Weatherhead Books on Asia

Soft Burial is one of the most remarkable—and most controversial—recent works of Chinese literature. Part mystery, part historical fiction, and part social exposé, the novel intercuts different generations, regions, and time periods.

Korean writer Ch’oe Myŏngik was a lifelong resident of Pyongyang, a city his short stories masterfully evoke in exquisite modernist prose. This book presents a selection of Ch’oe’s short fiction in translation.

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 writer Lu Xun in China. This book presents a selection of his stories, translated from Japanese and Esperanto, to English readers.

Dung Kai-cheung’s A Catalog of Such Stuff as Dreams Are Made On is a playful and imaginative glimpse into the consumerist dreamscape of late-nineties Hong Kong. First published in 1999, it comprises ninety-nine sketches of life just after the handover of the former British colony to China.

In these indelible short stories, contemporary South Korean author Yun Ko-eun conjures up slightly off-kilter worlds tucked away in the corners of everyday life. Throughout Table for One, comedy and an element of the surreal are interwoven with the hopelessness and loneliness that pervades the protagonists’ decidedly mundane lives.

In novels such as Silence, Endō Shūsaku examined the persecution of Japanese Christians in different historical eras. Sachiko, set in Nagasaki in the painful years between 1930 and 1945, is the story of two young people trying to find love during yet another period in which Japanese Christians were accused of disloyalty to their country.

Fu Ping is a keenly observed portrait of the lives of lower-class women in Shanghai in the early years of the People’s Republic of China. Wang Anyi, one of contemporary China’s most acclaimed authors, explores the daily lives of migrants from rural areas and other people on the margins of urban life.

In these two novellas, Kimura Yūsuke explores human and animal life in northern Japan after the natural and nuclear disasters of March 11, 211. Kimura inscribes the “Triple Disaster” into a rich regional tradition of storytelling, incorporating far-flung voices to testify to life and the desire to represent it in the aftermath of calamity.
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Tsering Döndrup is one of the most popular and critically acclaimed authors writing in Tibetan today. The Handsome Monk and Other Stories brings together short stories from across Tsering Döndrup’s career to create a panorama of Tibetan society.

Paek Nam-nyong’s Friend is a tale of marital intrigue, abuse, and divorce in North Korea. 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.

A new wave of Chinese science fiction is here. This anthology showcases the best of contemporary science fiction from Taiwan, Hong Kong, and the People’s Republic of China in fifteen short stories and novel excerpts. The Reincarnated Giant is an essential read for anyone interested in the future of the genre.

Robert Tuck offers a groundbreaking study of the connections among traditional poetic genres, print media, and visions of national community in late nineteenth-century Japan. Structured around the work of Masaoka Shiki, Idly Scribbling Rhymers reveals poetry’s surprising yet fundamental role in emerging forms of media and national consciousness.

Yi T’aejun was one of twentieth-century Korea’s true masters of the short story—and a man who in 1946 stunned his contemporaries by moving to the Soviet-occupied North. Dust and Other Stories offers a selection of Yi’s stories across time and place, showcasing a superb stylist caught up in his era’s most urgent ideological and aesthetic divides.

Jun'ichirō Tanizaki's In Black and White is a literary murder mystery in which the lines between fiction and reality are blurred. The writer Mizuno has penned a story about the perfect murder that comes to intrude on his life. In Black and White is a masterful yet little-known novel from a great writer at the height of his powers.

Ch’ae Manshik is one of the most accomplished writers of modern Korea yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style.

In the aftermath of World War II, Kuki Kyūzō, a Japanese youth raised in the puppet state of Manchuria, struggles to return home to Japan. What follows is a wild journey involving drugs, smuggling, chases, and capture. Kyūzō finally makes his way to the waters off Japan but finds himself unable to disembark. His nation remains inaccessible to him, and now he questions its very existence. Beasts Head for Home is an acute novel of identity, belonging, and the vagaries of human behavior from an exceptional modern Japanese author.

Yi Mun-yol's Meeting with My Brother is narrated by a middle-aged South Korean professor, also named Yi, whose father abandoned his family and defected to the North at the outbreak of the Korean War. Many years later, despite having spent most of his life under a cloud of suspicion as the son of a traitor, Yi is prepared to reunite with his father. Yet before a rendezvous on the Chinese border can be arranged, his father dies. Yi then learns for the first time that he has a half-brother, whom he chooses to meet instead. As the two confront their shared legacy, their encounter takes a surprising turn.

