tag:blogger.com,1999:blog-135980292012-02-14T08:50:17.554-05:00<i>an eclectic mix of reviews for books old, new, and upcoming</i>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.comBlogger4691100tag:blogger.com,1999:blog-13598029.post-30436180376236258022012-02-12T10:54:00.000-05:002012-02-12T10:54:41.701-05:00~written by Haruki Murakami<br />~translated by Alfred Birnbaum and Philip Gabriel<br /><br /><a href="http://www.librarything.com/isbn/9780375725807" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-gSExofvUKQM/TzSE_xwyMxI/AAAAAAAABmI/8Zg_riD5Bpk/s200/Underground.jpg" width="128" /></a><i>Underground: The Tokyo Gas Attack and the Japanese Psyche</i> by Haruki Murakami is actually the English translation of two of Murakami's books, <i>Underground</i> and <i>The Place That Was Promised</i>, which was serialized under the title <i>Post-Underground</i>. <i>Underground</i>, initially published in Japan in 1997, collects interviews Murakami held with victims of the 1995 sarin gas attack in Tokyo while <i>The Place That Was Promised</i>, released in 1998, collects interviews with members and ex-members of Aum Shinrikyo, the religious group responsible for the attack. The English translation of the two books by Alfred Birnbaum and Philip Gabriel was first published in 2000. The English edition doesn't explicitly state so, but I believe that it is an abridgement. The first book in particular, <i>Underground</i>, seems to be a shortened version of original Japanese edition.<br /><br />On Monday, March 20, 1995--a day falling between two holidays--select members of Aum Shinrikyo coordinated and executed a release of sarin gas, a highly toxic chemical weapon designed for military use, in various locations throughout the Tokyo subway system. Many people, including novelist Haruki Murakami, were frustrated and unhappy with the media's coverage of the attack and related events. The media tended to focus on Aum and the more sensational aspects of the incident, often trampling or completely ignoring the personal experiences of the victims. Partially in response to this, Murakami decided to pursue and conduct interviews and collect individuals' stories. Of the thousands of people immediately affected by the sarin gas attack, Murakami and his assistants were only able to positively identify around one hundred forty people. Still carrying emotional, psychological, and physical scars, even fewer were willing to be interviewed. In the end, only sixty people agreed to allow their interviews to be published.<br /><br />Thirty-four of these interviews are included in the first part of the book, "Underground." Murakami proceeds train by train, collecting similar stories together to create a more cohesive whole that allows the same events to be viewed from multiple perspectives. Each section of "Underground" begins with an overview of the Aum members who released the sarin gas in that particular location and a description of their actions. Before each individual interview, Murakami provides a brief introduction and personal commentary about that person. This allows their stories to not only be put in to the context of the events of March 20th, but into the context of their own personal histories and lives. These are not faceless individuals; they are real people who have lived through a terrible and traumatic episode, but this is not the only thing that defines them.<br /><br />In "The Place That Was Promised," Murakami interviews eight members of Aum Shinrikyo. Some of the interviewees were still members at the time while others had left or were excommunicated from the organization. None were directly involved with the sarin gas attack on the Tokyo underground. Neither did any of them condone the actions of their fellow members. It does help to already have some basic knowledge of Aum and its beliefs to fully understand these interviews. But even if you don't, what is revealed through their stories is that they are normal people, just like anyone else, who turned to religion out of frustration with the society around them. Murakami does tend to be more argumentative while interviewing the Aum members. Before reading <i>Underground</i>, I knew very little about the Tokyo sarin gas attack. While the event is unquestionably tragic, Murakami handles the interviews with respect and is careful not to exploit the stories that have been entrusted to him. <i>Underground</i> is an compelling oral history.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/45620755"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3043618037623625802?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-64923927570967780542012-02-09T08:49:00.002-05:002012-02-09T08:54:35.744-05:00~written by Isuna Hasekura <br />~illustrated by Jyuu Ayakura <br />~translated by Paul Starr<br /><br /><a href="http://www.librarything.com/isbn/9780759531109" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-SvSVjmyQ6N4/TzGRGdFEbzI/AAAAAAAABl0/mex5aRu5Tnk/s200/SpiceWolf5.jpg" width="133" /></a>Isuna Hasekura's light novel series <i>Spice &amp; Wolf</i> has actually turned out to be a really nice series. I am very pleased that Yen Press continues to publish Paul Starr's translation of the novels, the fifth volume of which was released in late 2011. Originally, the fifth volume was published in Japan in 2007. Jyuu Ayakura works as the illustrator for the novels. The <i>Spice &amp; Wolf</i> series has an anime adaptation which is also quite enjoyable, but I still think I prefer the original novels. I have been enjoying <i>Spice &amp; Wolf</i> much more than I had initially anticipated. The series is an interesting and sometimes odd mix of economics, light romance, and fantasy, but Hasekura makes it work. The real highlight of the story is the two leads, Lawrence and Holo. If you don't like them, you won't like <i>Spice &amp; Wolf</i>. I happen to adore the two, so it was an easy decision for me to pick up the fifth volume.<br /><br />Although they have been traveling together for a relatively short period of time--Holo, being a wolf spirit, has lived for centuries, after all--Lawrence and Holo have come to enjoy each other's company. Lawrence's life as a traveling merchant may have become much more eventful after meeting Holo, his very life being put into danger on several occasions, but it has also become much less lonely. Both Holo and Lawrence are beginning to dread the end of their journey and neither one of them really wants to talk about it. But Lawrence is resigned to fulfilling his promise to Holo to find and accompany her to her homeland in the north, Yoitsu. Their path has led them to Lenos where they hope to discover clues to Yoitsu's whereabouts in the town's histories and chronicles. And although it isn't the point of this particular trip, as a merchant Lawrence always has his eyes and ears open for a profitable trade.<br /><br />I've mentioned this in every review that I have written for <i>Spice &amp; Wolf</i>, and will probably continue to mention it, but my favorite part of the series is Lawrence, Holo, and their relationship with each other. From the very beginning of <i>Spice &amp; Wolf</i>, Hasekura has let their bond slowly, believably, and naturally develop. Well, as naturally as could be expected when dealing with a human and a near immortal. Lawrence is just beginning to realize the implications of that particular situation while Holo, with more years and more experience, has been quite aware of them since the time she first met Lawrence. Similar to the <a href="http://phoenixterranbooks.blogspot.com/2011/04/spice-wolf-volume-3.html">third volume</a> in which Lawrence had to come to terms with how important Holo had become to him, in the fifth volume he must now come to terms with what that exactly means. Their relationship has deepened and matured nicely, but it is still not without its problems.<br /><br />Compared to some of the previous volumes, there is very little action that happens in the fifth volume of <i>Spice &amp; Wolf</i>, at least externally. Lawrence still has his personal inner turmoil to deal with. (He does still manage to come to bodily harm, though.) He is starting to get used to Holo's company more and more, which means he isn't flustered by her quite as easily. But when he is, it is incredibly endearing. I enjoy their mutual banter immensely. Overall, I think Hasekura's writing and Starr's translation work continues to improve as the <i>Spice &amp; Wolf</i> series progresses. The narrative and speech in the fifth volume is not nearly as stilted as those in the earlier books and are generally much less confusing. I still find myself puzzling over the meaning of a line of dialogue on occassion, but for the most part conversations are much easier to follow. I continue to enjoy <i>Spice &amp; Wolf</i> and look forward to the next volume in the series a great deal.<br /><br /><br /><div style="text-align: right;"><br /></div><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/771947496"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6492392757096778054?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-79187670073586463982012-01-28T20:09:00.000-05:002012-02-07T08:20:55.566-05:00~by Usamaru Furuya<br /><br /><a href="http://www.librarything.com/isbn/9781935654193" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-G9RAVUw44ns/TxNDdsMYZ-I/AAAAAAAABjc/wmitzzM5cDg/s200/NoLongerHuman1.jpg" width="141" /></a>Usamaru Furuya's <i>No Longer Human</i>, a manga adaptation of <a href="http://phoenixterranbooks.blogspot.com/2011/04/no-longer-human.html">Osamu Dazai's novel</a> of the same name, was one of my most anticipated releases for 2011. The original novel was published in 1948 while the first volume of Furuya's interpretation was released in Japan in 2009. Vertical began bringing the series to English-reading audiences in 2011. (I was hoping that the third and final volume of Furuya's <i>No Longer Human</i> would be published in time for the <a href="http://experimentsinmanga.blogspot.com/2012/01/usamaru-furuya-manga-moveable-feast.html">Usamaru Furuya Manga Movable Feast</a>, but alas, the release date was moved back.) Dazai's novel is a tremendous work and Furuya is a tremendous artist, so I was eagerly awaiting the opportunity to read his version of the story. It's not a strictly literal adaptation--Furuya has moved the story to modern day Japan and has even inserted himself into it.<br /><br />While searching for inspiration for his next series, manga artist and author Usamaru Furuya stumbles across the online diary of a young man named Yozo Oba. Yozo is the youngest son of a wealthy family. While attending a private high school in Tokyo, he was known as the class clown. Extremely charismatic, he was well liked by his classmates and teachers. What they didn't know was that it was all an act. Yozo views his life as a performance, his actions are deliberate and calculated. The intense and constant effort Yozo puts into convincing others to like and accept him leaves him miserable and unhappy. He has a difficult time connecting with and understanding other people and is afraid that someone will notice his inauthenticity. For now, Yozo just tries to act the part that is expected of him.<br /><br />Furuya easily slips between and melds two different art style in <i>No Longer Human</i>. One is fairly clean and straightforward, primarily used for dealing with Yozo's interactions with other people. The other style is darker, murkier, and slightly more abstract, reflecting more closely Yozo's inner state of mind and emphasising his sense of separation and detachment. The contrast between the two can be rather disconcerting. Furuya's artwork is extremely effective and he creates some phenomenally chilling moments. The changes that Furuya has made to <i>No Longer Human</i>, which are actually relatively few, also work quite well. Each chapter closes with a direct quote from the novel and important lines--such as the one from the beginning of Yozo's diary, "I've lived a life full of shame."--are incorporated into the manga in very powerful ways.<br /><br />It is not necessary to have read Dazai's original novel in order to appreciate Furuya's <i>No Longer Human</i>. (Although, if you haven't read the novel before, I do recommend the book.) Furuya's vision is compelling, although I didn't find Yozo to be as sympathetic in the manga. In the novel, Dazai is able to be much more explicit about Yozo's internal conflicts while Furuya relies on his art to express the same things, in some ways leaving more room for readers' individual interpretations. The artwork allows readers to catch glimpses of how Yozo sees things, often without accompanying explanation. The first volume of Furuya's <i>No Longer Human</i> is rather short, but if you rush through it, it is easy to miss some of the subtle cues in the art that add a tremendous amount of depth to both Yozo and to the story. If you can, take time to linger in the darkness.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/751723274"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7918767007358646398?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-77486558645022252232012-01-27T19:07:00.001-05:002012-01-27T19:41:10.806-05:00~by Usamaru Furuya<br /><br /><a href="http://www.librarything.com/isbn/1421536757" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-ADVN7znofV4/TxNCIvZJYEI/AAAAAAAABjU/baMJAkbsvnE/s200/GenkakuPicasso1.jpg" width="133" /></a>After a seven year drought, <i>Genkaku Picasso</i> became the first in a (very small) flood of new titles by Usamaru Furuya to be translated into English. The first volume of <i>Genkaku Picasso</i> was released in Japan in 2009; the entire series was originally serialized in the manga magazine <i>Jump SQ</i> between 2008 and 2010. The English edition of <i>Genkaku Picasso</i> started publication in 2010. Once again, it was Viz Media that brought Furuya's work to English-reading audiences, having previously published <a href="http://phoenixterranbooks.blogspot.com/search/label/Short%20Cuts"><i>Short Cuts</i></a> and excerpts from his debut manga, <i>Palepoli</i>. I've had <i>Genkaku Picasso</i> sitting on my shelf for quite some time, but it's only now for the <a href="http://experimentsinmanga.blogspot.com/2012/01/usamaru-furuya-manga-moveable-feast.html">Usamaru Furuya Manga Moveable Feast</a> that I've finally gotten around to reading it. Furuya is well known for his work in underground and alternative manga, but <i>Genkaku Picasso</i> is one of his more mainstream series.<br /><br />Hikari Hamura, nicknamed Picasso by his classmates (much to his frustration), would much prefer that everyone would just leave him alone to his drawing. However, after a strange accident leaves him with the even stranger ability to visualize the contents of another person's heart, Picasso must learn to use his artistic talents to help others or else he'll rot away. Drawing what he sees, he can dive into the artwork and their subconscious. The problem is that the visions aren't particularly straightforward. That and Picasso doesn't really feel like reaching out to others and is much more comfortable keeping to himself. It's not easy, and there tends to be quite a few misunderstandings, but Picasso doesn't seem to have much of a choice. He might not want to, but he has to get to know his classmates better even if he does find them and the prospect terribly annoying.<br /><br />One of the things that impresses me the most about Furuya's work as whole is that he deliberately creates a particular aesthetic to fit an individual manga and story. In the case of <i>Genkaku Picasso</i>, Furuya primarily uses two different art styles. The first, representing reality, is a more mainstream, slightly stylized manga style which utilizes screentone and such. The other is based on the approach of pencil sketches and includes hand shading techniques and crosshatching. Used for Picasso's artwork and the characters' subconsciouses, it is also a reflection of Furuya's own fine arts background. I find it interesting that the more realistic style is used to capture the unreal in <i>Genkaku Picasso</i> while the comic style is used to show the ordinary. Granted, even Picasso's "ordinary" is slightly off-balance and surreal, which the artwork helps to show.<br /><br />I wouldn't exactly say that I was disappointed with the first volume of <i>Genkaku Picasso</i>, but I didn't find it nearly as captivating or compelling as the other works of his that I have read. I really like the premise of the series, but after one volume I haven't been convinced by the manga itself, yet. I feel like it wants to be deep and profound, but the first volume somehow comes across as superficial, even when Picasso is delving into the supposed darkness of other people's hearts. The problems are resolved too quickly and easily. Still, there are plenty of elements in <i>Genkaku Picasso</i> that I enjoy. Although there hasn't been much real development yet, I do like the characters. Picasso and his classmates Sugiura and Akane make an amusing trio (quartet if you count Chiaki). <i>Genkaku Picasso</i> also has a quirky sense of humor that shows up frequently. Picasso's social awkwardness (mostly self-imposed) and bluntness is delightfully endearing. So while I may not have been overwhelmed by the first volume of <i>Genkaku Picasso</i>, it does intrigue me and I do want to continue on with the series.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/663444950"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7748655864502225223?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-12835911966377259562012-01-27T08:06:00.000-05:002012-01-27T08:06:14.592-05:00~by Usamaru Furuya<br /><br /><a href="http://www.librarything.com/isbn/9781591160311" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/--fv9Lt0yjgk/TxNEhrZeL7I/AAAAAAAABjk/oH5dvF5eQOc/s200/ShortCuts1.jpg" width="137" /></a><i>Short Cuts</i> was Usamaru Furuya's first manga to be published by a major magazine, <i>Young Sunday</i>, having previously debuted with his groundbreaking work <i>Palepoli</i> in the underground manga monthly <i>Garo</i> in 1994. <i>Short Cuts</i> also has the honor of being the first of Furuya's works to be made available in English in its entirety as only excerpts of <i>Palepoli</i> have been translated in <a href="http://phoenixterranbooks.blogspot.com/2012/01/japan-edge-insiders-guide-to-japanese.html"><i>Japan Edge</i></a> and <a href="http://phoenixterranbooks.blogspot.com/2012/01/secret-comics-japan-underground-comics.html"><i>Secret Comics Japan</i></a>. Viz Media published the first volume of <i>Short Cuts</i> in 2002 under the now defunct Pulp imprint. The manga was originally released in Japan in 1998. In addition to the manga, Viz's edition of the first volume of <i>Short Cuts</i> also includes an excellent interview of Furuya conducted in 2000 by one of the editor's he worked with at <i>Garo</i>, Chikao Shiratori, titled "An Interview with Super-Conscious Manga Artist Usamaru Furuya." <br /><br /><i>Short Cuts</i> is a series of short manga, each only a page or two long, called "cuts." For the most part the cuts are unrelated, although there are a few recurring characters and scenarios as well as running jokes. Occasionally a set of cuts join to form a brief story, but these are generally the exception to the rule. Typically even the related cuts each have their own punchline and can be taken separately. The most common, but certainly not the only, subjects focused on in <i>Short Cuts</i> are kogals, defined at the beginning of the manga as Japanese high-school girls with attitude, and those who obsess and lust over them. Kogal is a fashion statement and a subculture that was prominent in Japan in the 1990s. The phenomenon reached the height of its popularity around the same time that Furuya was creating <i>Short Cuts</i>.<br /><br />Even though <i>Short Cuts</i> is more commercial than Furuya's previous work, his alternative manga sensibilities are still readily apparent. Absurdity abounds. <i>Short Cuts</i> has a lighter feel to it overall than what I have read of <i>Palepoli</i>, but the humor is still fairly dark. Every once in a while it can come across as a little cruel as Furuya makes heavy use of stereotypes in the manga. However, while he may make fun of kogals, he also makes fun of those who fetishize them, and even pokes fun at himself and other mangaka and media personalities. Quite often, the various groups in <i>Short Cuts</i> get to make digs at each other, too, so I think it all works out. Another aspect of <i>Short Cuts</i> that reflects its alternative origins is Furuya's artwork, which is constantly changing to suit the gags. Furuya displays an impressive range of art styles, sometimes using several within a single cut. His kogals, however, are always quite lovely.<br /><br />I am glad that I waited until the <a href="http://experimentsinmanga.blogspot.com/2012/01/usamaru-furuya-manga-moveable-feast.html">Usamaru Furuya Manga Moveable Feast</a> to finally get around to reading <i>Short Cuts</i>; I benefited from having read a lot of manga and don't think I would have been able to appreciate <i>Short Cuts</i> as much without that experience. The reason for this is that Furuya doesn't limit himself to kogals, he also parodies and references other manga and Japanese pop culture. Much, but not all, of the humor is culturally dependent, and so at least a basic understanding of Japanese society is useful. There are plenty of translation notes to help the reader along, though. Personally, I found <i>Short Cuts</i> to be consistently funny and frequently hilarious. It can be vulgar and crass at times, but it can also be quite clever and smart. It's not just that <i>Short Cuts</i> is terribly amusing, Furuya is also making legitimate social commentary through satire and black humor.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/54112232"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-1283591196637725956?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-38716536475349494422012-01-25T14:26:00.000-05:002012-01-25T14:26:42.148-05:00~edited by Chikao Shiratori<br /><br /><a href="http://www.librarything.com/isbn/9781569313725" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-CqXUt5pOI_k/Tx4DId6SQcI/AAAAAAAABkU/-LnLEv5don8/s200/SecretComicsJapan.jpg" width="138" /></a><i>Secret Comics Japan: Underground Comics Now</i> is a manga anthology edited by Chikao Shiratori with adult American audiences in mind. At one time, Shiratori worked in the editorial department of <i>Garo, </i>a monthly manga magazine published in Japan from 1964 to 2002 which specialized in alternative manga. Many of the creators collected in <i>Secret Comics Japan</i> were also contributors to <i>Garo</i>. <i>Secret Comics Japan</i> was released by Cadence Books, an imprint of Viz Media, in 2000. The manga included in the volume, a total of ten short selections, were all initially published between 1996 and 2000. I first learned about the <i>Secret Comics Japan</i> collection, now out of print, while preparing for the <a href="http://experimentsinmanga.blogspot.com/2012/01/usamaru-furuya-manga-moveable-feast.html">Usamaru Furuya Manga Moveable Feast</a> as it contains excerpts from Furuya's debut manga work <i>Palepoli</i>. The cover art for <i>Secret Comics Japan</i> also happens to come from <i>Palepoli</i>.<br /><br />After a brief introduction by the editor, <i>Secret Comics Japan</i> opens with "The Life of Momongo" written by Norimizu Ameya and illustrated by Junko Mizuno. I'm a big fan of Mizuno's creepy-cute aesthetic and so was happy to see an example of her work included. Following next are two selections from Hiranori Kikuchi's <i>Gedatsu Man</i>, "The Character Wars" and "Collector's Characturd." <i>Gedatsu Man</i> is a little too nonsensical for me to really enjoy, although it still managed to make me laugh. The volume continues with "Swing Shell" by Yuko Tsuno. It is a wonderfully evocative and affecting tale with a touch of the surreal to it. Tsuno's linework is simply lovely. Yoshitomo Yoshimoto's "Jr." is an odd but engaging story inspired by Donald Barthelme's short story "Me and Miss Mandible" about a thirty-two-year-old man sent to elementary school as a student.<br /><br /><i>Secret Comics Japan</i> continues with two shorts by Kiriko Nananan, "Heartless Bitch" and "Painful Love." Both stories are particularly effective because of their realism and Nananan's page layouts. Next is Shintaro Kago's extremely bizarre and vaguely erotic horror manga "Punctures." Apparently it's one of his more subdued works, which isn't to say it isn't intense. <i>Mutant Hanako</i> is a manga created by the fine artist Makoto Aida. It's chaotic and shocking. It's also somewhat confusing, perhaps due to the fact only an excerpt of the entire work is included in <i>Secret Comics Japan</i> The next selection is a legitimate porn manga by Benkyo Tamaoki. Entitled "Editor Woman," the characters, who have actual personalities, also happen to work in the porn manga industry. Finally, the volume concludes with excerpts from the aforementioned <i>Palepoli</i> by Usamaru Furuya. <i>Palepoli</i> is a series of intentional and innovative four-panel manga, certainly different from any other yonkoma that I've read.<br /><br />Shiratori provides a short introduction for each individual creator and their work. They may be brief, but they are informative and allow the manga selections to be put into some context. Many of the introductions also include a personal message from the artists to the readers of <i>Secret Comics Japan</i>. The creators selected for inclusion are all successful and well-known within their particular niches. Some, but not all, of the mangaka included have other works available in English. In the introduction to <i>Secret Comics Japan</i>, Shiratori argues that the lines between underground and mainstream manga have become blurred and that there is now less distinction between the two. Perhaps it is appropriate then that most of the manga in <i>Secret Comics Japan</i> is fairly approachable and not too avant-garde. Still, it is a nice collection that shows a good range of diversity. But to be completely honest, I wish that <i>Secret Comics Japan</i> was a bit longer and showed even more variety.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/45040519"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3871653647534949442?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-7182724922914653382012-01-21T12:20:00.000-05:002012-01-21T12:20:31.309-05:00~edited by Annette Roman<br /><br /><a href="http://www.librarything.com/isbn/9781569313459" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-kiNNWKgOve0/TxjUOyFmlbI/AAAAAAAABkM/BsFqOGagMmg/s200/JapanEdge.jpg" width="140" /></a>Originally published by Viz Media's Cadence Books in 1999, <i>Japan Edge: The Insider's Guide to Japanese Pop Subculture</i> is now out of print. I made a point of tracking it down because I knew it contained a few excerpts from Usamaru Furuya's debut manga <i>Palepoli</i>. (They happily turned out to be different selections than the excerpts included in the manga anthology <i>Secret Comics Japan</i>.) But, Furuya's work is not the focus of <i>Japan Edge</i>. Edited by Annette Roman, <i>Japan Edge</i> features four writers who have specialized in different areas of Japanese pop culture: Patrick Macias, Carl Gustav Horn, Yuji Oniki, and Mason Jones. (I was pleased to discover that Jones and Oniki both have connections to Ann Arbor since I live in the area; the city even comes up a few times in the book.) Matt Thorn and Satoru Fujii also make contributions to <i>Japan Edge</i>. I was already familiar with some of the contributors and their work and looked forward to seeing what they had to say in <i>Japan Edge</i>.<br /><br /><i>Japan Edge</i> is divide into six chapters: "Anime," "Film," "Noise," "Music," "Manga Views," and "Roundtable." Interspersed between the chapters are the previously mentioned excerpts from <i>Palepoli</i> and brief "Tokyo Diary" entries by Oniki. The first four chapters in <i>Japan Edge</i> follow a similar pattern. They start with a general overview of the subject which is then followed by a personal essay by one of the contributors--Horn writing for "Anime," Macias for "Film," Jones for "Noise," and Oniki for "Music." The chapters conclude with commentary on future trends, collection suggestions, and a short biography and question and answer section with the respective writer. The "Manga Views" and "Roundtable" chapters are more of a joint, collaborative effort in which each contributor provides material.<br /><br />The presentation and layout of <i>Japan Edge</i> is inspired by that of Japanese magazines. Overall, I really like the design of the book, but some of the text sizes and font choices make reading a bit of a strain on the eyes. The collection pages in particular are difficult to completely discern without significant effort. <i>Japan Edge</i> will probably appeal most to readers who are already interested in Japanese pop culture, especially since the book actually deals with Japanese pop <i>subculture</i>, as the subtitle indicates. In "Anime," Horn primarily examines Studio Ghibli and Gainax, both of which were quite revolutionary in their time. Macias choose to focus on two subgenres of cult film--kaiju and yakuza. Noise is already its own subculture, as Mason points out, but in "Music" Oniki looks at a wider selection of alternative and indie sound. "Manga Views" covers everything from yaoi and dōjinshi to underground and ultra-violent manga and beyond. "Roundtable" goes on to briefly address other subcultures in Japanese literature, fashion, and photography.<br /><br />Since it was published in 1999, over ten years ago, portions of <i>Japan Edge</i> come across as dated, particularly the future trends and collection sections. They still make for interesting reading, though. While the overviews of the various media only cover up to the late nineties, they do provide valuable historic information. When this is kept in mind they make nice, general introductions to the subject areas since they do address pivotal series and creators. The majority of <i>Japan Edge</i> holds up perfectly fine despite the book's age. Large parts of the volume are devoted to the contributor's own personal experience with Japanese pop culture. Their passion and intense interest is abundantly clear. I was even convinced to search out some of the materials mentioned in <i>Japan Edge</i> on the basis of the writers' enthusiasm alone.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/42045180"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-718272492291465338?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-78590894324730574492012-01-19T13:14:00.000-05:002012-01-19T13:14:08.038-05:00~written by Natsume Sōseki<br />~translated by Jay Rubin<br /><br /><a href="http://www.librarything.com/isbn/9780140455625" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-oSLWJnrOeAI/TxX_fnhlQYI/AAAAAAAABkE/8zlnTY7ZPJM/s200/Sanshiro.jpg" width="130" /></a><i>Sanshirō</i> is the second novel by Natsume Sōseki that I have had the opportunity to read. The first was his masterpiece <a href="http://experimentsinmanga.blogspot.com/2011/09/kokoro.html"><i>Kokoro</i></a>, which I loved. <i>Sanshirō</i> was initially serialized in Japan between 1908 and 1909. Penguin Classics' 2009 translation by Jay Rubin is revised from Rubin's original 1977 translation. The edition also includes a delightful introduction to the novel by Haruki Murakami as well as a chronology and translator's notes. According to the introductory material, <i>Sanshirō</i> is the last novel written by Sōseki in which humor plays a prominent role. It is also the first book in a thematic trilogy (followed by <i>And Then</i> and <i>The Gate</i>) which I hadn't previously realized. Because I enjoyed <a href="http://experimentsinmanga.blogspot.com/2011/09/kokoro.html"><i>Kokoro</i></a> so much, I was looking forward to reading another work by Sōseki. And because Sanshirō has been sitting on my shelf for what seems like ages, it's what I turned to next.<br /><br />Sanshirō Ogawa is a recent college graduate from a rural area in Kyushu. To continue his education he must travel to Tokyo, enrolling in the Imperial University's division of Law and Letters. After a three day journey by train he finally arrives, a simple-hearted country boy completely overwhelmed by the big city of Tokyo and its people. Fortunately, and occasionally unfortunately, he is befriended by his classmate Yojirō Sasaki. Sanshirō's circle of acquaintances grows and his social life becomes more complicated. He even manages to fall in love despite being terrified of women. But his inexperience with city life and culture, not to mention his complete ineptitude when it comes to interacting with members of the opposite sex, proves to be problematic when pursuing a romantic relationship.<br /><br />There is no grand, overwrought plot to <i>Sanshirō</i>. Instead, the novel is a simple portrayal of the life of a university student in Japan in the early twentieth century. In its way, <i>Sanshirō</i> is very much a coming of age story. Sanshirō certainly has quite a bit of growing up to do. For most of the novel, he is more of an observer than he is a person with initiative. Events simply happen around him and he absorbs it all without much comment. It is only at the end of <i>Sanshirō</i> that it becomes apparent that he is about to step into the next stage of his life. Some readers may find Sanshirō frustrating as a protagonist because there isn't much development in his character. Personally though, I liked him, in part because I could identify with him so easily--I, too, left a very rural area to attend university in a much larger city.<br /><br />Although I wasn't quite as taken with <i>Sanshirō</i> as I was with <a href="http://experimentsinmanga.blogspot.com/2011/09/kokoro.html"><i>Kokoro</i></a>, I still enjoyed the novel. Sōseki's humor shines through, even in translation. Some of the humor is situational, some comes from the characters' personalities, and some is the result of Sōseki's delightful writing. I frequently found myself reading with a slight smile on my face and even chuckled aloud on occasion. <i>Sanshirō</i> is both entertaining and amusing. Sōseki also includes elements from his own life in the novel and finds inspiration for parts of his story in real people, places, and events. One of the reasons I am particularly grateful for the chronology and notes is that they help to shed light on this. <i>Sanshirō</i> may not be my favorite novel written by Sōseki, but I am still able to appreciate it. I look forward to reading more of his work.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/434561937"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7859089432473057449?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-28498884443393037832012-01-14T21:23:00.000-05:002012-01-14T21:23:44.154-05:00~written by Ryū Mitsuse<br />~translated by Alexander O. Smith and Elye J. Alexander<br /><br /><a href="http://www.librarything.com/isbn/9781421539041" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-cMwRFA5-m-8/Tw-cihZO1bI/AAAAAAAABis/GBqx2TuTZJo/s200/10BillionDays100BillionNights.jpg" width="131" /></a>Ryū Mitsuse's <i>Ten Billion Days and One Hundred Billion Nights</i> is considered to be one of the greatest Japanese science fiction novels to have ever been written. As a lover of both science fiction and Japanese literature, I knew I wanted to read it without any hesitation. I was thrilled when Haikasoru, Viz Media's Japanese speculative fiction imprint, released the English translation by Alexander O. Smith and Elye J. Alexander in 2011. <i>Ten Billion Days and One Hundred Billion Nights</i> was originally published in Japan in 1967 but Mitsuse slightly revised the book in 1973. Haikasoru's edition is based on this revision. Very little of Mitsuse's work is currently available in English. The only other two works that I know of are <i>Andromeda Stories</i>, a manga collaboration with Keiko Takemiya which I have read and enjoyed, and his short story "The Sunset, 2217 A.D." which was included in <i>Best Science Fiction for 1972</i>, edited by Frederik Pohl, which I now plan on tracking down.<br /><br /><i>Ten Billion Days and One Hundred Billion Nights</i> begins with the birth of a planet. It ends eons later. From the deepest depths of the sea to the farthest reaches of space, from a time epochs before the existence of humanity to an age beyond its downfall, the journey is epic in its scale. There is the city of Atlantis, its brilliance and its destruction as incomprehensible to its population as it is to those outside. There is Plato and his search for the long lost city, leading him to unexpected places and revelations. There is Prince Siddhārtha, destined to become the Buddha, whose quest for enlightenment changes him completely. There is the unprecedented influence of Jesus of Nazareth, whose presence changes the world. And there is the final confrontation between incredible forces at the end of it all.<br /><br />The translation of <i>Ten Billion Days and One Hundred Billion Nights</i> is phenomenal. The prologue is especially stunning in addition to being one of the more immediately accessible portions of the novel. The prologue actually happens to be one of my favorite parts of the book; I've already read and reread it several times on its own. Mitsuse's writing combines the real and the fantastic in wondrous ways. Particularly impressive in <i>Ten Billion Days and One Hundred Billion Nights</i> is his layering of Buddhist and scientific cosmologies. However, some of the chapters may be a little overwhelming to a reader who does not already have some familiarity with Buddhism. The same is true for Christianity as well, but to a much lesser extent. Granted, after four chapters of setup, more than half of the book, Mitsuse lets loose and challenges readers to reconsider everything they thought they knew, anyway.<br /><br /><i>Ten Billion Days and One Hundred Billion Nights</i> is not an easy read. The story is not just there to be consumed passively. Instead, it demands thought and contemplation; the reader is required to make an effort in order to fully appreciate the novel. While reading <i>Ten Billion Days and One Hundred Billion Nights</i>, I was constantly struck by a heady sense of vertigo, adrift with complete understanding seeming to be just beyond my grasp. It's a feeling that the characters, too, must deal with. But throughout the novel are threads that tie everything together, so thin that they might not even be noticed at first, but serving as a tenuous anchor. Seemingly unrelated events are shown to be connected and carry a greater significance than might be initially assumed. It is only after finishing the entire novel that things will really begin to fall into place and sink in. I've been thinking about <i>Ten Billion Days and One Hundred Billion Nights </i>ever since I finished the book and my admiration continues to grow. I want, and need, to read it again.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/697261865"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2849888444339303783?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-79777688433832959022012-01-12T12:34:00.000-05:002012-01-12T12:34:04.518-05:00~written by Fūtaro Yamada<br />~translated by Geoff Sant<br /><br /><a href="http://www.librarything.com/isbn/9780345495105" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-2f_SOt9BgEk/TwzizaR77eI/AAAAAAAABik/N4_nENgwkWw/s200/KougaNinjaScrolls.jpg" width="133" /></a><i>The Kouga Ninja Scrolls</i> is the first book in a series of novels about supernatural ninja written by Fūtaro Yamada. The novels have inspired numerous other stories and adaptations by other creators. In the case of <i>The Kouga Ninja Scrolls</i>, it is the basis for <i>Basilisk</i>, both the manga and the anime series, and the live action film <i>Shinobi: Heart Under Blade</i>, as well as other adaptations. The cover art for Del Rey's 2006 release of the novel, translated by Geoff Sant, happens to be the work of Masaki Segawa, the artist for the <i>Basilisk</i> manga. Although the edition of <i>The Kouga Ninja Scrolls</i> on which Del Rey's release is based was published in 2005, the novel was originally written in 1958. <i>The Kouga Ninja Scrolls</i> and the following novels became immensely popular in Japan. Yamada, who wrote mystery novels in addition to books featuring ninja, won a number of awards for his work.<br /><br />The Kouga and the Iga ninja clans' blood feud has lasted for four hundred years. After the Tokugawa shogunate was established, the ninja were forced to stop their fighting. But when a dispute over the succession threatens to tear the Tokugawa apart, the dictated truce between the clans is lifted. Ten Iga ninja and ten Kouga ninja, each group representing one of the potential successors' factions, will be pitted against each other in a clash to the death. The surviving clan will determine who the next shogun will be. But even though the clans' rivalry has persisted for centuries, not every ninja still has the desire to fight--in particular, Gennosuke, the heir of the Kouga clan, and Oboro, the heir of the Iga. Torn between their love for each other and their loyalty to their families, they would do anything to end the feud. But Oboro and Gennosuke's destiny has already been put into motion; they have no other choice but to meet each other in battle.