeast provide a particular and powerful flavor. The rice particles vary in size depending on the brewery (from very fine to large chunks of whole rice grains). Most nigorizake is relatively sweet.

Daishichi's Nigorizake contains only very fine rice particles. Like the Yukishibori Namagenshu it is a honjozo (premium sake with a small amount of pure alcohol added to make the taste lighter), but instead of being "nama" (unpasteurized) it is a Nama Chozoshu, a sake that was stored unpasteurized and heated only once before shipping. In other words, it is a "semi-namazake," or "semi unpasteurized sake." Thanks to the unpasteurized storage, this Yukishibori has another interesting characteristic: it contains small bubbles, a fizz which has been caused by a second fermentation in the bottle (during storage).

Sparkling sake is popular both in Japan and abroad - it is a refreshing drink for on the beach or at garden parties - but Daishichi's bubbles are refined and small, just enough to add some spice to the taste and to provide a counterweight to the general sweetness of a nigorizake. The result is a unique "cloudy" sake with a light fizz. And of course this sake has also been made with the kimoto method (Daishichi is Japan's No. 1 Kimoto brewer), which means it has a rich taste. The alcohol percentage is 14.5%.

Yukishobori Honjozo Nigorizake was first made in 1994 and its name "Pressed in the Snow" has the same origin as that of its "elder brother," Yukishibori Honjozo Namagenshu.

Serve very cool at 8 degrees Celsius and keep the bottle on the table in a wine cooler. The gentle aroma and slight fizz stimulate the appetite. Drink as an aperitif, with light starter dishes, or with a dessert of fruits like melon, peach and pear. And in case of Western food, it fits to sautés or spicy dishes. Note that like the unpasteurized and undiluted Yukishibori, this sake is only sold in winter.

Kanpai!
Disclosure: the blog author Ad Blankestijn works for the Daishichi Sake Brewery. He is also an accredited sake sommelier and sake instructor. 
Daishichi website - Daishichi Facebook Page 

February 16, 2016

Hyakunin Isshu (One Hundred Poets, One Poem Each), Poem 8 (Priest Kisen)

Hyakunin Isshu, Poem 8

waga iho wa
miyako no tatsumi
shika zo sumu
yo wo Ujiyama to
hito wa iunari

わが庵は
都のたつみ
しかぞすむ
世をうぢ山と
人はいふなり

Although I live contentedly 
in my hut to the southeast 
of the capital,
it seems people call it 
"Grief Mountain." 

Priest Kisen (early 9th c.)

Scenery in Uji, Kyoto
[Scenery in Uji]

A contented life as hermit in Uji.

Thanks to the use of an intricate kakekotoba (pivot word), this poem is almost impossible to translate. In the last two lines ("yo wo Ujiyama to / hito wa iu nari") in fact two different sentences have been overlaid, playing with the fact that the "u" in the name Uji (or Ujiyama, Mt Uji) can also mean "bitter." So the poet says "yo wo u," "the world is bitter," and at the same time "Ujiyama to hito wa iu nari," "it seems people call it Ujiyama." Both the Uji River and Uji Mountain were associated with gloom, as many now famous scenic spots were in the past, as they were more lonely and distant than at present. The meaning of the poem, however, is contrary to that: the poet says that he lives contentedly in his hermitage in Uji, southeast of Kyoto. People of the world (or worldly people) may think that he leads a life of bitterness and difficulty, without the amenities of the capital, but on the contrary, to him life in the world is full of bitterness.

Byodoin temple, Uji, Kyoto
[Byodoin Temple, Uji, Kyoto Pref.]

For modern eyes, Uji (a city in southern Kyoto Prefecture) boasts a striking natural setting, with attractions as the scenic Uji riverside, but also several famous temples, as Byodoin with its Phoenix Hall built in 1053 and its wonderful Amida statue, or Manpukuji, the head temple of the Obaku Zen sect built in Chinese Ming style in 1661; famous is also the Ujigami Shrine built in 1060. The last ten chapters of the classical novel The Tale of Genji have been situated in Uji as well. And, finally, Uji is famous for its green tea.


Priest Kisen is a legendary figure, just like Sarumaru of Poem 5. Although his name is mentioned in the preface to the Kokinshu (Ki no Tsurayuki, the compiler, choose him as one of the Six Poetic Sages, Rokkasen), only this one poem can be firmly attributed to him and nothing is known about his life - but that fits a hermit, of course.

