Mitsuharu Kaneko

1.1. Childhood and Education

Kaneko was born Kaneko Yasukazu (金子安和_{Kaneko Yasukazu}^Japanese, later known as Kaneko Yasukazu, 金子保和_{Kaneko Yasukazu}^Japanese) in Tsushima, Aichi, in a family involved in the liquor business. When he was two years old, his biological father's business failed, leading the family to relocate to Nagoya. At the age of two, he was adopted by Kaneko Shotaro (金子荘太郎_{Kaneko Shōtarō}^Japanese), who was then the head of the Nagoya branch of Shimizu Corporation. Although his adoption provided him with a more affluent upbringing, the traditional atmosphere of his new home and the presence of his sixteen-year-old adoptive mother contributed to a mentally unstable and melancholic adolescence.

In 1900, his adoptive father was transferred to Kyoto, where Kaneko began his schooling at Dōda Jinjō Kōtō Shōgakkō (Dōda Elementary School). In 1906, the family moved to Ginza, Tokyo, where he attended Taimei Elementary School. Around this time, he received a baptism at a Christian church in Ginza. He also began studying Japanese painting under the ukiyo-e artist Kobayashi Kiyochika. In 1907, the family moved to Ushigome, and Kaneko transferred to Tsukudo Elementary School. That same year, he attempted to run away to the United States with a friend but was caught and brought back. This period of wandering led to a decline in his health, confining him to bed for several months.

In April 1908, Kaneko enrolled in Gyosei Junior High School. He developed a keen interest in Chinese literature, particularly the philosophies of Laozi and Zhuangzi, as well as Edo period literature. During his second year, he embarked on a walking tour across the Bōsō Peninsula. Despite an excellent first-year performance, his grades declined due to his rebellion against the school's strict ethos, leading to him repeating a year. Around this time, he shifted his interest to modern literature and aspired to become a novelist, even publishing a literary magazine with his classmates.

In April 1914, he entered the preparatory course for literature at Waseda University, but he found it difficult to adapt to the prevailing atmosphere of Naturalism. Instead, he was influenced by authors like Oscar Wilde and Mikhail Artsybashev. He eventually dropped out of Waseda in February 1915 and enrolled in the Japanese painting department at the Tokyo School of Fine Arts (now Tokyo University of the Arts), only to withdraw in August. In September, he entered the preparatory course for the Faculty of Letters at Keio University. He later recalled this period of his life as one where "everyone treated me as a madman." He took a three-month leave of absence due to apical catarrh and left Keio in June 1916. During this time, he befriended the Hoizumi brothers, Ryōsuke and Ryōshin, which inspired him to begin writing poetry. He immersed himself in the works of poets such as Charles Baudelaire, Kitahara Hakushū, and Miki Rofū. In July, he co-founded the literary magazine 構図_Kōzu^Japanese (Composition) with Yuji Ishii and Tetsunosuke Koyama, though it ceased publication after two issues. He also passed his conscription examination with a Class C rating.

1.2. Early Travels and Influences

In October 1916, Kaneko's adoptive father passed away, and he divided the inheritance with his adoptive mother. In 1917, he moved to Akagimotomachi, Ushigome. His dissolute lifestyle continued, marked by "aimless" travels to Gifu Prefecture, Kansai region, and Fukue Island. He co-published the magazine 魂の家_{Tamashii no Ie}^Japanese (House of Soul) with Tatsuo Nakajō, which ran for five issues. Influenced by Walt Whitman and Edward Carpenter, he attempted to work in a mine, but the venture failed. In December, he embarked on a study trip to Europe with a friend of his adoptive father. Shortly before this, he had his debut poetry collection, 赤土の家_{Akatsuchi no Ie}^Japanese (Red Clay House), published by Reibunsha in January 1919.

After the publication of his first poetry collection, Kaneko arrived in Liverpool, United Kingdom. From there, he traveled to London and then to Brussels, Belgium, where he parted ways with his companion and settled in the suburbs of Brussels. He received generous hospitality from Ivan Lepage (イヴァン・ルパージュ_{Ivan Lepage}^Japanese), a Japanophile and collector of Japanese crafts. During this period, he engaged in quiet reading and was deeply influenced by the poetry of Émile Verhaeren. In May 1920, he left Brussels for Paris, and in December, he boarded a ship in London to return to Japan, arriving in January 1921.