<br /><br />After four hundred years of secrecy and inbreeding, both the Kouga and Iga clans have produced ninja with incredible skills and abilities. In some cases, they are barely recognizable as human anymore. Often the capabilities that make the ninja so powerful are also the cause of their ultimate downfall. The ninja's individual abilities border on magic, but Yamada has a pseudo-physiological explanation for each and every one of them. Their powers are extreme but natural extensions of what the human body is capable of. Some of the ninja's peculiar abilities are rather disgusting even if they are effective, while others are just plain cool. My personal favorite was probably Kisaragi Saemon and his unique way of being able to impersonate another person. <br /><br />The story of <i>The Kouga Ninja Scrolls</i> is frequently described as Romeo and Juliet with ninja. Personally, I find the comparison somewhat superficial. <i>The Kouga Ninja Scrolls</i> is definitely its own story. On the surface it appears to be only a set up to allow Yamada to write fantastic and thrilling battles, but the story also addresses deeper matters of loyalty, responsibility, duty, and passion. Yamada makes great use of historical figures in <i>The Kouga Ninja Scrolls</i> and also incorporates historic documents and poetry into the novel. I particularly appreciated that the control of information was give such an important role in the story--an aspect of ninjutsu often overlooked in popular culture. The tone of the narrative is told from a modern perspective. I did find this to be slightly distracting from the setting, but it does read well. I enjoyed <i>The Kouga Ninja Scrolls</i> and wish more of Yamada's work was available in English.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/70408092"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7977768843383295902?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-66165896588715141352011-12-30T10:17:00.000-05:002011-12-30T10:17:53.281-05:00~by Naoko Takeuchi<br /><i>1993 Kodansha Manga Award</i><br /><br /><a href="http://www.librarything.com/isbn/9781935429746" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-UYv77bJknVQ/TvsTb_JZlfI/AAAAAAAABhU/Mief5WQ_SoQ/s200/SailorMoon1.jpg" width="133" /></a>In 1997, Naoko Takeuchi's manga series <i>Sailor Moon</i> was one of the very first titles published by Tokyopop. It, along with the anime series, became somewhat of a phenomenon in the United States. But, Tokyopop's license ended and <i>Sailor Moon</i> has been out of print for years despite its popularity. Then, in 2011, Kodansha brought the manga back in a completely new edition under the title <i>Pretty Guardian Sailor Moon</i>. Kodansha's version is based on the 2003 revision of the original series, which was first published in Japan between 1991 and 1997. I'll admit, I mostly missed out on <i>Sailor Moon</i> the first time around except for a single day that I was sick in bed and there happened to be a marathon of the <i>Sailor Moon</i> anime on television. I don't really remember much of it though, and the whole incident may very well have been a fever dream, but I'm pretty sure it actually happened. Still, I was very glad that <i>Sailor Moon</i> was selected for the <a href="http://suitablefortreatment.mangabookshelf.com/category/sailor-moon/">December 2011 Manga Moveable Feast</a> so that I could be properly introduced to the series.<br /><br />Usagi Tsukino is an average fourteen-year-old middle school student at Minato Ward Juban Public. She enjoys eating, sleeping, and having fun. Her grades could stand to be better, but she would rather visit the local game center than study. On her way to school one morning, late and in a rush as usual, Usagi comes across a strange cat. After helping it--she was the one who stepped on the poor thing after all--the cat begins appearing wherever she goes. That night the cat, Luna, reveals its ability to talk and declares Usagi to be a guardian, destined to find her allies, defeat her enemies, and protect the princess and the legendary silver crystal. Usagi's not really sure what Luna is talking about or even that she wants anything to do with it. But given the ability to transform into Sailor Moon and the powers needed to save her friends from harm, Usagi suddenly discovers she's not just a normal teenager after all.<br /><br />For a cat that appears to know just about everything about what is going on, at the same time Luna doesn't seem actually to know anything. Although I'm sure that Takeuchi has some basic idea of where she is taking the story, in this first volume of <i>Pretty Guardian Sailor Moon</i> I really feel like she's making up most of it as she goes. Things just kind of happen and the readers and characters are simply there for the ride. The guardians themselves seem oddly accepting of everything that is occurring around them and of the revelations of their true natures--they just seem to go along with it. I actually found the resulting narrative chaos to be rather delightful at first, but I do hope that the story finds a bit more direction and focus in subsequent volumes.<br /><br />Probably the thing I like best about <i>Pretty Guardian Sailor Moon</i> so far is the cast. While the villains come across as a bit one note, Luna and the guardians and Tuxedo Mask are all very likable. I particularly appreciate the range of their personalities. I was actually a little surprised by how much I ended up liking Usagi. She's a bit of an airhead and an admitted crybaby, characteristics that tend to annoy me. But those aren't her only defining qualities. When her friends are in trouble she will do anything she can to help them and will give it her best. Usagi's an unlikely leader, but her confidence is growing and the others trust her. I think that Takeuchi's artwork has held up pretty well over time. Granted, I do read a lot of older manga, so maybe it just doesn't bother my stylistically. However, the more action oriented sequences and fights can be difficult to follow. I wasn't astounded by the first volume of <i>Pretty Guardian Sailor Moon</i>, but I did enjoy its charming silliness enough to want to read more.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/751994986"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6616589658871514135?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-43545216512134541442011-12-26T08:16:00.000-05:002011-12-26T08:16:16.041-05:00~written by Hiroshi Yuki<br />~translated by Tony Gonzalez<br /><br /><a href="http://www.librarything.com/isbn/9780983951308" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-1IijYmJpCaE/TvSb0RiYY4I/AAAAAAAABgk/YPWcXZDhgvo/s200/MathGirls.jpg" width="129" /></a><i>Math Girls</i> began as a series of stories that the author, Hiroshi Yuki, posted on his website. After receiving a good deal of positive feedback and encouragement to release <i>Math Girls</i> as a book, the novel was published in Japan in 2007. It went on to become a bestseller and the first in a series. There has even been a manga adaptation. In 2011, <i>Math Girls</i> as translated by Tony Gonzalez was the first book to be released by the newly established Japanese literature publisher Bento Books. <i>Math Girls</i> will appeal to those who already love mathematics. It's been a long time since I've seriously studied the subject (AP Calculus, way back in high school), but I do enjoy it. If the sigma notation on the cover makes you want to run away in terror, then <i>Math Girls</i> is probably not for you. On the other hand, if it makes you grin a little (or maybe roll your eyes depending on how much of a romantic you happen to be), <i>Math Girls</i> is probably worth seeking out.<br /><br /><i>Math Girls</i> follows an unnamed second-year high school student (equivalent to an eleventh-grader) who enjoys to play around with math whenever he can get a chance. In part because of his love for math, he attracts the attention of two very different girls: Miruka, whose knowledge of math and natural brilliance exceeds even his own, and Tetra, who is only beginning to truly understand math but who is earnest in her efforts. For better or for worse, the complexities of mathematics are nothing compared to the complexities of relationships. He agrees to tutor Tetra in math; she wants to learn, but she also has other motives for spending time with him. On the other hand, Miruka is constantly showing him a thing or two about mathematics and can be a bit possessive. Mathematics is important to all three students and it is through math that they become important to each other.<br /><br />The protagonist's love of math, and thereby the author's love as well, is apparent from the very start of <i>Math Girls</i>. Couched in a light romance, the math is really the heart of the novel. Flipping through the book might be daunting for some readers as very few pages are without some sort of graph, formula, or math problem. I do agree with Yuki's note at the beginning of the book: skip over the math if you need to, but try to follow what you can. It's worth it and is actually part of the story. I found myself learning a few things as I read and was reminded of how much I delighted in math. However, some of the problems can be quite advanced. I probably wouldn't recommend <i>Math Girls</i> to most readers who haven't had at least some precalculus, advanced algebra, or trigonometry although some of the math included is below that level.<br /><br />Mathematics is often compared to a spoken language in <i>Math Girls</i> which is entirely appropriate. Math <i>can</i> be used as a form of expression. In fact, the protagonist of <i>Math Girls</i> frequently describes his feelings in the terms of the language he loves and knows best--mathematics. The execution of this is both brilliant and effective. <i>Math Girls</i> provides a fun and engaging way to learn and review mathematical concepts. It may very well be the only novel that I've read that contains an index. Yuki has also included an annotated list of recommended readings, many of which are available in English. I'm not sure that <i>Math Girls</i> will necessarily win mathematics any new fans, but the characters' joy as they explore and discover new and old ideas is infectious. If you already love math, there is a good chance that you will love <i>Math Girls</i>. To paraphrase Tetra, I may not have understood half of it, but what I did understand was wonderful.<br /><br /><br /><br /><div style="text-align: right;"><i>Not available in a library...</i><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4354521651213454144?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-83545355333122992532011-12-22T08:37:00.000-05:002011-12-22T08:37:05.777-05:00~written by Hideyuki Kikuchi<br />~illustrated by Jun Suemi<br />~translated by Eugene Woodbury<br /><br /><a href="http://www.librarything.com/isbn/9781569701461" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-nknM3ZkeXko/TvE4T2p_tgI/AAAAAAAABgY/jBgtVnEYtuA/s200/Yashakiden2.jpg" width="143" /></a>Since beginning <i>Yashakiden: The Demon Princess</i> I have read a few of Hideyuki Kikuchi's manga collaborations, but <i>Yashakiden</i> remains the only prose work of his that I have read. I'll admit, I wasn't particularly impressed by the <a href="http://phoenixterranbooks.blogspot.com/2011/11/yashakiden-demon-princess-volume-1.html">first volume</a> in the series. Despite brief moments of brilliance, overall I found the novel to be pretty cringe-worthy. However, there as enough that intrigued me in the <a href="http://phoenixterranbooks.blogspot.com/2011/11/yashakiden-demon-princess-volume-1.html">first volume</a> of <i>Yashakiden</i>, particularly Demon City Shinjuku, the setting of the story, that I wanted to read at least the second volume as well. Digital Manga Publishing released the English translation by Eugene Woodbury in 2010 and was kind enough to send me a review copy. The edition, which includes illustrations by Jun Suemi, is based on the version of the novel that was published in Japan in 2007. Kikuchi completed the work in 1997.<br /><br />The second volume of <i>Yashakiden</i> begins immediately where the <a href="http://phoenixterranbooks.blogspot.com/2011/11/yashakiden-demon-princess-volume-1.html">first volume</a> leaves the story off. Four ancient Chinese vampires have come to Demon City Shinjuku to make the city their own. Two of the city's most formidable residents, Aki Setsura and Doctor Mephisto, oppose them. They don't entirely trust each other, but the two men must work together, even forming an alliance with Demon City Shinjuku's local vampire population. It's not enough. Neither side of the conflict comes through unscathed from the ensuing struggle for control over Demon City Shinjuku: there have been numerous deaths, Setsura is in the hospital unconscious, Mephisto is acting strangely, and the vampires on both sides are all worse for wear. Still, the Chinese vampires' influence over the city continues to grow as they turn leaders of the government and the police force. To make matters even more complicated, most of those living in Demon City Shinjuku aren't even aware of the danger they are in.<br /><br />I am very happy to be able to say that the writing style of the second volume of <i>Yashakiden</i> greatly improves upon that of the <a href="http://phoenixterranbooks.blogspot.com/2011/11/yashakiden-demon-princess-volume-1.html">first</a>. I do wish it was a little more descriptive, though. Quite frequently important details are introduced only when they are immediately needed. This can make things a bit confusing for the reader from time to time, such as during an action sequence in which a character suddenly makes use of a sword that he had apparently been carrying the whole time but that I couldn't remember ever having been mentioned. But overall, the writing is much better in the second volume. The tone and pacing of the story, which varied wildly in the <a href="http://phoenixterranbooks.blogspot.com/2011/11/yashakiden-demon-princess-volume-1.html">first volume</a>, is much more even, as well.<br /><br /><i>Yashakiden</i> continues to intrigue me. In the second volume, Kikuchi has introduced some new plot elements in addition to developing those that have already been established. Mephisto, who has always come across as a little odd, has become a more interesting character now that his stoic facade is starting to crumble. As for Setsura, I am becoming more and more curious to learn about his "other" self of which Kikuchi has only allowed readers glimpses so far. I do enjoy the scenes in which the two men appear together; they know how to push each other's buttons and I find their mutual needling to be rather amusing. While <i>Yashakiden</i> isn't a series that I would rush out to recommend to just anyone, personally I plan to follow it a bit further. I'm hoping that each volume continues to improve and am honestly interested in seeing where Kikuchi takes things next.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/503646076"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8354535533312299253?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-75013980432222662392011-12-18T13:53:00.000-05:002011-12-18T13:53:57.260-05:00~written by Hiroko Yoda and Matt Alt<br />~illustrated by Yutaka Kondo<br /><br /><a href="http://www.librarything.com/isbn/9784770031198" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-syTNFuaNSPM/Tuq0ALpVtxI/AAAAAAAABfw/0EbwRUspa-I/s200/NinjaAttack.jpg" width="139" /></a><i>Ninja Attack!: True Tales of Assassins, Samurai, and Outlaws</i> is the second <i>Attack!</i> book by wife and husband team Hiroko Yoda and Matt Alt, although this time they are working with a different illustrator, Yutaka Kondo. I read and thoroughly enjoyed the first <i>Attack!</i> guide, <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a>, finding it to be both entertaining and informative. In fact, I liked <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a> so well that I was immediately interested in <i>Ninja Attack!</i>, first published by Kodansha International in 2010. While <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a> looked at traditional Japanese creatures from folklore and urban legend, <i>Ninja Attack!</i> primarily focuses on real-life figures from Japanese history. As is explained in the books foreword, "Actual, historical ninja are fascinating enough subjects without needing to muddy the waters with fantasy." Yoda and Alt go on to prove that to be true.<br /><br />Like <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a>, <i>Ninja Attack!</i> is organized thematically as opposed to chronologically which might be expected with a book dealing with history. <i>Ninja Attack!</i> features thirty-one important or notable historical figures divided into six groups: "Ninja's Ninja," those who served as role models, epitomizing what it means to be a ninja; "Ninja Gone Bad," which is just what it sounds like; "Ninja Magic," those that seem supernatural in their abilities; "Ninja Rivals," samurai and lawmen who interacted with ninja; "Ninja Masters," those who made good use of and employed ninja; and "Ninja Destroyer," which is pretty much just Oda Nobunaga. Additional information and fun facts are given throughout the book in the form of sidebars, sections called "The Illustrated Ninja," in which the authors talk about ninja and ninjutsu more generally, and a brief history of Japan. A glossary, bibliography, and index are also provided, as well as a foreword and an "About This Book" section.<br /><br />Although there is some variation, most entries in <i>Ninja Attack!</i> consist of five major parts: a full-page, color illustration; a quick fact sheet about the person; a section called "The Man" (or "The Woman" where appropriate), which is a brief biography or introduction of sorts; a section called "The Moment of Glory" which describes an exploit for which the person is known; and a section called "The End" which explains how things ultimately turn out. Some entries have additional sections and in a few cases may be missing some of the ones just listed. One of my few complaints about <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a> was that the color pages were dropped partway through the book. So, I was very happy to see that this was not the case with <i>Ninja Attack!</i>, which continues to alternate between color and black and white pages from beginning to end.<br /><br />As much as I loved <a href="http://phoenixterranbooks.blogspot.com/2011/03/yokai-attack-japanese-monster-survival.html"><i>Yokai Attack!</i></a>, I think I enjoyed <i>Ninja Attack!</i> even more. The very informal, conversational tone that Yoda and Alt adopt make the book extremely approachable. Even readers who don't consider themselves history buffs should find <i>Ninja Attack!</i> interesting and probably won't be scared off. Readers who already know some Japanese history will most likely recognize a number of the people mentioned, but there were plenty who at least I was previously unfamiliar with. A few important fictional ninja are also included in the book, but for the most part <i>Ninja Attack!</i> focuses on historical figures who are known or are believed to have existed, exploring the truth behind the myths and legends that surround ninja even today. <i>Ninja Attack!</i> isn't the definitive source for its subject area, but it makes a fantastic introduction. <i>Ninja Attack!</i> is lighthearted, thoroughly engaging, and very informative. I wouldn't hesitate to recommend the book.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/593629477"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7501398043222266239?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-6593544200756700202011-12-12T08:05:00.001-05:002011-12-13T09:03:28.031-05:00~by Doton Yamaaki<br /><br /><a href="http://www.librarything.com/isbn/9781935548072" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-p1sCbi2xUiw/TuF4S9LxQcI/AAAAAAAABfA/CrTbkyrnrCs/s200/BreatheDeeply.jpg" width="138" /></a><i>Breathe Deeply</i> is the first work by Doton Yamaaki, a husband and wife creative team, to have been translated into English. <i>Breathe Deeply</i> was originally published in Japan in 2010. I had never heard of the manga or of the creator before seeing the title listed in One Peace Book's catalog for 2011. I read and quite enjoyed Yumiko Shirai's <a href="http://phoenixterranbooks.blogspot.com/2010/11/tenken.html"><i>Tenken</i></a>, One Peace Books' first foray into publishing fiction manga; that alone was enough to interest me greatly in <i>Breathe Deeply</i>. If <a href="http://phoenixterranbooks.blogspot.com/2010/11/tenken.html"><i>Tenken</i></a> was any example to go by, <i>Breathe Deeply</i> promised to be an engaging and distinctive work. I was really looking forward to reading it and was thrilled when I was given the opportunity to receive a review copy of the book. While I wasn't previously familiar with Doton Yamaaki's work, the pair has apparently received several awards for their creative endeavours.<br /><br />Sei and Oishi are two men who were profoundly affected by the loss of their beloved Yuko to a heart condition when they were young. Fifteen years later they are still haunted by their memories of her and are driven by them to find a solution to her illness. Sei a chemical engineer, has met with recent success, creating a polymer-based artificial heart. At the other end of the scientific spectrum, Oishi is struggling to have his research into regenerative cells accepted. Both of the men's work is cause for some amount of controversy within the scientific community. Just as they vied for the affections of Yuko when they were younger, they continue to compete in pursuit of their goal, convinced that their own theories, beliefs, and ideals are the correct ones. But even on the verge of a breakthrough, both Sei and Oishi must still deal with their guilt and their grief.<br /><br />Scientific inquiry can be cutthroat and ruthless. While I don't feel <i>Breathe Deeply</i> has an agenda, other than to tell a compelling story, generally speaking the engineers are portrayed in a slightly better light than their peers in the medical school. More of this has to do with the researchers themselves rather than their actual work. The Chief, for one, is a horrible person even if she makes a memorable character. (I can't say that I was unhappy when she has to deal with the consequences of some of her actions.) On the other hand Oishi, a stem-cell researcher, is one of the most sympathetic characters in the entire manga, even considering some of the terrible things he has done in his past. The depth and complexity of the the characters and their relationships, particularly the awkward one between Sei and Oishi, is one of <i>Breathe Deeply</i>'s strongest points. The two men are somewhat antagonistic toward each other, but their shared bond over Yuko's loss also serves as an important source of support and strength.<br /><br />I enjoyed <i>Breathe Deeply</i> a great deal; although the story can be a touch melodramatic at times, the manga remains emotionally convincing throughout. Yuko is absolutely critical to the story. Just how important she is to Oishi and Sei is readily apparent in <i>Breath Deeply</i>'s. The manga easily shifts between the present and the past. I would hesitate to call them flashbacks because the memories are still so real and vital to the two men's current lives. The artwork aids in the transitions--past events being colored in lighter shades of grey--making the story easy to follow and naturally flow. The artwork also features photorealistic backgrounds and landscapes, using shading more than screentones. I am very happy I had the chance to read <i>Breathe Deeply</i> and hope to see more work by Doton Yamaaki available in English in the future.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/742513413"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-659354420075670020?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-48737836201826152172011-12-05T07:38:00.000-05:002011-12-05T07:38:27.802-05:00~written by Osamu Dazai<br />~translated by Allison Markin Powell<br /><br /><a href="http://www.librarything.com/isbn/9781935548089" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-H_3Ukw9blBo/TtwCtrUP7MI/AAAAAAAABe4/ydjI2OTG08E/s200/Schoolgirl.jpg" width="142" /></a>Osamu Dazai's novella <i>Schoolgirl</i> was one of his breakthrough works as an author. Dazai is best known for his short novels <a href="http://phoenixterranbooks.blogspot.com/2010/09/setting-sun.html"><i>The Setting Sun</i></a> and <a href="http://phoenixterranbooks.blogspot.com/2011/04/no-longer-human.html"><i>No Longer Human</i></a>, both of which I have read and enjoyed, <a href="http://phoenixterranbooks.blogspot.com/2011/04/no-longer-human.html"><i>No Longer Human</i></a> being my personal favorite. I was very pleased to learn that One Peace Books recently published a new translation by Allison Markin Powell of Dazai's earlier work and was even more pleased when I was offered a review copy of the book. Originally published in Japan in 1939, <i>Schoolgirl</i> has been translated into English at least two other times (once by Lane Dunlop in 1992 and once more previously by Ralph F. McCarthy in 1988), neither of which I have read, making Powell's translation the first I've had the opportunity to enjoy. <i>Schoolgirl</i> is also the first volume in One Peace Books' new Modern Japanese Classics series which will continue to feature novellas as well as longer works of literature.<br /><br /><i>Schoolgirl</i> follows the day in the life of a Japanese teenager in the late 1930s from the moment she wakes up until she once again falls asleep. She tells her own story candidly, more for herself than for anyone who might be prying. I'm not always a fan of stream-of-conscious storytelling, but <i>Schoolgirl</i> flows naturally and remains engaging throughout the novella. As the story progresses, the girl reveals her desires from petty wishes to more substantial dreams, shares her frustrations from minor irritations to deepest grief, and exhibits a growing maturity in how she approaches her life. She is a girl on the brink of adulthood, intelligent and sincere and a little bit selfish, and not without her share of troubles and worry.<br /><br />One of the things that makes Dazai's works so potent is the sense of authenticity with which his characters are imbued. They are likeable, imperfect, and completely believable as people. This is true of the titular schoolgirl as well. I found her to be charming and appreciated how honest she could be with herself. She's still in the process of growing up and finding herself. There were moments when I couldn't help but smile and think "Just wait until you're a little bit older, you'll understand better." She may be a fictional character, but I found myself wishing the best for her as if I actually knew her. Another thing that impresses me about the characters in Dazai's stories is that no matter how unlike me they are, I am still able to identify with them and care about them. I am in no way a late 1930s Japanese schoolgirl, but even though most aspects of our lives are different we still shared some similar thought processes and personal quirks. Dazai's writing can be surprisingly universal.<br /><br />Although I haven't read any other translations of <i>Schoolgirl</i> in order to compare, I was quite happy with Powell's work on the novella. The accessible translation reads nicely, is almost poetic in places, and while I would exactly call it "bubbly," it is well suited as the voice of a precocious teenage girl. I did find myself interrupting my reading to look up references to pieces of literature mentioned with which I was unfamiliar, so it would have been nice if a few cultural notes would have been included as well. This additional information is not absolutely critical to the understanding and enjoyment of <i>Schoolgirl</i> although it does add some extra depth to the narrative. While <i>Schoolgirl</i> may not be as obviously tragic as some of Dazai's following works, echos of the story and the themes he deals with in it can be readily found later on. I am very glad that I finally had an opportunity to read one of Dazai's earliest successes. I'm also looking forward tremendously to seeing what other delights One Peace Books will be bringing readers as part of the Modern Japanese Classics series.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/742513417"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4873783620182615217?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-59328320532830596412011-11-28T17:51:00.000-05:002011-11-28T17:51:36.622-05:00~written by Haruki Murakami<br />~translated by Jay Rubin and Philip Gabriel<br /><br /><a href="http://www.librarything.com/isbn/9780307593313" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-jMxL4KGmhtw/Ts_QNIuEkFI/AAAAAAAABdg/hnBS_adm8bQ/s200/1Q84.jpg" width="140" /></a>Despite my deep interest in Japanese literature, I have somewhat surprisingly never read any of Haruki Murakami's works until his most recent novel <i>1Q84</i>. <i>1Q84</i> was originally published in Japan in three volumes, the first two in 2009 and the final volume in 2010. Already an international bestseller and nominated for a Man Asian Literary Prize, the publication of the single volume English-language edition was probably one of the most anticipated releases in the United States for 2011. I find it very strange, although I'm sure there are very good reasons for it, but two different translators worked on <i>1Q84</i>: Jay Rubin translated the first two books and Philip Gabriel translated the third. <i>1Q84</i> was the November 2011 selection for the <a href="http://www.inspringitisthedawn.com/2006/02/japanese-literature-book-group.html">Japanese Literature Book Group</a> which is why I finally got around to reading something by the world-renowned Murakami.<br /><br />Tokyo, 1984. Aomame is a popular fitness and martial arts instructor at the gym where she works. She's also an occasional assassin, able to send a man to the other side quickly and silently while making the death appear to be natural. But Aomame begins to suspect something isn't quite right with her world when after her latest job she realizes that she seems to be missing memories. Elsewhere in the city, Tengo, a math teacher at a cram school and an aspiring author, has been somewhat reluctantly roped into ghostwriting a short novel called <i>Air Chrysalis</i> for a new writers competition. He doesn't expect anything good to come from the scheme, but he still feels compelled to rewrite the story. But even Tengo couldn't anticipate just how much trouble his acquiescence will cause for all those involved in the subterfuge.<br /><br />For most of the novel, <i>1Q84</i> is told in chapters alternating between Aomame and Tengo's perspectives. At first their stories seem completely unrelated but as the novel progresses the deep connection between the two is slowly revealed. However, I simply didn't feel the inescapable draw that is supposed to exist between Tango and Aomame and that is supposed to be one of the driving forces behind <i>1Q84</i>. Nevertheless, I did like the general structure of the novel and the use of repeated keywords, phrases, and cultural references that tie everything closer and closer together. I loved how what the characters initially believe to be fictional elements steadily encroach upon their realities. The change in the translator for the third book is noticeable but fortunately isn't too jarring. The style might be slightly different, but it was a decent breaking point since a third perspective is also introduced in the final volume.<br /><br /><i>Air Chrysalis</i> is described as a work that fascinates and delights just as much as it confuse and perplexes. In may ways, those words could just as easily be applied to <i>1Q84</i>. The novel is wondrously peculiar. Even so, I found parts of <i>1Q84</i> to be extremely frustrating. For one, I'm not entirely convinced it needed to be as long as it was. While I appreciated the incorporation of musical and literary touchstones, Murakami has a habit of going off on tangents that aren't always obviously justified. Characters frequently rehash plot points that have already been well established without bringing anything new to the story. Conversations tended to be incredibly cryptic or esoteric. And as the novel approaches its end, time becomes less linear, disorienting, and out of sync. While this had the potential to be effective, it didn't quite work for me. I am glad I read <i>1Q84</i>, there were parts of it I really enjoyed, but I do get the feeling it's probably not the best place to start reading Murakami.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/701017688"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5932832053283059641?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-27988696403871033542011-11-25T12:22:00.000-05:002011-11-25T12:22:30.141-05:00~written by Eiji Yoshikawa<br />~translated by William Scott Wilson<br /><br /><a href="http://www.librarything.com/isbn/9784770026095" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-feunS5KPtIg/Ts0L3cfP7EI/AAAAAAAABdY/CHlTv-TpOGw/s200/Taiko.jpg" width="138" /></a><i>Taiko: An Epic Novel of War and Glory in Feudal Japan</i> is the second work by Eiji Yoshikawa that I have read. <i>Taiko</i> is probably Yoshikawa's best known work in English following <a href="http://phoenixterranbooks.blogspot.com/2011/04/musashi.html"><i>Musashi</i></a>, another of his epics, which I have also read. Yoshikawa was a prolific author in Japan, particularly respected as a historical novelist, but only four of his works are currently available in English, the other two being his telling of <i>The Tale of Heike</i> and his memoir <i>Fragments of a Past</i>. <i>Taiko</i> was first released in Japan in 1941. The English translation by William Scott Wilson was initially published in 1992 by Kodansha International and then again in 2000. Like <a href="http://phoenixterranbooks.blogspot.com/2011/04/musashi.html"><i>Musashi</i></a>, the English edition of <i>Taiko</i> has been abridged from the original. I'm not entirely sure how long <i>Taiko</i> was to begin with, but the shortened version of the novel is nothing to ridicule with well over nine hundred pages of dense text.<br /><br /><i>Taiko</i> begins in the year 1536. At the time Hiyoshi, later known as Toyotomi Hideyoshi, was only a troublesome young boy the age of six. The novel follows him and the tumultuous state of Japanese society as he becomes one of Oda Nobunaga's most trusted retainers. Nobunaga is extraordinarily ambitious and ruthless in his methods striving to unite Japan under his own banner. It's a dream that can't be realized without the aid and efforts of Hideyoshi and Tokugawa Ieyasu, who would go on to found the Tokugawa Shogunate. The prospect of unifying Japan is not an easy one. After the collapse of the Ashikaga Shogunate, the country was thrown into a state of chaos with many clans fighting each other in order to claim the power to rule.<br /><br />The most difficult thing about reading <i>Taiko</i> is the sheer number of characters involved in the story. Someone might be thoroughly introduced only to die or otherwise meet fate a few pages later. An added challenge to this is that many of the characters undergo multiple name changes as the novel progresses. <i>Taiko</i> is divided into ten books. At the beginning of each of these sections, a brief list of prominent people and places is given. This is very useful, but a more comprehensive and complete register would have been even more helpful. Some familiarity with feudal era Japan would be extremely valuable for or perhaps even expected of someone undertaking to read <i>Taiko</i>. It's not always clear why certain people or references that are made are important without a basic understanding of the the historical context of the story. The constantly shifting politics and alliances can likewise be difficult to follow.<br /><br /><i>Taiko</i> is described as an epic for good reason. It is a long and complicated novel, capturing the end of the Warring States period and the following attempt at the political unification of Japan. Many of the characters pull off some very impressive diplomatic and military maneuvers. The near constant state of war allows Yoshikawa to write brilliant battle sequences and when there isn't fighting there is plenty of political intrigue to keep everyone occupied. <i>Taiko</i> provides an immersive, and at times even inspiring, experience of sixteenth century Japan. However, the novel's length, even abridged, is certainly felt. There really isn't much character development, although people might exhibit sudden changes in behavior, and even the narrative arc comes across as somewhat flat. Perhaps Yoshikawa was too constrained by the historical realities of the period. But there's some great stuff in here, too, and I'm glad I took the time to read <i>Taiko</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/25412143"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2798869640387103354?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-42952321095662643752011-11-20T12:05:00.000-05:002011-11-20T12:05:28.515-05:00~written by Otsuichi<br />~translated by Terry Gallagher<br /><br /><a href="http://www.librarything.com/isbn/9781421525877" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-xp4kbUEDIO8/TsXExX8cgvI/AAAAAAAABco/e9V7g_dCsdo/s200/Zoo.jpg" width="130" /></a><i>Zoo</i> is the second prose work by Otsuichi that I've read. It was published by Viz Media's Japanese speculative fiction imprint Haikasoru in 2009 with a translation by Terry Gallagher, making it one of the earliest releases to come out of the division. Haikasoru was actually a little worried that <i>Zoo</i> wouldn't do well; general horror doesn't sell as much as many other genres in the United States. Happily, <i>Zoo</i> ended up becoming a finalist for the 2009 Shirley Jackson Award for a single-author collection. The short story collection was originally published in Japan in 2006, which makes it the most recent of Otsuichi's works currently available in English. Even though another of his collections, <i>Summer, Fireworks, and My Corpse</i> (also published by Haikasoru) received a later English release than <i>Zoo</i>, the stories are from earlier in Otsuichi's career. Having been impressed by his award-winning novel <a href="http://phoenixterranbooks.blogspot.com/2011/07/goth.html"><i>Goth</i></a>, I was looking forward to reading <i>Zoo</i>.<br /><br /><i>Zoo</i> collects eleven of Otsuichi's horror short stories, beginning with the titular "Zoo." There isn't really an overarching theme to the stories, per se. In fact, there is a rather pleasant variety. "The White House in the Cold Forest" has a fairytale-like feel to it while "Song of the Sunny Spot" easily qualifies as science fiction. Some, like "In a Falling Airplane" and "Wardrobe" are firmly placed in the real world. "Find the Blood!" has a humorous, albeit dark, bent to it while there is nothing funny about "Words of God" at all. Familial relationships are often important in the stories collected in <i>Zoo</i>, but that is especially true for "Kazari and Yoko" and "SO-far." Even the length of the stories vary. "In a Park at Twilight, a Long Time Ago" is just barely over two pages while the books finale, "Seven Rooms," is the longest at thirty-nine.<br /><br />While the eleven stories are very different, they share some similarities as well. All of the situations and settings that Otsuichi has created are bizarre and disconcerting. The stories are also all told from a first person perspective (except for arguably one) and the narrators aren't always the most reliable. If the circumstances that the characters find themselves in are strange, they themselves are just as abnormal. It is frequently difficult to determine just where the border between fantasy and reality lies, or even if there is one. Another characteristic that the stories share, and I think this must be one of Otsuichi's signatures, is that they all feature a twist of some sort in their plots. Sometimes there are even multiple twists. Even though I have come to expect this from Otsuichi's work, the actual plot developments can still be surprising and quite effective.<br /><br />The variety in the stories collected in <i>Zoo</i> is one of the book's strongest points. Each story has a unique feel to it and each narrator has a distinct, individual voice. My compliments go to the translator for capturing this aspect of Otsuichi's work so well. As with any short story collection, there will be a range in the quality of the individual works. The enjoyment of each story will also differ from reader to reader and will depend on personal taste to some extent. I, for one, didn't particularly like "Find the Blood!" until I realized how funny it actually was. But once I did, I enjoyed the story very much. Overall, <i>Zoo</i> is a great, creepy collection. I'm not at all surprised that it received an award nomination. If I wasn't a fan of Otsuichi already, I certainly am now. Currently, there are only two books by Otsuichi still in print in English, <i>Zoo</i> and <i>Summer, Fireworks, and My Corpse</i>. I hope to see more of Otsuichi's works translated in the future.