He has a criminal record, drinks too much, and his dream of becoming a writer is just a distant memory. With only the blossoming of the cherry trees to mark the passing of time, he spends his days in a tiny confectionery shop selling dorayaki, a type of pancake filled with sweet bean paste.But everything is about to change.Into his life comes Tokue, an elderly woman with disfigured hands and a troubled past. Tokue makes the best sweet bean paste Sentaro has ever tasted. She begins to teach him her craft, but as their friendship flourishes, social pressures become impossible to escape and Tokue's dark secret is revealed, with devastating consequences.Sweet Bean Paste is a moving novel about the burden of the past and the redemptive power of friendship. Translated into English for the first time, Durian Sukegawa's beautiful prose is capturing hearts all over the world.

    But observing someone for hours on end can be so inconvenient and tiresome. How will she stay awake? When can she take delivery of her favourite brand of tea? And, perhaps more importantly – how did she find herself in this situation in the first place?As she moves from job to job, writing bus adverts for shops that mysteriously disappear, and composing advice for rice cracker wrappers that generate thousands of devoted followers, it becomes increasingly apparent that she's not searching for the easiest job at all, but something altogether more meaningful...

    Her parents have crumbled under the weight of her father’s infidelity; he has left the family, and mental illness has rendered her mother nearly catatonic. So Joon, at the age of thirteen, decides she would be better off on her own, a choice that commences a harrowing and often tragic journey that exposes the painful difficulties of a life lived on the margins. Joon’s adolescent years take her from a homeless shelter to an escort club, through struggles with addiction, to jobs selling newspapers and cosmetics, committing petty crimes, and, finally, toward something resembling hope.

    Two suspects quickly emerge: rich kid Shin Jeongjun, whose car Hae-on was last seen in, and delivery boy Han Manu, who witnesses Hae-on in the passenger seat of Jeongjun's car just a few hours before her death. But when Jeongjun's alibi turns out to be solid, and no evidence can be pinned on Manu, the case goes cold.Seventeen years pass without any resolution for those who knew and loved Hae-on, and the grief and uncertainty take a cruel toll on her younger sister, Da-on, in particular. Unable to move on with her life, Da-on tries in her own twisted way to recover some of what she's lost, ultimately setting out to find the truth of what happened.Told at different points in time from the perspectives of Da-on and two of Hae-on's classmates, Lemon loosely follows the structure of a detective novel. But finding the perpetrator is not the main objective here. Instead, the work explores grief and trauma, raising important questions about guilt, retribution, and the meaning of death and life.

    Charting her way through an ill-advised marriage, Soo-Ja must navigate the intrigue and dangers of living with her conniving in-laws, all the while longing for her true love of the past, the elusive Doctor Yul. And when he enters her life again, Soo-Ja is confronted with a final chance at happiness, but must make a mother’s ultimate choice.Epic and intimate, Park’s debut offering—based on his own mother’s story—is a snapshot of a nation rising from a poor, rural country into a major world power in the aftermath of a devastating war. This Burns My Heart evokes a strong sense of place and era reminiscent of Sarah Waters, and the richly drawn characters and exploration of women’s changing roles brings to mind Lisa See.

    As she retreats further into her own world, Toru finds himself reaching out to others and drawn to a fiercely independent and sexually liberated young woman.A magnificent blending of the music, the mood, and the ethos that was the sixties with the story of one college student's romantic coming of age, Norwegian Wood brilliantly recaptures a young man's first, hopeless, and heroic love.

    Yi Byeongdo, a serial killer whose gruesome murders shook the world, wants to be interviewed. Yi Byeongdo, who has refused to speak to anyone until now, asks specifically for her. Seonkyeong agrees out of curiosity. That same day Hayeong, her husband’s eleven-year-old daughter from a previous marriage, shows up at their door after her grandparents, with whom she lived after her mother passed away, die in a sudden fire. Seonkyeong wants her to feel at home, but is gradually unnerved as the young girl says very little and acts strangely. At work and at home, Seonkyeong starts to unravel the pasts of the two new arrivals in her life and begins to see startling similarities. Hayeong looks at her the same way Yi Byeongdo does when he recounts the abuse he experienced as a child; Hayeong’s serene expression masks a temper that she can’t control. Plus, the story she tells about her grandparents’ death, and her mother’s before that, deeply troubles Seonkyeong. So much so that Yi Byeongdo picks up on it and starts giving her advice. Written with exquisite precision and persistent creepiness, The Only Child is psychological suspense at its very best.

