Literary Collections

A boy who feels persecuted by the banality of everyday life yearns to ascend to the cold and majestic plane of the stars. A seamstress finds liberation of a sort in “becoming” a dog and howling at the moon. A club of young girls masquerade as the grieving fiancées of strange men. This book brings together these and other remarkable short stories by the Russian Symbolist Fyodor Sologub that explore the lengths to which people will go to transcend the mundane.

Renowned as one of late imperial Russia’s finest stylists, Sologub bridges the great nineteenth-century novel and the fin-de-siècle avant-garde. He stands out for his masterful command of both realist and fantastic storytelling; his play with language evinces a belief in its capacity to access other worlds and other levels of meaning. Many of Sologub’s stories are set among children whose alienation from the adult world has lent them imagination and curiosity, enabling them to create an alternative reality. At the same time, he bluntly examines the sordid realities of late imperial Russian society and frankly presents sometimes unconventional sexuality. The book also features a selection of Sologub’s “little fairy tales,” ambiguous parables couched in childlike language whose ingenuity anticipates the miniatures and “incidents” of Daniil Kharms. Susanne Fusso’s elegant translation offers these artful tales to an English-speaking audience.

A boy who feels persecuted by the banality of everyday life yearns to ascend to the cold and majestic plane of the stars. A seamstress finds liberation of a sort in “becoming” a dog and howling at the moon. A club of young girls masquerade as the grieving fiancées of strange men. This book brings together these and other remarkable short stories by the Russian Symbolist Fyodor Sologub that explore the lengths to which people will go to transcend the mundane.

Renowned as one of late imperial Russia’s finest stylists, Sologub bridges the great nineteenth-century novel and the fin-de-siècle avant-garde. He stands out for his masterful command of both realist and fantastic storytelling; his play with language evinces a belief in its capacity to access other worlds and other levels of meaning. Many of Sologub’s stories are set among children whose alienation from the adult world has lent them imagination and curiosity, enabling them to create an alternative reality. At the same time, he bluntly examines the sordid realities of late imperial Russian society and frankly presents sometimes unconventional sexuality. The book also features a selection of Sologub’s “little fairy tales,” ambiguous parables couched in childlike language whose ingenuity anticipates the miniatures and “incidents” of Daniil Kharms. Susanne Fusso’s elegant translation offers these artful tales to an English-speaking audience.

Almost unknown during his lifetime, Sigizmund Krzhizhanovsky is now hailed as a master of Russian prose. His short stories and novels, unpublishable under Stalinism but rediscovered long after his death, have drawn comparisons to the works of Jorge Luis Borges for their distinctive blend of metafictional play and philosophical thought experiment. Like Borges, Krzhizhanovsky also wrote dazzlingly unconventional essayistic pieces as a slippery extension of his fictional project.

Countries That Don’t Exist showcases a selection of Krzhizhanovsky’s exceptional nonfiction, which spans a dizzying range of genres and voices. Playful fantasies dwelling in the borderlands between essay and fable, metaphysical conversations and probing literary criticism, philosophical essays and wartime memoirs—in all these modes Krzhizhanovsky’s writing bristles with idiosyncratic erudition and a starkly original vision of literary creation. Krzhizhanovsky comes across as a strange voice from another past, at once utterly novel yet unmistakably belonging to the high modernist 1920s and 1930s. Taken together, these works present to the English-speaking world a fresh aspect of a newly canonized author.

Countries That Don’t Exist also features critical commentary that places these texts in the context of Krzhizhanovsky’s other writings and illuminates their relationship to the philosophical and aesthetic ferment of Russian and European modernism.

Andrei Bely is best known for the modernist masterwork Petersburg, a paradigmatic example of how modern writers strove to evoke the fragmentation of language, narrative, and consciousness. In the early twentieth century, Bely embarked on his life as an artist with texts he called “symphonies”—works experimenting with genre and sound, written in a style that shifts among prosaic, poetic, and musical. This book presents Bely’s four Symphonies—“Dramatic Symphony,” “Northern Symphony,” “The Return,” and “Goblet of Blizzards”—fantastically strange stories that capture the banality of life, the intimacy of love, and the enchantment of art.

The Symphonies are quintessential works of modernist innovation in which Bely developed an evocative mythology and distinctive aesthetics. Influenced by Russian Symbolism, Bely believed that the role of modern artists was to imbue seemingly small details with cosmic significance. The Symphonies depict the drabness of daily life with distinct irony and satire—and then soar out of turn-of-the-century Moscow into the realm of the infinite and eternal. They conjure worlds that resemble our own but reveal elements of artifice and magic, hinting at mystical truths and the complete transfiguration of life. Showcasing the protean quality of Bely’s language and storytelling, Jonathan Stone’s translation of the Symphonies features some of the most captivating and beguiling writing of Russia’s Silver Age.

Andrei Bely is best known for the modernist masterwork Petersburg, a paradigmatic example of how modern writers strove to evoke the fragmentation of language, narrative, and consciousness. In the early twentieth century, Bely embarked on his life as an artist with texts he called “symphonies”—works experimenting with genre and sound, written in a style that shifts among prosaic, poetic, and musical. This book presents Bely’s four Symphonies—“Dramatic Symphony,” “Northern Symphony,” “The Return,” and “Goblet of Blizzards”—fantastically strange stories that capture the banality of life, the intimacy of love, and the enchantment of art.

The Symphonies are quintessential works of modernist innovation in which Bely developed an evocative mythology and distinctive aesthetics. Influenced by Russian Symbolism, Bely believed that the role of modern artists was to imbue seemingly small details with cosmic significance. The Symphonies depict the drabness of daily life with distinct irony and satire—and then soar out of turn-of-the-century Moscow into the realm of the infinite and eternal. They conjure worlds that resemble our own but reveal elements of artifice and magic, hinting at mystical truths and the complete transfiguration of life. Showcasing the protean quality of Bely’s language and storytelling, Jonathan Stone’s translation of the Symphonies features some of the most captivating and beguiling writing of Russia’s Silver Age.

Almost unknown during his lifetime, Sigizmund Krzhizhanovsky is now hailed as a master of Russian prose. His short stories and novels, unpublishable under Stalinism but rediscovered long after his death, have drawn comparisons to the works of Jorge Luis Borges for their distinctive blend of metafictional play and philosophical thought experiment. Like Borges, Krzhizhanovsky also wrote dazzlingly unconventional essayistic pieces as a slippery extension of his fictional project.

Countries That Don’t Exist showcases a selection of Krzhizhanovsky’s exceptional nonfiction, which spans a dizzying range of genres and voices. Playful fantasies dwelling in the borderlands between essay and fable, metaphysical conversations and probing literary criticism, philosophical essays and wartime memoirs—in all these modes Krzhizhanovsky’s writing bristles with idiosyncratic erudition and a starkly original vision of literary creation. Krzhizhanovsky comes across as a strange voice from another past, at once utterly novel yet unmistakably belonging to the high modernist 1920s and 1930s. Taken together, these works present to the English-speaking world a fresh aspect of a newly canonized author.

Countries That Don’t Exist also features critical commentary that places these texts in the context of Krzhizhanovsky’s other writings and illuminates their relationship to the philosophical and aesthetic ferment of Russian and European modernism.

Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war.

The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers.

Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war.

The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers.

Nikolai Gogol’s novel Dead Souls and play The Government Inspector revolutionized Russian literature and continue to entertain generations of readers around the world. Yet Gogol’s peculiar genius comes through most powerfully in his short stories. By turns—or at once—funny, terrifying, and profound, the tales collected in The Nose and Other Stories are among the greatest achievements of world literature.

These stories showcase Gogol’s vivid, haunting imagination: an encounter with evil in a darkened church, a downtrodden clerk who dreams only of a new overcoat, a nose that falls off a face and reappears around town on its own, outranking its former owner. Written between 1831 and 1842, they span the colorful setting of rural Ukraine to the unforgiving urban landscape of St. Petersburg to the ancient labyrinth of Rome. Yet they share Gogol’s characteristic obsessions—city crowds, bureaucratic hierarchy and irrationality, the devil in disguise—and a constant undercurrent of the absurd. Susanne Fusso’s translations pay careful attention to the strangeness and wonder of Gogol's style, preserving the inimitable humor and oddity of his language. The Nose and Other Stories reveals why Russian writers from Dostoevsky to Nabokov have returned to Gogol as the cornerstone of their unparalleled literary tradition.

Nikolai Gogol’s novel Dead Souls and play The Government Inspector revolutionized Russian literature and continue to entertain generations of readers around the world. Yet Gogol’s peculiar genius comes through most powerfully in his short stories. By turns—or at once—funny, terrifying, and profound, the tales collected in The Nose and Other Stories are among the greatest achievements of world literature.

These stories showcase Gogol’s vivid, haunting imagination: an encounter with evil in a darkened church, a downtrodden clerk who dreams only of a new overcoat, a nose that falls off a face and reappears around town on its own, outranking its former owner. Written between 1831 and 1842, they span the colorful setting of rural Ukraine to the unforgiving urban landscape of St. Petersburg to the ancient labyrinth of Rome. Yet they share Gogol’s characteristic obsessions—city crowds, bureaucratic hierarchy and irrationality, the devil in disguise—and a constant undercurrent of the absurd. Susanne Fusso’s translations pay careful attention to the strangeness and wonder of Gogol's style, preserving the inimitable humor and oddity of his language. The Nose and Other Stories reveals why Russian writers from Dostoevsky to Nabokov have returned to Gogol as the cornerstone of their unparalleled literary tradition.

In a dilapidated and isolated old house, something peculiar seems to happen whenever the town’s bestial exterminator visits. On a seemingly bucolic country estate, the head of the household is a living corpse obsessed with other corpses. An adolescent boy who passes his days in private dream worlds experiences a sexual awakening spurred by his family’s scandalous tenant. In these and other stories, the modernist writer Alexei Remizov offers a panorama of Russian mythology, the supernatural, rural grotesques, and profound religious faith in fiery revolutionary settings.

Alexei Remizov was one of the greatest writers of the Russian symbolist movement of the early twentieth century. In the thirteen stories collected in this volume, his exceptional stylistic achievements are on full display. Equally drawing on rural colloquial speech, the language of Russian fairy tales, and the customs of the Old Believers and Russian Orthodoxy, they transport the reader into a mysterious world in between uncanny folktales and encroaching modernity. The Little Devil and Other Stories includes works from across Remizov’s career, encompassing his thematic preoccupations and stylistic experimentation. Antonina W. Bouis’s translation captures Remizov’s many registers to offer English-language readers a sampling of a remarkable Russian writer.

The Death of Vazir-Mukhtar, a novel by Yury Tynyanov, one of the leading figures of the Russian formalist school, describes the final year in the life of Alexander Griboedov, the author of the comedy Woe from Wit. As ambassador to Persia, Griboedov was murdered in 1829 by a Tehrani mob during the sacking of the Russian embassy.

One of the central texts of Russian formalist literary production, the novel is a brilliant meditation on the nature of historical and poetic consciousness and of artistic creation. It is a complex and fascinating work that explores the relationships among individual memory, historical fact, and the literary imagination. The result is a hybrid text, containing elements of various genres—historical, biographical, existential, and adventure novels—and a deeply personal, almost confessional testament to the writer’s relationship to his generation and the state. Completed in 1927, almost a century after the events it depicts, The Death of Vazir-Mukhtar marks the watershed between revolution and reaction. At a time when the Soviet regime was becoming increasingly restrictive of freedom of expression and conscience, Tynyanov grappled with the themes of disillusionment, betrayal, and unrealized potential. Unabashedly intellectual yet filled with intrigue and suspense, The Death of Vazir-Mukhtar is a great historical novel of Russian modernism.

