The only comprehensive study that examines all areas of Basho's work, including haibun, renku and critical commentaries.

    The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing." – Ernest Hemingway, Death in the Afternoon (from Amazon)

    Arguably the central genre of Japanese literature, the 31-syllable lyric made up the great majority of Japanese poetry from the ninth to the nineteenth century and was the inspiration for such poetry as haiku and renga. Tanka has begun to attract considerable attention in North America in recent years. Modern Japanese Tanka is the first comprehensive collection available in English.Tanka retains the aesthetic sensibilities that circumscribe Japanese culture, but just as Japan has changed during this tumultuous century, tanka has undergone equally radical shifts. Responding to artistic and social movements of the West, tanka has incorporated influences ranging from Marxism to Avant-Garde.Modern Japanese Tanka includes four hundred poems by twenty of Japan's most renowned poets who have made major contributions to the hisotry of tanka in the late nineteenth and early twentieth centuries. With his graceful, eloquent translations, Makoto Ueda captures the distinct voices of these individual poets, providing biographical sketches of each as well as transliterating Japanese text below each poem. His introduction gives an excellent overview of the development of tanka in the last one hundred years.Tracing the contemporary tanka tradition from Yosana Tekkan in the late nineteenth century to the late twentieth-century poetry of such writers as Taware Machi, Modern Japanese Tankselegantly conveys an authentic sense of Japanese lyric to a Western audience.

    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.

    These journeys were part of his religious training as a Buddhist monk as well as literary inspiration for his memorable and often painfully moving poems. The works he wrote during this time comprise a record of his quest for spiritual enlightenment.Although Santoka was master of conventional-style haiku, which he wrote in his youth, the vast majority of his works, and those for which he is most admired, are in free-verse form. He also left a number of diaries in which he frequently recorded the circumstances that had led to the composition of a particular poem or group of poems. In "For All My Walking, " master translator Burton Watson makes Santoka's life story and literary journeys available to English-speaking readers and students of haiku and Zen Buddhism. He allows us to meet Santoka directly, not by withholding his own opinions but by leaving room for us to form our own. Watson's translations bring across not only the poetry but also the emotional force at the core of the poems.This volume includes 245 of Santoka's poems and of excerpts from his prose diary, along with a chronology of his life and a compelling introduction that provides historical and biographical context to Taneda Santoka's work.

    Miyazawa Kenji: Selections collects a wide range of his poetry and provides an excellent introduction to his life and work. Miyazawa was a teacher of agriculture by profession and largely unknown as a poet until after his death. Since then his work has increasingly attracted a devoted following, especially among ecologists, Buddhists, and the literary avant-garde. This volume includes poems translated by Gary Snyder, who was the first to translate a substantial body of Miyazawa’s work into English. Hiroaki Sato’s own superb translations, many never before published, demonstrate his deep familiarity with Miyazawa’s poetry. His remarkable introduction considers the poet’s significance and suggests ways for contemporary readers to approach his work. It further places developments in Japanese poetry into a global context during the first decades of the twentieth century. In addition the book features a Foreword by the poet Geoffrey O’Brien and essays by Tanikawa Shuntaro, Yoshimasu Gozo, and Michael O’Brien.

    After completing a university education, Oyama entered the business workforce and appeared destined to walk the same path as many a "salaryman." A singular temperament and a deep loathing of conformity, however, altered his career trajectory dramatically. Oyama left his job and moved to Osaka, where he lived for three years. Later he returned to the corporate world but fell out of it again, this time for good. After spending a short time on the streets around Shinjuku, home to Tokyo's bustling entertainment district, he moved to San'ya in 1987, at the age of forty.Oyama acknowledges his eccentricity and his inability to adapt to corporate life. Spectacularly unsuccessful as a salaryman yet uncomfortable in his new surroundings, he portrays himself as an outsider both from mainstream society and from his adopted home. It is precisely this outsider stance, however, at once dispassionate yet deeply engaged, that caught the eye of Japanese readers. The book was published in Japan in 2000 after Oyama had submitted his manuscript on a lark, he confesses for one of Japan's top literary awards, the Kaiko Takeshi Prize. Although he was astounded actually to win the award, Oyama remained in character and elected to preserve the anonymity that has freed him from all social bonds and obligations. The Cornell edition contains a new afterword by Oyama regarding his career since his inadvertent brush with fame."

