translations of the works of such Western mystery writers as Poe, Doyle, Chesterton, Freeman, and others.
Rampo, who had been an avid reader of American and European mysteries since his high school days, being jobless in Osaka at the time, mailed in to Shin Seinen a short mystery entitled "Nisen Doka" (The Two-Sen Copper Coin). Much to his surprise, the story was snapped up, and published by Shin Seinen side by side with the works of world-famous writers. Invited by the publishers to write more stories, Rampo readily complied, and as his reputation continued to grow by leaps and bounds as Japans first spinner of modern mystery yarns, he finally went to Tokyo to pursue his new vocation in earnest.
During the thirty-one years up to the present, Rampo has written a total of twenty full-length books, fifty-three short stories and novelettes, ten full-length books for juveniles, and six volumes of essays devoted to the mystery story. The stories contained in this book are the best selections from Rampo's stock of short stories.
In introducing this noted Japanese mystery writer to the Western public a brief résumé of the mystery story in Japan is also in order. Old tales of court trials imported from China were the very first detective stories read in Japan. However, it was not until the year 1660 that a Japanese writer came under the spell of these Chinese classics and began to write stories of a similar nature.
During the next two centuries, various other writers turned out works along the same lines, the most famous of them being Saikaku Ihara's Records of Trials Held Beneath a Cherry Tree, published in the year 1689.
The next turning point came in the Meiji Period (1868-1912), when the Chinese-patterned detective story began to lose its popularity, and a new era of crime literature came into being with the rapid importation, translation, and sale of American, English, and French mystery classics. One of the earliest translators of these Western works into Japanese was Ruiko Kuroiwa, who from 1887 until the close of the century translated dozens of detective novels, thus introducing the modern Western crime story to Japanese readers. Among the many works which he translated into the Japanese language those of French writers predominated. Some fifteen or sixteen novels by Du Boisgobey, four novels by Gaboriau, as well as works by Wilkie Collins, A. K. Green, and others were translated by him and serialized in Japanese newspapers.
Subsequently, many other translators turned out numerous works by American and English writers, until finally, in the year 1923, the first original Japanese mystery story, Edogawa Rampo's "The Two-Sen Copper Coin," was born.
With the ice thus finally broken, a purely Japanese school of modern mystery fiction rapidly began to take shape, with the majority of the writers striving to give expression to their own original themes and ideas and adopting diverse styles rather than merely copying their Western predecessors and contemporaries. Thus, today, the Japan Mystery Writers' Club, which was founded by Edogawa Rampo, consists of a select membership of over one hundred professional writers of the purely Japanese school, who assiduously keep the Japanese mystery addicts supplied with an unlimited flow of mystery tales of every description.
A brief description of the manner in which this book was translated may also prove to be of interest to the reader, for it was undertaken under unique conditions. Edogawa Rampo, while fully capable of reading and understanding English, lacks the ability to write or speak it. On the other hand, the translator, a Eurasian of English-Japanese parentage, while completely fluent in spoken Japanese, is quite unable to read or write the language, as he was educated solely in English schools. Hence, for each line translated, the two collaborators, meeting once a week for a period of five years, were forced to overcome manifold difficulties in getting every line just right, the author reading each line in Japanese several times and painstakingly explaining the correct meaning and nuance, and the translator sweating over his typewriter having to experiment with sentence after sentence until the author was fully satisfied with what had been set down in English.
Whether or not this book will find a permanent place on the world's bookshelf of great mystery classics is a question that still remains to be answered, and the Occidental "whodunit" reader, currently flooded with large doses of jet-paced Mickey Spillane, may find Edogawa Rampo's typically Oriental tempo somewhat slow.
But whatever the reaction, it is Rampo's fervent hope that the publication of this book—the very first volume of collected Japanese tales of mystery and imagination ever to be published in the English language—may serve as the initial step towards placing original Japanese works on the list of the most popular mystery classics of the world.
JAMES B. HARRIS
Tokyo, February 5, 1956
YOSHIXO SAW HER HUSBAND OFF to his work at the Foreign Office at a little past ten o'clock. Then, now that her time was once again her very own, she shut herself up in the study she shared with her husband to resume work on the story she was to submit for the special summer issue of K—magazine.
She was a versatile writer with high literary talent and a smooth-flowing style. Even her husband's popularity as a diplomat was overshadowed by hers as an authoress.
Daily she was overwhelmed with letters from readers praising her works. In fact, this very morning, as soon as she sat down before her desk, she immediately proceeded to glance through the numerous letters which the morning mail had brought. Without exception, in content they all followed the same pattern, but prompted by her deep feminine sense of consideration, she always read through each piece of correspondence addressed to her, whether monotonous or interesting.
Taking the short and simple letters first, she quickly noted their contents. Finally she came to one which was a bulky, manuscript-like sheaf of pages. Although she had not received any advance notice that a manuscript was to be sent her, still it was not uncommon for her to receive the efforts of amateur writers seeking her valuable criticism. In most cases these were long-winded, pointless, and yawn-provoking attempts at writing. Nevertheless, she now opened the envelope in her hand and took out the numerous, closely written sheets.
As she had anticipated, it was a manuscript, carefully bound. But somehow, for some unknown reason, there was neither a title nor a by-line. The manuscript began abruptly:
"Dear Madam:. . ."
Momentarily she reflected. Maybe, after all, it was just a letter. Unconsciously her eyes hurried on to read two or three lines, and then gradually she became absorbed in a strangely gruesome narrative. Her curiosity aroused to the bursting point and spurred on by some unknown magnetic force, she continued to read:
Dear Madam: I do hope you will forgive this presumptuous letter from a complete stranger. What I am about to write, Madam, may shock you no end. However, I am determined to lay bare before you a confession—my own —and to describe in detail the terrible crime I have committed.
For many months I have hidden myself away from the light of civilization, hidden, as it were, like the devil himself. In this whole wide world no one knows of my deeds. However, quite recently a queer change took place in my conscious mind, and I just couldn't bear to keep my secret any longer. I simply had to confess!
All that I have written so far must certainly have awakened only perplexity in your mind. However, I beseech you to bear with me and kindly read my communication to the bitter end, because if you do, you will fully understand the strange workings of my mind and the reason why it is to you in particular that I make this confession.
I am really at a loss as to where to begin, for the facts which I am setting forth are all so grotesquely out of the ordinary. Frankly, words fail me, for human words
