references and imagery are obscure in the English translation. In a passage describing the challenges of "boiling an egg", for instance, the reader is not given any clue that the original Japanese text discussed a speciality of Kyoto-style cuisine called koya dofu (高野豆腐), a freeze dried tofu dish named after the Koyasan region from which it originates. In contrast to the symbolism of Kyoto-style cuisine as authentic Japanese fare, Tanizaki disparages Kobe as "foreign" including items like liver sausage from a German butcher. Of Tanazaki's characters, Louise, a prostitute involved with Kaname, is the most strongly associated with Kobe fare. Though Misako's consumption of the Kobe style food is alluded to from time to time, Misako herself is more clearly associated with the eastern Japanese fare of Tokyo. Dolls While watching Shinjuuten no Amijima Kaname takes particular notice of the character Koharu, the doll that becomes the ideal of what Kaname thinks women should be (later to be replaced by O-hisa). The conception of womanliness that Koharu inspires in Kaname is what lies at the heart of his Madonna-Harlot conflict, and makes him attracted both to an image of the Virgin Mary and to Hollywood movie stars. He isn’t interested in real women at all, but in idealized forms of them, women who can be appreciated from afar for what they represent not for who they are. Dolls encapsulate this perfectly, being masterfully sculpted, subtle in their beauty, and silently manipulated by men. Fantasy vs Reality Kaname has an active fantasy life that he seemingly prefers to interact with more than he does reality. His interest in the West is rooted more in its fantastical, not necessarily accurate, elements. The same can be said for his interest in the traditional East. An example of the former is evidenced in his preference for what he thinks is the Western concept of rapid and easy divorce. He is also fascinated with the colorfulness of western sexuality and, in particular, the way in which American films continually find new and more poignant ways of exhibiting women's beauty. In Chapter Ten Kaname, walking alongside O-hisa with the "old man" toddling behind, is struck by the image of a dark old house. The passage that follows provides enchanting musings as to what might actually be going on behind the house's curtains, deep in the shadows beyond its latticework, as readers are given the opportunity to