Divided into ten novellas, one for each year, I Hotel begins in 1968, when Martin Luther King and Bobby Kennedy were assassinated, students took to the streets, the Vietnam War raged, and cities burned.As Karen Yamashita’s motley cast of students, laborers, artists, revolutionaries, and provocateurs make their way through the history of the day, they become caught in a riptide of politics and passion, clashing ideologies and personal turmoil. And by the time the survivors unite to save the International Hotel—epicenter of the Yellow Power Movement—their stories have come to define the very heart of the American experience.

     "How to Be an American Housewife" is a novel about mothers and daughters, and the pull of tradition. It tells the story of Shoko, a Japanese woman who married an American GI, and her grown daughter, Sue, a divorced mother whose life as an American housewife hasn't been what she'd expected. When illness prevents Shoko from traveling to Japan, she asks Sue to go in her place. The trip reveals family secrets that change their lives in dramatic and unforeseen ways. Offering an entertaining glimpse into American and Japanese family lives and their potent aspirations, this is a warm and engaging novel full of unexpected insight.

    Brought together in this volume, these stories represent an unprecedented accomplishment in American literature. In their iconoclasm and needle-sharp irony, their formal and thematic ingenuity and element of surprise, they differ markedly from the fiction admired in Bierce's time. Readers familiar with the classic An Occurrence at Owl Creek Bridge will want to turn to Bierce's other Civil War stories. Also included here are his horror stories, among them The Death of Halpin Frayser and The Damned Thing, and such tall tales as Oil of Dog and A Cargo of Cat.

    Broadly labeled yokai, these creatures come in infinite shapes and sizes, from tengu mountain goblins and kappa water spirits to shape-shifting foxes and long-tongued ceiling-lickers. Currently popular in anime, manga, film, and computer games, many yokai originated in local legends, folktales, and regional ghost stories.Drawing on years of research in Japan, Michael Dylan Foster unpacks the history and cultural context of yokai, tracing their roots, interpreting their meanings, and introducing people who have hunted them through the ages. In this delightful and accessible narrative, readers will explore the roles played by these mysterious beings within Japanese culture and will also learn of their abundance and variety through detailed entries, some with original illustrations, on more than fifty individual creatures. The Book of Yokai provides a lively excursion into Japanese folklore and its ever-expanding influence on global popular culture. It also invites readers to examine how people create, transmit, and collect folklore, and how they make sense of the mysteries in the world around them. By exploring yokai as a concept, we can better understand broader processes of tradition, innovation, storytelling, and individual and communal creativity.

    On the outskirts of Tokyo, near a station on a private train line, stands a modest European style house with a red, triangular shaped roof. There a woman named Taki has worked as a maidservant in the house and lived with its owners, the Hirai family. Now, near the end of her life, Taki is writing down in a notebook her nostalgic memories of the time spent living in the house. Her journal captures the refined middle-class life of the time from her gentle perspective. At the end of the novel, however, a startling final chapter is added. The chapter brings to light, after Taki’s death, a fact not described in her notebook. This suddenly transforms the world that had been viewed through the lens of a nostalgic memoir, so that a dramatic, flesh-and-blood story takes shape. Nakajima manages to combine skillful dialogue with a dazzling ending. The result is a polished, masterful work fully deserving of the Naoki Prize.

    As they walk through the city, Kandagawa relives moments of their relationship and questions their decision to be apart. Lose Your Private Life Waterumi Yano is a successful young novelist, her books winning prestigious prizes and the hearts of readers all over the world. However, Waterumi is herself a fiction, a penname for the 28 year old Terumi Yano, a woman struggling to hold on to her identity as she is increasingly recognized by her loved ones as Waterumi.A GenealogyA fable-like retelling which broadly sketches the evolution of mankind. Despite fictional / magical retellings ('The frog gave birth to the dinosaur'), the narrative begins with of a rock and ending with Kandagawa, sitting in a bath in her apartment, remembering how, in the past, she used to be a fish. Though the narrative appears to be summarizing thousands of years' worth of development, Kandagawa's closing memory of being a fish seems to imply that the whole evolution has simply taken place in the time it has taken for us to read the short story (which, because this evolution exists only as the short story, it technically has). Or, we are left wondering if Kandagawa is accessing a kind of collective memory.Translated by Polly Barton. Design by Nigel Aono-Billson.

    Kouno examines the impact that WWII and the dropping of the atomic bomb had on the people of Japan through the eyes of an average woman living in 1955.

    Where the Wild Ladies Are is populated by these and many other spirited women—who also happen to be ghosts. This is a realm in which jealousy, stubbornness, and other excessive "feminine" passions are not to be feared or suppressed, but rather cultivated; and, chances are, a man named Mr. Tei will notice your talents and recruit you, dead or alive (preferably dead), to join his mysterious company.In this witty and exuberant collection of linked stories, Aoko Matsuda takes the rich, millennia-old tradition of Japanese folktales—shapeshifting wives and foxes, magical trees and wells—and wholly reinvents them, presenting a world in which humans are consoled, guided, challenged, and transformed by the only sometimes visible forces that surround them.