Publisher's Synopsis
In Volume Two of the novel, Jo-Annie Ryder has returned to America and her husband Dane after having spent an extended vacation in Kabukicho, a red-light entertainment district of Tokyo. Having immersed herself in this fantasyland of modern Japanese eroticism, she carries with her the mind-altering experiences of observation and participation in Japan's sexual playground. Accordingly, she has problems adjusting to the kinetically less variegated pace and scenery of life in Carson City, NV. Occasional flings with men make her yearn for the stimulating surroundings she had in Kabukicho. Thinking that prostitution would give her that special edgy touch that being a "hitozuma" girl did, Jo-Annie starts working part time in a legal brothel. This provides her an outlet for her abundant sexual energy, but the work environment is still a long way from what she had in Kabukicho. Her imagination is not engaged to anywhere near the same extent. Jo-Annie pours out her concerns to Madam Mariposa, who employed her as a "hitozuma" girl in her sex club in Japan. Madam Mariposa takes her concerns to heart and sets out to devise a solution. As for Dane, he has found major research in evolutionary psychology by eminent bio-social scientists which provides the scientific basis for female adultery such as Jo-Annie's, as well as the revolutionary rationale for male response accommodating to it. He goes to some length to explain the paradigm to their friend Steve, a relatively simple-minded dude who thinks that Dane has gone overboard with condoning her libertine feminist behavior. Madam Mariposa comes up with the solution for Jo-Annie. Her sister Madam Natsumi will send clients from Japan to Jo-Annie to play parts in short private films for them that Jo-Annie will write the scripts for and act in. This will give Jo-Annie the opportunity to use her imagination to create her own fantasies, like the way that Kabukicho created a myriad of fantasies inviting clients to participate in them. The concept triggers an enormous spurt of erotic creativity on the part of Jo-Annie, who uses combinations of Japanese and American themes as settings in which the Japanese clients can star with her. With the assistance of old Jerrod, a letchy geezer whom she sensually wraps around her little finger, Jo-Annie has the use of his rural spread for shooting locations for her films. Mixing the film-making artwork with her other activities and involvements keeps Jo-Annie busy and happy, until the sudden arrival of unexpected news hits her with the impact of a Fujiyama eruption.
