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.

    This thought-provoking trilogy of stories explores the very essence of loneliness and stands as a stirring introduction to modern Japanese literature.

    His collection brings together the best of Kalki’s short stories, which contain some of his most colourful and enduring characters and themes of Tamil popular fiction of the nineteen thirties and forties. There is in these stories the heady urgency of the freedom struggle, the piquant humour of the parodied Tamil gothic and devastating social satire. In her sensitive translations, Gowri Ramnarayan has succeeded in capturing the nuances of the gently mordant wit that made Kalki’s stories the highlight of the magazines they were originally published in, creating for themselves a dedicated following that flourishes undiminished to this day.Coinciding with the centenary of Kalki’s birth, this volume is a well-deserved tribute to a writer whose breadth of vision and genius imagined and served a new India.

    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 told by Junichiro Tanizaki, the story of the Makioka sisters forms what is arguably the greatest Japanese novel of the twentieth century, a poignant yet unsparing portrait of a family–and an entire society–sliding into the abyss of modernity.Tsuruko, the eldest sister, clings obstinately to the prestige of her family name even as her husband prepares to move their household to Tokyo, where that name means nothing. Sachiko compromises valiantly to secure the future of her younger sisters. The unmarried Yukiko is a hostage to her family’s exacting standards, while the spirited Taeko rebels by flinging herself into scandalous romantic alliances. Filled with vignettes of upper-class Japanese life and capturing both the decorum and the heartache of its protagonist, The Makioka Sisters is a classic of international literature.

    Osamu Dazai’s The Setting Sun takes this milieu as its background to tell the story of the decline of a minor aristocratic family.The story is told through the eyes of Kazuko, the unmarried daughter of a widowed aristocrat. Her search for self meaning in a society devoid of use for her forms the crux of Dazai’s novel. It is a sad story, and structurally is a novel very much within the confines of the Japanese take on the novel in a way reminiscent of authors such as Nobel Prize winner Yasunari Kawabata – the social interactions are peripheral and understated, nuances must be drawn, and for readers more used to Western novelistic forms this comes across as being rather wishy-washy.Kazuko’s mother falls ill, and due to their financial circumstances they are forced to take a cottage in the countryside. Her brother, who became addicted to opium during the war is missing. When he returns, Kazuko attempts to form a liaison with the novelist Uehara. This romantic displacement only furthers to deepen her alienation from society.

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    The smoke-spewing, banshee-wailing, fearsome black thing hisses like a thousand cobras... and the villagers declare that this Thing is an Iron Demon—a yakada yaka.The Burghers who drive these Iron Demons have a penchant for challenging authority and courting trouble, sometimes just to liven things up in the railway outposts... and so it is that Sonnaboy and Meerwald chase a large group of villagers all across Anuradhapura, mother-naked but not much bothered by it, Ben Godlieb conjures up a corpse in his cowcatcher, Dickie Byrd single-handedly demolishes a Pentecostal Mission and is hailed as the messiah of the Railway fraternity, and Basil Van der Smaght filches a human heart and feeds it to the Nawalapitiya railway staff ...and to cap it all, Sonnaboy takes French Leave to act in The Bridge on the River Kwai!

    A jaded businessman has a chance encounter with the doctor son of his best friend at school, Ozu, and memories are stirred of a former love interest of Ozu's, Aiko. The son of his friend proves to be contemptuous of the outmoded values of his father's world and ruthless in pursuit of success at his hospital. The story reaches a terrible climax when Aiko, now a middle-aged cancer-sufferer, is admitted to the hospital and Ozu leads the way in experimenting on her with dangerous drugs.

    In The Tale of Murasaki, Liza Dalby has created a breathtaking fictionalized narrative of the life of this timeless poet–a lonely girl who becomes such a compelling storyteller that she is invited to regale the empress with her tales. The Tale of Murasaki is the story of an enchanting time and an exotic place. Whether writing about mystical rice fields in the rainy mountains or the politics and intrigue of the royal court, Dalby breathes astonishing life into ancient Japan.

    It includes character studies and summaries of the plot with discussions of the major themes, as well as a background to John Steinbeck.

    She gives herself to him fully and without remorse, despite knowing that their passion cannot last and that the affair can have only one outcome. In chronicling the course of this doomed romance, Kawabata has created a story for the ages, a stunning novel dense in implication and exalting in its sadness.

    NOTES ABOUT To Kill a MockingbirdNOT the book To Kill a Mockingbird by Harper Lee

    Johns River in Jacksonville, Florida, is tormented by the thought that maybe his aunt is lying to him about how his mother died. To find the truth he has to overcome his fears: the local bully, the large dark shapes that he imagines in the middle of the dock at night, and the thought that maybe his brother is right, he's just a warped kid who thinks too much. Will he find the courage to stand and fight? Q&A with Lawton Paul Q: What sparked this novel? A: Two things. One: I wanted my kids to know where I came from. The very southern setting—North Florida on the St. Johns river, is where I grew up. And I wanted to give them a feel for that time and place. Watching the sunrise on a stinky crab boat in the St. Johns—what could be better? And the second thing: When I'm not writing, I'm teaching kids. I see a lot of young people who have such promise but for some reason or another, give up right before they're about to make headway. I see my own kids struggling at certain points in their lives. And one thought keeps coming back: don't give up. So I wanted Jesse (main character in Seagull) to really have some heavy issues to navigate through: the death of his mother, Johnny the bully, and of course, the girl, Hailey. You'll have to read the book (savvy marketing ploy alert!) to find out how it all turned out for Jesse. Q: Why should readers give this novel a try? A: If I've done my job well, you'll enjoy the ride and maybe even get that little happy-glow feeling at the end like you just watched Rocky again, or someone said your hair looks nice, or you got an “A” on a pre-calc test. (Another genius bit of marketing there.) Q: What kind of book is Seagull? A: It's a coming of age southern novel with a young main character that should appeal to fiction readers of all ages. Younger readers will sympathize with our teen heroes Jesse and Matty and adult readers will be taken back to earlier days. My style has a literary feel, but the story is plot-driven and suspenseful, especially at the end. And even has a hint of romance. Thanks for giving Seagull a try. Please let me know what you thought of it. —Lawton Paul

    As part of their correspondence, Goro sends Kogito a trunk of tapes he has recorded of reflections about their friendship. But as Kogito is listening one night, he hears something odd. "I'm going to head over to the Other Side now," Goro says, and then Kogito hears a loud thud. After a moment of silence, Goro's voice continues, "But don't worry, I'm not going to stop communicating with you." Moments later, Kogito's wife rushes in; Goro has jumped to his death from the roof of a building.With that, Kogito begins a far-ranging search to understand what drove his brother-in-law to suicide. The quest takes him to Berlin, where he confronts ghosts from both his own past, and that of his lifelong, but departed, friend.