Meeting with My Brother represents the political and psychological complexity of Koreans on both sides of the border, offering a complex yet poignant perspective on the divisions between the two countries. Through a series of charged conversations, Yi explores the nuances of reunification, both political and personal. This semiautobiographical account draws on Yi's own experience of growing up with an absent father who defected to the North and the stigma of family disloyalty. First published in Korea in 1994, Meeting with My Brother is a moving and illuminating portrait of the relationships sundered by one of the world's starkest barriers.

A fusion of fiction, history, and memoir that replicates the experience of trauma and its effect on memory in ways reminiscent of Nabokov’s Speak, Memory and Sebald’s The Rings of Saturn.

Offers rare insights into popular experiences from the war’s troubled beginnings through Japan’s disastrous defeat in 1945 and the new beginning it heralded

This condensed anthology reproduces close to a dozen plays from Xiaomei Chen’s well-received original collection, along with her critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama.

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.

The Matchmaker, the Apprentice, and the Football Fan moves between anarchic campuses, maddening communist factories, and the victims of China's economic miracle to showcase the absurdity, injustice, and socialist Gothic of everyday Chinese life.

In "The Football Fan," readers fall in with an intriguingly unreliable narrator who may or may not have killed his elderly neighbor for a few hundred yuan. The bemused antihero of "Reeducation" is appalled to discover that, ten years after graduating during the pro-democracy protests of 1989, his alma mater has summoned him back for a punitive bout of political reeducation with a troublesome ex-girlfriend. "Da Ma's Way of Talking" is a fast, funny recollection of China's picaresque late 1980s, told through the life and times of one of our student narrator's more controversial classmates; while "The Apprentice" plunges us into the comic vexations of life in a more-or-less planned economy, as an enthusiastic young graduate is over-exercised by his table-tennis-fanatic bosses, deprived of sleep by gambling-addicted colleagues, and stuffed with hard-boiled eggs by an overzealous landlady. Full of acute observations, political bite, and piercing insight into friendships and romance, these stories further establish Zhu Wen as a fearless commentator on human nature and contemporary China.

Kiku's Prayer is told through the eyes of Kiku, a self-assured young woman from a rural Japanese village who falls in love with Seikichi, a devoted Catholic man. Practicing a faith still banned by the government, Seikichi is imprisoned but refuses to recant under torture. Kiku's efforts to reconcile her feelings for Seikichi's religion with the sacrifices she makes to free him mirror the painful, conflicting choices Japan faced as a result of exposure to modernity and the West. Seikichi's persecution exemplifies Japan's insecurities, and Kiku's tortured yet determined spirit represents the nation's resilient soul.

Set in the turbulent years of the transition from the shogunate to the Meiji Restoration, Kiku's Prayer embodies themes central to Endo Shusaku's work, including religion, modernization, and the endurance of the human spirit. Yet this novel is much more than a historical allegory. It acutely renders one woman's troubled encounter with passion and spirituality at a transitional time in her life and in the history of her people. A renowned twentieth-century Japanese author, Endo wrote from the perspective of being both Japanese and Catholic. His work is often compared with that of Graham Greene, who himself considered Endo one of the century's finest writers.

Unfolding in the tense years of the Cultural Revolution (1966–1976), Trees Without Wind takes place in a remote Shanxi village in which a rare affliction has left the residents physically stunted. Director Liu, an older revolutionary and local commune head, becomes embroiled in a power struggle with Zhang Weiguo, a young ideologue who believes he is the model of a true revolutionary. Complicating matters is a woman named Nuanyu, who, like Zhang Weiguo and Director Liu, is an outsider untouched by the village's disease. "Wedded" to all of the male villagers, Nuanyu lives a polyandrous lifestyle based on necessity and at odds with the puritanical idealism of the Cultural Revolution.

The deformed villagers, representing the manipulated masses of China, become pawns in the Party representatives' factional infighting. Director Liu and Zhang Weiguo's explosive tug-of-war is part of a larger battle among politics, self-interest, and passion gripping a world undone by ideological extremism. A collectively told narrative powered by distinctive subjectivities, Trees Without Wind is a milestone in the fictional treatment of a horrific event.

