Beginning with the first writings to assimilate and rework Western literary traditions, through the flourishing of the short story genre in the cosmopolitan atmosphere of the Taisho era, to the new breed of writers produced under the constraints of literary censorship, and the current writings reflecting the pitfalls and paradoxes of modern life, this anthology offers a stimulating survey of the development of the Japanese short story.Various indigenous traditions, in addition to those drawn from the West, recur throughout the stories: stories of the self, of the Water Trade (Tokyo's nightlife of geishas and prostitutes), of social comment, love and obsession, legends and fairytales. This collection includes the work of two Nobel prize-winners: Kawabata and Oe, the talented women writers Hirabayashi, Euchi, Okamoto, and Hayashi, together with the acclaimed Tanizaki, Mishima, and Murakami.The introduction by Theodore Goossen gives insight into these exotic and enigmatic, sometimes disturbing stories, derived from the lyrical roots of Japanese literature with its distinctive stress on atmosphere and beauty.

    So succinct are the author's insights that these writings have outlasted the dissolution of the samurai class to come down to the present and be read for guidance and inspiration by the captains of business and industry, as well as those devoted to the practice of the martial arts in their modern form.

    Haiku are practiced by poets, lovers, and schoolchildren, by “political haiku” twitterers, by anyone who has the desire to pin preception and experience into a few quick phrases. This essay offers readers unparalleled insight into the living heart of haiku—how haiku work and what they hold, and how to read through and into their images to find a full expression of human life and perceptions, sometimes profound, sometimes playful.

    He not only helped give new vitality and direction to the old conventions of court poetry, but created works that, because of their depth of feeling, continue to attract readers to the present day.

    Seventeenth-century Kyoto was the center of a flourishing publishing industry, and for the first time in Japan's history it became possible for writers to live exclusively on their earnings. Saikaku was the first to actually do so. As a popular writer, Saikaku wanted to entertain his readership. When he undertook the writing of Nanshoku okagami in 1687, it was with the express purpose of extending his readership and satisfying his ambition to be published in the three major cities of his day, Kyoto, Osaka, and Edo. He chose the topic of male homosexual love because it had the broadest appeal both to the samurai men of Edo and to the townsmen of Kyoto and Osaka, his regular audience. Homosexual relations between a man and a boy were a regular feature of premodern Japanese culture and carried no stigma. When a boy reached the age of nineteen, he underwent a coming-of-age ceremony, after which he took the adult role in relations with boys.

    Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.

    The haiku is one of the most popular and widely recognized poetic forms in the world. In just three lines a great haiku presents a crystalline moment of image, emotion, and awareness. This illustrated collection includes haiku by the great masters from the seventeenth to the early twentieth century.

    Sor (Sister) Juana Ines de la Cruz was acclaimed in her time as "Phoenix of Mexico, America's Tenth Muse"; a generation later she was forgotten. In our century she was rediscovered, her works were reissued, and she is now considered one of the finest Hispanic poets of the seventeenth century. She deserves to be known to English-speaking readers for another reason as well: she speaks directly to our concern for the freedom of women to realize themselves artistically and intellectually.Her poetry is surprising in its scope and variety. She handled with ease the intricate verse forms of her day and wrote in a wide range of genres. Many of her lyrics reflect the worldliness and wit of the courtly society she moved in before becoming a nun; some, composed to be sung, offer charming glimpses of the native people, their festivities and colorful diversity. Alan Trueblood has chosen, in consultation with Octavio Paz, a generous selection of Sor Juana's writings and has provided an introductory overview of her life and work. The short poems, and excerpts from her play The Divine Narcissus, are accompanied by the Spanish texts on facing pages. Her long philosophical poem, First Dream, is translated in its entirety, as is her famous autobiographical letter to the Bishop of Puebla, which is both a self-defense and a vindication of the right of women to cultivate their minds.The Anthology was conceived as a companion to the English-language edition of Octavio Paz's magisterial study of Sor Juana. On its own, it will be welcomed as the first representative selection in English of her verse and prose.

