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Yumeno’s Dogura magura is representative of this “early science fiction”—a group of texts dealing with science and sf tropes before the introduction of the American sf genre in the 1950s.4 The strange title of the novel, according to both critics and the text itself, means “trickery” in Nagasaki dialect (Williams 190). Because of its enormous length—1500 pages in manuscript form—Yumeno published the novel from Shôhakukan with his own funds. It narrates a tale about a paranoid mental patient who is told by two psychologists, Masaki and Wakabayashi, that he may be a murderer named Kure Ichirô. The patient searches for his identity throughout the novel, and in the end, he discovers that not only is he Ichirô, but he is also a fetus dreaming inside his mother’s womb. - Miri Nakamura Yumeno Kyūsaku is known for his science fiction, mystery, and fan- tasy. His representative work is Dogura magura (1935), a magnum opus that took him ten years to write and features an amnesiac experiencing “a sort of hell inside the brain” (nōzui no jigoku)2 in a mental hospital where he becomes implicated in a series of past crimes that may or may not have anything to do with him. The first-person sustained soliloquy and the use of the epistolary form are trademarks of Yumeno’s style, both of which he uses with sophistication in “Hell in a Bottle.” In addition to that, Yumeno is fascinated with enclosed and contained space: a solitary cell in an insane asylum, a desert island, a letter inscribed with abject desire andsuffering tucked in a bottle like a genie or a fetus in a womb.3 His stories feature a space sealed off from the rest of the world physically and tem-porally, a world governed by its own rules in every aspect and challenges conventional understanding of normality. “Hell in a Bottle” portrays the eerie perfection of that world when the internal rules work, in contrast to the grotesque and unsalvageable breakdown of that world when it comes in contact with external reality. The beauty and abundance of the tropical desert island where the shipwrecked brother and sister mature physically to commit incest is both Eden and Hell, utopia and dystopia, while the well-nourished, lustrous bodies of the siblings tormented by a dark guilt are a microcosm of that duality that embodies endless creative energy and self-destructive force. - Yiu, Angela