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/255142017"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4295232109566264375?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-36898790048524396482011-11-17T13:17:00.000-05:002011-11-17T13:17:30.400-05:00~by Natsume Ono<br /><br /><a href="http://www.librarything.com/isbn/1421532107" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/_INf1pfYHIYk/TPwCIMDZ3cI/AAAAAAAAA_8/6GoNnYddpg4/s200/HouseFiveLeaves1.jpg" width="138" /></a>My introduction to Natsume Ono and her work was through the 2010 anime adaptation of her series <i>House of Five Leaves</i>. Since then, I have been devouring her other works available in English, so far all a part of Viz Media's Signature line, but <i>House of Five Leaves</i> remains my favorite. Ono completed <i>House of Five Leaves</i> in eight volumes which were initially published in Japan between 2006 and 2010. It was also in 2010 that Viz Media began releasing the English translation of the series. Currently, the first four volumes are available; the fifth volume is scheduled to be published in December 2011. Although I haven't been reviewing the individual volumes as they have been released, I have been reading them, and rereading them, as son as I have a copy available. But because Ono was the focus of <a href="http://mangawidget.wordpress.com/2011/11/13/natsume-ono-mmf-archive/">November 2011's Manga Moveable Feast</a>, I decided to be a little more vocal in my love for <i>House of Five Leaves</i>.<br /><br />Akitsu Masanosuke is a highly skilled swordsman although most people wouldn't expect it to look at him. Often they are surprised to discover that he's even a samurai at all. He's extremely shy, embarrasses easily, and is not even close to being intimidating. Masa's unfortunate personality makes it difficult for him to keep a job. His lord let him go as a retainer and no one wants to hire a timid bodyguard, and so Masa wanders Edo as a hungry rōnin looking for work. At least until he meets Yaichi, who is looking for a samurai in name only. Yaichi, perfectly capable of defending himself, simply needs a bodyguard for show. Preferably one that is easily controlled. Masa is glad to have the work, not realizing at first that Yaichi happens to be the leader of a kidnapping group known as Five Leaves. Despite his misgivings, Masa slowly finds himself drawn into their circle.<br /><br />One of the most distinctive aspects of Ono's manga is her art. I have never mistaken her illustrations for anyone else's, nor have I ever taken another artist's work to be hers. Admittedly, Ono's style is not one that everyone will appreciate. I wouldn't describe it as pretty, but the loose, deliberate lines have a certain attractive elegance to them. I have become quite fond of Ono's artwork. The style seems to be particularly well suited to the story of <i>House of Five Leaves</i>, especially in the portrayal of the characters and their personalities. The droopy-eyed melancholy fits Masa's timidity perfectly while at the same time the artwork also easily embodies Yaichi's lazy, slightly unsettling intensity. My only real complaint about the art in the first volume of <i>House of Five Leaves</i> is that it is difficult to discern what is happening in the few action-oriented sequences.<br /><br /><i>House of Five Leaves</i> is not a quickly paced manga by any means. It's strength lies in its characters and their interactions, and especially in the relationships developed between Masa and the members of Five Leaves. Probably most important is Masa and Yaichi's strange sort of friendship. Yaichi is fascinated and intrigued by Masa and his unusualness. In return, Masa admires Yaichi's confidence and is curious about him. Yaichi is a charismatic, enigmatic, and intensely private man. Not even the members of Five Leaves know much about him. At this point in <i>House of Five Leaves</i>, not much is known about any of the characters yet, but Yaichi is the most guarded. The groundwork for the story has been established in this first volume and the major players have been introduced. Masa still isn't quite sure what he's gotten himself mixed up in or who these people are, but that will all be revealed as the series progresses.<br /><br /><br /><div style="text-align: right;"><br /></div><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/720487399"><i>Find in a library...</i></a><br /><br /><br /> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3689879004852439648?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-55003378287733760132011-11-14T07:56:00.000-05:002011-11-14T07:56:41.195-05:00~written by Tsugumi Ohba<br />~illustrated by Takeshi Obata<br /><br /><a href="http://www.librarything.com/isbn/9781421511559" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-_7xQ9NcV40o/TryJqVHmb7I/AAAAAAAABbs/8qB6wQ6AKyY/s200/DeathNote10.jpg" width="125" /></a><i>Deletion</i> is the tenth volume in the widely successful twelve volume manga series <i>Death Note</i>, written by Tsugumi Ohba and illustrated by Takeshi Obata. <i>Death Note</i> also has a thirteenth, companion volume in addition to anime, live-action, and prose adaptations and spin-offs. <i>Deletion</i> was originally published in Japan in 2003 and Viz Media released the English-language edition in 2007. Viz is also now re-releasing <i>Death Note</i> in two-volume omnibuses called <i>Death Note: Black Edition</i> (because the covers are black), so <i>Deletion</i> will be found in the fifth omnibus. The series has its ups and downs, but for the most part I have really enjoyed it. The story and themes are interesting and Obata's artwork, as always, is excellent. <i>Deletion</i> picks up the story immediately where the previous volume, <a href="http://phoenixterranbooks.blogspot.com/2011/04/death-note-volume-9-contact.html"><i>Contact</i></a>, leaves off.<br /><br />Just when it looks like Light, who is also acting as Kira and posing as L, has finally gotten a one-up on his adversaries Near and Mello, he quickly loses much of the ground he has gained as the two young men start grudgingly working together and sharing information. Near has determined that the new L is most likely Kira and that Kira is most likely Light. Mello shouldn't be far behind him in reaching the same conclusions. Now, they just need the proof. Near begins by attacking the trust that the members of the Japanese taskforce investigating Kira as built amongst themselves. As they begin to suspect each other and especially Light, who is leading the taskforce, Light has fewer and fewer options left to him for escape, none of them particularly good.<br /><br />Teru Mikami is probably one of the most interesting character to be introduced in <i>Death Note</i>, certainly in recent volumes. He is also the only characters to have his entire past revealed. To do so, Ohba and Obata resort to a flashback sequence which feels a little out of place at first but ultimately I think it works. Plus, it gives Obata a chance to show off great skill at drawing a character at different stages of maturity while still remaining recognizable. The tone of the flashback also shifts away from the surrounding narrative. It almost reads like it could be a religious text. If Kira is God, as many people want to believe, Mikami is his prophet. Mikami is undeniably intelligent, smarter than even Light expected, making his adherence to extreme moral beliefs even more terrifying and disconcerting. It is obvious that he could be a very dangerous person working on his own. The question remains whether Light will be able to control Mikami's fanaticism or not.<br /><br />After a few volumes with some very significant action sequences, <i>Deletion</i> is a return to the more cerebral elements of <i>Death Note</i>. Instead of running in with guns blazing, the men battle it out with their minds as they try to out-think and out-maneuver their opponents and sometimes even their allies in order to take control of the situation. This doesn't mean things have become any less intense, dangerous, or deadly. Near has forced Light to take risks he would rather not and Mello is just waiting for the perfect opportunity to strike to appear. Even Mikami is proving problematic as his ideals quickly diverge from those held by Kira. Panels do become a bit text heavy through all of this as characters explain things or think things through. While some are spelled out very thoroughly, other leaps of logic are difficult to follow. Usually the characters end up being correct, but I can't help but feel that they are making some unfounded assumptions or conveniently forgetting things as needed. Still, I am very interested in learning what happens next in the following volume the series, <i>Kindred Spirit</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/229312882"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5500337828773376013?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-58265407588275545572011-11-10T21:30:00.000-05:002011-11-10T21:30:37.296-05:00~written by Hideyuki Kikuchi<br />~illustrated by Jun Suemi<br />~translated by Eugene Woodbury<br /><br /><a href="http://www.librarything.com/isbn/9781569701454" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-3QWqeVfg_IQ/Trnk9oSLsbI/AAAAAAAABbk/47ddB_iJQc0/s200/Yashakiden1.jpg" width="142" /></a><i>Yashakiden: The Demon Princess, Volume 1</i> is the first novel by Hideyuki Kikuchi that I have read. The fine folk at Digital Manga, which released the English translation in 2009, discovered that I had never read anything by Kikuchi and were kind enough to send me a sampling of his work. Kikuchi is probably best known for his series <i>Vampire Hunter D</i>. The reason I decided to read <i>Yashakiden</i>, another vampire series, first is that the author himself considers it to be even better than <i>Vampire Hunter D</i>. Also, the cover art by Jun Suemi, who also provides the interior illustrations, is marvelous. <i>Yashakiden</i> was originally written in 1997 and the edition that Eugene Woodbury's English translation is based on was published in 2007. <i>Yashakiden</i> currently has four volumes available in English, equivalent to the first six Japanese volumes since books three and four are omnibus editions.<br /><br />Ever since the Devil Quake, Demon City Shinjuku has become a corrupt and sordid place. Cut off from much of the outside world, the city serves as a sort of safe haven for the paranormal. Demonkind and humankind live side by side in a very precarious balance. The arrival of four ancient and powerful Chinese vampires who want to control the city for their own purposes threaten to upset that balance. It is up to two of the city's most dangerous, feared, admired, and talented residents to stop them: Aki Setsura, senbei shop owner and skilled private investigator, and Doctor Mephisto, also known as the demon physician. If the two men hope to save their city from the greatest evil it has ever faced, they will first have to put aside their differences and work together.<br /><br /><i>Yashakiden</i> features not one, but two unnaturally beautiful, supernaturally inclined protagonists. In fact, both Aki and Mephisto's primary characteristic seems to be how gorgeous they are. Kikuchi never misses an opportunity to remind the reader of their beauty, although it is generally stated rather than being described in any depth. This goes for many of the vampires, too. Personally, I need my characters to be more than paranormal pretty boys to really engage me in the story. (Not that I have anything against pretty boys; quite the contrary.) Fortunately, there are some glimmers of hope towards the end of the first volume of <i>Yashakiden</i> that they will actually be interesting characters after all. The mystery that Kikuchi has shrouded them in is frustrating because it seems like the author is simply withholding information from the readers rather than there being anything inherently mysterious about the men.<br /><br />I don't know if it is the fault of the original Japanese or the English translation, but for the most part the writing in the first volume of <i>Yashakiden</i> is pretty terrible. It does get better as the novel progresses, but even towards the end of the book there were turns of phrases that honestly made me cringe. Often, the narrative would even deliberately contradict itself for dramatic purposes. However, the more depraved or grotesque a scene, and often this was the same thing, the better the writing was. It could actually be quite good. The bloody, far from vanilla sex scenes that seem to come out of nowhere are fine examples of this. I should note that the portrayal of women in the novel isn't particularly flattering. Granted, many of them are vampires, but still. Fortunately, they are somewhat balanced out by Takako, who is more than just a sex fiend. Despite some of my misgivings I will be reading the next volume of <i>Yashakiden</i> and probably more after that. I really like Demon City Shinjuku and much of the world-building. It seems like the story could get very interesting very soon.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/430840699"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5826540758827554557?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-71150852660236924152011-10-30T12:45:00.001-05:002011-11-20T12:06:14.051-05:00~written by Otsuichi<br />~illustrated by Kendi Oiwa<br /><br /><a href="http://www.librarything.com/isbn/9781427810946" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-she-GPwZmAw/TqoEOAvruHI/AAAAAAAABZ0/b0NhqlO1D40/s200/Goth.jpg" width="141" /></a>In Japan, <i>Goth</i>, Kendi Oiwa and Otsuichi's manga adaptation of Otsuichi's award-winning novel by the same name, was released in 2003, the year after the original <i>Goth</i> was initially published. Tokyopop released the English translation of <i>Goth</i>, both the manga and the novel, in 2008. However, in this case, the manga was published first, but only by about a month. Although I have since read the original novel, my introduction to the story was through the manga. And since <a href="http://manga.jadedragononline.com/horror-mmf/">October 2011's Manga Moveable Feast</a> was focusing on horror manga, I though it would be a good opportunity to review the manga adaptation. It's a good, creepy manga which I don't think many people have read. Even though it's out of print, it doesn't seem to be too difficult to find yet, and it's only one volume. I should probably also mention the existence of the 2008 live-action adaptation of <i>Goth</i>, too. I haven't seen it yet, but I do plan to.<br /><br />Two high schoolers share an interest in death and murder, although for very different reasons. Morino is a beautiful young woman who is considered strange by her classmates and the other is a young man who is generally well liked. What most people don't realize is that he is hiding his own aberrant behavior. His friendship with Morino is much more complicated than their classmates know. To him, she is an obsession. Morino might not realize her importance to him at first, but she does come to suspect his darker tendencies. Their relationship is intense and precariously balanced. At any moment, it feels as though he could turn on her or simply allow terrible tings to happen to her. But at the same time his is extremely possessive and protective of Morino. She may be an obsession, but she's <i>his</i> obsession.<br /><br />One of the best things about the manga adaptation of <i>Goth</i> is Oiwa's artwork. Both subtly seductive and vaguely disconcerting, the illustrations fit the story perfectly. Oiwa does very well with the material and even more impressive is that <i>Goth</i> was his first professional work. Oiwa's page layouts are varied and interesting, the attractive artwork punctuated by panels that are graphic, gruesome, and grotesque. A nice rhythm is set up where these moments aren't necessarily surprising but everything pauses while the images sink in. The character reactions are very important in these incidents and Oiwa does a fantastic job with facial expressions, or in some cases the deliberate lack thereof. The characters' expressions reveal a lot about them as people and what is revealed can be a very scary thing. The atmosphere that Oiwa's art creates paired with Otsuichi's storytelling is marvelously disconcerting. <br /><br />Although the original novel is unquestionably the superior of the two, I think the manga is an excellent adaptation and manages to stand well as its own work. The manga incorporates in one way or another five of the original six stories. Changes have been made and not everything from the novel has been used, but the manga never strays from the tone of the original--it is both captivating and disturbing. Its realism and semi-believability make it very, very creepy. Even though I have read both version of <i>Goth</i> several times and the various twists to the plot are no longer surprising to me, they are still effective story elements, revealing just how abnormal some of the characters truly are. And while the manga doesn't allow the reader to get into their heads to the same extent as the novel, the glimpses seen are chilling. Like the original novel, the manga adaptation of <i>Goth</i> is worth seeking out.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/262719430"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7115085266023692415?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-40354796922518316002011-10-22T17:05:00.000-05:002012-02-14T08:50:17.565-05:00~written by Cheng’en Wu<br />~translated by Anthony C. Yu<br /><br /><a href="http://www.librarything.com/isbn/9780226971476" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-qxHigFZAoF0/Tp4hwF8ZhtI/AAAAAAAABY8/Tnza8zbVbVc/s200/JourneyWest3.jpg" width="131" /></a>I have steadily been making my way through Anthony C. Yu's translation of <i>The Journey to the West</i> and have reached the third of four volumes. The translation was first published by the University of Chicago press between 1977 and 1983, the third volume initially being released in 1980. I chose to read Yu's complete translation because it is an unabridged version of <i>The Journey to the West</i> and I wanted to read such an influential work in its entirety at least once. Yu also translated an abridged edition of the Chinese classic under the title <i>The Monkey and the Monk</i>. <i>The Journey to the West</i> as it is known today was originally written anonymously in China in the late 1500s and is commonly attributed to the author Cheng'en Wu. So far, I have been enjoying Yu's translation and appreciate all of the endnotes that he has included for guidance. I looked forward to reading the third volume.<br /><br />The Buddhist monk Tripitaka was sent to the Western Heaven in order to retrieve sacred scriptures. Years have passed since he began his journey, accompanied by his protectors and companions Monkey, Pa-Chieh, Sha Monk, and a white horse that's actually a shape-shifting dragon in disguise. They've faced many dangers and challenges together, performing numerous good deeds and defeating many monsters, demons, and fiends along the way, often with additional divine aid. And yet the small group has yet to reach the Western Heaven and Tripitaka has yet to reach his goal. Still, with help, the monk perseveres whether he's facing fiends that want to devour him to gain immortality or bed him because he's such a handsome fellow. It's been a long journey, and there's still a long way to go.<br /><br />Out of all of the traveling companions, Sha Monk is probably the most level-headed. Surprisingly enough, even more so than Tripitaka. When Monkey and Pa-Chieh run off for a fight, it's usually Sha Monk that is left behind to guard Tripitaka and the horse and luggage. Why the horse needs protection I'm not sure since the dragon has been shown on multiple occasions to be capable of taking care of himself and others. Although Sha Monk isn't often called on to fight, his battle prowess is quite impressive when needed. Tripitaka, who has unfortunately taken to falling off his horse in fear again, is lucky to have such skilled companions that care for him to accompany him on his journey. Monkey is particularly protective and possessive of Tripitaka, often calling him "my monk" when speaking to others.<br /><br />Although <i>The Journey to the West</i> can be somewhat repetitive due to its form, the author still shows an impressive amount of creativity in the traveler's encounters and with the variety of fiends and monsters themselves. Some are established creatures and characters incorporated from Chinese folklore, but some are the author's own inventions. Another interesting aspect of <i>The Journey to the West</i> is its use of poetry. The poetry isn't always included in English translations, but Yu retains it. Poems are most often implemented when someone or something is being described for the first time or when there is a fight going on. The introductions can be very dramatic, as are the battles. The use of poetry also has the effect of speeding up the pacing of the narrative. Even so, I'm beginning to wonder if Tripitaka and his companions will ever reach the Western Heaven. Guess I'll just have to read the final volume to find out.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/59214071"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4035479692251831600?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-34745200356440418602011-10-15T16:10:00.000-05:002011-10-15T16:10:14.286-05:00~written by Kaoru Kurimoto<br />~illustrated by Naoyuki Kato<br />~translated by Alexander O. Smith and Elye J. Alexander<br /><i>2010 Seiun Award Winner</i><br /><br /><a href="http://www.librarything.com/isbn/9781934287064" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-1-jUJ1wyNqs/TpeUo6hvaGI/AAAAAAAABYQ/0sZW8HKu904/s200/GuinSaga3.jpg" width="146" /></a><i>The Battle of Nospherus</i>, with illustrations by Naoyuki Kato, is the third volume in Kaoru Kurimoto's epic light novel series <i>The Guin Saga</i>. In Japan, the novel was originally released in 1979. Vertical first published <i>The Battle of Nospherus</i> in English in 2003 in hardcover and then again in paperback in 2008, translated by Alexander O. Smith and Elye J. Alexander. <i>The Battle of Nospherus</i> is the third book in the first major story arc in <i>The Guin Saga</i>, often called the "Marches Episode," which is the only part of the novel series currently available in English. <i>The Guin Saga</i> has been at least partially translated into six other languages. I don't know how it has been received in other parts of the world, but the English version hasn't been nearly as successful as the series is in Japan. At well over a hundred volumes, <i>The Guin Saga</i> even won the Seiun Award for long fiction in 2010.<br /><br />With General Amnelis and the Mongauli army in pursuit, the leopard-headed warrior Guin and his companions retreat even further into Nospherus, seeking shelter among the Raku tribe of the Sem. Amnelis' actions are unexpected. Normally, Nospherus and its dangers are avoided at all costs, but she has brought what amounts to an invasion force, much more power than is needed to simply capture the escaped heirs of Parros and those who aid them. Amnelis is determined to take Nospherus and any secrets it holds despite the tremendous risks involved. Meanwhile, the Sem are struggling to band together their tribes, normally at war with one another, in order to protect themselves and their land from a common foe. Vastly outnumbered, outclassed, and out-equipped, the Sem place their hope in the very capable hands of Guin and in Nospherus itself.<br /><br />Although <i>The Battle of Nospherus</i> is the third book in the series, there isn't much character development that hasn't already been established. Guin is still mysterious, Istavan is still a likeable ass, Amnelis is young and ambitious, Rinda is fortunately slightly less annoying, and her twin brother Remus is...well, Remus is often easy to forget that he's even there and is frequently eclipsed by his sister. However, throughout the books there has been heavy foreshadowing indicating that he will become very important later on; I'm just not sure that it will happen by the end of the "Marches Episode." One notable exception, <i>The Battle of Nospherus</i> does give more insight into the character of the love-besotted Captain Astrias. In fact, a good portion of the novel is seen from his perspective. This is one of the things that I really like about <i>The Guin Saga</i>: the story is also seen from the Mongauli's side. While they are most certainly the antagonists, they are not inherently bad people. Particularly the lower ranking soldiers who are only in Nospherus because they have been told to be, not because they want to be.<br /><br />I actually found <i>The Battle of Nospherus</i> to be rather slow going for the first half or so of the book. The narrative, especially the dialogue, felt very stilted to me in the beginning. I have a feeling this may have been the case in the original Japanese as well and so don't blame the translators for it. But by the end of the book, it has settled into a more natural cadence. I was also troubled by the opening sequence and found myself coming up with excuses to cover for what I saw as inconsistencies. And while clever, I wasn't entirely convince by our heroes' solution to their immediate problem. However, if there is one thing that Kurimoto has done well since the beginning of <i>The Guin Saga</i> it's writing a good fight scene. The last half of <i>The Battle of Nospherus</i> is filled with just that--a string of exciting battles and skirmishes. Kurimoto is able to capture the chaos while preventing it from becoming confusing or overwhelming for the reader. The fight for Nospherus continues in the next volume, <i>Prisoner of the Lagon</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/154760196"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3474520035644041860?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-23297274623617726872011-10-13T14:12:00.000-05:002011-10-13T14:12:02.262-05:00~by Ken Akamatsu<br /><br /><a href="http://www.librarything.com/work/11819250" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-XrqNDVxstuM/TpThW-chDXI/AAAAAAAABYA/WMHim83SCQA/s200/LoveHina1.jpg" width="132" /></a>A few years ago I read about half of Ken Akamatsu's manga series <i>Love Hina</i>, but for some reason never finished it. At the time, Tokyopop had published the fourteen volumes between 2002 and 2003; <i>Love Hina</i> was a very successful series for the company. <i>Love Hina</i> was also successful in its native Japan. Serialized between 1998 and 2001, <i>Love Hina</i> went on to inspire anime, light novel, and even video game adaptations. In 2001, <i>Love Hina</i> also won the Kodansha Manga Award for the shōnen category. <i>Love Hina</i> was selected for the <a href="http://www.playbackstl.com/features/10980-love-hina-mmf-the-complete-archive">September 2011 Manga Moveable Feast</a>, although for various reasons we held it in October, to coincide with Kodansha Comics new English release of the series. Kodansha was even kind enough to send out review copies of the new omnibus edition, collecting the first three volumes of the series, to some of the participants. I figured it was a good opportunity to give the series another try.<br /><br />Keitaro Urashima is a second year rōnin. He has applied to the prestigious Tokyo University twice and failed entry both times. It's really not that surprising though if you take a look at his atrocious test scores. Regardless, he is determined to make it in because of a promise he made to a childhood friend (a girl) who he hasn't seen or heard from in fifteen years. Unfortunately, Keitaro's parents are fed up with the situation and have kicked him out of the house. And so he hopes his grandmother will let him stay at her inn. What he doesn't know is that Hinata Inn has been turned into an all-female dormitory. Finding his grandmother away and himself suddenly the manager of the property, Keitaro has a lot more to worry about than just his entrance exams. The poor guy has very little experience with women, and the residents of Hinata Inn are not going to make it easy on him.<br /><br />Much of the humor in <i>Love Hina</i> involves Keitaro unintentionally stumbling upon the girls in various stages of dress or undress and subsequently being declared a pervert and getting pummeled by them for it. I'll admit that I find this rather amusing, but it does get somewhat repetitive, something that even the characters notice. The resulting fanservice caused by these incidents tend to be fairly mild, more imagined than shown, although there are still plenty of panty shots and the like to be found. I'm actually not all that bothered by the fanservice in <i>Love Hina</i> because it serves a legitimate purpose to the story--there are narrative reasons for it to be there. But much like the repeated gags to which it is so closely tied, the fanservice, too, becomes fairly monotonous over time.<br /><br />While I don't actively dislike <i>Love Hina</i>, I'm not finding myself particularly engaged by it, either. I'm not really sure why, because there are parts I really like. I appreciate the fact that all the young women living at Hinata Inn have distinct personalities that are, for the most part, independent from Keitaro. It is fairly clear from their interactions with one another that the household has an established rapport and that Keitaro has simply been added to the mix. Unfortunately, once the characters have been fully introduced, there isn't much further development in these early volumes. At this point, I also feel that the narrative flow is somewhat disjointed. <i>Love Hina</i> isn't exactly an episodic series, but some of the transitions between chapters, or lack thereof, can be jarring. Still, there are some genuinely funny moments in <i>Love Hina</i> amongst the silliness and I'm glad that I gave the series another look.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/719428391"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2329727462361772687?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-24004031075342796382011-10-04T07:21:00.001-05:002011-10-04T07:21:39.843-05:00~by Jim C. Hines<br /><br /><a href="http://www.librarything.com/isbn/0756406080" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-n5V5O8kqhMM/TopKUgNim3I/AAAAAAAABXg/EpJof6sk8J0/s200/RedHoodRevenge.jpg" width="123" /></a><i>Red Hood's Revenge</i> is the third of Jim C. Hines' princess novels. The series, partially inspired by the original, darker versions of fairy tales with a few of Hines' own personal twists, has been well received; the second book, <a href="http://phoenixterranbooks.blogspot.com/2010/04/mermaids-madness.html"><i>The Mermaid's Madness</i></a>, was even long-listed for the British Fantasy Award. Personally, I have also been enjoying the series. I liked the first book, <a href="http://phoenixterranbooks.blogspot.com/2009/03/stepsister-scheme.html"><i>The Stepsister Scheme</i></a>, and loved the second, so there was no question in my mind that I would continue reading the princess novels with <i>Red Hood's Revenge</i>. Additionally, I like to support local authors; Hines makes it particularly easy to want to. <i>Red Hood's Revenge</i> also has a major focus on my favorite character in the books--Talia, also known as Sleeping Beauty. So, while I was already looking forward to reading <i>Red Hood's Revenge</i>, I was even more excited when I learned about that.<br /><br />Roudette, Lady of the Red Hood, one of the world's most deadly assassins, has once again come to Lorindar on a mission. She prefers fairy targets but is willing to take on any assignment that doesn't interfere with her own personal vendetta. Danielle, Snow, and Talia (Cinderella, Snow White, and Sleeping Beauty respectively) make a formidable team, but Roudette (Little Red Riding Hood) makes a formidable foe. The women's confrontation leads them to Talia's homeland of Arathea where they discover that Roudette's presence in Lorindar is only a symptom of a much greater problem. One that will eventually threaten the entire world. There is someone, or something, powerful at work in Arathea and Talia will have to confront people and incidents from her past that she would rather forget if she wants to save those she loves.<br /><br />As I mentioned previously, the further development of Talia and her backstory is an important part of <i>Red Hood's Revenge</i>. Up until now, Hines' princess novels have focused on Lorindar and the immediately surrounding areas. It's wonderful that he gets a chance to explore another and very different part of his world. Unlike Lorindar, where fairies have been more or less isolated from the human population, in Arathea fairykind lives side by side with humankind. At least part of Arathea's culture has been inspired by Persian mythology and legends; I think the inclusion of non-Western influenced fantasy in <i>Red Hood's Revenge</i> is marvelous. People aren't homogeneous, so why should fairies be? Other tales that are particularly important in <i>Red Hood's Revenge</i> are, of course, Little Red Riding Hood as well as The Wild Hunt. At first I felt there was a bit of a culture clash between the Hunt, which is distinctly European in origin, and Arathea, but Hines makes it work in the end.<br /><br />With the princess novels, Hines has created a very likeable team of strong women. And while much of the focus of <i>Red Hood's Revenge</i> is on Talia, Hines doesn't forget the others. Both Snow and Danielle show development in the novel. As always, Hines also introduces interesting and engaging secondary characters. The most prominent in <i>Red Hood's Revenge</i> is understandably Roudette, who's story is actually revealed later in the novel than I wanted it to be, but my favorite was Faziya. From the very first time she is mentioned it is obvious how important she is to Talia by the way Talia acts and behaves. Just how important she is is slowly and naturally revealed. While <a href="http://phoenixterranbooks.blogspot.com/2009/03/stepsister-scheme.html"><i>The Stepsister Scheme</i></a> was a little stilted (but still fun), Hines has really hit his stride with the princess books with <a href="http://phoenixterranbooks.blogspot.com/2010/04/mermaids-madness.html"><i>The Mermaid's Madness</i></a> and <i>Red Hood's Revenge</i>. I'm looking forward to reading the next and final volume in the series, <i>The Snow Queen's Shadow</i>. It does make me a little sad, though, that the series will be ending so soon.<br /><br /><br /><div style="text-align: right;"><br /></div><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/462898491"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2400403107534279638?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-9429822516122587262011-10-01T18:37:00.000-05:002011-10-01T18:37:19.254-05:00~by Yoshitoki Oima<br />~original story by Tow Ubukata<br /><br /><a href="http://www.librarything.com/isbn/9781935429531" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-CNC7mDPjT5M/ToUJqUX6zbI/AAAAAAAABXM/ZUuK-DxF9l8/s200/MardockScramble1.jpg" width="130" /></a>When I learned that Kodansha Comics was publishing the English edition of Yoshitoki Oima's manga adaptation of Tow Ubukata's award-winning <i><a href="http://phoenixterranbooks.blogspot.com/2011/03/mardock-scramble.html">Mardock Scramble</a></i>, I was very interested. I read the original work earlier this year when it was published by Haikasoru. There were some things I loved about it and some things I most definitely didn't. But what occurred to me at the time I read it was that the story would make a fantastic basis for a visual adaptation, which is why I am happy to get the chance to read Oima's manga and see what could be done with it. The first volume of Oima's <i>Mardock Scramble</i> was originally published in 2010, seven years after the publication of Ubukata's series. The English edition of the manga was released by Kodansha in 2011. Oima's <i>Mardock Scramble</i> is currently at five volumes and is still ongoing. I'm interested to see how the nearly seven hundred pages of source material is incorporated into the series.<br /><br />Rune Balot thought she wanted to die. But when Shell Septinos inexplicably takes her in off the streets, and just as inexplicably kills her, she discovers that might not be quite the case. Rescued by Dr. Easter and Oeufcoque, private investigators who are trying to pin a series of murders of young women to Shell, Balot finds her body and life restored using an illicit technology known as Mardock Scramble 09. Her life is still far from perfect, and Shell still wants her dead, but suddenly she is more powerful than she has ever been before. At least physically. Balot's natural talent, skill, and ability to adapt to the new technology and the new body that she has been given is nothing short of impressive.<br /><br />For the most part I liked Oima's character designs although those for Shell and Dr. Easter were frustratingly similar. However, Oima did capture Easter's eccentricity quite well with his gestures and facial expressions. This made me happy because Dr. Easter is a personal favorite of mine from the novel. The city landscapes are marvelously detailed and can actually be a bit overwhelming at times. This does seem appropriate though since Balot also finds her environment to be overwhelming as she is getting used to her new powers. However some of the other panels are completely lacking any sort of background at all. It works well in some cases and makes the reader focus on the characters since there is nothing else, but the difference is jarring and breaks up the cohesiveness of the artwork as a whole. One thing that I did particularly like seeing was Oima's visual representation of Balot's powers and how she learns to use and focus them. I thought the portrayal of her ability to sense and connect with the object around her was handled very well.<br /><br />As an adaptation, I think that Oima's <i>Mardock Scramble</i> is off to a good start. For some reason, I found the naming conventions (everything is an egg reference) to be much more distracting in the manga than it was in the novels. It's something that couldn't really be changed though without running the risk of angering established fans of <i>Mardock Scramble</i>, so new readers simply have to put up with it. Since I have read the novels and therefore have a pretty good background in what's going on in <i>Mardock Scramble</i>, it's a little difficult for me to give my impressions of the manga alone. However, I do think the manga has good potential as its own series. At this point, there are certainly more questions than answers--it is only the first volume after all--but Oima does a decent job introducing the most important story elements even if it feels like a lot of the details are glossed over. If someone hasn't read the original <i>Mardock Scramble</i> this might not be as noticeable, although some information seems to come out of nowhere and nothing's thoroughly explained. Still, I'm interested in seeing how Oima will continue to handle things and plan on reading more of the <i>Mardock Scramble</i> manga.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/751835542"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-942982251612258726?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-7758256136898228942011-09-26T13:37:00.000-05:002011-09-26T13:37:16.031-05:00~written by Natsume Sōseki<br />~translated by Meredith McKinney<br /><br /><a href="http://www.librarything.com/isbn/9780143106036" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-tTOMGcRzTAA/TnvAvB_snrI/AAAAAAAABW0/v5Ej026hJg8/s200/Kokoro.jpg" width="130" /></a>Natsume Sōseki's last completed novel <i>Kokoro</i> has been sitting on my shelf waiting to be read ever since Penguin Classics published the most recent English translation by Meredith McKinney in 2010. So, I was very glad when <i>Kokoro</i> was selected for the September/October 2011 <a href="http://www.inspringitisthedawn.com/2006/02/japanese-literature-book-group.html">Japanese Literature Book Group</a>. As far as I have been able to determine, there have been at least two other English translations of the novel: one in 1941 by Ineko Kondo and one in 1957 by Edwin McClellan. <i>Kokoro</i> was originally released in Japan in 1914 and is considered by many to be Sōseki's masterpiece. Sōseki is well respected as a modern Japanese novelist and many of his works have been translated and published in English. Despite this, and despite having his earlier novel <i>Sanshirō</i> sitting on my shelf waiting to be read as well, <i>Kokoro</i> is the first of his books that I have read.