It's raining heavily. Black umbrellas everywhere. Mysterious mourners, and the arrival of a new priest in Wonderland.Who died? When and why? And who is this crowd?The latest Snap of Insanity reveals a secret or two you may not have been ready for. It also hints to the coming events of Mushrooms (Insanity 8)

    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 themes are akin to those in the author's novels (Silence and The Sea and Poison, for example): the martyrdom of Roman Catholics in Japan; coming to terms with old age - a compound of infirmity, fear, and pangs of nostalgia; the incongruity of Japanese travelers in Europe; spiritual doubt and sexual yearning; and, clearly, elements of autobiography, particularly of Endo's lonely boyhood unhappiness over the strife between his parents that ended in divorce. There is no other contemporary Japanese writer who has achieved such a balanced blend of things Western with those inherently Japanese. As John Updike comments in The New Yorker, Endo's work is "sombre, delicate, startlingly emphatic." It is also uniquely moving in its compassionate exploration of the human condition.

    But for 15-year old Saya, the war is far away and unimportant--until the day she discovers she is the reincarnation of the Water Maiden and a princess of the Children of the Dark. Raised to love the Light and detest the Dark, Saya must come to terms with her heritage even as she is tumbled into the very heart of the conflict that is destroying her country. Both the army of the Light and Dark seek to claim her, for she is the only mortal who can awaken the legendary Dragon Sword, the weapon destined to end the war. Can Saya make the dreadful choice between the Light and Dark, or is she doomed like all the Water Maidens who have come before her?

    The Magic Knight Rayearth boxed sets includes a handsome collector's case, three volumes of Magic Knight Rayearth 100% Authentic Manga and an exclusive Magic Knight Rayearth bonus book packed with never before seen original artwork.

    Lauren Keenan was separated from her husband, lonely, and miserable. Then came the night of Twenty-Seven Rejections of Doom: she asked twenty-seven people to hang out one Friday night, and every single person said no.Lauren realised her life wasn't working for her and that she needed to change it. It was time to try something new. Fifty-two new things, in fact. She made a resolution: she'd try 52 new things in 52 weeks.From zip lining to entering a stand-up comedy night; swimming with sharks to detoxing from social media; giving up alcohol for six months to going to a music festival alone; Lauren put herself out there with surprising results.Her year of new experiences was a game changer. It repaired her relationship with her husband, she regained confidence in herself, and she realised how satisfying it can be to push yourself to your limits and to do things on your own.The 52 Week Project combines Lauren's insights and humour with current psychological research, as she brings readers along during her year of making the most out of life.

    Will Malcolm Fletcher prove himself to be the remorseless, audacious killer the FBI have marked him as, or is he something far more complicated?

    While their personalities are very different, they bond over not quite fitting in with the other Royals. Lizzie, however, has one thing that Duchess doesn't: a happily-ever-after at the end of her story. While Lizzie and the other princesses train for the day when they will rule their kingdoms, Duchess is torn between her role as the perfect, dutiful princess and her rebellious ambition to be a queen. When both girls are selected to attend General Villainy class, Duchess sees an opportunity to be a rebel while following the rules. But can she play a prank on her roomie to ace the class? Find out if Duchess' desire to change her destiny will make her Ever After High's Next Top Villain!Don't miss the companion Destiny Do-Over Diary, General Villainy, for interactive fun!

