Muna has never known his father -- a samurai, a noble warrior. But Muna's mother has told Muna how he will know him one day: by the sign of the chrysanthemum. When his mother dies, Muna travels to the capital of twelfth-century Japan, a bewildering city on the verge of revolution. He finds a haven there, as servant to the great swordsmith, Fukuji. But Muna cannot forget his dream: He must find his father. Only then will he have power and a name to be reckoned with. Only then will he become a man.

She was a perfect baby, and she had a perfect name. Chrysanthemum. Chrysanthemum loved her name—until she started school. A terrific read-aloud for the classroom and libraries!

Imagine that there are American MIAs who chose to remain missing after the Vietnam War. Imagine that there is a family in which four generations of strong, alluring women have shared a mysterious connection to an outlandish figure from Japanese folklore. Imagine just those things (don’t even try to imagine the love story) and you’ll have a foretaste of Tom Robbins’s eighth and perhaps most beautifully crafted novel--a work as timeless as myth yet as topical as the latest international threat. On one level, this is a book about identity, masquerade and disguise--about “the false mustache of the world”--but neither the mists of Laos nor the smog of Bangkok, neither the overcast of Seattle nor the fog of San Francisco, neither the murk of the intelligence community nor the mummery of the circus can obscure the linguistic phosphor that illuminates the pages of Villa Incognito. A female fan once wrote to Tom Robbins: “Your books make me think, they make me laugh, they make me horny and they make me aware of the wonder of everything in life.” Villa Incognito will surely arouse a similar response in many readers, for in its lusty, amusing way it both celebrates existence and challenges our ideas about it. To say much more about a novel as fresh and surprising as Villa Incognito would run the risk of diluting the sheer fun of reading it. As his dedicated readers worldwide know full well, it’s best to climb aboard the Tom Robbins tilt-a-whirl, kiss preconceptions and sacred cows goodbye and simply enjoy the ride.

For fans of Lisa Wingate’s Before We Were Yours and Min Jin Lee’s Pachinko, a deeply moving novel that follows two Korean sisters separated by World War II. Korea, 1943. Hana has lived her entire life under Japanese occupation. As a haenyeo, a female diver of the sea, she enjoys an independence that few other Koreans can still claim. Until the day Hana saves her younger sister from a Japanese soldier and is herself captured and transported to Manchuria. There she is forced to become a “comfort woman” in a Japanese military brothel. But haenyeo are women of power and strength. She will find her way home. South Korea, 2011. Emi has spent more than sixty years trying to forget the sacrifice her sister made, but she must confront the past to discover peace. Seeing the healing of her children and her country, can Emi move beyond the legacy of war to find forgiveness? Suspenseful, hopeful, and ultimately redemptive, White Chrysanthemum tells a story of two sisters whose love for each other is strong enough to triumph over the grim evils of war.

This collection of Japanese short stories reveals a rapidly changing Japanese society and the deep draw of its traditional culture. The first half of this century saw the coming of age of the Japanese short story. Influenced by Western literary techniques, such innovative writers as Shiga Naoya, Ozaki Shiro, Yasunari Kawabata, Shimaki Kensaku, Hayashi Fumiko, Dazai Osamu, and (somewhat later) Kobo Abe reassessed the Japanese story tradition and brought new vigor to the uniquely Japanese sense of the detail and natural context of everyday life. The works of these writers stand at the center of modern Japan's literary development. Despite their differences, it is the simplicity and purity of their natural images-sultry late-summer days, cicadas, lizards, and the sounds of life's routines-that more than anything anchor the emotions and perceptions of their stories. For A Late Chrysanthemum, translator and editor Lane Dunlop has selected twenty-one stories by these seven intriguing and influential authors to convey the depth and range of the modern Japanese story, a discriminating selection which, in Dunlop's sure and masterful English renderings, won this book the Japan-United States Friendship Award for Literary Translation.

Drawing its allure from the gold of the sun and the rule of the emperors, the chrysanthemum winds its way through ancient Chinese culture into the gardens of French impressionist painters and onto the pages of American novels. The flower signifies both life and death, as parts of Europe associate it with mourning while others celebrate it for its golden rays that light the autumnal gloom. In this fascinating book, Twigs Way follows the fortunes of the flower through philosophy, art, literature, and death, recounting the stories of the men and women who became captivated by this extraordinary bloom. With a range of vibrant illustrations, including works by Hiroshige, Monet, and Mondrian, Chrysanthemum will captivate lovers of art, flowers, history, and culture.

Looks at the life and work of the Newbery Award-winning author, including her writing process, inspirations, and a critical discussion of her books.

Japanese society is frequently held up to the Western world as a model of harmony and efficiency, but the price it pays tends to be overlooked. In a searching analysis that will fascinate students and admirers of Japan as much as it will inform psychologists and suicidologists, Mamoru Iga discusses the precise nature of the “thorn in the chrysanthemum,” a thorn that may hurt both the Japanese and the outsider who conducts business with them. The author, who was reared and educated in Japan, is uniquely qualified to interpret the value orientations of a society in which suicide is all too common. He finds that the traits leading to homogeneity and extreme adaptability in that society as a whole are the very traits that can produce painful reactions in the individual. Those traits are described as monism, groupism, authoritarianism, familism, and accommodationism, and together they comprise the Japanese “social character.” Because the individual’s behavior is based on the images, assumptions, and ideas about the world that make up his or her culture, conformism in the individual is one major manifestation of Japan’s social character. In Japan, the need to fill one’s socially prescribed role may make it doubly difficult to think independently and creatively and to find solutions for the resulting stress. Suicide notes and other personal documents reveal the painful cost of modern Japan’s success story, as the examination of individual suicides is related both to the theoretical framework of Durkheim’s types of suicide and to the sociological patterns that characterize suicide in Japan. It is in personal value orientations, however, that Iga finds the common ground between suicide and economic success. American readers will find especially interesting the contrast between value orientations in Japan and in the United States. Nearly the opposite of the Japanese traits described above, American values of rationalism, individualism, competition, and change create their own problems. There is much to be learned from this expert analysis of the problem of suicide in Japan. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.

Chronicles an American rifle company's tour of duty in Korea, their battle for survival, and their relationships with one another