He's set to wrestle and study creative writing at Columbia University in New York. These poems are a look into his early experiences with love and loss, an introspective coming of age tale told in verse.

    Describes the principles of wabi-sabi, a Japanese aesthetic associated with Japanese tea ceremonies and based on the belief that true beauty comes from imperfection and incompletion, through text and photographs.

    The words haunt him as he studies the Kaiju (Japan’s giant monsters) on an island reserve, attempting to understand the beauty his wife saw.“The Return to Monsterland” opens 'Where We Go When All We Were Is Gone,' a collection of twelve fabulist and genre-bending stories inspired by Japanese folklore, historical events, and pop culture. In “Rokurokubi”, a man who has the demonic ability to stretch his neck to incredible lengths tries to save a marriage built on secrets. The recently dead find their footing in “The Inn of the Dead’s Orientation for Being a Japanese Ghost”. In “Girl Zero”, a couple navigates the complexities of reviving their deceased daughter via the help of a shapeshifter. And, in the title story, a woman instigates a months-long dancing frenzy in a Tokyo where people don’t die but are simply reborn without their memories.Every story in the collection turns to the fantastic, the mysticism of the past, and the absurdities of the future to illuminate the spaces we occupy when we, as individuals and as a society, are at our most vulnerable.

    In this collection, you will find images and poems that relate to life, love, loss, gain, realisation and the final thing called Moksha. The poems may sound philosophical, intellectual and emotional from time to time. You will also find a surprise at the end of this wonderful poetry collection if you read everything carefully. And, like the previous poetry collection by Alok Mishra, this book will also not take more than 15 minutes from your daily routine. However, you may want to read the book at least twice or maybe thrice to understand what do the poems mean. Alok has devised a style of his own to communicate his thoughts to the readers of Indian English poetry. A 4-3-6 style has perfectly settled with this collection having 14 wonderful poems. Here are some reviews for Moving for Moksha:The collection of poems takes us on a journey to ponder the truth and fallacies of life that come our way. The poems are mostly mystic in nature, having more than what it seems to be... you will certainly love it if you have a taste for English poetry.by: Amit Mishra (founder of The Indian Authors & Indian Book Lovers)...beauty, truth, eternity.... a very close observation of life, these poems sneak into nothing but the philosophy of life that people confront during life-span.by: Ravi Kumar, Research Scholar with expertise in Indian English Literature, a writer for many online literary platformsThe poems reflect disillusion, rejection, realisation and answer to the final call – Moksha, as called in Indian philosophy. The innovative form with a 4-3-6 pattern looks very apt for the emotional and intellectual and also cryptic nature of the poems in this collection.The Last Critic

    The year is 1986, and the strange communal life of this foursome, extending over half a year, from the end of winter to midsummer, makes up the plot,such as it is, of Plainsong, as this ersatz family finds itself growing closer, and lifecontinues—quietly—around them. Part of the generation that grew to prominence following the success of baby boomers like Haruki Murakami, KazushiHosaka’s work chronicles the small moments, the moments without conflict,that most novels work to elide. His characters talk, work, exist; their story is onewhere the tiniest occurrence takes on the proportions of a grand drama.

    It will then be about them only. It will be all about the one they loved like thunder, about the one they struggled hard to keep, about the one who had left them in the middle of their 'forever', about their world shattering into pieces, about them gluing together every piece, and about them falling in love one more time.And if you still think it is about you and me, you haven't loved someone like thunder, yet.

    

    An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of form is more central than meaning and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.

    It is an acquired taste, for those who do not mind profanity and dishevelled emotions.

    

    Truthful and tender, profoundly aware of the possibility of magic and the miraculous, these poems are beautiful, informed, and, even at their darkest moments, filled with courage and hope. Alongside old favorites, this edition will contain a selection of new, unpublished poems. This is a must for poetry lovers.

    In an essay on his career, Edward Hirsch describes They Feed They Lion as his "most eloquent book of industrial Detroit . . . The magisterial title poem--with its fierce diction and driving rhythms--is Levine's hymn to communal rage, to acting in unison." Of The Names of the Lost: "In these poems Levine explicitly links the people of his childhood whom 'no one remembers' with his doomed heroes from the Spanish Civil War."

    1008 at the height of the Heian period, Lady Sarashina (as she is known) probably wrote most of her work towards the end of her life, long after the events described. Thwarted and saddened by the real world with all its deaths and partings and frustrations, Lady Sarashina protected herself by a barrier of fantasy and so escaped from harsh reality into a rosier more congenial realm. She presents her vision of the world in beautiful prose, the sentences flowing along smoothly so that we feel we are watching a magnificent scroll being slowly unrolled.'It is like seeing a garden at night in which certain parts are lit up so brightly that we can distinguish each blade of grass, each minute insect, each nuance of colour, while the rest of the garden and the tidal wave that threatens it remain in darkness'--Ivan Morris

    Here are myths of gods, heroes and warriors; legends of Buddha, and of the goddess Benten and the god Daikoku; tales of the sea and of Mount Fuji; accounts of superstitions and supernatural beings; observations on the spiritual properties of fans, flowers, dolls and butterflies and much more.The collection begins with the early myths of Japan, which the author describes as "quaint, beautiful, quasi-humorous." These are followed by legends celebrating early heroes and warriors, and the earliest examples of the Japanese romance, "The Bamboo-Cutter and the Moon-Maiden." Many of the legends that follow reflect a poetic love of beauty and of nature. But as the author points out, "there is plenty of crude realism in Japanese legend. We are repelled by the Thunder God's favorite repast, amazed by the magical power of foxes and cats; and the story of 'Hōïchi-the-Earless' and of the corpse-eating priest afford striking examples of the combination of the weird and the horrible."Thirty-two full-page illustrations offer compelling images of Buddha and the Dragon; A Kakemono Ghost; The Jelly-Fish and the Monkey; The Firefly Battle; Tokoyo and the Sea Serpent; Sengen, the Goddess of Mount Fuji; and other subjects of these timeless myths. In addition, the author has included several invaluable appendixes that offer a helpful note on Japanese poetry, a listing of gods and goddesses, a genealogy of The Age of the Gods, and an index of poetical quotations.

    Blaze Technique), the power to control flames. When he was defeated by Kannagi Ayano, one of his very distant relatives, in a bout to decide who would wield "Enraiha" (lit. Blaze Lightning Supremacy), a sword that was wielded by the family heir, he was banished from the family. Four years later, he returns as a master of "Fujutsu" (lit. Wind Technique), the power to control wind, and with a new name, Yagami Kazuma. Soon after his return, he is reunited with Ayano and his younger brother, Ren, who is also gifted in Enjutsu. Soon, however, Kannagi family members are killed and the murder weapon is revealed to be Fujutsu. Now Kazuma has to fight his family to prove that he is not the murderer and follow a series of adventures with Ayano.