In a dilapidated and isolated old house, something peculiar seems to happen whenever the town’s bestial exterminator visits. On a seemingly bucolic country estate, the head of the household is a living corpse obsessed with other corpses. An adolescent boy who passes his days in private dream worlds experiences a sexual awakening spurred by his family’s scandalous tenant. In these and other stories, the modernist writer Alexei Remizov offers a panorama of Russian mythology, the supernatural, rural grotesques, and profound religious faith in fiery revolutionary settings.

Alexei Remizov was one of the greatest writers of the Russian symbolist movement of the early twentieth century. In the thirteen stories collected in this volume, his exceptional stylistic achievements are on full display. Equally drawing on rural colloquial speech, the language of Russian fairy tales, and the customs of the Old Believers and Russian Orthodoxy, they transport the reader into a mysterious world in between uncanny folktales and encroaching modernity. The Little Devil and Other Stories includes works from across Remizov’s career, encompassing his thematic preoccupations and stylistic experimentation. Antonina W. Bouis’s translation captures Remizov’s many registers to offer English-language readers a sampling of a remarkable Russian writer.

The Death of Vazir-Mukhtar, a novel by Yury Tynyanov, one of the leading figures of the Russian formalist school, describes the final year in the life of Alexander Griboedov, the author of the comedy Woe from Wit. As ambassador to Persia, Griboedov was murdered in 1829 by a Tehrani mob during the sacking of the Russian embassy.

One of the central texts of Russian formalist literary production, the novel is a brilliant meditation on the nature of historical and poetic consciousness and of artistic creation. It is a complex and fascinating work that explores the relationships among individual memory, historical fact, and the literary imagination. The result is a hybrid text, containing elements of various genres—historical, biographical, existential, and adventure novels—and a deeply personal, almost confessional testament to the writer’s relationship to his generation and the state. Completed in 1927, almost a century after the events it depicts, The Death of Vazir-Mukhtar marks the watershed between revolution and reaction. At a time when the Soviet regime was becoming increasingly restrictive of freedom of expression and conscience, Tynyanov grappled with the themes of disillusionment, betrayal, and unrealized potential. Unabashedly intellectual yet filled with intrigue and suspense, The Death of Vazir-Mukhtar is a great historical novel of Russian modernism.

Alexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique. Its protagonist, Alexander Chatsky, is an idealistic ironist, a complex Romantic figure who would be echoed in Russian literature from Pushkin onward. Chatsky returns from three years abroad hoping to rekindle a romance with his childhood sweetheart, Sophie. In the meantime, she has fallen in love with Molchalin, her reactionary father Famusov’s scheming secretary. Chatsky speaks out against the hypocrisy of aristocratic society—and as scandal erupts, he is met with accusations of madness.

Woe from Wit was written in 1823 and was an immediate sensation, but under heavy-handed tsarist censorship, it was not published in full until forty years later. Its influence is felt not just in Russian literary language but in everyday speech. It is the source of a remarkable number of frequently quoted aphorisms and turns of phrase, comparable to Shakespeare’s influence on English. Yet owing to its complex rhyme scheme and verse structure, the play has frequently been considered almost untranslatable. Betsy Hulick’s translation brings Griboedov’s sparkling wit, spirited dialogue, and effortless crossing of registers from elevated to colloquial into a lively contemporary English.

In a bucolic idyll, a terrorist agonizes over the act of violence he is about to commit. On a remote island in the South Pacific, the investigation of a case of mass suicide reveals further mysteries. In a far-flung colony, a cynical trio sends an unwitting man into the wilderness in search of a chimera. Mixing romance and high adventure, intrigue and the fantastic, these magnificent tales by one of Russia’s most enduringly popular writers deftly probe the depths of human nature and desire.

Fandango and Other Stories presents a selection of essential short fiction by Alexander Grin, Russia’s counterpart to Robert Louis Stevenson, Edgar Allan Poe, and Alexandre Dumas. By turns a sailor, a dockworker, a vagrant, a gold prospector, a lumberjack, a soldier, a deserter, an agitator, an exile, a prisoner, and a runaway, Grin wrote seven novels and over three hundred short stories that transport the reader to a realm of pure art and imagination. His ingenious plots explore conflicts of the individual and society in a romantic world populated by a cast of eccentric, cosmopolitan characters. Fandango and Other Stories includes works drawn from across the entirety of Grin’s varied career to encompass the range and sophistication of his writing. Bryan Karetnyk’s elegant translations bring Grin’s distinctive voice to a new generation of readers.

Alexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique. Its protagonist, Alexander Chatsky, is an idealistic ironist, a complex Romantic figure who would be echoed in Russian literature from Pushkin onward. Chatsky returns from three years abroad hoping to rekindle a romance with his childhood sweetheart, Sophie. In the meantime, she has fallen in love with Molchalin, her reactionary father Famusov’s scheming secretary. Chatsky speaks out against the hypocrisy of aristocratic society—and as scandal erupts, he is met with accusations of madness.

Woe from Wit was written in 1823 and was an immediate sensation, but under heavy-handed tsarist censorship, it was not published in full until forty years later. Its influence is felt not just in Russian literary language but in everyday speech. It is the source of a remarkable number of frequently quoted aphorisms and turns of phrase, comparable to Shakespeare’s influence on English. Yet owing to its complex rhyme scheme and verse structure, the play has frequently been considered almost untranslatable. Betsy Hulick’s translation brings Griboedov’s sparkling wit, spirited dialogue, and effortless crossing of registers from elevated to colloquial into a lively contemporary English.

In a bucolic idyll, a terrorist agonizes over the act of violence he is about to commit. On a remote island in the South Pacific, the investigation of a case of mass suicide reveals further mysteries. In a far-flung colony, a cynical trio sends an unwitting man into the wilderness in search of a chimera. Mixing romance and high adventure, intrigue and the fantastic, these magnificent tales by one of Russia’s most enduringly popular writers deftly probe the depths of human nature and desire.

Fandango and Other Stories presents a selection of essential short fiction by Alexander Grin, Russia’s counterpart to Robert Louis Stevenson, Edgar Allan Poe, and Alexandre Dumas. By turns a sailor, a dockworker, a vagrant, a gold prospector, a lumberjack, a soldier, a deserter, an agitator, an exile, a prisoner, and a runaway, Grin wrote seven novels and over three hundred short stories that transport the reader to a realm of pure art and imagination. His ingenious plots explore conflicts of the individual and society in a romantic world populated by a cast of eccentric, cosmopolitan characters. Fandango and Other Stories includes works drawn from across the entirety of Grin’s varied career to encompass the range and sophistication of his writing. Bryan Karetnyk’s elegant translations bring Grin’s distinctive voice to a new generation of readers.

Klotsvog is a novel about being Jewish in the Soviet Union and the historical trauma of World War II—and it’s a novel about the petty dramas and demons of one strikingly vain woman. Maya Abramovna Klotsvog has had quite a life, and she wants you to know all about it. Selfish, garrulous, and thoroughly entertaining, she tells us where she came from, who she didn’t get along with, and what became of all her husbands and lovers.

In Klotsvog, Margarita Khemlin creates a first-person narrator who is both deeply self-absorbed and deeply compelling. From Maya’s perspective, Khemlin unfurls a retelling of the Soviet Jewish experience that integrates the historical and the personal into her protagonist’s vividly drawn inner and outer lives. Maya’s life story flows as a long monologue, told in unfussy language dense with Khemlin’s magnificently manipulated Soviet clichés and matter-of-fact descriptions of Soviet life. Born in a center of Jewish culture in Ukraine, she spent the war in evacuation in Kazakhstan. She has few friends but has had several husbands, and her relationships with her relatives are strained at best. The war looms over Klotsvog, and the trauma runs deep, as do the ambiguities and ambivalences of Jewish identity. Lisa Hayden’s masterful translation brings this gripping character study full of dark, sly humor and new perspectives on Jewish heritage and survival to an English-speaking audience.

Klotsvog is a novel about being Jewish in the Soviet Union and the historical trauma of World War II—and it’s a novel about the petty dramas and demons of one strikingly vain woman. Maya Abramovna Klotsvog has had quite a life, and she wants you to know all about it. Selfish, garrulous, and thoroughly entertaining, she tells us where she came from, who she didn’t get along with, and what became of all her husbands and lovers.

In Klotsvog, Margarita Khemlin creates a first-person narrator who is both deeply self-absorbed and deeply compelling. From Maya’s perspective, Khemlin unfurls a retelling of the Soviet Jewish experience that integrates the historical and the personal into her protagonist’s vividly drawn inner and outer lives. Maya’s life story flows as a long monologue, told in unfussy language dense with Khemlin’s magnificently manipulated Soviet clichés and matter-of-fact descriptions of Soviet life. Born in a center of Jewish culture in Ukraine, she spent the war in evacuation in Kazakhstan. She has few friends but has had several husbands, and her relationships with her relatives are strained at best. The war looms over Klotsvog, and the trauma runs deep, as do the ambiguities and ambivalences of Jewish identity. Lisa Hayden’s masterful translation brings this gripping character study full of dark, sly humor and new perspectives on Jewish heritage and survival to an English-speaking audience.

Necropolis is an unconventional literary memoir by Vladislav Khodasevich, hailed by Vladimir Nabokov as “the greatest Russian poet of our time.” In each of the book’s nine chapters, Khodasevich memorializes a significant figure of Russia’s literary Silver Age, and in the process writes an insightful obituary of the era.

Written at various times throughout the 1920s and 1930s following the deaths of its subjects, Necropolis is a literary graveyard in which an entire movement, Russian Symbolism, is buried. Recalling figures including Alexander Blok, Sergey Esenin, Fyodor Sologub, and the socialist realist Maxim Gorky, Khodasevich tells the story of how their lives and artworks intertwined, including a notoriously tempestuous love triangle among Nina Petrovskaya, Valery Bryusov, and Andrei Bely. He testifies to the seductive and often devastating power of the Symbolist attempt to turn one’s life into a work of art and, ultimately, how one man was left with the task of memorializing his fellow artists after their deaths. Khodasevich’s portraits deal with revolution, disillusionment, emigration, suicide, the vocation of the poet, and the place of the artist in society. One of the greatest memoirs in Russian literature, Necropolis is a compelling work from an overlooked writer whose gifts for observation and irony show the early twentieth-century Russian literary scene in a new and more intimate light.

Necropolis is an unconventional literary memoir by Vladislav Khodasevich, hailed by Vladimir Nabokov as “the greatest Russian poet of our time.” In each of the book’s nine chapters, Khodasevich memorializes a significant figure of Russia’s literary Silver Age, and in the process writes an insightful obituary of the era.

Written at various times throughout the 1920s and 1930s following the deaths of its subjects, Necropolis is a literary graveyard in which an entire movement, Russian Symbolism, is buried. Recalling figures including Alexander Blok, Sergey Esenin, Fyodor Sologub, and the socialist realist Maxim Gorky, Khodasevich tells the story of how their lives and artworks intertwined, including a notoriously tempestuous love triangle among Nina Petrovskaya, Valery Bryusov, and Andrei Bely. He testifies to the seductive and often devastating power of the Symbolist attempt to turn one’s life into a work of art and, ultimately, how one man was left with the task of memorializing his fellow artists after their deaths. Khodasevich’s portraits deal with revolution, disillusionment, emigration, suicide, the vocation of the poet, and the place of the artist in society. One of the greatest memoirs in Russian literature, Necropolis is a compelling work from an overlooked writer whose gifts for observation and irony show the early twentieth-century Russian literary scene in a new and more intimate light.

