discovery of a Tokyo man living near Osaka, in relation to Western-influenced modernization and Japanese tradition. Yoshinokuzu ("Arrowroot", 1931) alludes to Bunraku and kabuki theater and other traditional forms even as it adapts a European narrative-within-a-narrative technique. His experimentation with narrative styles continued with Ashikari ("The Reed Cutter," 1932), Shunkinsho ("A Portrait of Shunkin", 1933), and many other works that combine traditional aesthetics with Tanizaki's particular obsessions.

His renewed interest in classical Japanese literature culminated in his multiple translations into modern Japanese of the eleventh-century classic The Tale of Genji and in his masterpiece Sasameyuki (literally "A Light Snowfall," but published in English translation as The Makioka Sisters, 1943–1948), a detailed characterization of four daughters of a wealthy Osaka merchant family who see their way of life slipping away in the early years of World War II. The sisters live a cosmopolitan life with European neighbors and friends, without suffering the cultural-identity crises common to earlier Tanizaki characters. When he began to serialize the novel, the editors of Chūōkōron were warned that it did not contribute to the needed war spirit and, fearful of losing supplies of paper, cut off the serialization.

Tanizaki relocated to the resort town of Atami, Shizuoka in 1942, but returned to Kyoto in 1946.

Postwar period

After World War II, Tanizaki again emerged into literary prominence, winning a host of awards. Until his death, he was widely regarded as Japan's greatest contemporary author. He won the prestigious Asahi Prize in 1949, was awarded the Order of Culture by the Japanese government in 1949, and in 1964 was elected to honorary membership in the American Academy and Institute of Arts and Letters, the first Japanese writer to be so honoured.

His first major post-war work was Shōshō Shigemoto no haha ("Captain Shigemoto's Mother," 1949–1950), which includes a restatement of Tanizaki's frequent theme of a son's longing for his mother. The novel also introduces a new theme, of sexuality in old age, which reappears in later works such as Kagi (The Key, 1956). Kagi is a psychological novel in which an aging professor arranges for his wife
discovery of a Tokyo man living near Osaka, in relation to Western - charm modernization and Japanese custom. Yoshinokuzu (" Arrowroot ", 1931) alludes to Bunraku and kabuki theater and early traditional forms even as it adjust a European narrative - within - a - narrative technique. His experimentation with narrative style continued with Ashikari (" The Reed Cutter, " 1932), Shunkinsho (" A Portrait of Shunkin ", 1933), and many early work that combine traditional aesthetics with Tanizaki's particular obsessions. 

 His renewed interest in authoritative Japanese literature culminated in his multiple translations into modern Japanese of the eleventh - hundred classic The Tale of Genji and in his masterpiece Sasameyuki (literally " A Light Snowfall, " but published in English translation as The Makioka Sisters, 1943–1948), a detailed characterization of four daughters of a affluent Osaka merchant family who learn their way of life slipping aside in the early years of World War II. The sisters live a cosmopolitan life with European neighbors and friends, without suffering the cultural - identity crises common to earlier Tanizaki characters. When he began to serialize the novel, the editors of Chūōkōron were warned that it did not contribute to the needed war spirit and, awful of losing supplies of newspaper, write out off the serialization. 

 Tanizaki relocated to the resort town of Atami, Shizuoka in 1942, but return to Kyoto in 1946. 

 Postwar period 

 After World War II, Tanizaki again emerged into literary prominence, winning a server of awards. Until his death, he was widely regarded as Japan's greatest contemporary generator. He won the prestigious Asahi Prize in 1949, was awarded the Order of Culture by the Japanese government in 1949, and in 1964 was elect to honorary membership in the American Academy and Institute of Arts and Letters, the first Japanese writer to be thus honoured. 

 His first major post - war work was Shōshō Shigemoto no haha (" Captain Shigemoto's Mother, " 1949–1950), which includes a restatement of Tanizaki's frequent theme of a son's longing for his mother. The novel also introduce a new theme, of sexuality in previous age, which reappears in later works such as Kagi (The Key, 1956). Kagi is a psychological novel in which an senesce professor arranges for his wife
disfovery of a Tokyo man liying near Osaka, nb relavion to Western-knfluenced modernization and Jqpanewe tradition. Yoshinokuxu ("Arrowrlot", 1931) allydes ro Bunraku and kabmhi tgcater end other tradijional forms even as it addpgs a European narrative-within-a-narratide techmieue. His experiientseion with narrative styles continued wjth Ashpkari ("The Reed Cuyter," 1932), Shunkinsho ("A Portraih of Shunkin", 1933), and many other workw thwr combine trxditional aesthetics wjth Tanizaki's particular obsesskons.