<br /><br />The meeting between a young student and the man he would come to call Sensei happened more by chance than anything else, but their developing relationship became extremely important to both of them. The student is still inexperienced in life and is genuinely earnest while Sensei is significantly more world-weary. He has a melancholic air about him, something that even his wife fails at being able to explain. The student is utterly fascinated by the enigmatic Sensei and wonders at the past he keeps hidden. Sensei himself is unexpectedly drawn to the student, perhaps hoping that he can help the younger man avoid some of the mistakes he made in his own life, or perhaps it's just that he's finally found someone that he can trust with the guilt that he has carried alone all these years. <br /><br /><i>Kokoro</i> is told in three parts. The first two parts, "Sensei and I" and "My Parents and I," are narrated by the unnamed student while the third part, "Sensei's Testament," takes the form of a lengthy letter written by Sensei, who also remains unnamed throughout the book, to the student. According to McKinney, "Sensei's Testament" was initially written as a standalone work; it certainly can easily be read as such. However, although they read significantly differently because of the change in narrators, I greatly appreciated the inclusion of the first two parts of the novel. Seeing Sensei through the eyes of the student, who is more or less enraptured by him, allows the readers a chance to become even more invested in and curious about the man, mirroring the student's own feelings. Even though Sensei tries to keep some distance between himself and the student, and even though the student actually knows very little about him, their relationship is a very intimate one without being sexual.<br /><br />I enjoyed <i>Kokoro</i> immensely and am not at all surprised that it is called his masterpiece. I've not read any of his other works to be able to say so myself, but I am confident in saying that <i>Kokoro</i> is a remarkable piece of literature. I've also not read any of the other English translations of <i>Kokoro</i> to be able to compare, but I found McKinney's translation to be unobtrusive and it reads very nicely. Even though <i>Kokoro</i> was written in Japan in 1914, the themes that it deals with--love, trust, betrayal, and guilt--are pertinent regardless of time and place. While it captures the spirit of the dying Meiji era, it is still a potent story today. Although the narrative can feel somewhat forced at times, the characterization of the two unnamed protagonists is exceedingly well done. They see a little bit of themselves in each other, and I saw a little bit of myself, too.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/430051419"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-775825613689822894?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-18567171184012505232011-09-22T07:26:00.000-05:002011-09-22T07:26:20.104-05:00~by Diana Wynne Jones<br /><i>1986 ALA Best Book for Young Adults<br />2006 Phoenix Award</i><br /><br /><a href="http://www.librarything.com/isbn/9780061478789" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-f5Bj9AYY_Go/TnpeG8fPqoI/AAAAAAAABWs/oYfGFG_1ig0/s200/HowlsMovingCastle.jpg" width="135" /></a><i>Howl's Moving Castle</i> by Diane Wynne Jones was first published in 1986. I have no idea how I completely missed reading this novel growing up. My first introduction to the story was through Hayao Miyazaki's 2004 anime adaptation; I enjoyed the film well enough that I wanted to read the source material. What I didn't realize was that <i>Howl's Moving Castle</i> is actually the first book in a series and that it is followed by <i>Castle in the Air</i> and <i>House of Many Ways</i>. I have only read one other work by Jones, her novel <i>Hexwood</i>, but I remember really enjoying it when I was younger. When I let people know I was finally reading <i>Howl's Moving Castle</i>, there was a huge outpouring of love shown for the story. It made me very happy to see so much excitement over a book that is almost three decades old; it made me look forward to reading it even more.<br /><br />As the oldest of three sisters, Sophie Hatter is resigned to her fate. She doesn't expect anything great or interesting to happen in her life, all the good fortune is reserved for the youngest daughter of course. Additionally, she's actually a stepsister to the other two. After a case of mistaken identity, it is Sophie's luck to be on the wrong side of the Witch of the Waste who puts Sophie under a spell that not only turns her into an old woman, but she's prevented from telling anyone about it, too. Sophie's only chance at returning to normal is to seek the aid of the Wizard Howl, who is said to eat the hearts of young women. It turns out he might no be quite as bad as the rumors make him out to be, but he is rather vain and self-absorbed. Not to mention the womanizer's made some sort of pact with a fire demon. Even so, Sophie works her way into his household along with Michael, his apprentice, and Calcifer, the aforementioned fire demon.<br /><br />Because I've seen the anime adaptation of <i>Howl's Moving Castle</i>, it makes sense that I would compare the two. While both versions start out very similarly, by the end they've gone in very different directions. Honestly, I enjoyed both interpretations of the story. If you've only experienced one or the other, you're missing out on some good stuff. However, I was somewhat surprised at, and not entirely convinced by, the inclusion of 20th century Wales in the novel. While clever, it seemed a bit out of place to me in a book primarily set in a fantasy world. Although saying that, I did appreciated the various real world literature references that Jones incorporates into <i>Howl's Moving Castle</i>. I also particularly enjoyed the revelation of Sophie's magical talent. It seems to be very different from the others' magic, but at the same time it feels very natural.<br /><br />I don't think I'm quite as enamoured with <i>Howl's Moving Castle</i> as everyone else seems to be, but I still enjoyed it immensely. Overall, I found the novel to be charming and utterly delightful. Jones style is fairly lighthearted with a nice sense of humor that doesn't take itself too seriously. I appreciated the fact that the characters were not perfect people; their quirks, faults, and even their selfishness to some extent, make them more likeable and believable. The most basic plot of <i>Howl's Moving Castle</i> is fairly straightforward, but like the castle itself, the narrative wanders quite a bit. I enjoyed getting to know the characters better while the story meanders around, not much happening, but I could see how the slower, indirect pacing could be frustrating for some readers. Still, I enjoyed <i>Howl's Moving Castle</i> and I'm glad I finally read it.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/12582402"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-1856717118401250523?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-44592879396304547832011-09-21T07:19:00.000-05:002011-09-21T07:19:35.036-05:00~written by Isuna Hasekura<br />~illustrated by Jyuu Ayakura<br />~translated by Paul Starr<br /><br /><a href="http://www.librarything.com/isbn/9780759531086" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-uLCvopxQvZE/Tnk040JgCQI/AAAAAAAABWk/VGyXBC30xPs/s200/SpiceWolf4.jpg" width="133" /></a>The fourth volume of Isuna Hasekura's <i>Spice &amp; Wolf</i> light novel series, illustrated by Jyuu Ayakura, was originally published in Japan in 2006, about a year after the author won the Dengeki Novel Silver Prize for the first volume. Yen Press released the English edition of the fourth volume, translated once again by Paul Starr, in 2011. I enjoyed the first two volumes well enough, but it was the <a href="http://phoenixterranbooks.blogspot.com/2011/04/spice-wolf-volume-3.html">third volume</a> that convinced me that I had made the correct choice in pursuing the series. It's a light fantasy, focusing more on day-to-day life and economics rather than grand quests and high magic, although there is a little of that mixed in, too. But what really makes <i>Spice &amp; Wolf</i> work for me are the two endearing leads: Lawrence, a traveling merchant, and his companion by chance Holo, a wolf spirit revered as a harvest goddess. Since I particularly enjoyed the <a href="http://phoenixterranbooks.blogspot.com/2011/04/spice-wolf-volume-3.html">third volume</a>, I was looking forward to reading the fourth.<br /><br />Following the trail of information that they discovered in Kumersun, Lawrence and Holo continue the search for her home in the north, Yoitsu. They have learned of an abbey near Tereo that is said to collect pagan stories. Although it sounds strange for the Church to be involved in something like that, they hope to find out more about what happened to Yoitsu while Holo was away for centuries. On their way to Tereo, Lawrence and Holo pass through the larger city of Enberch, unwittingly setting themselves up as scapegoats for someone else's schemes. The relations between Enberch and Tereo are strained and it won't take much for the situation to turn volatile. Unaware of this at the time, Lawrence and Holo continue on to Tereo, quickly realizing their trip was more dangerous than they bargained for.<br /><br />While the Church has always been a prominent element of the world-building of <i>Spice &amp; Wolf</i>, it is of particular importance in the fourth volume. Holo and Lawrence must deliberately seek out the abbey for more information even though it is much safer for them to avoid the Church entirely, Holo being the wolf spirit that she is. The Church is a powerful economic force, which makes it a powerful political force as well. For a largely pagan town like Tereo, this is very problematic and one of the reasons that Lawrence and Holo are treated with such suspicion. They are outsiders to begin with, but their interest in the abbey is particularly unwelcome. Tereo stands to lose a lot if the Church becomes involved in its affairs and so the less attention the town draws the better.<br /><br />The relationship between Holo and Lawrence remains my favorite part of <i>Spice &amp; Wolf</i>. In the <a href="http://phoenixterranbooks.blogspot.com/2011/04/spice-wolf-volume-3.html">third volume</a>, Lawrence had to confront just how important Holo had become to him in such a short period of time. In the fourth volume, it is clear that the two of them have grown even closer and are more comfortable with each other. There is still plenty of good natured bantering and teasing, and Lawrence still embarrasses very easily (which I find adorable), but he has also gotten to the point where he can more readily read Holo's moods and wishes. Life as a traveling merchant is extremely lonely, and Lawrence and Holo's experiences in Tereo show just how dangerous it can be to be alone. They've both come to value each others companionship a tremendous amount. As a reader, I'm happy to watch their relationship continue to develop and deepen.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/668192658"><i>Find in a library...</i></a><br /><br /><br /> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4459287939630454783?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-66900911769679136532011-09-16T08:27:00.000-05:002011-09-16T08:27:08.788-05:00~by Hitoshi Iwaaki<br /><br /><a href="http://www.librarything.com/isbn/9780345496249" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-72k3vsje8ug/Tm_qCne8WYI/AAAAAAAABWM/9f05ni-Etak/s200/Parasyte1.jpg" width="133" /></a>I first learned about Hitoshi Iwaaki's manga series <i>Parasyte</i> at a library conference last year. Kate Dacey of <a href="http://mangacritic.com/">The Manga Critic</a> mentioned it during the "Best Manga You're Not Reading" panel which focused on great manga that relatively few libraries seemed to have on their shelves. <i>Parasyte</i> was originally published in Japan between 1990 and 1995, winning the Kodansha Manga Award in 1993. The series was initially published in English by Tokyopop in twelve volumes. In fact, <i>Parasyte</i> was one of the first series that they ever published. Beginning in 2007, <i>Parastye</i> was released in English by Del Rey Manga, following the original eight volumes of the Japanese edition. I've never read Tokyopop's version of <i>Parasyte</i>, but I have read the entire series as published by Del Rey. They have done a fantastic job with the printing and adaptation of the series. I completely agree that <i>Parasyte</i> belongs on the list of best manga you're not reading. That is, if you haven't already read it.<br /><br />They fell from the sky. Small, intelligent, parasitic creatures that after entering the host's body, completely take over its brain and begin eating potential hosts of the same species. The parasites favored group? Humans. And most of them don't even know the parasites exist. But high school student Shinichi Izumi does. He's been infected by a parasite that failed to take over his brain and now resides in his right arm. Neither of them are particularly happy with this situation, but it's currently beneficial for them to cooperate with each other. Without Shinichi, Migi, the parasite, would die. Understandably, it's very protective of Shinichi's body. It soon becomes clear that Shinichi's survival depends on Migi, as well. And even if it didn't, without the parasite he would be down an arm. So, for the time being at least, they'll work together, hoping to keep their existence a secret from both the parasites and the humans.<br /><br />The relationship between Shinichi and Migi is extremely important in <i>Parasyte</i>. Shinichi does seem to move rather quickly from absolute terror to a lazy acceptance of the situation, but he doesn't really have much of a choice. He gets more and more used to having Migi around, but every once in a while the parasite will do or say something to bring Shinichi crashing back to reality. I like Shinichi a lot. He has a good-natured, easygoing personality. Migi, too, is fairly likeable even considering what it is. However, the longer they stay together the more they change and adapt. And the changes don't go unnoticed--both Shinichi's (unofficial) girlfriend Murano and his mother sense something is different. As a reader, it's fascinating to watch Shinichi and Migi's relationship develop. Initially, Migi is only concerned about its own, and by extension Shinichi's, survival. In turn, this slowly makes Shinichi more ruthless and selfish in his own thinking.<br /><br />I really like <i>Parasyte</i>. The first volume easily pulls the reader in. Not only is the series entertaining and engaging, it also considers pretty serious questions about the nature of humanity. <i>Parasyte</i> has some fantastic moments of humor, mostly caused by Migi not quite understanding the subtleties of human interaction yet, which keeps the series from getting too heavy. Granted, this does make the darker aspects of the story stand out even more in contrast. Another source of amusement is Shinichi's parents. They're wonderfully down-to-earth people, especially his father, and they have a great relationship with their son. Iwaaki also incorporates some excellent visual gags, including one of my favorite unexpected moments out of all the manga I've read so far. (I won't say more, because I don't want to spoil it.) I'll just end by saying you should give <i>Parasyte</i> a try if you haven't already; it's a great series.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/123895972"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6690091176967913653?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-75562568019570796222011-09-13T14:51:00.000-05:002011-09-13T14:51:38.356-05:00~written by Shogo Oketani<br />~translated by Avery Fischer Udagawa<br /><br /><a href="http://www.librarything.com/isbn/9781933330921" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-gNo6mg9XF9k/TmlqgXGRUxI/AAAAAAAABVw/fnlP-zogHkA/s200/JBoys.jpg" width="137" /></a><a href="http://phoenixterranbooks.blogspot.com/search/label/Early%20Reviewers"><img alt="LibraryThing Early Reviewers" border="0" height="51" src="http://www.librarything.com/pics/bird130.gif" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" width="65" /></a>When Shogo Oketani's book <i>J-Boys: Kazuo's World, Tokyo, 1965</i> was offered by Stone Bridge Press for review through LibraryThing's Early Reviewers program, I immediately requested a copy. I was very happy when I was matched with the book. Stone Bridge Press published <i>J-Boys</i> in 2011 with a translation by Avery Fischer Udagawa. Some of the individual chapters and stories had previously been published in various journals and anthologies, but as far as I can tell this is the first time they've been released as a collection. I also believe this is Oketani's first full-length work of fiction. Oketani has previously written a collection of poetry called <i>Cold River</i> and frequently works with his wife Leza Lowitz as a co-author and co-translator. I have never read any of Oketani's previous works, but because of my interest in Japan and because I've enjoyed other books released by Stone Bridge Press, I was glad to have the opportunity to read <i>J-Boys</i>.<br /><br /><i>J-Boys</i> is told in a sequence of fourteen stories organized chronologically by month. The individual stories could easily be read separately but are tied together by the same characters. Kazuo Nakamoto is a nine-year-old boy growing up in the city of Tokyo in the 1960s. He lives with his mother and father and his younger brother Yasuo in a small home in the Shinagawa Ward. Kazuo leads a fairly typical life, going to school, hanging out with friends, and helping out at home. But he's old enough now that he's starting to notice that life in Tokyo and in Japan is changing. The nation still lives with memories of World War II while at the same time it is becoming more and more Westernized. In particular is the influence of American pop culture. While Japan is busy reestablishing itself as a world power, Kazuo is busy growing up.<br /><br />I am not particularly familiar with 1960s Japan, so <i>J-Boys</i> was a treat to read for that reason. <i>J-Boys</i> is semi-autobiographical; Oketani has based the stories off of his own memories of growing up in Japan in the 1960s and some stories were inspired by other kids that he knew. In some ways, Kazuo almost seems to be a stand-in for the author himself. There's certainly a sense of nostalgia that shines through. One of my favorite things about <i>J-Boys</i> was the inclusion of photographs of Japanese schoolchildren from the 1950s and 1960s, many of which depict scenes described in <i>J-Boys</i>. Oketani also includes brief side bars that explain in more detail specific concepts mentioned in <i>J-Boys</i>, everything from tofu, to Japanese terminology, to pop culture references.<br /><br />While I found <i>J-Boys</i> to be interesting and informative, as an adult reader I didn't find it to be particularly engaging as a collection of short stories. However, I could easily see the book being incorporated into an educational unit for middle grade social studies. It almost seems that <i>J-Boys</i> was written with that very purpose in mind and the reading level is appropriate for younger readers. The individual chapters are very straightforward and there is very little narrative tension or embellishment. Although the stories feature recurring characters, there isn't really any overarching plot. Oketani is simply relating what it was like to be a kid in 1960s Tokyo. So, while <i>J-Boys</i> may not have readers hurriedly turning pages to discover what happens next, I still think that the book is valuable if approached within an appropriate context. I know that I learned some interesting things about what it was like to live in Japan in the 1960s, which is something I knew very little about before.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/669755048"><i>Find in a library...</i></a> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7556256801957079622?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-28197528334281002902011-08-28T13:16:00.000-05:002011-08-28T13:16:23.448-05:00~by Ernest Cline<br /><br /><a href="http://www.librarything.com/isbn/9780307887436" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-MEOIa3mf8mI/Tlp8shCksiI/AAAAAAAABVM/_GowvKxEbZc/s200/ReadyPlayerOne.jpg" width="131" /></a><i>Ready Player One</i> is Ernest Cline's debut novel, released by Crown Publishing in August 2011. Cline is probably best known for his work as a screenwriter for the film <i>Fanboys</i> (which I haven't actually seen but have been meaning to). When I was first offered a copy of <i>Ready Player One</i>, I hesitated accepting but not for long. I may not have been familiar with Cline and his previous work, but I couldn't resist wanting to see what was in store from an author who gladly discussed <i>Space Invaders</i>, <i>The Lord of the Rings</i>, <i>Cowboy Bebop</i>, <i>Ultraman</i> and all sorts of other wonderful geeky things all within the same interview. Cline is a self-proclaimed geek and clearly a man after my own heart. The more I learned about his novel, the more excited I became to read <i>Ready Player One</i>. The reviews and publicity I've seen for the book have been overwhelmingly positive and the novel has already been optioned for a film. (I think it would make a pretty good one, too.)<br /><br />In a bleak near future, most of humanity spends most of their time logged into OASIS if they can afford it. Originally, OASIS was developed as a gaming platform but it has since evolved into an immense and highly complex alternate reality system. It's also one of the only ways that people can escape their depressing lives and a world that is crumbling around them. When James Halliday, the creator of OASIS, dies, he announces a contest: he's hidden an Easter egg somewhere in OASIS and whoever finds it first will inherit his entire fortune. But first, the participants will have to find a set of three keys and three gates to lead them there. Five years pass before the first key is found, unexpectedly by an impoverished high school student named Wade Watts. Now Wade's life has gotten a lot more interesting, and a lot more dangerous.<br /><br /><i>Ready Player One</i> is inundated with pop culture references. Most important are those from the eighties, but any part of geekdom before or after that is still fair game. This includes references to films, video games, books, and just about anything else. I know for a fact that I didn't catch everything but I was completely delighted when I did, which was often enough that I found myself grinning through most of the novel. What really sold me on the book was a heated conversation early on between two characters about the relative merits and worth of Richard Donner's film <i>Ladyhawke</i> as an eighties classic. Some of the pop culture references aren't incorporated into the plot as well as they could be, but at least Cline has created a semi-legitimate reason for them to be there. And those that are really important to the story he makes sure to explain in more detail for readers that aren't in the know.<br /><br /><i>Ready Player One</i> is pure escapism for a very specific audience. I don't think that Cline will win any new converts to geekdom through his novel, but for those of us that are already devotees (and there are quite a few of us out there), <i>Ready Player One</i> is an absolute blast. Granted, the novel isn't breaking any ground; there's nothing new here that I haven't seen before. The plot and characters are fairly straightforward and don't show much development. The book doesn't have a deep, hidden meaning, although Cline does cram a few moral lessons in at the end. Still, I found Cline's world-building interesting, even if he has a tendency to infodump towards the beginning, and he's come up with a good excuse for esoteric pop culture geekery to not only be accepted but valued in society. If nothing else, <i>Ready Player One</i> is a lot of fun; sometimes you just want to be entertained.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/687652381"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2819752833428100290?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-86371525615186339672011-08-27T20:31:00.000-05:002011-08-27T20:31:24.732-05:00~by Hiroaki Samura<br /><br /><a href="http://www.librarything.com/isbn/9781569714690" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-M8cLE3DTx_M/Tlb9SdP6bAI/AAAAAAAABU0/EzGox25vbvc/s200/DarkShadows.jpg" width="138" /></a><i>Dark Shadows</i> is the sixth volume of Hiroaki Samura's manga series <i>Blade of the Immortal</i> as published by Dark Horse. The English volumes and the Japanese volumes collect slightly different chapters and so <i>Dark Shadows</i> is actually most closely equivalent to the fifth volume published in Japan and released in 1996. <i>Dark Shadows</i> was published in 2000, the same year that <i>Blade of the Immortal</i> won an Eisner Award. In 1997 the series also won a Japan Media Arts Award. <i>Blade of the Immortal</i> was one of my first manga series and it remains one of my favorites. <a href="http://phoenixterranbooks.blogspot.com/2011/03/blade-of-immortal-volume-5-on-silent.html"><i>On Silent Wings II</i></a>, the volume that immediately precedes <i>Dark Shadows</i>, ends the first major story arc of <i>Blade of the Immortal</i>. <i>Dark Shadows</i> begins the next arc, introducing new characters and new complications to the story.<br /><br />The Ittō-ryū continues to dominate the other dōjō in Edo, ultimately catching the eye of the shogunate itself. But the pressure applied by the shogunate isn't the only thing that Anotsu, the charismatic leader of the Ittō-ryū, has to worry about. A newly formed sword school is bent on the destruction of the Ittō-ryū. Using methods as ruthless as the Ittō-ryū's own, they have been steadily&nbsp; taking out Anotsu's leading swordsmen. Rin, too, has become more confident in her decision to kill Anotsu in revenge for her parents' murder. She continues to train with Manji to improve her swordsmanship. The confrontations between Manji and the members of the Ittō-ryū have brought him to the attention of the new sword school, as well. They would like him to join them in their fight against Anotsu and the Ittō-ryū.<br /><br />One of the things that Samura does exceptionally well in <i>Blade of the Immortal</i> is establishing moral ambiguity in his characters. No one is truly good or bad--the "bad guys" have honorable qualities and the "good guys" have faults. It all depends on the perspective of the individual characters. A good example of this in <i>Dark Shadows</i> is Magatsu, one of the only members of the Ittō-ryū to survive an encounter with Manji. He's more than willing to cut down other swordsmen, usually after being provoked, but maintains his own code of honor along with his grudges. Throughout <i>Blade of the Immortal</i>, Magatsu is shown to be one of the more decent characters. On the other hand, <i>Dark Shadows</i> see the introduction of Shira, a member of the swords school fighting against the Ittō-ryū. In his case, he is extremely cruel and even sadistic in his methods. He's made his living killing others for money and has come to enjoy it.<br /><br />Up until this point, much of <i>Blade of the Immortal</i> has focused on Rin and Manji and their journey. But they don't even appear until the final half of <i>Dark Shadows</i>. Instead, Samura takes the opportunity to explore the Ittō-ryū more deeply. Magatsu in particular is developed as an important character. <i>Dark Shadows</i> also introduces new and very dangerous players to the story. The volume downplays some of the more fantastical elements of the story, but that may just be because Manji wasn't involved in any of the fights. However, there's no question that <i>Blade of the Immortal</i> remains a very violent series. <i>Dark Shadows</i> marks an excellent start to the new story arc and I look forward to seeing how things continue to develop in the next volume, <i>Heart of Darkness</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/45704612"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8637152561518633967?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-43583938600377863372011-08-25T07:26:00.001-05:002011-08-25T07:27:48.781-05:00~by Jacqueline Carey<br /><br /><a href="http://www.librarything.com/isbn/9780446500043" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-przLlHFynF0/TlV-LesZOwI/AAAAAAAABUw/HdEGIZJ4TzQ/s200/KushielsMercy.jpg" width="132" /></a><i>Kushiel's Mercy</i> by Jacqueline Carey is the third volume of the trilogy featuring Imriel nó Montrève de la Courcel as the protagonist. Or, depending on how you want to count it, the novel is the sixth volume in Carey's series <a href="http://phoenixterranbooks.blogspot.com/search/label/Kushiel%27s%20Legacy"><i>Kushiel's Legacy</i></a>. Regardless, it is an ending point. I've been reading <a href="http://phoenixterranbooks.blogspot.com/search/label/Kushiel%27s%20Legacy"><i>Kushiel's Legacy</i></a> from the beginning and I love the books. The series has gained a devoted following and many of the individual volumes have been nominated for and have won various awards and honors. <i>Kushiel's Mercy</i> was first published in 2008, so I'm a few years behind in my reading. I've been taking my time with the series. The books are fairly lengthy, and while the second trilogy's style is less flowery than the first's, there is still quite a bit going on. It was only a matter of time before I got around to reading <i>Kushiel's Mercy</i>, and now I have.<br /><br />After taking revenge on the person responsible for his wife Dorelei's murder in Alba, Imriel is able to return to Terre d'Ange and the woman he loves with all his soul--Sidonie, the heir to the throne. There are many people in the realm who are unhappy with this situation. Because Imriel is the son of Terre d'Ange's greatest traitor, many suspect his motivations and believe his desire to be impure. Imriel and Sidonie know better. However, in order to prove his intentions to the Queen and the peerage, and in order to be officially recognized as Sidonie's husband, Imriel is ordered to bring his mother to justice. Imriel has not had much happiness in his life, and he is willing to do what he must in order to keep it and the woman he loves. But before he can, Terre d'Ange falls victim to the schemes of Carthage and he must confront a foe even more dangerous than his mother.<br /><br />It has been wonderful to watch Imriel grow and change ever since his introduction in <a href="http://phoenixterranbooks.blogspot.com/2008/01/kushiels-avatar.html"><i>Kushiel's Avatar</i></a> and as the protagonist of his own trilogy (<a href="http://phoenixterranbooks.blogspot.com/2009/04/kushiels-scion.html"><i>Kushiel's Scion</i></a>, <a href="http://phoenixterranbooks.blogspot.com/2010/05/kushiels-justice.html"><i>Kushiel's Justice</i></a>, <i>Kushiel's Mercy</i>). He used to be defined by those around him--his traitorous mother, his heroic foster parents--but in <i>Kushiel's Mercy</i> he has finally become his own person. Imriel has matured greatly throughout <a href="http://phoenixterranbooks.blogspot.com/search/label/Kushiel%27s%20Legacy"><i>Kushiel's Legacy</i></a>; he now knows who he is and what he wants, and he is willing to fight for his own sake. One of the things that I love about Carey's <i>Kushiel</i> books is that the characters' sexuality is integral to who they are as people and is important to their development. The sex isn't just there to be there (although I'm okay with that, too) but it's an important part of the story for a reason.<br /><br />I'll admit, there were some aspects of <i>Kushiel's Mercy</i> that I was hesitant about, particularly the prominence of arcane magic in the story. Honestly, I felt a little cheated. At least at first. Terre d'Ange doesn't really have a tradition of arcane magic. Although divine gifts and abilities have always played a part in <a href="http://phoenixterranbooks.blogspot.com/search/label/Kushiel%27s%20Legacy"><i>Kushiel's Legacy</i></a>, arcane magic's role has always been fairly limited up until now. But by the end of <i>Kushiel's Mercy</i>, Carey had convinced me that the incorporation of arcane magic into her world was the correct one. The story that she wanted to tell couldn't have been told in any other way. However, what probably impressed me most about <i>Kushiel's Mercy</i>, was how skillfully Carey not only ties together Imriel's trilogy but the entire <i>Kushiel</i> cycle as a whole. I found <i>Kushiel's Mercy</i> to be an extremely satisfying ending, but I still look forward to reading the next trilogy as well.<br /><br /><br /><br /><div style="text-align: right;"><i><a href="http://www.worldcat.org/oclc/167517577">Find in a library...</a></i> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4358393860037786337?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-48465295980094578572011-08-24T07:40:00.001-05:002011-08-24T07:45:03.248-05:00~written by Yasunari Kawabata<br />~translated by Edward G. Seidensticker<br /><br /><a href="http://www.librarything.com/isbn/9780679762652" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-dD-H_FCX3E0/TlRYddZOq-I/AAAAAAAABUs/2z59XcVozlo/s200/ThousandCranes.jpg" width="129" /></a>In 1968, Yasunari Kawabata became the first Japanese author to ever win the Nobel Prize for Literature. His novel <i>Thousand Cranes</i> was among the three works cited as part of the award, the other two being <i>Snow Country</i> and <i>The Old Capital</i>. Although until now I have never read anything by Kawabata, I was familiar with his name. Not just because he won a Nobel Prize, but because he was a close friend of Yukio Mishima, who was my introduction to Japanese literature. Like Mishima, Kawabata also took his own life in 1972, albeit in a much less dramatic and much less public fashion. <i>Thousand Cranes</i> was originally published in Japan in 1952. The novel was first translated into English in 1958 by Edward G. Seidensticker and includes chapter illustrations by Fumi Komatsu. <i>Thousand Cranes</i> was selected for the August 2011 <a href="http://www.inspringitisthedawn.com/2006/02/japanese-literature-book-group.html">Japanese Literature Book Group</a>, making it the first work by Kawabata that I've read. <br /><br />After both his parents die, Kikuji finds himself living alone with only the maid in his family's large household. Kurimoto, who once briefly had an affair with his father, takes it upon herself to set up nice marriage for Kikuji. In doing so, she invites him to attend a tea ceremony in order to introduce him to the Inamura's daughter Yukiko. Although he has his reservations, Kikuji agrees to go. While he is there, he not only meets Yukiko, who he is charmed by, but also the widowed Ota and her daughter. This was something that Kurimoto did not intend to happen. Ota was the long-time mistress of Kikuji's father, making her Kurimoto's rival. The unexpected meeting between Ota and Kikuji, and their subsequent liaisons, has unanticipated consequence for everyone that is involved.<br /><br />On its surface, <i>Thousand Cranes</i> is a simple story. But despite how it may first appear, it is highly complicated by human emotions and desire. It may seem reserved, but by paying close attention, the reader will notice a subtle, underlying intensity to the tale. The characters are much the same way--their generally calm and deliberate outward demeanors obscure their turbulent internal passions. They all greatly affect each other by their actions and by their inaction. The presence of Kikuji's father, even after his death, is nearly overwhelming. This is especially true for Kikuji himself, but even the women he is involved with in one way or another find their lives and individual circumstances closely entangled. None of them can really completely escape the influence of Kikuji's father. Honestly, it would be hopeless for them to try not to be. It does give rise to some rather unfortunate situations.<br /><br />Reading <i>Thousand Cranes</i>, Kawabata's skill as an author was readily apparent to me. It's not a very long novel, well under two hundred pages, and so every phrase and moment must count. But even though Kawabata is able to achieve this with seeming ease and even though <i>Thousand Cranes</i> is a beautifully rendered piece, the story still seems to end rather abruptly. Some passing familiarity with Japanese tea ceremony will be useful for someone who wants to read <i>Thousand Cranes</i>, but it is not absolutely necessary to enjoy the novel. The influence of the tea ceremony on <i>Thousand Cranes</i> is undeniable. The symbolism found in the tea ceremony is incorporated into <i>Thousand Cranes</i> and is then expanded on. While a reader with a basic understanding of Japanese tea ceremony will probably get more out of the novel, Kawabata brings out the elements particularly important to the story. If <i>Thousand Craned</i> is at all representative of Kawabata's novels, I suspect I will enjoy his other work.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/325399"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4846529598009457857?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-56745332139805728002011-08-20T18:17:00.000-05:002012-02-14T08:46:33.232-05:00~written by Cheng’en Wu<br />~translated by Anthony C. Yu<br /><br /><a href="http://www.librarything.com/isbn/9780226971513" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-azYReBYi1FY/Tk3IctcuGxI/AAAAAAAABUY/EXFuR-vLtOg/s200/JourneyWest2.jpg" width="131" /></a>The second volume of Anthony C. Yu's translation of <i>The Journey to the West</i> was originally published in 1978. The Chicago University Press initially released Yu's translation, the first and one of the only complete<i> </i>translations of <i>The Journey to the West</i> available in English, in four volumes between 1977 and 1983. I recently learned that Yu is working on updating and revising his translation, but it has yet to be published. The original version of <i>The Journey to the West</i> was written in sixteenth-century China. Although written anonymously, it has been attributed to Cheng'en Wu. <i>The Journey to the West</i> has become an extremely important and highly influential classic of world literature. It's because of its influence that I wanted to read the work. And now that I've read the first half of <i>The Journey to the West</i>, I seem to be running into even more references to the tale than I was before. Or, maybe it's just that I can recognize them now.<br /><br />The second volume of <i>The Journey to the West</i> covers chapters twenty-five to fifty of the original tale. At this point, the monk Tripitaka is well along in his journey to retrieve sacred Buddhist scriptures from the Western Heaven. The trip so far has been quite an ordeal for him and has been made both better and worse by his traveling companions. It has also lasted much longer than he anticipated; he hasn't even reached his destination yet, yet alone returned to the Tang empire. Tripitaka is repeatedly confronted by monsters and demons who would like to eat him in order to gain immortality. Fortunately, his companions, especially Monkey, are very protective of him. But sometimes even they are no match for the challenges that await them.<br /><br />Throughout <i>The Journey to the West</i>, Pa-Chieh, one of Tripitaka's traveling companions and protectors, is frequently referred to as Idiot. After reading <a href="http://phoenixterranbooks.blogspot.com/2011/07/journey-to-west-volume-1.html">the first volume</a>, I wasn't quite sure why, feeling that the moniker often fit Monkey more than it did Pa-Chieh. But after finishing the second volume I understand why he is called that. Simply put, it is because Pa-Chieh really is an idiot. He's prone to acting without thinking things through and makes trouble seemingly for trouble's sake. Poor Tripitaka is usually the one to suffer most for Pa-Chieh's follies. Pa-Chieh also has an interesting relationship with Monkey--something almost akin to a sibling rivalry. He is constantly challenging Monkey's authority and tries to outdo him. In return, Monkey doesn't hesitate to put Pa-Chieh in his place or play pranks on him. In some ways, they are actually quite alike. <br /><br /><i>The Journey to the West</i> is a single story (or, depending on how you look at it, a string of closely related stories). The reason that it has been divided into individual volumes is that it is so long. Although, it is written in a style that makes it easy to put down and pick back up again. The chapters are short and often retell what has already happened. Yu seems to expect the reader to not only have read <a href="http://phoenixterranbooks.blogspot.com/2011/07/journey-to-west-volume-1.html">the first volume</a>, but to also have it on hand; many of the footnotes and the story itself cross reference each other between volumes. I am very grateful for Yu's notes. <i>The Journey to the West</i> incorporates many Chinese and religious tales and legends, most of which I wouldn't have recognized if it wasn't for Yu since I'm not personally familiar with the mythologies. I really am enjoying <i>The Journey to the West</i>. It is an exciting tale that can be both humorous and gruesome. I'm looking forward to finding out what happens in the third volume.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/41485814"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5674533213980572800?