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Fishing in the Sea of Greed . Directed by Anand Patwardhan. 1998. 44:18 minutes.

thus becomes much more than Makiko's story; it is a "household diary." In the section on continuities, Walthall points out that Makiko's early difficulty in becoming pregnant was not the crisis we might have expected, because her crucial role was home management, not rearing children. If she failed to give birth, an heir could be adopted. At the same time, Walthall notes in a later section, Makiko's activities—taking excursions, planning menus, visiting theaters, gardens, and relatives—do not differ greatly from those of a woman of her class in the United States at the same time. One of Makiko's greatest delights lies in Plath's eye for whimsical or colorful stories. His comments about the propensity for calling servers in Western-style restaurants "boy-san," whether they were male or female, highlights one of the themes of the video: the unending preoccupation of Kyoto's merchant class with the onrush of Western-oriented modernity. So does the long segment on Makiko's serious row with a Mr. Moriguchi who became angry when she served him Western food, yelling that he would not "touch the stuff!" She cried herself to sleep that night, wrote about it continually for nearly a week, even wished for death over the humiliation—then never mentioned it again. The episode reveals complex layers of experience and meaning, and ought to provoke a similarly lively discussion in the classroom. Asian-oriented scholars have begun, thankfully, to focus more on the classroom in recent years, to give the teaching of both graduates and undergraduates the attention it should have received decades ago. Makiko's New World is an example of the kind of nuanced, graphic, and understandable materials this new approach can give us. It makes the daily world of a rather ordinary Meiji woman accessible to students at all levels, without resorting to cliches or sacrificing analysis.