An unsung classic of nineteenth-century Russian literature, Karolina Pavlova’s A Double Life alternates prose and poetry to offer a wry picture of Russian aristocratic society and vivid dreams of escaping its strictures. Pavlova combines rich narrative prose that details balls, tea parties, and horseback rides with poetic interludes that depict her protagonist’s inner world—and biting irony that pervades a seemingly romantic description of a young woman who has everything.

A Double Life tells the story of Cecily, who is being trapped into marriage by her well-meaning mother; her best friend, Olga; and Olga’s mother, who means to clear the way for a wealthier suitor for her own daughter by marrying off Cecily first. Cecily’s privileged upbringing makes her oblivious to the havoc that is being wreaked around her. Only in the seclusion of her bedroom is her imagination freed: each day of deception is followed by a night of dreams described in soaring verse. Pavlova subtly speaks against the limitations placed on women and especially women writers, which translator Barbara Heldt highlights in a critical introduction. Among the greatest works of literature by a Russian woman writer, A Double Life is worthy of a central place in the Russian canon.

An unsung classic of nineteenth-century Russian literature, Karolina Pavlova’s A Double Life alternates prose and poetry to offer a wry picture of Russian aristocratic society and vivid dreams of escaping its strictures. Pavlova combines rich narrative prose that details balls, tea parties, and horseback rides with poetic interludes that depict her protagonist’s inner world—and biting irony that pervades a seemingly romantic description of a young woman who has everything.

A Double Life tells the story of Cecily, who is being trapped into marriage by her well-meaning mother; her best friend, Olga; and Olga’s mother, who means to clear the way for a wealthier suitor for her own daughter by marrying off Cecily first. Cecily’s privileged upbringing makes her oblivious to the havoc that is being wreaked around her. Only in the seclusion of her bedroom is her imagination freed: each day of deception is followed by a night of dreams described in soaring verse. Pavlova subtly speaks against the limitations placed on women and especially women writers, which translator Barbara Heldt highlights in a critical introduction. Among the greatest works of literature by a Russian woman writer, A Double Life is worthy of a central place in the Russian canon.

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Alexander Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov’s life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov’s career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four.

Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life—particularly appropriate for a poet whose motto was “write as you live, and live as you write.” Batyushkov’s writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov’s poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

Konstantin Batyushkov was one of the great poets of the Golden Age of Russian literature in the early nineteenth century. His verses, famous for their musicality, earned him the admiration of Alexander Pushkin and generations of Russian poets to come. In Writings from the Golden Age of Russian Poetry, Peter France interweaves Batyushkov’s life and writings, presenting masterful new translations of his work with the compelling story of Batyushkov’s career as a soldier, diplomat, and poet and his tragic decline into mental illness at the age of thirty-four.

Little known among non-Russian readers, Batyushkov left a varied body of writing, both in verse and in prose, as well as memorable letters to friends. France nests a substantial selection of his sprightly epistles on love, friendship, and social life, his often tragic elegies, and extracts from his essays and letters within episodes of his remarkable life—particularly appropriate for a poet whose motto was “write as you live, and live as you write.” Batyushkov’s writing reflects the transition from the urbane sociability of the Enlightenment to the rebellious sensibility of Pushkin and Lermontov; it spans the Napoleonic Wars and the rapid social and literary change from Catherine the Great to Nicholas I. Presenting Batyushkov’s poetry of feeling and wit alongside his troubled life, Writings from the Golden Age of Russian Poetry makes his verse accessible to English-speaking readers in a necessary exploration of this transitional moment for Russian literature.

One of the first Russian writers to make a name for herself on the Internet, Linor Goralik writes conversational short works that conjure the absurd in all its forms, reflecting post-Soviet life and daily universals. Her mastery of the minimal, including a wide range of experiments in different forms of micro-prose, is on full display in this collection of poems, stories, comics, a play, and an interview, here translated for the first time.

In Found Life, speech, condensed to the extreme, captures a vivid picture of fleeting interactions in a quickly moving world. Goralik's works evoke an unconventional palette of moods and atmospheres—slight doubt, subtle sadness, vague unease—through accumulation of unexpected details and command over colloquial language. While calling up a range of voices, her works are marked by a distinct voice, simultaneously slightly naïve and deeply ironic. She is a keen observer of the female condition, recounting gendered tribulations with awareness and amusement. From spiritual rabbits and biblical zoos to poems about loss and comics about poetry, Goralik's colorful language and pervasive dark comedy capture the heights of ridiculousness and the depths of grief.

One of the first Russian writers to make a name for herself on the Internet, Linor Goralik writes conversational short works that conjure the absurd in all its forms, reflecting post-Soviet life and daily universals. Her mastery of the minimal, including a wide range of experiments in different forms of micro-prose, is on full display in this collection of poems, stories, comics, a play, and an interview, here translated for the first time.

In Found Life, speech, condensed to the extreme, captures a vivid picture of fleeting interactions in a quickly moving world. Goralik's works evoke an unconventional palette of moods and atmospheres—slight doubt, subtle sadness, vague unease—through accumulation of unexpected details and command over colloquial language. While calling up a range of voices, her works are marked by a distinct voice, simultaneously slightly naïve and deeply ironic. She is a keen observer of the female condition, recounting gendered tribulations with awareness and amusement. From spiritual rabbits and biblical zoos to poems about loss and comics about poetry, Goralik's colorful language and pervasive dark comedy capture the heights of ridiculousness and the depths of grief.

Thirty-year-old Piotr Alekseevich Marakulin lives a contented, if humdrum life as a financial clerk in a Petersburg trading company. He is jolted out of his daily routine when, quite unexpectedly, he is accused of embezzlement and loses his job. This change of status brings him into contact with a number of women—the titular “sisters of the cross”—whose sufferings will lead him to question the ultimate meaning of the universe.

The first English translation of this remarkable 1910 novel by Alexei Remizov, an influential member of the Russian Symbolist movement, Sisters of the Cross is a masterpiece of early modernist fiction. In the tradition of Gogol’s Petersburg Tales and Dostoevsky’s Crime and Punishment, it deploys densely packed psychological prose and fluctuating narrative perspective to tell the story of a “poor clerk” who rebels against the suffering and humiliation afflicting both his own life and the lives of the remarkable women whom he encounters in the tenement building where he lives in Petersburg. The novel reaches its haunting climax at the beginning of the Whitsuntide festival, when Marakulin thinks he glimpses the coming of salvation both for himself and for the “fallen” actress Verochka, the unacknowledged love of his life, in one of the most powerfully drawn scenes in Symbolist literature. Remizov is best known as a writer of short stories and fairy tales, but this early novel, masterfully translated by Roger Keys and Brian Murphy, is perhaps his most significant work of sustained artistic prose.

Thirty-year-old Piotr Alekseevich Marakulin lives a contented, if humdrum life as a financial clerk in a Petersburg trading company. He is jolted out of his daily routine when, quite unexpectedly, he is accused of embezzlement and loses his job. This change of status brings him into contact with a number of women—the titular “sisters of the cross”—whose sufferings will lead him to question the ultimate meaning of the universe.

The first English translation of this remarkable 1910 novel by Alexei Remizov, an influential member of the Russian Symbolist movement, Sisters of the Cross is a masterpiece of early modernist fiction. In the tradition of Gogol’s Petersburg Tales and Dostoevsky’s Crime and Punishment, it deploys densely packed psychological prose and fluctuating narrative perspective to tell the story of a “poor clerk” who rebels against the suffering and humiliation afflicting both his own life and the lives of the remarkable women whom he encounters in the tenement building where he lives in Petersburg. The novel reaches its haunting climax at the beginning of the Whitsuntide festival, when Marakulin thinks he glimpses the coming of salvation both for himself and for the “fallen” actress Verochka, the unacknowledged love of his life, in one of the most powerfully drawn scenes in Symbolist literature. Remizov is best known as a writer of short stories and fairy tales, but this early novel, masterfully translated by Roger Keys and Brian Murphy, is perhaps his most significant work of sustained artistic prose.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity.

Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

For more than thirty years, the acclaimed novelist Shirley Hazzard and the renowned scholar of Japanese literature Donald Keene maintained a remarkable epistolary friendship. Brought together by the death of a mutual friend in the late 1970s, they discovered a profound connection built on mutual affinities for literature and culture and common values of humanism and cosmopolitanism.

Expatriates of No Country presents Hazzard and Keene’s correspondence, offering readers a new and intimate perspective on the work and achievements of these towering figures. Both left behind their countries of birth, and they shared experiences of displacement, estrangement, and fashioning new lives and selves in adopted homelands. Hazzard, who departed from Australia as a teenager without completing her formal education, led an expatriate life in New York and Italy as she attained literary fame. Keene, a pacifist who served as an intelligence officer in the U.S. Navy during World War II, devoted himself to the literature and culture of Japan, where he became revered. Their erudite and elegantly written letters trace the larger story of their friendship, finding striking overlaps between their distinctive worlds. Recording a vanished way of literary and intellectual life, Expatriates of No Country casts a new light on two extraordinary people through their unlikely connection.

For more than thirty years, the acclaimed novelist Shirley Hazzard and the renowned scholar of Japanese literature Donald Keene maintained a remarkable epistolary friendship. Brought together by the death of a mutual friend in the late 1970s, they discovered a profound connection built on mutual affinities for literature and culture and common values of humanism and cosmopolitanism.

Expatriates of No Country presents Hazzard and Keene’s correspondence, offering readers a new and intimate perspective on the work and achievements of these towering figures. Both left behind their countries of birth, and they shared experiences of displacement, estrangement, and fashioning new lives and selves in adopted homelands. Hazzard, who departed from Australia as a teenager without completing her formal education, led an expatriate life in New York and Italy as she attained literary fame. Keene, a pacifist who served as an intelligence officer in the U.S. Navy during World War II, devoted himself to the literature and culture of Japan, where he became revered. Their erudite and elegantly written letters trace the larger story of their friendship, finding striking overlaps between their distinctive worlds. Recording a vanished way of literary and intellectual life, Expatriates of No Country casts a new light on two extraordinary people through their unlikely connection.

In a time of plague, fundamental questions become immediate and personal. The pandemic, droughts, floods, fire, political violence: the world has been grimly reminded of the proximity and inevitability of death. Jack Miles and Mark C. Taylor—acclaimed public intellectuals and scholars of religion, one a Christian and the other an atheist, close friends for fifty years—have spent their lives grappling with questions of ultimate concern. At the onset of the COVID-19 pandemic, locked down at home and facing an uncertain future, Miles and Taylor embarked on an extended conversation about living and dying in an imperiled world.

A Friendship in Twilight is their plague journal. In raw and searching letters, written daily from the first lockdowns through the Capitol riot, Miles and Taylor reflect on life during overlapping crises. Amid the menace of the pandemic and the unceasing political turmoil, they debate the lessons that a catastrophic present can teach about the future and how to read, think, live, and face up to death. Confronting the vulnerability of their aging bodies and the frailty of American democracy, the two friends discuss why and how philosophical reflection matters for a wounded world. Their conversations are imbued with an ever-present sense of urgency about the worth of a life, the fragility of existence, and the uncertainty of endings. Seamlessly moving from heartfelt emotion to philosophical speculation, current events to great art and literature, this book is a powerful and moving testament to the precarity of life and to enduring friendship.

