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| List of Figures | |
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| Acknowledgments | |
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| Historical Periods | |
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| The Order of Here-and-Now: Ancient, Medieval, and Early Modern Japan (to 1868) | |
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| In Spring the Cherry Blossoms | |
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| Change and Nature | |
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| Japanese Poetics and a First Consideration of Animism | |
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| Utsusemi, the Cicada's Shell | |
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| Hakanasa and mujo | |
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| Anitya in a World of Spontaneity | |
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| Life as It Seems, Nagarjuna's Emptiness | |
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| Shukke: Leaving the World | |
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| Success and Failure | |
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| The Transcendental Order / the Order of Here-and-Now | |
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| Zen, kata, and the Noh Theater | |
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| Hedonism | |
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| Matsuo Basho, Permanence and Change | |
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| Mono no aware: The Sadness of Things | |
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| Protocol and Loyal Retainers | |
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| Inner and Outer, and the Expanding Context of Modernity | |
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| Monstrosity | |
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| Change under the Transcendental Order: Late Modern Japan (1868-1970) | |
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| The Colonial Context: Adapt or Die | |
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| Explaining Japan: Linking Here-and-Now with the New World Order | |
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| Japan as Bushido | |
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| Japan as Tea-Ism | |
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| Japan as Erotic Style | |
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| In the Margins of Empire-the Rape of Nanking | |
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| Other Horrors of Life on the Margins | |
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| Kamikaze | |
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| The A-Bomb, and a New Kind of Nothing | |
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| Occupation: Radical Change as Salvation | |
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| Decadence, Moving Away from Form | |
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| To Live! | |
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| Nihil versus Nothingness | |
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| Higashiyama Kaii: Embracing Passivity | |
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| Return to Evanescence: Contemporary Japan (1970 to the Present) | |
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| Fashion, and the Joy of Evanescence | |
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| Postmodernism and a Cherry Blossom Refrain | |
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| The End of the World | |
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| Nausicaa and the Cicada-Shell World | |
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| Seeking but Never Finding | |
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| Anima, Anime, and Animism | |
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| Conclusion | |
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| Glossary of Important Terms | |
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| Notes | |
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| Works Cited | |
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| Index | |