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Ishii Momoko (1907–2008) is arguably the most important and influential figure in Japanese children’s literature, not only as a prolific and award-winning writer and translator, but also as an editor of important series, a critic, and a pioneer of the children’s library movement. This article examines the significance of humour in her works, especially her acclaimed novel for children,  Non-chan kumo ni noru  (Little Non rides on the clouds, 1947), and its relationships with gender and democracy. The article first outlines Ishii’s activities in the pre-war, wartime, post-war and later periods, and the centrality of humour throughout her life. Despite the critical acclaim and popularity of her works, humour in  Non-chan  has been neglected in humour studies and studies of children’s literature. Through a detailed analysis of the quantity and quality of laughter in  Non-chan , I argue that Ishii has skilfully depicted various functions of humour, including expression and sharing of merriment, consolation and diversion, healing, revelation, derision, protest and revolt. As Tsurumi Shunsuke (2001) theorised, humour has the potential to communicate with a diverse range of people and find democratic, non-violent solutions to what look like dark, desperate situations.

From Tears to Laughter: Gender, Humour and Democracy in Ishii Momoko's Non-chan Kumo ni Noru