In a time of plague, fundamental questions become immediate and personal. The pandemic, droughts, floods, fire, political violence: the world has been grimly reminded of the proximity and inevitability of death. Jack Miles and Mark C. Taylor—acclaimed public intellectuals and scholars of religion, one a Christian and the other an atheist, close friends for fifty years—have spent their lives grappling with questions of ultimate concern. At the onset of the COVID-19 pandemic, locked down at home and facing an uncertain future, Miles and Taylor embarked on an extended conversation about living and dying in an imperiled world.

A Friendship in Twilight is their plague journal. In raw and searching letters, written daily from the first lockdowns through the Capitol riot, Miles and Taylor reflect on life during overlapping crises. Amid the menace of the pandemic and the unceasing political turmoil, they debate the lessons that a catastrophic present can teach about the future and how to read, think, live, and face up to death. Confronting the vulnerability of their aging bodies and the frailty of American democracy, the two friends discuss why and how philosophical reflection matters for a wounded world. Their conversations are imbued with an ever-present sense of urgency about the worth of a life, the fragility of existence, and the uncertainty of endings. Seamlessly moving from heartfelt emotion to philosophical speculation, current events to great art and literature, this book is a powerful and moving testament to the precarity of life and to enduring friendship.

Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's Ulysses, Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H. D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters.

This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in The Dial; her battle to curb the piracy of Ulysses in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s. Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Odéon the heart of modernist Paris.

Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's Ulysses, Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H. D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters.

This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in The Dial; her battle to curb the piracy of Ulysses in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s. Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Odéon the heart of modernist Paris.

Album provides an unparalleled look into Roland Barthes's life of letters. It presents a selection of correspondence, from his adolescence in the 1930s through the height of his career and up to the last years of his life, covering such topics as friendships, intellectual adventures, politics, and aesthetics. It offers an intimate look at Barthes's thought processes and the everyday reflection behind the composition of his works, as well as a rich archive of epistolary friendships, spanning half a century, among the leading intellectuals of the day.

Barthes was one of the great observers of language and culture, and Album shows him in his element, immersed in heady French intellectual culture and the daily struggles to maintain a writing life. Barthes's correspondents include Maurice Blanchot, Michel Butor, Jacques Derrida, Michel Foucault, Julia Kristeva, Claude Lévi-Strauss, Georges Perec, Raymond Queneau, Alain Robbe-Grillet, Marthe Robert, and Jean Starobinski, among others. The book also features documents, letters, and postcards reproduced in facsimile; unpublished material; and notes and transcripts from his seminars. The first English-language publication of Barthes's letters, Album is a comprehensive testimony to one of the most influential critics and philosophers of the twentieth century and the world of letters in which he lived and breathed.

Album provides an unparalleled look into Roland Barthes's life of letters. It presents a selection of correspondence, from his adolescence in the 1930s through the height of his career and up to the last years of his life, covering such topics as friendships, intellectual adventures, politics, and aesthetics. It offers an intimate look at Barthes's thought processes and the everyday reflection behind the composition of his works, as well as a rich archive of epistolary friendships, spanning half a century, among the leading intellectuals of the day.

Barthes was one of the great observers of language and culture, and Album shows him in his element, immersed in heady French intellectual culture and the daily struggles to maintain a writing life. Barthes's correspondents include Maurice Blanchot, Michel Butor, Jacques Derrida, Michel Foucault, Julia Kristeva, Claude Lévi-Strauss, Georges Perec, Raymond Queneau, Alain Robbe-Grillet, Marthe Robert, and Jean Starobinski, among others. The book also features documents, letters, and postcards reproduced in facsimile; unpublished material; and notes and transcripts from his seminars. The first English-language publication of Barthes's letters, Album is a comprehensive testimony to one of the most influential critics and philosophers of the twentieth century and the world of letters in which he lived and breathed.

"We are awash in time, savoring a few moments of it; we project ourselves into it, reinvent it, play with it; we take our time or let it slip away: it is the raw material of our imagination. Age, on the other hand, is the detailed account of the days that pass, the one-way view of the years whose total sum when set forth can stupefy us. Age wedges each of us between a date of birth that, at least in the West, we know for certain and an expiration date that, as a general rule, we would like to defer. Time is a freedom, age a constraint."

Marc Augé remembers his beloved childhood cat, who seemed to grow wise with age, though her essential nature remained unchanged. He considers our belief that objects mature, when it is our perception of them that evolves over time. He wonders why public demonstrations of affection between the elderly make the young so uncomfortable and why we torture ourselves with regret at what might have been. Time can be liberating, he finds; it is a resource we can squander or relish. Yet age is a burden, bound by our personal and cultural neuroses. With an ethnologist's understanding of construct and practice, Augé isolates age from the development of consciousness, desire, and representations of the self. In bold, eye-opening strokes, he casts age as a physical marker and treats one's youthful approach to the world as the true measure of life's value.

"We are awash in time, savoring a few moments of it; we project ourselves into it, reinvent it, play with it; we take our time or let it slip away: it is the raw material of our imagination. Age, on the other hand, is the detailed account of the days that pass, the one-way view of the years whose total sum when set forth can stupefy us. Age wedges each of us between a date of birth that, at least in the West, we know for certain and an expiration date that, as a general rule, we would like to defer. Time is a freedom, age a constraint."

Marc Augé remembers his beloved childhood cat, who seemed to grow wise with age, though her essential nature remained unchanged. He considers our belief that objects mature, when it is our perception of them that evolves over time. He wonders why public demonstrations of affection between the elderly make the young so uncomfortable and why we torture ourselves with regret at what might have been. Time can be liberating, he finds; it is a resource we can squander or relish. Yet age is a burden, bound by our personal and cultural neuroses. With an ethnologist's understanding of construct and practice, Augé isolates age from the development of consciousness, desire, and representations of the self. In bold, eye-opening strokes, he casts age as a physical marker and treats one's youthful approach to the world as the true measure of life's value.

Like few other works of contemporary literature, Elena Ferrante’s Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante’s intense depiction of female friendship and women’s intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together.

In a series of intertwined, original, and daring readings of Ferrante’s work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors’ lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

Like few other works of contemporary literature, Elena Ferrante’s Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante’s intense depiction of female friendship and women’s intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together.

In a series of intertwined, original, and daring readings of Ferrante’s work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors’ lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

More and more readers turn to The Best American Magazine Writing for their annual fix of the year's most captivating essays, columns, reporting, and criticism. Chosen from the winners and finalists of the 2009 National Magazine Awards, this year's selections include the haunting story by Chris Jones (Esquire) of an American soldier's final journey home; James Wood's brilliant critique of the award-winning novelist Marianne Robinson (The New Yorker); a compelling column by Naomi Klein (The Nation) on the return of class consciousness in America; two biting reviews of recent books on feminism by Sandra Tsing Loh (The Atlantic); and a moving and insightful account by David Lipsky (Rolling Stone) of David Foster Wallace in his final days.

Also featured are a fascinating report by Ryan Lizza (The New Yorker) on the political making of Barack Obama; an unforgettable profile by Hanna Rosin (The Atlantic) of a transgendered child struggling to be normal in rural America; absorbing reflections by Tom Chiarella (Esquire) on apprenticing as a butcher in an Indianapolis meat market; and an unusual look by Sean Flynn (GQ) at the legacy of the late singer and unstoppable personality, James Brown. Chris Anderson, popular commentator and author of the best-selling book The Long Tail adds his own, not-to-be-missed introduction. "Take a break from the screen and dive in," he writes. "I think you'll emerge, many pages later, no longer worrying about the future of print."

The Columbia Journalism Review's Second Read series features distinguished journalists revisiting key works of reportage. Launched in 2004 by John Palattella, who was then editor of the magazine's book section, the series also allows authors address such ongoing concerns as the conflict between narrative flair and accurate reporting, the legacy of New Journalism, the need for reporters to question their political assumptions, the limitations of participatory journalism, and the temptation to substitute "truthiness" for hard, challenging fact. Representing a wide range of views, Second Read embodies the diversity and dynamism of contemporary nonfiction while offering fresh perspectives on works by Norman Mailer, Tom Wolfe, Rachel Carson, and Gabriel García Márquez, among others. It also highlights pivotal moments and movements in journalism as well as the innovations of award-winning writers.

Essays include Rick Perlstein on Paul Cowan's The Tribes of America; Nicholson Baker on Daniel Defoe's A Journal of the Plague Year; Dale Maharidge on James Agee's Let Us Now Praise Famous Men; Marla Cone on Rachel Carson's Silent Spring; Ben Yagoda on Walter Bernstein's Keep Your Head Down; Ted Conover on Stanley Booth's The True Adventures of the Rolling Stones; Jack Shafer on Tom Wolfe's The Electric Kool-Aid Acid Test; Connie Schultz on Michael Herr's Dispatches; Michael Shapiro on Cornelius Ryan's The Longest Day; Douglas McCollam on John McPhee's Annals of the Former World; Tom Piazza on Norman Mailer's Armies of the Night; Thomas Mallon on William Manchester's The Death of a President; Miles Corwin on Gabriel García Márquez's The Story of a Shipwrecked Sailor; David Ulin on Joan Didion's Slouching Toward Bethlehem; and Claire Dederer on Betty MacDonald's Anybody Can Do Anything.

The Best American Magazine Writing 2011 contains award-winning features, exposes, and profiles along with extraordinary commentary, fiction, and poetry from America's leading magazines. This year's selections include stories that not only covered the news but also made news, including Michael Hastings's "The Runaway General," which forced the resignation of General Stanley McChrystal, the U.S. commander in Afghanistan, days after being published in Rolling Stone. Readers will also find Jane Mayer's "Covert Operations" (The New Yorker), which exposed the Koch brothers' campaign against the Barack Obama presidency, turning the duo into a powerful symbol of modern, corporatized politics.

The anthology contains Scott Horton's investigation into inmate suicides at Guantánamo Bay prison (Harper's Magazine); Christopher Hitchens's wryly moving take on the politics of cancer (Vanity Fair); Jonathan Van Meter's eye-opening portrait of Joan Rivers and her transgressive comedic genius (New York Magazine); and Jonah Weiner's extraordinary musical biography of Kanye West, assembled from the artist's tweets and blog posts (Slate). John Donvan and Caren Zucker describe the world's first autism case in The Atlantic; Atul Gawande shares the modern medical profession's poignant struggle with death and dying in The New Yorker; and Paul Theroux spins a thrilling tale in the Virginia Quarterly Review of a mad collector who acquires works of art only to destroy them. Read together or one at a time, these pieces exemplify the wholly immersive experience of well-crafted magazine writing.

The Columbia Journalism Review's Second Read series features distinguished journalists revisiting key works of reportage. Launched in 2004 by John Palattella, who was then editor of the magazine's book section, the series also allows authors address such ongoing concerns as the conflict between narrative flair and accurate reporting, the legacy of New Journalism, the need for reporters to question their political assumptions, the limitations of participatory journalism, and the temptation to substitute "truthiness" for hard, challenging fact. Representing a wide range of views, Second Read embodies the diversity and dynamism of contemporary nonfiction while offering fresh perspectives on works by Norman Mailer, Tom Wolfe, Rachel Carson, and Gabriel García Márquez, among others. It also highlights pivotal moments and movements in journalism as well as the innovations of award-winning writers.