Upon his return from over two years of travel in Europe, Kaneko published poetry in literary magazines such as 人間_Ningen^Japanese (Human) and 嵐_Arashi^Japanese (Storm). He also collaborated with Hiromitsu Ōyama, Hachirō Satō, and Imao Hirano on the poetry magazine 楽園_Rakuen^Japanese (Paradise), which ran for three issues. He began revising the poems he had written in Belgium, publishing them in July 1923 as the poetry collection こがね虫_Koganemushi^Japanese (Japanese Beetle). The publication celebration was attended by notable literary figures including Yaso Saijō, Ippō Yoshida, Jun Ishikawa, Saisei Murō, and Kōjirō Fukushi.

2.1. Poetry

Kaneko's poetic works are central to his legacy, evolving from early explorations to powerful anti-war and anti-establishment statements. His first poetry collection, 赤土の家_{Akatsuchi no Ie}^Japanese (Red Clay House), was published in 1919. This was followed by こがね虫_Koganemushi^Japanese (Japanese Beetle) in 1923. In May 1927, he co-authored the poetry collection 鱶沈む_{Fuka Shizumu}^Japanese (The Shark Sinks) with his wife, Michiyo Mori.

His most notable works include 鮫_Same^Japanese (Sharks), published in August 1937. In the preface to this collection, Kaneko famously wrote, "I do not intend to compose poetry hereafter, except when I am very angry, when I wish to despise someone, or when I wish to make fun of someone." This collection, along with others, became a vehicle for his critique of Japanese society and its political structures. He published 落下傘_Rakkasan^Japanese (Parachute) in April 1948 and 蛾_Ga^Japanese (Moth) in September of the same year. Other significant collections include 女たちへのエレジー_{Onna-tachi e no eregii}^Japanese (Elegies to Women, 1949), 鬼の児の唄_{Oni no ko no uta}^Japanese (Songs of a Devil's Child, 1949), 人間の悲劇_{Ningen no Higeki}^Japanese (Human Tragedy, 1952), 非情_Hijō^Japanese (Merciless, 1955), 屁のような歌_{He no yō na Uta}^Japanese (Songs Like a Fart, 1962), IL_IL^Japanese (1965), 若葉のうた_{Wakaba no Uta}^Japanese (Songs of Young Leaves, 1967), 愛情69_{Aijō 69}^Japanese (Love 69, 1968), and 花と空き瓶_{Hana to Akibin}^Japanese (Flowers and Empty Bottles, 1973).

During World War II, Kaneko actively resisted the prevailing pro-war sentiment and strict censorship. He developed sophisticated literary techniques, including metaphor, irony, and veiled language, to disguise his anti-war and anti-establishment messages, allowing his works to bypass government scrutiny. He referred to these techniques as providing a "key" that would unlock the true meaning of his poems for discerning readers. For instance, in his autobiography, 詩人 金子光晴自伝_{Shijin Kaneko Mitsuharu Jiden}^Japanese (Poet: Mitsuharu Kaneko's Autobiography), he explained that 鮫_Same^Japanese was a "forbidden book" that appeared harmless due to its elaborate disguise. He stated that poems like 泡_Awa^Japanese (Foam) exposed the atrocities of the Japanese military, 天使_Tenshi^Japanese (Angel) was a rejection of conscription and anti-war sentiment, and 紋_Mon^Japanese (Crest) was an analysis of Japan's feudal character. He acknowledged that from the government's perspective, such writings would warrant his suppression. He noted that his poems' perceived difficulty and his relatively new status as a writer helped him avoid being listed among "non-cooperative writers" by the military.

