This collection of Japanese fairy tales is the outcome of a suggestion made to me indirectly through a friend by Mr. Andrew Lang. They have been translated from the modern version written by Sadanami Sanjin. These stories are not literal translations, and though the Japanese story and all quaint Japanese expressions have been faithfully preserved, they have been told more with the view to interest young readers of the West than the technical student of folk-lore.

Beautifully illustrated with some of the world’s greatest pictures, from cave paintings and Roman mosaics to Picasso and Damien Hirst, this affordable guide explains the art of looking at and understanding pictures, equipping the reader with the vision and tools to approach any museum picture with confidence.Looking at pictures can be an exciting or moving experience, but some pictures—often the most rewarding—require some explanation before they can be fully understood. Delving into the origins, designs, and themes of over one hundred pictures from different periods and places, this book illuminates the art of looking at—and talking about—pictures. Susan Woodford shows how one can read a picture by examining the formal and stylistic devices used by an artist, and she explores popular themes and subject matter, and the relationship of pictures to the societies that produced them.This indispensable guide is supplemented by a glossary of key terms, ranging from art movements and technical terms to religious and classical terminology, to give readers all the information they need at their fingertips.

A patient in a mental hospital tells anyone who will listen his story of chasing a Kappa in the woods, when he fell down a hole and landed in Kappaland, a parallel world to the one above. And, by the way, friends he made in Kappaland come back to visit him nightly.What’s a Kappa? It’s a scaly, amphibious human-like mythical creature in Japanese culture. Kappas are small, so the furniture and houses the man visits makes him feels like he is in a nursery. Things that we take seriously, like death, the Kappas find humorous. Females chase the males. Baby Kappas have to agree to be born; they can walk and talk from birth. Some are born old and reverse age through life. Some have homosexual experiences; some drink themselves to death. Their parallel world has a parallel culture to ours with art, music and literature. The unemployed are killed and eaten to save them the bother of committing suicide. They war against the Otters. They have the same major religions we do but the one followed by most people is ‘Viverism’ which simply means “to live” as in the sense of “eating rice, drinking wine and having sex.” Kappa suicides come back in a paranormal Q &amp; A session where they ask questions such as how is my child? and what’s happened to my house?So we have a satire of Japanese society and culture. Capitalism, politics, art, music, literature, and even family structure all get their shots from the author. Art censorship in Kappaland is “more progressive than that in Japan.” A new book of philosophy is called “Words of the Fool.” The philosopher states that “the ideas essential to our livelihood were burnt out three thousand years ago. No doubt all that we do is add new flames to old faggots.” And, by the way, the ink they use in their books is made from “ass-brain.” But saying this short book is a satire of Japanese culture is just the start. We are told in the introduction that the author “had come to regard life as a shabby and despicable affair that could only achieve any sort of beauty when refined and polished by art.” So one interpretation of Kappa is that it is not just a parody making fun of art and politics but a parody of humanity: a misanthrope’s feeling of revulsion and disgust for human society that was fundamentally evil. This misanthropic view was the author’s final verdict on life while he was ill, in pain, and on opium shortly before his suicide in 1927 at age 35. He joined the long list of Japanese male authors who took their life. All his life he had feared inheriting insanity which ran in his family. He also got into ghosts and the paranormal. He suffered from schizophrenia and had feelings of persecution, hallucinations and déjà vécu experiences -- where he felt he had lived through his life before and current events were all a repeat of past experiences. Akutagawa has been called the “father of the Japanese short story.” And Kappa is short – about 95 pages, so the paperback is pumped up with a 40-page introduction about the story, the author’s life and his other works. One of Japan's two premier literary awards, the Akutagawa Prize, is named in his honor. It’s an interesting read – kind of like putting Jonathan Swift, Alice’s rabbit hole and Coleridge’s opium into a blender and pressing 'puree.'Top image from jpninfo.comPhoto of the author from wikipedia 

One of Soseki's most beloved works of fiction, the novel depicts the 23-year-old Sanshiro leaving the sleepy countryside for the first time in his life to experience the constantly moving 'real world' of Tokyo, its women and university. In the subtle tension between our appreciation of Soseki's lively humour and our awareness of Sanshiro's doomed innocence, the novel comes to life. Sanshiro is also penetrating social and cultural commentary.