Essays include Rick Perlstein on Paul Cowan's The Tribes of America; Nicholson Baker on Daniel Defoe's A Journal of the Plague Year; Dale Maharidge on James Agee's Let Us Now Praise Famous Men; Marla Cone on Rachel Carson's Silent Spring; Ben Yagoda on Walter Bernstein's Keep Your Head Down; Ted Conover on Stanley Booth's The True Adventures of the Rolling Stones; Jack Shafer on Tom Wolfe's The Electric Kool-Aid Acid Test; Connie Schultz on Michael Herr's Dispatches; Michael Shapiro on Cornelius Ryan's The Longest Day; Douglas McCollam on John McPhee's Annals of the Former World; Tom Piazza on Norman Mailer's Armies of the Night; Thomas Mallon on William Manchester's The Death of a President; Miles Corwin on Gabriel García Márquez's The Story of a Shipwrecked Sailor; David Ulin on Joan Didion's Slouching Toward Bethlehem; and Claire Dederer on Betty MacDonald's Anybody Can Do Anything.

Chosen from the 2012 National Magazine Awards finalists and winners, this anthology is filled with compelling features and profiles, eye-opening reporting, and incisive criticism and analysis of contemporary culture and society. Written by today's leading journalists, the selections cover a range of developments in politics, international affairs, culture, and business—from the increasingly short shelf lives of celebrity marriages to the ongoing fallout from Wall Street's financial malpractice, from the insidious effects of the lingering wars in Iraq and Afghanistan to the resurgent battle over issues pertaining to women's safety and health. Always engaging and informative, Best American Magazine Writing 2012 is an incomparable resource for the most noteworthy journalism and literary achievements of the year.

Essays include Lawrence Wright (The New Yorker) on the history of Scientology and recent challenges to its mission and methods; Matthieu Aikins (The Atlantic) on the shady dealings and shifting sands of the war in Afghanistan; the late Christopher Hitchens (Vanity Fair) on the physical and emotional toll of cancer; and Joel Stein (Time) on the propensity for politicians and other popular figures to get into trouble on the Internet. John Jeremiah Sullivan (GQ) immerses himself in David Foster Wallace's curious legacy; Tim Crothers (ESPN) follows the inspiring story of Phiona Mutesi, a chess prodigy from the slums of Uganda; Chris Ballard (Sports Illustrated) recounts Dewayne Dedmon's struggle to reconcile his faith with a career in sports; Wesley Yang (New York) explores the pressure on Asian Americans to succeed and the psychological and cultural consequences when they don't; and Luke Dittrich (Esquire) shares the raw experiences of those who survived one of 2011's worst natural disasters: the tornado that hit Joplin, Missouri. The sparkling dialogue and vividly imagined, eccentric characters of Karen Russell's award-winning short story, "The Hox River Window" (Zoetrope: All-Story), rounds out the collection.

A court lady of the Heian era, an early modern philologist, a novelist of the Meiji period, and a physicist at Tokyo University. What do they have in common, besides being Japanese? They all wrote zuihitsu—a uniquely Japanese literary genre encompassing features of the nonfiction or personal essay and miscellaneous musings. For sheer range of subject matter and breadth of perspective, the zuihitsu is unrivaled in the Japanese literary tradition, which may explain why few examples have been translated into English.

The Columbia Anthology of Japanese Essays presents a representative selection of more than one hundred zuihitsu from a range of historical periods written by close to fifty authors—from well-known figures, such as Matsuo Basho, Natsume Soseki, and Koda Aya, to such writers as Tachibana Nankei and Dekune Tatsuro, whose works appear here for the first time in English. Writers speak on the experience of coming down with a cold, the aesthetics of tea, the physiology and psychology of laughter, the demands of old age, standards of morality, the way to raise children, the Great Kanto Earthquake of 1923, the thoughts that accompany sleeplessness, the anxiety of undergoing surgery, and the unexpected benefits of training a myna bird to say "Thank you." These essays also provide moving descriptions of snowy landscapes, foggy London, the famous cherry blossoms of Ueno Park, and the appeal of rainy vistas, and relate the joys and troubles of everyone from desperate samurai to filial children to ailing cats.

A court lady of the Heian era, an early modern philologist, a novelist of the Meiji period, and a physicist at Tokyo University. What do they have in common, besides being Japanese? They all wrote zuihitsu—a uniquely Japanese literary genre encompassing features of the nonfiction or personal essay and miscellaneous musings. For sheer range of subject matter and breadth of perspective, the zuihitsu is unrivaled in the Japanese literary tradition, which may explain why few examples have been translated into English.

The Columbia Anthology of Japanese Essays presents a representative selection of more than one hundred zuihitsu from a range of historical periods written by close to fifty authors—from well-known figures, such as Matsuo Basho, Natsume Soseki, and Koda Aya, to such writers as Tachibana Nankei and Dekune Tatsuro, whose works appear here for the first time in English. Writers speak on the experience of coming down with a cold, the aesthetics of tea, the physiology and psychology of laughter, the demands of old age, standards of morality, the way to raise children, the Great Kanto Earthquake of 1923, the thoughts that accompany sleeplessness, the anxiety of undergoing surgery, and the unexpected benefits of training a myna bird to say "Thank you." These essays also provide moving descriptions of snowy landscapes, foggy London, the famous cherry blossoms of Ueno Park, and the appeal of rainy vistas, and relate the joys and troubles of everyone from desperate samurai to filial children to ailing cats.

Carrie Noland approaches Negritude as an experimental, text-based poetic movement developed by diasporic authors of African descent through the means of modernist print culture. Engaging primarily the works of Aimé Césaire and Léon-Gontran Damas, Noland shows how the demands of print culture alter the personal voice of each author, transforming an empirical subjectivity into a hybrid, textual entity that she names, after Theodor Adorno, an "aesthetic subjectivity."

This aesthetic subjectivity, transmitted by the words on the page, must be actualized—performed, reiterated, and created anew—by each reader, at each occasion of reading. Lyric writing and lyric reading therefore attenuate the link between author and phenomenalized voice. Yet the Negritude poem insists upon its connection to lived experience even as it emphasizes its printed form. Ironically, a purely formalist reading would have to ignore the ways formal—and not merely thematic—elements point toward the poem's own conditions of emergence.

Blending archival research on the historical context of Negritude with theories of the lyric "voice," Noland argues that Negritude poems present a challenge to both form-based (deconstructive) theories and identity-based theories of poetic representation. Through close readings, she reveals that the racialization of the author places pressure on a lyric regime of interpretation, obliging us to reconceptualize the relation of author to text in poetries of the first person.

Through a comparative analysis of the novels of Roberto Bolaño and the fictional work of César Aira, Mario Bellatin, Diamela Eltit, Chico Buarque, Alberto Fuguet, and Fernando Vallejo, among other leading authors, Héctor Hoyos defines and explores new trends in how we read and write in a globalized era. Calling attention to fresh innovations in form, voice, perspective, and representation, he also affirms the lead role of Latin American authors in reshaping world literature.

Focusing on post-1989 Latin American novels and their representation of globalization, Hoyos considers the narrative techniques and aesthetic choices Latin American authors make to assimilate the conflicting forces at work in our increasingly interconnected world. Challenging the assumption that globalization leads to cultural homogenization, he identifies the rich textual strategies that estrange and re-mediate power relations both within literary canons and across global cultural hegemonies. Hoyos shines a light on the unique, avant-garde phenomena that animate these works, such as modeling literary circuits after the dynamics of the art world, imagining counterfactual "Nazi" histories, exposing the limits of escapist narratives, and formulating textual forms that resist worldwide literary consumerism. These experiments help reconfigure received ideas about global culture and advance new, creative articulations of world consciousness.

Through a comparative analysis of the novels of Roberto Bolaño and the fictional work of César Aira, Mario Bellatin, Diamela Eltit, Chico Buarque, Alberto Fuguet, and Fernando Vallejo, among other leading authors, Héctor Hoyos defines and explores new trends in how we read and write in a globalized era. Calling attention to fresh innovations in form, voice, perspective, and representation, he also affirms the lead role of Latin American authors in reshaping world literature.

Focusing on post-1989 Latin American novels and their representation of globalization, Hoyos considers the narrative techniques and aesthetic choices Latin American authors make to assimilate the conflicting forces at work in our increasingly interconnected world. Challenging the assumption that globalization leads to cultural homogenization, he identifies the rich textual strategies that estrange and re-mediate power relations both within literary canons and across global cultural hegemonies. Hoyos shines a light on the unique, avant-garde phenomena that animate these works, such as modeling literary circuits after the dynamics of the art world, imagining counterfactual "Nazi" histories, exposing the limits of escapist narratives, and formulating textual forms that resist worldwide literary consumerism. These experiments help reconfigure received ideas about global culture and advance new, creative articulations of world consciousness.

The war between the Heike and Genji clans in the twelfth and thirteenth centuries is among the most compelling and significant moments in Japan’s history, immortalized in The Tale of the Heike. Beyond the events recorded in this canonical text, the conflicts of the surrounding years are crucial to medieval Japanese culture and history. In 1156, power began to slip away from the court nobility in Kyoto. A shogunate was later founded in Kamakura, and in 1221, it won a decisive victory over the court.

The three war tales translated in this book tell the story of these critical decades, vividly recording stages in the passage from rule by the imperial court in Kyoto to rule by the warrior government in Kamakura. “The Tale of the Hōgen Years” recounts a deposed emperor’s disastrous attempt to regain the throne in 1156. “The Tale of the Heiji Years” narrates a bloody clash between rival courtier factions in 1159. “An Account of the Jōkyū Years” records Kamakura’s victory over the imperial attempt to overthrow it in 1221. These works do not simply complete the story of The Tale of the Heike—they are classics of Japanese literature in their own right. Royall Tyler’s lively translation masterfully conveys the nature of medieval Japanese warfare, rendering aristocratic power politics and the brutal realities of violence with equal aplomb. The Dawn of the Warrior Age is an essential book for readers interested in premodern Japanese history and literature.

The war between the Heike and Genji clans in the twelfth and thirteenth centuries is among the most compelling and significant moments in Japan’s history, immortalized in The Tale of the Heike. Beyond the events recorded in this canonical text, the conflicts of the surrounding years are crucial to medieval Japanese culture and history. In 1156, power began to slip away from the court nobility in Kyoto. A shogunate was later founded in Kamakura, and in 1221, it won a decisive victory over the court.

The three war tales translated in this book tell the story of these critical decades, vividly recording stages in the passage from rule by the imperial court in Kyoto to rule by the warrior government in Kamakura. “The Tale of the Hōgen Years” recounts a deposed emperor’s disastrous attempt to regain the throne in 1156. “The Tale of the Heiji Years” narrates a bloody clash between rival courtier factions in 1159. “An Account of the Jōkyū Years” records Kamakura’s victory over the imperial attempt to overthrow it in 1221. These works do not simply complete the story of The Tale of the Heike—they are classics of Japanese literature in their own right. Royall Tyler’s lively translation masterfully conveys the nature of medieval Japanese warfare, rendering aristocratic power politics and the brutal realities of violence with equal aplomb. The Dawn of the Warrior Age is an essential book for readers interested in premodern Japanese history and literature.

Vasily Eroshenko was one of the most remarkable transnational literary figures of the early twentieth century: a blind multilingual Esperantist from Ukraine who joined left-wing circles in Japan and befriended the famous modernist writer Lu Xun in China. Born in a small Ukrainian village in imperial Russia, he was blinded at a young age by complications from measles. Seeking to escape the limitations imposed on the blind, Eroshenko became a globe-trotting storyteller. He was well known in Japan and China as a social activist and a popular writer of political fairy tales that drew comparisons to Hans Christian Andersen and Oscar Wilde.

