1	The ‘feeling of things’: Pillow Book, sections 126-185 October 17, 2002
2	All kinds of things Beautiful, hateful, adorable, surprising, embarrassing– a whole world of “things” Response to things, people and events Pleasure in things Clothes: they don’t conceal, they reveal The symbolism of things
3	Communication Speaking through things (gifts, tokens) Plum blossoms Snow A bit of seaweed Exchanges Competitions
4	Conversing in Poetry Particularly dense language Dense with allusion (memory of previous poetry) Socially dense (messages are presumed to be about their utterers)
5	Communicative Triumphs: conversation as a strategy game
6	Having the last word Competition ‘I understand you, you don’t understand me’ Men and women Servants and masters The rewards
7	Shonagon as player and judge An ecology of meaning An utterance is a move All players are simultaneously judges too Standards of reference: prior moves, the usual and expected moves, ideals from fiction The limits of the game Grace and favor
8	Role play Empress Sadako’s forced retirement Intrusion of tragedy into the world of beautiful surfaces? Sei Shonagon’s exile from the (exiled) empress’s court How the part of the neglected woman should be played (section 112) Aesthetic fatalism?
9	Transgressions Writing as an experiment with boundaries, with rank, with autonomy Compare section 62: “A man snatches a letter…” Section 51: “I was most vexed at the idea that all those gentlemen had been sitting in judgment on me without my knowledge.”
10	The Tale of Genji, chapter 51 Nakanokimi: "It's not good manners to look at private notes between women." "You really must let me see them," said Prince Niou. "What might it be like, I wonder, a letter from one woman to another?"
11	“I still regret” Section 184: “This notebook of mine happened to be lying on the mat, but I did not notice it in time. I snatched at the book… but the Captain instantly took it off with him…” Section 185: “Everything that I have seen and felt is included…. I was careful to keep my book hidden. But now it has become public, which is the last thing I expected.”
12	(My) life as (my) art Sei Shōnagon’s role as narrator The games of description, narration (history), evaluation: all prescribed in courtier’s role Autobiography: not prescribed in that role (your social “score” should suffice for that) The book as substitute for the body It goes where the female body can’t go Regret and renown
13	One judgment “So we have Sei Shōnagon, who left this world, bequeathing only her carefree laughter and ready wit on that splendid paper she received from Empress Teishi. The Pillow Book is truly, and through and through, the legacy in prose of ‘a skilled performance.’ How many tears of blood did she shed over its pages?– no one can sneak a peek inside the bamboo blinds of a thousand years ago.” – Ogino Ayako (1991), cited in Edith Sarra, Fictions of Femininity (1999).
14	And another “Leaving out nothing that was charming, full of pathos, impressive, or splendid, she wrote in minute detail about everything having to do with the magnificent flowering that was Empress Teishi’s reign, yet it seems she was prudent to the point that she said nothing at all about the ruin brought on by the death of Michitaka and the exile of Korechika. Perhaps because she had lost her most reliable patrons, she went off to stay in the countryside with her wet-nurse’s daughter. Someone glimpsed her going out into the fields to dry some sort of greens and muttering to herself: ‘It’s the figures wearing those court robes I cannot forget.’ She was wearing a plain robe and a headcloth of rags. So sad! Truly, how she must have longed for the past.” – Mumyōzōshi (The notebook without a name; ca. 1200), cited in Sarra (1999)