Matsuura-no-miya-monogatari is a story about the adventurous fate of an expatriate who is torn between loyalty to a foreign sovereign and longing for his country. The expatriate named Ujitada might have been modeled after Abe-no-Nakamaro who left Japan for good to serve Emperor Xuanzong of Tang in China. For a realistic dramatization of the hero's dilemma between loyalty and patriotism, Fujiwara-no-Teika referred to the stoic philosophy of samurai warriors who were on the rise then. This is why the scene of the battlefield is so powerfully depicted. In this sense the story can be regarded as one of the earliest war narratives of medieval times.
It is well known that Ryūnosuke Akutagawa used Uji-shūi-monogatari as the source for his short story “Ryū,” but it is little known that he also referred to a Noh song “Kasuga-ryūjin” in writing it. Indeed, the other source added a sort of theatrical dynamism to the plot of the story. More precisely, the narrative structure of “Ryū” is interwoven with a dynamic interaction between narration and deception characteristic of Noh.
Haruo Satō's short story “Shimon” has been unfavorably received as a “flawed detective story” or a “silly fantasy.” Not aesthetically judged but seen from a historical viewpoint, however, it is a new sort of detective novel written under the influence of technological innovations in the 1910s. Such a materialistic shift is allegorically represented in the figure of the detective R. N.; during his investigation he gradually re-constructs himself into a modern subject who worships new inventions such as films and the fingerprint classification system. It is such overdetermined interactions between literature, subject, and technology that gave rise to the modern myth of technological omnipotence.
As a farmer writer Kenji Miyazawa developed his own theory of agriculture-based economy which had much in common with the agricultural outlook of Ie-no-hikari, the monthly magazine for farmers. After the Manchurian Incident, however, the magazine's physiocratic policy came to be split into two opposite directions: agricultural nationalism and community-based regionalism. Miyazawa held a critical stance toward the former while he showed his approval for the latter by proposing a farmers' cooperative in “Porano-no-hiroba.”