The Narrow Cage and Other Modern Fairy Tales presents a selection of Eroshenko’s stories, translated from Japanese and Esperanto, to English readers for the first time. These fables tell the stories of a religiously disillusioned fish, a jealous paper lantern, a scholarly young mouse, a captive tiger who seeks to liberate his fellow animals, and many more. They are at once inventive and politically charged experiments with the fairy tale genre and charming, lyrical stories that will captivate readers as much today as they did during Eroshenko’s lifetime. In addition to eighteen fairy tales, the book includes semiautobiographical writings and prose poems that vividly evoke Eroshenko’s life and world.

The Mongols, their khans, and the empire they built and ruled in the thirteenth and fourteenth centuries exert an enduring fascination. Caricatured as a marauding horde that ravaged surrounding peoples, in reality the Mongols created institutions, trading networks, economic systems, and intellectual and technological exchanges that shaped the early modern world. However, the centuries after the waning of Mongol power remain overlooked in comparison to the days of Chinggis Khan.

The Precious Summary is the most important work of Mongolian history on the three-hundred-year period before the rise of the Manchu Qing dynasty. Written by Sagang Sechen in 1662, shortly after the Mongols’ submission to the Qing, it chronicles the fall of the Yuan dynasty in China, the Mongol-Oirat wars, and the revival of Mongol power during the reign of Dayan Khan in the sixteenth century. Sagang Sechen’s masterful account spans Buddhist cosmology, Chinggis Khan, the post-Yuan Mongols, Chinese history, and the Mongols’ conversion to Buddhism—and throughout, it attempts to come to terms with the new Manchu state. Featuring extensive and accessible annotations and explanations of historical context, Johan Elverskog’s translation of the Precious Summary offers invaluable perspective on Inner Asian and Chinese history, Mongolian historiography, and the history of Buddhism in Asia.

Vasily Eroshenko was one of the most remarkable transnational literary figures of the early twentieth century: a blind multilingual Esperantist from Ukraine who joined left-wing circles in Japan and befriended the famous modernist writer Lu Xun in China. Born in a small Ukrainian village in imperial Russia, he was blinded at a young age by complications from measles. Seeking to escape the limitations imposed on the blind, Eroshenko became a globe-trotting storyteller. He was well known in Japan and China as a social activist and a popular writer of political fairy tales that drew comparisons to Hans Christian Andersen and Oscar Wilde.

The Narrow Cage and Other Modern Fairy Tales presents a selection of Eroshenko’s stories, translated from Japanese and Esperanto, to English readers for the first time. These fables tell the stories of a religiously disillusioned fish, a jealous paper lantern, a scholarly young mouse, a captive tiger who seeks to liberate his fellow animals, and many more. They are at once inventive and politically charged experiments with the fairy tale genre and charming, lyrical stories that will captivate readers as much today as they did during Eroshenko’s lifetime. In addition to eighteen fairy tales, the book includes semiautobiographical writings and prose poems that vividly evoke Eroshenko’s life and world.

The Mongols, their khans, and the empire they built and ruled in the thirteenth and fourteenth centuries exert an enduring fascination. Caricatured as a marauding horde that ravaged surrounding peoples, in reality the Mongols created institutions, trading networks, economic systems, and intellectual and technological exchanges that shaped the early modern world. However, the centuries after the waning of Mongol power remain overlooked in comparison to the days of Chinggis Khan.

The Precious Summary is the most important work of Mongolian history on the three-hundred-year period before the rise of the Manchu Qing dynasty. Written by Sagang Sechen in 1662, shortly after the Mongols’ submission to the Qing, it chronicles the fall of the Yuan dynasty in China, the Mongol-Oirat wars, and the revival of Mongol power during the reign of Dayan Khan in the sixteenth century. Sagang Sechen’s masterful account spans Buddhist cosmology, Chinggis Khan, the post-Yuan Mongols, Chinese history, and the Mongols’ conversion to Buddhism—and throughout, it attempts to come to terms with the new Manchu state. Featuring extensive and accessible annotations and explanations of historical context, Johan Elverskog’s translation of the Precious Summary offers invaluable perspective on Inner Asian and Chinese history, Mongolian historiography, and the history of Buddhism in Asia.

This comprehensive anthology collects works of fiction, poetry, drama, and essay-writing from a pivotal time in Japanese history. In addition to their literary achievements, the texts reflect the political, social, and intellectual changes that occurred in Japanese society during this period, including exposure to Western ideas and literature, the rise of nationalism, and the complex interaction of traditional and modern forces. The volume offers outstanding, often new translations of classic texts by such celebrated writers as Nagai Kafu, Shimazaki Toson, Natsume Soseki, Kawabata Yasunari, and Yosano Akiko. The editors have also unearthed works from lesser-known women writers, many of which have never been available in English.

Organized chronologically and by genre within each period, the volume reveals the major influences in the development of modern Japanese literature: the Japanese classics themselves, the example of Chinese poetry, and the encounter with Western literature and culture. Modern Japanese writers reread the classics of Japanese literature, infused them with contemporary language, and refashioned them with an increased emphasis on psychological elements. They also reinterpreted older aesthetic concepts in light of twentieth-century mentalities. While modern ideas captured the imagination of some Japanese writers, the example of classical Chinese poetry remained important for others. Meiji writers continued to compose poetry in classical Chinese and adhere to a Confucian system of thought. Another factor in shaping modern Japanese literature was the example of foreign works, which offered new literary inspiration and opportunities for Japanese readers and writers.

Divided into four chapters, the anthology begins with the early modern texts of the 1870s, continues with works written during the years of social change preceding World War I and the innovative writing of the interwar period, and concludes with texts from World War II. Each chapter includes a helpful critical introduction, situating the works within their literary, political, and cultural contexts. Additionally, there are biographical introductions for each writer.

This comprehensive anthology collects works of fiction, poetry, drama, and essay-writing from a pivotal time in Japanese history. In addition to their literary achievements, the texts reflect the political, social, and intellectual changes that occurred in Japanese society during this period, including exposure to Western ideas and literature, the rise of nationalism, and the complex interaction of traditional and modern forces. The volume offers outstanding, often new translations of classic texts by such celebrated writers as Nagai Kafu, Shimazaki Toson, Natsume Soseki, Kawabata Yasunari, and Yosano Akiko. The editors have also unearthed works from lesser-known women writers, many of which have never been available in English.

Organized chronologically and by genre within each period, the volume reveals the major influences in the development of modern Japanese literature: the Japanese classics themselves, the example of Chinese poetry, and the encounter with Western literature and culture. Modern Japanese writers reread the classics of Japanese literature, infused them with contemporary language, and refashioned them with an increased emphasis on psychological elements. They also reinterpreted older aesthetic concepts in light of twentieth-century mentalities. While modern ideas captured the imagination of some Japanese writers, the example of classical Chinese poetry remained important for others. Meiji writers continued to compose poetry in classical Chinese and adhere to a Confucian system of thought. Another factor in shaping modern Japanese literature was the example of foreign works, which offered new literary inspiration and opportunities for Japanese readers and writers.

Divided into four chapters, the anthology begins with the early modern texts of the 1870s, continues with works written during the years of social change preceding World War I and the innovative writing of the interwar period, and concludes with texts from World War II. Each chapter includes a helpful critical introduction, situating the works within their literary, political, and cultural contexts. Additionally, there are biographical introductions for each writer.

The Backstreets is an astonishing novel by a preeminent contemporary Uyghur author who was disappeared by the Chinese state. It follows an unnamed Uyghur man who comes to the impenetrable Chinese capital of Xinjiang after finding a temporary job in a government office. Seeking to escape the pain and poverty of the countryside, he finds only cold stares and rejection. He wanders the streets, accompanied by the bitter fog of winter pollution, reciting a monologue of numbers and odors, lust and loathing, memories and madness.

Perhat Tursun’s novel is a work of untrammeled literary creativity. His evocative prose recalls a vast array of canonical world writers—contemporary Chinese authors such as Mo Yan; the modernist images and rhythms of Camus, Dostoevsky, and Kafka; the serious yet absurdist dissection of the logic of racism in Ellison’s Invisible Man—while drawing deeply on Uyghur literary traditions and Sufi poetics and combining all these disparate influences into a style that is distinctly Perhat Tursun’s own. The Backstreets is a stark fable about urban isolation and social violence, dehumanization and the racialization of ethnicity. Yet its protagonist’s vivid recollections of maternal tenderness and first love reveal how memory and imagination offer profound forms of resilience. A translator’s introduction situates the novel in the political atmosphere that led to the disappearance of both the author and his work.

Jun’ichirō Tanizaki is one of the most eminent Japanese writers of the twentieth century, renowned for his investigations of family dynamics, eroticism, and cultural identity. Most acclaimed for his postwar novels such as The Makioka Sisters and The Key, Tanizaki made his literary debut in 1910. This book presents three powerful stories of family life from the first decade of Tanizaki’s career that foreshadow the themes the great writer would go on to explore.

“Longing” recounts the fantastic journey of a precocious young boy through an eerie nighttime landscape. Replete with striking natural images and uncanny human encounters, it ends with a striking revelation. “Sorrows of a Heretic” follows a university student and aspiring novelist who lives in degrading poverty in a Tokyo tenement. Ambitious and tormented, the young man rebels against his family against a backdrop of sickness and death. “The Story of an Unhappy Mother” describes a vivacious but self-centered woman’s drastic transformation after a freak accident involving her son and daughter-in-law. Written in different genres, the three stories are united by a focus on mothers and sons and a concern for Japan’s traditional culture in the face of Westernization. The longtime Tanizaki translators Anthony H. Chambers and Paul McCarthy masterfully bring these important works to an Anglophone audience.

Jun’ichirō Tanizaki is one of the most eminent Japanese writers of the twentieth century, renowned for his investigations of family dynamics, eroticism, and cultural identity. Most acclaimed for his postwar novels such as The Makioka Sisters and The Key, Tanizaki made his literary debut in 1910. This book presents three powerful stories of family life from the first decade of Tanizaki’s career that foreshadow the themes the great writer would go on to explore.

“Longing” recounts the fantastic journey of a precocious young boy through an eerie nighttime landscape. Replete with striking natural images and uncanny human encounters, it ends with a striking revelation. “Sorrows of a Heretic” follows a university student and aspiring novelist who lives in degrading poverty in a Tokyo tenement. Ambitious and tormented, the young man rebels against his family against a backdrop of sickness and death. “The Story of an Unhappy Mother” describes a vivacious but self-centered woman’s drastic transformation after a freak accident involving her son and daughter-in-law. Written in different genres, the three stories are united by a focus on mothers and sons and a concern for Japan’s traditional culture in the face of Westernization. The longtime Tanizaki translators Anthony H. Chambers and Paul McCarthy masterfully bring these important works to an Anglophone audience.

The Backstreets is an astonishing novel by a preeminent contemporary Uyghur author who was disappeared by the Chinese state. It follows an unnamed Uyghur man who comes to the impenetrable Chinese capital of Xinjiang after finding a temporary job in a government office. Seeking to escape the pain and poverty of the countryside, he finds only cold stares and rejection. He wanders the streets, accompanied by the bitter fog of winter pollution, reciting a monologue of numbers and odors, lust and loathing, memories and madness.

Perhat Tursun’s novel is a work of untrammeled literary creativity. His evocative prose recalls a vast array of canonical world writers—contemporary Chinese authors such as Mo Yan; the modernist images and rhythms of Camus, Dostoevsky, and Kafka; the serious yet absurdist dissection of the logic of racism in Ellison’s Invisible Man—while drawing deeply on Uyghur literary traditions and Sufi poetics and combining all these disparate influences into a style that is distinctly Perhat Tursun’s own. The Backstreets is a stark fable about urban isolation and social violence, dehumanization and the racialization of ethnicity. Yet its protagonist’s vivid recollections of maternal tenderness and first love reveal how memory and imagination offer profound forms of resilience. A translator’s introduction situates the novel in the political atmosphere that led to the disappearance of both the author and his work.

