A prizewinning foreign correspondent and former New York Times bureau chief in Shanghai and in West and Central Africa, Howard French is uniquely positioned to tell the story of China in Africa. Through meticulous on-the-ground reporting—conducted in Mandarin, French, and Portuguese, among other languages—French crafts a layered investigation of astonishing depth and breadth as he engages not only with policy-shaping moguls and diplomats, but also with the  ordinary men and women navigating the street-level realities of cooperation, prejudice, corruption, and opportunity forged by this seismic geopolitical development. With incisiveness and empathy, French reveals the human face of China’s economic, political, and human presence across the African continent—and in doing so reveals what is at stake for everyone involved.             We meet a broad spectrum of China’s dogged emigrant population, from those singlehandedly reshaping African infrastructure, commerce, and even environment (a self-made tycoon who harnessed Zambia’s now-booming copper trade; a timber entrepreneur determined to harvest the entirety of Liberia’s old-growth redwoods), to those just barely scraping by (a sibling pair running small businesses despite total illiteracy; a karaoke bar owner–cum–brothel madam), still convinced that Africa affords them better opportunities than their homeland. And we encounter an equally panoramic array of African responses: a citizens’ backlash in Senegal against a “Trojan horse” Chinese construction project (a tower complex to be built over a beloved soccer field, which locals thought would lead to overbearing Chinese pressure on their economy); a Zambian political candidate who, having protested China’s intrusiveness during the previous election and lost, now turns accommodating; the ascendant middle class of an industrial boomtown; African mine workers bitterly condemning their foreign employers, citing inadequate safety precautions and wages a fraction of their immigrant counterparts’. French’s nuanced portraits reveal the paradigms forming around this new world order, from the all-too-familiar echoes of colonial ambition—exploitation of resources and labor; cut-rate infrastructure projects; dubious treaties—to new frontiers of cultural and economic exchange, where dichotomies of suspicion and trust, assimilation and isolation, idealism and disillusionment are in dynamic flux.             Part intrepid travelogue, part cultural census, part industrial and political exposé, French’s keenly observed account ultimately offers a fresh perspective on the most pressing unknowns of modern Sino-African relations: why China is making the incursions it is, just how extensive its cultural and economic inroads are, what Africa’s role in the equation is, and just what the ramifications for both parties—and the watching world—will be in the foreseeable future.

    It was there he fell in love and wrote his best-selling novel, The Waterwheel, accusing America of being in denial about the horrific aftermath of the Tokyo firebombings and the nuclear destruction at Hiroshima and Nagasaki. As we learn more about his earlier life, however - as a student in Bloomsbury, involved with a famous American painter - we realise that he too is in denial, trying to escape past events that are now rapidly catching up with him. A sweeping novel of East and West, love and war, truths and denials.

    

    Following tiny mountain trails back to parents, he meets American aviator. Guerillas sneak them free. Based on real story of boy adopted by squadron of sixty flyers in bunkhouse.

    Re-publication of the essays by the author whose criticism of Taiwan¡'s political culture became the seed of an essay wild fire for motivating the people of Taiwan.

    Retreating into the past, she finds herself reliving one particular hot summer in Nagasaki, when she and her friends struggled to rebuild their lives after the war. But then as she recalls her strange friendship with Sachiko - a wealthy woman reduced to vagrancy - the memories take on a disturbing cast.

    Where the other Confucian classics treat “outward things: deeds, moral precepts, the way the world works,” as Stephen Owen tells us in his foreword, The Book of Songs is “the classic of the human heart and the human mind.”

    It demonstrates how throughout the twentieth century, Thailand has been drawn into the international system, the American camp in the Cold War, the economic gambit of rising Japan, and more recently, the forces of globalization. The authors also survey the country's transformation accompanying massive social evolution over recent decades. (Control of the nation state is still contested between forces with a patriarchal belief in change from above, and advocates of democracy and liberal values.)

    The poems range in tone from the spiritual longing of an isolated monk to the erotic ecstasy of a court princess—but share the extraordinary simplicity and luminosity of language that marks Kenneth Rexroth's verse style. An introduction by the poet and translator Sam Hamill, the editor of this collection, and short biographies of the poets are included. The Shambhala Library is a series of exquisitely designed and produced cloth editions of the world's spiritual and literary classics, both ancient and modern. Perfect for collecting or as gifts, each volume features a sewn binding, decorative endsheets, and a ribbon marker—a delightful-to-hold 4 ¼ x 6 ¾ trim size.

    Originally published as a paperback in 1961, it has long been treasured by World War II buffs and professional historians for its insights into the Japanese side of the surface war in the Pacific. The book has been credited with correcting errors in U.S. accounts of various battles and with revealing details of high-level Imperial Japanese Navy strategy meetings. The author, Captain Tameichi Hara, was a survivor of more than one hundred sorties against the Allies and was known throughout Japan as the Unsinkable Captain. Called the workhorses of the navy, Japanese destroyers shouldered the heaviest burden of the surface war and took part in scores of intense sea battles, many of which Captain Hara describes here. In the early days of the war victories were common, but by 1943, the lack of proper maintenance of the destroyers and sufficient supplies, along with Allied development of scientific equipment and superior aircraft, took its toll. On April 7, 1945, during the Japanese navy s last sortie, Captain Hara managed to survive the sinking of his own ship only to witness the demise of the famed Japanese battleship Yamato off Okinawa. A hero to his countrymen, Captain Hara exemplified the best in Japanese surface commanders: highly skilled (he wrote the manual on torpedo warfare), hard driving, and aggressive. Moreover, he maintained a code of honor worthy of his samurai grandfather, and, as readers of this book have come to appreciate, he was as free with praise for American courage and resourcefulness as he was critical of himself and his senior commanders. The book s popularity over the past forty-six years testifies to the author s success at writing an objective account of what happened that provides not only a fascinating eyewitness record of the war, but also an honest and dispassionate assessment of Japan s high command. Captain Hara s sage advice on leadership is as applicable today as it was when written. For readers new to this book and for those who have read and re-read their paperback editions until they have fallen apart, this new hardcover edition assures them a permanent source of reference and enjoyment.

