The Flowers of Buffoonery opens in a seaside sanitarium where Yozo Oba—the narrator of No Longer Human at a younger age—is being kept after a failed suicide attempt. While he is convalescing, his friends and family visit him, and other patients and nurses drift in and out of his room. Against this dispiriting backdrop, everyone tries to maintain a lighthearted, even clownish atmosphere: playing cards, smoking cigarettes, vying for attention, cracking jokes, and trying to make each other laugh.

Set in the early postwar years, it probes the destructive effects of war and the transition from a feudal Japan to an industrial society. Ozamu Dazai died, a suicide, in 1948. But the influence of his book has made "people of the setting sun" a permanent part of the Japanese language, and his heroine, Kazuko, a young aristocrat who deliberately abandons her class, a symbol of the anomie which pervades so much of the modern world.

Essentially the start of Dazai's career, Schoolgirl gained notoriety for its ironic and inventive use of language. Now it illuminates the prevalent social structures of a lost time, as well as the struggle of the individual against them—a theme that occupied Dazai's life both personally and professionally. This new translation preserves the playful language of the original and offers the listener a new window into the mind of one of the greatest Japanese authors of the 20th century.

The Kappa is a creature from Japanese folklore known for dragging unwary toddlers to their deaths in rivers: a scaly, child-sized creature, looking something like a frog, but with a sharp, pointed beak and an oval-shaped saucer on top of its head, which hardens with age. Akutagawa’s Kappa is narrated by Patient No. 23, a madman in a lunatic asylum: he recounts how, while out hiking in Kamikochi, he spots a Kappa.

“White Nights” tells the story of a lonely man who wanders the streets of St. Petersburg over the course of four nights, searching for an escape from his isolation.

In this work Cioran writes about Western civilizations, the writer, the novel, about mystics, apostles, philosophers. For those to whom the very word philosophy brings visions of arduous reading, be assured: Cioran is crystal-clear, his style quotable and aphoristic.

In this fascinating document, one of Japan's best known - and controversial - writers created what might be termed a new literary form. It is new because it combines elements of many existing types of writing, yet in the end, fits into none of them. The road Mishima took to salvation is a highly personal one. Yet here, ultimately, one detects the unmistakable tones of a self transcending the particular and attaining to a poetic vision of the universal.

As a child, Natsuki doesn’t fit into her family. Her parents favor her sister, and her best friend is a plush toy hedgehog named Piyyut who has explained to her that he has come from the planet Popinpobopia on a special quest to help her save the Earth.

An ordinary family man, geologist, and Mormon, Soren Johansson has always believed he'll be reunited with his loved ones after death in an eternal hereafter. Then, he dies. Soren wakes to find himself cast by a God he has never heard of into a Hell whose dimensions he can barely grasp: a vast library he can only escape from by finding the book that contains the story of his life. In this haunting existential novella, author, philosopher, and ecologist Steven L. Peck explores a subversive vision of eternity.

Early Light offers three very different aspects of Osamu Dazai's genius: the title story relates his misadventures as a drinker and a family man in the terrible fire bombings of Tokyo at the end of WWII. Having lost their own home, he and his wife flee with a new baby boy and their little girl to relatives in Kofu, only to be bombed out anew.

The subject of Kokoro, which can be translated as 'the heart of things' or as 'feeling,' is the delicate matter of the contrast between the meanings the various parties of a relationship attach to it. In the course of this exploration, Soseki brilliantly describes different levels of friendship, family relationships, and the devices by which men attempt to escape from their fundamental loneliness. The novel sustains throughout its length something approaching poetry, and it is rich in understanding and insight.

Richard Pevear and Larissa Volokhonsky, whose Dostoevsky translations have become the standard, give us a brilliantly faithful edition of this classic novel, conveying all the tragedy and tormented comedy of the original. This audio edition of Notes from Underground is the only recording of Pevear and Volokhonsky's translation of Dostoevsky’s classic work.

On an unnamed island off an unnamed coast, objects are disappearing: first hats, then ribbons, birds, roses - until things become much more serious. Most of the island's inhabitants are oblivious to these changes, while those few imbued with the power to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young woman who is struggling to maintain her career as a novelist discovers that her editor is in danger from the Memory Police, she concocts a plan to hide him beneath her floorboards.

Working at the local processing plant, Marcos is in the business of slaughtering humans - though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the "Transition". Now, eating human meat - "special meat" - is legal. Marcos tries to stick to numbers, consignments, processing.

“One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous verminous bug.” With this startlingly bizarre sentence, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young traveling salesman who, transformed overnight into a giant, beetle-like insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. Rather than being surprised at the transformation, the members of his family despise it as an impending burden upon themselves.

Set in the early postwar years, it probes the destructive effects of war and the transition from a feudal Japan to an industrial society. Ozamu Dazai died, a suicide, in 1948. But the influence of his book has made "people of the setting sun" a permanent part of the Japanese language, and his heroine, Kazuko, a young aristocrat who deliberately abandons her class, a symbol of the anomie which pervades so much of the modern world.

No Longer Human (1948, Ningen Shikkaku / A Shameful Life / Confessions of a Faulty Man) was an attack on the traditions of Japan, capturing the postwar crisis of Japanese cultural identity. Framed by an epilogue and prologue, the story is told in the form three notebooks left by Ōba Yōzō, whose calm exterior hides his tormented soul. Osamu Dazai was a Japanese author who is considered one of the foremost fiction writers of 20th century Japan. A number of his most popular works, such as Shayō (The Setting Sun) and Ningen Shikkaku (No Longer Human), are considered modern-day classics in Japan.

