His name is written as 宮沢賢治 in Japanese, and translated as 宮澤賢治 in Traditional Chinese. Kenji Miyazawa (1896-1933) was born in Iwate, one of the northernmost prefectures in Japan. In high school, he studied Zen Buddhism and developed a lifelong devotion to the Lotus Sutra, a major influence on his writing. After graduating from an agricultural college, he moved to Tokyo to begin his writing career but had to return home to care for a sick sister. He remained in his home in Iwate for the rest of his life. One of his best-known works is the novel Night on the Galactic Railroad, which was adapted into anime in the late twentieth century, as were many of his short stories. Much of his poetry is still popular in Japan today.

Niimi was born in Yanabe, in the city of Handa, Aichi prefecture, on July 30, 1913. He lost his mother when he was four years old. His literary skill was noticeable at an early age. During his elementary school graduation ceremony, he presented a haiku that impressed most people at the ceremony. At age 18, Niimi moved to Tokyo to enter the Tokyo University of Foreign Studies. He fell sick with tuberculosis while in Tokyo shortly after graduating, and returned to his hometown. He worked there, first as an elementary school teacher, then as a women's high school teacher. He died at age 29. Although not prolific, he shows great talent in all of his writings. His works are known for their accuracy and lively depictions of humans. He is also often compared to Kenji Miyazawa. There is a Niimi Nankichi Memorial Museum in his birthplace, Handa.

Yumeno Kyūsaku (native name: 夢野 久作) was the pen name of the early Shōwa period Japanese author Sugiyama Yasumichi. The pen name literally means "a person who always dreams." He wrote detective novels and is known for his avant-gardism and his surrealistic, wildly imaginative and fantastic, even bizarre narratives. Kyūsaku’s first success was a nursery tale Shiraga Kozō (White Hair Boy, 1922), which was largely ignored by the public. It was not until his first novella, Ayakashi no Tsuzumi (Apparitional Hand Drum, 1924) in the literary magazine Shinseinen that his name became known. His subsequent works include Binzume jigoku (Hell in the Bottles, 1928), Kori no hate (End of the Ice, 1933) and his most significant novel Dogra Magra (ドグラマグラ, 1935), which is considered a precursor of modern Japanese science fiction and was adapted for a 1988 movie. Kyūsaku died of a cerebral hemorrhage in 1936 while talking with a visitor at home.

Akutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen. Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo. At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple. The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920). Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of