    Now, in China: The Novel, Rutherfurd takes readers into the rich and fascinating milieu of the Middle Kingdom..The story begins in 1839, at the dawn of the First Opium War, and follows Chinese history through Mao's Cultural Revolution and up to the present day. Rutherfurd chronicles the rising and falling fortunes of members of Chinese, British, and American families, as they negotiate the tides of history. Along the way, in his signature style, Rutherfurd provides a deeply researched portrait of Chinese history and society, its ancient traditions and great upheavals, and China's emergence as a rising global power. As always, we are treated to romance and adventure, heroines and scoundrels, grinding struggle and incredible fortunes. China: The Novel brings to life the rich terrain of this vast and constantly evolving country. From Shanghai to Nanking to the Great Wall, Rutherfurd chronicles the turbulent rise and fall of empires as the colonial West meets the opulent and complex East in a dramatic struggle between cultures and people.Extraordinarily researched and majestically told, Edward Rutherfurd paints a thrilling portrait of one of the most singular and remarkable countries in the world.

    Drawing on his unmatched expertise in Japanese culture and on unique, unlimited access to Sony's inner sanctum, John Nathan traces Sony's evolution from its inauspicious beginnings amid Tokyo's bomb-scarred ruins to its current worldwide success. "Richly detailed and revealing" (Wall Street Journal), the book examines both the outward successes and, as never before, the mysterious inner workings that have always characterized this company's top ranks. The result is "a different kind of business book, showing how personal relationships shaped one of the century's great global corporations" (Fortune).

    As Edwin O. Reischauer, former ambassador to Japan, has pointed out, this book offers "a lesson that the postwar generations need most...with eloquence, crushing detail, and power."

    At a crossroads on the way to the town of Suzaka, Kaze finds the body of a merchant pierced by an arrow. Not satisfied with the conclusions of local officials, he sets out to solve the crime himself. Kaze soon becomes embroiled with an unlikely - and untrustworthy - cast of characters, who are as colorful as they are crafty. Each has a secret to keep and an ax to grind, and it will take all of Kaze's subtlety, stealth, and samurai skills to unravel the mystery and unmask the killer.

    Two shells. One called Little Boy, one called Fat Man. Three days apart. The one implicit in the other. Brothers.Named one of Flavorwire's best independent books of 2014, and winner of the 2013 Horatio Nelson Fiction Prize.In this striking debut novel, the atomic bombs dropped on Japan are personified as Fat Man and Little Boy. This small measure of humanity is a cruelty the bombs must suffer. Given life from death, the brothers' journey is one of surreal and unsettling discovery, transforming these symbols of mass destruction into beacons of longing and hope."Impressive. . . The novel straddles a hybrid genre of historical magical realism." - The Japan Times "Meginnis’s talent is his ability to make the reader feel empathy for souls who killed so many. . . Many pages in this novel feel like engravings . . . Meginnis has written one of the best, most natural novels about the atomic bombs." - Nick Ripatrazone, The Millions“[An] imaginative debut. . . Meginnis’ story is both surprising and incisive.” - Publishers Weekly Named one of “the year’s most impressive debut novelists” by the 2014 Brooklyn Book Festival “An imaginative and surprisingly intimate look at the consequences of our actions and the costs of war.” - Library Journal "In his inventive and fabulist debut novel Fat Man and Little Boy Mike Meginnis lends a surprisingly human dimension to the atomic bombs dropped on Japan during World War II." - Largehearted Boy "Throughout Fat Man and Little Boy, Meginnis’s language is luminous and disarmingly spare, whether he is invoking a naturalist moment or a fantastical metamorphosis." - Necessary Fiction "Beguiling, strange, and strangely lovely, Fat Man and Little Boy is a deeply sorrowful yet mysteriously empowering debut."—Patrick deWitt, author of The Sisters Brothers"Only someone with the deftness of heart of a writer like Mike Meginnis could redefine the war novel into something like Fat Man and Little Boy, a book which translates our basic world of never-ending terror into a highly nuanced and inventive diorama available absolutely nowhere else."—Blake Butler, author of Scorch Atlas and There is No Year"Mike Meginnis is my favorite kind of writer—extraordinarily inventive, formally curious, profoundly moving—and his Fat Man and Little Boy is a debut of impressive ambition, a reinvention of the historical novel, an existential thriller powered by the booming engines of history, the atom, the human heart." —Matt Bell, author of In the House upon the Dirt between the Lake and the Woods"In Fat Man and Little Boy, Mike Meginnis takes the mother of all atrocities and makes it strange, sizable, turns it so sideways that we're forced to notice, to take heed. This alone is an achievement, but it's the way he does it that dazzles—with gorgeous, careful prose that gives us human failings and a desperate longing for connection so vividly rendered that we have no choice but drink it in, to reckon once again with this disaster in our own time and way."—Amber Sparks, author of The Desert Places and May We Shed These Human Bodies