Minae is a Japanese expatriate graduate student who has lived in the United States for two decades but turned her back on the English language and American culture. After a phone call from her older sister reminds her that it is the twentieth anniversary of their family's arrival in New York, she spends the day reflecting in solitude and over the phone with her sister about their life in the United States, trying to break the news that she has decided to go back to Japan and become a writer in her mother tongue.Published in 1995, this formally daring novel radically broke with Japanese literary tradition. It liberally incorporated English words and phrases, and the entire text was printed horizontally, to be read from left to right, rather than vertically and from right to left. In a luminous meditation on how a person becomes a writer, Mizumura transforms the "I-novel," a Japanese confessional genre that toys with fictionalization. An I-Novel tells the story of two sisters while taking up urgent questions of identity, race, and language. Above all, it considers what it means to write in the era of the hegemony of English--and what it means to be a writer of Japanese in particular. Juliet Winters Carpenter masterfully renders a novel that once appeared untranslatable into English.

    The Essential Pinter, which includes key plays, poetry, essays, and screenplays, is an indispensable companion for anyone wishing to delve into the astonishingly dazzling and frequently ominous world of Harold Pinter. In voyaging in, we not only come to fully appreciate the breadth of a body of work spanning over fifty years, but acquire a better understanding of human interaction.

    by such theatrical directors as Lee Strasberg, Elizabeth Swados, Peter Sellars and Robert Wilson. Critics have hailed these translations as making Chekhov fully accessible to American audiences. They are also accurate -- Schmidt has been described as "the gold standard in Russian-English translation" by Michael Holquist of the Russian department at Yale University.Swan song --The bear --The proposal --Ivanov --The seagull --A reluctant tragic hero --The wedding reception --The festivities --Uncle Vanya --Three sisters --The dangers of tobacco --The cherry orchard.

    During an exceptionally hot summer, the young married couple move in, and Asa does her best to quickly adjust to their new rural lives, to their remoteness, to the constant presence of her in-laws and the incessant buzz of cicadas. While her husband is consumed with his job, Asa is left to explore her surroundings on her own: she makes trips to the supermarket, halfheartedly looks for work, and tries to find interesting ways of killing time.       One day, while running an errand for her mother-in-law, she comes across a strange creature, follows it to the embankment of a river, and ends up falling into a hole—a hole that seems to have been made specifically for her. This is the first in a series of bizarre experiences that drive Asa deeper into the mysteries of this rural landscape filled with eccentric characters and unidentifiable creatures, leading her to question her role in this world, and eventually, her sanity.

    After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law.Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

    In 2005 it won the prestigious Naoki Prize, awarded semiannually for the best work of popular fiction by an established writer.Sayoko, a thirty-five-year-old homemaker with a three-year-old child, begins working for Aoi, a free-spirited, single career woman her own age who runs a travel agency-housekeeping business. Timid and unable to connect with other mothers in her neighborhood, Sayoko finds herself drawn to Aoi's independent lifestyle and easygoing personality. The two hit it off from the start, beginning a friendship that is for Sayoko also a reaffirmation of what living is about.Aoi, meanwhile, has not always been the self-confident person she appears to be. Severe classroom bullying in junior high had forced her to change schools, uprooting her and her family to the countryside; and at her new school, she was so afraid of again becoming the object of her classmates' cruelties that she spent most of her time steering clear of those around her.The present-day friendship between Sayoko and Aoi on the one hand, and Aoi's painful high school past on the other, form a gripping two-tier narrative that converges in the final chapter. The book touches on a broad range of issues of concern to women today, from marriage and childrearing to being single and working for oneself. It is a universal story about both the fear and the joy of opening up to others.