    Today it is thought of mainly as a children's story, and Kaguya-hime, the heroine, looks in the illustrations as lovable as Snow-White or Cinderella; there is no suggestions of the heartlessness that is perhaps her most memorable feature. Elements in the narrative recall similar tales from other parts of the world. The tests to which the suitors are subjected resemble the riddles asked by the icy Princess Turandot, or we may recall the three caskets among which the suitors had to choose in The Merchant of Venice. Perhaps the most interesting aspect of the tests Kaguya-hime imposes is the humor with which they are related. The second suitor's lyrical description of the magical island of Horai, where he allegedly found the jeweled branch, is interrupted by the mundane demands of the artisans who actually made it. Again, the fourth suitor, at the end of his unsuccessful quest, urges his men to stay away from the vicinity of the house of "that thief of a Kaguya-hime." Such a characterization of the heroine takes us from the realm of the children's story.About thirty-five years ago I first published a translation of The Tales of the Bamboo Cutter in the journal Monumenta Nipponica. A few years later-in the summer of 1965-a Japanese publisher conceived the plan of a book that would incorporate my translation, the translation into modern Japanese by the great novelist Yasunari Kawabata, and illustrations by one of the outstanding contemporary Japanese painters. I decided to take advantage of the opportunity to revise my translation.About this time, I visited an exhibition of kirie (paper-cut pictures) by Masayuki Miyata, and discovered that he had actually completed series of works illustrating The Tale if the Bamboo Cutter. I was delighted that at last it would be possible to realize the project first conceived so many years before. There were still further delays, but at last the book has materialized. [This work] combines the work of unknown Japanese writer of over a thousand years ago, the translation by a master of modern Japanese, illustrations by an outstanding artist, and a translation by an American who has devoted his life to the study of Japanese literature.

    This graphic novel was illustrated by the legendary P. Craig Russell. A humble young monk and a magical, shape-changing fox find themselves romantically drawn together. As their love blooms, the fox learns of a devilish plot by a group of demons and a Japanese emperor to steal the monk's life. With the aid of Morpheus, the fox must use all of her cunning and creative thinking to foil this evil scheme and save the man that she loves.

    Reiko Himekawa and her squad take the case. The victim was slaughtered brutally---his wounds are bizarre, and no one can figure out the "what" or the "why" of this crime.At age twenty-nine, Reiko Himekawa of the Tokyo Metropolitan Police's Homicide Division is young to have been made lieutenant, particularly because she lacks any kind of political or family connections. Despite barriers created by age, gender, and lack of connections, she is mentally tough, oblivious to danger, and has an impressive ability to solve crimes.Reiko makes a discovery that leads the police to uncover eleven other bodies, all wrapped in the same sort of plastic. Few of the bodies are identifiable, but the ones that are have no connection to each other. The only possible clue is a long shot lead to a website spoken only in whispers on the Internet, something on the dark web known as "Strawberry Night."But while she is hunting the killer, the killer is hunting her... and she may very well have been marked as the next victim.

    Three years after the end of the Second World War, Tsugami, the editor-in-chief of a newspaper, decides to organize a bullfight. But things are not as simple as Tsugami assumes: there are all kinds of logistical problems to overcome, and he has to go into an unwelcome alliance with a shady businessman. Tsugami's private life is also difficult, and as the bullfight approaches he must decide whether or not to remain with his lover Sakiko . . .Bullfight won the prestigious Akutagawa Prize in 1949, and Yasushi Inoue was consequently assured a place in the Japanese canon. This novel is translated by Michael Emmerich, who has translated much Japanese literature, including Hiromi Kawakami and Banana Yoshimoto. Pushkin Press will be publishing further works by Inoue, including the epistolary novel The Hunting Gun and the story collection The Counterfeiter.Contains a previously unpublished preface by Inoue himself.Yasushi Inoue (1907�1991) is one of the great Japanese authors. Born in Asahikawa on Hokkaido, he studied first law and then history of art. From 1936, he worked as a journalist for a major Japanese daily, until Bullfight brought him the Akutagawa Prize and national acclaim. His central concern is the loneliness of modern life and the complexities of personal relationships.

    A celebrated actress who has died in mysterious and shocking circumstances leaves behind an unconventional extended family that includes an older sister, a woman in her twenties through whose eyes the story unfolds; a young brother who possesses mystical powers; and a fiancé who is writing a novel with uncanny parallels to his own story.

    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.

    But in the castle, Ico meets a young girl named Yorda imprisoned in its halls. Alone they will die, but together Ico and Yorda might just be able to defy their destinies and escape the magic of the castle. Based on the video game filmmaker Guillemo del Toro (Hellboy, Pan's Labyrinth) called a "masterpiece", Japan's leading fantasist Miyuki Miyabe has crafted a tale of magic, loss, and love that will never be forgotten.