An anthology of the greatest stories by modern Japanese masters (including previously overlooked women writers)! Fourteen distinct voices are assembled in this one-of-a-kind anthology tracing a nation's changing social landscapes. Internationally renowned writers like Yasunari Kawabata, Ryunosuke Akutagawa and Junichi Watanabe are joined by three notable women writers whose works have not yet received sufficient attention--Kanoko Okamoto, Fumiko Hayashi and Yumiko Kurahashi. Highlights of this anthology include: Kafu Nagai's bittersweet portrait of a privileged family's expiring existence in "The Fox" Ango Sakaguchi's heartening celebration of postwar chaos in "One Woman and the War" Fumiko Hayashi's unabashed exploration of female sexuality in "Borneo Diamond" Junichi Watanabe's chilling assessment of alienation and social dislocation in "Invitation to Suicide" Gishu Nakayama's look at an out-of-place prostitute recovering at a hot-spring resort in "Autumn Wind" Through brilliant, highly-praised translations by Lane Dunlop, The Best Japanese Short Stories offers fascinating glimpses of a society embracing change while holding tenaciously onto the past. A new foreword by Alan Tansman provides insightful back stories about the authors and the literary backdrop against which they created these great works of modern world literature.

."" . . And now, dear reader, for your intellectual toilet, here is a little piece of soap. Well handled, we guarantee it will be enough. Let us hold this magic stone.""
The poet Francis Ponge (1899-1988) occupied a significant and unchallenged place in French letters for over fifty years, attracting the attention and admiration of generations of leading intellectuals, writers, and painters, a notable feat in France, where reputations are periodically reassessed and undone with the arrival of new literary and philosophical schools.
"Soap" occupies a crucial, pivotal position in Ponge's work. Begun during the German occupation when he was in the Resistance, though completed two decades later, it determined, according to Ponge, the form of almost all his postwar writing. With this work, he began to turn away from the small, perfect poem toward a much more open form, a kind of prose poem which incorporates a laboratory or workshop, recounting its own process of coming into being along with the final result. The outcome is a new form of writing, which one could call "processual poetry." Ponge's later work, from "Soap" on, is a very important tool in the questioning and rethinking of literary genres, of poetry and prose, of what is literature.
There is a blurring of boundaries between "Soap" and soap (which was hard to come by during the Resistance and is also, of course, metaphorical for a larger social restitution). "Soap" contains the sum of Ponge's aesthetics and materialist ethics and his belief in the supremacy of language as it becomes the object of the text. In the words of Serge Gavronsky, "this work, perhaps one of the longest running metaphors in literature, slowly unwinds, bubbles in verbal inventions, and finally evaporates, leaving the water slightly troubled, slightly darker, but the hands clean, really clean. . . . Out of murky literary habits, Ponge has devised a way of cleaning his text, and through it, man himself, his vocabulary, and as a consequence, his way of being in the world."

Nagai Kafu was one of the most important Japanese writers of fiction during the first half of the 20th century. These two works, which appear in English for the first time, are superb examples of the author's evocative descriptions of the moods and fancies of Tokyo.

No modern Japanese writer was more idolized than Shiga Naoya. "The Paper Door and Other Stories" showcases the concise, delicate art of this writer who is often called "the god of the Japanese short story." Doyen of Japanese letters Donald Keene ranks some of Shiga's stories "among the most brilliant achievements in this genre by any twentieth-century Japanese writer." Shiga's unique style is concise and simple, with no unnecessary words. With the subtlest of gestures, he evokes the fullness of experience.

Lane Dunlop's masterly translation of seventeen of Shiga's finest stories has provided English readers their first overview of the author's work. Now back in print, the book is augmented by Donald Keene's new preface contextualizing Shiga's awesome literary gifts. Dunlop has chosen stories that aptly represent Shiga's range and virtuosity. With selections spanning forty years, from the fable-like "The Little Girl and the Rapeseed Flower" to the psychologically complex "A Gray Moon," this collection delineates the development of Shiga's rare genius.

."" . . And now, dear reader, for your intellectual toilet, here is a little piece of soap. Well handled, we guarantee it will be enough. Let us hold this magic stone.""
The poet Francis Ponge (1899-1988) occupied a significant and unchallenged place in French letters for over fifty years, attracting the attention and admiration of generations of leading intellectuals, writers, and painters, a notable feat in France, where reputations are periodically reassessed and undone with the arrival of new literary and philosophical schools.
"Soap" occupies a crucial, pivotal position in Ponge's work. Begun during the German occupation when he was in the Resistance, though completed two decades later, it determined, according to Ponge, the form of almost all his postwar writing. With this work, he began to turn away from the small, perfect poem toward a much more open form, a kind of prose poem which incorporates a laboratory or workshop, recounting its own process of coming into being along with the final result. The outcome is a new form of writing, which one could call "processual poetry." Ponge's later work, from "Soap" on, is a very important tool in the questioning and rethinking of literary genres, of poetry and prose, of what is literature.
There is a blurring of boundaries between "Soap" and soap (which was hard to come by during the Resistance and is also, of course, metaphorical for a larger social restitution). "Soap" contains the sum of Ponge's aesthetics and materialist ethics and his belief in the supremacy of language as it becomes the object of the text. In the words of Serge Gavronsky, "this work, perhaps one of the longest running metaphors in literature, slowly unwinds, bubbles in verbal inventions, and finally evaporates, leaving the water slightly troubled, slightly darker, but the hands clean, really clean. . . . Out of murky literary habits, Ponge has devised a way of cleaning his text, and through it, man himself, his vocabulary, and as a consequence, his way of being in the world."