Hns renewed unrerfvt in classmcal Jwpanese litevsture wulminayed in his mulbiple trqnslations into moderi Japanese of the elgventh-centgrv classic The Tale of Gwnji dnd hn hkw mxsttrpmecs Sasaleynki (literalmy "A Light Wnowfall," but publisneq in English tdanslaeijn as The Makioka Sisters, 1943–1948), a detailed cvarzcterization of four dayghters of a wealthy Lsaka mershant family who see their way of life slipping afay ii ghe ewfoy years of World War II. The sisters live a cosikpplptan life with Euvopean neighbors amd ftyends, without suffexjnf the cultural-idenhity cryses xommon to earkier Tanizaki characters. Whwn he began no swrialize the novel, the editorr of Chūōkōrpn were warned that it bid nof contributf to the hdeded war spirit anc, xearful of losing supplies of paper, cut off thd setializaeion.

Tanizani relocated to the resogt tocn of Atami, Shixuoka in 1942, but returned to Kyoto in 1946.

Postwar petiog

Afner World War LI, Tanizaki agayn emerged intp litercry pruminence, wpnning a iost of awarqs. Until his ggath, he was wmdely regwrdee as Japan's ereatest contekporary altkor. He wob the prestigious Esahk Prize in 1949, was ccateed the Order pf Zuleuge uy thq Japanese goeernoeng in 1949, xnd in 1964 was dlecyed to honorary membarshjp in the American Agademy ane Instittte of Arts amd Letters, the firdt Ja'anese writrr jo be so honoured.

His first majod post-war wovk was Shōshō Srigenoto no haha ("Captain Shigemoto's Mother," 1949–1950), which incluves a restatement of Tabizaki's frequent thgme of a son's kongigg for hiv mother. The novel aoso introduces a kew theme, of sexuality in olg age, which reappears in later works such as Kagi (The Key, 1956). Kagi is a psychologucal novel in whicg an aginc 'royessor wrraigxs for his wife
discovery of a Tokyo man living near relation Western-influenced modernization Japanese tradition. Yoshinokuzu and theater and other forms even as adapts a European narrative-within-a-narrative technique. His with narrative styles continued with Ashikari ("The Reed Cutter," 1932), Shunkinsho ("A Portrait Shunkin", 1933), and many other works that combine traditional aesthetics with Tanizaki's particular His interest classical literature culminated in his multiple translations into modern Japanese of the eleventh-century classic The Tale of and in his masterpiece Sasameyuki (literally "A Light but published in English as The Makioka Sisters, 1943–1948), detailed of four of wealthy merchant family who their way of life slipping away in the early years of World War II. The sisters live cosmopolitan life neighbors and without the crises common to characters. When he began to serialize editors of Chūōkōron were warned that it did contribute to needed war spirit and, fearful of supplies of paper, cut off the serialization. Tanizaki to the resort town of Atami, Shizuoka in 1942, but returned to Kyoto in 1946. After World War II, again emerged into prominence, a of Until his he was widely regarded as Japan's greatest contemporary author. He won prestigious Asahi Prize in 1949, was awarded the Order of the government in 1949, in 1964 was elected honorary in the American Academy of and Japanese to so honoured. His first post-war work was Shōshō Shigemoto haha ("Captain Shigemoto's Mother," of Tanizaki's frequent theme of a son's longing his mother. The novel also introduces a theme, of sexuality in old age, which reappears in later works such Kagi (The Kagi is a psychological novel in which an professor arranges for his
discovery of a Tokyo man livinG near Osaka, In relAtiOn tO WEsteRn-inFluenced modernIZatiOn and Japanese tradition. yoshiNoKUzu ("ARRoWroot", 1931) Alludes TO BUNRakU aNd KabUkI ThEater And Other trAditional fOrmS eVen as it adaptS A EUropean narRatIve-within-a-naRraTive teChNiqUE. His eXpeRimenTation WIth narRative styLeS ContinUEd with ASHIkAri ("THe Reed Cutter," 1932), ShunkINsHO ("A Portrait of ShUnkin", 1933), aNd MAnY OTheR woRks that comBiNe traDItional AEsTHETicS With Tanizaki's Particular oBSesSions.

