The Unknown Faces of 25 Literary Figures: Essays Detailing Memories and Untold Stories This item has been stored at home. It is in very good condition, but there is some aging on the cover, etc., due to its age. We appreciate your understanding. The Unknown Faces of 25 Literary Figures Representing the Showa Era The author, who made a name for himself as a literary editor at the former Chuo Koronsha, writes with affection about his memories and the unknown sides of the literary figures he was involved with from the 1950s. In an era when the term "literary world" still shone brightly, the book introduces the author's real experiences, such as a kendo match with Yukio Mishima and Junnosuke Yoshiyuki's flamboyant relationships with women. The figures featured include: Yoriyoshi Arima, Sawako Ariyoshi, Masuo Ikeda, Ryo Ikebe, Yasushi Inoue, Taro Okamoto, Makoto Oda, Ken Kaiko, Tamio Kageyama, Sokun Kawakami, Saho Sasazawa, Hisao Sawano, Saburo Shiroyama, Shuji Terayama, Shinichiro Nakamura, Fumio Niwa, Yaeko Nogami, Akiyuki Nosaka, Shichiro Fukazawa, Seiichi Funahashi, Yukio Mishima, Tsutomu Mizukami, Hitomi Yamaguchi, Junnosuke Yoshiyuki, and Junichi Watanabe – 25 giants. The "Women" Around Junnosuke Yoshiyuki Shuji Terayama's Ode to a Baby When Yoriyoshi Arima Attempted Suicide, and the Literary Figures Gathered Yukio Mishima, the Swordsman, with Whom He Matched in the Dojo The Secret of "Mr. Eburiman" Hitomi Yamaguchi Sawako Ariyoshi, a Woman of Many Passions and Sorrows Ken Kaiko, Whose Name Cannot Be Spoken Tamio Kageyama, Who Had a "Déjà Vu" of Ascension Sokun Kawakami's Depiction of Sexuality, Recognized by Yasunari Kawabata Masuo Ikeda, Rushing Towards Four Wives [and more] From Reviews: Tsubouchi Yuzo (I think it was a magazine discussion with Kazuya Fukuda) mentioned "Weekly Koron" and Yoshiro Mizuguchi as a famous editor, which made me a little curious. Until then, I only had the image of Yoshiro Mizuguchi as a cultural figure on TV Asahi, such as the host of "Konnichiwa 2-ji," a commentator on women's issues on "Asa-nama," and a commentator on "Super Morning." Reading this book, you can see that behind the success of the famous people's "confession manuscripts," which were the selling point of "Fujin Koron," there was a strong curiosity, a sincere attitude, a sense of moderation, and a persistent approach. The author, due to his job, was interested in human interest, including the mundane aspects, but I think that as a premise, there was a sense of "first the work, first the literature." Even so, the interactions with these writers are extraordinary. The quantity, quality, and breadth are all enhanced by depth.