    They also produced much of the country's best literature. Three of these amazing ladies wrote these diaries, among them the highly skilled writer Murasaki Shikibu (ca. 973-1025 a.d.). A lady-in-waiting to the Japanese Empress, she became very adept at observing the daily activities and attitudes of the upper classes. Her diary is a remarkable record of events staged with rare and exquisite taste. The Sarashina Diary, filled with an appreciation of nature, begins with a nine-year-old girl's dreams and ends with the grown woman's account of her husband's funeral (1009-1059 a.d.). Izumi Shikibu's diary is a delicately written work, with poetic thoughts characteristic of the lady's shy reserve. Brimming with poetry and understated social observations, all three provide an extraordinary glimpse of court life in old Japan. Unabridged republication of the edition originally published by Houghton Mifflin Company, Boston and New York, 1920. 2 color illustrations. 12 black-and-white illustrations. Appendix.

    While their extended talk took place at a particular location at a particular moment in history, much of the content is timeless and universal. After popular acclaim in Japan, the transcript now makes its first appearance in English.Topics from the Contents: The Meaning of Commitment Words or Images? Making Stories Answering Logically versus Answering Compassionately Self-Healing and Novels Marriage and 'Well-digging' Curing and Living Stories and the Body The Relationship between a Work and its Author Individuality and Universality Violence and Expression Where are We Headed?

    Her novels have been translated into forty-four languages and have sold over two billion copies worldwide. Her mysteries continue to sell as new generations of readers discover the delights of her main characters, Hercule Poirot and Miss Marple. In addition, Christie’s plays have been a tremendous success, with The Mousetrap running in London for the past 70 years.This is the story of the best-selling fiction writer of all time—Dame Agatha Christie.Discover a plethora of topics such asAn Enchanted ChildhoodAgatha Meets Archie ChristieThe Loss of Her Mother and HusbandChristie’s Mysterious DisappearanceMurder Most Foul: Enter Miss MarpleFinal Years and Death

    An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musée de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier––a sculptor to the last––carved a madonna and child from the butt of a captured German rifle, just two days before he died.

    

    Before long, the shogun surrendered to the emperor, a new constitution was adopted, and Japan emerged as a modern, industrialized state.Despite the length of his reign, little has been written about the strangely obscured figure of Meiji himself, the first emperor ever to meet a European. Most historians discuss the period that takes his name while barely mentioning the man, assuming that he had no real involvement in affairs of state. Even Japanese who believe Meiji to have been their nation's greatest ruler may have trouble recalling a single personal accomplishment that might account for such a glorious reputation. Renowned Japan scholar Donald Keene sifts the available evidence to present a rich portrait not only of Meiji but also of rapid and sometimes violent change during this pivotal period in Japan's history.In this vivid and engrossing biography, we move with the emperor through his early, traditional education; join in the formal processions that acquainted the young emperor with his country and its people; observe his behavior in court, his marriage, and his relationships with various consorts; and follow his maturation into a "Confucian" sovereign dedicated to simplicity, frugality, and hard work. Later, during Japan's wars with China and Russia, we witness Meiji's struggle to reconcile his personal commitment to peace and his nation's increasingly militarized experience of modernization. Emperor of Japan conveys in sparkling prose the complexity of the man and offers an unrivaled portrait of Japan in a period of unique interest.

    The co mpanion will interest tourists, students and business travel lers to Japan. '

    In this book Muller invites the reader along for a uniquely American odyssey into the ancient heart of modern Japan. Broad in scope and deftly observed by an author with a rich visual sense of people and place, Japanland is as beguiling as this colorful country of contradictions.