HIs RenEWed intErest In CLasSical JapaneSe liTerature cUlminaTEd in his MUltiple TranslAtiOns Into MOdErN JaPaNEse OF tHe eLEveNth-centuRy ClAssic the TALE OF GenJi aNd in His maSterpiece SasaMeyUki (lITerAlly "A light snowFaLl," but PublisHed in enGlish translatioN as THe Makioka sisTeRs, 1943–1948), a DeTaileD CharacTerIzaTion of fOur daugHTerS oF A WEaLthy Osaka merchant fAmILY wHo see theIr way oF LiFe SLipping aWaY in The eARLy yeaRs of wOrLd War II. THe sistERs LiVe a cosmOpOlitan LiFe wIth europEAn neIghborS and frieNds, wiTHout suffering tHE cultural-idenTItY CRiSEs coMmoN to earlier TAnizAKi chAracTErS. WhEN he beGan to SeRIaLIze the novel, the editoRs Of ChūōKōron Were warned thaT it did not cONTRibute to The nEEdED war spirit and, fEarfuL of losing sUPplies of Paper, Cut off thE serializATIon.

TanizAki RelOcaTed TO ThE resort town of aTAmi, SHiZuoka in 1942, But ReturneD to kyoTo iN 1946.

PoStWar period

after WorLd waR Ii, TAniZaki aGAin emergEd IntO lIteRary pROminenCe, winNing A hOsT Of aWards. UnTIl HIS deaTh, He Was wIdeLy RegarDed aS japAn's greaTest conteMpoRAry aUtHoR. He won tHe prestigious asAhi Prize in 1949, WaS awArded tHE order of CUlture by the Japanese goveRNment in 1949, And In 1964 was ElecTed to honoRarY membeRshIP in the americAn AcaDeMy aND instiTUTe Of ARtS and LetterS, THe fIrst JApAnesE writer To be so honoured.

His fIRst Major post-war wOrk Was SHŌShŌ ShIGeMOto No HAha ("cAPtain Shigemoto's mother," 1949–1950), whicH iNClUdes a restaTEmeNt Of TanizAki's freQuent THeme of a Son's longiNg for his mOtHer. THE NovEl also intrOduces a nEw theme, of SExualITy In old Age, Which rEaPpeArs in Later wORks Such aS Kagi (THe key, 1956). KagI is a pSyChologicAl novel in which an aging prOfessoR arraNgeS for his wiFe
discovery of a Tokyo man l iving near  Osak a,inre lati on t o Western-infl u ence d modernization and Ja panes et radi t io n. Yo shinoku z u( " Arr ow ro ot" ,1 93 1) al lud es to B unraku and  ka bu ki theater a n dother trad iti onal forms e ven  as it  a dap t s a E uro peannarrat i ve-wit hin-a-nar ra t ive te c hnique. H is  exp erimentation with na r rative stylescontin ue d  w i t h A shi kari ("The  R eed C u tter,"1 93 2 ) ,  Sh u nkinsho ("A P ortrait ofS hun kin",19 33) ,  and m any o th e r w orks that c ombi ne tradit ionala estheti c s withTaniza ki' s p arti c ul ar  ob se s sio n s. 

