A resourceful samurai and a faithful daughter. A spirit of the moon and a dragon king.This collection of 15 traditional Japanese folktales transports readers to a time of adventure and enchantment. Drawn from the works of folklorists Lafcadio Hearn and Yei Theodora Ozaki, these tales are by turns terrifying, exhilarating, and poetic.• Striking illustrations by contemporary Japanese artist Kotaro Chiba• Special gift edition features an embossed, textured case with metallic gold ink, and a satin ribbon page marker• Part of the popular Tales series, featuring Nordic Tales, Celtic Tales, Tales of India, and Tales of East AfricaFans of Ghostly Tales, and Japanese Notebooks will love this book.This book is ideal for:• Fans of fairytales, folklore, ghost stories, Greek mythology, roman mythology, Chinese mythology, and Celtic mythology• Anyone interested in Japan's history books and culture studies• People of Japanese heritage• Collectors of illustrated classics

    The grace and elegance of the Japanese sensibility is reflected in both modern and traditional Japanese homes, from their fluid floor plans to their use of natural materials. In The Japanese House, renowned Japanese photographer Noboru Murata has captured this Eastern spirit with hundreds of vivid color photographs of 15 Japanese homes. As we step behind the lens with Murata, we're witness to the unique Japanese aesthetic, to the simple proportions modeled after the square of the tatami mat; to refined, rustic decor; to earthy materials like wood, paper, straw, ceramics, and textiles. This is a glorious house-tour readers can return to again and again, for ideas, inspiration, or simply admiration.

    It is packed full of illustrations and maps that capture the spirit of the city and its environs.

    Some do. In Killer Doctors, the dark side of the men in white is revealed.

    It was in sixteenth-century Japan, as Shakespeare was writing his masterworks half a world away, that the spirit of Kabuki theater was born out of a single woman's passions and dedication to her art. In Kabuki Dancer, the popular Japanese novelist Sawako Ariyoshi (The Doctor's Wife, The River Ki, The Twilight Years) retells the story of Okuni, the legendary temple dancer who first performed among jugglers and freak shows on a stage along the riverbank in the heart of the imperial city of Kyoto. Blending the rhythms and movements of religious festivals with the words of popular love songs, she and her troupe became sensations. Their affairs and rivalries, infatuations and jealousies, were transformed into the very fabric of their performance, as it began its evolution into the classic drama of today. Against a backdrop of civil war, dynastic conflict, and social turmoil, Okuni and her companions and lovers, together with their audience of artisans, merchants, and aristocrats, struggled to survive the birth pangs of a glorious--yet sometimes deadly--new age. Based on fact, transmuted into powerful and moving artistic expression, Kabuki Dancer is at once a turbulent love story, a recreation of an exotic and colorful historical period, and an almost mythic representation of the miraculous moment in which an immortal art form appears.

    During his owner's life Hachiko saw him off from the front door and greeted him at the end of the day at the nearby Shibuya Station. The pair continued their daily routine until May 1925 when Professor Ueno didn't return on the usual train one evening. The professor had suffered a stroke at the university that day. He died and never returned to the station where his friend was waiting.Hachiko was given away after his master's death but he routinely escaped, showing up again and again at his old home. After some time, Hachiko realized that Professor Ueno no longer lived at the house. So he went to look for his master at the train station where he had accompanied him so many times before. Each day, Hachiko waited for Professor Ueno to return. And each day he didn't see his friend among the commuters at the station.Hachiko became a permanent fixture at the train station, which eventually attracted the attention of commuters. Many of the people who frequented the Shibuya train station had seen Hachiko and Professor Ueno together each day. Realizing that Hachiko waited in vigil for his dead master, their hearts were touched. They brought Hachiko treats and food to nourish him during his wait. This continued for 10 years, with Hachiko appearing only in the evening, precisely when the train was due at the station.Hachiko: The True Story of the Royal Dogs of Japan and One Faithful Akita is Hachiko's story, as well as an informative look at dog culture in Japan and the history and tradition of the Akita-ken, one of the most ancient, beloved, and faithful dog breeds ever.

    The seventeen-syllable form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku has served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams and also as an example of spontaneity and Zen alertness to the new poets of the 1950s. This definitive collection brings together in fresh translations by an American poet the essential poems of the three greatest haiku masters: Matsuo Basho in the seventeenth century; Yosa Buson in the eighteenth century; and Kobayashi Issa in the early nineteenth century. Robert Hass has written a lively and informed introduction, provided brief examples by each poet of their work in the haibun, or poetic prose form, and included informal notes to the poems. This is a useful and inspiring addition to the Essential Poets series.

