Then, a talking cat named Tiger appears with an unusual request. The feline asks for—or rather, demands—the teenager’s help in saving books with him. The world is full of lonely books left unread and unloved, and Tiger and Rintaro must liberate them from their neglectful owners. Their mission sends this odd couple on an amazing journey, where they enter different mazes to set books free. Through their travels, Tiger and Rintaro meet a man who leaves his books to perish on a bookshelf, an unwitting book torturer who cuts the pages of books into snippets to help people speed read, and a publishing drone who only wants to create bestsellers. Their adventures culminate in one final, unforgettable challenge—the last maze that awaits leads Rintaro down a realm only the bravest dare enter...

    Stories of miracles, visions of hell, jokes, fables, and legends, these tales reflect the Japanese worldview during a classic period in Japanese civilization. Masterfully edited and translated by the acclaimed translator of The Tale of Genji, these stories ably balance the lyrical and the dramatic, the ribald and the profound, offering a window into a long-vanished though perennially fascinating culture.

    It recounts a series of stories from the life of his patient Eiji Ijichi, a former Yakuza boss, as told in the last months of his life.The true and fascinating story of one of the last traditional gang bosses in Japan.

    It is here that Kazu’s life in Tokyo began, as a labourer in the run up to the 1964 Olympics, and later where he ended his days, living in the park’s vast homeless ‘villages’, traumatised by the destruction of the 2011 tsunami and enraged by the announcement of the 2020 Olympics.Akutagawa-award-winning author Yū Miri uses her outsider’s perspective as a Zainichi (Korean-Japanese) writer to craft a novel of utmost importance to this moment, a powerful rebuke to the Imperial system and a sensitive, deeply felt depiction of the lives of Japan’s most vulnerable people.

    She is an astute young Housekeeper, with a ten-year-old son, who is hired to care for him. And every morning, as the Professor and the Housekeeper are introduced to each other anew, a strange and beautiful relationship blossoms between them. Though he cannot hold memories for long (his brain is like a tape that begins to erase itself every eighty minutes), the Professor’s mind is still alive with elegant equations from the past. And the numbers, in all of their articulate order, reveal a sheltering and poetic world to both the Housekeeper and her young son. The Professor is capable of discovering connections between the simplest of quantities--like the Housekeeper’s shoe size--and the universe at large, drawing their lives ever closer and more profoundly together, even as his memory slips away. The Housekeeper and the Professor is an enchanting story about what it means to live in the present, and about the curious equations that can create a family.

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    Carefully reassembled with calm, steady hands, these shards tell the story of an ordinary family that somehow managed to survive the myriad persecutions and repressions of the last century. The family’s pursuit of a quiet, civilized, ordinary life—during such atrocious times—is itself a strange odyssey.In dialogue with thinkers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various genres—essay, fiction, memoir, travelogue, and history—Stepanova assembles a vast panorama of ideas and personalities and offers a bold exploration of cultural and personal memory.

    He is not sure where he's going or why, but it means that he gets to sit in the front seat of a silver van with his beloved owner, Satoru. Side by side, they cruise around Japan through the changing seasons, visiting Satoru's old friends. He meets Yoshimine, the brusque and unsentimental farmer for whom cats are just ratters; Sugi and Chikako, the warm-hearted couple who run a pet-friendly B&B; and Kosuke, the mournful husband whose cat-loving wife has just left him. There's even a very special dog who forces Nana to reassess his disdain for the canine species. But what is the purpose of this road trip? And why is everyone so interested in Nana? Nana does not know and Satoru won't say. But when Nana finally works it out, his small heart will break...

    She exploded onto the cultural scene first as a musician, then as a poet and popular blogger, and is now an award-winning novelist.Breasts and Eggs paints a portrait of contemporary womanhood in Japan and recounts the intimate journeys of three women as they confront oppressive mores and their own uncertainties on the road to finding peace and futures they can truly call their own.It tells the story of three women: the thirty-year-old Natsu, her older sister, Makiko, and Makiko’s daughter, Midoriko. Makiko has traveled to Tokyo in search of an affordable breast enhancement procedure. She is accompanied by Midoriko, who has recently grown silent, finding herself unable to voice the vague yet overwhelming pressures associated with growing up. Her silence proves a catalyst for each woman to confront her fears and frustrations.On another hot summer’s day ten years later, Natsu, on a journey back to her native city, struggles with her own indeterminate identity as she confronts anxieties about growing old alone and childless.

    But observing someone for hours on end can be so inconvenient and tiresome. How will she stay awake? When can she take delivery of her favourite brand of tea? And, perhaps more importantly – how did she find herself in this situation in the first place?As she moves from job to job, writing bus adverts for shops that mysteriously disappear, and composing advice for rice cracker wrappers that generate thousands of devoted followers, it becomes increasingly apparent that she's not searching for the easiest job at all, but something altogether more meaningful...

    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.

    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.

    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.

    In God We Trust: All Others Pay Cash represents one of the peaks of his achievement, a compound of irony, affection, and perfect detail that speaks across generations.In God We Trust, Shepherd's wildly witty reunion with his Indiana hometown, disproves the adage "You can never go back." Bending the ear of Flick, his childhood-buddy-turned-bartender, Shepherd recalls passionately his genuine Red Ryder BB gun, confesses adolescent failure in the arms of Junie Jo Prewitt, and relives a story of man against fish that not even Hemingway could rival. From pop art to the World's Fair, Shepherd's subjects speak with a universal irony and are deeply and unabashedly grounded in American Midwestern life, together rendering a wonderfully nostalgic impression of a more innocent era when life was good, fun was clean, and station wagons roamed the earth.A comic genius who bridged the gap between James Thurber and David Sedaris, Shepherd may have accomplished for Holden, Indiana, what Mark Twain did for Hannibal, Missouri.

    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.