In the early eighteenth century, the noblewoman Ōgimachi Machiko composed a memoir of Yanagisawa Yoshiyasu, the powerful samurai for whom she had served as a concubine for twenty years. Machiko assisted Yoshiyasu in his ascent to the rank of chief adjutant to the Tokugawa shogun. She kept him in good graces with the imperial court, enabled him to study poetry with aristocratic teachers and have his compositions read by the retired emperor, and gave birth to two of his sons. Writing after Yoshiyasu’s retirement, she recalled it all—from the glittering formal visits of the shogun and his entourage to the passage of the seasons as seen from her apartments in the Yanagisawa mansion.

In the Shelter of the Pine is the most significant work of literature by a woman of Japan’s early modern era. Featuring Machiko’s keen eye for detail, strong narrative voice, and polished prose studded with allusions to Chinese and Japanese classics, this memoir sheds light on everything from the social world of the Tokugawa elite to the role of literature in women’s lives. Machiko modeled her story on The Tale of Genji, illustrating how the eleventh-century classic continued to inspire its female readers and provide them with the means to make sense of their experiences. Elegant, poetic, and revealing, In the Shelter of the Pine is a vivid portrait of a distant world and a vital addition to the canon of Japanese literature available in English.

In the early eighteenth century, the noblewoman Ōgimachi Machiko composed a memoir of Yanagisawa Yoshiyasu, the powerful samurai for whom she had served as a concubine for twenty years. Machiko assisted Yoshiyasu in his ascent to the rank of chief adjutant to the Tokugawa shogun. She kept him in good graces with the imperial court, enabled him to study poetry with aristocratic teachers and have his compositions read by the retired emperor, and gave birth to two of his sons. Writing after Yoshiyasu’s retirement, she recalled it all—from the glittering formal visits of the shogun and his entourage to the passage of the seasons as seen from her apartments in the Yanagisawa mansion.

In the Shelter of the Pine is the most significant work of literature by a woman of Japan’s early modern era. Featuring Machiko’s keen eye for detail, strong narrative voice, and polished prose studded with allusions to Chinese and Japanese classics, this memoir sheds light on everything from the social world of the Tokugawa elite to the role of literature in women’s lives. Machiko modeled her story on The Tale of Genji, illustrating how the eleventh-century classic continued to inspire its female readers and provide them with the means to make sense of their experiences. Elegant, poetic, and revealing, In the Shelter of the Pine is a vivid portrait of a distant world and a vital addition to the canon of Japanese literature available in English.

Over the course of the twentieth century, Mongolian life was transformed, as a land of nomadic communities encountered first socialism and then capitalism and their promises of new societies. The stories collected in this anthology offer literary snapshots of Mongolian life throughout this tumult. Suncranes and Other Stories showcases a range of powerful voices and their vivid portraits of nomads, revolution, and the endless steppe.

Spanning the years following the socialist revolution of 1921 through the early twenty-first century, these stories from the country’s most highly regarded prose writers show how Mongolian culture has forged links between the traditional and the modern. Writers employ a wide range of styles, from Aesopian fables through socialist realism to more experimental forms, influenced by folktales and epics as well as Western prose models. They depict the drama of a nomadic population struggling to understand a new approach to life imposed by a foreign power while at the same time benefiting from reforms, whether in the capital city Ulaanbaatar or on the steppe. Across the mix of stories, Mongolia’s majestic landscape and the people’s deep connection to it come through vividly. For all English-speaking readers curious about Mongolia’s people and culture, Simon Wickhamsmith’s translations make available this captivating literary tradition and its rich portrayals of the natural and social worlds.

Over the course of the twentieth century, Mongolian life was transformed, as a land of nomadic communities encountered first socialism and then capitalism and their promises of new societies. The stories collected in this anthology offer literary snapshots of Mongolian life throughout this tumult. Suncranes and Other Stories showcases a range of powerful voices and their vivid portraits of nomads, revolution, and the endless steppe.

Spanning the years following the socialist revolution of 1921 through the early twenty-first century, these stories from the country’s most highly regarded prose writers show how Mongolian culture has forged links between the traditional and the modern. Writers employ a wide range of styles, from Aesopian fables through socialist realism to more experimental forms, influenced by folktales and epics as well as Western prose models. They depict the drama of a nomadic population struggling to understand a new approach to life imposed by a foreign power while at the same time benefiting from reforms, whether in the capital city Ulaanbaatar or on the steppe. Across the mix of stories, Mongolia’s majestic landscape and the people’s deep connection to it come through vividly. For all English-speaking readers curious about Mongolia’s people and culture, Simon Wickhamsmith’s translations make available this captivating literary tradition and its rich portrayals of the natural and social worlds.

Winner, 2024 Patrick D. Hanan Prize for Translation, Association for Asian Studies

In the first half of the eighteenth century, rival dynasties of Naqshbandi Sufi shaykhs vied for influence in the Tarim Basin, part of present-day Xinjiang. In the 1750s, the collapse of the Junghar Mongol state gave one branch of this family an opportunity to assert their independence in the oasis cities of Kashgar and Yarkand. Others sided with the armies of the Qing dynasty, which were massing on the frontiers to invade. The ensuing conflict saw the region incorporated into the expanding Qing imperium.

Three decades afterward, Muḥammad Ṣadiq Kashghari was commissioned to write an account of these Naqshbandi Sufis and their downfall. Blending the genres of collective biography and historical epic, mixing prose and verse, Kashghari’s text vividly depicts religious and political conflicts on the eve of the Qing conquest. It became the most popular and influential Chaghatay-language work to grapple with this divisive period. This volume presents the complete, long recension of In Remembrance of the Saints, translated for the first time into any Western language and extensively annotated with reference to both Islamic and Qing sources. The introduction situates the work in the Inner Asian tradition of Sufi biography and discusses the political factors shaping historical memory in Qianlong-era Xinjiang. Providing a rare local perspective on China’s expansion into Muslim borderlands, this translation sheds light on Xinjiang’s political and religious traditions and makes a foundational work of Inner Asian literature available to students and scholars.

Winner, 2024 Patrick D. Hanan Prize for Translation, Association for Asian Studies

In the first half of the eighteenth century, rival dynasties of Naqshbandi Sufi shaykhs vied for influence in the Tarim Basin, part of present-day Xinjiang. In the 1750s, the collapse of the Junghar Mongol state gave one branch of this family an opportunity to assert their independence in the oasis cities of Kashgar and Yarkand. Others sided with the armies of the Qing dynasty, which were massing on the frontiers to invade. The ensuing conflict saw the region incorporated into the expanding Qing imperium.

Three decades afterward, Muḥammad Ṣadiq Kashghari was commissioned to write an account of these Naqshbandi Sufis and their downfall. Blending the genres of collective biography and historical epic, mixing prose and verse, Kashghari’s text vividly depicts religious and political conflicts on the eve of the Qing conquest. It became the most popular and influential Chaghatay-language work to grapple with this divisive period. This volume presents the complete, long recension of In Remembrance of the Saints, translated for the first time into any Western language and extensively annotated with reference to both Islamic and Qing sources. The introduction situates the work in the Inner Asian tradition of Sufi biography and discusses the political factors shaping historical memory in Qianlong-era Xinjiang. Providing a rare local perspective on China’s expansion into Muslim borderlands, this translation sheds light on Xinjiang’s political and religious traditions and makes a foundational work of Inner Asian literature available to students and scholars.

In this anthology, Vietnamese writers describe their experience of what they call the American War and its lasting legacy through the lens of their own vital artistic visions. A North Vietnamese soldier forms a bond with an abandoned puppy. Cousins find their lives upended by the revelation that their fathers fought on opposite sides of the war. Two lonely veterans in Hanoi meet years after the war has ended through a newspaper dating service. A psychic assists the search for the body of a long-vanished soldier. The father of a girl suffering from dioxin poisoning struggles with corrupt local officials.

The twenty short stories collected in Other Moons range from the intensely personal to narratives that deal with larger questions of remembrance, trauma, and healing. By a diverse set of authors, including many veterans, they span styles from social realism to tales of the fantastic. Yet whether describing the effects of Agent Orange exposure or telling ghost stories, all speak to the unresolved legacy of a conflict that still haunts Vietnam. Among the most widely anthologized and popular pieces of short fiction about the war in Vietnam, these works appear here for the first time in English. Other Moons offers Anglophone audiences an unparalleled opportunity to experience how the Vietnamese think and write about the conflict that consumed their country from 1954 to 1975—a perspective still largely missing from American narratives.

In this anthology, Vietnamese writers describe their experience of what they call the American War and its lasting legacy through the lens of their own vital artistic visions. A North Vietnamese soldier forms a bond with an abandoned puppy. Cousins find their lives upended by the revelation that their fathers fought on opposite sides of the war. Two lonely veterans in Hanoi meet years after the war has ended through a newspaper dating service. A psychic assists the search for the body of a long-vanished soldier. The father of a girl suffering from dioxin poisoning struggles with corrupt local officials.

The twenty short stories collected in Other Moons range from the intensely personal to narratives that deal with larger questions of remembrance, trauma, and healing. By a diverse set of authors, including many veterans, they span styles from social realism to tales of the fantastic. Yet whether describing the effects of Agent Orange exposure or telling ghost stories, all speak to the unresolved legacy of a conflict that still haunts Vietnam. Among the most widely anthologized and popular pieces of short fiction about the war in Vietnam, these works appear here for the first time in English. Other Moons offers Anglophone audiences an unparalleled opportunity to experience how the Vietnamese think and write about the conflict that consumed their country from 1954 to 1975—a perspective still largely missing from American narratives.

Paek Nam-nyong’s Friend is a tale of marital intrigue, abuse, and divorce in North Korea. A woman in her thirties comes to a courthouse petitioning for a divorce. As the judge who hears her statement begins to investigate the case, the story unfolds into a broader consideration of love and marriage. The novel delves into its protagonists’ past, describing how the couple first fell in love and then how their marriage deteriorated over the years. It chronicles the toll their acrimony takes on their son and their careers alongside the story of the judge’s own marital troubles.

A best-seller in North Korea, where Paek continues to live and write, Friend illuminates a side of life in the DPRK that Western readers have never before encountered. Far from being a propagandistic screed in praise of the Great Leader, Friend describes the lives of people who struggle with everyday problems such as marital woes and workplace conflicts. Instead of socialist-realist stock figures, Paek depicts complex characters who wrestle with universal questions of individual identity, the split between public and private selves, the unpredictability of existence, and the never-ending labor of maintaining a relationship. This groundbreaking translation of one of North Korea’s most popular writers offers English-language readers a page-turner full of psychological tension as well as a revealing portrait of a society that is typically seen as closed to the outside world.

Paek Nam-nyong’s Friend is a tale of marital intrigue, abuse, and divorce in North Korea. A woman in her thirties comes to a courthouse petitioning for a divorce. As the judge who hears her statement begins to investigate the case, the story unfolds into a broader consideration of love and marriage. The novel delves into its protagonists’ past, describing how the couple first fell in love and then how their marriage deteriorated over the years. It chronicles the toll their acrimony takes on their son and their careers alongside the story of the judge’s own marital troubles.

