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Sexuality, Maternity, and (Re)productive Futures explores how contemporary Japanese female speculative fiction writers have challenged historical inequalities of sex, gender difference, and family roles by imagining alternative worlds where sexes are fluid and childbearing crosses the boundaries of male/female, biological/bioengineered, and human/nonhuman.

The early works also provide a clearer picture of how [Winnifred Eaton Reeve] developed the formula she used with great success in her \"Japanese romances\" -- novels such as A Japanese Nightingale (1901), The Heart of Hyacinth (1903), and Tama (1910) that were set in Japan and depicted interracial relationships between (for the most part) Japanese women and Anglo-American men.(4) In her early fiction, Eaton experimented with dialect, point of view, and narrative structure; these stories depict \"half-caste\" and full-blooded Japanese heroines, Japanese heroes, and American, English, and Japanese lovers; dialogue is written both in dialect and in standard English. \"The Diary of Dewdrop\" is one of the few Japanese stories to employ a first-person perspective, while The Old Jinrikisha is not only written in first person, but also from the perspective of a rickshaw (jinrikisha) whose \"sex was set\" -- she is as \"soft and pliable to the touch as a pretty woman.\" Perhaps most interesting, given Eaton's decision to adopt a Japanese authorial persona, is the story \"Amoy, A Chinese Girl,\" the only known Eaton work to depict the Chinese in a positive light before her Canadian prairie novel His Royal Nibs (1925). The non-fiction pieces Eaton published in [Conkey]'s Home Journal and the Metropolitan Magazine, like those previously discovered in Ladies' Home Journal and other women's magazines from the late 1890s and early 1900s, provide valuable background on Eaton's sources and her preconceptions about Japanese life and culture. The stories from Red Book and Blue Book, in contrast, flesh out the middle portion of Eaton's career, when she appeared to leave behind the Japanese romance genre, turning to what [Diana Birchall] calls \"diversionary fare\" (107). All of these stories, set in Japan and treating the by-now conventional theme of cross-cultural romance, may have capitalized on the success of Tama (1910) and The Honorable Miss Moonlight (1912); however, the fact that Eaton placed her two stories with Red Book before the publication of Tama would suggest otherwise. They are also quite different in style and tone. According to Birchall, Tama, Eaton's \"most somber book\" (105), and The Honorable Miss Moonlight, a \"sad story\" (106), reflect Eaton's sorrow at the death of her son and the disintegration of her marriage. Yet \"The Marriage of Okiku-San\" (1910) is an uproariously comic treatment of a Japanese girl espousing early-twentieth-century American feminist ideals, while \"The Marriage of Jinyo\" (1912) tells a similar story, but from the perspective of a young Japanese man educated in America. These stories show that Eaton continued to be hopeful during this dark period of her life. They also demonstrate that during this part of her career, Eaton had become almost exclusively a writer for the \"women's magazines.\" Good Housekeeping, in which she published \"A Neighbor's Garden, My Own, and A Dream One\" in 1908, and Redbook are now known, of course, as grocery-line fare. She would publish in a \"national\" American magazine just once more, in 1915, when her autobiography, Me, was published in the Century.(5) (2). Other stories and articles whose titles, at least, were previously known include \"Prince Sagaritsu's Patriotism\" and \"The Half-Caste,\" which are pasted into an early scrapbook belonging to Eaton held at the Winnifred Eaton Reeve Fonds in Calgary, Alberta, \"The Story of Ido,\" \"The Pot of Paint,\" \"Tokiwa,\" \"The Bride of Yonejiro,\" and the novel Miss Spring-Morning.