A Tale of False Fortunes is a masterful translation of Enchi Fumiko's (1905-1986) modern classic, Namamiko monogatari. Written in 1965, this prize-winning work of historical fiction presents an alternative account of an imperial love affair narrated in the eleventh-century romance A Tale of Flowering Fortunes (Eiga monogatari). Both stories are set in the Heian court of the emperor Ichijo (980-1011) and tell of the ill-fated love between the emperor and his first consort, Teishi, and of the political rivalries that threaten to divide them. While the earlier work can be viewed largely as a panegyric to the all-powerful regent Fujiwara no Michinaga, Enchi's account emphasizes Teishi's nobility and devotion to the emperor and celebrates her "moral victory"- over the regent, who conspired to divert the emperor's attentions toward his own daughter, Shoshi.

The narrative of A Tale of False Fortunes is built around a fictitious historical document, which is so well crafted that it was at first believed to be an actual document of the Heian period. Throughout Enchi's innovation and skill are evident as she alternates between modern and classical Japanese, interjecting her own commentary and extracts from A Tale of Flowering Fortunes, to impress upon the reader the authenticity of the tale presented within the novel. Subplots abound involving servants, ladies-in-waiting, and most importantly female mediums, whose spiritual possession -- both feigned and real -- propels the momentum of the story toward an unexpected resolution.

Though the haiku is the best known Japanese verse form in the west, its appearance in the early modern period (1600 1868) was preceded by at least a millennium of waka poetry, whose thirty-one syllable version, tanka, had dominated Japanese letters among the aristocracy from the beginning of the tenth century. By the dawn of the seventeenth century, waka appeared to be more bound by convention than ever before, and class privilege in its practice and instruction seemed unassailable. This condition has prompted some modern scholars to dismiss the waka of that period as an anachronistic holdover. The Way of the Shikishima challenges this notion as facile and demonstrates how, from the beginning of the Tokugawa hegemony in the early seventeenth century, waka was in fact closely tied to contemporary social, cultural, and intellectual developments, and how those ties became closer over time. The aristocratic monopoly of the art that prevailed at the beginning of the early modern period gave way to popularizing forces until, by the middle of the nineteenth century and nearly all practitioners of note were commoners.

Life, death, karma these interwoven themes form the heart of this lyrical novel in letters, Kinshu: Autumn Brocade, the first work to be published in the U.S. by Teru Miyamoto, one of Japan's most popular literary writers. The word kinshu has many connotations in Japanese brocade, poetic writing, the brilliance of autumn leaves and resonates here as a vibrant metaphor for the complex, intimate relationship between Aki and Yasuaki. Ten years after a dramatic divorce, they meet by chance at a mountain resort. Aki initiates a new correspondence, and letter by letter through the seasons, the secrets of the past unfold as they reflect on their present struggles. From a lover's suicide to a father's controlling demands, to Mozart's Thirty-Ninth Symphony ("a veritable marvel of sixteenth notes"), to the karmic consequences of their actions, the story glides through their deeply introspective and stirring exchanges. What begins as a series of accusations and apologies, questions and excuses, turns into a source of mutual support and healing. Chosen as an Outstanding Work of Japanese Literature by the Japanese Literature Publishing Project."

Counting Dreams tells the story of Nomura Boto, a Buddhist nun, writer, poet, and activist who joined the movement to oppose the Tokugawa Shogunate and restore imperial rule. Banished for her political activities, Boto was imprisoned on a remote island until her comrades rescued her in a dramatic jailbreak, spiriting her away under gunfire. Roger K. Thomas examines Boto's life, writing, and legacy, and provides annotated translations of two of her literary diaries, shedding light on life and society in Japan's tumultuous bakumatsu period and challenging preconceptions about women's roles in the era. Thomas interweaves analysis of Boto's poetry and diaries with the history of her life and activism, examining their interrelationship and revealing how she brought two worlds-the poetic and the political-together. Counting Dreams illustrates Boto's significant role in the loyalist movement, depicting the adventurous life of a complex woman in Japan on the cusp of the Meiji Restoration.

Presenting a new collection of stories exploring the perennial themes of Miyamoto Teru's fiction, narrative sketches of the world-class world of the Osaka-Kobe region of his childhood employing memory to reveal a story in layered frames of time with consummate skill. His work examines the mutual proximity--or even the identity--of life and death, often touching on such grim topics with a touch of humor. Stories of personal triumph and hope are often set in situations involving death, illness, or loss, but what might be the stuff of tragedy in the hands of some writers turns into stepping stones for his characters to climb upward and onward. Miyamoto's considerable and devoted following in Japan has come increasingly to be mirrored in other Asian countries and parts of Europe as his fiction has been translated into various languages. With renditions of only three of his works currently available in English, however, Anglophone readers have for the most part been unaware of the "Teru" literary phenomenon. The present collection aims to fill part of this lack by offering a selection of some his finest short stories along with one of his most admired novellas--Phantom Lights--which was made into the internationally acclaimed 1995 movie Maborosi by Koreeda Hirokazu. The will to live, karma, and death are themes developed through the lives of Miyamoto's fictional characters, who struggle to achieve closure with their respective pasts and in their often difficult relations with others. The comments of Washington Times writer Anna Chambers in her review of Kinshu: Autumn Brocade aptly apply to the works presented here as well: ..".existential crisis after existential crisis force the characters to question whether one can shape one's own karma--rather than construct one's own soul, as a Western reader might have put it. And herein lies the Westerner's entree into the book as more than an observer of Japanese culture." And like Kinshu, the stories in the present collection provide "a satisfying taste of what it means to grapple with fate at the intersection of modernity and tradition." Miyamoto deftly weaves his tales using scenes and settings from his native Kansai region, and all are flavored with the language of western Japan. Like the depressed areas described in much of his fiction, his characters too are "left behind" by post-war Japan's rapid economic growth, by unexpected changes in their lives, or by the deaths of loved ones. His heroes are ordinary people who, as he puts it, "are trying to lift themselves up, who are struggling to live," and who achieve quiet triumphs.