Set in the long-lost City of Victoria (a fictional world similar to Hong Kong), Atlas is written from the unified perspective of future archaeologists struggling to rebuild a thrilling metropolis. Divided into four sections—"Theory," "The City," "Streets," and "Signs"—the novel reimagines Victoria through maps and other historical documents and artifacts, mixing real-world scenarios with purely imaginary people and events while incorporating anecdotes and actual and fictional social commentary and critique.

Much like the quasi-fictional adventures in map-reading and remapping explored by Paul Auster, Jorge Luis Borges, and Italo Calvino, Dung Kai-cheung's novel challenges the representation of place and history and the limits of technical and scientific media in reconstructing a history. It best exemplifies the author's versatility and experimentation, along with China's rapidly evolving literary culture, by blending fiction, nonfiction, and poetry in a story about succeeding and failing to recapture the things we lose. Playing with a variety of styles and subjects, Dung Kai-cheung inventively engages with the fate of Hong Kong since its British "handover" in 1997, which officially marked the end of colonial rule and the beginning of an uncharted future.

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.

Qian Zhongshu was one of twentieth-century China's most ingenious literary stylists, one whose insights into the ironies and travesties of modern China remain stunningly fresh. Between the early years of the Second Sino-Japanese War (1937-1945) and the Communist takeover in 1949, Qian wrote a brilliant series of short stories, essays, and a comedic novel that continue to inspire generations of Chinese readers.

With this long-awaited translation, English-language readers can immerse themselves in the invention and satirical wit of one of the world's great literary cosmopolitans. This collection brings together Qian's best short works, combining his iconoclastic essays on the "book of life" from Written in the Margins of Life (1941) with the four masterful short stories of Human, Beast, Ghost (1946). His essays elucidate substantive issues through deceptively simple subjects-the significance of windows versus doors, for example, or the blind spots of literary critics—and assert the primacy of critical and creative independence. His stories blur the boundaries between humans, beasts, and ghosts as they struggle through life, death, and resurrection. Christopher G. Rea situates these works within China's wartime politics and Qian's literary vision, highlighting significant changes that Qian Zhongshu made to different editions of his writings and providing unprecedented insight into the author's creative process.

This condensed anthology reproduces close to a dozen plays from Xiaomei Chen’s well-received original collection, along with her critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama.

These captivating short stories portray three major periods in modern Korean history: the forces of colonial modernity during the late 1930s; the postcolonial struggle to rebuild society after four decades of oppression, emasculation, and cultural exile (1945 to 1950); and the attempt to reconstruct a shattered land and a traumatized nation after the Korean War.

Lost Souls echoes the exceptional work of China's Shen Congwen and Japan's Kawabata Yasunari. Modernist narratives set in the metropolises of Tokyo and Pyongyang alternate with starkly realistic portraits of rural life. Surrealist tales suggest the unsettling sensation of colonial domination, while stories of the outcast embody the thrill and terror of independence and survival in a land dominated by tradition and devastated by war.

Written during the chaos of 1945, "Booze" recounts a fight between Koreans for control of a former Japanese-owned distillery. "Toad" relates the suffering created by hundreds of thousands of returning refugees, and stories from the 1950s confront the catastrophes of the Korean War and the problematic desire for autonomy. Visceral and versatile, Lost Souls is a classic work on the possibilities of transition that showcases the innovation and craftsmanship of a consummate—and widely celebrated—storyteller.

The Confucian gentleman scholars of the Choson dynasty (1392-1910) often published short anecdotes exemplifying their values and aesthetic concerns. In modern Seoul one scholar in particular would excel at adapting this style to a contemporary readership: Yi T'aejun.

Yi T'aejun was a prolific and influential writer of colonial Korea and an acknowledged master of the short story and essay. He also wrote numerous novels and was an influential editor of cultural news. Born in northern Korea in 1904, Yi T'aejun settled in Seoul after a restless youth that included several years of study in Japan. In 1946, he moved to Soviet-occupied northern Korea, but by 1956, a purge of southern communists forced him into exile. His subsequent whereabouts cannot be confirmed, though rumors claim Yi returned to Pyongyang, only to be exiled once more. It is believed Yi T'aejun passed away between 1960 and 1980, but his works were not made available until 1988, when South Korean censorship laws concerning authors who had sided with the north were eased.