    At the center of the tale are two teenage girls—Hyun Jin and Sookie, a teenage prostitute kept by an American soldier—who form a makeshift family with Lobetto, a lost boy who scrapes together a living running errands and pimping for neighborhood girls. Both horrifying and moving, Fox Girl at once reveals another layer of war's human detritus and the fierce love between a mother and daughter.

    First published in 1978, it speaks to the painful social costs of reckless industrialization, even as it tellingly portrays the spiritual malaise of the newly rich and powerful and a working class subject to forces beyond its control. Cho's lean, clipped, deceptively simple style, the rapidly shifting points of view, terse dialogue, and subtle irony evoke the particularities of life in 1970s South Korea in the presence of global economic forces.The desperate realities of life for the dwarf, the proverbial little guy upon whose back Korea's economic transformation largely took place, are emotively rendered in twelve linked stories examining the lives of a laboring family, a family of the newly emerging middle class, and that of a wealthy industrialist. The stories have overlapping characters and situations: the murder of a swindler, a family's eviction from a squatter settlement, the assassination of an important executive, the dwarf 's fantasy of a planet where life is easier, his later suicide and the subsequent fate of his dispersed friends and family members.

    But small incidents wreak havoc on space and time, driving their wedding date further away. As centuries on Earth pass and the land and climate change, one thing is constant: the desire of the lovers to be together. In two separate yet linked stories, Kim Bo-Young cleverly demonstrate the idea love that is timeless and hope springs eternal, despite seemingly insurmountable challenges and the deepest despair.In “The Prophet of Corruption” and “That One Life,” humanity is viewed through the eyes of its creators: godlike beings for which everything on Earth—from the richest woman to a speck of dirt—is an extension of their will. When one of the creations questions the righteousness of this arrangement, it is deemed a perversion—a disease—that must be excised and cured. Yet the Prophet Naban, whose “child” is rebelling, isn’t sure the rebellion is bad. What if that which is considered criminal is instead the natural order—and those who condemn it corrupt? Exploring the dichotomy between the philosophical and the corporeal, Kim ponders the fate of free-will, as she considers the most basic of questions: who am I?

    Yu Hua, award-winning author of To Live, gives us a surreal tale of two brothers riding the dizzying roller coaster of life in a newly capitalist world. As comically mismatched teenagers, Baldy Li, a sex-obsessed ne’er-do-well, and Song Gang, his bookish, sensitive stepbrother, vow that they will always be brothers--a bond they will struggle to maintain over the years as they weather the ups and downs of rivalry in love and making and losing millions in the new China. Their tribulations play out across a richly populated backdrop that is every bit as vibrant: the rapidly-changing village of Liu Town, full of such lively characters as the self-important Poet Zhao, the craven dentist Yanker Yu, the virginal town beauty (turned madam) Lin Hong, and the simpering vendor Popsicle Wang.With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua shows how the madness of the Cultural Revolution has transformed into the equally rabid madness of extreme materialism. Both tragic and absurd by turns, Brothers is a monumental spectacle and a fascinating vision of an extraordinary place and time.

    Misako's father believes their relationship has been damaged by the influence of a new and alien culture, and so attempts to heal the breach by educating his son-in-law in the time-honoured Japanese traditions of aesthetic and sensual pleasure. The result is an absorbing, chilling conflict between ancient and modern, young and old.

    In a country where patriarchal favoritism and the primacy of sons survived multiple revolutions and an ideological earthquake, this epic novel is first and foremost about women, with the female body serving as the book’s central metaphor. The protagonist, Mother, is born in 1900 and married at seventeen into the Shangguan family. She has nine children, only one of whom is a boy—the narrator of the book. A spoiled and ineffectual child, he stands in stark contrast to his eight strong and forceful female siblings.Mother, a survivor, is the quintessential strong woman who risks her life to save several of her children and grandchildren. The writing is picturesque, bawdy, shocking, and imaginative. The structure draws on the essentials of classical Chinese formalism and injects them with extraordinarily raw and surprising prose. Each of the seven chapters represents a different time period, from the end of the Qing dynasty up through the Japanese invasion in the 1930s, the civil war, the Cultural Revolution, and the post-Mao years. Now in a beautifully bound collectors edition, this stunning novel is Mo Yan’s searing vision of twentieth-century China.

    His colleague Manami should know better. His conquest Reiko treasures her independence above all else. Friends Tama and Subaru find themselves playing Nishino's game, but Eriko loves her cat more. Sayuri is older, Aichan is much younger, and Misono has her own conquests to make.For each of them, an encounter with elusive womaniser Mr Nishino will bring torments, desires and delights.

    Essentially the start of Dazai's career, the 1933 work gained notoriety for its ironic and inventive use of language, and how it illuminated the prevalent social structures of a lost time.