Impressionists" (p. 59). Chieko's paintings were famous due to her husband's success as a poet; Takamura Kotaro (husband) characterized Chieko in his poetry as a savior who turned into a madwoman, as published in Chieko-sho in 1941. Kotaro described Chieko as an "eternal lover rather than a wife . . . womanliness in its entirety . . the muse who inspires in a divine way" (p. 65). Within this context it was concluded that Chieko was sacrificed for Kotaro and this resulted in madness, which provided her with liberation. Birnbaume presented the conclusion that Kotaro failed to understand that "a person does not go mad all alone . . . the person closest brings about a mutual process of osmosis, and the mind that cannot stand this tension . . . creates another closed world . . . to survive" (p. 67). This conclusion was not supported by evidence and reflects author-bias.
Birnbaume then presented Yanagiwara Byakuren, a poet. This writer was reported to have provided a mistress for her husband prior to leaving him for a young lover (Miyazaki Ryusuke). According to Japanese law, "a married woman and her lover can be imprisoned for adultery" (p. 107). The writer went a step further and announced her divorce intent in the newspapers, in an effort to gain support which would prohibit her husband from filing charges against her. This announcement was met with condemnation from others with death threats and protests against immorality. Byakuren wrote Fruit of Thorns, a best-selling novel about her childhood and her marriages. Byakuren crusaded against war following the death of her son prior to the ending of World War II. Byakuren's daughter told Birnbaume that her mother maintained her "childhood f
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