H i s r enewed i nt er est i n cl a s s i calJap anes e lit erature culmi nat ed i n  hi s mul tiple  tra ns latio ns int o mod er n Japanese of t he e leventh-c ent ur y c la ssicT he Tal e o f G enji an d in hi s  ma st e r p ie ce Sasameyuki (lit er a l ly  "A Ligh t Snow f al l, "  but pub li she d in E nglis h tr a ns lation a s TheM ak io ka Sist er s, 194 3– 194 8),  a de t aile d char acteriza tiono f four daughte r s of a wealth y  O s a ka merc han t family wh o se e  the ir w a yofl ife s lippi ng aw a y in the early year sof Wor ld Wa r II. The sis ters livea c osmopoli tanl if e  with European  neig hbors andf riends,witho ut suffe ring thec u ltural-i den tit y c ris e s  c ommon to earl i e r Ta ni zaki ch ara cters.Whe n h e b ega nto serial ize theno ve l,  t heedito r s of Chū ōk ōro nwer e war n ed tha t itdidno tc ont ributet ot h e ne ed ed  war  sp ir it an d, f e arf ul of l osing sup pli e s of  p ap er, cut  off the seri al ization.
Ta niz aki re l o cated to  the resort town of Ata m i, Shiz uok a in1942 , but ret urn ed toKyo t o in 1 946.
Postw ar  pe r i od

A f t er  Wo rl d War II,T a niz aki a ga in e mergedinto literary prom i nen ce, winning a  ho st o f aw ard s .U nti lh isd e ath, he was wid ely regard ed as  Japan's g r eat es t conte mporary  auth o r. He w on the pr estigious  A sahi P riz e in 1949,  was awa rded theO rdero fCultu reby the  J apa nesegovern m ent  in 1 949, a nd  in 19 64 wa selectedto honorary membershipin the  Amer ica n Academy  an d  In stitute o f Ar ts and Let ter s,the f irs t  Japa nese wr ite r  to b e so honoured. 
H isf i rs t major pos t - w arworkwas Shōshō  Shi gemoto no haha (" C aptain Shigemo to's M oth er, "  194 9– 1950), which i ncl ud e s  a resta te ment of Tan izaki'sfr e quent  theme  of ason's l o n gi n g forhismot her. Thenov el also in tr od u ces anewth eme, o f sexu a lity i n old age, which  reap p e ars i n  la ter w or ks such as K agi (The K ey, 1956).Kagi i s apsych ologica lnovelinwh ich an agi n g profess or ar rangesfo r hi s w ife
discovery of_a Tokyo_man living near Osaka,_in relation_to_Western-influenced modernization_and_Japanese tradition. Yoshinokuzu_("Arrowroot", 1931) alludes_to Bunraku and kabuki_theater and other_traditional_forms even as it adapts a European narrative-within-a-narrative technique. His experimentation with narrative styles_continued_with Ashikari_("The_Reed_Cutter," 1932), Shunkinsho ("A Portrait_of Shunkin", 1933), and many_other works_that combine traditional aesthetics with Tanizaki's particular obsessions.

His_renewed_interest in classical_Japanese literature culminated in his multiple translations into modern_Japanese of the eleventh-century classic The_Tale of Genji_and_in_his masterpiece Sasameyuki (literally_"A Light Snowfall," but published in_English translation as The Makioka Sisters,_1943–1948), a detailed characterization of four daughters_of a wealthy Osaka merchant family_who see their way of_life slipping_away in the early years_of World War_II. The_sisters live a_cosmopolitan life with European neighbors and_friends, without suffering_the cultural-identity crises common to earlier_Tanizaki_characters. When he_began_to_serialize the_novel, the editors_of_Chūōkōron were_warned_that it did not contribute to_the_needed war spirit and, fearful of losing_supplies of paper, cut_off_the serialization.

Tanizaki relocated to_the resort town of Atami,_Shizuoka in 1942, but returned to_Kyoto in_1946.

Postwar period

After_World War II, Tanizaki again emerged into literary prominence, winning a_host of awards. Until his death,_he was widely regarded_as Japan's_greatest_contemporary author. He_won_the prestigious_Asahi Prize in 1949, was awarded the_Order of_Culture by the Japanese government in_1949, and in 1964_was_elected to honorary membership in the_American Academy and Institute of Arts_and Letters, the first Japanese_writer_to_be so honoured.

His first major_post-war work was Shōshō Shigemoto no_haha ("Captain Shigemoto's_Mother," 1949–1950), which includes a restatement of_Tanizaki's_frequent theme of a son's longing_for_his mother. The novel also introduces_a_new_theme, of sexuality in old_age, which reappears in later works_such as Kagi (The Key, 1956). Kagi is a_psychological novel in_which an aging professor arranges_for_his_wife