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“... Junichiro Tanizaki (1886-1965) is rightly regarded as one of the handful of 20th-century Japanese novelists whose work has to be seen as of universal and not just Japanese interest. One can, indeed, number them quickly: Tanizaki’s senior, Soseki; his contemporary, Kawabata; his juniors, Endo, Abe and Mishima ...”

“... four of his works in three volumes, Secker and Warburg supply a generous retrospective sample of Junichiro Tanizaki’s (1886-1965) extraordinarily diverse achievement as a novelist. Some prefer nettles was first published in Japan in 1928, and in England in 1956. Frankly autobiographical, it records the author’s ambivalent attraction both to the ...”

“... plays – to the point of knowing every line and gesture by heart. The great modern novelist, Junichiro Tanizaki, wondered if Japanese writers lacked the physical strength to construct a long plot, whilst Kafu Nagai emphasised the unpredictability of the Japanese climate and the resulting tendency to believe in coincidence and fate. Yasunari ...”

“... Japanese counterpart. Ueda is concerned with eight ‘writers’: Natsume Soseki, Nagai Kafu, Tanizaki Junichiro, Shiga Naoya, Akutagawa Ryunosuke, Dazai Osamu, Kawabata Yasunari and Mishima Yukio. It is difficult to say whether these writers were chosen because some works of theirs have been translated into English. Other writers from Mori Ogai to ...”

“... poet, Yosano Akiko, in the first decade of this century; immediately after the war, the novelist, Tanizaki Junichiro, probably the best prose-writer of modern Japan (his is a beautiful translation which captures both the flowing quality and the ambiguities of the original text); and recently Enchi Fumiko, a writer of poignant tales concerning the female ...”

“... the regimen of the controlled and the clean. ‘There is no denying the cleanliness,’ Junichirō Tanizaki laments of the Western toilet in his 1977 meditation In Praise of Shadows, ‘every nook and corner is pure white.’ Yet ‘the cleanliness of what can be seen only calls up the more clearly thoughts of what cannot be seen … I suppose I shall sound ...”

“... yet insightful gaze at developments in post-war literature and film. He argues brilliantly that Junichiro Tanizaki’s apparent deference to the West, and his sense of Japan as a place of restriction and shadowy stagnation, is just one more example of his masochistic sensibility: ‘as he enjoys sexual humiliation, so he savours cultural ...”