Another example of his disguised protest is seen in his poem 湾_Wan^Japanese (Bay). The preface to this poem quotes Hegel: "If there is a people resting in eternal peace, it can only be outside of corruption." Kaneko intentionally included this quote, which seemed to affirm the opposite of his true beliefs, as a "key" for readers to understand that the poem's content should be interpreted ironically or negatively. Researchers in 金子光晴研究 こがね蟲_{Kaneko Mitsuharu Kenkyū Koganemushi}^Japanese (Mitsuharu Kaneko Research: Japanese Beetle, No. 4) analyzed 湾_Wan^Japanese, suggesting that phrases like "For the conviction (slogan) that we must win, even a single swaying blade of grass must be mobilized" should be understood as an ironic critique of forced mobilization, rather than an endorsement. The "grass" itself can be interpreted as free individuals or even Kaneko himself, symbolizing resistance to compulsion. Critics argue that it would be unnatural for Kaneko, who risked his life writing anti-war poetry, to suddenly compose pro-war verses, suggesting that his use of metaphor and irony was a deliberate strategy to evade censorship by the Tokkō (Special Higher Police).

He also wrote the poem 戦争_Sensō^Japanese (War), which seemingly praises war, stating, "Children, isn't it truly joyful? That we were born into this war. Nineteen-year-old children and fifty-year-old fathers, wearing the same uniform, singing the same military song." This is another example of his ironic expression. When Tomio Sakuramoto claimed that Kaneko's poems 湾_Wan^Japanese and 洪水_Kōzui^Japanese (Flood) were pro-war, the Kaneko Mitsuharu Society countered this in 金子光晴研究 こがね蟲_{Kaneko Mitsuharu Kenkyū Koganemushi}^Japanese, arguing that such interpretations distort the true nature of his poetry by failing to understand his poetic methods and intentions. They provided detailed analyses of the poems, including their revisions and the context of the magazines in which they were published, to refute Sakuramoto's claims.

2.2. Essays and Autobiographical Works

Kaneko's prose writings offer deep insights into his life, philosophy, and societal views. His travelogues include マレー蘭印紀行_{Marei Ran'in Kikoh}^Japanese (Malay and Dutch East Indies Travelogue, 1940) and マライの健ちゃん_{Marai no Ken-chan}^Japanese (Ken-chan of Malaya, 1943).

His autobiographical works are particularly revealing. 詩人_Shijin^Japanese (Poet, 1957) provides a comprehensive account of his life. どくろ杯_Dokuro-hai^Japanese (Skull Cup, 1971) and ねむれ巴里_{Nemure Pari}^Japanese (Go to Sleep, Paris, 1973) delve into his personal experiences, with the latter vividly describing his struggles and survival in Paris during his travels. 西ひがし_{Nishi Higashi}^Japanese (West and East, 1974) further explores his reflections on different cultures.

After the war, he authored 人間の悲劇_{Ningen no Higeki}^Japanese (Human Tragedy) which reflected on post-war Japan and his own experiences. He also wrote 絶望の精神史_{Zetsubō no Seishinshi}^Japanese (A Spiritual History of Despair, first published as a Kappa Books title by Kōbunsha), which critically analyzed the modernization path of Japan since the Meiji Restoration and its tragic and cruel aspects. Other essays include 日本人について_{Nihonjin ni Tsuite}^Japanese (About Japanese People, 1959) and 日本の芸術について_{Nihon no Geijutsu ni Tsuite}^Japanese (About Japanese Art, 1959). In an essay titled 天邪鬼のうさばらし_{Amanojaku no Usabarashi}^Japanese (A Devil's Diversion), collected in either 反骨_Hankotsu^Japanese (Rebellious Spirit) or じぶんというもの_{Jibun to Iu Mono}^Japanese (That Which is Myself), he noted that contemporary anti-war movements sometimes exhibited a fervor reminiscent of wartime, reflecting his nuanced perspective.