The essays in this collection reflect Yi's distinct voice and lyrical expression, revealing thoughts on a variety of subjects, from gardens to immigrant villages in Manchuria, from antiques to colonial assimilation, and from fishing to the recovery of Korea's past. Yi laments the passing of tradition with keen sensibility yet, at the same time, celebrates human perseverance in the face of loss and change. Most important, his essays recount the author's attempt to re-experience the past and keep it alive against absorption into the Japanese nation.

Janet Poole faithfully reproduces Yi's complex craft, retaining his idiosyncratic tone and narrative. A brilliant introduction to a remarkable prose stylist, Eastern Sentiments eloquently complicates the historical, political, and aesthetic concerns of Orientalism.

A chilling tale of seduction and vice set in the illiciit world of nineteenth-century China.

Set among a remote cluster of cave dwellings in Shanxi province, There's Nothing I Can Do When I Think of You Late at Night is a genre-defying exposé of rural communism. In a series of vivid, interlocking vignettes, several narrators speak of adultery, bestiality, incest, and vice, revealing the consequences of desire in a world of necessity.

The Wen Clan Caves are based on an isolated village where the author, Cao Naiqian, lived during the Cultural Revolution. The land is hard and unforgiving and the people suffer in poverty and ignorance. Through the individual perspectives of the Wen Clan denizens, a complete portrait of village life takes shape. Dark yet lyrical, Cao's snapshots range from pastoral stories of childhood innocence to shocking accounts of brutality and terror. His work echoes William Faulkner's Go Down, Moses and Sherwood Anderson's Winesburg, Ohio, yet the author's depictions of elemental passions and regional mores make the book entirely his own.

Celebrated for its economy of expression, flashes of humor, and an emphasis on understatement rarely found in Chinese fiction, There's Nothing I Can Do When I Think of You Late at Night is an excellent introduction to the power and craft of Cao Naiqian. His vivid personalities and unflinching realism herald the haunting work of an original literary force.

One of the world's most ruthless warriors, Chinggis Khan conquered nearly all of Asia in the twelfth and thirteenth centuries, transforming the scattered and impoverished Mongols into an exceptionally proud and powerful nation. In this riveting and thoroughly researched portrait, Japan's celebrated epic novelist drives at the root of the khan's great desires and insatiable appetite for supremacy.

Beginning with his birth in 1162, The Blue Wolf follows the crucial alliances that led to Chinggis Khan's great campaigns in North China, Bukhara, and Samarkand, as well as the state of Khorazm. The khan was obsessed with his ancestry, not knowing whether he was the descendent of the blue wolf (mythical progenitor of the Mongols and the noble Borjigin line) or merely the bastard son of a Merkid tribesman. For Inoue Yasushi, Chinggis's ancestral anxiety lies at the center of his relentless push for empire. He struggled with his paternity as intensely as he fought his battles, and his victories stood as proof that the brave warrior was a true Mongol.

The question of paternity also formed the largest wedge between Chinggis and his eldest son, Jochi, a boy born in captivity and of similarly questionable heritage. Hailed for its sophistication and rich imagining of a remote world, The Blue Wolf puts a human cast on a legendary force that changed Asia and the world.

Ch'oe Yun is a Korean author known for her breathtaking versatility, subversion of authority, and bold exploration of the inner life. Readers celebrate her creative play with fantasy and admire her deep engagement with trauma, history, and the vagaries of remembrance.

In this collection's title work, There a Petal Silently Falls, Ch'oe explores both the genesis and the aftershocks of historical outrages such as the Kwangju Massacre of 1980, in which a reported 2,000 civilians were killed for protesting government military rule. The novella follows the wanderings of a girl traumatized by her mother's murder and strikes home the injustice of state-sanctioned violence against men and especially women. "Whisper Yet" illuminates the harsh treatment of leftist intellectuals during the years of national division, at the same time offering the hope of reconciliation between ideological enemies. The third story, "The Thirteen-Scent Flower," satirizes consumerism and academic rivalries by focusing on a young man and woman who engender an exotic flower that is coveted far and wide for its various fragrances.

