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.

    Alternative cover edition here.These three short stories, The Counterfeiter, Obasute, and The Full Moon, explore the roles of loneliness, compassion, beauty, and forgiveness in day-to-day life in Japan, all within the context of the Buddhist-influenced notion of inescapable predestination.

    Three acts of defiance. One mass injustice.The story of camp as you’ve never seen it before. Japanese Americans complied when evicted from their homes in World War II -- but many refused to submit to imprisonment in American concentration camps without a fight.In this groundbreaking graphic novel, meet:-- JIM AKUTSU, the inspiration for John Okada’s No-No Boy, who refuses to be drafted from the camp at Minidoka when classified as a non-citizen, an enemy alien;-- HIROSHI KASHIWAGI, who resists government pressure to sign a loyalty oath at Tule Lake, but yields to family pressure to renounce his U.S. citizenship; and-- MITSUYE ENDO, a reluctant recruit to a lawsuit contesting her imprisonment, who refuses a chance to leave the camp at Topaz so that her case could reach the U.S. Supreme Court.Based upon painstaking research, We Hereby Refuse presents an original vision of America’s past with disturbing links to the American present.

    Retreating into the past, she finds herself reliving one particular hot summer in Nagasaki, when she and her friends struggled to rebuild their lives after the war. But then as she recalls her strange friendship with Sachiko - a wealthy woman reduced to vagrancy - the memories take on a disturbing cast.

    In “Disparity,” for example, Yu Hua illustrates the mind-boggling economic gaps that separate citizens of the country. In “Copycat,” he depicts the escalating trend of piracy and imitation as a creative new form of revolutionary action. And in “Bamboozle,” he describes the increasingly brazen practices of trickery, fraud, and chicanery that are, he suggests, becoming a way of life at every level of society. Characterized by Yu Hua’s trademark wit, insight, and courage, China in Ten Words is a refreshingly candid vision of the “Chinese miracle” and all its consequences, from the singularly invaluable perspective of a writer living in China today.

    . . In these pages, you will find the lives of all of us” (Japan Times).Sexually explicit and searingly honest, So We Look to the Sky is a novel told in five linked stories that begin with an affair between a student and a woman ten years his senior, who picks him up for cosplay sex at a comics convention. Their scandalous liaison, which the woman's husband makes public by posting secretly taped video online, frames all of the stories, but each explores a different aspect of the life passages and hardships ordinary people face. A teenager experimenting with sex and then, perhaps, experiencing love and loss; a young, anime-obsessed wife bullied by her mother-in-law to produce the child she and her husband cannot conceive; a high-school girl, spurned by the student, realizing that being cute and fertile is all others expect of her; the student's best friend, who lives in the projects and is left alone to support and care for his voracious senile grandmother; and the student's mother, a divorced single parent and midwife, who guides women bringing new life into this world and must rescue her son, crushed by the twin blows of public humiliation and loss, from giving up on his own.          Narrating each story in the distinctive voice of its protagonist, Misumi Kubo weaves themes including the female body, the roles women are assigned by society, and the bullying and social pressures that leave young people feeling burdened and helpless into a profoundly original novel that lingers in the mind for its affirmation of the raw, unquellable force of life.

    Proceeding sentence by sentence, city by city, and backwards in time, poet and essayist Kazim Ali details the struggle of coming of age between cultures, overcoming personal and family strictures to talk about private affairs and secrets long held. The text is comprised of sentences that alternate in time, ranging from discursive essay to memoir to prose poetry. Art, history, politics, geography, love, sexuality, writing, and religion, and the role silence plays in each, are its interwoven themes. Bright Felon is literally "autobiography" because the text itself becomes a form of writing the life, revealing secrets, and then, amid the shards and fragments of experience, dealing with the aftermath of such revelations. Bright Felon offers a new and active form of autobiography alongside such texts as Theresa Hak Kyung Cha's Dictee, Lyn Hejinian's My Life, and Etel Adnan's In the Heart of the Heart of Another Country. A reader's companion is available at http: //brightfelonreader.site.wesleyan.edu/

    Raised on a Sioux reservation, she was educated at boarding schools that enforced assimilation and was witness to major events in white-Indian relations in the late 1800s and early 1900s. Tapping her troubled personal history, Zitkala-Sa created stories that illuminate the tragedy and complexity of the American Indian experience. In evocative prose laced with political savvy, she forces new thinking about the perceptions, assumptions, and customs of both Sioux and white cultures and raises issues of assimilation, identity, and race relations that remain compelling today.

