Contemporary societies face many complex injustices, from environmental devastation that threatens our long-term prospects, to human trafficking that fuels our global economy, to health disparities that harm already marginalized communities. Although theologies of liberation have long identified these injustices as manifestations of systemic sin, many Christians recoil from using the language of sin to discuss our everyday involvement in such systems. This is partly because many Christians expect sin-talk to name particularly heinous actions--ones in which we certainly do not wish to engage--and partly because the language of sin has been used to shame others for so long that its theological value has been all but lost.

In Entangled Being, Rebecca L. Copeland asserts that sin is the most appropriate theological language for naming what has gone wrong in the world and for beginning to repair those wrongs, despite modern resistance to the use of sin-talk. She argues that Christians need a reconstructed understanding of what naming something as sin should accomplish. Traditional treatments of sin as either original (universal and congenital) or actual (individual and intentional) are not capable of addressing the individual's complicity in the unintentional, communal, and multigenerational harms caused by systemic injustices. Copeland offers the scripturally based idea of unoriginal sin to explore moral agency and responsibility in our complex, pluralistic, and interdependent world.

Expanding the doctrinal boundaries of sin-talk to encompass repentance, she argues that Christians need not only to name systemic injustices as sin but also to repent of them by taking responsibility for the harms they cause and working to repair such harms. Entangled Being addresses common concerns about sin-talk, deconstructs individualistic understandings of moral agency, and draws from the work of marginalized communities to reconstruct understandings of agency and responsibility competent to address the wicked problems we face today.

The doctrine of the incarnation stands at the heart of Christian faith and formation. Perhaps for that very reason, Christian claims about the incarnation are hotly contested. Specifically, a common critique of the orthodox doctrine holds that the belief that God's becoming flesh in the person of Jesus is a universally significant event causes problems in an increasingly pluralistic world. Some argue that the doctrine supports injustice, others say that it is logically incoherent, and still others find it implausible.

Rebecca L. Copeland undertakes to recover the essence of traditional Christian convictions about the person of Christ. Instead of tempering christological claims to avoid such problems, Created Being argues that it is not the doctrine itself presenting these challenges--rather, the challenges emerge from readings of the doctrine that privilege humanity and, more particularly, maleness. Copeland thus offers a reconstructed Christology that is faithful to creedal insights while answering the justice, coherence, and plausibility challenges raised, all while providing an understanding of Christ's consubstantiality that is inclusive of the entire created order. Feminist and ecotheological critiques further aid in reclaiming the significance of the incarnation for all members of creation.

Homo sapiens, Copeland asserts, are not at the center of the universe, and neither should we occupy the central interpretive role for understanding Christ's importance. Engaging the perspectives of all domains of being, this volume dismantles rigid hierarchies and brings ancient insights into the proper relationships among God, human and creaturely beings, and nature. Created Being presents a cosmic understanding of Christ without losing sight of the particularities of Jesus' personhood. In doing so, this book lays the foundation for a universal soteriology and an ethic poised to address the particular needs of the twenty-first century.

Woman Critiqued will make us wonder why we thought we could grasp modern Japanese literature without concerted attention to what men and women had to say about women's literary production. This remarkable collection is full of surprises, even where predictable arguments are being made. Careful translations of writings by the familiar and the obscure, together with thought-provoking introductions and supporting apparatus, make this an indispensable text for the study of modern Japanese culture and society. --Norma M. Field, University of Chicago

Over the past thirty years translations of Japanese women's writing and biographies of women writers have enriched and expanded our understanding of modern Japanese literature. But how have women writers been received and read in Japan? To appreciate the subterfuges, strategies, and choices that the modern Japanese woman writer has faced, readers must consider the criticisms leveled against her, the expectations and admonitions that have been whispered in her ear, and pay attention to the way she herself has responded. What did it mean to be a woman writer in twentieth-century Japan? How was she defined and how did this definition limit her artistic sphere?

Woman Critiqued builds on existing scholarship by offering English-language readers access to some of the more salient critiques that have been directed at women writers, on the one hand, and reactions to these by women writers, on the other. The grouping of the essays into chapters organized by theme clarifies how the discussion in Japan has been framed by certain assumptions and how women have repeatedly tried to intervene by playing with, undercutting, or attempting to exceed these assumptions. Chapter introductions contextualize the translated essays historically and draw out aspects that warrant particular scrutiny or explication.

Although the translators do not cover all aspects or genres identified with women's literary endeavors in the twentieth-century, they provide a significant understanding of the evaluative systems under which Japanese women writers have worked. Woman Critiqued will be eagerly read by specialists in modern Japanese literature and those interested in comparative literature, women's studies, gender studies, and history.

Featured writers: Akitsu Ei, Akiyama Shun, Hara Shiro, Hasegawa Izumi, Kobayashi Hideo, Kora Rumiko, Matsuura Rieko, Mishima Yukio, Mitsuhashi Takajo, Mizuta Noriko, Miwata Masako, Oguri Fuyo, Okuno Takeo, Ooka Makoto, Saito Minako, Shibusawa Tatsuhiko, Setouchi Harumi, Takahara Eiri, Takahashi Junko, Takahashi Takako, Tanaka Miyoko, Tomioka Taeko, Tsujii Takashi, Tanizaki Jun'ichiro, Tsushima Yoko, Yosano Akiko.