Kobo Abe, the internationally acclaimed author of Woman in the Dunes, combines wildly imaginative fantasies and naturalistic prose to create narratives reminiscent of the work of Kafka and Beckett.In this eerie and evocative masterpiece, the nameless protagonist gives up his identity and the trappings of a normal life to live in a large cardboard box he wears over his head. Wandering the streets of Tokyo and scribbling madly on the interior walls of his box, he describes the world outside as he sees or perhaps imagines it, a tenuous reality that seems to include a mysterious rifleman determined to shoot him, a seductive young nurse, and a doctor who wants to become a box man himself. The Box Man is a marvel of sheer originality and a bizarrely fascinating fable about the very nature of identity.Translated from the Japanese by E. Dale Saunders.

A bestselling, prizewinning novel of obsession and psychological intrigue about two enigmatic unmarried women, one of whom manipulates the other from afar, by one of Japan's most acclaimed young writersAlmost every day, the Woman in the Purple Skirt buys a single cream bun and goes to the park, where she sits on a bench to eat it as the local children taunt her. She is observed at all times by the undetected narrator, the Woman in the Yellow Cardigan. From a distance the Woman in the Purple Skirt looks like a schoolgirl, but there are age spots on her face, and her hair is dry and stiff. Like the Woman in the Yellow Cardigan, she is single, she lives in a small, run-down apartment, and she is short on money. The Woman in the Yellow Cardigan lures her to a job where she herself works, as a hotel housekeeper; soon the Woman in the Purple Skirt is having an affair with the boss. Unfortunately, no one knows or cares about the Woman in the Yellow Cardigan. That's the difference between her and the Woman in the Purple Skirt.Studiously deadpan, highly original, and unsettling, The Woman in the Purple Skirt explores the dynamics of envy, the mechanisms of power in the workplace, and the vulnerability of unmarried women in a taut, voyeuristic narrative about the sometimes desperate desire to be seen.

Kawakami, who exploded into the cultural space first as a musician, then as a poet and popular blogger, and most importantly as a best-selling novelist, challenges every preconception about storytelling and prose style. She is currently one of Japan’s most widely read and critically acclaimed authors, heralded by Haruki Murakami as his favorite young writer.An earlier novella published in Japan with the same title focused on the female body, telling the story of three women: the thirty-year-old unmarried narrator, her older sister Makiko, and Makiko’s daughter Midoriko. Unable to come to terms with her changed body after giving birth, Makiko becomes obsessed with the prospect of getting breast enhancement surgery. Meanwhile, her twelve-year-old daughter Midoriko is paralyzed by the fear of her oncoming puberty and finds herself unable to voice the vague, yet overwhelming anxieties associated with growing up. The narrator, who remains unnamed for most of the story, struggles with her own indeterminable identity of being neither a “daughter” nor a “mother.” Set over three stiflingly hot days in Tokyo, the book tells of a reunion of sorts, between two sisters, and the passage into womanhood of young Midoriko.In this greatly expanded version, a second chapter in the story of the same women opens on another hot summer’s day ten years later. The narrator, single and childless, having reconciled herself with the idea of never marrying, nonetheless feels increasing anxiety about growing old alone and about never being a mother. In episodes that are as comical as they are revealing of deep yearning, she seeks direction from other women in her life—her mother, her grandmother, friends, as well as her sister—and only after dramatic and frequent changes of heart, decides in favor of artificial insemination. But this decision in a deeply conservative country in which women’s reproductive rights are under constant threat is not one that can be acted upon without great drama.Breasts and Eggs takes as its broader subjects the ongoing repression of women in Japan and the possibility of liberation, poverty, domestic violence, and reproductive ethics. Mixing comedy and realism, it is an epic life-affirming journey about finding inner strength and peace.

