A couple in their thirties live in a small rented cottage in a quiet part of Tokyo; they work at home, freelance copy-editing; they no longer have very much to say to one another. But one day a cat invites itself into their small kitchen. It leaves, but the next day comes again, and then again and again. Soon they are buying treats for the cat and enjoying talks about the animal and all its little ways. Life suddenly seems to have more promise for the husband and wife — the days have more light and color. The novel brims with new small joys and many moments of staggering poetic beauty, but then something happens….As Kenzaburo Oe has remarked, Takashi Hiraide’s work "really shines." His poetry, which is remarkably cross-hatched with beauty, has been acclaimed here for "its seemingly endless string of shape-shifting objects and experiences,whose splintering effect is enacted via a unique combination of speed and minutiae."

    Each book comprises all new stories, each one set in a distinct neighborhood or location within the respective city. In Hong Kong Noir, fourteen of the city’s finest authors explore the dark heart of the Pearl of the Orient in haunting stories of depravity and despair.Brand-new stories by: Jason Y. Ng, Xu Xi, Marshall Moore, Brittani Sonnenberg, Tiffany Hawk, James Tam, Rhiannon Jenkins Tsang, Christina Liang, Feng Chi-shun, Charles Philipp Martin, Shannon Young, Shen Jian, Carmen Suen, and Ysabelle Cheung.From the introduction by Jason Y. Ng & Susan Blumberg-Kason:What will Hong Kong look like in five years, ten years, or thirty years—when the “one country, two systems” promise expires? It’s impossible to foresee. Hong Kong’s future may not be within our control, but some things are. We can continue to write about our beloved city and work our hardest to preserve it in words. When we asked our contributors to write their noir stories, we didn’t give them specific content guidelines other than to make sure their stories end on a dark note. What we received was a brilliant collection of ghost stories, murder mysteries, domestic dramas, cops-and-robbers tales, and historical thrillers that capture Hong Kong in all its dark glory. The result is every bit as eclectic, quirky, and delightful as the city they write about.

    They are offered here both in their original texts and in superb English translations by Louise Varèse. Mrs. Varèse first published her versions of Rimbaud’s Illuminations in 1946. Since then she has revised her work and has included two poems which in the interim have been reclassified as part of Illuminations. This edition also contains two other series of prose poems, which include two poems only recently discovered in France, together with an introduction in which Miss Varèse discusses the complicated ins and outs of Rimbaldien scholarship and the special qualities of Rimbaud’s writing. Rimbaud was indeed the most astonishing of French geniuses. Fired in childhood with an ambition to write, he gave up poetry before he was twenty-one. Yet he had already produced some of the finest examples of French verse. He is best known for A Season in Hell, but his other prose poems are no less remarkable. While he was working on them he spoke of his interest in hallucinations––"des vertiges, des silences, des nuits." These perceptions were caught by the poet in a beam of pellucid, and strangely active language which still lights up––now here, now there––unexplored aspects of experience and thought.

    These “paper daughters,” so called because fake documents gain them entry to America but leave them without legal identity, generally have no recourse. But the Occidental Mission Home for Girls is one bright spot of hope and help.Told in alternating chapters, this rich narrative follows the stories of young Donaldina Cameron who works in the mission home, and Mei Lien, a “paper daughter” who thinks she is coming to America for an arranged marriage but instead is sold into a life of shame and despair.Donaldina, a real-life pioneering advocate for social justice, bravely stands up to corrupt officials and violent gangs, helping to win freedom for thousands of Chinese women. Mei Lien endures heartbreak and betrayal in her search for hope, belonging, and love. Their stories merge in this gripping account of the courage and determination that helped shape a new course of women’s history in America.

    Instead of ascribing to the Communist Party's goal of "spiritual civilization", he shunned the heroic models common in Chinese literature. Playing for Thrills is the first book published in English from the man whom Newsweek calls "China's literary bad boy" and The Washington Post acclaims as "the irreverent voice of a disillusioned generation".With shades of Chandler and Kerouac, Playing for Thrills is a dark, disembodied, yet compelling story of an anti-hero's search for the truth about a mysterious murder. As the narrator drifts through the seamy underside of Beijing and its environs, he meets a handful of incredibly varied characters as jaded and enigmatic as himself.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    This popular art form is the poetic expression of Zen Buddhism. Traditionally, a haiku poem is just 17 syllables long, which requires the poet, like the follower of Zen, to cut through surface appearances to the heart of an experience. In this collection, translator Jonathan Clements seeks to capture the elusive spirituality that enabled the Japanese poets to preserve their experience of the moment in a mere three lines.

    This collection of translations of the classical Zen poets of China, Japan, and Korea includes the work of Zen practitioners and monks as well as scholars, artists, travelers, and recluses, ranging from Wang Wei, Hanshan, and Yang Wanli, to Shinkei, Basho, and Ryokan.