[Same poem in Kokinshu 983]
References: Pictures of the Heart, The Hyakunin Isshu in Word and Image by Joshua S. Mostow (University of Hawai'i Press, 1996); Traditional Japanese Poetry, An Anthology, by Steven D. Carter (Stanford University Press, 1991); Hyakunin Isshu by Inoue Muneo, etc. (Shinchosha, 1990); Genshoku Hyakunin Isshu by Suzuki Hideo, etc. (Buneido, 1997); Ogura Hyakunin Isshu at Japanese Text Initiative (University of Virginia Library Etext Center); Hyakunin Isshu wo aruku by Shimaoka Shin (Kofusha Shuppan); Basho's Haiku (2 vols) by Toshiharu Oseko (Maruzen, 1990); The Ise Stories by Joshua S. Mostow and Royall Tyler (University of Hawai'i Press, 2010); Kokin Wakashu, The First Imperial Anthology of Japanese Poetry by Helen Craig McCullough (Staford University Press, 1985); Kokinshu, A Collection of Poems Ancient and Modern by Laurel Rasplica Rodd and Mary Catherine Henkenius (University of Tokyo Press, 1984); Kokin Wakashu (Shogakkan, 1994); Shinkokin Wakashu (Shogakkan, 1995); Taketori Monogatari-Ise Monogatari-Yamato Monogatari-Heichu Monogatari (Shogakkan, 1994).
Hyakunin Isshu Introduction - Poem 1 - Poem 2 - Poem 3 - Poem 4 - Poem 5 - Poem 6 - Poem 7 - Poem 8 - Poem 9 - Poem 10 - Poem 11 - Poem 12 - Poem 13 - Poem 14 - Poem 15 - Poem 16 - Poem 17 - Poem 18 - Poem 19 - Poem 20 -

February 13, 2016

Daishichi Sake (1): Yukishibori Honjozo Namagenshu

Seasonal sakes are popular in Japan and one of the seasonal drinks from the Daishichi Sake Brewery for the first months of the year is Yukishibori Honjozo Namagenshu.

Daishichi Yukishibori Genshu

Yukishibori Honjozo Namagenshu is Daishichi’s version of shiboritate or "freshly pressed sake," also called shinshu, "new sake" (which Philip Harper has named half tongue-in-cheek “sake nouveau”). Shiboritate is indeed the new sake of the brewing year (the first bottles are usually released in December, the new brewing year starts always in October) which is sold immediately after pressing without aging the sake. So what you get is brash and green, but also very lively. In addition, shiboritate sake is often unpasteurized (nama) in order to leave the young aromas intact, and brought out as genshu, undiluted sake - in the case of usual sake, some pure water is added to the brew to bring the alcohol percentage down to 14% or 15%, but in the case of genshu you get the full treatment.

Daishichi's shiboritate "Yukishibori Honjozo Namagenshu" is indeed both unpasteurized and undiluted (alc. 18%). It is premium sake of the honjozo type. Typically, a limited amount of  brewer's alcohol is added to honjozo to make the taste lighter. But Daishichi wouldn't be Daishichi if it didn't pay extra care: Daishichi's brewer's alcohol is made from rice and not from sugar cane as is normally the case, with the idea that rice should be the one and only ingredient of sake.

Yukishibori has of course been made with the kimoto method (Daishichi is Japan's No. 1 Kimoto brewer), which means it is sake with a rich taste and with "body." Together with the youth of the shiboritate type of sake, that creates a unique combination: first you taste the fresh acidity of the newly pressed sake, and next the deep umami and richness typical of kimoto sake.

The name “Yukishibori” means “Pressed in the Snow,” and is meant to conjure up the image of a sake brewery in a snowy landscape in Northern Japan (the Tohoku region where Daishichi is located): while the sake is being pressed inside the brewery, outside the snow is falling heavy and thick.

Yukishibori Honjozo Namagenshu was first brought to market by Daishichi in 1992, the 240th anniversary of the brewery (which was founded in 1752). Normally, Kimoto sake is matured for a long time (and the fact that it is ideally suitable for maturation is one of its important characteristics, as we will see in this series), so it is interesting to find it here in the shape of such a fresh and young sake - which is also quite a technical feat.

Yukishibori is only sold in winter. The ideal serving temperature is 10 degrees C. Drink it on its own, as an aperitif, or pair it with fresh seafood, sashimi, seafood salads, or raw oysters, in general with foods which have a fresh taste but which also possess a powerful umami. This sake should at all times be kept in the refrigerator and the opened bottle should be consumed as soon as possible.

Kanpai!

(Yukishibori Honjozo Namagenshu is only available in Japan)
Disclosure: the blog author Ad Blankestijn works for the Daishichi Sake Brewery. He is also an accredited sake sommelier and sake instructor. 
Daishichi website - Daishichi Facebook Page 

February 8, 2016

Hyakunin Isshu (One Hundred Poets, One Poem Each), Poem 7 (Abe no Nakamaro)

Hyakunin Isshu, Poem 7

ama no hara
furisakemireba
Kasuga naru
Mikasa no yama ni
ideshi tsuki ka mo

天の原
ふりさけ見れば
春日なる
三笠の山に
出でし月かも

When I gaze into the distance
across the plain of heaven,
I see the same moon
that came out from behind
Mt Mikasa in Kasuga!

