An immeasurably influential female voice in post-war Japanese literature, Kono writes with a strange and disorienting beauty: her tales are marked by disquieting scenes, her characters all teetering on the brink of self-destruction. In the famous title story, the protagonist loathes young girls but compulsively buys expensive clothes for little boys so that she can watch them dress and undress. Taeko Kono’s detached gaze at these events is transfixing: What are we hunting for? And why? Kono rarely gives the reader straightforward answers, rather reflecting, subverting and examining their expectations, both of what women are capable of, and of the narrative form itself.