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.

Portraying himself as a failure, the protagonist of Osamu Dazai’s NO LONGER HUMAN narrates a seemingly normal life even while he feels himself incapable of understanding human beings. His attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a “clown” to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness.

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.

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.

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.

This mesmerizing novel tells the story of a brutal murder in the staid Tokyo suburbs, as a young mother who works the night shift making boxed lunches strangles her abusive husband and then seeks the help of her coworkers to dispose of the body and cover up her crime. The coolly intelligent Masako emerges as the plot's ringleader but quickly discovers that this killing is merely the beginning, as it leads to a terrifying foray into the violent underbelly of Japanese society.

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.

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.

Like Kafka's The Castle, Invitation to a Beheading embodies a vision of a bizarre and irrational world. In an unnamed dream country, the young man Cincinnatus C. is condemned to death by beheading for "gnostical turpitude", an imaginary crime that defies definition.

From the perspective of an unbeliever, Fear and Trembling explores the paradox of faith, the nature of Christianity, and the complexity of human emotion. Kierkegaard examines the biblical story of Abraham, who was instructed to sacrifice his son Isaac, and forces us to consider Abraham's state of mind. What drove Abraham, and what made him carry out such an absurd and extreme request from God? Kierkegaard argues that Abraham's agreement to sacrifice Isaac, and his suspension of reason, elevated him to the highest level of faith.

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.

Assembled from notes and jottings left unpublished at the time of the author’s death, The Book of Disquiet is a collection of aphoristic prose-poetry musings on dreams, solitude, time and memory. Credited to Pessoa’s alter ego, Bernardo Soares, who chronicles his contemplations in this so-called "factless" autobiography, the work is a journey of one man’s soul and, by extension, of all human souls that allow their minds and hearts to roam far and free.

Sagara Sousuke isn't your typical high school student. He reads military enthusiast magazines; he responds to questions with "affirmative;" he brings grenades to school in his bag. Though everyone at school takes him for a hopeless military geek, Chidori Kaname thinks there might be something more to him. When their plane is hijacked in the middle of a field trip, Kaname's instincts will prove correct: Sousuke is an elite, mech-piloting mercenary... and he's here to protect her!

A small child when he comes to England on a Kindertransport in the summer of 1939, Jacques Austerlitz is told nothing of his real family by the Welsh Methodist minister and his wife who raise him. When he is a much older man, fleeting memories return to him, and obeying an instinct he only dimly understands, Austerlitz follows their trail back to the world he left behind a half century before. There, faced with the void at the heart of twentieth-century Europe, he struggles to rescue his heritage from oblivion.

Fuyuko Irie is a freelance copyeditor in her mid-thirties. Working and living alone in a city where it is not easy to form new relationships, she has little regular contact with anyone other than her editor, Hijiri, a woman of the same age but with a very different disposition. When Fuyoku stops one day on a Tokyo street and notices her reflection in a storefront window, what she sees is a drab, awkward, and spiritless woman who has lacked the strength to change her life and decides to do something about it.

Timothy and Jonah, wealthy entrepreneurs with a spoiled son, hide sins from their past—one involving a death on a cruise, the other a crime in Bali. Nathan and Samantha, the hot ex-nanny turned trophy wife, grapple with infertility and a shocking paternity secret. Bartosz and Angelika (he’s a chef, she’s a former sex worker) carry debts to the other couples they don’t even realize they owe. Over fourteen days, the couples bond—but their pasts are too deeply intertwined to stay hidden. The sly concierge, Putu, knows more than he lets on.

Annie has always had high hopes for her future. But the reality of her life just isn’t measuring up. She loves her fiancé, Greg–doesn’t she? She’s going to get her degree and open her own business–won’t she? Then, a strange old woman shows up outside her house, and she seems to know a lot about Annie. An awful lot. Annie could tell the old woman to get lost. Yet there’s something about her Annie just can’t shake. And what she learns could change her life forever–but is it the life she envisioned?

It’s 1984, and life has changed beyond recognition. Airstrip One, formerly known as Great Britain, is a place where Big Brother is always watching, and nobody can hide. Except, perhaps, for Winston Smith. Whilst working at the Ministry of Truth, rewriting history, he secretly dreams of freedom. And in a world where love and sex are forbidden, where it’s hard to distinguish between friend and foe, he meets Julia and O’Brien and vows to rebel.

The 13 chapters of The Art of War, each devoted to one aspect of warfare, were compiled by the high-ranking Chinese military general, strategist, and philosopher Sun-Tzu. In spite of its battlefield specificity, The Art of War has found new life in the modern age, with leaders in fields as wide and far-reaching as world politics, human psychology, and corporate strategy finding valuable insight in its timeworn words.

Lucas knows the perfect night entails just three things: video games, wine, and pad thai. Peanuts are a must! Other people? Not so much. Why complicate things when he’s happy alone? Then one day the apartment board, a vexing trio of authority, rings his doorbell. And Lucas’s solitude takes a startling hike. They demand to see his frying pan. Someone left one next to the recycling room overnight, and instead of removing the errant object, as Lucas suggests, they insist on finding the guilty party. But their plan backfires. Colossally.

Portraying himself as a failure, the protagonist of Osamu Dazai’s NO LONGER HUMAN narrates a seemingly normal life even while he feels himself incapable of understanding human beings. His attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a “clown” to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness.

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.

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.

Portraying himself as a failure, the protagonist of Osamu Dazai's No Longer Human narrates a seemingly normal life even while he feels himself incapable of understanding human beings. Oba Yozo's attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a "clown" to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness.

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.

No collection of Japanese literature is complete without Natsume Soseki's Kokoro, his most famous novel and the last he completed before his death. Published here in the first new translation in more than 50 years, Kokoro - meaning "heart" - is the story of a subtle and poignant friendship between two unnamed characters, a young man and an enigmatic elder whom he calls "Sensei".

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 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.

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.