Abe no Nakamaro (698-770)

Wakakusayama seen from Nara Park
[Wakakusayama seen from Nara Park]

An expression of longing for the poet's native land.

Mt Mikasa is presently called Wakakusayama, it is the hill that looms above Todaiji and the Kasuga Shrine in Nara. It is part of Nara Park. The 342 m. high hill is covered with turf and is known for the turf burning conducted every year on January 15. "In Kasuga" refers to the general area of the Kasuga Shrine. Just as Mt Mikasa / Wakakusayama now dominates central Nara, so it was in the Nara period, when the present poet saw it as a symbol of his hometown and country.  

[Abe no Nakamaro at his farewell party in China
by Hokusai]

Abe no Nakamaro (698-770) was in 717 sent to study in China, with a Japanese embassy to the Tang court that also included Kibi no Makibi and the priest Genbo. He remained in the Chinese capital Changan where he took a Chinese name and accepted an official post, becoming a severe case of "going native" (although it must be admitted that there were only very few chances to return). He also established a literary reputation in Chinese and is said to have befriended such major Chinese poets as Li Bai and Wang Wei. In 753 he attempted to return to Japan with the embassy of Fujiwara no Kiyokawa, but was shipwrecked on the coast of Annam (showing how dangerous sea travel was at the time, the ships were often driven completely off course by typhoons). He then became governor-general of Vietnam (at that time under Chinese control) and finally died in Changan after 54 years of absence from home. We have only two poems by Abe no Nakamaro, but the present one is very famous and opens the "Travel" section in the Kokinshu.

[Abe no Nakamaro gazing at the moon 
by Toshioka Yoshitoshi]

In fact, the circumstances of composition of our poem have been documented, both in the Kokinshu and in the Tosa Diary by Ki no Tsurayuki (ca 935). That last document tells how Ki no Tsurayuki, by ship on his way back from Tosa (Kochi Pref.) to the capital Kyoto, saw the moon rise out of the sea, and not above the rim of the hills as in the capital. That fact reminded him of Abe no Nakamaro, who must have seen that same "moon rising from the sea" when he wrote his famous moon poem. At that time, as Ki no Tsurayuki tells, Abe no Nakamaro was about to board a ship back to Japan at the coast of China (placing this in the year 753, the year of Abe's failed attempt to return to Japan). Chinese officials gave him a farewell banquet in the evening (when an extraordinarily beautiful moon had risen) and they composed Chinese poems for each other. But Abe no Nakamaro was moved to write a poem in Japanese as well, as "in our country we have composed poems since the age of the gods." The Chinese were of course unable to understand it, but the poet explained the meaning in Chinese. After they had it thus interpreted for them, the Chinese were able to judge its feeling and appreciate it. "China and this country have different languages, but since the radiance of the moon is the same for both, men's feelings about it must surely be the same." (translation from Japanese Poetic Diaries by Earl Miner). 

By the way, as Mostow adds, envoys to China used to pray in Nara's Kasuga Shrine for a safe return. So Nakamaro compares the moon he sees in China to the particular moon that rose the night he prayed at the Kasuga Shrine before he left Japan - it is not a general comparison of Chinese and Japanese moons.

[Same poem included in Kokinshu 406]
References: Pictures of the Heart, The Hyakunin Isshu in Word and Image by Joshua S. Mostow (University of Hawai'i Press, 1996); Traditional Japanese Poetry, An Anthology, by Steven D. Carter (Stanford University Press, 1991); Hyakunin Isshu by Inoue Muneo, etc. (Shinchosha, 1990); Genshoku Hyakunin Isshu by Suzuki Hideo, etc. (Buneido, 1997); Ogura Hyakunin Isshu at Japanese Text Initiative (University of Virginia Library Etext Center); Hyakunin Isshu wo aruku by Shimaoka Shin (Kofusha Shuppan); Basho's Haiku (2 vols) by Toshiharu Oseko (Maruzen, 1990); The Ise Stories by Joshua S. Mostow and Royall Tyler (University of Hawai'i Press, 2010); Kokin Wakashu, The First Imperial Anthology of Japanese Poetry by Helen Craig McCullough (Staford University Press, 1985); Kokinshu, A Collection of Poems Ancient and Modern by Laurel Rasplica Rodd and Mary Catherine Henkenius (University of Tokyo Press, 1984); Kokin Wakashu (Shogakkan, 1994); Shinkokin Wakashu (Shogakkan, 1995); Taketori Monogatari-Ise Monogatari-Yamato Monogatari-Heichu Monogatari (Shogakkan, 1994).
Hyakunin Isshu Introduction - Poem 1 - Poem 2 - Poem 3 - Poem 4 - Poem 5 - Poem 6 - Poem 7 - Poem 8 - Poem 9 - Poem 10 - Poem 11 - Poem 12 - Poem 13 - Poem 14 - Poem 15 - Poem 16 - Poem 17 - Poem 18 - Poem 19 - Poem 20 -