    Taro would wear the historic dark blue uniform and learn alongside other little Einsteins while she basked in the glory of his high achievements with the other perfect moms. Together they would climb the rungs into the country's successful elite. But it didn't turn out that way. Taro had other things in mind.While set in Japan, their struggles in the school's hyper-competitive environment mirror those faced by parents here in the US and raise the same questions about the best way to educate a child—especially one that doesn’t quite fit the mold. Public or private? Competitive or nurturing? Standardized or individualized. Helicopter parenting or free-range? Amid this frenzied debate, how does one find balance and maintain a healthy parent-child relationship?Dear Diary Boy is an intensely personal, heartwarming, and heartbreaking chronicle of one mother and child's experience in a prestigious private Tokyo school. It's a tale that will resonate with all parents as we try to answer the age-old questions of how best to educate our children and what, truly, is in their best interests versus what is in our own.

    Against a history of relative inattention on the part of Western translators to modern Asian critical theory, this first English publication is sure to have a profound effect on current cultural criticism in the West. It is both the boldest critique of modern Japanese literary history to appear in the post-war era and a major theoretical intervention, which calls into question the idea of modernity that informs Western consciousness.In a sweeping reinterpretation of nineteenth-and twentieth-century Japanese literature, Karatani Kojin forces a reconsideration of the very assumptions underlying our concepts of modernity. In his analysis, such familiar terms as origin, modern, literature, and the state reveal themselves to be ideological constructs. Karatani weaves many separate strands into an argument that exposes what has been hidden in both Japanese and Western accounts of the development of modern culture. Among these strands are: the "discovery" of landscape in painting and literature and its relation to the inwardness of individual consciousness; the similar "discovery" in Japanese drama of the naked face as another kind of landscape produced by interiority; the challenge to the dominance of Chinese characters in writing; the emergence of confessional literature as an outgrowth of the repression of sexuality and the body; the conversion of the samurai class to Christianity; the mythologizing of tuberculosis, cancer, and illness in general as a producer of meaning; and the "discovery" of "the child" as an independent category of human being.A work that will be important beyond the confines of literary studies, Karatani's analysis challenges basic Western presumptions of theoretical centrality and originality and disturbs the binary opposition of the "West" to its so-called "other." Origins of Modern Japanese Literature should be read by all those with an interest in the development of cultural concepts and in the interrelating factors that have determined modernity.

    Asian & Asian American Studies. Translated from the Japanese by Sawako Nakayasu. The first comprehensive collection of one of Japan's foremost modernists to appear in English translation, THE COLLECTED POEMS OF CHIKA SAGAWA is an essential book. The project received a grant from the Japan Foundation, and poems from it have appeared in Poetry, Asymptote, Fascicle, and elsewhere.

    Curated by Jay Rubin (who has himself freshly translated several of the stories) and introduced by Haruki Murakami this is a book which will be a revelation to many of its readers. Short story writers already well-known to English-language readers are all included - Tanizaki, Akutagawa, Murakami, Mishima, Kawabata, Yoshimoto - but also many surprising new finds. From Tsushima Yuko's 'Flames' to Sawanishi Yuten's 'Filling Up with Sugar', from Hoshi Shin'ichi's 'Shoulder-Top Secretary' to Yoshimoto Banana's 'Bee Honey', The Penguin Book of Japanese Short Stories is filled with fear, charm, beauty and comedy.

    These are some of the inhabitants of People From My Neighborhood. In their lives, details of the local and everyday—the lunch menu at a tiny drinking place called the Love, the color and shape of the roof of the tax office—slip into accounts of duels, prophetic dreams, revolutions, and visitations from ghosts and gods. In twenty-six “palm of the hand” stories—fictions small enough to fit in the palm of one’s hand—Hiromi Kawakami creates a universe ruled by mystery and transformation.

    I shall release you -SAKUNTALA When?KING When?When, like a bee, I kiss the bud of your unbruised lipAnd flood my thirsting mouth with nectar.Kalidasa's play about the love of King Dusyanta and Sakuntala, a hermitage girl, their separation by a curse, and eventual reunion, is the supreme work of Sanskrit drama by its greatest poet and playwright (c.4th century CE). Overwhelmingly erotic in tone, in peformance The Recognition of Sakuntala aimed to produce an experience of aesthetic rapture in the audience, akin to certain types of mystical experience.The pioneering English translation of Sakuntala in 1789 caused a sensation among European composers and writers (including Goethe), and it continues to be performed around the world. This vibrant new verse translation includes the famous version of the story from the Mahabharata, a poetic and dramatic text in its own right and a likely source for Kalidasa. The introduction discusses the play in the aesthetic and cultural context of ancient India.

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface