A couple in their thirties live in a small rented cottage in a quiet part of Tokyo; they work at home, freelance copy-editing; they no longer have very much to say to one another. But one day a cat invites itself into their small kitchen. It leaves, but the next day comes again, and then again and again. Soon they are buying treats for the cat and enjoying talks about the animal and all its little ways. Life suddenly seems to have more promise for the husband and wife — the days have more light and color. The novel brims with new small joys and many moments of staggering poetic beauty, but then something happens….As Kenzaburo Oe has remarked, Takashi Hiraide’s work "really shines." His poetry, which is remarkably cross-hatched with beauty, has been acclaimed here for "its seemingly endless string of shape-shifting objects and experiences,whose splintering effect is enacted via a unique combination of speed and minutiae."

    This is a curiously elegant and scandalous tale of sexual deception and revenge. Ibuki loves widow Yasuko who is young, charming and sparkling with intelligence as well as beauty. His friend, Mikame, desires her too but that is not the difficulty. What troubles Ibuki is the curious bond that has grown between Yasuko and her mother-in-law, Mieko, a handsome, cultivated yet jealous woman in her fifties, who is manipulating the relationship between Yasuko and the two men who love her.

    By building a rude home in the forest and eliminating desire, poet and Buddhist priest Chomei believed he would be spared the anguish that had befallen the townspeople. Yet at the end we find the author consumed with self-doubt, questioning his own sanity and the integrity of his purpose. His voice reaches out from the distant past and speaks directly to our hearts, surprisingly modern and intensely human.Author Biography: Yasuhiko Moriguchi and David Jenkins are writers, teachers, and translators living in Kyoto. Stone Bridge Press is a leading English-language publisher of Japanese literature in translation. Our ROCK SPRING COLLECTION OF JAPANESE LITERATURE features absorbing and important translations of classical and contemporary Japanese fiction and poetry. We believe that literature is a window into culture and society, and an expression of what is most peculiarly, and universally, human.

    Today it is thought of mainly as a children's story, and Kaguya-hime, the heroine, looks in the illustrations as lovable as Snow-White or Cinderella; there is no suggestions of the heartlessness that is perhaps her most memorable feature. Elements in the narrative recall similar tales from other parts of the world. The tests to which the suitors are subjected resemble the riddles asked by the icy Princess Turandot, or we may recall the three caskets among which the suitors had to choose in The Merchant of Venice. Perhaps the most interesting aspect of the tests Kaguya-hime imposes is the humor with which they are related. The second suitor's lyrical description of the magical island of Horai, where he allegedly found the jeweled branch, is interrupted by the mundane demands of the artisans who actually made it. Again, the fourth suitor, at the end of his unsuccessful quest, urges his men to stay away from the vicinity of the house of "that thief of a Kaguya-hime." Such a characterization of the heroine takes us from the realm of the children's story.About thirty-five years ago I first published a translation of The Tales of the Bamboo Cutter in the journal Monumenta Nipponica. A few years later-in the summer of 1965-a Japanese publisher conceived the plan of a book that would incorporate my translation, the translation into modern Japanese by the great novelist Yasunari Kawabata, and illustrations by one of the outstanding contemporary Japanese painters. I decided to take advantage of the opportunity to revise my translation.About this time, I visited an exhibition of kirie (paper-cut pictures) by Masayuki Miyata, and discovered that he had actually completed series of works illustrating The Tale if the Bamboo Cutter. I was delighted that at last it would be possible to realize the project first conceived so many years before. There were still further delays, but at last the book has materialized. [This work] combines the work of unknown Japanese writer of over a thousand years ago, the translation by a master of modern Japanese, illustrations by an outstanding artist, and a translation by an American who has devoted his life to the study of Japanese literature.

    In her collection of brief poems, Tawara explores the fleeting emotions and momentary experiences that comprise modern life and love.

    Many Japanese know the poems by heart as a result of playing the popular card game version of the anthology. Collecting one poem each from one hundred poets living from the 7th century to the 13th century, the book covers a wide array of themes and personal styles.

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    His colleague Manami should know better. His conquest Reiko treasures her independence above all else. Friends Tama and Subaru find themselves playing Nishino's game, but Eriko loves her cat more. Sayuri is older, Aichan is much younger, and Misono has her own conquests to make.For each of them, an encounter with elusive womaniser Mr Nishino will bring torments, desires and delights.

