submarines of Wolfpack 351 are low on fuel, torpedoes, and morale. Their only means of escape is a narrow passage teeming with enemy aircraft, mines, and coastal batteries – and guarded by a menacing Japanese fleet led by a legendary admiral hell-bent on stopping them. Facing the imminent destruction of the entire wolfpack, and with few options remaining, the American admirals in Pearl Harbor turn to an aging submarine, the only boat close enough to help. With time running out, the USS Aeneid – a V-boat from another era – must spring the trapped submarines from their watery prison before they meet their fates under the hull-shattering wrath of the enemy’s depth charges.

    Though his writings and life-story continue to fascinate readers around the world, Mishima has often been scorned by scholars, who view him as a frivolous figure whose work expresses little more than his own morbid personality.In Mishima, Aesthetic Terrorist, Andrew Rankin sets out to challenge this perception by demonstrating the intelligence and seriousness of Mishima's work and thought. Each chapter of the book examines one of the central ideas that Mishima develops in his writings: life as art, beauty as evil, culture as myth, eroticism as transgression, the artist as tragic hero, narcissism as the death drive. Along with fresh readings of major works of fiction such as The Temple of the Golden Pavilion and "Patriotism," the book introduces less familiar works in different genres. Special prominence is given to Mishima's essays, which contain some of his most brilliant writing. Mishima is concerned with such problems as the loss of certainties and absolute values that characterizes modernity, and the decline of strong identities in a world of increasing uniformity and globalization. In his cultural criticism Mishima makes an impassioned defense of free speech, and he rails against all forms of authoritarianism and censorship.Rankin reads Mishima's artistic project, up to and including his spectacular death, as a single, sustained lyric, an aggressive piece of performance art unfolding in multiple media. For all his rebellious energies, Mishima's work is suffused with a sense of ending--the end of art, the end of eroticism, the end of culture, the end of the world--and it is governed by a decadent aestheticism which holds that beautiful things radiate their most intense beauty on the cusp of their destruction. Erudite and authoritative, yet written in clear, accessible prose, Mishima, Aesthetic Terrorist is essential reading for all those who seek a deeper understanding of this radical and provocative figure.

    It takes in songs, diaries, tales and poetry, and ranges from famous works including The Pillow Book and the works of Basho to pieces such as the diary of a young girl who longs to return to the capital and her beloved books, or the writings of travelling monks who sleep on pillows of grass. Together they illuminate a long literary tradition, with intense poetic experience at its heart.

    To Hell and Back offers readers a stunning, "you are there" time capsule, wrapped in elegant prose. Charles Pellegrino's scientific authority and close relationship with the A-bomb survivors make his account the most gripping and authoritative ever written. At the narrative's core are eyewitness accounts of those who experienced the atomic explosions firsthand--the Japanese civilians on the ground. As the first city targeted, Hiroshima is the focus of most histories. Pellegrino gives equal weight to the bombing of Nagasaki, symbolized by the thirty people who are known to have fled Hiroshima for Nagasaki--where they arrived just in time to survive the second bomb. One of them, Tsutomu Yamaguchi, is the only person who experienced the full effects of both cataclysms within Ground Zero. The second time, the blast effects were diverted around the stairwell behind which Yamaguchi's office conference was convened--placing him and few others in a shock cocoon that offered protection while the entire building disappeared around them. Pellegrino weaves spellbinding stories together within an illustrated narrative that challenges the "official report," showing exactly what happened in Hiroshima and Nagasaki--and why. Also available from compatible vendors is an enhanced e-book version containing never-before-seen video clips of the survivors, their descendants, and the cities as they are today. Filmed by the author during his research in Japan, these 18 videos are placed throughout the text, taking readers beyond the page and offering an eye-opening and personal way to understand how the effects of the atomic bombs are still felt 70 years after detonation.

    Factory Girls depicts the secretive yet bold world of the women workers as well as the fate of these kinds of regional, feminine, collaborative spaces in a current-day Japan defined by such corporate and climate catastrophes as the rise of Uniqlo and the 2011 earthquake, tsunami and nuclear disaster.