A best-seller in North Korea, where Paek continues to live and write, Friend illuminates a side of life in the DPRK that Western readers have never before encountered. Far from being a propagandistic screed in praise of the Great Leader, Friend describes the lives of people who struggle with everyday problems such as marital woes and workplace conflicts. Instead of socialist-realist stock figures, Paek depicts complex characters who wrestle with universal questions of individual identity, the split between public and private selves, the unpredictability of existence, and the never-ending labor of maintaining a relationship. This groundbreaking translation of one of North Korea’s most popular writers offers English-language readers a page-turner full of psychological tension as well as a revealing portrait of a society that is typically seen as closed to the outside world.

Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. Published in 1925, Azaleas is the only collection Kim Sowol (1902-1934) produced during his brief life, yet he remains one of Korea's most beloved and well-known poets. His work is a delightful and sophisticated blend of the images, tonalities, and rhythms of traditional Korean folk songs with surprisingly modern forms and themes. Sowol is also known for his unique and sometimes unsettling perspective, expressed through loneliness, longing, and a creative use of dream imagery-a reflection of Sowol's engagement with French Symbolist poetry.

Azaleas recounts the journey of a young Korean as he travels from the northern P'yongyang area near to the cosmopolitan capital of Seoul. Told through an array of voices, the poems describe the young man's actions as he leaves home, his experiences as a student and writer in Seoul, and his return north. Although considered a landmark of Korean literature, Azaleas speaks to readers from all cultures. An essay by Sowol's mentor, the poet Kim Ok, concludes the collection and provides vital insight into Sowol's work and life. This elegant translation by David R. McCann, an expert on modern Korean poetry, maintains the immediacy and richness of Sowol's work and shares with English-language readers the quiet beauty of a poet who continues to cast a powerful spell on generations of Korean readers.

Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. Published in 1925, Azaleas is the only collection Kim Sowol (1902-1934) produced during his brief life, yet he remains one of Korea's most beloved and well-known poets. His work is a delightful and sophisticated blend of the images, tonalities, and rhythms of traditional Korean folk songs with surprisingly modern forms and themes. Sowol is also known for his unique and sometimes unsettling perspective, expressed through loneliness, longing, and a creative use of dream imagery-a reflection of Sowol's engagement with French Symbolist poetry.

Azaleas recounts the journey of a young Korean as he travels from the northern P'yongyang area near to the cosmopolitan capital of Seoul. Told through an array of voices, the poems describe the young man's actions as he leaves home, his experiences as a student and writer in Seoul, and his return north. Although considered a landmark of Korean literature, Azaleas speaks to readers from all cultures. An essay by Sowol's mentor, the poet Kim Ok, concludes the collection and provides vital insight into Sowol's work and life. This elegant translation by David R. McCann, an expert on modern Korean poetry, maintains the immediacy and richness of Sowol's work and shares with English-language readers the quiet beauty of a poet who continues to cast a powerful spell on generations of Korean readers.

The Nihon ryoiki, a collection of setsuwa, or "anecdotal" tales, compiled by a monk in late-eighth- or early-ninth-century Japan, records the spread of Buddhist ideas in Japan and the ways in which Buddhism's principles were adapted to the conditions of Japanese society. Beginning in the time before Buddhism was introduced to Japan, the text captures the effects of the nation's initial contact with Buddhism—brought by emissaries from the king of the Korean state of Paekche—and the subsequent adoption and dissemination of these new teachings in Japanese towns and cities.

The Nihon ryoiki provides a crucial window into the ways in which Japanese Buddhists began to make sense of the teachings and texts of their religion, incorporate religious observances and materials from Korea and China, and articulate a popularized form of Buddhist practice and belief that could extend beyond monastic centers. The setsuwa genre would become one of the major textual projects of classical and medieval Buddhism, with nearly two dozen collections appearing over the next five centuries. The Nihon ryoiki serves as a vital reference for these later works, with the tales it contains finding their way into folkloric traditions and becoming a major source for Japanese authors well into the modern period.

The Nihon ryoiki, a collection of setsuwa, or "anecdotal" tales, compiled by a monk in late-eighth- or early-ninth-century Japan, records the spread of Buddhist ideas in Japan and the ways in which Buddhism's principles were adapted to the conditions of Japanese society. Beginning in the time before Buddhism was introduced to Japan, the text captures the effects of the nation's initial contact with Buddhism—brought by emissaries from the king of the Korean state of Paekche—and the subsequent adoption and dissemination of these new teachings in Japanese towns and cities.

The Nihon ryoiki provides a crucial window into the ways in which Japanese Buddhists began to make sense of the teachings and texts of their religion, incorporate religious observances and materials from Korea and China, and articulate a popularized form of Buddhist practice and belief that could extend beyond monastic centers. The setsuwa genre would become one of the major textual projects of classical and medieval Buddhism, with nearly two dozen collections appearing over the next five centuries. The Nihon ryoiki serves as a vital reference for these later works, with the tales it contains finding their way into folkloric traditions and becoming a major source for Japanese authors well into the modern period.

"Dream and Swine and Aurora," "Deep in the Rubber Forest," "Fish Bones," "Allah's Will," "Monkey Butts, Fire, and Dangerous Things"—Ng Kim Chew's stories are raw, rural, and rich with the traditions of his native Malaysia. They are also full of humor and spirit, demonstrating a deep appreciation for human ingenuity in the face of poverty, oppression, and exile.

Ng creatively captures the riot of cultures that roughly coexist on the Malay Peninsula and its surrounding archipelago. Their interplay is heightened by the encroaching forces of globalization, which bring new opportunities for cultural experimentation, but also an added dimension of alienation. In prose that is intimate and atmospheric, these sensitively crafted, resonant stories depict the struggles of individuals torn between their ancestral and adoptive homes, communities pressured by violence, and minority Malaysian Chinese in dynamic tension with the Islamic Malay majority. Told through relatable characters, Ng's tales show why he has become a leading Malaysian writer of Chinese fiction, representing in mood, voice, and rhythm the dislocation of a people and a country in transition.

O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Since her debut in 1968, she has formed a powerful challenge to the patriarchal literary establishment in Korea, and her work has invited rich comparisons with the achievements of Joyce Carol Oates, Alice Munro, and Virginia Woolf.

These nine stories range from O Chonghui's first published work, in 1968, to one of her last publications, in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O Chonghui makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone.

O Chonghui's narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, one of the most astute observers of Korean society and the place of tradition within it.

O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Since her debut in 1968, she has formed a powerful challenge to the patriarchal literary establishment in Korea, and her work has invited rich comparisons with the achievements of Joyce Carol Oates, Alice Munro, and Virginia Woolf.

These nine stories range from O Chonghui's first published work, in 1968, to one of her last publications, in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O Chonghui makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone.

O Chonghui's narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, one of the most astute observers of Korean society and the place of tradition within it.

Abe Kobo (1924–1993) was one of Japan's greatest postwar writers, widely recognized for his imaginative science fiction and plays of the absurd. However, he also wrote theoretical criticism for which he is lesser known, merging literary, historical, and philosophical perspectives into keen reflections on the nature of creativity, the evolution of the human species, and an impressive range of other subjects.

Abe Kobo tackled contemporary social issues and literary theory with the depth and facility of a visionary thinker. Featuring twelve essays from his prolific career—including "Poetry and Poets (Consciousness and the Unconscious)," written in 1944, and "The Frontier Within, Part II," written in 1969—this anthology introduces English-speaking readers to Abe Kobo as critic and intellectual for the first time. Demonstrating the importance of his theoretical work to a broader understanding of his fiction—and a richer portrait of Japan's postwar imagination—Richard F. Calichman provides an incisive introduction to Abe Kobo's achievements and situates his essays historically and intellectually.

Abe Kobo (1924–1993) was one of Japan's greatest postwar writers, widely recognized for his imaginative science fiction and plays of the absurd. However, he also wrote theoretical criticism for which he is lesser known, merging literary, historical, and philosophical perspectives into keen reflections on the nature of creativity, the evolution of the human species, and an impressive range of other subjects.

Abe Kobo tackled contemporary social issues and literary theory with the depth and facility of a visionary thinker. Featuring twelve essays from his prolific career—including "Poetry and Poets (Consciousness and the Unconscious)," written in 1944, and "The Frontier Within, Part II," written in 1969—this anthology introduces English-speaking readers to Abe Kobo as critic and intellectual for the first time. Demonstrating the importance of his theoretical work to a broader understanding of his fiction—and a richer portrait of Japan's postwar imagination—Richard F. Calichman provides an incisive introduction to Abe Kobo's achievements and situates his essays historically and intellectually.

Gu Yanwu pioneered the late-Ming and early Qing-era practice of Han Learning, or Evidential Learning, favoring practical over theoretical approaches to knowledge. He strongly encouraged scholars to return to the simple, ethical precepts of early Confucianism, and in his best-known work, Rizhi lu (Record of Daily Knowledge), he applied this paradigm to literature, government, economics, history, education, and philology. This volume includes translations of selected essays from Rizhi lu and Gu Yanwu's Shiwen Ji (Collected Poems and Essays), along with an introduction explaining the personal and political dimensions of the scholar's work.

Gu Yanwu wrote the essays and poems featured in this volume while traveling across China during the decades immediately after the fall of the Ming Dynasty. They merge personal observation with rich articulations of Confucian principles and are, as Gu said, "not old coin but copper dug from the hills." Like many of his contemporaries, Gu Yanwu believed the Ming Dynasty had suffered from an overconcentration of power in its central government and recommended decentralizing authority while strengthening provincial self-government. In his introduction, Ian Johnston recounts Gu Yanwu's personal history and reviews his published works, along with their scholarly reception. Annotations accompany his translations, and a special essay on feudalism by Tang Dynasty poet and scholar Liu Zongyuan (773–819) provides insight into Gu Yanwu's later work on the subject.

Ch’ae Manshik is one of the most accomplished modern Korean writers yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style. Sunset: A Ch’ae Manshik Reader is the first English-language anthology of his works and features a variety of genres—novella, short fiction, anecdotal essay, travel writing, children’s story, one-act play, three-act play, and roundtable discussion.


This anthology moves beyond the usual “representative works” to provide a well-rounded selection of writing by one of Korea’s most innovative and memorable voices, drawing on Ch'ae's ten-volume Complete Works. This edition also provides a comprehensive introduction outlining the limitations of existing approaches to Ch'ae. It contextualizes the anthology's contents both in terms of the author's career and the rich Korean tradition of intertextuality and intermediality that he reflects from the country's earliest times to the new millennium.

Ch’ae Manshik is one of the most accomplished modern Korean writers yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style. Sunset: A Ch’ae Manshik Reader is the first English-language anthology of his works and features a variety of genres—novella, short fiction, anecdotal essay, travel writing, children’s story, one-act play, three-act play, and roundtable discussion.


This anthology moves beyond the usual “representative works” to provide a well-rounded selection of writing by one of Korea’s most innovative and memorable voices, drawing on Ch'ae's ten-volume Complete Works. This edition also provides a comprehensive introduction outlining the limitations of existing approaches to Ch'ae. It contextualizes the anthology's contents both in terms of the author's career and the rich Korean tradition of intertextuality and intermediality that he reflects from the country's earliest times to the new millennium.

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan.

These stories, called otogizōshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizōshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative—court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples––joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, “Monsters, Warriors, and Journeys to Other Worlds,” “Buddhist Tales,” and “Interspecies Affairs.” Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan.

These stories, called otogizōshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizōshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative—court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples––joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, “Monsters, Warriors, and Journeys to Other Worlds,” “Buddhist Tales,” and “Interspecies Affairs.” Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.