How could the “Falling in Love” themes of postwar Showa era female literature overthrow the dregs of traditional “irogoi” that kept on obsessing the male authors? “Geisha” who are expected to solve the sex demands of men can be classified as not only the “no marriage females,” but also the “Unusual Kind” of females outside of the “family system.” How can they face the traditional “falling in love,” homesick beyond luscious desire? In Moon Daisy, although Kin manages to work hard at maintaining the flamboyant stage picture of the Geisha, while the bald-headed, mid-aged lover comes to her to borrow money without any sense of shyness; she turns down this “male” other, dangling with reluctance and desperation. Nevertheless, for the hot love and passion of the romance that depend just on youth, spiritually, she still holds the clinging emotion and delusion of the old “love” homesickness. Okamotokanoko’s old prostitute emphasizes the “ego vital power” part. Through her whole life, she looks for her heaven-chosen mate until her last breath. Finally, the old prostitute raises the man just like any domestic animal. “They were as cute as big pets.” Therefore, it doesn’t matter so much that even the gigolos run away or escape occasionally; they will be back when the time is right. She realizes her “bountiful and shiny life” through a young man. Okamotokanoko’s passion of “pure” “love” contains awakened consciousness of “mother nature” and elements of a “demon nature.” This article examines comparisons between Hayasifumiko’s Moon Daisy and Okamotokanoko’s Tales of an Old Prostitute. Both stories use the theme of “Old Geisha’s luscious desire” to explore the nature of the “purity” and “genuine love” that old Geishas emphasize and long for while selling their bodies during a non-normal life space and then return back to a normal life space. This article also analyzes “double meanings,” which underlie the notions of “Imprisonment” and “Disembarrassment.”