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-80669684480058701812011-08-18T06:54:00.000-05:002011-08-18T06:54:16.418-05:00~by Fumi Yoshinaga<br /><br /><a href="http://www.librarything.com/isbn/9781421527499" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-WMS1_5Pq1Qc/TksPMfa2JpI/AAAAAAAABUU/_zXE1KfKmAM/s200/Ooku3.jpg" width="162" /></a>Because Fumi Yoshinaga is such a skilled creator, it's difficult for me to choose a favorite among her works but one of her most recent series, <i>Ōoku: The Inner Chambers</i> is definitely one of the major contenders. It is also her most awarded series so far, having won a Sense of Gender Award, a Japan Media Arts Award, an Osamu Tezuka Cultural Prize, and most recently a 2010 Shogakukan Manga Award, in addition to being nominated for many other honors. <i>Ōoku</i> is currently up to seven volumes in Japan; the most recent volume to be published in English being the sixth. The third volume of <i>Ōoku</i> was published in Japan in 2007 and was released in English under Viz Media's Signature line in 2010. Because <i>Ōoku</i> is one of my favorite manga series, and not just one of my favorite Yoshinaga works, I do intend to review each volume. The fact that <a href="http://comicattack.net/2011/08/mmfyoshinaganchor2011/">August 2011's Manga Moveable Feast</a> features Fumi Yoshinaga doesn't hurt either.<br /><br />The Redface Pox continues to spread across Japan and more and more men are dying of the disease. Even the shogunate isn't immune, but the death of Japan's military leader has been kept a closely guarded secret. His daughter Chie is the only person remaining who can carry on the Tokugawa bloodline. Lady Kasuga is determined that Chie will bear a male heir and will stop at nothing to ensure that that happens. Chie and her chosen suitor Arikoto, who was initially brought to the Inner Chambers against his will, have managed to find some happiness together in these troubled times. However, their happiness is short lived when Chie fails to conceive. Although Kasuga's power over them and the rest of the Inner Chambers is beginning to slip, she forces them to consider the fate of peace in Japan against their own happiness and desires.<br /><br />The third volume of <i>Ōoku</i> begins about a year after the end of the second volume and continues the story for several more years. Some of the most noticeable things in the third volume are the changes and developments in the characters themselves, the Inner Chambers, and Japanese society. Lady Chie, who once was prone to violent outbursts, has matured greatly, much thanks to the presence of Arikoto. She has also shown herself to be quite keen and more than capable to act as the leader of state, much to the surprise of some of the senior ministers. Arikoto's presence has also begun to change the nature of the Inner Chambers as he brings in aristocratic influences and is accepted by the other men there. Arikoto, as always, retains his dignity even in the face of tragedy; only Lady Chie and his attendant Gyokuei are privy to what he hides from others. And speaking of Gyokuei, he also has grown from a boy into a young man.<br /><br />The characters are not the only things to change in the third volume of <i>Ōoku</i>; the society in which they live is also slowly developing into the Japan seen in the first volume of the series. While women, especially those in the upper classes, are still subject to their expected gender roles, the social system keeping them there is beginning to break down. Out of necessity, they will have to take on the work and leadership positions once reserved only for men, but at this point in the story it is still considered a temporary measure. One of the most interesting things for me, as someone with a particular interest in the Tokugawa period, is that with all of the changes Yoshinaga has made to history in <i>Ōoku</i>, some things remains the same, such as Japan's seclusion policies, but for drastically different reasons. <i>Ōoku</i> fascinates and engages me on multiple levels which is one of the reasons I like the series so well.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/435420968"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8066968448005870181?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-39055454940665612872011-08-14T09:23:00.001-05:002011-08-18T06:54:09.316-05:00~by Christopher Ross<br /><br /><a href="http://www.librarything.com/isbn/9780306815683" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-dcffSS7jYY0/TkSAT6D2hlI/AAAAAAAABTk/Rm8SZu_YiQo/s200/MishimaSword.jpg" width="133" /></a>If I remember correctly, I first came across Christopher Ross' <i>Mishima's Sword: Travels in Search of a Samurai Legend</i> while looking for biographies of Yukio Mishima. While Mishima certainly plays an important role in the book, <i>Mishima's Sword</i> isn't exactly a biography but still promised to be an intriguing read. First published as a hardcover in 2006 by Da Capo Press, and later as a paperback in 2007, <i>Mishima's Sword</i> was included in the Kiriyama Prize's 2007 list of notable books. Part biography, part memoir and part travelogue, with a healthy dose of philosophical musing, <i>Mishima's Sword</i> is an interesting book. Most likely it will appeal to those who, like me, are already interested in Mishima or in Japanese swords and swordsmanship. It also provides an outsider's look into Japanese culture in general, including glimpses into some of its shadier aspects. I was intrigued to see what Ross would have to say about it all.<br /><br />On November 25, 1970, Yukio Mishima, one of Japan's most prominent authors, committed seppuku in the office of General Mashita at the headquarters o the Self Defense Force in Tokyo. A sword that he had received as a gift several years earlier was used as part of the ritual suicide and went missing after the incident. Decades after Mishima's death, Christopher Ross travels back to Japan, having previously lived there for a few years, in order to attempt to better understand Mishima and his actions and perhaps even track down the missing sword. Ross doesn't have much information to go on and discovers that many people are reluctant to even discuss Mishima. Once he realizes this he turns his attention to learning more about Mishima's sword, hoping to have more success with this aspect of his journey. His search leads him to some very interesting places indeed.<br /><br />After a brief introductory section called "Death in Tokyo," <i>Mishima's Sword</i> is divided into two main parts: "Primary: Word(s)" and "Secondary: (S)word." Although Ross' search for Mishima and the sword are obviously closely linked, "Word(s)" focuses on his pursuit to understand Mishima while "(S)word" concentrates on his efforts to discover more about the sword. Also included in <i>Mishima's Sword</i> is a selected bibliography of works by and about Mishima as well as works on bushidō and Japanese swords. A glossary of Japanese terms used throughout the book is also provided. There's no index, which is somewhat unfortunate, but then again<i> Mishima's Sword</i> isn't exactly meant to be a reference work. It's more of a memoir, and an engaging one at that. But I still wished that I could navigate it a little more easily when I wanted to look up specific information.<br /><br />I thoroughly enjoyed <i>Mishima's Sword</i> and found it to be both immensely engaging and readable. Ross' tale isn't told in a strictly linear fashion; the narrative consists of a collection of connected thoughts, musings, and diversions. While it is not always clear how a particular digression or tangent is relevant to the work as a whole, they are always interesting. Sometimes the only clue is to be found in the end notes which. I would recommend reading these anyway because they contain important and often fascinating information. While it is not necessary to enjoy <i>Mishima's Sword</i>, I was glad that I had previously read one of Mishima's biographies (<a href="http://phoenixterranbooks.blogspot.com/2010/06/mishima-biography.html"><i>Mishima: A Biography</i></a> by John Nathan) as it helped to put the parts of the book dealing with Mishima into better context and perspective. At times, <i>Mishima's Sword</i> almost seems to read like a novel. While this makes the work approachable, to some extent it also occasionally feels as though the facts are being embellished. But overall I found <i>Mishima's Sword </i>to be very interesting and learned quite a bit while reading it.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/74671450"><i>Find in a library...</i></a></div><a href="http://www.worldcat.org/oclc/74671450"> <br /><br /></a> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3905545494066561287?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-63169232109599105532011-08-11T06:50:00.000-05:002011-08-11T06:50:33.398-05:00~written by Mizuki Nomura<br />~illustrated by Miho Takeoka<br />~translated by Karen McGillicuddy<br /><br /><a href="http://www.librarything.com/isbn/9780316076920" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-Y0mIy5rOO38/TkHL5EcbopI/AAAAAAAABTg/nHpXmO17Np4/s200/BookGirl2.jpg" width="131" /></a><i>Book Girl and the Famished Spirit</i> is the second book in Mizuki Nomura's sixteen-volume light novel series <i>Book Girl</i>, illustrated by Miho Takeoka. Originally published in Japan in 2006, the book was released in English in 2011 by Yen Press. Once again, Karen McGillicuddy serves as the translator for the series. I read the first volume, <a href="http://phoenixterranbooks.blogspot.com/2011/03/book-girl-and-suicidal-mime.html"><i>Book Girl and the Suicidal Mime</i></a> not too long ago and absolutely loved it. The book more or less made me an instant fan and so there was no question that I would be picking up <i>Book Girl and the Famished Spirit</i>. I am still quite fond of the premise of a "book girl," a yōkai that devours the written word instead of food. Even though this story element is often relegated to the background, it is still important and I find it to be utterly delightful. Because I enjoyed <a href="http://phoenixterranbooks.blogspot.com/2011/03/book-girl-and-suicidal-mime.html"><i>Book Girl and the Suicidal Mime</i></a> so much, I was really looking forward to reading <i>Book Girl and the Famished Spirit</i>.<br /><br />Despite insisting she doesn't believe in them, Tohko, the self-proclaimed "book girl," is afraid of ghosts. Normally this wouldn't be such a problem, but someone has been leaving encoded messages in the literature club's mailbox. Messages that seem to be similar to the ones rumored to be left all over the school by a wandering ghost. But whether a prank pulled by a classmate or a legitimate spirit (book girls exist after all, so why not ghosts?), one thing is clear--the notes are&nbsp; asking for help. Tohko intends to investigate the incidents, assuming that Konoha, her underclassman and the only other member of the literature club, will be willing to assist her. But he's reluctant, especially as the notes become more threatening. He hopes that she will just leave the whole matter alone.<br /><br />While <a href="http://phoenixterranbooks.blogspot.com/2011/03/book-girl-and-suicidal-mime.html"><i>Book Girl and the Suicidal Mime</i></a> was heavily influenced by Osamu Dazai's <a href="http://phoenixterranbooks.blogspot.com/2011/04/no-longer-human.html"><i>No Longer Human</i></a>, <i>Book Girl and the Famished Spirit</i> takes its inspiration from Emily Brontë's <i>Wurthering Heights</i>. In some ways the story is actually more cruel than the original. If you've never read <i>Wurthering Heights</i>, don't worry. If there's one thing that Tohko likes to do besides eating literature, it's talking about it and she provides a very nice summarization of the novel. Throughout the series she frequently launches into tirades about books, even at seemingly inappropriate moments. This is part of her charm although it can come across as tangential. Nomura is constantly dropping references to various works and authors, some more well known than others. But my favorite thing about <i>Book Girl and the Famished Spirit</i> was the introduction of Ryuto. I almost hope that he also turns out to be some sort of yōkai, but I'd still be happy even if it turns out he's just simply a masochist.<br /><br />For the most part, <i>Book Girl and the Famished Spirit</i> can stand fairly well on its own and it's not absolutely necessary to have read <a href="http://phoenixterranbooks.blogspot.com/2011/03/book-girl-and-suicidal-mime.html"><i>Book Girl and the Suicidal Mime</i></a>. The main mystery is almost completely separate with only a few minor references to the previous one. However, more information is given about Konoha and Tohko. To be honest, it is their backgrounds that intrigue me the most at this point. Konoha's past in particular is slowly being introduced, piece by piece, within the context of the incidents he and Tohko get caught up in. It's an interesting but effective technique. Although I enjoyed <i>Book Girl and the Famished Spirit</i>, I didn't&nbsp; like it nearly as well as I did the first book. I'm not really sure why; maybe it's just that I happen to prefer <a href="http://phoenixterranbooks.blogspot.com/2011/04/no-longer-human.html"><i>No Longer Human</i></a> over <i>Wurthering Heights</i>. Regardless, I still intend to continue the series with the next volume, <i>Book Girl and the Captive Fool</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/656769719"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6316923210959910553?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-78832901577721499302011-07-31T08:08:00.000-05:002011-07-31T08:08:49.074-05:00~by Usamaru Furuya<br /><br /><a href="http://www.librarything.com/isbn/9781935654063" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-EXOVKFkY6eE/TjINGpdLFgI/AAAAAAAABS0/GsWTXG7ehAQ/s200/LycheeLightClub.jpg" width="149" /></a>While <i>Lychee Light Club</i> is not the first Usamaru Furuya manga to be made available in English it is the first of his works that I have had the opportunity to read. I became interested in the title when Vertical first licensed it but it was the stunning cover that completely sold me, even before I knew what I was really getting myself into. <i>Lychee Light Club</i>, originally published in Japan in 2006, is based on a 1985 Tokyo Grand Guignol play of the same name. Knowing this origination is enough to expect the story to be of a dramatic, horrifying, sensational, and probably bloody nature. Apparently, and interestingly enough, Furuya's version of <i>Lychee Light Club</i> has been adapted back into a stage play. Furuya has also written a prequel called <i>Our Light Club</i>. I really hope that Vertical, which published <i>Lychee Light Club</i> in 2011, will be able to license the prequel as well.<br /><br />In an abandoned factory in the run-down industrial town of Keikoh meets a group of nine junior high students from an all boys school who call themselves the Light Club. They gather in secret to build a living machine fueled by lychee fruit to carry out their plan to abduct beautiful girls. The intensely charismatic and terrifying Zera, who holds the most power and control over the group, is obsessed with obtaining the ideal of eternal youth and beauty. The Light Club intends to literally idolize the captured girls. But after Lychee's completion and eventual success, things quickly fall apart as the Light Club is utterly consumed by paranoia and jealousy. Violence erupts as the boys are turned against one another, incited by Zera's increasingly pronounced mania. Lychee, the machine meant to make the Light Club invincible, instead brings about their downfall.<br /><br /><i>Lychee Light Club</i> is a dark tale and the art is appropriately dark as well with plenty use of black. At the same time, Furuya's artwork is also disconcertingly beautiful and stylish. Even the very graphic depictions of blood and gore, of which there are plenty, are strangely seductive. It certainly isn't something that everyone will be able to appreciate and Furuya is not at all subtle about it. Another interesting approach used in <i>Lychee Light Club</i>'s artwork has to do with the panels shown from Lychee's perspective. When the machine is first initialized, it can only see in strict black and white; only after it has been programmed with the concept "I am human" can it begin to perceive different shades of grey. It is a symbolic and significant change that has serious consequences.<br /><br />Ultimately, I was enthralled by <i>Lychee Light Club</i> in all its disturbing glory. Granted, it's not a manga that I would recommend to just anyone; but for an audience prepared for uninhibited violence with highly sexually charged connotations, I wouldn't hesitate. The theatrical influence of <i>Lychee Light Club</i> is readily clear. For one, almost the entire story takes place in a single room. In addition to this, the staging of various scenes and the characters' placements in them are reminiscent of a stage production. To some extent because of this, the Light Club seems to out of context with the rest of their world. Instead of rebelling against a specific society, it feels as though the boys are struggling with and fighting against vague concepts. The story is admittedly strange and incredibly perverse, but neither does it claim to be anything else. <i>Lychee Light Club</i> is horrifying, and it should be.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/651902090"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7883290157772149930?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-45302552632788575952011-07-25T07:31:00.000-05:002011-07-25T07:31:04.585-05:00~written by Otsuichi<br />~translated by Andrew Cunningham<br /><i>2003 Honkaku Mystery Grand Prize Winner</i><br /><br /><a href="http://www.librarything.com/isbn/9781427811370" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-SQmSchsgOZo/TiltmFs6WlI/AAAAAAAABSg/Tg_QMzZe01o/s200/Goth.jpg" width="150" /></a>So far, Otsuichi, who is best known for his horror short stories, has had four of his major works translated into English. Although currently out of print, <i>Goth</i> was the second of his books to be made available. First published in Japan in 2002, <i>Goth</i> has been adapted into a manga and a live action film. Somewhat unexpectedly since it is a light novel and light novels generally aren't taken very seriously, <i>Goth</i> won the 2003 Honkaku Mystery Grand Prize for Best Novel. I actually first read Kendi Oiwa's manga adaptation of <i>Goth</i> but I liked it so well that I went to the effort to track down a copy of the source material to read. Andrew Cunningham's translation of the novel was published by Tokyopop in 2008 as part of their largely, and unfortunately, unsuccessful fiction line. Tokyopop also published Otsuichi's <i>Calling You</i> while Haikasoru has released <i>Zoo</i> and <i>Summer, Fireworks, and My Corpse</i>.<br /><br />Although attractive, most of Morino's high school classmates find her to be rather odd and avoid her. She mostly keeps to herself with one exception--another classmate that shares her fascination with death. The difference is that his interest isn't limited to curiosity, he would actually like to act on his desires to kill someone. He hides it well though and no one really suspects him except for maybe Morino. To him, she is less of a friend and more of an obsession. Together they closely watch the news for information on murders, kidnappings, and other tragedies. Even more exciting is when these events happen close by or even in their own neighborhood. Occasionally, they even do some investigating on their own, not because they want justice but merely because they want to know what happened and feel an affinity with those involved.<br /><br />Although <i>Goth</i> is generally referred to as a novel, the six individual chapters largely stand on their own and could be read separately. Granted, they do make small reference to one another and the final chapter would lose much of its effectiveness if it wasn't read last. What ties the stories together is Morino, her classmate, and their dark obsessions. They are somewhat difficult to call the protagonists, though. Often the two barely make an appearance and are mostly side characters to the main action. But, they are still very important and crucial to the stories. Each chapter is mostly told from a changing first person perspective, adding to the tension since it is frequently difficult to determine just who it is that is telling the story until close to its finish. The reader can only sit back and watch with morbid fascination and anticipation for all to be revealed since nothing can be done to change the course of the unfolding events.<br /><br />Because I had previously read the manga adaptation of <i>Goth</i>, I was already aware of some of the major twists in the story. But even though I was vaguely aware of what would happen, <i>Goth</i> was still a very dark and disconcerting novel. Since it is told directly from the perspective of the characters, the reader is privy to exactly what is going through their heads. And seeing as many of them are serial killers, that is a very creepy place to be. Particularly disturbing is Morino's classmate, unnamed until close to the end of the book, who keeps getting mixed up in these incidents and who harbors his own aberrant behaviors and tendencies. While he hasn't done anything seriously wrong yet at the beginning of <i>Goth</i>, he becomes less and less of an observer as the novel progresses. The tension continues to build as we wait for him to finally lose it. <i>Goth</i> may be disturbing, but it is also very good. I certainly want to read more of Otsuichi's works now.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/221161538"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4530255263278857595?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-54806230641755756242011-07-22T07:26:00.000-05:002011-07-22T07:26:05.190-05:00~by Takako Shimura<br /><br /><a href="http://www.librarything.com/isbn/9781606994160" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-hVNHdTeL2vY/TibJyVGNb0I/AAAAAAAABSc/yIhxeusv27Q/s200/WanderingSon1.jpg" width="141" /></a>I was absolutely delighted when Fantagraphics announced the license of Takako Shimura's manga series <i>Wandering Son</i>. The first volume, originally released in Japan in 2003, was published in English in 2011. The series is currently up to eleven volumes in Japan and is ongoing but only the first two volumes have been announced for the English edition so far. Gender play is far from uncommon in manga but is probably most often used as a gag or for comedic intent. A more serious, sincere, and realistic portrayal of gender issues, and specifically transgender issues, is much rarer. It's not a common theme to be found in comics in general which is why I was particularly excited for the release of <i>Wandering Son</i> in English. Plus, Fantagraphics' edition is beautifully presented as a full-sized hardcover with excellent print and paper quality. The volume is just as lovely to behold as it is to read.<br /><br />When Shuichi Nitori transfers into his new fifth grade class, one of the first people he befriends is the handsome tomboy Yoshino Takatsuki. They don't know it at the time but they both have similar secrets--Nitori dreams of being a girl while Takatsuki wants to be a boy. Nitori is cute enough and is even mistaken for a girl on occasion but his opportunities to cross-dress are seen by most others to be entertaining rather than honest expressions of his desire. Takatsuki's tomboyishness is more socially acceptable but also hides to some extent what she really wants; she is still considered to be a girl. Fortunately, as the two of them grow closer as friends and eventually become aware of the other's secret, they also become an important source of encouragement and support for each other.<br /><br />Shimura's artwork is simple but remains expressive. Very little detail is given to the backgrounds, forcing the readers' attention to the people of the story. Sometimes this means the characters' seem slightly out of context with their world, bringing the focus to their thoughts and feelings and leaving them alone with them. The artwork makes it easy to slip between dreams, daydreams, and reality. A nice balance between the text and the artwork exists in <i>Wandering Son</i>. Internal monologues drift from words to images; there are simply some things that are too difficult or too personal for the characters to be able to express in words yet. There is a lot that is left unsaid that the artwork still conveys. Many of Shimura's character designs are very similar. However it still is fairly easy to tell everyone apart as they all have distinctive personalities, movements, and postures.<br /><br />Instead of following a strictly linear narrative, <i>Wandering Son</i> provides a somewhat fragmented view. To me, it seems more like a collection of memories, glimpses of important and influential moments in the characters' lives. Though told chronologically, the story has an impressionistic quality to it. <i>Wandering Son</i> is lovely and quiet with tremendous emotional depth. Middle school is already a tumultuous time growing up and Nitori and Takatsuki are both faced with additional challenges as they begin to explore their own identities. Included in the first volume of <i>Wandering Son</i> is a brief essay by the series' translator Matt Thorn called "Snips and Snails, Sugar and Spice" which examines the use of honorifics and pronouns, some of the gender quirks of both the Japanese and English languages as well as the social implications of those word choices. I was very pleased with the first volume of <i>Wandering Son</i> and greatly look forward to the release of the second volume.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/660546187"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5480623064175575624?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-33797633770854814022011-07-17T07:04:00.000-05:002011-07-17T07:04:06.955-05:00~by Ric Meyers<br /><br /><a href="http://www.librarything.com/isbn/9780979998942" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-F0_w9PAUgHM/TiAph-ra_8I/AAAAAAAABSI/1817K73FTvg/s200/FilmsFury.jpg" width="134" /></a><a href="http://phoenixterranbooks.blogspot.com/search/label/Early%20Reviewers" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="LibraryThing Early Reviewers" border="0" height="51" src="http://www.librarything.com/pics/bird130.gif" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" width="65" /></a>Although personally I study traditional Okinawan karate-do, I am also interested in martial arts in general. I enjoy watching martial arts films, too, and some of the very best of those are specifically kung fu movies. And so when Ric Meyers' work <i>Films of Fury: The Kung Fu Movie Book</i>, published by Emery Books in 2011, was offered through LibraryThing's Early Reviewers program, I was very pleased when I was paired up to review the book. Meyers is an inductee of the World Martial Arts Hall of Fame for his contributions writing about Asian martial arts films and to the martial arts movie industry. In addition to numerous articles and reviews, he has so far written three major works on the subject: <i>Martial Arts Movies: From Bruce Lee to the Ninjas</i> in 1985, <i>Great Martial Arts Movies: From Bruce Lee to Jackie Chan and More</i> in 2001, and finally <i>Films of Fury</i>&nbsp;in 2011. (He was also a contributor to <i>The Encyclopedia of Martial Arts Movies</i>.) <i>Films of Fury</i>, in addition to being a stand alone book, is also a companion to the documentary <i>Films of Fury: The Kung Fu Movie Movie</i> which was also written by Meyers.<br /><br /><i>Films of Fury</i> consists of an introduction, a preface, ten more or less thematic chapter exploring kung fu films, actors, directors, and choreographers, a list of Meyers' personal top one hundred kung fu films up to 2010, and an index. The first chapter, "Kung Foundation,"&nbsp; gives a basic overview and history of kung fu and kung fu films. From there Meyers examines Bruce Lee in "The King of Kung Fu," the films of the Shaw Brothers studio (many of which have only recently made their way to Western shores legitimately) in "The Shaw Standard" and Jackie Chan in "The Clown Prince of Kung Fu." "The Clown Prince's Court" looks at other influential players active around the same time as Chan. The changing roles of women in kung fu films is explored in "Women Wushu Warriors," Jet Li's career is featured in "Jet Powered" and&nbsp;the films of John Woo&nbsp;and the rise of firearms in movies are the focus of "Gun Fu." "Kung FU.S.A" examines the (mostly) sorry state of kung fu films in the U.S. Finally, there is "Kung Futures" in which Meyers looks at where kung fu films are heading and who we should pin our hopes on to be the next "greats."<br /><br />The chapters of <i>Films of Fury</i> are arranged in a vaguely chronological order but as each one generally focuses on a particular subject rather than a specific time period there is plenty of overlap in history. It's somewhat difficult to establish a comprehensive timeline because of this, but overall I liked the arrangement by topic. <i>Films of Fury</i> seems to be written with a Western audience in mind which compounds the problem of discussing the history of kung fu cinema chronologically since many of the films were released abroad at different times and under different titles. Occasionally, Meyers' writing seems to devolve into a listing of titles and names (which are unfortunately not used consistently throughout the book) and sometimes he'll talk a bout a specific title at length&nbsp;without explicitly establishing why it is important to do so, but for the most part the book is interesting and engaging.<br /><br />Although it is obvious that Meyers is quite knowledgeable about kung fu movies, <i>Films of Fury</i> is far from a scholarly work on the subject and serves more as a pop history. Meyers writing style is extremely informal which makes the book more approachable but is also cringe worthy due to bad puns and jokes (see the chapter titles for some examples) as well awkward grammar and structure. I also had hoped for better reference materials. Despite there being a "selected index," there are no coherent listings of the films or people mentioned which makes navigating and finding specific information in <i>Films of Fury</i> troublesome. However, Meyers enthusiasm and passion for kung fu movies is readily apparent as well as contagious. After reading <i>Films of Fury</i>, I wanted nothing more than to sit around and experience all the martial arts films discussed for myself.<br /><br /><br /><br /><div style="text-align: right;"><i>Not available in a library...</i> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3379763377085481402?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-82904750438575965762011-07-14T07:32:00.001-05:002011-10-15T16:11:18.735-05:00~written by Kaoru Kurimoto<br />~illustrated by Naoyuki Kato<br />~translated by Alexander O. Smith and Elye J. Alexander<br /><i>2010 Seiun Award Winner</i><br /><br /><a href="http://www.librarything.com/isbn/9781934287057" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-LUxDEeJCgfE/Thw8YFbfFEI/AAAAAAAABSA/8-2iAiGfIs4/s200/WarriorWilderness.jpg" width="146" /></a><i>Warrior in the Wilderness</i> is the second volume in Kaoru Kurimoto's heroic fantasy light novel series <i>The Guin Saga</i>. Originally published in Japan in 1979, <i>Warrior in the Wilderness</i> was first released in English in 2003 in hardcover by Vertical. In 2008, a paperback edition was released. Alexander O. Smith and Elye J. Alexander return to the series to provide the English translation. Happily, Naoyuki Kato's illustrations from the original are also included. At far over one hundred volumes, <i>The Guin Saga</i> is immensely popular in Japan, winning a Seiun Award in 2010. Parts of the series have been translated into multiple languages. Only the first five volumes, consisting of the first major story arc, are currently available in English. I didn't enjoy the first volume, <a href="http://phoenixterranbooks.blogspot.com/2011/03/guin-saga-book-one-leopard-mask.html"><i>The Leopard Mask</i></a> nearly as much as I was hoping to, at least not until towards the end of the book, but even still, I remained interested in the series and looked forward to reading <i>Warrior in the Wilderness</i>.<br /><br />During the chaos of Stafolos Keep's fall, the leopard-headed and amnesiac warrior Guin manages to escape along with the twin heirs of Parros, Rinda and Remus, and a young Sem girl named Suni. Joining them soon after, and somewhat reluctantly, is a skilled mercenary known as Istavan Spellsword. Traveling along the river Kes, the odd group of former prisoners flee the Keep hoping to avoid pursuit. Their luck doesn't hold and they find themselves trapped between the army of Gohra and the dangerous and cursed land of Nospherus, inhabited by strange beasts and home to bizarre phenomena. Guin and the others decide the best option is to take their chances with the terrors of Nospherus. Unexpectedly, the Gohran army, lead by a brash young general, follows the five escapees across the river and into the land fit for demons.<br /><br />As much as I adore Guin as a character, I was thrilled when Istavan the Crimson Mercenary was revealed to be one of the main protagonists. He is only briefly introduced in <a href="http://phoenixterranbooks.blogspot.com/2011/03/guin-saga-book-one-leopard-mask.html"><i>The Leopard Mask</i></a> but plays a very prominent role in <i>Warrior in the Wilderness</i>. At the moment, Istavan may be my favorite character in <i>The Guin Saga</i>--he's such an ass. Concerned first and foremost about his own self-preservation and an excellent fighter, he provides tension within the group since no one is quite sure where his loyalties lie. Istavan doesn't automatically get along with his companions of chance (or perhaps of fate) and his moral character is ambiguous to say the least. Amusingly enough, his constant cursing provides valuable understanding of the <i>The Guin Saga</i>'s pantheon. All in all he's not such a bad guy although it's sometimes hard to tell, which is what makes Istavan so interesting.<br /><br />I enjoyed <i>Warrior in the Wilderness</i> quite a bit more than <a href="http://phoenixterranbooks.blogspot.com/2011/03/guin-saga-book-one-leopard-mask.html"><i>The Leopard Mask</i></a>. A reader new to the series could probably even start with the second book without too much of a problem since most of the major plot points from the first volume are at least mentioned. In general, the narrative flow and pacing of <i>Warrior in the Wilderness</i> is much better and less awkward than in <a href="http://phoenixterranbooks.blogspot.com/2011/03/guin-saga-book-one-leopard-mask.html"><i>The Leopard Mask</i></a>. Guin still has the tendency to remember information when happens to be needed, something that strikes me more as convenient rather than mysterious. The other characters, and therefore Kurimoto, are aware of this habit but it has yet to be satisfactorily explained. Still, Guin remains a captivating and intriguing badass. <i>Warrior in the Wilderness</i> ends with a cliffhanger so I am looking forward to continuing <i>The Guin Saga</i> with the next volume, <a href="http://phoenixterranbooks.blogspot.com/2011/10/guin-saga-book-three-battle-of.html"><i>The Battle of Nospherus</i></a> sooner rather than later.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/53148601"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8290475043857596576?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-66367333015037120852011-07-10T08:28:00.000-05:002011-07-10T08:28:36.160-05:00~written by Cheng’en Wu<br />~translated by Anthony C. Yu<br /><br /><a href="http://www.librarything.com/isbn/0226971503" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-Ywp1KBOIHRI/TfdiZoyC_2I/AAAAAAAABPw/Fv4rbV_9gjA/s200/JourneyWest1.jpg" width="128" /></a><i>The Journey to the West</i> is a highly influential work written anonymously in China during the Ming Dynasty in the 1590s. Believed to be written by Cheng'en Wu, it is considered to be one of the Four Great Classical Novels of China. <i>The Journey to the West</i> is a fictionalization of the historical journey from China to India undertaken by the Buddhist monk Xuanzang and incorporates numerous folk tales, myths, and legends. <i>The Journey to the West</i> has been and continues to be the inspiration for seemingly countless works and adaptations not only in China, but in Japan (where it is known as <i>Saiyuki</i>) and all over the rest of the world as well. The first complete and unabridged English edition of the the original <i>The Journey to the West</i>, including the integral poetry, was translated by Anthony C. Yu. The Chicago University Press published Yu's translation in four volumes between 1977 and 1983. An abridged version of Yu's translation is also available under the title <i>The Monkey and the Monk</i>.<br /><br />In its entirety, <i>The Journey to the West</i> is one hundred chapters. The first volume of Yu's translations consists of the first twenty-five chapters, a very useful and informative preface and introduction, and plenty of helpful end notes. The first seven chapters tell the story of Sun Wukong, the Monkey King, following his birth, education, disruption of Heaven, and his eventual imprisonment under a mountain. Monkey's tale is the part of <i>The Journey to the West</i> with which I was already most familiar. <i>The Journey to the West</i> continues with the circumstances surrounding the journey as well as the backgrounds of our intrepid monk Tripitaka and the other companions that will end up joining him in addition to Monkey. The actual journey--Tripitaka's travels to retrieve sacred scriptures from the West--doesn't begin until chapter thirteen.<br /><br />I didn't know it before I read the first volume of Yu's translations of <i>The Journey to the West</i>, but the Bodhisattva Kuan-yin plays a significant role in the story. For various reasons, Kuan-yin happens to be my favorite member in all of the Buddhist pantheons, so it made me happy to find her in <i>The Journey to the West</i>. Tripitaka, on the other hand, I found somewhat frustrating as a character. Once his journey begins it seems as if the only thing he can do is faint in fear and fall off his horse when confronted with monsters and demons. Granted, this is a fairly reasonable reaction give the circumstances. But what Tripitaka lacks in stamina and valor, he more than makes up for in stupendous moral and spiritual integrity. He's not afraid to give Monkey and the rest of his companions brilliant tongue-lashings when the situation calls for it.<br /><br />With a marvelous mix of magic, martial arts, mischief, and mayhem, <i>The Journey to the West</i> is a tremendous amount of fun. It is easy to see why the story is so loved and has inspired so many adaptations. And while <i>The Journey to the West</i> has some tragic elements to it, it is also a very funny story with plenty of humor to enjoy. Although I have not read any other translations of <i>The Journey to the West</i> to compare it to, I am so far happy with Yu's translation. Some of the terms and phrases may be unfamiliar due to cultural differences, but like the original, Yu uses approachable, commonplace language. The text itself is somewhat repetitive, frequently reusing descriptions and constantly reiterating plot developments. But even considering this, <i>The Journey to the West</i> is immensely entertaining and I look forward to reading the rest of Yu's translation.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/2212801"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6636733301503712085?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-75241253991214723862011-06-29T07:10:00.000-05:002011-06-29T07:10:18.139-05:00~by Kazuya Minekura<br /><br /><a href="http://www.librarything.com/isbn/9781598169782" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-_p2G24gJiuk/Tf0mUfDJw0I/AAAAAAAABQM/Oj2BmD3Ky9M/s200/WildAdapter1.jpg" width="134" /></a>I initially came across Kazuya Minekura's manga series <i>Wild Adapter</i> while looking for manga with references to mahjong. Later on I learned that the series has some pretty heavy shōnen-ai overtones to it as well, which I was just fine with. So I picked up <i>Wild Adapter</i>, read it, and fell in love with the series. That was also when I belatedly realized that Minekura was also the creator of the popular <i>Saiyuki</i> and <i>Saiyuki Reload</i> manga. I was pretty happy when the <i>Wild Adapter</i> series was selected for the <a href="http://mangabookshelf.com/blog/2011/06/1/manga-moveable-feast-wild-adapter-archive/">June 2011 Manga Moveable Feast</a>. <i>Wild Adapter</i> is currently six volumes long, all of which have been published in English by Tokyopop, plus a few chapters that have been serialized in Japan for the seventh book. However, due to Minekura's rather serious health concerns, <i>Wild Adapter</i> and many of her other ongoing series are currently on hiatus. The first volume of <i>Wild Adapter</i> was released in Japan in 2001 while the English edition was published in 2007.