2.3. Translation Activities

Kaneko was also an active translator, playing a role in introducing Western literary traditions to Japan. His translations include works by prominent European poets and writers. He translated Émile Verhaeren^French's poetry as ブェルハレン詩集_{Verhaeren Shishū}^Japanese (Verhaeren's Poetry Collection, 1925) and Maurice Leblanc^French's Le Fils du Tigre^French (The Tiger's Cub) from the Arsène Lupin series. He also translated Arthur Rimbaud's poetry, including Illuminations^French (イリュミナシオン_{Iryuminashion}^Japanese, 1999) and a general collection of Rimbaud's poems (1951). His other translations include Louis Aragon's poetry (1951), a complete translation of Charles Baudelaire's Les Fleurs du mal^French (The Flowers of Evil, 1952), and Paul Verlaine's フランドル遊記_{Flandre Yūki}^Japanese (Travelogue of Flanders, 1994). Beyond poetry, he translated Henri Fauconnier's Malaisie^French (Malaya) and The Last Days of the Emden^English. He also translated Hiroshi Yamakawa's 京都守護職始末_{Kyōto Shugoshoku Shimatsu}^Japanese (The Kyoto Shugoshoku Affair), a memoir by an elder of the former Aizu Domain.

4.1. Anti-War and Anti-Authoritarian Stance

Kaneko was a steadfast opponent of war, militarism, and authoritarian regimes throughout his life. His travels across Europe and Asia, particularly his observations of European colonies in Asia during his 1928 journey, deepened his understanding of power dynamics and human suffering, solidifying his anti-imperialist views. He expressed profound skepticism about Japan's continental expansion during his 1937 trip to northern China with his wife, Michiyo.

His resistance to the state was not merely intellectual but also deeply personal. When his eldest son, Ken, received a conscription notice in November 1944, Kaneko took drastic measures to prevent him from being sent to the battlefield. Knowing his son suffered from chronic bronchitis, Kaneko deliberately exposed him to rain to worsen his condition, thus securing a medical exemption from conscription. When a second conscription notice arrived in 1945, Kaneko personally intervened with officials, presenting a medical certificate to delay the conscription until the end of the war. This act exemplified his unwavering commitment to individual will and disobedience to the state.

During wartime, Kaneko continued to publish works that subtly resisted the pro-war climate. He employed sophisticated literary techniques such as irony, metaphor, and veiled language, to bypass strict government censorship and convey his true sentiments. He explained that his poems, like 鮫_Same^Japanese, were "thickly disguised" so that censors would not immediately grasp their critical content. He described his poems as having a "key" that, once understood, would reveal their anti-establishment and anti-war messages. For example, he stated that 泡_Awa^Japanese exposed military atrocities, 天使_Tenshi^Japanese was an anti-conscription and anti-war statement, and 紋_Mon^Japanese dissected Japan's feudal character. He believed that those who understood his intentions, or were familiar with his poetic style, would grasp the hidden meanings. Despite the severe suppression of speech during the war, he managed to survive and continue writing, attributing his success in part to the difficulty of his poetry and the tacit understanding of those who protected him.

4.2. Critique of Society and Modernization

Kaneko held a critical perspective on Japanese society, its modernization processes, and its political structures. His work often highlighted the negative impacts of these developments on individuals and society. His experiences abroad, particularly his observations of colonial rule in Asia, further fueled his critique of power and exploitation.

His later work, such as 絶望の精神史_{Zetsubō no Seishinshi}^Japanese (A Spiritual History of Despair), explicitly criticized Japan's modernization path since the Meiji Restoration, portraying it as a period of "misery and cruelty." He viewed the rapid changes and the rise of militarism as detrimental to human dignity and freedom. He believed that the country's feudal characteristics persisted despite outward modernization, contributing to a repressive social environment. Kaneko's essays, including 日本人について_{Nihonjin ni Tsuite}^Japanese (About Japanese People) and 日本の芸術について_{Nihon no Geijutsu ni Tsuite}^Japanese (About Japanese Art), further elaborated on his critical insights into Japanese culture and its artistic landscape. He consistently presented himself as an "anti-establishment" figure, using his art and writings to challenge prevailing norms and expose societal flaws.

5.1. Marriage and Family

Kaneko married Michiyo Mori (森三千代_{Mori Michiyo}^Japanese), a poet who aspired to be a novelist, in July 1924. Their marriage followed Michiyo's pregnancy, and they faced considerable financial hardship, often living a nomadic life. In March 1925, their eldest son, Ken (森乾_{Mori Ken}^Japanese), who later became a translator, was born. Kaneko supported his family through translation work, but their financial struggles persisted.