Essentially the start of Dazai's career, Schoolgirl gained notoriety for its ironic and inventive use of language. Now it illuminates the prevalent social structures of a lost time, as well as the struggle of the individual against them—a theme that occupied Dazai's life both personally and professionally. This new translation preserves the playful language of the original and offers the listener a new window into the mind of one of the greatest Japanese authors of the 20th century.

The Flowers of Buffoonery opens in a seaside sanitarium where Yozo Oba—the narrator of No Longer Human at a younger age—is being kept after a failed suicide attempt. While he is convalescing, his friends and family visit him, and other patients and nurses drift in and out of his room. Against this dispiriting backdrop, everyone tries to maintain a lighthearted, even clownish atmosphere: playing cards, smoking cigarettes, vying for attention, cracking jokes, and trying to make each other laugh.

In these short stories, collected and translated by Ralph McCarthy, we can see just how closely Dazai’s life mirrored his art, and vice versa, as the writer/narrator falls from grace, rises to fame, and falls again. Addiction, debt, shame, and despair dogged Dazai until his self-inflicted death, and yet despite all the lies and deception he resorted to in life, there is an almost fanatical honesty to his writing.

A fictional writer in his thirties named Osamu Dazai has just mailed his publisher an awful manuscript, filling him with dread and shame. Wandering along a river in a nearby park in suburban Tokyo, he meets a high-school dropout and the two get into an intellectual spat. Eventually, Dazai finds himself agreeing to perform in the boy’s place that very night as the live narrator of a film screening…

In this gloriously over-the-top tale, Aoyama, a widower who has lived alone with his son ever since his wife died seven years before, finally decides it is time to remarry. Since Aoyama is a bit rusty when it comes to dating, a filmmaker friend proposes that, in order to attract the perfect wife, they do a casting call for a movie they don't intend to produce. As the resumes pile up, only one of the applicants catches Aoyama's attention - Yamasaki Asami - a striking young former ballerina with a mysterious past. But she is a far cry from the innocent young woman he imagines her to be.

High near the volcano of northern Tenerife, an endless ceiling of cloud cover traps the working class in an abject, oppressive heat. Far away from the island’s posh resorts, two girls dream of hitching a ride down to the beach and escaping their horizonless town.

The Kappa is a creature from Japanese folklore known for dragging unwary toddlers to their deaths in rivers: a scaly, child-sized creature, looking something like a frog, but with a sharp, pointed beak and an oval-shaped saucer on top of its head, which hardens with age. Akutagawa’s Kappa is narrated by Patient No. 23, a madman in a lunatic asylum: he recounts how, while out hiking in Kamikochi, he spots a Kappa.

During a scorching August in Kyoto, our protagonist and his worst friend, Ozu, are locked in a glaring contest in a four-and-a-half-tatami-mat room. Ozu has spilled Coke on the air conditioner’s remote control—the only AC in Shimogamo Yusuisuiso, their famously shabby sweatbox of an apartment building. Vengeful and despairing, our protagonist discusses countermeasures with his secret crush, the reliably blunt Akashi, when Tamura, a strange young man with a bad haircut, appears.

Jo is in a strange new country for university and having a more peculiar time than most. In a house with no walls, shared with a woman who has no boundaries, she finds her strange home coming to life in unimaginable ways. Jo's sensitivity and all her senses become increasingly heightened and fraught, as the lines between bodies and plants, dreaming and wakefulness, blur and mesh.

A searing portrayal of Vienna's bourgeoisie, it begins with the arrival of an unnamed writer at an 'artistic dinner' hosted by a composer and his society wife-a couple he once admired and has come to loathe. The guest of honor, a distinguished actor from the Burgtheater, is late. As the other guests wait impatiently, they are seen through the critical eye of the writer, who narrates a silent but frenzied tirade against these former friends, most of whom have been brought together by Joana, a woman they buried earlier that day.

Una de las obras capitales del autor japonés Akutagawa Ryūnosuke, de la cual el director Akira Kurosawa tomó varios detalles a la hora de adaptar su película homónima, narra el encuentro de un sirviente humilde que acaba de ser despedido por su señor y una anciana pícara que roba el pelo de los cadáveres y vende carne de serpiente haciéndola pasar por pescado. El cuento, de final inesperado, supone una reflexión sobre los límites de la moral que sacudió a los lectores de la revista universitaria Teikoku Bungaku (Literatura imperial), donde fue publicada por primera vez.

In Praise of Shadows is an eloquent tribute to the austere beauty of traditional Japanese aesthetics. Through architecture, ceramics, theatre, food, women, and even toilets, Tanizaki explains the essence of shadows and darkness, and how they are able to augment beauty. He laments the heavy electric lighting of the West and its introduction to Japan, and shows how the artificial, bright, and polished aesthetic of the West contrasts unfavorably with the moody and natural light of the East.

The subject of Kokoro, which can be translated as 'the heart of things' or as 'feeling,' is the delicate matter of the contrast between the meanings the various parties of a relationship attach to it. In the course of this exploration, Soseki brilliantly describes different levels of friendship, family relationships, and the devices by which men attempt to escape from their fundamental loneliness. The novel sustains throughout its length something approaching poetry, and it is rich in understanding and insight.