    Here are a few of their masterpieces.The Japanese word for vampire is kyūketsuki, which translates literally to "blood-sucking monster," but the literary tradition is far, far more complex.The practice of Buddhism permeates Japan, and burials are almost always by cremation... leaving the Count and his relatives with no coffins to sleep in! But there is more than one way to sip a little blood, as these authors reveal. Thanks to Bram Stoker, Christopher Lee, and countless others who have popularized the Western vampire, modern Japanese authors have an extensive range of traditions and tales to weave into their own creations.ContentsMasaya SHIMOKUSU — "A Cultural Dynasty of Beautiful Vampires: Japan’s Acceptance, Modifications, and Adaptations of Vampires"INOUE Masahiko—"Blue Lady"ASUKABE Katsunori — "Kingdom"KIKUCHI Hideyuki — "The Stone Castle"OKAMOTO Kidō — "The One-Legged Woman"HIKAGE Jōkichi — "Vampire"ASAMATSU Ken — "The Crimson Cloak"SUNAGA Asahiko — "Vow"KAJIO Shinji — "The Husk Heir"KAMON Nanami — "A Piece of Butterfly's Wing"OKUDA Tetsuya — "Unnatural"IINO Fumihiko — "Paradise Missing"FUKUZAWA Tetsuzō — "Dracula’s House"KONAKA Chiaki — "Birth of a Vampire"MIKAWA Yū — "Halvires"INOUE Masahiko — "Parasol"

    Steven D. Carter explains to Anglophone students the methods of composition and literary interpretation used by Japanese poets, scholars, and critics from ancient times to the present, and adds commentary that will assist the modern reader.How to Read a Japanese Poem presents readings of poems by major figures such as Saigyō and Bashō as well as lesser known poets, with nearly two hundred examples that encompass all genres of Japanese poetry. The book gives attention to well-known forms such as haikai or haiku, as well as ancient songs, comic poems, and linked verse. Each chapter provides examples of a genre in chronological order, followed by notes about authorship and other contextual details, including the time of composition, physical setting, and social occasion. The commentaries focus on a central feature of Japanese poetic discourse: that poems are often occasional, written in specific situations, and are best read in light of their milieu. Carter elucidates key concepts useful in examining Japanese poetics as well as the technical vocabulary of Japanese poetic discourse, familiarizing students with critical terms and concepts. An appendix offers succinct definitions of technical terms and essays on aesthetic ideals and devices.

    Going beyond P. G. O'Neill's Early Nō Drama of 1958, it covers the full period of noh's medieval development and includes a chapter dedicated to the comic art of kyōgen, which has often been left in noh's shadow. It is based on contemporary research in Japan, Asia, Europe and America, and embraces current ideas of theatre history, providing a richly contextualized account which looks closely at theatrical forms and genres as they arose.The masked drama of noh, with its ghosts, chanting and music, and its use in Japanese films, has been the object of modern international interest. However, audiences are often confused as to what noh actually is. This book attempts to answer where noh came from, what it was like in its day, and what it was for. To that end, it contains sections which discuss a number of prominent noh plays in their period and challenges established approaches. It also contains the first detailed study in English of the kyōgen repertoire of the sixteenth-century.

    Underneath the black suits—whether crumpled or designer—and the cosmetics, they're all people on the way to somewhere else in Tokyo's glittering boom era. The bartenders and Mama-sans who keep everything running smoothly rely on their own camaraderie, night after night. Winner of the 1975 Naoki Prize. This work originally appeared as a series of short stories in various magazines from 1973–74, later compiled into this book as Amayadori, with the subtitle "Shinjuku baka monogatari," which could be roughly translated as "Tales of Shinjuku naifs." Written while Japan was close to the peak of the post-War economic boom, Hanmura captures the "economic animals" of Japan, and the countless men and women in their periphery who kept the bars and cabarets running all night long to let them blow off steam. Japan of the 21st century is vastly different, and Hanmura's depiction of a very different era is still popular among those who fondly remember "the way it used to be." While the settings have changed and smartphones provide new modes of interaction, the same archetypical salesmen, bartenders, and bargirls still haunt the night spots of Tokyo, searching for something better.