Their relationship was tumultuous. In 1926 and 1927, the couple spent several months in Shanghai, where they befriended figures like Lu Xun. During this period, Michiyo Mori became romantically involved with art critic Teiichi Hijikata (土方定一_{Hijikata Teiichi}^Japanese). To resolve the situation, Kaneko proposed a trip to Europe, a place Michiyo had longed to visit. He later reflected on this period, stating that his life in Japan had reached a dead end, compelling him to embark on this perilous journey. Their marriage was further strained by Kaneko's own affair with aspiring poet Reiko Ōkōchi (大河内令子_{Ōkōchi Reiko}^Japanese), which began around 1948. This led to a cycle of divorce and reconciliation with Michiyo Mori.

Kaneko's biological brother was the poet and novelist Taku Ooshika (大鹿卓_{Ōshika Taku}^Japanese). His brother-in-law, through his sister Suteko, was Mitsuru Kawano (河野密_{Kōno Mitsu}^Japanese), a member of the House of Representatives.

5.2. Travels and Personal Experiences

Kaneko's extensive travels were a defining aspect of his life, broadening his worldview and deeply influencing his social consciousness and international perspective. His first major journey to Europe began in December 1917, taking him to Liverpool, London, and Brussels, where he stayed for about a year and a half, immersing himself in Western art and literature. He then moved to Paris before returning to Japan in January 1921.

In September 1928, in an effort to mend his relationship with Michiyo, Kaneko embarked on another long journey across Asia and Europe. He first stayed in Osaka for about three months, then traveled from Nagasaki to Shanghai, where he remained for five months. In Shanghai, he held an exhibition of genre paintings to raise travel funds. He continued his journey through Hong Kong to Singapore, where he also held a small exhibition of landscape paintings, before traveling to Jakarta and Java. By November, he had saved enough money for one person to travel to Paris, so he sent Michiyo ahead. He arrived in Paris in January 1930, reuniting with her. During their time in Paris, they struggled financially, with Kaneko recalling that he "did everything a penniless Japanese person could do in Paris," including making picture frames, luggage boxes, and peddling, to make ends meet.

In 1931, they sought refuge with Ivan Lepage in Brussels. Kaneko earned travel expenses by holding a Japanese painting exhibition. He then traveled alone to Singapore and the Malay Peninsula for about four months, leaving Michiyo behind. Michiyo returned to Japan alone in April 1932, and Kaneko followed in June. These challenging and often impoverished travels exposed him to diverse cultures, colonial realities, and the struggles of ordinary people, profoundly shaping his critical and anti-authoritarian outlook. His experiences of survival abroad, often on the fringes of society, instilled in him a deep empathy for the marginalized and reinforced his commitment to individual freedom.

7.1. Awards and Recognition

During his lifetime, Kaneko received significant literary and artistic recognition. In January 1954, he was awarded the 5th Yomiuri Prize for his work 人間の悲劇_{Ningen no Higeki}^Japanese (Human Tragedy). In March 1972, he received the Geijutsu Senshō Minister of Education Award for his work 風流尸解記_{Fūryū Shikai Ki}^Japanese (A Record of Elegant Corpse Liberation).

7.2. Critical Evaluation

Kaneko is generally regarded as a poet of sharp self-criticism, resistance, and rebellion. His works are celebrated for their profound engagement with reality and their unflinching critique of societal norms. Critics and scholars often highlight his unique methods of evading wartime censorship, using literary disguise to convey his anti-war and anti-authoritarian messages. His ability to maintain his integrity and voice under oppressive conditions is a key aspect of his critical evaluation.

His later years saw him gain a unique public persona. From July 1974, he served as the editor-in-chief for six months of the magazine 面白半分_{Omoshiro Hanbun}^Japanese (Half Fun). His distinctive character, sometimes perceived as an "erotic old man," made him a cult figure among younger generations. His numerous television appearances and discussions during this period are partly documented in 金子光晴下駄ばき対談_{Kaneko Mitsuharu Getabaki Taidan}^Japanese (Mitsuharu Kaneko's Clog-Wearing Dialogues) and Masamichi Horiki's 金子光晴とすごした時間_{Kaneko Mitsuharu to Sugoshita Jikan}^Japanese (Time Spent with Mitsuharu Kaneko).