    Most famously, they use natural imagery to make Zen-like observations about reality. However, as this anthology reveals, there’s much more to haiku than cherry blossoms and waning moons: the verse included here is frequently erotic, funny, rude, and mischievous. Adam Kern has travelled throughout Japan to gather the best and most important examples of the genre, and his vivid and engaging translations form the basis of the Penguin Book of Haiku.For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Chikamatsu is thought to have written the first major tragedies about the common man. This edition of four of his most important plays includes three popular domestic dramas and one history play. Chikamatsu's domestic dramas are accurate reflections of Japanese society at the time: his characters are samurai, farmers, merchants, and prostitutes who speak colloquially, and who people the shops, streets, teahouses, and brothels that constituted their daily environment. The heroes and heroines of these plays gain their tragic stature from their conflicts with society. "The Love Suicides at Sonezaki" and "The Love Suicides at Amijima" became so popular that they actually initiated a vogue for love suicides, both in life and onstage. Donald Keene's translation of the original text is presented here with an introduction and a new preface to aid readers in their comprehension and enjoyment of the plays.PrefaceIntroductionThe Love Suicides at Sonezaki (Sonezaki Shinju)The Battles of Coxinga (Kokusenya Kassen)The Uprooted Pine (Nebiki No Kadomatsu)The Love Suicides at Amijima (Shinju ten no Amijima)Appendix 1: A Note on Prostitution in Chikamatsu's PlaysApendix 2: Contemporary Puppet Performances of Chikamatsu's PlaysBibliography

    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 spellbinding world of Hiromi Kawakami; the hair-raising horror of Otsuichi; the haunting, poignant prose of Banana Yoshimoto; even the poetic word-play of Yoko Tawada whatever a readers taste, he or she is sure to find something of interest and value in this book, suitable for students at the intermediate level and above. As in real Japanese novels, the text on each page runs from top to bottom and from right to left. Each double-page spread features translations of all the difficult passages. In the back of the book, moreover, is a built-in Japanese-English learners dictionary and a notes section covering issues of nuance, usage, grammar and culture that come up in each story. Best of all, the books comes with a free audio CD containing narrations of the stories, performed by a professional voice actress.

    His sole companion was Shimamoto, also an only child. Together they spent long afternoons listening to her father's record collection. But when his family moved away, the two lost touch. Now Hajime is in his thirties. After a decade of drifting he has found happiness with his loving wife and two daughters, and success running a jazz bar. Then Shimamoto reappears. She is beautiful, intense, enveloped in mystery. Hajime is catapulted into the past, putting at risk all he has in the present.

    They subtly merge the world of reason with the realm of the uncanny and exemplify the period's fascination with the strange and the grotesque. They were also the inspiration for Mizoguchi Kenji's brilliant 1953 film Ugetsu.The title Ugetsu monogatari (literally "rain-moon tales") alludes to the belief that mysterious beings appear on cloudy, rainy nights and in mornings with a lingering moon. In "Shiramine," the vengeful ghost of the former emperor Sutoku reassumes the role of king; in "The Chrysanthemum Vow," a faithful revenant fulfills a promise; "The Kibitsu Cauldron" tells a tale of spirit possession; and in "The Carp of My Dreams," a man straddles the boundaries between human and animal and between the waking world and the world of dreams. The remaining stories feature demons, fiends, goblins, strange dreams, and other manifestations beyond all logic and common sense.The eerie beauty of this masterpiece owes to Akinari's masterful combination of words and phrases from Japanese classics with creatures from Chinese and Japanese fiction and lore. Along with The Tale of Genji and The Tales of the Heike, Tales of Moonlight and Rain has become a timeless work of great significance. This new translation, by a noted translator and scholar, skillfully maintains the allure and complexity of Akinari's original prose.

    Published only recently, it set sales records in the millions of copies and soon crossed over to other media as well--first as a radio and TV drama, then as a blockbuster movie. The popularity of the novel has spread across Asia as well, with hugely successful translations into Korean and Chinese. In the West, readers may be reminded of The Bridges of Madison County, another best-selling novel of blazing midlife passion--one with a very different outcome.Here the lovers are Kuki, a 54-year-old employee in a publishing company, and Rinko, a childless, 37-year-old woman unhappily married to a cold fish of a husband, a professor of medicine. Stuck in a dead-end job and an uneventful marriage, Kuki is irresistibly drawn to Rinko from their first encounter, seeing through her demure demeanor to the passionate woman beneath. She returns his feelings with ever-increasing abandon, despite lingering fears about where her sexual awakening may lead her. In the end, both are prepared to risk all for their relationship: family, career, and social standing, even life itself.The story contrasts the lovers' defiantly freewheeling passion--described in imaginative, smoldering detail--with a rigid society where people are expected to play a prescribed role, whether as dutiful wife or compliant office worker. In escaping these conventional roles, the lovers often escape the city as well, immersing themselves in the traditional beauties of Japanese nature and art as they give themselves over to each other and the pleasure of the moment. And ultimately they make a much more radical escape: one that will ensure that they are left in peace, to enjoy an abiding love.Perhaps not all the choices they make will seem reasonable, or even understandable, to Western readers. But their story, with elements as modern as yesterday's headlines and as timeless as the tug between love and death, opens a window into the secrets of the Japanese soul.