Abstract

In this article, the world of Heian women's literature is interpreted through Deleuzian concepts of desire and becoming and figures of the rhizome, the Baroque fold and origami, supported by Elizabeth Grosz's concept of art as originating in the impulse to seduction. Within the constraints of movement, dress and behaviour imposed by a polygamous hierarchical court society, Heian women created a rich body of literature that celebrated and subtly critiqued their world. Through aesthetic intensification of form and imagination within a labyrinthine cloistered society, they folded their fictional and autobiographical subjectivities into intricate patterns of desire. The richly described and imagined world of their fictional and confessional literature, still read, translated and transformed into other art forms, celebrates the freedom of the imagination even in confined and controlled circumstances.