7.3. Posthumous Publications

After his death, numerous collections, anthologies, and research materials were published, contributing to a renewed appreciation and re-examination of his work. The comprehensive 金子光晴全集_{Kaneko Mitsuharu Zenshū}^Japanese (Complete Works of Mitsuharu Kaneko), a 15-volume collection, began publication in February 1975 and concluded in January 1977.

Key posthumous publications include:

• 金子光晴詩集_{Kaneko Mitsuharu Shishū}^Japanese (Mitsuharu Kaneko Poetry Collection, Shichōsha Gendaishi Bunko, new edition 2008)
• 風流尸解記_{Fūryū Shikai Ki}^Japanese (Kōdansha Bungei Bunko, 1990)
• 金子光晴詩集_{Kaneko Mitsuharu Shishū}^Japanese (edited by Takayuki Kiyooka, Iwanami Bunko, 1991)
• 女たちへのいたみうた 金子光晴詩集_{Onna-tachi e no Itamiuta: Kaneko Mitsuharu Shishū}^Japanese (Shūeisha Bunko, 1992)
• 詩人 金子光晴自伝_{Shijin Kaneko Mitsuharu Jiden}^Japanese (Poet: Mitsuharu Kaneko's Autobiography, Kōdansha Bungei Bunko, 1994)
• 金子光晴抄 詩と散文に見る詩人像_{Kaneko Mitsuharu Shō: Shi to Sanbun ni Miru Shijin-zō}^Japanese (A Selection of Mitsuharu Kaneko: Poet's Image in Poetry and Prose, edited by Bun'ichirō Kawamura, Fuzanbō Hyakka Bunko, 1995)
• 絶望の精神史_{Zetsubō no Seishinshi}^Japanese (Kōdansha Bungei Bunko, 1996)
• 人間の悲劇_{Ningen no Higeki}^Japanese (Kōdansha Bungei Bunko, 1997)
• 女たちへのエレジー_{Onna-tachi e no Erejī}^Japanese (Kōdansha Bungei Bunko, 1998)
• 人よ、寛かなれ_{Hito yo, Kan'onare}^Japanese (O People, Be Generous, Chūkō Bunko, 2003)
• どくろ杯_Dokuro-hai^Japanese (Skull Cup, Chūkō Bunko, revised edition 2004)
• マレー蘭印紀行_{Marei Ran'in Kikoh}^Japanese (Malay and Dutch East Indies Travelogue, Chūkō Bunko, revised edition 2004)
• 這えば立て_{Haeba Tate}^Japanese (Crawl and Stand Up, Chūkō Bunko, 2004)
• ねむれ巴里_{Nemure Pari}^Japanese (Go to Sleep, Paris, Chūkō Bunko, revised edition 2005)
• 流浪_Rurō^Japanese (Wandering) - Mitsuharu Kaneko Essay Collection, 3 volumes: 異端_Itan^Japanese (Heretic) and 反骨_Hankotsu^Japanese (Rebellious Spirit) (edited by Senrō Ōba, Chikuma Bunko, 2006)
• 西ひがし_{Nishi Higashi}^Japanese (West and East, Chūkō Bunko, revised edition 2007)
• 世界見世物づくし_{Sekai Misemono Zukushi}^Japanese (A World of Sideshows, Chūkō Bunko, 2008)
• 詩集「三人」_{Shishū "Sannin"}^Japanese (Poetry Collection "Three People", co-authored with Michiyo Mori and Ken Mori, Kōdansha, 2008; Kōdansha Bungei Bunko, 2019)
• 金子光晴 ちくま日本文学 038_{Kaneko Mitsuharu: Chikuma Nihon Bungaku 038}^Japanese (Chikuma Shobō, 2009)
• 自由について 金子光晴老境随想_{Jiyū ni Tsuite: Kaneko Mitsuharu Rōkyō Zuisō}^Japanese (On Freedom: Mitsuharu Kaneko's Later Years Essays, Chūkō Bunko, 2016)
• じぶんというもの 金子光晴老境随想_{Jibun to Iu Mono: Kaneko Mitsuharu Rōkyō Zuisō}^Japanese (That Which is Myself: Mitsuharu Kaneko's Later Years Essays, Chūkō Bunko, 2016)
• マレーの感傷 金子光晴初期紀行拾遺_{Marē no Kanshō: Kaneko Mitsuharu Shoki Kikō Shūi}^Japanese (Malay Sentiments: Mitsuharu Kaneko's Early Travelogue Addenda, Chūkō Bunko, 2017)
• 相棒_Aibō^Japanese (Partner, co-authored with Michiyo Mori, Chūkō Bunko, 2021)
• 詩人／人間の悲劇 金子光晴自伝的作品集_{Shijin/Ningen no Higeki: Kaneko Mitsuharu Jidenteki Sakuhinshū}^Japanese (Poet/Human Tragedy: Mitsuharu Kaneko's Autobiographical Works, Chikuma Bunko, 2023)