    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.

    In this vibrant volume , the author in his own style tackles all issues related to religion, faith, new cults and new movements.

    Editor Faubion Bowers provides a foreword and many informative notes to the poems.

    Nomo... Sasaki... Ichiro... the so-called American "National Pastime" has developed a decidedly Japanese flair. Indeed, in this year's All-Star game, two of the starting American League outfielders were from Japan. And for the third straight year, Ichiro - the fleet-footed Seattle Mariner - received more votes for the All-Star game than any other player in the game today. Some 15 years ago, in the bestseller You Gotta Have Wa, Robert Whiting examined how former American major league ballplayers tried to cope with a different culture while playing pro ball in Japan. Now, Whiting reverses his field and reveals how select Japanese stars have come across the Pacific to play in the big leagues. Not only have they had to deal with the American way of life, but they have individually changed the game in dramatic fashion.

    The Rape of Nanking, or Nanking Massacre, in which at least 369,366 people were slaughtered and 80,000 women were raped by Japanese invasion troops, has become little more than a historical footnote in the West. The horror began on the morning of December 13, 1937, when the Japanese Imperial Army captured Nanking (Nanjing), which was then China's capital. Soldiers went through the streets indiscriminately killing Chinese men, women, and children without apparent provocation or excuse until in places the streets and alleys were littered with the bodies of their victims. Thousands of women were raped by Japanese soldiers; death was frequently the penalty for the slightest resistance by a victim or members of her family. Even large numbers of young girls and old women were raped throughout the city, and many cases of abnormal and sadistic behavior in connection with these rapes were reported. Many women were killed after the act and their bodies mutilated. For the next six weeks, while horrific rape continued, wholesale murder of male civilians was conducted with the apparent sanction of the Japanese high command. Hundreds of thousands of civilians and disarmed ex-soldiers were arrayed in formation, their hands bound behind their backs, and marched outside the city wall where, in groups, they were beheaded, or buried alive, or bayoneted, or raked with machine-gun fire, or doused with gasoline and burned. This book, using more than 400 historical photographs, many of which were taken by Japanese soldiers themselves, is published to commemorate the sixtieth anniversary of the Rape of Nanking, to remind the world of the forgotten holocaust of WWII, and to honor history and answer any attempt to deny or change it.

    The title is derived from a Keith Jarrett album of the same name.Setting a precarious tone reminiscent more of The Spirit of the Beehive than his own mold-busting Ring trilogy, Death and the Flower may be horror-master Koji Suzuki’s most personal offering in English yet. Skirting genre expectations—even as revised by the author—and thus often overseen, all six of the tales herein are available in English for the first time.In the longest of the stories, “Beyond the Darkness,” a couple with a baby daughter realizes that saving up and moving into a brand-new apartment does not mean that they have shaken off a vicious prank-caller. In “Disposable Diapers and a Race Replica,” a sporty father who is barely making ends meet by tutoring comes by some verities in exchange for a brush with death. In “Key West,” a young girl on a tourist trip with her daddy sees things recede that shouldn’t.Common to the stories is a resilient affirmation of the place of family in our quest to wrest meaning from the maws of an unkind world. Predating the horror-themed collection Dark Water, whose title story inspired major motion pictures on both sides of the Pacific, Death and the Flower was Koji Suzuki’s first book of short stories.

    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.

    An earthquake occurring off the north-eastern coast of Japan - magnitude 9.0, duration six minutes - unleashed a 50-foot tsunami that within fifteen minutes had slammed its way ashore, rushing inland six miles, crushing all in its path - roads, airports, villages, trains, and buses - and triggering the slow, inexorable leak of radiation from five nuclear plants. This was just the beginning. The waves did not stop; nor did the aftershocks, which were themselves rolling earthquakes of terrifying magnitude, nor did the danger from radiation, which was controlled incrementally, until the meltdown began. One year on, the overwhelming sense of loss endures. Life goes on, but life is not the same. The writers in this collection seeks to explore the impact of this catastrophe through a variety of different means. The pieces - fiction and non-fiction, poetry and manage - reconceive the events of that day, imagine a future and a past, interpret dreams, impel purpose, pray for hope. Specific in reference, universal in scope, these singular, heartfelt contributions - by Yoko Ogawa, Ryu Murakami, Yoko Tawada, Kazumi Saeki and David Peace, among others - comprise an artistic record of a disaster which raises questions for all of us who live in the modern world.