Elegantly crafted and quietly moving, Ch'oe Yun's stories are among the most incisive portrayals of the psychological and spiritual reality of post-World War II Korea. Her fiction, which began to appear in the late 1980s, represents a turn toward a more experimental, deconstructionist, and postmodern Korean style of writing, and offers a new focus on the role of gender in the making of Korean history.

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.

In five richly imaginative novellas and a short story, Zhu Wen depicts the violence, chaos, and dark comedy of China in the post-Mao era. A frank reflection of the seamier side of his nation's increasingly capitalist society, Zhu Wen's fiction offers an audaciously plainspoken account of the often hedonistic individualism that is feverishly taking root.

Set against the mundane landscapes of contemporary China-a worn Yangtze River vessel, cheap diners, a failing factory, a for-profit hospital operating by dated socialist norms-Zhu Wen's stories zoom in on the often tragicomic minutiae of everyday life in this fast-changing country. With subjects ranging from provincial mafiosi to nightmarish families and oppressed factory workers, his claustrophobic narratives depict a spiritually bankrupt society, periodically rocked by spasms of uncontrolled violence.

For example, I Love Dollars, a story about casual sex in a provincial city whose caustic portrayal of numb disillusionment and cynicism, caused an immediate sensation in the Chinese literary establishment when it was first published. The novella's loose, colloquial voice and sharp focus on the indignity and iniquity of a society trapped between communism and capitalism showcase Zhu Wen's exceptional ability to make literary sense of the bizarre, ideologically confused amalgam that is contemporary China.

Julia Lovell's fluent translation deftly reproduces Zhu Wen's wry sense of humor and powerful command of detail and atmosphere. The first book-length publication of Zhu Wen's fiction in English, I Love Dollars and Other Stories of China offers readers access to a trailblazing author and marks a major contribution to Chinese literature in English.

Appearing for the first time in English, the writings in this collection reflect some of the most innovative and influential work by Japanese intellectuals in recent years. The volume offers a rare and much-needed window into the crucial ideas and positions currently shaping Japanese thought (shiso).

In addressing the political, historical, and cultural issues that have dominated Japanese society, these essays cross a range of disciplines, including literary theory, philosophy, history, gender studies, and cultural studies. Contributors examine Japan's imperialist and nationalist past as well as representations and remembrances of this history. They also critique recent efforts in Japanese right-wing circles to erase or obscure the more troubling aspects of Japan's colonial enterprise in East Asia. Other essays explore how Japan has viewed itself in regard to the West and the complex influence of Western thought on Japanese intellectual and political life.

The volume's groundbreaking essays on issues of gender and the contested place of feminist thought in Japan discuss the similarities between the emotional bullying of women who do not accept traditional gender roles and teasing in schools; how the Japanese have adopted elements of Western orientalism to discredit feminism; and historical constructions of Japanese motherhood.

Regarded as one of the foremost thinkers in postwar Japan, Takeuchi Yoshimi (1910-1977) questioned traditional Japanese thought and radically reconfigured an understanding of the subject's relationship to the world. His works were also central in drawing Japanese attention to the problems inherent in western colonialism and to the cultural importance of Asia, especially China. Takeuchi's writings synthesized philosophy, literature, and history, focusing not simply on Japan and the West but rather on the triangular relationship between Japan, the West, and China. This book, which represents the first appearance of Takeuchi's essays in English translation, explores Japanese modernity, literature, and nationalism as well as Chinese intellectual history.

Takeuchi's research demonstrates how Asians attempted to make sense of European modernity without sacrificing their own cultural histories. An authentic method of modernity for Asia, Takeuchi concludes, needs to stress difference and plurality as opposed to the homogenizing force of westernization.

From one of China's most celebrated contemporary novelists comes this riveting tale of a young woman's emotional and sexual awakening. Set in the turbulent decades of the Cultural Revolution and the Tian'anmen Square incident, A Private Life exposes the complex and fantastical inner life of a young woman growing up during a time of intense social and political upheaval.

