Now in paperback, this sparkling K-drama-inspired debut novel introduces irrepressibly charming teen Chloe Chang, who is reunited with her deceased father's estranged family via a DNA test, and is soon whisked off to Seoul to join them... When her friends gift her a 23andMe test as a gag, high school senior Chloe Chang doesn’t think much of trying it out. She doesn’t believe anything will come of it—she’s an only child, her mother is an orphan, and her father died in Seoul before she was even born, and before her mother moved to Oklahoma. It’s been just Chloe and her mom her whole life. But the DNA test reveals something Chloe never expected—she’s got a whole extended family from her father’s side half a world away in Korea. Turns out her father's family are amongst the richest families in Seoul and want to meet Chloe. So, despite her mother's reservations, Chloe travels to Seoul and is whisked into the lap of luxury . . . but something feels wrong. Soon Chloe will discover the reason why her mother never told her about her dad’s family, and why the Nohs wanted her in Seoul in the first place. Could joining the Noh family be worse than having no family at all?

The Noh plays of Japan have been compared to the greatest of Greek tragedies for their evocative, powerful poetry and splendor of emotional intensity.

First Published in 1998. This is the second volume of Mask: A Release if Acting Resources, and David Griffiths provides a detailed and sensitive view of the Japanese Noh theatre: historically, philosophically (with an evaluation of Zeami's treatises) and in respect of the rigorous practicalities of Noh training. The latter is given particular authority and insight because of the access Griffiths had to Noh actors in training and performance. Greatly enhanced with the author's illustrations, this volume gives one of the most accessible introductions to Noh that is available in English. Appended to the descriptive and analytic material is a short play, The Dove, written by Griffiths (and subsequently professionally performed) described as 'unashamedly' acknowledging its Noh influence. This one-woman price is a sensitive and evocative drama with subtle references to its cultural source. Is potential as an exercise in mask work is excellent.

The final volume in Dr. Skys inspiring five-book SohKiDo series explores Pathway VII, Therapeutic Noh Theater.

In 1971, Lee Myonghi, aged five, was taken from her family and placed in a Korean orphanage. Six months later, she was flown to the United States, where she and two other Korean girls were adopted by a Minnesota couple. They renamed her Kelly Jean. Eleven years later, Kelly found herself at the doorstep of a Minnesota agency, although this time as a teen mother giving her own child up for adoption. Kelly later married and had two more children. Then, in 2007, Kelly's husband found her original, Korean family, and so began a journey that reunited Kelly with the family whom she thought had abandoned her, and brought her face to face with the daughter she herself had lost twenty-five years before. Told with refreshing honesty, Songs of My Families is a moving story of two generations of women forced to make agonizing choices as they coped with harsh economic realities and personal crises. It is also an affirmation of the strength of family, the importance of one's cultural heritage, and the enduring power of love.

Three of them, one of her, and a remote cabin in the woods. Let the hot, winter nights ensue in this steamy dark romance from New York Times bestselling author Penelope Douglas, now with bonus material. Tiernan de Haas doesn't care about anything anymore. The only child of a film producer and his starlet wife, she's grown up with wealth and privilege but not love or guidance. And when her parents suddenly pass away, she knows she should be devastated. But she's always been alone, hasn't she? Jake Van der Berg, her father's stepbrother and her only living relative, assumes guardianship of Tiernan. Sent to live in the mountains of Colorado with Jake and his two sons, Noah and Kaleb, Tiernan quickly learns that these men now have a say in what she chooses to care and not care about anymore. As the men take Tiernan under their wing, she slowly finds her place among them. Because lines blur and rules become easy to break when no one else is watching. One of them has her. The other one wants her. But he's going to keep her.

Gail Tsukiyama's The Street of a Thousand Blossoms is a powerfully moving masterpiece about tradition and change, loss and renewal, and love and family from a glorious storyteller at the height of her powers. It is Tokyo in 1939. On the Street of a Thousand Blossoms, two orphaned brothers dream of a future firmly rooted in tradition. The older boy, Hiroshi, shows early signs of promise at the national obsession of sumo wrestling, while Kenji is fascinated by the art of Noh theater masks. But as the ripples of war spread to their quiet neighborhood, the brothers must put their dreams on hold—and forge their own paths in a new Japan. Meanwhile, the two young daughters of a renowned sumo master find their lives increasingly intertwined with the fortunes of their father's star pupil, Hiroshi.

This is a description of how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the 14th century through the late 20th century.

Classic Noh, Kyogen and Kabuki Works Nothing reflects the beauty of life as much as Japanese theater. It is here that reality is held suspended and emptiness can fill the mind with words, music, dance, and mysticism. A.L. Sadler translates the mysteries of Noh, Kyogen, and Kabuki in his groundbreaking book, Japanese Plays. A seminal classic in its time, it provides a cross-section of Japanese theater that gives the reader a sampler of its beauty and power. The power of Noh is in its ability to create an iconic world that represents the attributes that the Japanese hold in highest esteem: family, patriotism, and honor. Kyogen plays provide comic relief often times performed between the serious and stoic Noh plays. Similarly, Sadler's translated Kyogen pieces are layered between the Noh and the Kabuki plays. The Kabuki plays were the theater of the common people of Japan. The course of time has given them the patina of folk art making them precious cultural relics of Japan. Sadler selected these pieces for translation because of their lighter subject matter and relatively upbeat endings—ideal for a western readership. More linear in their telling and pedestrian in the lessons learned these plays show the difficulties of being in love when a society is bent on conformity and paternal rule. The end result found in Japanese Plays is a wonderful selection of classic Japanese dramatic literature sure to enlighten and delight.

What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? In Piercing the Structure of Tradition, Mariko Anno investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. Anno examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by Yeats. Her ethnographic approach draws on interviews with performers and case studies, as well as her personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. She argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.