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.

“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.

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.

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.

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.

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.

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.

Three remarkable journeys into the stars: Worlds of Exile and Illusion includes Rocannon's World, Planet of Exile, and City of Illusions. These three spacefaring adventures mark the beginning of grand master Ursula K. Le Guin’s remarkable career. Set in the same universe as Le Guin’s groundbreaking classics The Left Hand of Darkness and The Dispossessed, these first three books of the celebrated Hainish series follow travelers of many worlds and civilizations in the depths of space.

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.

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.

Traumatized by the bombing of Dresden at the time he had been imprisoned, Pilgrim drifts through all events and history, sometimes deeply implicated, sometimes a witness. He is surrounded by Vonnegut's usual large cast of continuing characters (notably here the hack science fiction writer Kilgore Trout and the alien Tralfamadorians, who oversee his life and remind him constantly that there is no causation, no order, no motive to existence).

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.

In 2030, a grieving archeologist arrives in the Arctic Circle to continue the work of his recently deceased daughter at the Batagaika Crater, where researchers are studying long-buried secrets now revealed in melting permafrost, including the perfectly preserved remains of a girl who appears to have died of an ancient virus. Once unleashed, the Arctic plague will reshape life on Earth for generations to come, quickly traversing the globe, forcing humanity to devise a myriad of moving and inventive ways to embrace possibility in the face of tragedy.

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.

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.

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.

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…

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.

A humble clerk and his loving wife scrape out a quiet existence on the margins of Tokyo. Resigned, following years of exile and misfortune, to the bitter consequences of having married without their families' consent, and unable to have children of their own, Sosuke and Oyone find the delicate equilibrium of their household upset by a new obligation to meet the educational expenses of Sosuke's brash younger brother. While an unlikely new friendship appears to offer a way out of this bind, it also soon threatens to dredge up a past that could once again force them to flee the capital.

Michael Kabongo is a British Congolese teacher living in London and living the dream: he’s beloved by his students, popular with his coworkers, and adored by his proud mother who emigrated from the Congo to the UK in search of a better life. But when he suffers a devastating loss, his life is thrown into a tailspin. As he struggles to find a way forward, memories of his fathers’ violent death, the weight of refugeehood, and an increasing sense of dread threaten everything he’s worked so hard to achieve.

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.

In this tense, gripping novel by a star of Korean literature, Oghi wakes from a coma after causing a devastating car accident that took his wife's life and left him paralyzed and badly disfigured. His caretaker is his mother-in-law, a widow grieving the loss of her only child. Oghi is neglected and left alone in his bed. His world shrinks to the room he lies in and his memories of his troubled relationship with his wife, a sensitive, intelligent woman who found all of her life goals thwarted except for one: cultivating the garden in front of their house.

Yunus Turabi, a bus driver in Tehran, leads an unremarkable life. A solitary man since the unexpected deaths of his father and mother years ago, he is decidedly apolitical - even during the driver’s strike and its bloody end. But everyone has their breaking point, and Yunus has reached his.

Yunjae was born with a brain condition called alexithymia that makes it hard for him to feel emotions like fear or anger. He does not have friends - the two almond-shaped neurons located deep in his brain have seen to that - but his devoted mother and grandmother aren’t fazed by his condition. Their little home above his mother’s used bookstore is decorated with colorful Post-it notes that remind him when to smile, when to say "thank you", and when to laugh. Yunjae grows up content, even happy, with his small family in this quiet, peaceful space.

Recognized throughout the world for his brilliance as a novelist and playwright, Yukio Mishima is also noted as a master of the short story in his native Japan, where the form is practiced as a major art. Nine of Yukio Mishima’s finest stories were selected by Mishima himself for translation in this book; they represent his extraordinary ability to depict a wide variety of human beings in moments of significance. Often his characters are sophisticated modern Japanese who turn out to be not so liberated from the past as they had thought.