<br /><br />Seventeen-year-old Makoto Kubota is a highly skilled mahjong player and a natural leader, catching the eye of the Izumo syndicate who recruit him to head their youths. The Tojou organization, a rival yakuza group, encroach even more than they have been on Izumo's territory, trying to take advantage of the newcomer's inexperience. But Kubota proves to be a dangerous and deadly adversary. When a mysterious new drug known as W.A. hits the streets, both the Izumo and Tojou groups are interested in gaining control of it and its distribution. The police, too, are investigating since a string of bizarre corpses seems to be connected to the drug. For Kubota, the search for W.A. and for more information about it becomes a personal vendetta when he is forced to confront the risks involved head on. <br /><br />There are several interesting things about Minekura's artwork in <i>Wild Adapter</i>. Although occasionally seen, very little tone and shading is used, instead black and white starkly contrast with each other. The pages themselves are also black instead of the usual white. This aesthetic decision lends itself to the darker aspects of the story and also emphasises the loneliness and disconnectedness of the characters as the panels are visually separated as well. Minekura is not afraid of silence, either. The technique is used to capture the passage of time but also helps to focus the reader on important dialogue and distinct moments in the individual panels. Minekura's balance and pacing between dialogue and artwork is excellent. Her character designs, while similar to those in some of her other series, are easily distinguished from one another in <i>Wild Adapter.</i> Close attention is paid to accurate body structures. Although realistic, occasionally the figure work can be vaguely disconcerting.<br /><br />The first volume of <i>Wild Adapter</i> serves as a prologue to the series as a whole. Tokito, one of the main characters, only makes a brief appearance. Instead, the first volume focuses on and introduces Kubota, the other protagonist, primarily as seen through the eyes of his second-in-command in the Izumo Youths, Komiya. Komiya doesn't even like Kubota to begin with and is reluctant to serve under a rookie outsider but he comes to admire and even fear Kubota, developing a tremendous sense of devotion. This intimate camaraderie is extremely important to Kubota who keeps everyone at a distance. Even though the first volume of <i>Wild Adapter</i> focuses on Kubota, he still remains much of an enigma. Extraordinarily difficult to read, he is a mess of contradictions; at times he is almost innocent, sweet, and kind but in a moment he can become cruel, brutal, and vicious. As one character describes him, "He's an odd boy, but an absolute pleasure." Love him or hate him, Kubota's intensity and charisma are critical to <i>Wild Adapter</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/83260344"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7524125399121472386?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-54097864795491053942011-06-18T16:40:00.000-05:002011-06-18T16:40:10.766-05:00~written by Kōbō Abe<br />~translated by E. Dale Saunders<br /><br /><a href="http://www.librarything.com/isbn/9780679733782" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-571-KMRYwGw/Tfs0e785XmI/AAAAAAAABP8/RRhng5ZyLAM/s200/WomanDunes.jpg" width="131" /></a><i>The Woman in the Dunes</i>, originally published in Japan in 1962, is probably the most well-known work by Kōbō Abe available in English. One of the reasons for this is the film by the same name released in 1964, directed by Hiroshi Teshigahara with a screenplay that was also written by Abe. The first English translation of the novel <i>The Woman in the Dunes</i>, which included line illustrations by the artist Machi Abe (who also happens to be Kōbō Abe's wife), was published in 1964 by Knopf. The paperback published by Vintage International (an imprint of Knopf),&nbsp; the edition currently in print, was first released in 1991. E. Dale Saunders has served as the translator for several of Abe's works, including <i>The Woman in the Dunes</i>. Although I was aware of both the film and the novel, I hadn't watched or read either of them until the novel was selected for the June 2011 <a href="http://www.inspringitisthedawn.com/2006/02/japanese-literature-book-group.html">Japanese Literature Book Group</a>. In fact, I hadn't previously read any of Abe's works, so was happy to have an excuse to change that.<br /><br />One August, Jumpei Niki, schoolteacher and amateur entomologist, disappears. None of his colleagues know exactly where he went to collect his beetles, but he was expected to return. Jumpei's desire as an insect collector was to discover a new species or variant, a goal that brought him to a secluded village nestled among the sand dunes along the coast. The village and its people seem a little strange, but he doesn't realize the trouble he's in until it's too late. He asks to stay the night and is brought to a widow's household that is nearly swallowed by the sand. Jumpei readily climbs down into the pit, grateful for the villages courtesy, only to find that the ladder has been removed when he tries to leave in the morning. He has three choices: join the widow and dig sand for the rest of his life to survive, try to escape, which no one has been able to do, or die.<br /><br />It would be fairly easy if not obvious to read <i>The Woman in the Dunes</i> symbolically or as a metaphor. However, since I wasn't feeling particularly clever while reading <i>The Woman in the Dunes</i>, I approached the novel more literally. Even doing so, I still found the story to be quite compelling. Admittedly, it is also very strange. But it is fascinating to watch Jumpei deal with the odd situation he finds himself in and slowly change because of it. While some of his circumstances are hardly believable, the setting that Abe has created is presented very realistically. Life in the village, while not completely explained to either the reader or Jumpei, seems to have been thoroughly thought through. In some ways, I found <i>The Woman in the Dunes</i> to be vaguely reminiscent of Shirley Jackson's short story "The Lottery" as both works are about societies with deeply entrenched and somewhat menacing traditions.<br /><br />What left the biggest impression on me from <i>The Woman in the Dunes</i> was the sand itself. Abe's portrayal and description of it is extremely evocative; the sand could almost be considered its own character. It is beautiful, powerful, uncaring, and dangerous. Frankly, after reading <i>The Woman in the Dunes</i>, I'm somewhat terrified of sand. Jumpei's relationship with it begins with admiration, crosses through fear and hatred, eventually evolving into something akin to dependency. It wears him down not only physically, but mentally as well. The sand becomes central to his though processes and is the most important thing in his life. The results of this are chilling and is what made <i>The Woman in the Dunes</i> such an effective novel for me.<br /><br /><br /><div style="text-align: right;"><br /></div><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/325734"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5409786479549105394?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-45131081963394143772011-06-17T06:01:00.000-05:002011-06-17T06:01:06.894-05:00~written by Tetsu Kariya<br />~illustrated by Akira Hanasaki<br /><i>1987 Shogakukan Manga Award Winner<br />2010 Eisner Award Nominee</i><br /><br /><a href="http://www.librarything.com/isbn/9781421521404" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-BctaRBLgRVE/TffqXkawReI/AAAAAAAABP0/5hJE20-Ktxo/s200/Oishinbo2.jpg" width="141" /></a><i>Oishinbo, A la Carte: Sake</i>, written by Tetsu Kariya and illustrated by Akira Hanasaki, is the second volume of the <i>Oishinbo, A la Carte</i> collections to be released in English by Viz Media's Signature line in 2009. Originally, <i>Sake</i> was the twenty-sixth volume in the series when published in Japan in 2007. <i>Oishinbo</i> is a very popular and successful manga in Japan. It began serialization in 1983 and is still ongoing even after more than a hundred volumes. in 1987, the series won a Shogakukan Manga Award. The <i>Oishinbo, A la Carte</i> collections are thematic compilations of story arcs taken from throughout the regular series. I had previously read <a href="http://phoenixterranbooks.blogspot.com/2010/12/oishinbo-la-carte-japanese-cuisine.html"><i>Japanese Cuisine</i></a>, the first volume of <i>Oishinbo, A la Carte</i> to be released by Viz, and thoroughly enjoyed it. So, I was looking forward to reading <i>Sake</i> as well, especially since it was a subject I wasn't particularly familiar with.<br /><br />In the West, "sake" is generally used to mean Japanese rice wine, or nihonshu. However, in Japanes "sake" tends to refer to all drinking alcohol in general. Appropriately enough, while the main focus of <i>Sake</i> is sake, the volume also explores wine and champagne, shōchū, awamori and kūsū, and briefly mentions beer, cognac, bourbon, whiskey, vodka, and brandy. I was somewhat surprised so little time was spent on whiskey since Japan has recently gained some notoriety in that realm. Instead, <i>Sake</i> examines and celebrates the authentic and traditional Japanese alcohols and delves into the good and the bad of the sake industry. Many of the drinks and breweries mentioned in <i>Sake</i> actually exist.<br /><br />I found <i>Sake</i> to be a little less interesting art-wise than <a href="http://phoenixterranbooks.blogspot.com/2010/12/oishinbo-la-carte-japanese-cuisine.html"><i>Japanese Cuisine</i></a>, mainly because it is more difficult to visually convey the differences between liquids than it is for foods. However, Hanasaki still does a lovely job and the bottles of alcohol in particular are beautifully rendered. For the most part, Hanasaki's style is very simple until the real stars of the show, the food and drink, appear and are captured in photorealistic detail. One of the things I found especially interesting in <i>Sake</i> is how closely Kariya equates sake with Japanese culture. There is a certain amount of intense pride and confidence in sake and in Japan exhibited. The failings of the sake industry are also seen as a failure to treasure what makes Japan, Japan. Throughout <i>Sake</i>, Kariya's characters express concerns about the over-Westernization of Japan and mourn the resulting loss of respect for Japanese food and drink cultures. But at the same time, they show that Japan still has a lot that is unique to offer the world.<br /><br />Kariya is not afraid to use his characters to tear into Japanese businesses, people, and governments over the poor state and practices of the sake industry. They have no patience whatsoever for "fake" by-the-book gourmets and do not hesitate to express their opinions. But it is their enthusiasm and passion about food and drink that makes <i>Oishinbo</i> so engaging, even when the manga occasionally becomes a sequence of talking heads. So far, I love the <i>Oishinbo, A la Carte</i> collections and find them to be both highly entertaining and educational. The only real problem that I've encountered is that I immediately want to go out and try all the food and drinks mentioned in a particular volume--something that isn't really very feasible. Still, I'm looking forward to reading the next book, <i>Oishinbo, A la Carte: Ramen and Gyoza</i>, very much.<br /><br /><br /><br /><div style="text-align: right;"><i><a href="http://www.worldcat.org/oclc/244061721">Find in a library...</a></i><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4513108196339414377?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-7863773083485807202011-06-12T15:03:00.000-05:002011-06-12T15:03:37.953-05:00~written by Fuyumi Ono<br />~translated by Alexander O. Smith and Elye J. Alexander<br /><br /><br /><a href="http://www.librarything.com/isbn/9781427802576" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-c2bqZNZVLCM/TfE1l68eSCI/AAAAAAAABPU/KhQo-XQySVA/s200/TwelveKingdoms1.jpg" width="145" /></a>I don't remember exactly where I first heard about Fuyumi Ono's fantasy light novel series <i>The Twelve Kingdoms</i>, illustrated by Akihiro Yamada, but over time I've gained the impression that the books are quite good. And so when I came across the first volume <i>Sea of Shadow</i>, which is long out of print and somewhat hard to find, at a used book store I nabbed it. The English translation was executed by Alexander O. Smith and Elye J. Alexander. Tokyopop first published <i>Sea of Shadow</i> in hardcover in 2007 before releasing a paperback edition in 2008. The first volume of the English edition of <i>The Twelve Kingdoms</i> actually collects the first two volumes of the series as released in Japan, published in June and July of 1992. The full title of the two part novel translates into English as <i>Shadow of the Moon, Sea of Shadow</i>. <i>The Twelve Kingdoms</i> ran for eleven volumes in Japan. The first seven books were released by Tokyopop collected as four volumes in the English edition.<br /><br />Yoko Nakajima is a fairly normal high school student who wants to be liked and accepted by her peers. She tries to appease everyone and acts as the perfect good girl, good student, and good daughter. But when a strange man comes looking for her at school and she is whisked away to another world she can lo longer be any of those things. Soon separated from the man who swore his protection and allegiance to her, Yoko finds herself alone with no idea where she is or what is going on. Pursued nightly by demons, she is painfully aware that her very life is in danger if she doesn't figure out something soon. All she wants to do is go home, but with no one to help her she must learn to depend on herself.<br /><br />While I enjoyed the first part of <i>Sea of Shadow</i>, it wasn't until I was about halfway through the book that I knew for certain that I wanted to read the rest of <i>The Twelve Kingdoms</i>. It is at that point that Yoko has sunk to her lowest as a person. She is aware of the changes in herself, but she can no longer bring herself to care after being repeatedly betrayed. Yoko's character development in <i>Sea of Shadow</i> is by far the most complete. She significantly matures over the course of the book and for very good reasons. It is chilling and almost scary to see how she adapts to her circumstances even if it is understandable considering how she must struggle to survive on her own. Her experiences are harsh and emotionally, spiritually, mentally, and physically draining. It is no surprise that Yoko is a very different person at the end of <i>Sea of Shadow</i> than she is at the beginning. Ono captures her development magnificently.<br /><br />Ono's world building in <i>Sea of Shadow</i>, heavily influenced by Chinese mythology, is solid. Occasionally the narrative falls prey to infodumping, mostly because the reader is limited to what Yoko knows about her environment. If she hasn't learned something yet, the reader is also left in the dark. But as the novel progresses and Yoko finds people she believes she can trust, more and more about the world in which she is now living is revealed and explained. And it is absolutely fascinating. The political structure is particularly interesting and the system of checks and balances establishes very real and often dire consequences for rulers and for their kingdoms. Even with divine aid, people will continue to be people with all of their faults and thirst for power intact; nothing is perfect. I definitely want to learn more about the world Ono has created in <i>The Twelve Kingdoms</i> and look forward to continuing the series with <i>Sea of Wind</i>.<br /><br /><br /><br /><div style="text-align: right;"><i><a href="http://www.worldcat.org/oclc/271682977">Find in a library...</a></i> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-786377308348580720?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-84523058410022165322011-06-09T08:18:00.000-05:002011-06-09T08:18:48.066-05:00~by Rikki Ducornet<br /><br /><a href="http://phoenixterranbooks.blogspot.com/search/label/Early%20Reviewers" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="LibraryThing Early Reviewers" border="0" height="51" src="http://www.librarything.com/pics/bird130.gif" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" width="65" /></a><a href="http://www.librarything.com/isbn/1566892538" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-rto4Ln9zBq0/TfC3xQ_o0YI/AAAAAAAABPM/PH5yM9NUbGs/s200/Netsuke.jpg" width="134" /></a>When Rikki Ducornet's <i>Netsuke</i> was offered through LibraryThing's Early Reviewers program, the title immediately caught my eye. I had recently seen a collection of netsuke--miniature sculptures used as toggles to secure personal belongings in traditional Japanese dress--at the Toledo Museum of Art. Now, Ducornet's <i>Netsuke</i> isn't actually about netsuke, although they are used symbolically. Instead it is about the sexual proclivities of a troubled psychoanalyst, but I found this premise to be fascinating as well. I haven't read any of Ducornet's previous works but in addition to <i>Netsuke</i>, released by Coffee House Press in May 2011, she has written seven novels, three short story collections, five poetry collections, and a book of essays, many of which have been translated into multiple languages. In addition to being a writer and a poet, Ducornet is also an illustrator and a painter.<br /><br /><i>Netsuke</i> closely examines the internal turmoil of an unnamed psychoanalyst. Akiko is his third wife and their marriage is close to failing as well. If she suspects him of being unfaithful, she mostly keeps her suspicious to herself. In the meantime, he feels compelled to drop hints and leave clues about his many and frequent affairs although he claims not to want to hurt her. He sleeps with complete strangers and people he picks up at local establishments. Most damning of all, he abuses his power as a psychoanalyst and seduces his own patients, trying to convince himself that it is for their own good as well as for his own. But it is only a matter of time before his life completely unravels as he struggles to keep control of the volatile situation he has created.<br /><br />The protagonist is really not a likeable guy or a sympathetic character. He is completely aware of what he is doing but does not fully understand the extent his actions affect other people although he obviously knows that they do. His betrayals of his wife, of his patients, and of his sexual conquests are harsh, brutal, and ultimately explosive. I can't help but wonder about his previous two marriages; surely there must have been some indication or warning for Akiko that he would be dangerous person to become involved with. It is apparent from the very beginning of <i>Netsuke</i> that things cannot possibly end well for the psychoanalyst or any of those connected to him. And although it is often painful to watch his demise, unlikeable though he is, it is also oddly compelling and difficult to look away. The ending is not entirely unexpected but it still makes a stunning impact.<br /><br /><i>Netsuke</i> is a very brief but very intense novel. From most of the review I've seen, it is a book that readers either absolutely love or absolutely hate. I can certainly understand why some people have problems with the novel. The subject matter, for one, is rather dark, difficult, disconcerting, and distressing. The language that Ducornet employs is strong and could easily be offensive. Just about every iteration of "fuck" is used as well as many other choice words and phrases. I didn't have an issue with the language and found it to be appropriate to the story, but others would probably appreciate the warning. Ducornet's narrative style in <i>Netsuke</i>, while lyrical and often evocative, is also fragmented. Of course, this is a reflection of the protagonist's state of mind and Ducornet captures it extremely well. This does mean that the reader never gets the full story and is almost exclusively limited to the extraordinarily biased viewpoint of one character, but the technique is very effective.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/664353034"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8452305841002216532?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-8719016737591743352011-06-08T14:44:00.000-05:002011-06-08T14:44:13.211-05:00~edited by Motoyuki Shibata and Ted Goossen<br /><br /><a href="http://www.librarything.com/work/11194281" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-OMtOHFT17kw/Te7bejrAzTI/AAAAAAAABPA/0MgJvp_1dsM/s200/MonkeyBusiness1.jpg" width="157" /></a><i>Monkey Business</i> is a Japanese literary journal edited by Motoyuki Shibata that was founded in 2008. The journal focuses on contemporary literature from Japan and includes the occasional older work as well. In Japan, <i>Monkey Business</i> is published more or less quarterly. The English edition of the journal, <i>Monkey Business: New Writing from Japan</i> (sometimes seen refereed to as <i>New Voices from Japan</i>), debuted in 2011 and is planned to be an annual publication. Once again, Shibata is acting as the editor along with the aid of Ted Goossen. It is published by A Public Space and is supported by the Nippon Foundation. The first volume selects, collects, and translates fourteen contributions from the first ten issues of the Japanese edition, published between spring 2008 and summer 2010. Roland Kelts, author of <i>Japanamerica</i> is one of the contributing editors of the English edition and has been publicizing the <i>Monkey Business</i>, which is how I found out about the journal.<br /><br />After a very brief introduction by the editors, the first volume of the English edition of <i>Monkey Business</i> opens with a short story translated by Michael Emmerich by Hideo Furukawa called "Monsters." It's a disconcerting, manic, and vaguely apocalyptic narrative punctuated by sections akin to poetry. Other poems in the volume include "The Sleep Division" by Mina Ishikawa, "Interviews with the Heroes, or Is Baseball Just for Fun?" by Inuo Taguchi, "When Monkeys Sing" by Masayo Koike, "Monkey Tanka" by Shion Mizuhara, and "Monkey Haiku" by Minoru Ozawa, all translated by Ted Goossen. Poetry is notoriously difficult to translate and I feel Goossen has done an excellent job. Although they all have their merits, the most accessible poem and the one I was most fond of was Taguchi's and I'm not even particularly enamored with baseball.<br /><br />I would argue that the centerpiece of the first volume of <i>Monkey Business</i>, due to length, location, and name recognition for English language audiences, is "Pursuing 'Growth'," an interview with Haruki Murakami conducted by Hideo Furukawa in December 2008 and translated by Goossen. I actually haven't read any of Murakami's works yet (scandalous, I know!), but I still found the interview fascinating. There are two collections of mini-stories and vignettes included in the first volume: "People from My Neighborhood" by Hiromi Kawakami (translated by Goossen) is delightfully quirky and nostalgic while Barry Yourgrau's "Song, the Old Way, and Bougainvillea" is gritty, dark, and bloody. I was happy to discover manga withing the pages of <i>Monkey Business</i> as well--"A Country Doctor" by the Brother and Sister Nishioka, or Nishioka Kyōdai, which is based on a story by Franz Kafka translated by J. A. Underwood.<br /><br />Short stories in this volume of <i>Monkey Business</i> include "Closet LLB" by Kōji Uno (translated by Jay Rubin), "The Tale of the House of Physics" by Yōko Ogawa (translated by Goossen), and what is probably my favorite contribution in the entire volume, "Sandy's Lament" written by Atsushi Nakajima and translated by M. Cody Poulton. The story is based on the Chinese classic <i>Journey to the West</i> and made me smile the entire time I was reading it. Apparently it is part of cycle by Nakajima, so I really hope to see more of them in included in future volumes of <i>Monkey Business</i>. This issue ends with "The Forbidden Diary," excerpts from a fictional, but autobiographically influenced, diary by Sachiko Kishimoto, also translated by Goossen.<br /><br />What I like best about the inaugural issue of <i>Monkey Business</i> is the wide variety of contributions selected. I love that manga, short fiction, poetry, and interviews can all take their place next to one another. I also greatly appreciated the list of contributors at the end which provides a brief introduction to the original creators, editors, and translators. Each entry generally includes mention of other works of theirs that are available in English. I found this section particularly valuable since I didn’t initially recognize many of the contributors by name and am definitely interested in pursuing more of their work. Overall, I was very pleased with the first volume of <i>Monkey Business</i> and I hope it does well enough that we’ll see another volume issued in 2012 and more volumes after that. I wouldn’t hesitate at all to recommend <i>Monkey Business</i> to someone interested in contemporary and experimental Japanese literature. It introduced me to creators I might not have come across otherwise and I am very glad for it.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/700046846"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-871901673759174335?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-74874491497927687952011-05-30T13:46:00.000-05:002011-05-30T13:46:03.179-05:00~by Mitsuru Adachi<br /><i>2009 Shogakukan Manga Award</i><br /><br /><a href="http://www.librarything.com/isbn/9781421537580" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-TPNG27MIJNs/Td-1jA4GgTI/AAAAAAAABNs/YhBIXAwKPIc/s200/CrossGame1.jpg" width="132" /></a>For some reason, I have been very reluctant to read Mitsuru Adachi's manga series <i>Cross Game</i>. I'm not sure if it's because the series is a sports manga or what. I've heard plenty of good things about Adachi and about <i>Cross Game</i> in particular, even from readers who aren't particularly fond of baseball. I even read a preview of the series in <i>Otaku USA</i> and enjoyed it, but for some reason still couldn't bring myself to read more of the series. My hand was finally forced when <i>Cross Game</i> was selected for the <a href="http://thepanelists.org/2011/05/manga-moveable-feast-cross-game/">May 2011 Manga Moveable Feast</a>. Because of that, I picked up the first volume released by Viz Media in 2010--equivalent to the first three volumes published in Japan between 2005 and 2006. Adachi began the series in 2005 and the seventeenth and final collected volume was released in Japan in 2010. In 2009, <i>Cross Game</i> was honored with a Shogakukan Manga Award. There was also a fifty episode anime adaptation of the series produced between 2009 and 2010.<br /><br />The Tsukishima family, who run the local batting cages and the Clover coffee shop, and the Kitamura family, who own the sporting goods store down the street, are good friends and their children have grown up together. Wakaba, the Tsukishima's beloved second daughter (out of four) and Ko, the Kitamura's only son, are particularly close and even share the same birthday. It seems like fate that the two of them should be together. The only person who's unhappy with the two being nearly inseparable is the next youngest Tsukishima daughter, Aoba. She adores Wakaba and so holds a grudge against Ko. Although Aoba won't admit it, except for the fact that she loves baseball and Ko isn't even really interested in the game, she actually shares quite a lot in common with him.<br /><br />While there are moments in <i>Cross Game</i> that are absolutely heartbreaking, the manga also has quite a bit of light-hearted humor to it as well, making the series more touching rather than depressing. Ocassionally, Adachi does have the tendency to either break the fourth wall or come very close to it. I did find this amusing, but it also threw me out of the story. However, I really enjoyed the small bits focusing on the Tsukishima's pet cat Nomo; they made me smile every time. Adachi's art style is fairly simple and straightforward. Every once in a while it feels like the panels are a bit disjointed, usually when Adachi sets up a dramatic reveal, but overall it is very easy to follow. One thing that he does that I particularly enjoyed and appreciated is how he captures the passage of time, often using the changes in season and in the neighborhood to visually transition from chapter to chapter. This also helps to establish a sense of place and makes the town feel as well-rounded and complete as the characters.<br /><br />Although there is plenty of personal drama, conflicts, and lively baseball games, I mostly find <i>Cross Game</i> to be a rather quiet coming of age series. Out of this volume, I preferred the first part of the story which focuses a bit more on the relationships between characters than on the baseball. But even when baseball becomes more prominent in the manga, the character interactions remain crucial and convincing. There is something subtle and very skilled in how Adachi balances the two elements. That being said, I find it strange that I'm not more gung-ho about <i>Cross Game</i>; for some reason it just doesn't immediately grab me. However, I did appreciate it more and more after repeated readings. I truly care about the characters Adachi has created, even if I don't feel compelled to immediately rush out and read more of the manga<i></i>. But, I've discovered that the longer I wait, the more I worry about the characters and wonder how they are doing.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/607978548"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7487449149792768795?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-764327854478432122011-05-23T12:44:00.000-05:002011-05-23T12:44:02.860-05:00~written by: Issui Ogawa<br />~translated by Jim Hubbert<br /><br /><a href="http://www.librarything.com/isbn/9781421527628" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-KTfTWI6G3Os/TdWGubgjGHI/AAAAAAAABNM/prwMJ7_pFSE/s200/LordSandsTime.jpg" width="131" /></a><i>The Lord of the Sands of Time</i> was the first work by Issui Ogawa to be released in English. Originally published in Japan in 2007, Viz Media's Japanese speculative fiction imprint Haikasoru released Jim Hubbert's English translation in 2009. In fact, <i>The Lord of the Sands of Time</i> was one of Haikasoru's debut titles along with Hiroshi Sakurazaka's <i><a href="http://phoenixterranbooks.blogspot.com/2010/08/all-you-need-is-kill.html">All You Need Is Kill</a></i>. I find it interesting that both novels deal with alien invasion and some sort of time travel, but their approach is very different. In addition to <i>The Lord of the Sands of Time</i> Haikasoru has also published the only other work by Ogawa currently available in English--his Seiun Award winning <i>The Next Continent</i>. Haikasoru has become one of my favorite imprints so I was interested in reading <i>The Lord of the Sands of Time</i> not only on its own merits, but because it was one of Haikasoru's first publications, too.<br /><br />Toward the end of the 26th century, humanity is nearly wiped out by an alien invasion force and if the fighting continues they are sure to lose. But when humans develop the capability to send a group of people back in time, hope is restored. A temporal army made up of advanced cyborgs with highly sophisticated AI systems is built for this purpose. In addition to being weapons, the cyborgs, known as Messengers, are sent into the past to warn humanity of the imminent invasion. They soon discover that the alien force also has the ability to time travel. The Messengers are forced into a deadly game of leapfrog, finding it necessary to travel further and further back&nbsp; into human history. Winning some battles and losing others, their resources can not and will not last forever. Even the Messengers continued existence is at stake as they fight for humanity's survival.<br /><br />Although it isn't explained in any sort of depth, time travel is extremely important in <i>The Lord of the Sands of Time</i>. Granted, even Orville--one of the primary characters--admits he doesn't understand it. The only thing that matters to him (and for the sake of the story) is that it works. Unfortunately, the time travelling concepts that Ogawa does introduce don't always seem to be as cohesive as they could be. In order to avoid confusion, I simply tried not to think too hard about the specifics and mechanics and trust what Ogawa was doing. Travel into the past, or upstreaming, is readily practiced, but once there there is no way to return; the Messengers must simply wait and hope they can survive long enough for the future to catch back up with them. The chapters in <i>The Lord of the Sands of Time</i> alternate between 248 AD and other time periods. The structure is interesting because 248 AD acts as the present and the future becomes the history. The narrative style also changes to emphasize this; the future is described very matter-of-factly while the present is told in a more immediate, active, and chaotic fashion.<br /><br /><i>The Lord of the Sands of Time</i> is not a long book but the story it tells is satisfyingly complete. I really enjoyed the novel. I did find the first chapter a little difficult to get into at first, but after a slow start the pacing picks up nicely. Orville is very charismatic, both to the reader and to other characters in the novel, and I enjoyed learning more about him&nbsp; immensely. The other primary character, Himiko, is also interesting. She also happens to be based on a historical shaman Queen from the Yayoi period. I enjoyed how Ogawa legitimately incorporated anachronisms with events and people from history. The integration also felt natural--it wasn't as though people were running around with laser guns in the 3rd century. Rather, their technology was more advanced within their own capabilities and resources. Since I enjoyed <i>The Lord of the Sands of Time</i>, I look forward to reading some of Ogawa's other works, beginning with <i>The Next Continent</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/283802663"><i>Find in a library... </i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-76432785447843212?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-54044721433619760402011-05-14T17:50:00.001-05:002011-05-14T17:50:47.658-05:00~by Takehiko Inoue<br /><i>2000 Japan Media Arts Award Winner<br />2000 Kodansha Manga Award Winner<br />2002 Tezuka Osamu Cultural Prize</i><br /><br /><a href="http://www.librarything.com/isbn/9781421520544" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-0isDNuPpVV4/Tc1uR27LOhI/AAAAAAAABMs/2dDOjear6ZU/s200/Vagabond1.jpg" width="134" /></a>Takehiko Inoue's <i>Vagabond</i> is a series I have been looking forward to starting for quite some time now, but I promised myself that I would read Eiji Yoshikawa's epic historical novel <a href="http://phoenixterranbooks.blogspot.com/2011/04/musashi.html"><i>Musashi</i></a> first since the manga is loosely based on that work. Now that I have read <a href="http://phoenixterranbooks.blogspot.com/2011/04/musashi.html"><i>Musashi</i></a>, nothing is holding me back from reading <i>Vagabond</i>. <i>Vagabond</i> is a popular and highly regarded series in Japan, winning both the Japan Media Arts Grand Prize and the Kodansha Manga Award in 2000 as well as the 2002 Tezuka Osamu Cultural Prize. The manga began serialization in 1998 and although it is currently on indefinite hiatus it is up to thirty-three volumes. Viz Media began publication of the English translation in individual volumes in 2007 as part of their Signature line. In 2008, they began releasing the series in an omnibus edition, each collecting three volumes of the original manga along with a bit of additional bonus material. It's a nice format for someone just starting to read <i>Vagabond</i> as it makes the long series a little easier on the pocketbook. (We do miss out on some of the nice cover art, though.)<br /><br />Takezō Shinmen and his best friend Matahachi Hon'iden left their home to make a name for themselves as warriors and samurai. Instead, the young men are put to work clearing roads for the army. After the Battle of Sekigahara they find themselves alive but seriously wounded and, perhaps even worse, on the losing side. Shamed, Takezō and Matahachi begin their journey home. Matahachi is from a good family and has a fiancée waiting for him. Takezō on the other hand has nothing but bad memories and is disliked and feared by most of the village. Pursued by the authorities and having killed many in the process, his homecoming is less than welcome and he goes into hiding in the nearby mountains. It isn't until the monk Takuan Sōhō, close friend of the local lord, becomes involved in the search for Takezō that any progress is made quelling the violent youth.<br /><br />Inoue is a phenomenal artist and storyteller. Although <i>Vagabond</i> is based on Yoshikawa's <a href="http://phoenixterranbooks.blogspot.com/2011/04/musashi.html"><i>Musashi</i></a>, Inoue has made the story his own. While the core elements remains the same and some scenes have been taken directly from the novel unchanged, Inoue isn't afraid to make changes to the story's pacing, characters, and plot to better suit his medium. And of course, it is always different seeing something visually presented rather than only reading about it. I adore Inoue's illustrations. Using a realistic style and beautiful figure work, he brings the characters of <i>Vagabond</i> to life and quite a few of them to their death as well. <i>Vagabond</i> is a very bloody, graphic, and violent work. Throughout the manga, Inoue uses interesting and dramatic points of perspective for his artwork. And beginning in the second volume he begins to incorporate more traditional looking ink brushstrokes to emphasize certain people and panels.<br /><br />Each of the characters in <i>Vagabond</i>, whether primary or secondary, have unique designs and personalities and are easily distinguished from one another. And Takezō? Holy hell is he scary; completely deserving to be called a demon by the others. He is incredibly strong but extremely undisciplined as a younger man. He doesn't hesitate at all to kill another person, sometimes even delighting in it. Even after the three year break between volumes two and three he seems incapable of restraint. While he does appear to have gained more control and focus, Takezō (now going by the name Miyamoto Musashi) still lacks in maturity. I do wonder if Inoue will explain what happened in those three years or if he'll just let things stand as they are. I also want to know what happened to the characters who don't reappear in the third volume. However, I am confident that that will be revealed in subsequent volumes. <i>Vagabond</i> is definitely a series I will be following to its end; I look forward to experiencing more of Inoue's fantastic artwork and storytelling.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/351686593"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5404472143361976040?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-61297712346750694332011-05-14T17:38:00.000-05:002011-05-14T17:38:37.084-05:00~by Jane Lindskold<br /><br /><a href="http://www.librarything.com/isbn/9780765317025" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-t3GHTqJkG2c/TcvSfFKX5FI/AAAAAAAABMk/VYuvE1kjxKo/s200/FiveOddHonors.jpg" width="132" /></a><i>Five Odd Honors</i> is the third book in Jane Lindskold’s series <i>Breaking the Wall</i>, following <a href="http://phoenixterranbooks.blogspot.com/2010/07/thirteen-orphans.html"><i>Thirteen Orphans</i></a> and <a href="http://phoenixterranbooks.blogspot.com/2010/10/nine-gates.html"><i>Nine Gates</i></a>. I hesitate to call it the final book since Lindskold has indicated that she would like to write at least one more novel for the series, but she isn’t currently working on another and doesn’t have any immediate plans to write one. While I haven’t enjoyed the series quite as much as I hoped I would, I keep reading the books for a number of reasons. First and foremost is the magic system inspired by the game of mahjong. I haven’t seen this anywhere else and I love it. In addition to Lindskold’s use of mahjong, she has some very interesting world-building based on other Chinese traditions and mythologies. So while parts of the first two books frustrated me immensely, there were enough intriguing concepts and cool ideas introduced that I looked forward to reading <i>Five Odd Honors</i>. Also, as with the previous books, the novel takes its name from a limit hand in mahjong.<br /><br />Having successfully established the Nine Gates, allowing access to the Lands Born of Smoke and Sacrifice through a shared underworld, the Thirteen Orphans are one step closer to healing the rift between their world and the Lands. Their task is still not an easy one, and they can’t do it alone. But even with the aid of potential new allies, who have their own motives for helping, the situation is becoming increasingly more dangerous. Something strange is going on in the Lands and the Orphans aren’t even certain who or what they are fighting against anymore. What is certain is that the enemy won’t hesitate to initiates attacks across worlds. If the Orphans want to put a stop to it, they’re going to need to figure out what is happening and act quickly.