The Sailor Who Fell from Grace with the Sea tells the tale of a band of savage thirteen-year-old boys who reject the adult world as illusory, hypocritical and sentimental, and train themselves in a brutal callousness they call "objectivity." When the mother of one of them begins an affair with a ship's officer, he and his friends idealize the man at first; but it is not long before they conclude that he is in fact soft and romantic. They regard their disappointment in him as an act of betrayal on his part, and react violently.

In Moshi Moshi, Yoshie’s much-loved musician father has died in a suicide pact with an unknown woman. It is only when Yoshie and her mother move to Shimokitazawa, a traditional Tokyo neighborhood of narrow streets, quirky shops, and friendly residents that they can finally start to put their painful past behind them. However, despite their attempts to move forward, Yoshie is haunted by nightmares in which her father is looking for the phone he left behind on the day he died, or on which she is trying—unsuccessfully—to call him. Is her dead father trying to communicate a message to her through these dreams?With the lightness of touch and surreal detachment that are the hallmarks of her writing, Banana Yoshimoto turns a potential tragedy into a poignant coming-of-age ghost story and a life-affirming homage to the healing powers of community, food, and family.Published in 2010 in Japanese in Tokyo, it has sold over 29,000 copies there so far. “In Moshi Moshi, Banana’s narrator addresses the poignant question, how do you rebuild your life when your much-loved father loses his life in shocking circumstances?”

In 1969 we were seventeen. We listened to the Beatles, the Stones, the Doors, the Velvet Underground, the Grateful Dead, Cream, Jimi Hendrix, Janis Joplin, and Bob Dylan. We read Rimbaud, played guitars, smoked pot, fell in love, rebelled against the establishment, protested the war in Vietnam, barricaded our high school, and produced the first rock festival in our home town-a small city in a remote southwestern corner of Japan...SIXTY-NINE is a roman à clef about coming of age during a time that left its mark on baby boomers around the world-a time when we really believed we could change the world before it changed us. By turns hilarious, cynical, frivolous, and poignant, the book is infused from start to finish with Ryu Murakami's relentless energy and optimism; it simply refuses to get tedious, preachy, or "literary" for a single moment.

Short stories, including five Chinese Galaxy Award-winners, take you from Earth to the edge of the Universe and back again.This collection's title story, The Wandering Earth, is the biggest SF movie ever to come out of China – taking the world's #1 box office ranking in February 2019.The Sun is dying. Earth will perish too , consumed by the star in its final death throes. But rather than abandon their planet, humanity builds 12,000 mountainous fusion engines to propel the Earth out of orbit and onto a centuries-long voyage to Proxima Centaurai... Cixin Liu is one of the most important voices in world Science Fiction . A bestseller in China, his novel, The Three-Body Problem , was the first translated work of SF ever to win the Hugo Award. Here is the first collection of his short fiction: ten stories, including five Chinese Galaxy Award-winners. Liu's writing takes the reader to the edge of the universe and the end of time, to meet stranger fates than we could have ever imagined. With a melancholic and keen understanding of human nature, Liu's stories show humanity's attempts to reason, navigate and, above all, survive in a desolate cosmos.

Fernando Pessoa was many writers in one. He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology. and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague."Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.