     Also, if you have an older (1st or 2nd gen) Kindle, please confirm it will display Japanese before buying. If you bought the Kindle version and the Japanese show as boxes, please contact me for an image version. Perfect for beginning and upper beginning students of Japanese. This affordable Japanese reader contains four complete stories of a clever and mischievous young man, Hikoichi. Get FREE MP3s of the stories read by a native Japanese speaker. Listen while reading. The link to the MP3s is found on the last page. Read--in Japanese--how the wise and young Hikoichi shows his smarts with these four short stories in Japanese. Yes, you can read real Japanese—even if you are just starting out in Japanese. • All Japanese have furigana (printed version) and romaji for those starting out. • Four full traditional Japanese stories about Hikoichi. • Every sentence is broken down word-for-word and with explanation of the grammar. • The full story in Japanese only (without the running gloss) is also provided so you can practice reading without interruption. • Finally, we have included a simple and mostly literal English translation for you to check your understanding (Don’t cheat! Work through the Japanese first!). • Download the FREE MP3s to listen while you study. The first story has the lord of the castle testing Hikoichi in a Solomon-esque question—which young lord is the true young lord? The second story shows choosing the first and most favorable isn't always best. In the end, only Hikoichi can enjoy the cherry blossoms. The third story is about a mysterious, but living umbrella. Some things are just too good to be true. We wrap things up with Hikoichi’s encounter with a Tengu—a mythical creature whose straw raincoat renders its wearer invisible. While beginners to Japanese can get a lot from this, hiragana knowledge is required. Finally, we invite the reader to contact us with questions or requests for future Japanese readers. You will find our personal email addresses in the book. To your Japanese!

    In 1978 six refugees—a girl, her father, and four “uncles”—are pulled from the sea to begin a new life in San Diego. In the child’s imagination, the world is transmuted into an unearthly realm: she sees everything intensely, hears the distress calls of inanimate objects, and waits for her mother to join her. But life loses none of its strangeness when the family is reunited. As the girl grows, her matter-of-fact innocence eddies increasingly around opaque and ghostly traumas: the cataclysm that engulfed her homeland, the memory of a brother who drowned and, most inescapable, her father’s hopeless rage.

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface

    Tomo's real mission had been to find him a mistress. Nor did her secret humiliation end there. The web that his insatiable lust spun about him soon trapped another young woman, and another ... and the relationships between the women thus caught were to form, over the years, a subtle, shifting pattern in which they all played a part. There was Suga, the innocent, introspective girl from a respectable but impoverished family; the outgoing, cheerful, almost boyish Yumi; the flirtatious, seductive Miya, who soon found her father-in-law more dependable as a man than his brutish son.... And at the center, rejected yet dominating them all, the near tragic figure of the wife Tomo, whose passionate heart was always, until that final day, held in check by an old-fashioned code.In a series of colorful, unforgettable scenes, Enchi brilliantly handles the human interplay within the ill-fated Shirakawa family. Japan's leading woman novelist and a member of the prestigious Art Academy, she combines a graceful, evocative style that consciously echoes the Tale of Genji with keen insight and an impressive ability to develop her characters over a long period of time. Her work is rooted deep in the female psychology, and it is her women above all-so clearly differentiated yet all so utterly feminine-who live in the memory. With The Waiting Years, a new and important literary figure makes her debut in the Western world.

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

    In Bite Hard, poet Justin Chin explores his identity as an Asian, a gay man, an artist, and a lover. He rails against both his own life experiences and society's limitations and stereotypes with scathing humor, bare-bones honesty, and unblinking detail. Whether addressing "what really goes on in the kitchen of Chinese restaurants" or a series of ex-boyfriends, all named Michael, Chin displays his remarkable emotional range and voice as a poet.His raw, incantatory, stream-of-consciousness poems confront issues of race, desire, and loss with a compelling urgency that reflects his work as a performance artist, speaking directly to an audience. Throughout this collection, Chin showcases his ability to convey thought-provoking viewpoints on a variety of controversial subjects. As R. Zamora Linmark of Rolling the R's says, "He plugs the stage microphone into the page and lyrically blasts the heart of our fears, rage, and import-export nightmarish dreams".

    After Ikkyu is the first collection of Harrison's poems that are directly inspired by his many years of Zen practice.