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.

    As a religious novel about a decaying brahmin colony in the south Indian village ofKarnataka, Samskara serves as an allegory rich in realistic detail, a contemporary reworking of ancient Hindu themes and myths, and a serious, poetic study of a religious man living in a community of priests gone to seed. A death which stands as the central event in the plot brings in its wake aplague, many more deaths, live questions with only dead answers, moral chaos, and the rebirth of one man. The volume provides a useful glossary of Hindu myths, customs, Indian names, flora, and other terms. Notes and an afterword enhance the self-contained, faithful, and yet readabletranslation.

    Set in the rural China in which Xiao grew up, these two masterpieces expand on many themes, including the plight of peasants and the role of women in society. With a realistic style that has been said to rival "Tolstoy's sweep, FlaubertÂ�s detachment and Ba JinÂ�s compassion," Xiao gives us an unflinching, surprisingly lyrical, and often wryly humorous account of the difficult lives of these characters. This is an updated and extensively revised new edition.

    With the post-colonial sensibilities of Junot Diaz, Teju Cole, and Jhumpa Lahiri and an ironic perspective of colonial history resonant with Marques and Llosa, Joaquin is a long-neglected writer ready to join the ranks of the world classics. His work meditates on the questions and challenges of the Filipino individual's new freedom after a long history of colonialism, exploring folklore, centuries-old Catholic rites, the Spanish colonial past, magical realism, and baroque splendour and excess. This collection features his best-known story, 'The Woman Who Had Two Navels,' centred on Philippine emigrants living in Hong Kong and later expanded into a novel, the much-anthologised story 'May Day Eve,' and a canonical play, A Portrait of the Artist as Filipino.

    Social protest and poetry; reality and myth; nostalgia for an uncorrupted, golden past; sensual human enjoyment of the present; 'magic' rather than lineal time, and, above all, a tender, compassionate love for the living, fertile, wondrous land and the struggling, hopeful people of Guatemala.—Saturday Review • Winner of the 1967 Nobel Prize for Literature

    Every genre and style, from the celebrated No plays to the poetry and novels of the seventeenth century, find a place in this book. An introduction by Donald Keene places the selections in their proper historical context, allowing the readers to enjoy the book both as literature and as a guide to the cultural history of Japan. Selections include “Man’yoshu” or “Collection of Ten Thousand Leaves” from the ancient period; “Kokinshu” or “Collection of Ancient and Modern Poetry,” “The Tosa Diary” of Ki No Tsurayuki, “Yugao” from “Tales of Genji” of Murasaki Shikibu, and “The Pillow Book” of Sei Shonagon from the Heian Period; “The Tale of the Heike” from the Kamakura Period; Plan of the No Stage, “Birds of Sorrow” of Seami Motokiyo, and “Three Poets at Minase” from the Muromachi Period; and Sections from Basho, including “The Narrow Road of Oku,” “The Love Suicides at Sonezaki” by Chikamatsu Monzaemon, and Waka and haiku of the Tokugawa Period.

    As Inspector Chen Cao of the Shanghai Special Cases Bureau struggles to trace the hidden threads of her past, he finds himself challenging the very political forces that have guided his life since birth. Chen must tiptoe around his superiors if he wants to get to the bottom of this crime, and risk his career—perhaps even his life—to see justice done.

    Growing up in the perilous years between the fall of the last emperor and the Communist Revolution, Chang Yu-i's life is marked by a series of rebellions: her refusal as a child to let her mother bind her feet, her scandalous divorce, and her rise to Vice President of China's first women's bank in her later years.In the alternating voices of two generations, this dual memoir brings together a deeply textured portrait of a woman's life in China with the very American story of Yu-i's brilliant and assimilated grandniece, struggling with her own search for identity and belonging. Written in pitch-perfect prose and alive with detail, Bound Feet and Western Dress is the story of independent women struggling to emerge from centuries of customs and duty.

    Stocky, with a paunch and deep-set beady eyes, he resembles a pig himself. His brutality towards his new young wife, Lin Shi, knows no bounds. The more she screams, the more he likes it. She is further isolated by the vicious gossip of her neighbors who condemn her for screaming aloud. As they see it, women are supposed to be tolerant and put their husbands above everything else. According to an old Chinese belief, all butchers are destined for hell—an eternity of torment by the animals they have dispatched. Lin Shi, isolated, despairing, and finally driven to madness, fittingly kills him with his own instrument—a meat cleaver. A literary sensation in the Chinese language world with its suggestion that ritual and tradition are the functions of oppression, this novel also caused widespread outrage with its unsparing portrayal of sexual violence and emotional cruelty. This tale has made a profound impact on contemporary Chinese literature and today ranks as a landmark text in both women's studies and world literature.

    First published in Hanoi during 1936, it follows the absurd and unexpected rise within colonial society of a street-smart vagabond named Red-haired Xuan. As it charts Xuan's fantastic social ascent, the novel provides a panoramic view of late colonial urban social order, from the filthy sidewalks of Hanoi's old commercial quarter to the gaudy mansions of the emergent Francophile northern upper classes. The transformation of traditional Vietnamese class and gender relations triggered by the growth of colonial capitalism represents a major theme of the novel.Dumb Luck is the first translation of a major work by Vu Trong Phung, arguably the greatest Vietnamese writer of the twentieth century. The novel's clever plot, richly drawn characters and humorous tone and its preoccupation with sex, fashion and capitalism will appeal to a wide audience. It will appeal to students and scholars of Vietnam, comparative literature, colonial and postcolonial studies, and Southeast Asian civilization.Vu Trong Phung died in Hanoi, in 1939 at the age of twenty-seven. He is the author of at least eight novels, seven plays, and several other works of fiction in addition to Dumb Luck.Peter Zinoman is Associate Professor of Southeast Asian History, University of California, Berkeley. Nguyen Nguyet Cam is Vietnamese Language Instructor, University of California, Berkeley.

    Against the vivid, gritty backdrop of 1980s China, Lu Yao traces the proud and passionate Gao Jialin’s difficult path to professional, romantic, and personal fulfillment—or at least hard-won acceptance.With the emotional acuity and narrative mastery that secured his reputation as one of China’s great novelists, Lu Yao paints a vivid, emotional, and unsparing portrait of contemporary Chinese life, seen through the eyes of a working-class man who refuses to be broken.

    From the title story told by a woman suffering from gaps in her memory, to one about a man seeking insight in bags of garbage, to a surreal story about a car salesman and the customer he tries to seduce, The Woman Next Door charms and provokes with an incomparable style.

    Wandering the streets of Tokyo and scribbling madly on the interior walls of his box, he describes the world outside as he sees or perhaps imagines it, a tenuous reality that seems to include a mysterious rifleman determined to shoot him, a seductive young nurse, and a doctor who wants to become a box man himself. The Box Man is a marvel of sheer originality and a bizarrely fascinating fable about the very nature of identity.Translated from the Japanese by E. Dale Saunders.

    Through the eyes of Hang, a young woman in her twenties who has grown up amidst the slums and intermittent beauty of Hanoi, we come to know the tragedy of her family as land reform rips apart their village. When her uncle Chinh‘s political loyalties replace family devotion, Hang is torn between her mother‘s appalling self–sacrifice and the bitterness of her aunt who can avenge but not forgive. Only by freeing herself from the past will Hang be able to find dignity –– and a future.

    Ranging from love and death to faith restored and hope regained, these stories present a master at work, at the top of his form. Perfectly paced and brimming with passion, these twenty-two tales from a master storyteller of the Twentieth Century are translated by the award-winning Anthea Bell.Deluxe, clothbound edition.