Translators: Tomoko Aoyama, Jan Bardsley, Janine Beichman, Rebecca L. Copeland, Mika Endo, Joan E. Ericson, Barbara Hartley, Maryellen Toman Mori, Yoshiko Nagaoka, Kathryn Pierce, Laurel Rasplica Rodd, Amanda Seaman, Eiji Sekine, Judy Wakabayashi.

Most Japanese literary historians have suggested that the Meiji Period (1868-1912) was devoid of women writers but for the brilliant exception of Higuchi Ichiyo (1872-1896). Rebecca Copeland challenges this claim by examining in detail the lives and literary careers of three of Ichiyo's peers, each representative of the diversity and ingenuity of the period: Miyake Kaho (1868-1944), Wakamatsu Shizuko (1864-1896), and Shimizu Shikin (1868-1933).

In a carefully researched introduction, Copeland establishes the context for the development of female literary expression. She follows this with chapters on each of the women under consideration. Miyake Kaho, often regarded as the first woman writer of modern Japan, offers readers a vision of the female vitality that is often overlooked when discussing the Meiji era. Wakamatsu Shizuko, the most prominent female translator of her time, had a direct impact on the development of a modern written language for Japanese prose fiction. Shimizu Shikin reminds readers of the struggle women endured in their efforts to balance their creative interests with their social roles. Interspersed throughout are excerpts from works under discussion, most never before translated, offering an invaluable window into this forgotten world of women's writing.

This provocative collection of essays is a comprehensive study of the father-daughter dynamic in Japanese female literary experience. Its contributors examine the ways in which women have been placed politically, ideologically, and symbolically as daughters in a culture that venerates the father. They weigh the impact that this daughterly position has had on both the performance and production of women's writing from the classical period to the present.

Conjoining the classical and the modern with a unified theme reveals an important continuum in female authorship-a historical approach often ignored by scholars. The essays devoted to the literature of the classical period discuss canonical texts in a new light, offering important feminist readings that challenge existing scholarship, while those dedicated to modern writers introduce readers to little-known texts with translations and readings that are engaging and original.

Contributors: Tomoko Aoyama, Sonja Arntzen, Janice Brown, Rebecca L. Copeland, Midori McKeon, Eileen Mikals-Adachi, Joshua S. Mostow, Sharalyn Orbaugh, Esperanza Ramirez-Christensen, Edith Sarra, Atsuko Sasaki, Ann Sherif.

Fashion ingenue, magazine editor, kimono designer, femme fatale, prize-winning writer--Uno Chiyo has becomeone of twentieth-century Japan's most accomplished and celebrated women. In this two-part volume, Rebecca L. Copeland offers Western readers a fascinating portrait of Uno's life along with translations of three of her distinctive works of short fiction.

Part One depicts Uno's sometimes turbulent passage from obscurity in a small village to national literary prominence. There are the early years under her father's stern turelage; the first scandalous, failed romance which cost her her job as a schoolteacher; her apprenticeship at Enrakuken, the coffee shop of the literary elite whose ranks she laters joined as a resident of the Magome Literati Village; her series of passionate and troubled relationships and marriages. Throughout, Dr. Copeland focuses on the evolution of Uno's art and discusses her major works, paying special attention to the effect being female had on Uno's development as a writer.

The three stories in Part Two are examples of Uno's work at its finest. The Puppet Maker (1942), a much-admired reflection on art and life, describes an encounter with a venerable carver of puppets. The Sound of the Wind (1969) is the tale of a wife at the turn of the century who willingly denies her own needs. This Powder Box (1966) shows a progressive career woman coming to terms with an old love affair. At once compelling and lyrical, the stories are a masterful interpretation of tradition, of women, and of self-fulfullment.

The Sound of the Wind: The Life and Works of Uno Chiyo will engage both specialists and general readers interested in twentieth-century Japan, literature, and women's issues.

This provocative collection of essays is a comprehensive study of the father-daughter dynamic in Japanese female literary experience. Its contributors examine the ways in which women have been placed politically, ideologically, and symbolically as daughters in a culture that venerates the father. They weigh the impact that this daughterly position has had on both the performance and production of women's writing from the classical period to the present.

Conjoining the classical and the modern with a unified theme reveals an important continuum in female authorship-a historical approach often ignored by scholars. The essays devoted to the literature of the classical period discuss canonical texts in a new light, offering important feminist readings that challenge existing scholarship, while those dedicated to modern writers introduce readers to little-known texts with translations and readings that are engaging and original.

Contributors: Tomoko Aoyama, Sonja Arntzen, Janice Brown, Rebecca L. Copeland, Midori McKeon, Eileen Mikals-Adachi, Joshua S. Mostow, Sharalyn Orbaugh, Esperanza Ramirez-Christensen, Edith Sarra, Atsuko Sasaki, Ann Sherif.