This bundle is your gateway to the Edo era (1603–1867). The 江 essay deeply explores the carpe diem mentality, ukiyo-e (artwork), the constant fires, the traits of Edokkos (Edo natives), Edo script, and much more. The 頃 essay portrays the period as the golden age of kabuki, comic poetry, rakugo (stories), sumo, and street performances, also illuminating the term "Big Edo." By contrast, the 埼 essay spotlights "Little Edo" (Kawagoe in Saitama) with its historic buildings and a museum depicting the lives of Edo merchants. Finally, the 栃 essay mentions a cultural theme park that re-creates the Edo era.

In the Edo era (1603–1867) the aesthetically aware Japanese began using 粋, a word representing a delicate sense of beauty. Though 乙 as "stylish" conveys something quite similar, only 粋 drives the phrase 江戸の粋 which could translate as "spirit or sophistication of Edo culture" or "understated stylishness." The 浮 essay showcases woodblock prints (which portrayed daily life, scenes in history, kabuki actors, sumo wrestlers, landscapes, erotica, and more), exploring their connection to people's hedonism. And the 賂 essay presents Edo as a hotbed of bribery. Edo residents may have viewed bribes as virtues, not vices!

During the Edo era (1603–1867), most houses were made of wood and paper, topped by thatched roofs and crowded together in cities, so fires frequently erupted, particularly in Edo. The 拍 and 瓦 essays show which measures people took as a result. Citizens patrolled neighborhoods, calling out "Beware of fire!" And Edo residents embraced ceramic roof tiles, complying with new government regulations. The other two essays show where regular folks spent their days—at barbershops and public bathhouses—both doubling as gathering places. In Edo, bathhouses also became closely associated with prostitution.

Helping a distressed animal should reap big karma points, and most folktales in this bundle reflect that view—but not all do. One man obeys an entreaty to treat animals better and finds himself handsomely rewarded. In "The Magic Tea Kettle," told here bilingually, a tanuki goes to great lengths to reward a good Samaritan with wealth. Another folktale has a similar ending, but despite a woodcutter's kindness to an injured sparrow, the old man is still tested. A final story stands as an anomaly; Taro Urashima aids a turtle and ends up punished with sudden-onset old age.

Anxiety about food scarcity bedeviled Japan for centuries. Accordingly, some folktales reflect deep concerns about starvation. In "The Stone Potatoes" (told bilingually here), someone disguised as a filthy priest begs a woman for potatoes, only for her to hoard her stash. "A Human Sacrifice in Kamashita" (presented bilingually here) depicts the gravity of having floods repeatedly destroy crops. Another essay refers to the same folktale, showing why the name "Kamashita" must have terrified people. A final essay in this collection argues that Japanese folktales often convey philosophy rather than lessons, which sheds light on the two stories.

As this bundle shows, folktales about vengeance satisfy a human craving for justice. One depicts a spurned woman, Kiyohime, whose love turns to hatred and then to homicide. Another reflects a power imbalance between a would-be rapist and his female servant, Okiku. If one sees her as having the final say, that's salve for anyone who has felt powerless. In "Kachikachiyama," a rabbit punishes a wicked tanuki, fulfilling a universal longing for good to defeat evil. The story of Momotaro's battle may reflect a desire for justice on an international scale; the folktale could symbolize struggles between Japan and Korea.