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.

Cowboy Graves is an unexpected treasure from the vault of a revolutionary talent. Roberto Bolaño's boundless imagination and seemingly inexhaustible gift for shaping the chaos of his reality into fiction is unmistakable in these three novellas. In Cowboy Graves, Arturo Belano - Bolaño's alter ego - returns to Chile after the coup to fight with his comrades for socialism.

A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant.

Our protagonist, an unnamed junior at a prestigious university in Kyoto, is on the verge of dropping out. After rebelling against the dictatorial jock president of the film club, he and his worst and only friend, the diabolical creep Ozu, are personas non grata on campus. For two years, our protagonist has made all the wrong decisions, and now he's about to make another mistake. He and Ozu are preparing for revenge—a fireworks attack at the film club's welcoming party for new members.

In Killing Commendatore, a 30-something portrait painter in Tokyo is abandoned by his wife and finds himself holed up in the mountain home of a famous artist, Tomohiko Amada. When he discovers a previously unseen painting in the attic, he unintentionally opens a circle of mysterious circumstances. To close it, he must complete a journey that involves a mysterious ringing bell, a two-foot-high physical manifestation of an Idea, a dapper businessman who lives across the valley, a precocious 13-year-old girl, a Nazi assassination attempt during World War II in Vienna.

After missing the last bus home following a day trip to the seashore, an amateur entomologist is offered lodging for the night at the bottom of a vast sand pit. But when he attempts to leave the next morning, he quickly discovers the locals have other plans. Held captive with seemingly no chance of escape, he is tasked with shoveling back the ever-advancing sand dunes that threaten to destroy the village. His only companion is an odd young woman. Together, their fates become intertwined as they work side-by-side at this Sisyphean task.

Murasaki Shikibu, born into the middle ranks of the aristocracy during the Heian period (794-1185 CE), wrote The Tale of Genji, widely considered the world's first novel, during the early years of the 11th century. Expansive, compelling, and sophisticated in its representation of ethical concerns and aesthetic ideals, Murasaki's tale came to occupy a central place in Japan's remarkable history of artistic achievement and is now recognized as a masterpiece of world literature.

When Ian Buruma arrived in Tokyo in 1975, Japan was little more than an idea in his mind, a fantasy of a distant land. A sensitive misfit in the world of his upper middle class youth, what he longed for wasn't so much the exotic as the raw, unfiltered humanity he had experienced in Japanese theater performances and films, witnessed in Amsterdam and Paris.

Night. Sleep. Death. The Stars. is a gripping examination of contemporary America through the prism of a family tragedy: When a powerful parent dies, each of his adult children reacts in startling and unexpected ways, and his grieving widow in the most surprising way of all. Stark and penetrating, Joyce Carol Oates’s latest novel is a vivid exploration of race, psychological trauma, class warfare, grief, and eventual healing, as well as an intimate family novel in the tradition of the author’s best-selling We Were the Mulvaneys.

Jo Nesbø is known the world over as a consummate mystery/thriller writer. Famed for his deft characterization, hair-raising suspense and shocking twists, Nesbø’s dexterity with the dark corners of the human heart is on full display in these inventive and enthralling stories.

There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities.

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.

Xuan Juliana Wang's remarkable debut introduces us to the new and changing face of Chinese youth. From fuerdai (second-generation rich kids) to a glass-swallowing qigong grandmaster, her dazzling, formally inventive stories upend the immigrant narrative to reveal a new experience of belonging: of young people testing the limits of who they are, in a world as vast and varied as their ambitions. In stories of love, family, and friendship, here are the voices, faces, and stories of a new generation never before captured in fiction.

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.

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.

A new selection of 14 of Yukio Mishima's best short stories from the 1960s—his final decade—Voices of the Fallen Heroes offers a unique glimpse into the mind of one of Japan’s greatest writers. In the title story, "Voices of the Fallen Heroes," a séance brings forth the spirits of young officers in the Imperial Army and the kamikaze pilots of World War II, who reproach the Emperor and mourn Japan’s modern decline. In another, Mishima recounts the true story of the time a deranged fan broke into his home at dawn, insisting on meeting the author and imploring him to "tell the truth."

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.

An aspiring writer moves into a new apartment and discovers that her landlady has murdered her husband. Elsewhere, an accomplished surgeon is approached by a cabaret singer, whose beautiful appearance belies the grotesque condition of her heart. And while the surgeon's jealous lover vows to kill him, a violent envy also stirs in the soul of a lonely craftsman. Desire meets with impulse and erupts, attracting the attention of the surgeon's neighbor - who is drawn to a decaying residence that is now home to instruments of human torture.

The Years is a personal narrative of the period of 1941 to 2006 told through the lens of memory, impressions past and present - even projections into the future - photos, books, songs, radio, television, and decades of advertising and headlines, contrasted with intimate conflicts and written notes from six decades of diaries. Local dialect, words of the time, slogans, brands, and names for ever-proliferating objects are given a voice here. The voice we recognize as the author's continually dissolves and re-emerges.