No longer content to lay eggs on command, only to have them carted off to the market, she glimpses her future every morning through the barn doors, where the other animals roam free, and comes up with a plan to escape into the wild—and to hatch an egg of her own. An anthem for freedom, individuality and motherhood featuring a plucky, spirited heroine who rebels against the tradition-bound world of the barnyard, The Hen Who Dreamed She Could Fly is a novel of universal resonance that also opens a window on Korea, where it has captivated millions of readers. And with its array of animal characters—the hen, the duck, the rooster, the dog, the weasel—it calls to mind such classics in English as Animal Farm and Charlotte’s Web. Featuring specially-commissioned illustrations, this first English-language edition of Sun-mi Hwang’s fable for our times beautifully captures the journey of an unforgettable character in world literature.

    It is best remembered for bringing mental illness and its patients’ plight to the attention of the media and the public.The play uses effective techniques of flashbacks; moving the characters in and out of their schizophrenic and normal selves to elicit the rational and emotional experiences of two schizophrenics, Vinod and Saloma.Off Centre was first staged in September 1993 at The Drama Centre.

    Dream of the Walled City Born in 1890, the privileged and sheltered daughter of a high-ranking imperial official, Jade Virtue spends her childhood enclosed by the towering walls of her family's sprawling mansion, never glimpsing the desperate struggle of China's ancient society, as the old ways are challenged and the twentieth century - fast, fearsome, and tumultuous - rushes in. But when her father mysteriously dies, young Jade Virtue is suddenly thrust into poverty, and experiences firsthand a traditional culture falling apart under the onslaught of growing rebellion against the Emperor, rapid social changes, and the mounting aggression of Japan and the West. Fleischman has rendered a richly textured, panoramic vision of Chinese life in the perilous years between the end of the empire and the Communist triumph of 1949, charting Jade Virtue's arranged first marriage to the corrupt opium addict Wang Mang, who harbors a terrible secret in his family's past; her awakening independence and ambivalent politics; her struggles with motherhood; and her fascinating acquaintance with a gifted, idealistic, fiercely ambitious young man named Mao Zedong. But the most important choices of her life are shaped by her conflicting loyalties to her intense lifelong friendship with Jinyu, a fiery woman revolutionary, and to Guai, a government official and sworn enemy of the Communists, with whom she finally discovers true and redemptive love. Exquisitely nuanced and lyrical yet marked with a driving power, Dream Of The Walled City is an enthralling novel of hard-won personal independence set against the vivid backdrop of a rapidly changing world. From the final days of the last dynasty through the savage Japanese invasion during World War II to the formidable red dawn of the Communist triumph; from the backward rural province of Hunan to exile on the tropical shores of Taiwan; and from the binding chains of predetermined fate to the exhilarating liberation of a human spirit, this is a remarkable odyssey you will never forget.

    Same-Sex Love in India presents a stunning array of writings on same-sex love from over 2000 years of Indian literature, writings testify to the flourishing of same-sex love in various forms since ancient times, without overt persecution.

    In this vision of the future, popular actor Aga Muhlach is the aging President, the Eraserheads are on a Reunion Tour that spans the stars, and Philippine Spacelines is offering a 50% discount on Moon Travel. We follow the musings of a young man as he journeys through the city, headed for the Grand Liwayway Station, where he plans to take the cheapest train out, since they just opened the Tagaytay Ocean Tunnel connecting to Cebu. All the while, he is composing a missive addressed to his love, who is living on a faraway Orbital Space Station.(from wikipedia.org)

    Crossing the Yellow River: Three Hundred Poems from the Chinese represents a lifetime's devotion to the classic originals, in the words of W. S. Merwin, begun when Hamill was introduced to classical Chinese by Kenneth Rexroth and the Beat poets of the late 1950s. Unlike earlier translators of Chinese and Japanese poetry, Hamill attempts to bring the poems into English with their directness and simplicity intact, at the same time attempting to remain true to the poet's orginal message. Hamill includes the rarely-translated social poems of Tu Fu, the poems and songs of Tzu Yeh and Li Ch'ing-Chao, and lyrical selections from Li Po, Shih Ching, Wang Wei, Su Tung-p'o and others. Hamill's introduction provides the most definitive overview to date of aesthetic impulses propelling Chinese poetry and reveals his own reasons for his lifetime's devotion. I sit at the feet of the great old masters of my tradition not only to be in a position to pass on their many wonderful gifts, Hamill says, but to pay homage while in the very act of nourishing, sustaining and enhancing my own life. Sam Hamill's celebrated translations include The Art of Writing: Lu Chi's Wen Fu; The Essential Chuang Tza; The Essential Basho; The Spring of My Life & Selected Haiku by Kobayashii Issa and Only Companion: Japanese Poems of Love & Longing. He is the author of a dozen volumes of original poety and three collections of essays. He is Founding Editor of Copper Canyon Press, director of the Port Townsend Writers' Conference and contributing editor at The American Poetry Review. He lives in Port Townsend, Washington.

    

    As Anne Frank did in her Diary, Daran Kravanh takes readers into the heart of a horrifying tragedy -- one that claimed the lives of his parents and seven siblings and as many as three million other Cambodians. Among those murdered were thousands of intellectuals and artists; as a musician, Daran was himself a target for execution, but it was his talent for playing the accordion that saved his life. Throughout the Khmer Rouge period, the accordion became for Daran a seemingly enchanted instrument through which the spirit of life traveled.

    Rumi was a 13th-century Persian mystic who believed that all human beings can, if they surrender themselves to the power of love, live in a condition of infinite bliss. Raficq Abdulla uses rhythm and powerful imagery to recreate the ecstatic state which Rumi considered so crucual to reach enlightenment.

    Includes Pinyin phonetic system to help travelers translate Chinese characters into English, pronunciation guide, extensive two-way dictionary, user-friendly sentence builder, and cultural tips.

    To measure the development of Chinese women’s poetry, one must take into account not only the poems but also the prose writings—prefaces, biographies, theoretical tracts—that framed them and attempted to shape women’s writing as a distinct category of literature. To this end, the anthology contains an extended section of criticism by and about women writers.These poets include empresses, imperial concubines, courtesans, grandmothers, recluses, Buddhist nuns, widows, painters, farm wives, revolutionaries, and adolescent girls thought to be incarnate immortals. Some women wrote out of isolation and despair, finding in words a mastery that otherwise eluded them. Others were recruited into poetry by family members, friends, or sympathetic male advocates. Some dwelt on intimate family matters and cast their poems as addresses to husbands and sons at large in the wide world of men’s affairs. Each woman had her own reasons for poetry and her own ways of appropriating, and often changing, the conventions of both men’s and women’s verse.The primary purpose of this anthology is to put before the English-speaking reader evidence of the poetic talent that flourished, against all odds, among women in premodern China. It is also designed to spur reflection among specialists in Chinese poetry, inspiring new perspectives on both the Chinese poetic tradition and the canon of female poets within that tradition. This partial history both connects with and departs from the established patterns for women’s writing in the West, thus complementing current discussions of “feminine writing.”