Hầu hết các truyện trong tuyển tập đều có nhân vật chính là nữ với những miêu tả tâm lý hết sức tinh tế. Không những thành công với thể loại tự truyện tư tiểu thuyết, Dazai còn chứng tỏ bản lĩnh bậc thầy của mình trong việc am hiểu tâm lý phụ nữ xứ Phù Tang. Qua tác phẩm của Dazai, tâm hồn Nhật Bản; vốn kiềm nén và khép kín, có thể hiện cũng rất cô đọng, như thơ Haiku, như kịch No, như phim của Ozu; lại được chuyên chở qua ngôn ngữ của văn chương một cách dịu dàng nhưng không kém phần mãnh liệt.Tác phẩm này được đăng tải lần đầu tiên trên tạp chí “Văn học giới” số tháng 4 năm 1939. Dựa trên nhật ký của một độc giả nữ tên là Ariake Shizu (lúc bấy giờ 19 tuổi) gửi cho Dazai vào tháng 9 năm 1938, Dazai đã viết thành một truyện vừa xuất sắc nói về biến chuyển nội tâm của một nữ sinh 14 tuổi gói gọn trong vòng một ngày, từ khi thức dậy đến khi đi ngủ. Tác phẩm khắc họa rất thành công tâm lý bi quan hay trầm uất của một thiếu nữ tuổi dậy thì với một văn phong vô cùng tinh tế. Chính vì vậy, ngay từ khi ra đời, tác phẩm được giới văn nghệ thời bấy giờ, tiêu biểu là văn hào Kawabata Yasunari vô cùng tán thưởng.Đến năm sau, 1940, tác phẩm được giải nhì của giải thưởng văn học Kitamura Tokoku. Tác phẩm đã được tái bản rất nhiều lần và luôn được các độc giả nữ yêu thích cho đến nay. Bản thân tập nhật ký của Ariake đã trở thành một tư liệu văn học quý và được trưng bày tại bảo tang văn học cận đại Aomori vào tháng 2 năm 2000. Cũng như “Nữ sinh”, sự tinh tế trong việc miêu tả tâm lý phụ nữ của Dazai một lần nữa được thể hiện qua truyện “Nữ tác gia”. Tâm lý của một cô gái nuôi mộng văn chương hiện ra thật sinh động và thú vị vô cùng. Là chứng nhân của cuộc thế chiến tàn khốc và là nạn nhân của thời cuộc, Dazai đã đưa những trải nghiệm cay đắng của mình vào tác phẩm.Lần tái bản này có thêm hai truyện ngắn mới là "Tiếng nói nhà văn" và "Aomori"

Grand strategist and founder of modern Singapore offers key insights and controversial opinions on globalization, geopolitics, economic growth, and democracy.When Lee Kuan Yew speaks, presidents, prime ministers, diplomats, and CEOs listen. Lee, the founding father of modern Singapore and its prime minister from 1959 to 1990, has honed his wisdom during more than fifty years on the world stage. Almost single-handedly responsible for transforming Singapore into a Western-style economic success, he offers a unique perspective on the geopolitics of East and West. American presidents from Richard Nixon to Barack Obama have welcomed him to the White House; British prime ministers from Margaret Thatcher to Tony Blair have recognized his wisdom; and business leaders from Rupert Murdoch to Rex Tillerson, CEO of Exxon Mobil, have praised his accomplishments. This book gathers key insights from interviews, speeches, and Lee's voluminous published writings and presents them in an engaging question and answer format.Lee offers his assessment of China's future, asserting, among other things, that "China will want to share this century as co-equals with the U.S." He affirms the United States' position as the world's sole superpower but expresses dismay at the vagaries of its political system. He offers strategic advice for dealing with China and goes on to discuss India's future, Islamic terrorism, economic growth, geopolitics and globalization, and democracy. Lee does not pull his punches, offering his unvarnished opinions on multiculturalism, the welfare state, education, and the free market. This little book belongs on the reading list of every world leader--including the one who takes the oath of office on January 20, 2013.

Following The Nakano Thrift Shop, Hiromi Kawakami's breakout success, comes a new novel full of charm, subtlety, and style by an author whose readership in Japan numbers in the millions.Each woman in this book has succumbed, even if only for an hour, to that seductive, imprudent, and furtively feline man who managed to glide so naturally into their lives. But who really was Mr. Nishino?Still clinging to the vivid memory of his warm breath, his indecipherable silences, and his nonchalance, ten women who have loved him tell their stories as they attempt to recreate the image of the unfathomable and seemingly unattainable Mr. Nishino. Through accounts that are full of humor, intelligence, and the bittersweet joys of love, these women evoke Nishino's image but reveal themselves. Each perspective is both captivating and sensual, droll but important, and each is a variation on themes of love and identity.

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