<br /><br />I am still somewhat surprised that after three books I haven’t become more attached to the characters in <i>Breaking the Wall</i>. Although I will admit to becoming rather fond of Loyal Wind in <i>Five Odd Honors</i>, overall I have found it difficult to connect with them as individuals. In concept I think they’re very interesting people, but for some reason the chemistry simply isn’t there. The metaphysics used in the story tend not to be as thoroughly explained in <i>Five Odd Honors</i> as they were earlier in the series. This means the plot moves along more quickly, but I sometimes felt I was missing out. The focus also tends to shift somewhat from the Chinese traditions to incorporate more Celtic traditions. Some of the plot developments seemed to be more convenient than convincing, such as the circumstances surrounding parts of the Tigers’ initial fight or characters suddenly revealing hidden skill sets when they happen to be needed. Still, even when the elements weren’t always executed very well, it was fascinating. <br /><br />It would be extremely difficult to read <i>Five Odd Honors</i> as a stand alone novel. I would recommend reading at least the second book, <a href="http://phoenixterranbooks.blogspot.com/2010/10/nine-gates.html"><i>Nine Gates</i></a>, before attempting <i>Five Odd Honors</i>. Even I, who have been following the series, took a while to settle into the book. That being said, I actually found <i>Five Odd Honors</i> more enjoyable and easier to read overall than the previous two volumes in the series. The Orphans and their cohorts have a tendency to talk things to death, something that is acknowledged within the actual narrative. Fortunately, this is not nearly as troublesome in <i>Five Odd Honors</i>; while it still happens, the pacing is much improved. I do hope that Lindskold has the opportunity to publish at least one more volume of <i>Breaking the Wall</i>. Although <i>Five Odd Honors</i> has a definite and somewhat satisfying ending, there are quite a few loose ends left, even reaching back as far as <a href="http://phoenixterranbooks.blogspot.com/2010/10/nine-gates.html"><i>Nine Gates</i></a> if not further. Lindskold still has plenty of roads left to explore in <i>Breaking the Wall</i> and I would like to see where they go.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.librarything.com/isbn/468976610"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6129771234675069433?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-43072798856853215302011-05-11T07:20:00.001-05:002011-05-19T11:31:29.990-05:00~written by Keigo Higashino<br />~translated by Kerim Yasar<br /><i>1999 Mystery Writers of Japan Award</i><br /><br /><a href="http://www.librarything.com/isbn/9781932234077" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-7S_e5krtITI/Tcl2NyTAXEI/AAAAAAAABMc/mkUaRqKfRgA/s200/Naoko.jpg" width="130" /></a>In 1998, Keigo Higashino wrote <i>Himitsu</i>, or <i>The Secret</i>. The novel won him the 1999 Mystery Writers of Japan Award. In 2004, the English translation by Kerim Yasar was published by Vertical under the title <i>Naoko</i>, making it the first major work by Higashino to be made available in English. Relatively recently, I read an thoroughly enjoyed one of his other award-winning novels, <a href="http://phoenixterranbooks.blogspot.com/2011/01/devotion-of-suspect-x.html"><i>The Devotion of Suspect X</i></a>. In fact, I enjoyed it so much that I knew I wanted to read more of Higashino’s work. There is a reason that he is so well loved as an author in Japan—his stories are not only entertaining, but have some depth to them as well. Since only two of Higashino’s works are currently available in English, obviously <i>Naoko</i> would be the next one for me to read. I truly hope more of his works are translated because I still haven’t gotten my fill of Higashino.<br /><br />Since he regularly works night shifts at the factory, Heisuke Sugita doesn’t always get to spend as much time with his wife Naoko and their eleven-year-old daughter Monami as he would like but they make a happy family. And then tragedy strikes. While Heisuke stayed home to work, the bus in which Naoko and Monami were travelling to visit relatives was driven off a cliff. Naoko’s body dies, but somehow her personality lives on in the body of Monami and Monami's mind no longer seems to exist. Heisuke and Naoko begin a strange new life together, keeping the personality switch a secret from everyone else. Naoko takes the opportunity to relive her life for and as Monami, making up for past regrets. Heisuke, on the other hand, is more conflicted; Naoko is now in some way both his wife and his daughter. People believe he is grieving over the death of Naoko, but really his loss is much more complicated than that.<br /><br />I actually think I liked <i>Naoko</i> even better than I did <a href="http://phoenixterranbooks.blogspot.com/2011/01/devotion-of-suspect-x.html"><i>The Devotion of Suspect X</i></a>. Part of this is due to the fact that, unlike in <a href="http://phoenixterranbooks.blogspot.com/2011/01/devotion-of-suspect-x.html"><i>The Devotion of Suspect X</i></a>, the reader has the opportunity to really get to know the heart and mind of one of the characters. In this case, since the novel is told completely from his perspective, it is Heisuke Sugita, a very normal and potentially boring husband and father. However, he finds himself in some extraordinary and unusual circumstances with little guidance on how to deal with them. It is fascinating to watch this admittedly average guy work through things to the best of his ability and see how the odd situation changes him over time. Heisuke is not perfect, in fact he can be an utter asshole at times, but when it gets right down to it, he’s a good person. He doesn’t handle everything well by any means, but that’s what makes him feel real as a character. The situation he finds himself in is certainly strange and bizarre but his characterization is so strong, I can’t imagine him behaving any differently.<br /><br />The back cover describes <i>Naoko</i> as “black comedy.” While the setup does cause some humorous and amusing encounters, I had a hard time approaching the novel as a comedy. Instead, it felt to me more like a meditation on love, loss, longing, and letting go. Higashino is often considered to be primarily a mystery author, winning many awards in the genre in addition to the one he received for <i>Naoko</i>. However, <i>Naoko</i> is different from the sort of mystery novels most typically seen in the United States--at least in my experience. Heisuke isn’t some brilliant investigator (Higashino even calls him "altogether lame" in an interview); he’s just a normal person who wants to figure out what’s going on and why. Eventually, he must learn to accept his circumstances. There is both humor and mystery in <i>Naoko</i>, but first and foremost it is simply a well told and engaging story. At times tragic and heartbreaking, it is a very satisfying novel and I’m very glad to have read it.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/56365810"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4307279885685321530?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-32549410889369325962011-04-30T11:14:00.005-05:002011-05-03T11:17:13.634-05:00~by Rumiko Takahashi<br /><br /><a href="http://www.librarything.com/isbn/1591163366" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-yNVnm2a3dF0/TbQmxAlYgGI/AAAAAAAABLE/QrAnbbueh10/s200/MermaidSaga1.jpg" width="132" /></a>I came to read <i>Mermaid Saga</i> as part of the <a href="http://panelpatter.blogspot.com/p/rumiko-takahashi-mmf.html">April 2011 Manga Moveable Feast</a> focusing on the series' creator Rumiko Takahashi. I'm ashamed to admit it, but before the Feast I had never read any of Takahashi's works except for <i>Ranma 1/2</i>, which I adore. <i>Mermaid Saga</i> is one of Takahashi's shortest series and she completed it between 1984 and 1994. Also in 1994, Viz Media began publishing the entire work in three volumes: <i>Mermaid Forest</i>, <i>Mermaid Scar</i>, and <i>Mermaid's Gaze</i>. In 2004, Viz re-released the series in a smaller sized second edition under the title <i>Mermaid Saga</i>, this time in four volumes. <i>Mermaid Saga, Volume 1</i> contains all but the last chapter of <i>Mermaid Forest</i>. Once again, the Manga Moveable Feast has given me the excuse to read something I've been meaning to get around to for quite some time.<br /><br /><i>Mermaid Saga</i> is told in a sequence of related short stories. The first volume collects "A Mermaid Never Smiles," "The Village of the Fighting Fish," and frustratingly only the first half of "Mermaid Forest." There is a legend that eating the flesh of a mermaid will bring a human eternal youth and longevity. However, it is just as likely, if not more so, that the person will be poisoned by the flesh, either killing them or transforming them into a monster. Yuta, who has eaten mermaid flesh, is arguably one of the lucky ones. Although immortal, he is tired of the suffering and pain of dying only to return to a life where he is lonely and ostracized. And so he searches for the mermaids, believing that they are the only ones who know how to return his body to normal, allowing him live his life, grow old, and die.<br /><br />I was happy to find that Takahashi executes dark and creepy in <i>Mermaid Saga</i> just as well as she handles comedic and absurd in <i>Ranma 1/2</i>. Her mermaids are not gentle and kind supernatural beings. Instead, they are vicious and selfish creatures, not only towards humans but towards their own kind as well. (Not unlike humans, actually.) They are also somewhat of a mystery--other than the fact that their flesh and blood has strange and powerful properties when consumed, very little is actually known about the mermaids.Still, whether out of obsession or desperation, mortals pursue the mermaids and immortality. But without complete knowledge or understanding of the circumstances, this can lead to severe and dire consequences for all involved. Unfortunately, because the details regarding mermaids are only slowly revealed, it sometimes feels like Takahashi is making them up as needed for the story rather than having a coherent and consistent vision to begin with. But even if that is the case, the mood remains the same throughout <i>Mermaid Saga</i> and the stories are effectively disconcerting.<br /><br />I really enjoyed the first volume of <i>Mermaid Saga</i>. My favorite story, despite some over the top dialogue, was "The Village of the Fighting Fish." The chemistry between Yuta and Rin is excellent and the development of their relationship over such a short period of time is completely believable. While I find Yuta to be the most interesting character at this point, they all have distinctive personalities and well developed backgrounds. This is true for most of the minor and secondary characters as well. I've come to expect dynamic and exciting action sequences and fight scenes from Takahashi and <i>Mermaid Saga</i> doesn't disappoint in that respect either. The art is skillfully done: the backgrounds and landscapes are wonderfully detailed, water and spray look wet, the mermaids are terrifying and beautiful in turn, and the panel and page layouts show effective variation. Overall, I feel that <i>Mermaid Saga</i> is off to an excellent start with engaging stories, art, and characters. I look forward to reading the rest of the series--I may have found a new favorite Takahashi.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/55999380"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-3254941088936932596?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-71970765192153693752011-04-24T09:49:00.000-05:002011-04-24T09:49:57.585-05:00~written by Isuna Hasekura<br />~illustrated by Jyuu Ayakura<br />~translated by Paul Starr<br /><br /><a href="http://www.librarything.com/isbn/9780759531079" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-Cq9zx2XyKcI/TbCDXEIoUGI/AAAAAAAABK4/ydCOF6PL5D0/s200/SpiceWolf3.jpg" width="131" /></a>I have been pleasantly surprised by Isuna Hasekura's <i>Spice &amp; Wolf</i> light novel series. I read the first two books and enjoyed them much more than I expected I would, so it made sense for me to continue with the series and pick up the third volume. <i>Spice &amp; Wolf, Volume 3</i> was initially published in Japan in 2006 before being released in English by Yen Press in 2010. Once again, Paul Starr has provided the novel's translation and the original illustrations by Jyuu Ayakura, including several color pages, have been retained. Although I wasn't blown away by the first two books I did become quite fond of the two main characters, Lawrence and Holo, and their developing relationship. Even the economic theories that play such an important role in the books haven't managed to scare me off; I was genuinely looking forward to reading the third volume.<br /><br />After narrowly escaping bankruptcy in Ruvenheigen, Lawrence turns his attention to fulfilling his contract with Holo, the wolf and harvest goddess travelling with him in human form. He has promised Holo to accompany her to her homeland of Yoitsu. Lawrence has heard stories that suggest the place has been destroyed, but he hasn't been able to bring himself to tell Holo that yet. Heading north, the general direction in which Yoitsu lies, the two of them stop in Kumersun in order to take in the winter festival and allow Lawrence the opportunity to research Yoitsu further. He hopes to narrow down its actual location and to discover evidence against its destruction. Unfortunately, finding Yoitsu is not the only thing he has to worry about--a precocious young merchant has fallen in love at first sight with Holo and will do all that he can to win her affection, even if that means ruining Lawrence in the process.<br /><br />As I have already mentioned, one of my favorite things about the <i>Spice &amp; Wolf</i> light novels is Lawrence and Holo's relationship with each other. And largely because of that, the third volume is probably my favorite book in the series so far because it focus on that relationship. I've always enjoyed their constant bantering and teasing, but in volume three Lawrence is forced to carefully consider how much Holo has come to mean to him and what his feelings towards her actually are. However, I will admit that it was initially disconcerting to see him refer to her as cargo several times. Ultimately though, taken in context, I decided this was more endearing than offensive. Lawrence can be a very awkward man, is easily embarrassed, and is a merchant through and through, meaning the way he expresses himself is not always particularly romantic or even polite. What is important though is that he cares tremendously for Holo and her well-being.<br /><br />Not surprisingly, economics are still critical to <i>Spice &amp; Wolf</i> even though the third volume tends to focus more on&nbsp; the story's worldbuilding and Lawrence and Holo's relationship. Lawrence may not be literally fighting for his life this time around, but he is still obviously under a tremendous amount of stress and strain. The supernatural elements of the story are also still there but this time are downplayed in favor of the more realistic aspects of the world. I'm not sure if it's because Hasekura's writing has improved or if it's because Starr's translation has gotten better, but I found <i>Spice &amp; Wolf, Volume 3</i> to be much easier to follow than the previous volumes, both economically and otherwise. Although new readers might miss out on some of the complexities of Holo and Lawrence's relationship, the series can easily be picked up with the third volume without too much trouble.&nbsp; I very much enjoyed <i>Spice &amp; Wolf, Volume 3</i> and seeing as the series continues to improve, I'll definitely be reading the next volume as well.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/643081501"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7197076519215369375?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-60781672766937990942011-04-20T19:48:00.003-05:002011-04-21T07:53:58.177-05:00~written by Eiji Yoshikawa<br />~translated by Charles S. Terry<br /><br /><a href="http://www.librarything.com/isbn/9784770019578" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-LH5FL527XSw/Ta7yys8_80I/AAAAAAAABK0/fuAtdw41244/s200/Musashi.jpg" width="146" /></a>I first learned about Eiji Yoshikawa’s epic historical novel <i>Musashi</i> while looking for a translation of Miyamoto Musashi’s <i>Book of Five Rings</i>. The group of people I was asking for recommendations insisted that I give Yoshikawa’s fictionalization of Musashi’s life a try as well. Yoshikawa’s envisioning of Musashi has been the inspiration for a large number of samurai films and is the basis for Takahiko Inoue’s manga series <i>Vagabond</i>. <i>Musashi</i> was originally serialized in Japan between 1935 and 1939. The English translation by Charles S. Terry was published by Kodansha International in 1981. The book doesn’t indicate it anywhere, but apparently the English edition is actually an abridgement. The original is nearly four thousand pages long. However, the English translation’s nine hundred seventy pages of relatively small print is not really anything to scoff at, either.<br /><br />Much of Yoshikawa’s <i>Musashi</i> is based on historical reality and while they are fictionalized (and it is important to remember that), many of the events and people portrayed actually existed. Musashi is one of Japan’s most notable and recognizable swordsmen. <i>Musashi</i> begins with the aftermath of the Battle of Sekigahara in which a young Musashi, then known as Takezō, fought and managed to survive. It ends with one of Musashi’s most famous duels as he faces the highly skilled Sasaki Kojirō. In between, the novel traces his efforts to develop his own style of swordsmanship, resulting in the foundation of his innovative two sword technique. At the same time, Japanese society is undergoing great change as the Tokugawa shogunate more firmly establishes its control over the country.<br /><br />Although the novel’s title is simply <i>Musashi</i>, the cast of characters is quite large. In addition to Musashi, the tale also follows those who seek to be close to him, his peers and rivals, friends, adversaries, and mentors. Many of the encounters between these people seem to happen by chance or fate, and sometimes the coincidences are a bit much, but it does make for a good story. For the most part, the characters grow and change as the novel progresses. Some of the changes happen suddenly while others develop more naturally over time. Musashi, too, is a significantly different person by the end of the book than he is when it first begins. He may be a legendary swordsman, but in <i>Musashi</i> he is shown to be completely human as well. He, like all the other characters, makes mistakes and stupid decisions, but he is shown to be willing to learn from them.<br /><br />The pacing of <i>Musashi </i>is much more leisurely than one might expect for a novel about a man striving to better himself by following the Way of the Sword. Although Musashi is constantly training and is involved in many cinematic duels and battles, most of the book is of a quieter, more philosophical bent. Musashi brings what he learns from everyday life to his swordsmanship and in return applies the Way of the Sword to his way of life, believing the two are one and the same. Some might feel the novel drags on, and its length is certainly felt even in abridged form, but I was actually quite happy with it. I would like to read the novel in its entirety, but Terry’s translation and abridgement is excellent. While it occasionally feels slightly disjointed, overall the narrative flows very nicely. However, the ending comes abruptly. In some ways this lends to the creation of the myth and legend of Musashi, but it still seemed very sudden to me. Regardless, I am very glad I took the time needed to read and experience Yoshikawa’s <i>Musashi</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/32830390"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-6078167276693799094?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-88282818335185987312011-04-15T19:42:00.007-05:002011-11-14T07:57:39.978-05:00~written by Tsugumi Ohba<br />~illustrated by Takeshi Obata<br /><br /><a href="http://www.librarything.com/isbn/9781421506302" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-nEl-se_V0yY/TahBO6cLlWI/AAAAAAAABKM/W9slEgLP-74/s200/DeathNote9.jpg" width="125" /></a><i>Contact</i> is the ninth volume in the ever popular manga series <i>Death Note</i>, written by Tsugumi Ohba and illustrated by Takeshi Obata. The book was initially published in Japan in 2003 before being released in an English translation by Viz Media in 2007. <i>Death Note</i> is complete at twelve volumes. Generally, the books have been well received although as with any series <i>Death Note</i> has its detractors as well. I really enjoyed the earlier volumes, had some misgivings about a few of the middle books, but have by now had my confidence mostly restored in the series. Overall, at least so far, I would recommend <i>Death Note</i>. It’s definitely more of a series for people interested in mind games rather than action, although there's certainly some of that to be found in the books as well.<br /><br />After the first attempt to take down Mello and his crew fails, Light is more determined than ever to regain the notebook Mello holds. Mello and his counterpart Near are much greater adversaries than Light first realized and now he has another Shinigami to deal with on top of them. Devising a plan in which the Japanese taskforce investigating Kira will raid Mello’s hideout, Light feels completely in control of the situation. But he didn’t count on Mello’s willingness to use unusual, unsavory, and drastic means to reach his goals. Outside of this violent battle of will, society has begun to accept and admire Kira and his work to make the world a better place. Even the members of the taskforce are no longer convinced that Kira is entirely evil even if he is a murderer. It looks as though the tide may be turning in Kira’s favor, but there is no way that Mello or Near are willing to allow that to happen.<br /><br />It is Light that continues to fascinate me the most in <i>Death Note</i>. He is trying to balance three different personas--Kira, Light, and the new L--and does so mostly successfully, although the strain is starting to show. He’s beginning to slip up and make small mistakes and some of his previous machinations are proving to be problematic.&nbsp; While Light is still very confident in his own capabilities, he is no longer able to anticipate the results of his and others’ actions as well as he once could. Mello’s unpredictability in particular has thrown him off. Light remains very calculating and it is difficult to determine which of his reactions are simply for show and which are authentic, and even if he knows himself. There is a superbly executed scene between Light and his father that exemplifies this. He has shown repeatedly that he is willing to sacrifice those closest to him in order to protect himself. His true feelings and how these decisions are affecting him as a person are slowly being revealed.<br /><br />Because <i>Contact</i> is one of the later collections in the series it relies heavily on the volumes that precede it, so understandably it doesn’t make a very good entry point for a new reader to the series. The first half of the volume is very quickly paced as Light and the remainder of the Japanese taskforce confront Mello and his gang head on. Even when there’s not a lot of action going on, Obata’s artwork captures the tension in the story. The emotional intensity and character’s stress is readily apparent just by looking at their faces. The second half of <i>Contact</i>, while still interesting, unfortunately bogs down a bit. Although, I do get the feeling that something big is going to happen, and soon. I want to be there when it does, so I’ll certainly be picking up <a href="http://phoenixterranbooks.blogspot.com/2011/11/death-note-volume-10-deletion.html"><i>Death Note, Volume 10: Deletion</i></a>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/77236073"><i>Find in a library... </i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8828281833518598731?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-14176613178213565852011-04-13T18:59:00.000-05:002011-04-15T07:03:35.577-05:00~written by Osamu Dazai<br />~translated by Donald Keene<br /><br /><a href="http://www.librarything.com/isbn/9780811204811" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-HnPItdIQDIs/TaWadgn1s4I/AAAAAAAABKI/1ZSyfWek3ps/s200/NoLongerHuman.jpg" width="121" /></a><i>No Longer Human</i> is only the second work by Osamu Dazai that I’ve read, the first being <a href="http://phoenixterranbooks.blogspot.com/2010/09/setting-sun.html"><i>The Setting Sun</i></a>. <a href="http://phoenixterranbooks.blogspot.com/2010/09/setting-sun.html"><i>The Setting Sun</i></a>&nbsp; was also the first of Dazai’s works to be translated into English. In 1958, <i>No Longer Human</i> became the second. New Directions then later republished Donald Keene’s translation in a paperback edition in 1973. The novel was in the middle of serialization in Japan in 1948 at the time of Dazai’s death. Along with <a href="http://phoenixterranbooks.blogspot.com/2010/09/setting-sun.html"><i>The Setting Sun</i></a>, <i>No Longer Human</i> is one of Dazai’s most well known novels. It also remains one of the top bestselling books in Japan to this day. The story has received several adaptations, including a manga adaptation by Usamaru Furuya to be published in English by Vertical in 2011. I have been meaning to read <i>No Longer Human</i> for some time now. Since it played such an important role in Mizuki Nomura's <a href="http://phoenixterranbooks.blogspot.com/2011/03/book-girl-and-suicidal-mime.html"><i>Book Girl and the Suicidal Mime</i></a>, which I recently read and enjoyed, I figured it was about time I got around to it.<br /><br />To all appearances, Oba Yozo is a normal young man. The youngest son of a respectable family, leading a good life, and well liked by others, very few people would guess at his personal turmoil. He feels completely alienated from human society and finds it difficult to understand what exactly it is that is required of him. To cope, he becomes the class clown, hoping that if he can keep people amused and distracted they won’t notice his failings as a human. He is absolutely terrified that he will be revealed as a fraud. Because of this, he finds himself easily taken advantage of and subject to other people’s influence and desires for better and for worse.<br /><br /><i>No Longer Human</i> spoke to me on a very personal level and considering how well received the novel is I’m assuming I’m not the only one. I identified very closely with the protagonist and his worldview, although admittedly we have dealt with our issues in drastically different ways. It is this potential for empathy that makes <i>No Longer Human</i> so compelling. There are very few people in this world who haven’t felt some sort of disconnect between themselves and the rest of society at one point or another. Dazai captures this feeling of alienation honestly and completely in <i>No Longer Human</i>. The novel almost reads like a confession. In some ways, while being very personal, Yozo’s struggles are also incredibly universal.<br /><br />As with many of Dazai’s other works, <i>No Longer Human</i> incorporates many semi-autobiographical elements, lending to the novel’s sense of authenticity and immediacy. The story is tragic and probably not something you would want to read if you’re already feeling down or depressed. Yozo is arguably an unreliable narrator, certainly other characters don’t entirely believe him and assume much of his story is exaggerated, but I am convinced he is being truthful. In fact, the others disbelief helps to emphasize his feeling of separation from those around him. The structure of the novel is interesting in that Yozo’s narrative is bookended by a prologue and epilogue by another, unnamed character who provides a supposedly objective view of the events described. <i>No Longer Human</i> is not a particularly long novel but it is still a potent story. I wouldn’t be surprised to find myself returning to read it again.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/1154182"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-1417661317821356585?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-22567477979206852132011-04-08T14:52:00.001-05:002011-04-10T14:53:23.122-05:00~written by Murasaki Shikibu<br />~translated by Royall Tyler<br /><br /><a href="http://www.librarything.com/isbn/9780142437148" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-NZWgTwawn-Y/TZ4oL73SAoI/AAAAAAAABJw/DWh6EySAFfU/s200/TaleGenji.jpg" width="136" /></a>When I began looking for an English edition of Murasaki Shikibu's <i>The Tale of Genji</i> to read, I had only two major requirements. First, I wanted a complete and unabridged translation, and second, I wanted a translation that was true to the original. The most comprehensive edition that I was able to find, and the one I ended up reading, was Royall Tyler's translation. Penguin first released Tyler's translation of <i>The Tale of Genji</i> in 2001 as a two-volume hardcover box set and then later in 2003 in a massive single-volume paperback edition (which is the version I own and read.) I wanted to read <i>The Tale of Genji</i> for several reasons. It is a major work of Japanese literature that continues to be highly influential. It was also written during the Heian period in the eleventh century, making it one of the first novels to have been written. But one of the primary reasons I wanted to read <i>The Tale of Genji</i> was to understand all of the references made to it that I keep coming across.<br /><br /><i>The Tale of Genji</i> is an epic, inter-generational story filled with court intrigue, passion, desire and longing, with just a touch of the supernatural. It's almost like reading a Heian period soap opera. The eponymous Genji is the son of the Emperor's favorite Intimate. An exceptional man in both appearance and character, much of <i>The Tale of Genji</i> follows his life and romantic exploits. And because of his good looks, he is able to get away with much more than he really should. The last third of the novel turns to the lives of his heirs and descendants and their own romantic follies. While there is certainly an overarching narrative to <i>The Tale of Genji</i>, the novel frequently feels like a collection of very closely interconnected short stories. There is also a fair amount of humor in the tale. It's as if the reader is privy to the best court gossip and scandals.<br /><br />One of the things that I love about Tyler's translation of <i>The Tale of Genji</i> is that it is so much more than just a translation. In addition to the copious and very helpful footnotes, Tyler provides an abundance of other useful information about the work and its context in the form of an extensive introduction, maps and diagrams, a chronology, general glossary, explanations of the importance of clothing and color, descriptions of offices and titles, a summary of the numerous poetic allusions, a list of characters, and suggestions for further reading. Each chapter begins with an explanation of its title, its relationships to other chapters, and indicates which characters are involved and the current title by which they are known. Also included are delightful line illustrations by Minoru Sugai depicting scenes and objects from <i>The Tale of Genji</i>, originally commissioned by Shogakukan Publishing. The only thing missing that I would have liked to have seen would be a family and relationship chart since things can get pretty complicated.<br /><br />Granted, I haven't read any others to be able to compare, but I am very glad that I chose Tyler's translation of <i>The Tale of Genji</i>. Because Tyler remains so faithful to the original Japanese it's not always an easy read due to the amount of detail that must be gleaned from context rather than being explicitly stated and the complicated sentence structures. But Tyler offers plenty of guidance for the reader who wants it and I found his translation to be both elegant, accessible, and informative. Even excluding the additional material provided by Tyler, <i>The Tale of Genji</i> is a lengthy novel. Instead of ploughing through the book like I might have, I chose to take my time with the novel, reading a few chapters every few weeks and extending my enjoyment over a long period. Reading <i>The Tale of Genji</i> was a wonderfully immersive experience into Heian period Japan. For me, it was completely worth the time and effort required to really appreciate the tale.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/51064873"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2256747797920685213?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-1626022862573638682011-03-25T09:40:00.000-05:002011-03-25T09:40:14.292-05:00~written by Hiroko Yoda and Matt Alt<br />~illustrated by Tatsuya Morino<br /><br /><a href="https://www.librarything.com/isbn/9784770030702" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh3.googleusercontent.com/-2t51CX8aygQ/TYycMqnwqVI/AAAAAAAABIs/CGkaKyBGdso/s200/YokaiAttack.jpg" width="138" /></a>I'm not sure why I passed over <i>Yokai Attack!: The Japanese Monster Survival Guide</i> when it was first published by Kodansha International in 2008. Perhaps it got lost in the slew of zombie materials coming out at the time. The book is written by the wife and husband team of Hiroko Yoda and Matt Alt, who have worked on several other projects together, and is illustrated by Tatsuya Morino. Fortunately, <i>Yokai Attack!</i> was recently brought to my attention again. And since I have become increasingly interested in Japanese folklore and legends, it made sense for me to pick up a copy. I'm particularly interested in yokai--traditional Japanese supernatural creatures--because I frequently come across references to them in the books and manga that I read, the videos I watch, the games I play, and even at my dōjō. Yokai seem to be everywhere. The information on yokai readily available in English is somewhat limited, and I believe <i>Yokai Attack!</i> may actually be one of the first guides of its kind.<br /><br /><i>Yokai Attack!</i> provides detailed information about forty-six different yokai. However, there are only forty-two separate entries because closely related yokai are addressed together. Instead of being arranged alphabetically, the guide is arranged thematically, grouping the yokai into "Ferocious Fiends," "Gruesome Gourmets," "Annoying Neighbors," "The Sexy and Slimy," and "The Wimps." (There is also an alphabetical index of the yokai covered towards the end of the book.) Each entry provides brief details about a yokai's name, appearance, where it is likely to be found, and how prevalent the creature is. Each entry is also fully illustrated and many include reproductions of Sekien Toriyama's (1712-1788) traditional woodblock prints in addition to Morino's modern interpretations. More information is given in depth regarding a yokai's claim to fame, various stories and trivia, how a typical encounter plays out and how you might survive or at least minimize the damage incurred. Unfortunately, quite often the answer is "Sorry, you're screwed."<br /><br />Although <i>Yokai Attack!</i> is extremely informative, it is not particularly academic or definitive, instead relaying facts and trivia about the various yokai that could be considered common knowledge in Japan. It is also presented in a very relaxed manner. The writing style is very informal and while some readers might find it annoying, overall it makes <i>Yokai Attack!</i> very approachable. The book's design and layout are colorful and include an eclectic mix of images and reproductions. Unfortunately, the color pages are abruptly dropped for the last quarter or so of the book. Personally, I would have preferred a consistent page design throughout and was sad to see the color pages go. But really, I was primarily reading <i>Yokai Attack!</i> for the information anyway; the entertaining layout was simply an added bonus.<br /><br />I am very glad I finally go around to picking up <i>Yokai Attack!</i> I found it very informative and enjoyable to read. In addition to some of the yokai I was already vaguely familiar with--like the kitsune, tanuki, kappa, and tengu--<i>Yokai Attack!</i> also covers plenty of yokai that I had never even heard of before and many which I have seen references to elsewhere but knew very little about. Yoda and Alt also include more contemporary yokai in the book along with the more traditional ones. At the end of the book they have provided a section devoted to other yokai resources. They list films featuring yokai, note several online resources available, and include a bibliography of Japanese and English language print materials. <i>Yokai Attack!</i> really is a fantastic resource with a ton of great information presented in a very accessible way. It's certainly one of the best introductions to yokai that I've come across. While it may not be comprehensive, it is a wonderful place to start learning about yokai.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/191316557"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-162602286257363868?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-73349478287608526142011-03-23T08:08:00.000-05:002011-03-23T08:08:33.683-05:00~by Kozue Amano<br /><br /><a href="https://www.librarything.com/isbn/9781427803122" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh3.googleusercontent.com/-iSoRPN6t3Bk/TYNUmD87gdI/AAAAAAAABIY/a5l2AVr7cAo/s200/Aqua1.jpg" width="134" /></a>Although Kozue Amano's two volume series <i>Aqua</i> is generally referred to as the prequel of her longer series <i>Aria</i>, as far as I can tell it was really more of a title change when the original manga serialization switched magazines. But ether way, I've been meaning to read both <i>Aqua</i> and <i>Aria</i> for a while now. I was pleased when <i>Aria</i> was selected for the <a href="http://animemiz.com/aria-manga-movable-feast/">March 2011 Manga Moveable Feast</a> because it gave me the last push I needed to finally get around to picking the manga up. The first volume of <i>Aqua</i> was originally published in Japan in 2001 and then again in 2003. The English edition was released in 2007 by Tokyopop. Tokyopop also published the second volume of <i>Aqua</i> and after ADV suspended the publication of <i>Aria</i>, Tokyopop picked up the license, so far publishing the first six volumes of the twelve volume series.<br /><br />The year is 2301 A.D. During the terraforming of Mars, the ice caps melted more than originally anticipated, covering nearly ninety percent of the planet, now also known as Aqua, in water. The port town of Neo-Venezia was modeled after the city of Venice, Italy which no longer exists on Manhome. But like the original city, Neo-Venezia attracts many tourists, sightseers, and travelers. The premier tour guides are gondoliers known as undines. Akari Miuznashi has traveled from Tokyo to Neo-Venezia to study to become an undine. She is fortunate to have been accepted by the Aria Company to become the apprentice of Alicia, considered by many to be one of the best undines on Aqua. Akari has the potential to become a great undine through hard work and practice, although she'll have to unlearn a few bad habits that she picked up as a self-taught gondolier first. But with the help of Alicia and Akari, an apprentice at the renowned Himeya Company, Akari is determined to make her dream come true and enjoy herself while she's doing it.<br /><br />What appealed to me most about the first volume of <i>Aqua</i> (beside the whole Mars thing) was the artwork. Amano's landscapes, waterscapes, and cityscapes are gorgeous. And she doesn't forget to include details like the water life or Mars' double moons. Her use of water is lovely, a good thing since there is a lot of it. Even the spaceships feel like they're floating through the air. The panels with Alicia are generally striking as well. The elegance and grace of her movements and her skill as an undine are clear, especially when compared to the more awkward attempts made by Aika and Akari, although they have their moments, too. Not everything is so beautiful, however. The Mars cats are very odd looking creatures but delightful in their own way and Aika's facial expressions can be a bit peculiar from time to time.<br /><br />For someone whose dream it is to become an undine, Akari seems to know surprisingly little about Aqua and Neo-Venezia. However, this does give Amano the excuse to take the readers along with Akari on a sightseeing trip of sorts as she learns more about and explores her new home. She might come across as clueless fairly frequently, but Akari is also extraordinarily earnest and enthusiastic--her romanticism and innocence are utterly endearing. <i>Aqua</i> is not a series that everyone will be able to appreciate. If you're looking for an action packed science fiction adventure, you will be disappointed. But if you're in the mood for a charming and relaxing journey, <i>Aqua</i> is simply perfect. It's gentle and laid back and even the tension in the story (what little of it there is) is fairly subdued. If anything, the first volume of <i>Aqua</i> might be too pretty and serene. But, I did enjoy it. It's a feel good manga and I will be reading both the second volume of <i>Aqua</i> and <i>Aria</i> as well.