At the age of twenty-six, Ni Niuniu has come to accept pain and loss. She has suffered the death of her mother and a close friend and neighbor, Mrs. Ho. She has long been estranged from her tyrannical father, while her boyfriend—a brilliant and handsome poet named Yin Nan—was forced to flee the country. She has survived a disturbing affair with a former teacher, a mental breakdown that left her in a mental institution for two years, and a stray bullet that tore through the flesh of her left leg. Now living in complete seclusion, Niuniu shuns a world that seems incapable of accepting her and instead spends her days wandering in vivid, dreamlike reveries where her fractured recollections and wild fantasies merge with her inescapable feelings of melancholy and loneliness. Yet this eccentric young woman—caught between the disappearing traditions of the past and a modernizing Beijing, a flood of memories and an unknowable future, her chosen solitude and her irrepressible longing—discovers strength and independence through writing, which transforms her flight from the hypocrisy of urban life into a journey of self-realization and rebirth.

First published in 1996 to widespread critical acclaim, Chen Ran's controversial debut novel is a lyrical meditation on memory, sexuality, femininity, and the often arbitrary distinctions between madness and sanity, alienation and belonging, nature and society. As Chen leads the reader deep into the psyche of Ni Niuniu—into her innermost secrets and sexual desires—the borders separating narrator and protagonist, writer and subject dissolve, exposing the shared aspects of human existence that transcend geographical and cultural differences.

Replete with madwomen, murderers, musicians, and mystics, Lonely Woman dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness." Her fiction typically features a woman for whom dreams and fantasies, crime, madness, sexual deviance, or occult pursuits serve as a temporary release from her society's definitions of female identity. The combination of surrealist, feminist, and religious themes in Takahashi's work makes it unique among that of modern Japanese women writers.

The five individually titled short stories that constitute Lonely Woman are linked by certain characters, themes, and plot elements. In the first story, "Lonely Woman," a series of arson incidents in her neighborhood causes a nihilistic young woman to become fascinated with the psychology of the person who perpetrated the crimes. Her fantasies of the euphoric pleasure of setting a fire heighten her awareness of her own violent tendencies. "The Oracle" portrays a young widow who becomes convinced, through several disturbing dreams, that her late husband was unfaithful to her. She devises a cruel, ritualistic act as a strategy for defusing her sense of helpless rage. In "Foxfire," a store clerk has a series of encounters with sly, seductive youngsters and is revitalized by her discovery of the criminal and sexual impulses that lurk beneath their innocent façades. In "The Suspended Bridge," a bored housewife's passion is rekindled when a man with whom she once had a sadomasochistic relationship reenters her life. "Strange Affinities" recasts crime, madness, and amour fou as catalysts of a process of spiritual enlightenment: an old woman searches for an elusive man who seems to embody the bliss of self-renunciation.

Set on the eve of the Rape of Nanjing—when Japanese troops invaded the historic capital city, massacred hundreds of thousands, and committed thousands of rapes—Nanjing 1937 is a tender and humorous story of an impossible love and a lively, detailed historical portrait of a culture on the verge of rupture.

The novel centers on the life of Ding Wenyu, a privileged, womanizing, narcissistic professor of languages, and traces the course of the affair that transforms him from outlandish rake to devoted lover. Throughout the story, Ding's often comically unabashed "romantic offensive" toward a much younger woman, Ren Yuyuan (with whom he brazenly falls in love on the day of her wedding to another man), echoes the acts of war unfolding around him as the Japanese close in, even as he himself remains largely oblivious to the coming onslaught.

Known for his stylistic innovation, Ye Zhaoyan creates tragic and endearing characters while vividly capturing the daily life of 1930s wartime China. "I find myself unable to truly understand that history that historians call history," Ye has observed. "All I see are shattered pieces and broken fragments, and a handful of melancholic stories destined to come to naught, all quietly playing out upon the grand stage of history." This historiography of despair achieved its most poignant expression in 1996 with the Chinese publication of Nanjing 1937: A Love Story, which immediately became a bestseller, hailed by critics as a masterpiece of contemporary Chinese literature.

Now translated into English for the first time, informed by meticulous historical research and tinged with the author's unique brand of humor, Nanjing 1937: A Love Story is a work of fiction unlike any ever seen. This epic story of a man and a woman who discover love in a time of fear and uncertainty announces the arrival of major voice on the international literary scene.