    1008 at the height of the Heian period, Lady Sarashina (as she is known) probably wrote most of her work towards the end of her life, long after the events described. Thwarted and saddened by the real world with all its deaths and partings and frustrations, Lady Sarashina protected herself by a barrier of fantasy and so escaped from harsh reality into a rosier more congenial realm. She presents her vision of the world in beautiful prose, the sentences flowing along smoothly so that we feel we are watching a magnificent scroll being slowly unrolled.'It is like seeing a garden at night in which certain parts are lit up so brightly that we can distinguish each blade of grass, each minute insect, each nuance of colour, while the rest of the garden and the tidal wave that threatens it remain in darkness'--Ivan Morris

    Criticized as violent exploitation when first published in Japan - where it then proceeded to become a runaway bestseller - Battle Royale is a Lord of the Flies for the 21st century, a potent allegory of what it means to be young and (barely) alive in a dog-eat-dog world. Made into a controversial hit movie of the same name, Battle Royale is already a contemporary Japanese pulp classic, now available for the first time in the English language.

    She is observed at all times by the undetected narrator, the Woman in the Yellow Cardigan. From a distance the Woman in the Purple Skirt looks like a schoolgirl, but there are age spots on her face, and her hair is dry and stiff. Like the Woman in the Yellow Cardigan, she is single, she lives in a small, run-down apartment, and she is short on money. The Woman in the Yellow Cardigan lures her to a job where she herself works, as a hotel housekeeper; soon the Woman in the Purple Skirt is having an affair with the boss. Unfortunately, no one knows or cares about the Woman in the Yellow Cardigan. That's the difference between her and the Woman in the Purple Skirt.Studiously deadpan, highly original, and unsettling, The Woman in the Purple Skirt explores the dynamics of envy, the mechanisms of power in the workplace, and the vulnerability of unmarried women in a taut, voyeuristic narrative about the sometimes desperate desire to be seen.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    Gothic Tales makes available for the first time a collection of stories by this highly influential writer, whose decadent romanticism led him to envision an idiosyncratic world--a fictive purgatory --precious and bizarre though always genuine despite its melodramatic formality.The four stories presented here are among Kyoka's best-known works. They are drawn from four stages of the author's development, from the conceptual novels of 1895 to the fragmented romanticism of his mature work. In the way of introduction, Inouye presents a clear analysis of Kyoka's problematic stature as a great gothic writer and emphasizes the importance of Kyoka's work to the present reevaluation of literary history in general and modern Japanese literature in particular. The extensive notes that follow the translation serve as an intelligent guide for the reader, supplying details about each of the stories and how they fit into the pattern of mythic development that allowed Kyoka to deal with his fears in a way that sustained his life and, as Mishima Yukio put it, pushed the Japanese language to its highest potential.

    Born into the burakumin -- an outcast class shunned in feudal Japan and still suffering discrimination today -- Nakagami depicts the lives of his people in powerful, sensual prose and stark, sometimes horrifying detail. The Cape is his breakthrough novella about a burakumin community in a small coastal city and their struggles with complicated family histories and troubled memories. Poverty, violence, suicide, and the harsh natural conditions of their home constantly disrupt their lives. Two more early stories, "The Burning House" and "Redhead, " continue these themes, relieved by small moments of profound tenderness.

    But amid the gossip over the approaching festivities, there is also a worrying rumour - it seems a sinister masked man has been asking questions around the village.Then, on the night of the wedding, the Ichiyanagi household are woken by a terrible scream, followed by the sound of eerie music. Death has come to Okamura, leaving no trace but a bloody samurai sword, thrust into the pristine snow outside the house. Soon, amateur detective Kosuke Kindaichi is on the scene to investigate what will become a legendary murder case, but can this scruffy sleuth solve a seemingly impossible crime?

    Predictably, they get picked off one by one by an unseen murderer. Is there a madman on the loose? What connection is there to the earlier murders? The answer is a bombshell revelation which few readers will see coming. The Decagon House Murders is a milestone in the history of detective fiction. Published in 1987, it is credited with launching the shinhonkaku movement which restored Golden Age style plotting and fair-play clues to the Japanese mystery scene, which had been dominated by the social school of mystery for several decades. It is also said to have influenced the development of the wildly popular anime movement.This, the first English edition, contains a lengthy introduction by the maestro of Japanese mystery fiction, Soji Shimada.

    The sketches are written in the "haibun" style--a linking of verse and prose. The title piece, in particular, reveals Basho striving to discover a vision of eternity in the transient world around him and his personal evocation of the mysteries of the universe.