Research materials and related literature include:

• 金子光晴 新装版現代詩読本3_{Kaneko Mitsuharu: Shinsōban Gendaishi Dokuhon 3}^Japanese (Shichōsha, 1985)
• アジア無銭旅行_{Ajia Musen Ryokō}^Japanese (Asia Penniless Travel, L'Antie Sōsho 18: Kadokawa Haruki Corporation, 1998)
• 金子光晴 21世紀の日本人へ_{Kaneko Mitsuharu: Nijūisseiki no Nihonjin e}^Japanese (Mitsuharu Kaneko: To Japanese People of the 21st Century, Shōbunsha, 1999)
• 金子光晴・草稿詩集IL(イル)〈自筆ノート〉復刻_{Kaneko Mitsuharu: Sōkō Shishū IL (Iru) (Jihitsu Nōto) Fukkoku}^Japanese (Mitsuharu Kaneko: Draft Poetry Collection IL (IL) Facsimile, Kaneko Mitsuharu no Kai, 2010)
• 老薔薇園_Rōbaraen^Japanese (Old Rose Garden, Uyu Shorin, 2015)
• 金花黒薔薇艸紙_{Kinka Kurobara Sōshi}^Japanese (Golden Flower Black Rose Paper, dictated by Shigeto Sakurai, Shūeisha, 1975; Shōgakukan Bunko, 2002)
• 父・金子光晴伝 夜の果てへの旅_{Chichi Kaneko Mitsuharu Den Yoru no Hate e no Tabi}^Japanese (Biography of My Father, Mitsuharu Kaneko: Journey to the End of the Night, by Ken Mori, Shoshi Yamada, 2002)
• 今宵はなんという夢見る夜 金子光晴と森三千代_{Koyoi wa Nan to Iu Yumemiru Yoru: Kaneko Mitsuharu to Mori Michiyo}^Japanese (What a Dreamy Night This Is: Mitsuharu Kaneko and Michiyo Mori, by Yasuo Kashiwakura, Sayusha, 2018)
• 金子光晴を旅する_{Kaneko Mitsuharu o Tabi Suru}^Japanese (Traveling with Mitsuharu Kaneko, Chūkō Bunko, 2021) - a collection of his recollections and essays on his works.

8.1. Influence on Folk Music

Kaneko's poetry found a new audience and medium through its adaptation into folk songs. His verses, often imbued with social critique and a sense of individual freedom, resonated with folk musicians who sought to convey similar messages through their music.

• The folk singer Wataru Takada (高田渡_{Takada Wataru}^Japanese) notably set Kaneko's poem "69" to music.
• Hitoshi Higashino (ひがしのひとし_{Higashino Hitoshi}^Japanese) adapted Kaneko's "For the first time a woman is made to do something."
• Masato Tomobe (友部正人_{Tomobe Masato}^Japanese) used Kaneko's "Postcard" in his songs.

This adoption of his poetry by folk artists helped to disseminate his critical perspectives and rebellious spirit to a broader audience, demonstrating the enduring relevance of his work in conveying social commentary through artistic expression.