The American Diary of a Japanese Girl: An Annotated Edition

Notes to the Afterword

Notes to the Afterword 1. Noguchi to Stoddard, [6] August 1901, CEL no. 91. 2. Ibid., 23 July 1901, CEL no. 88. 3. Ibid., CEL no. 88. 4. See Marberry 139, 151–55. 5. Stern 172. 6. Frank Leslie’s Popular Monthly to Noguchi, 25 July 1901, CEL no. 89. 7. Noguchi to Stoddard, 26 July 1901, CEL no. 90. 8. The following year Yeto was involved with a special edition of Madame Butterfly for the Century Company and also assisted with the second Long-Belasco theatrical production , The Darling of the Gods. Soon afterward, he returned to Japan, subsequently visiting the United States for exhibitions of his paintings and drawings. Though his renown began to fade a few years later, his work remains worthy of recognition, as art historian Susan Larkin has argued. 9. Noguchi to Stoddard, 26 July 1901, CEL no. 90. 10. Ibid., 5 November [1901], CEL no. 100. 11. Ibid., [November 1901], CEL no. 104. The Stokes contract is in the Noguchi collection at Keiō University. 12. Noguchi to Gilmour, 23 February 1902, CEL no. 116; Stern 175. 13. Noguchi to Gilmour, 23 May [1902], CEL no. 121. 14. Ibid., 11 September 1902, CEL no. 122. 15.The agency was Henry Romeike, 110 Fifth Avenue,“The First Established and Most Complete Newspaper Cutting Bureau in the World.” Some sixty review clippings were discovered by Ikuko Atsumi and listed in her bibliography,“Yone Noguchi Bunken (2),”89–90.The discussion here is based on sixteen surviving photocopies of the original clippings and an additional fifteen of the remaining reviews located in microfilm collections. All these reviews are listed in a separate section at the end of Works Cited in this volume. 16. For a further discussion of exoticism and the problem of authenticity, see Marx, The Idea of a Colony, 41–44. 17. Citations to Diary appear in the text as page numbers in parentheses. 18. FPL 1. 19. Noguchi to Stoddard, 19 June 1900, CEL no. 54. 20. Birchall 75. 21. Noguchi to Putnam, n.d., FPL 15. 22. “I thought that to say nothing was only the way to be kind to the play,” he told Putnam (FPL 27). 23. Yuko Matsukawa provides an interesting critique of Noguchi’s anti-Watanna stance in “Onoto Watanna’s Japanese Collaborators and Commentators,” 47–50. 24. MacLane 12. 25. Halverson 20–27. 26. Cited in Halverson 27. 27. Noguchi to Gilmour, n.d., CEL no. 86. 28. Noguchi’s letter to Gilmour, 19 February 1903, CEL no. 167, alludes to their common knowledge of Housman’s book: “I have met with Laurence Housman—the author of ‘An English Woman’s Love-letters’, and talked with him upon many a things. He was most agreeable man in London. I have met also with some other fellows whose names were not known to you.” 29. MacLane to Noguchi, [27] February 1904, CEL no. 287. 30. Noguchi to Gilmour, [July 1901], CEL no. 85. 31. Noguchi to Partington, 1 August 1899, CEL no. 44. 32. Noguchi to Gilmour, 2 January 1903, CEL no. 128; Stokes to Noguchi, 21 January 1903, CEL no. 148. 33. Noguchi to Gilmour, 2 January 1903, CEL no. 128. 34. See Noguchi, “A Japanese Girl’s One Week in London.” 35. Gale to Noguchi, [July–August1903], CEL no. 214; Walsh to Noguchi, 10 July 1903, CEL no. 220. 36. Leslie’s Monthly to Noguchi, 6 July 1903, CEL no. 218. 37. Sedgwick did maintain friendly relations with Noguchi and accepted one subsequent article, “Admiration from Japan: An Oriental Critic on the Anglo-Saxon Girl.” 38. The sequel, The American Letters of a Japanese Parlor-Maid by Miss Morning Glory (Yone Noguchi), was published simultaneously in two versions: one in a Japanese-style binding with cover design and illustrations by Genjirō Yeto and the other an unillustrated hardback. The beginnings of the projected third volume, “A Japanese Girl’s One Week in London,” appeared in five issues of Eigo Seinen (The Rising Generation) in 1906. 39.There were evidently multiple printings of the Japanese edition. A copy in the possession of Seiji Itoh gives 10 July 1906 as the date of the third printing. 40.The stated fifth edition of the Diary (1912) disposed with the Yeto illustrations and incorporated a new illustration in the form of a kuchi-e (foldout insert) by Eihō Hirezaki (1881–1968), an established woodblock-print artist who specialized in this format. Reviews of the London edition appear in Academy 83...