Western writers and a Buddhist writer like Kikuo Itaya may seem to employ similar techniques, yet as John Gardner points out in his Introduction to these fifteen stories, the symbolism used by the Eastern and Western writer "is no more the same than wings are to, respectively, a butterfly and a bird. The two are products of distinct evolutionary lines." If we are not Buddhists, Gardner asks, why read the stories of Kikuo Itaya? The simplest answer is that they are beautiful. And while they "violate many of our normal expectations . . ., these fictional meditations can prove as persuasive and liberating as the idealism of childhood." The artist remains impeccably honest with his readers, yet leads them--as Aristotle would never allow--down inexplicable twists and turns in which conflict turns out to be harmony and "characters and actions we felt safe in judging as 'bad or good' emerge in a surprising new light." These meditational stories also create suspense. Where will the plot lead us? But the "more important kind of suspense in Itaya's stories has to do with understanding. One soon learns that in every story secret forces are moving, and that the visible surfaces of those forces may be misleading."

Hirata Atsutane (1776–1843) has been the subject of numerous studies that focus on his importance to nationalist politics and Japanese intellectual and social history. Although well known as an ideologue of Japanese National Learning (Kokugaku), Atsutane’s significance as a religious thinker has been largely overlooked. His prolific writings on supernatural subjects have never been thoroughly analyzed in English until now. In When Tengu Talk, Wilburn Hansen focuses on Senkyo ibun (1822), a voluminous work centering on Atsutane’s interviews with a fourteen-year-old Edo street urchin named Kozo Torakichi who claimed to be an apprentice tengu, a supernatural creature of Japanese folklore. Hansen uncovers in detail how Atsutane employed a deliberate method of ethnographic inquiry that worked to manipulate and stimulate Torakichi’s surreal descriptions of everyday existence in a supernatural realm, what Atsutane termed the Other World. Hansen’s investigation and analysis of the process begins with the hypothesis that Atsutane’s project was an early attempt at ethnographic research, a new methodological approach in nineteenth-century Japan. Hansen posits that this "scientific" analysis was tainted by Atsutane’s desire to establish a discourse on Japan not limited by what he considered to be the unsatisfactory results of established Japanese philological methods. A rough sketch of the milieu of 1820s Edo Japan and Atsutane’s position within it provides the backdrop against which the drama of Senkyo ibun unfolds. There follow chapters explaining the relationship between the implied author and the outside narrator, the Other World that Atsutane helped Torakichi describe, and Atsutane’s nativist discourse concerning Torakichi’s fantastic claims of a newly discovered Shinto holy man called the sanjin. Sanjin were partly defined by supernatural abilities similar (but ultimately more effective and thus superior) to those of the Buddhist bodhisattva and the Daoist immortal. They were seen as holders of secret and powerful technologies previously thought to have come from or been perfected in the West, such as geography, astronomy, and military technology. Atsutane sought to deemphasize the impact of Western technology by claiming these powers had come from Japan’s Other World. In doing so, he creates a new Shinto hero and, by association, asserts the superiority of native Japanese tradition. In the final portion of his book, Hansen addresses Atsutane’s contribution to the construction of modern Japanese identity. By the late Tokugawa, many intellectuals had grown uncomfortable with continued cultural dependence on Neo-Confucianism, and the Buddhist establishment was under fire from positivist historiographers who had begun to question the many contradictions found in Buddhist texts. With these traditional discourses in disarray and Western rationalism and materialism gaining public acceptance, Hansen depicts Atsutane’s creation of a new spiritual identity for the Japanese people as one creative response to the pressures of modernity. When Tengu Talk adds to the small body of work in English on National Learning. It moreover fills a void in the area of historical religious studies, which is dominated by studies of Buddhist monks and priests, by offering a glimpse of a Shinto religious figure. Finally, it counters the image of Atsutane as a forerunner of the ultra-nationalism that ultimately was deployed in the service of empire. Lucid and accessible, it will find an appreciative audience among scholars of Shinto and Japanese and world religion. In addition to religion specialists, it will be of considerable interest to anthropologists and historians of Japan.

In this final book in the series, "the rightful emperor is lost; illness and murder give rise to suspicions and make enemies of allies. Unrest rules the country. Only Shika can end the madness by returning the Lotus Throne to its rightful ruler"--Amazon.com.

Aya Honjo is a model for a fashion magazine for working women. Her appearance and age (26) gives her audience a sense of intimacy, which is the cause of her popularity... but it's all a lie! The real me without make-up is an ugly, gloomy... 16-year-old high school girl!! I already have my hands full with my own life, but then one day, I ended up picking up my classmate, Shuya, in my model appearance... Huh? He's telling me to let him live with me for some reason! On top of that, not realizing that I'm his classmate, he's trying to use his looks to get to me... "If you wish, I'll even do things... Like that." The peculiar double life of Shuya, who's a tengu, and I, who's faking her age and hiding her identity, begins!

Contains alphabetically arranged entries that describe the imaginary creatures found in legends, religions, folklore, oral history, and theologies around the world.

A self-assured warrior stumbles into a game of Go that turns fatal. An ambitious lord leaves his nephew for dead and seizes his lands. A stubborn father forces his son to give up his wife to his older brother. A powerful priest meddles in the succession to the Lotus Throne. A woman of the Old People seeks five fathers for her five children, who will go on to found the Spider Tribe and direct the fate of the country. As destiny weaves its tapestry in Lian Hearn's Tale of Shikanoko series, an emotionally rich and compelling drama plays out against a background of wild forests, elegant castles, hidden temples, and savage battlefields in Autumn Princess, Dragon Child. The Tale of Shikanoko, Book One: Emperor of the Eight Islands (April 2016) The Tale of Shikanoko, Book Two: Autumn Princess, Dragon Child (June 2016) The Tale of Shikanoko, Book Three: Lord of the Darkwood (August 2016) The Tale of Shikanoko, Book Four: The Tengu's Game of Go (September 2016)

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan. These stories, called otogizōshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizōshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative—court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples––joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, “Monsters, Warriors, and Journeys to Other Worlds,” “Buddhist Tales,” and “Interspecies Affairs.” Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.

An extraordinary collection of Japanese folk tales, many in English for the first time! This book contains 79 stories from the Japanese collection Tales from Shinshu, compiled and edited by award-winning author Noboru Wada. It features traditional tales of yokai, ghosts, mountain witches, demons and apparitions frequently sighted in and around the mountainous Shinshu region in central Japan, such as: The Legend of the Snow Woman: A beautiful woman appears at Minokichi's door one night in a snowstorm. They marry and live happily, until one day her terrible secret is revealed. Kappa Taro: A legendary yokai terrifies villagers by luring them into a pond, where they drown. Can Suwa Yorito, famed for his strength, successfully challenge this terrifying demon? The Yamamba Witch's Daughter: Who would ever dream of marrying a mountain witch? Can the Yamamba's daughter find the love and happiness she seeks? These stories have been passed down for generations from grandparents to their grandchildren, sitting around the hearth on cold and snowy winter nights. They are well-known throughout Japan and are believed by the inhabitants of Shinshu to have actually occurred in the distant past!

Naoya, a university student who can infallibly detect lies, embarks on another investigation into mysterious phenomena with his eccentric professor, Akira Takatsuki. Their latest client claims that they’ve contacted the spirit of a missing classmate while playing the Kokkuri fortune-telling game. Afterwards, a famous actress comes to Naoya looking for advice about ghosts, and more of Takatsuki’s enigmatic past comes to light!