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/182756868"><i>Find in a library...</i></a></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><i>&nbsp;</i> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7334947828760852614?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-71894531386173226072011-03-20T15:38:00.001-05:002011-08-11T06:50:57.318-05:00~written by Mizuki Nomura<br />~illustrated by Miho Takeoka<br />~translated by Karen McGillicuddy<br /><br /><a href="https://www.librarything.com/isbn/9780316076906" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh5.googleusercontent.com/-b92xk9ifOyY/TYJHq6RnzJI/AAAAAAAABIU/3KecwBsUhF0/s200/BookGirl1.jpg" width="131" /></a><i>Book Girl and the Suicidal Mime</i> is the first volume in the <i>Book Girl</i> light novel series, currently up to fifteen volumes, by Mizuki Nomura. Originally published in Japan in 2006, the English edition translated by Karen McGillicuddy was released by Yen Press in 2010. Yen Press has also kept the original illustrations by Miho Takeoka. While I liked the basic conceit of <i>Book Girl</i>, a yokai that gains sustenance by eating the written word, I was somewhat hesitant to pick up the first volume since the <i>Suicidal Mime</i> in the title seemed a bit odd to me. (I don't know, maybe it's too literal or too free of a translation of the original title.) Fortunately, someone encouraged me to read the book anyway. I did and I loved it. Until Yen Press published the first volume, I was unaware of <i>Book Girl</i>. Although there have been several versions of the story, including manga and anime adaptations, the original light novel series is the first iteration to have made it into English translation.<br /><br />Konoha Inoue and his upperclassman Tohko Amano are the only two members of their high school's literary club. Konoha spends most meetings writing "snacks" for Tohko, short improvisational stories which she literally devours. As a "book girl" she is obsessed with the written word not only for its literary value but for its taste as well since human cuisine holds no flavor for her. And she is always looking for new sources of food, which is how Konoha gets roped into writing love letters for Chia Takeda, another student. In exchange, Chia will provide a handwritten report of her developing relationship, sparing no details, which Tohko is certain will taste absolutely delicious. Only it seems that the alleged recipient of the letters, Shuji Kataoka, doesn't actually exist. Chia isn't being forthcoming about the situation and the more Konoha and Tohko investigate on their own, the stranger and stranger things become.<br /><br />It probably doesn't come as much of a surprise that literature plays an important role in a series called <i>Book Girl</i>. Of particular importance in <i>Book Girl and the Suicidal Mime</i> is Osamu Dazai and his last published novel <i>No Longer Human</i>. While the literature references might be more meaningful to someone already familiar with the works mentioned, they are incorporated so well in <i>Book Girl and the Suicidal Mime</i> that it is not necessary to have read any of the books referred to to appreciate what Nomura is doing. In fact, <i>Book Girl and the Suicidal Mime</i> will probably encourage many readers to seek out the authors and works referenced. Already an avid reader myself, I was absolutely delighted by this aspect of the book. I loved whenever Tohko would start rhapsodizing about literature, a very visceral experience for her. It was fun to imagine what various books and stories would taste like, how the enjoyment would vary from person to person, and how something can be appreciated even if it's not enjoyed. Not unlike the traditional consumption of literature, actually. We all have our personal preferences and tastes, and books can be very important to people.<br /><br />There is a lot going on in <i>Book Girl and the Suicidal Mime</i> for such a short novel. Part school drama, part mystery, part paranormal fiction, and even part literature guide with just a touch of humor, it's almost as if Nomura couldn't quite decide what it should be. But, it worked for me. I found the book absorbing and compelling and I couldn't wait to keep reading more once I started it. <i>Book Girl and the Suicidal Mime</i> isn't perfect, the resolution of the primary mystery is somewhat anticlimactic and awkward for one, but I thought it was a fantastic start to the series. Nomura builds tension nicely and the story slowly gets more disconcerting as Konoha tries to figure out what is going on. And there is plenty about his own past and circumstances that he is trying to keep hidden. I am really looking forward to learning more about him and Tohko in the next volume, <a href="http://phoenixterranbooks.blogspot.com/2011/08/book-girl-and-famished-spirit.html"><i>Book Girl and the Famished Spirit</i></a>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/515444601"><i>Find in a library...</i></a></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><i>&nbsp;</i> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7189453138617322607?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-50380463200432248722011-03-16T19:26:00.001-05:002011-08-27T20:31:48.508-05:00~by Hiroaki Samura<br /><br /><a href="https://www.librarything.com/isbn/9781569714447" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh5.googleusercontent.com/-UZjq10UGF_o/TYCsqOtINjI/AAAAAAAABIM/WDRe_7QfuhA/s200/BladeImmortal5.jpg" width="139" /></a>Hiroaki Samura’s <i>Blade of the Immortal</i> was one of the first manga series that I began reading and remains one of my favorites. I love the depth of Samura’s characters, find the story compelling if a bit strange at times, and absolutely adore his artwork. The fifth volume, <i>On Silent Wings II</i>, is closely tied to the fourth volume, <i><a href="http://phoenixterranbooks.blogspot.com/2010/01/blade-of-immortal-on-silent-wings-part.html">On Silent Wings</a></i>, as the title suggests. The collected chapters were originally published in Japan in 1995. In 2000, Dark Horse released the English edition. <i>Blade of the Immortal</i> has been honored with a number of awards, including a Japan Media Arts award in 1997 and an Eisner Award for Best U.S. Edition of Foreign Material in 2000. The more volumes of <i>Blade of the Immortal</i> that I read, the more I like the series, and so I was looking forward to reading <i>On Silent Wings II.</i><br /><br />Two years past, Rin’s parents were murdered and her mother brutally raped before her eyes by a group from a rogue sword school known as the Ittō-ryū. Seeking revenge, she hired Manji as a body guard and with his aid, many of the Ittō-ryū have been slain or severely injured. When they happen upon Araya--one of the members--at a festival working as a maker of bizarre masks, Rin has a decision to make. Already doubting herself after an encounter with Anotsu, the leader of the Ittō-ryū, Rin realizes that even those who commit terrible deed have those who love them. Araya has hidden his past from his only son and is raising him alone; Rin is reluctant to put his son through the same suffering that she herself experienced. Still, she is forced into a confrontation with Araya that very well may cost her her life is she isn’t willing to take his.<br /><br />The two <i>On Silent Wings</i> volumes of <i>Blade of the Immortal</i> have shown significant character development of Rin as she continues to grow and mature as a person. She isn’t as naïve as she once was and realizes the circumstances surrounding her parents murders are complicated. She struggles with her conflicting emotions, wanting revenge while also wanting to see an end to the cycle of hate and violence. But even that desire is extremely optimistic and unlikely to come about unless the society that Rin lives in also changes. Rin is still in the process of comprehending and coming to terms with this. Manji serves not only as her body guard, but also as an emotional support simply by being their and allowing her to work these things out for herself. He is much more knowledgeable about the world and is familiar with the darker aspects of life that Rin has only glimpsed so far. Manji cares about Rin, not just because he has been hired to, and I enjoy watching their relationship develop and deepen.<br /><br />As with the previous volumes of <i>Blade of the Immortal</i>, I can’t help but be impressed by Samura’s artwork. However, because of the method used to flip the manga to read from left to right, some inconsistencies are introduced and occasionally the flow of panels can be awkward. Fortunately, this doesn’t detract too much from the overall effect of the artwork. Samura continues to improve as an artist which can particularly be seen in his fight scenes. They are not only creative and interesting, but also easier to follow than in previous volumes. Moments of particular importance and impact earn gorgeous, full page spreads. <i>On Silent Wings II</i> is not a particularly good place to jump into <i>Blade of the Immortal</i>, especially considering how closely connected it is to the previous volume. Still, it is a great entry in the series with important character and plot developments as well as an opportunity for Manji to show off his badassery. I’ll definitely be reading the sixth volume, <a href="http://phoenixterranbooks.blogspot.com/2011/08/blade-of-immortal-volume-6-dark-shadows.html"><i>Dark Shadows</i></a>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/49714366"><i>Find in a library...</i></a></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5038046320043224872?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-10608076272554789602011-03-11T10:08:00.004-05:002011-10-01T18:32:56.337-05:00~written by Tow Ubukata<br />~translated by Edwin Hawkes<br /><i>2003 Nihon SF Taisho Award Winner</i><br /><br /><a href="https://www.librarything.com/isbn/9781421537641" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh3.googleusercontent.com/-di-xWboT_Og/TXmC0BW1LfI/AAAAAAAABHw/1ecEUNvVx6M/s200/MardockScramble.jpg" width="130" /></a><i>Mardock Scramble</i> by Tow Ubukata was originally released in Japan in 2003 as a three volume series, granted with a month of one another. Also in 2003, <i>Mardock Scramble</i> won Ubukata the 24th annual Nihon SF Taisho Award. The three books--<i>The First Compression</i>, <i>The Second Combustion</i>, and <i>The Third Exhaust</i>--were published in an English translation by Viz Media's Japanese speculative fiction imprint Haikasoru as a single, massive tome. Haikasoru's edition of <i>Mardock Scramble</i> was released in 2011 with a translation by Edwin Hawkes. <i>Mardock Scramble</i> is the first of Ubukata's novels to be made available in English although at least two of his manga series, the first three volumes of <i>Pilgrim Jäger</i> and the entirety of <i>Le Chevalier d'Eon</i>, have seen publication in English. The manga adaptation of <i>Mardock Scramble</i> is scheduled for English release in August 2011 from Kodansha Comics and an anime adaptation was released in 2010.<br /><br />Rune-Balot was fifteen when she was murdered by her benefactor Shell-Septinos. Balot's life was a difficult one; she was abused as a child and forced into prostitution. A part of her wanted to die, but another part wanted to live. Two PIs investigating Shell at the time of Balot's death were able to rescue her. Eager to prove their usefulness to society, they initiated the life preservation program Mardock Scramble 09. Balot's body is combined with highly advanced and normally illegal technology, giving her her life back along with super human abilities. She, who had been powerless for so long, could now fight back. Along with the support of the PIs, Dr. Easter and Oeufcoque, who have some interesting capabilities of their own, Balot is eager to get her revenge. But shell isn't completely defenseless. His extremely powerful and brutal bodyguard Boiled, who also happens to be Oeufcoque's old partner, is more than prepared to nullify Balot's existence.<br /><br />I find <i>Mardock Scramble</i> difficult to classify. It's definitely speculative fiction, and most likely science fiction although it doesn't always feel that way. I've also seen the series referred to as cyberpunk, which almost fits. But whatever it is, <i>Mardock Scramble</i> is a lot of fun. For the most part. The action sequences and gun fights are exciting and easy to follow; the characters are likeable and interesting, each with their own quirks and unique personalities. The frequent egg puns and references were a bit odd, but fit well with the vague strangeness of the story. The technology might not always be believable, but some of it is, and even if it's not it's still pretty cool. I didn't quite understand some of the worldbuilding; the bizarre legal and law enforcement system is still a mystery to me, which is unfortunate since it's fairly important to the story.<br /><br />I am very glad the Haikasoru decided to publish <i>Mardock Scramble</i> as a single volume, otherwise I'm not sure I would have finished the series and that would have been a pity. I loved the first book, enjoyed much of the second, and thought the action packed ending of the third was great. But in the middle of the quickly paced story, there's a lengthy scene that takes place in a casino that slows things down tremendously. I didn't mind this at first, and even enjoyed it and found it interesting to some extent. But after one hundred eighty pages of Blackjack, I was getting impatient. Maybe if it was a gambling game that I actually cared about, like Mahjong, I would have been okay. But I don't give a damn about Blackjack, even if it was necessary for the story. Overall though, I did enjoy <i>Mardock Scramble</i>: I liked the quirky characters, I liked their captivating backstories, I found the twisting plot to be entertaining. And Hawkes' translation is fantastically smooth. With the creativity displayed by Ubukata in Mardock Scramble, I wouldn't mind exploring some of his other works.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/678923820"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-1060807627255478960?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-90250876778417703752011-03-09T08:55:00.002-05:002011-03-09T14:12:57.405-05:00~written by Kaoru Kurimoto<br />~illustrated by Naoyuki Kato<br />~translated by Alexander O. Smith and Elye J. Alexander<br /><i>2010 Seiun Award Winner</i><br /><br /><a href="https://www.librarything.com/isbn/9781932234817" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://lh3.googleusercontent.com/-vm4DxYl04Lw/TXYqOXUz3GI/AAAAAAAABHs/tFuy60Kx_cw/s200/GuinSagaLeopardMask.jpg" width="146" /></a><i>The Leopard Mask</i> is the first book in Kaoru Kurimoto's epic light novel series <i>The Guin Saga</i>. Kurimoto began the series in 1979 and as of the author's death in 2009, she had published one hundred forty-seven <i>Guin Saga</i> novels, making it one of the longest works written by a single author. So far, only the first five novels of <i>The Guin Saga</i>, consisting of the first major story arc, have been released in an English translation. <i>The Guin Saga, Book One: The Leopard Mask</i>, translated by Alexander O. Smith with the assistance of Elye J. Alexander, was first released by Vertical as a hardcover in 2003 and then in a paperback edition in 2007. The English releases include the wonderful illustrations by Naoyuki Kato. In Japan, <i>The Guin Saga</i> is a very popular and highly influential work. I have seen numerous authors, mangaka, and creators cite Kurimoto and the series as a source of inspiration for their own work, including Kentaro Miura and his manga series <i>Berserk</i>. Additionally,<i> The Guin Saga</i> received a Seiun Award in 2010 for Japanese Long Fiction.<br /><br />Twin brother and sister Remus and Rinda are the last remaining members of the royal house of Parros. Wandering the extremely dangerous Roodwood on their own in an attempt to escape their pursuers from the Mongauli army, they come across a fierce and frightening warrior. The man is nearly naked, wearing only a loincloth and a strange mask shaped like head of a leopard that seems to have been magically affixed to his own and which he is unable to remove. He has no memories of who he is, where he comes from, or why he is injured and alone in the Roodwood. He remembers two words: Guin, which he believes to be his name, and Aurra, which remains a complete enigma to him. But no matter who Guin really is, he may be the only chance for the twins survival.<br /><br />At least for me, the most interesting character by far is Guin, even though hardly anything at all is known about him. The mystery shrouding Guin and his past intrigues me, not to mention his form and martial capabilities. One thing that did bother me, and something that Remus comments on about halfway through the novel, was that for someone claiming to be an amnesiac, Guin tends to remember some fairly important information when it's convenient for the story. I have a feeling and hope that this may be further explained in later volumes. I found the twins to be slightly annoying; Rinda especially comes across as somewhat of a spoiled brat. I liked most of the side characters, particularly Istvan and Orro, even if he did gain and lose his accent from one appearance to another. Towards the end of <i>The Leopard Mask</i>, Kurimoto does some really nice things with the character of the Black Count, who is more complex than he might first appear. Characterization in the novel is mostly based on the character's actions and reactions rather than really getting to know their thoughts or feelings.<br /><br /><i>The Leopard Mask</i> is a good hook for the rest of the series, introducing the world and characters, but it doesn't stand as well on its own; it really seemed more like a prologue to me. The prose can be overly dramatic at times, but that is more an indication of the genre rather than the fault of the translators. (In fact, I think that Smith and Alexander did a fine job with the translation.) It's almost as if the story would be best read aloud or performed. The action and fight sequences are particularly well done and exciting. Kurimoto does have a tendency to "rewind" the chronology from scene to scene and sometimes it can be difficult to get a good sense of the passage of time. The best descriptions in the text are reserved for Guin as well as for the other freakish and bizarre things in <i>The Leopard Mask</i>. Overall, the world has a very dark atmosphere to it. While I eventually enjoyed <i>The Leopard Mask</i>, I wasn't really taken with the book until close to the end. However, I'm still looking forward to giving book two of <i>The Guin Saga</i>, <i>Warrior in the Wilderness</i>, a try.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/52340829"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-9025087677841770375?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-28374743396434594612011-02-25T13:28:00.000-05:002011-02-27T13:30:42.897-05:00~by Hisae Iwaoka<br /><i>2011 ALA Great Graphic Novels for Teens</i><br /><br /><a href="http://www.librarything.com/isbn/9781421533643" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-XO0tJOsZVNM/TWeqdHnN6OI/AAAAAAAABHE/qIowxbssVL0/s200/SaturnApartments1.jpg" width="138" /></a>I’ve been aware of Hisae Iwaoka’s near future slice-of-life manga series <i>Saturn Apartments</i> for a while now. Considering my proclivity for science fiction, it is somewhat surprising that I took so long to get around to reading it, especially since I’ve heard very good things about the series. But when <i>Saturn Apartments</i> was the only manga to make the top ten list of the American Library Association’s Great Graphic Novels for Teens in 2011, I couldn’t ignore it any longer. The first collected volume of <i>Saturn Apartments</i> was originally published in Japan in 2006. The English edition of the book was published by Viz Media’s lovely Signature imprint in 2010. I have enjoyed just about every manga released by Signature, increasing the odds even more that I would like <i>Saturn Apartments.</i><br /><br />In the near future, the entire earth has been set aside as a nature preserve. The human population has completely removed itself from the planet, now living inside a ring encircling the Earth 35,000 meters above the surface. Most people live in the lower levels of the complex, the middle levels are primarily devoted to public works, while the elite, rich, and powerful inhabit the upper levels. Mitsu lives in the lower levels. A recent junior high school graduate, he has chose to become a window washer like his father before him. Cleaning the outside of the ring is a dangerous and demanding occupation. In fact, Mitsu’ father was lost in an accident while working a job. No one seems to know exactly what happened on that day, but the event affected the entire community.<br /><br />Iwaoka’s artwork is quite distinctive and I became rather fond of it. I wouldn’t call the art pretty, some might even call it ugly, but it is cute and lovely in its own way. The characters have large heads with small but expressive facial features. While everyone has very similar, stocky body types, it is easy to tell the characters apart. It’s also nice to see such a wide range of ages done in Iwaoka’s style, from toddlers to older adults. The world-building in <i>Saturn Apartments</i> is also very well done--something that the artwork helps emphasize and capture. The differences between those living in the crowded and dirty lower levels and those living in the pristine and luxurious upper levels are made clear simply by looking at their setting. The backgrounds are wonderfully detailed without being too cluttered, really adding to the sense of place. The Saturn Apartments and its environments are just as important to the story as the characters.<br /><br />I wasn’t wowed or blown away by the first volume of <i>Saturn Apartments</i>, but I did enjoy it. So far the series has a quiet charm and has more depth to it than I first realized. There is a sadness and loneliness to the story that is effective but not overwhelming. Humanity has been literally separated from its origins, making individuals’ struggles to establish and maintain meaningful connections and relationships more vital than ever. <i>Saturn Apartments</i> takes a closer look at these relationships--it's about people. Particularly important, and who ties much of the first volume together, is Mitsu’s father, a character that only appears in flashbacks and as part of other people’s memories. It is obvious that he has impacted the lives of others and his disappearance greatly affected those around him. Mitsu, who feels abandoned, needs to learn about his father and through others is able to begin to better understand parts of his life. I am looking forward to following Mitsu further in the next volume of <i>Saturn Apartments</i>.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/435421037"><i>Find in a library...</i></a></div><div style="text-align: right;"></div><div style="text-align: right;"></div><div style="text-align: right;"></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-2837474339643459461?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-53608760949808662172011-02-18T13:07:00.000-05:002011-02-20T17:07:52.005-05:00~by Keiji Nakazawa<br /><br /><a href="http://www.librarything.com/isbn/9780867196023" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-kruZLT57Axo/TVhgAnLbjJI/AAAAAAAABGA/XqBiPhCtryo/s200/BarefootGen1.jpg" width="136" /></a>I’ll admit, I was somewhat nervous when Keiji Nakazawa’s <i>Barefoot Gen</i> was selected for <a href="http://alifeinpanels.wordpress.com/barefoot-gen-mmf-archive/">February 2011’s Manga Moveable Feast</a>. I studied the atomic bombing of Hiroshima and Nagasaki extensively while in high school--even selecting it as the subject of my major senior project--and I have a tendency to get into heated arguments with people about it (which is really saying something for me). But ultimately, I was glad the series was selected, especially as I hadn’t actually read it myself. Nakazawa began <i>Barefoot Gen</i> in 1973 and it is heavily based on his own experiences as a survivor of the Hiroshima bombing. Ten volumes and over twenty-four hundred pages later, he finished the work in 1985. The first collected volume, <i>Barefoot Gen: A Cartoon Story of Hiroshima</i> was originally published in Japan in 1975. A partial English translation was also released in the late 1970s, making <i>Barefoot Gen</i> one of the first manga to be made available in English. It wasn’t until 2004 that the first complete English translation, with an introduction by Art Spiegelman, was published by Last Gasp.<br /><br />Most of the first volume of <i>Barefoot Gen</i> follows the lives of the Nakaoka family, beginning several months before the atomic bombing of Hiroshima by the United States on August 6, 1945. Like many families living in Hiroshima at the time, their primary concern was finding enough to eat—not an easy task in wartime Japan for a household of seven. Day to day existence was enough of a struggle, but on top of the that the Nakaoka’s father was vehemently anti-war, often speaking out against it and the government. Since that viewpoint was seen as traitorous and was punishable, this mean that the family faced additional difficulties and discrimination from the authorities and their neighbors. But when the bomb dropped it didn’t matter who was for or against the war—civilians, military personnel, government officials, prisoners of war—everyone had to deal with the brutal consequences of the city’s destruction.<br /><br />Nakazawa’s style of art in <i>Barefoot Gen</i> is very approachable, almost friendly and seemingly at odds with the story being told, but Nakazawa doesn’t shy away from showing the terrible realities of war and it can be quite emotional. Two motifs that appear repeatedly through <i>Barefoot Gen</i> are wheat and the sun. The meaning of the wheat is explained on the very first page of the manga, symbolizing the constant struggle to persevere over adversity. The symbolism of the sun is more ambiguous and left up to individual interpretation. It is a very prominent image--often the sun is the only visual element in a panel--and it recurs frequently. In addition to marking the passage of time, the sun acts as a impartial and uncaring observer, a reminder that we are only a small part of the universe, watching over the events and tragedies that unfold. Although there are few natural stopping points, there are no explicit chapter breaks in <i>Barefoot Gen</i> making it very easy to become absorbed in Nakazawa’s tale.<br /><br />Because of its subject matter, <i>Barefoot Gen</i> is rather heavy reading and not easy to get through. War is a terrible thing and people can be incredibly cruel to one another. But there are heart-warming moments in <i>Barefoot Gen</i> as well when I couldn’t help but smile. Despite both internal and external conflicts, the Nakaoka family are wonderfully close and loving and there are those who appreciate their stance against the war. So, while <i>Barefoot Gen</i> honestly shows the suffering caused by war and nuclear weapons and has the potential of being overwhelmingly bleak, it is not without hope. Nakazawa was one of the first artist in Japan to address and speak out about what happened at Hiroshima through his work at a time when that information was being suppressed. Although <i>Barefoot Gen</i> is a fictionalized account, it is a true story based on his and his family’s lives. It is a very important, powerful and heartbreaking work.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/57622107"><i>Find in a library...</i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-5360876094980866217?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-79135670007809729252011-02-16T13:11:00.000-05:002011-02-16T13:11:56.218-05:00~written and illustrated by Keiji Nakazawa<br />~translated and edited by Richard H. Minear<br /><br /><a href="http://www.librarything.com/isbn/9781442207479" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-D1sY7mWYhP8/TVvxq79qCII/AAAAAAAABGY/e3wK3BAeJEU/s200/BarefootGenAutobiography.jpg" width="133" /></a>I first learned about Keiji Nakazawa’s autobiography <i>Hiroshima: The Autobiography of Barefoot Gen</i> while preparing for the <a href="http://alifeinpanels.wordpress.com/barefoot-gen-mmf-archive/">February 2011 Manga Moveable Feast</a> focusing on Nakazawa’s semi-autobiographical manga series <i>Barefoot Gen</i>. Although I hadn’t read the manga yet, I was already familiar with <i>Barefoot Gen</i> but had no idea that Nakazawa had also written an official autobiography as well. For various reasons, I decided to read it before delving into the manga. According to the introduction by the book’s editor and translator Richard H. Minear, Nakazawa actually wrote two versions of his autobiography—the first was published in 1987 which was later revised and reissued as a second edition in 1995. It is the autobiography from 1995, written fifty years after the atomic bombings of Hiroshima and Nagasaki, that forms the basis of the English edition released by Rowman &amp; Littlefield in 2010 as part of their <i>Asian Voices</i> series.<br /><br />On the morning of August 6, 1945, the first atomic bomb used as a weapon against a human population was detonated over the city of Hiroshima, Japan. Keiji Nakazawa was a grade-schooler at the time and survived only because he happened to be standing on the opposite side of a thick concrete wall from the blast. His father, sister, and younger brother were killed in the explosion and resulting firestorm. He fortunately found his pregnant mother alive and his two older brothers were away from the city at the time. Even long after the bombing, life was extremely difficult for the survivors. Years later, Nakazawa left for Tokyo, hoping to leave Hiroshima and its tragedy behind. But he eventually took his experiences and used them to create the manga <i>Barefoot Gen</i>, speaking out against nuclear weapons and war.<br /><br />In addition to the translation of Nakazawa’s autobiography and the illustrations that he created for it, the English edition of the book also includes five excerpts from the <i>Barefoot Gen</i> manga as well as a translation of part of an interview that was conducted in 2007 between Nakazawa and the president of the Hiroshima Peace Institute, Motofumi Asai. There is also a brief index and a useful introduction by the editor. Almost all of the Japanese terms except for manga and anime have been translated, including the titles of movies and magazines. Since I’m so used to hearing and seeing it otherwise, I found it odd to see <i>Shōnen Jump</i> referred to as <i>Boys’ Jump</i>, but I do tend to agree with how Minear chose to translate the book since it makes the autobiography more accessible for readers unfamiliar with Japanese culture and language. He explains his translating and editing decisions in his introduction and also provides a detailed explanation of some of the issues involved when translating and “flipping” manga.<br /><br /><i>Hiroshima</i> is very aptly subtitled <i>The Autobiography of Barefoot Gen</i>. Not only does it serve as an account of the bombing of Hiroshima as well as the autobiography of Nakazawa, who <i>is</i> Gen, the book also serves as an origin story of the <i>Barefoot Gen</i> manga and its creation. While the autobiography will be of particular interest to people who are already familiar with Nakazawa and <i>Barefoot Gen</i>, the book is also a very accessible and very personal survivor’s account of the atomic bombing of Hiroshima. Nakazawa also addresses the terrible living conditions caused by the war before and after the dropping of the bomb and the struggles and discrimination that the atomic bomb survivors and their descendants faced even decades later. Obviously, because it is such an intensely personal autobiography, there is a certain amount of bias to be expected, but for the most part I don’t think Nakazawa is unfair. <i>Hiroshima: The Autobiography of Barefoot Gen</i> is well worth reading.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/633142076"><i>Find in a library...</i></a> <br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-7913567000780972925?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-48469377133157527692011-02-11T17:25:00.008-05:002011-02-13T19:17:56.552-05:00~written by Project Itoh<br />~translated by Alexander O. Smith<br /><i>2009 Nihon SF Taisho Award Winner<br />2009 Seiun Award Winner<br />2010 Philip K. Dick Award Finalist</i><br /><br /><a href="http://www.librarything.com/isbn/9781421536439" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-WfdALdcLXzA/TVU-XhUHiRI/AAAAAAAABF4/80deLxuqZUQ/s200/Harmony.jpg" width="132" /></a><i>Harmony</i>, by Project Itoh, was originally published in Japan in 2008, winning both the 2009 Nihon SF Taisho Award and the 2009 Seiun Award. Although I was previously unfamiliar with Itoh’s work, I was very excited when the novel was picked up by Viz Media’s Haikasoru imprint and released in 2010 with a translation by Alexander O. Smith. Happily, <i>Harmony</i> has been very well received in English and was recently nominated for the 2010 Philip K. Dick Award. As far as I know, this is the first book in translation and the first Japanese novel to ever be nominated for this award. (The nomination is also particularly meaningful to Haikasoru as the imprint takes its name from Philip K. Dicks award-winning novel <i>The Man in the High Castle</i>.) <i>Harmony</i> is currently the only work by Itoh available in English although a fairly reliable rumor has it that Haikasoru has more Itoh plans in the works. I really hope that is true.<br /><br />After an unprecedented, worldwide mass suicide, admedistrations across the globe are thrown into turmoil. In a society that views the human body as a vital resource and a public good to be protected at all costs, suicide is an unthinkable crime. The Helix Inspection Agency, a part of the World Health Organization, is charged with the investigation into the incident. For Tuan Kirie, a Helix member playing an important role in the investigation, the event is very personal. She herself once attempted suicide in defiance of the admedistrative system of which she is now an integral part. She watched as one of her friends took her own life during the mass suicides. Her father was one of the original developers of the WatchMe nano- and biotechnologies that allow the admedistrations to function, but which may have also laid the groundwork that would make such a wide-spread tragedy possible.<br /><br />The most unusual element of Itoh’s writing in <i>Harmony</i> is his use of EML, or Emotional-in-Text Markup Language (which looks very similar to other markup languages such as XML or HTML.) Even if a reader isn’t familiar with markup languages, it is soon obvious what is going on and the EML shouldn’t provide too much of a challenge. Some people might see it as a clever gimmick, but I found the use of EML to be quite effective and integral to the story. It emphasizes many aspects of admedistrative society in both subtle and direct ways: The EML is a constant reminder of the biotechnological advances that have been made; the perpetual recording and surveillance of individuals' lives, health, and minds is made obvious; emotional states and human desire are shown to have been reduced to data points for clinical observation; the barrier between one person’s experiences and another’s is broken down. I believe EML is critical to <i>Harmony</i> and I doubt anyone will be able to convince me otherwise.<br /><br />As with any fiction successfully exploring utopia and dystopia, <i>Harmony</i> is extremely thought-provoking in addition to being engaging. It is easy to see the obsessions and neuroses of today’s societies, particularly those regarding health, reflected and taken to the extreme in <i>Harmony</i>’s world. Occasionally, Itoh can be a bit heavy handed, but overall his world-building has taken a logical if not entirely realistic path. Even a near perfect world can’t make everyone happy and the methods used to get there can be terrible no matter how they are justified. The epilogue doesn’t mesh as nicely with the rest of the novel, but it does provide important information, clarifying specific plot elements while still leaving some ambiguity to the story. I enjoyed <i>Harmony</i> immensely—it’s smart, thought-provoking, and has stuck with me for quite some time after finishing it. I really hope to get a chance to read more of Itoh’s work in English.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/491954121"><i>Find in a library...</i></a></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><br /></div><div style="text-align: right;"><i>&nbsp;</i></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-4846937713315752769?l=phoenixterranbooks.blogspot.com' alt='' /></div>Ashhttp://www.blogger.com/profile/05955521631250276796noreply@blogger.com0tag:blogger.com,1999:blog-13598029.post-84141094780630364222011-02-09T08:15:00.001-05:002011-02-09T08:20:51.562-05:00~written by Nahoko Uehashi<br />~translated by Cathy Hirano<br />~illustrated by Yuko Shimizu<br /><i>2010 Batchelder Award Nominee</i><br /><br /><a href="http://www.librarything.com/isbn/9780545102957" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/_INf1pfYHIYk/TVG1qrMPU2I/AAAAAAAABF0/jCdEYDfzdco/s200/MoribitoII.jpg" width="142" /></a><i>Moribito II: Guardian of the Darkness</i> is the second volume of Nahoko Uehashi’s <i>Guardian</i> series of children's fantasy novels. I absolutely adored the first book, <a href="http://phoenixterranbooks.blogspot.com/2010/11/moribito-guardian-of-spirit.html"><i>Moribito: Guardian of the Spirit</i></a>, so it was a very easy decision to pick up the second. <i>Guardian of the Darkness</i> was originally published in Japan in 1999 and was released in an English translation by Scholastic’s Arthur A. Levine Books imprint. I own both <i>Guardian</i> books in hardcover since Arthur A. Levine Books' English editions, which include wonderful illustrations by the immensely talented Yuko Shimizu, are simply gorgeous. Like the first book, <i>Guardian of the Darkness</i> was nominated for a Batchelder Award (given to the best foreign language children's book published in an English translation). Although, unlike the first novel, it did not win but did receive an honorable mention. Once again, Cathy Hirano has provided an excellent translation, one that is even better than her work on <a href="http://phoenixterranbooks.blogspot.com/2010/11/moribito-guardian-of-spirit.html"><i>Guardian of the Spirit</i></a>.<br /><br />When she was only six years old, political scheming forced Balsa to flee her homeland of Kanbal with only her father’s best friend Jiguro as her protector, guide and companion. Jiguro was the leader of the elite King’s Spears and one of the country’s most respected warriors; to leave was not an easy decision for him to make. Decades later and after Jiguro’s death, Balsa returns to Kanbal, not realizing how greatly her entire homeland was affected by Jiguro’s decision and their disappearance. The people of Kanbal have a much different understanding of the events surrounding their flight. Balsa quickly learns that there is more to the story of her and Jiguro’s shared past than she previously knew. She also discovers parts of Jiguro’s life of which she was unaware—the man she grew to admire and depend on was a much more complicated person than she realized.<br /><br />While Balsa is the main protagonist, I actually consider <i>Guardian of the Darkness</i> to be Jiguro’s story. Obviously, Balsa is a very important part of that story—their lives were irrevocably entwined and even after his death Jiguro continues to influence Balsa. He will probably continue to do so for the rest of her life. <i>Guardian of the Darkness</i> allows Balsa to come to terms with this and better understand her mentor. Uehashi’s characters are wonderful. Even through the fantasy veneer of the story, they come across as real people with real problems. They make mistakes and must learn from them and deal with the results. They have goals and desires. Good intentions can be clouded by selfish motivations. There are no real villains in the story, just incredibly driven but unfortunately misguided individuals who are trying to do the best they can with the opportunities they are given.<br /><br />Although some references are made to the first volume, it is not necessary to have read <a href="http://phoenixterranbooks.blogspot.com/2010/11/moribito-guardian-of-spirit.html"><i>Guardian of the Spirit</i></a> to enjoy and appreciate <i>Guardian of the Darkness</i>. If I had to choose a favorite, I would probably lean towards the first novel. But honestly, I truly loved both books. Uehashi is a fantastic storyteller, creating a complex world full of greys that can be enjoyed by older and younger readers alike. Because the books are aimed towards children, they are fairly easy reading and not terribly long, but this does not mean they are lacking in the depth of their characters or story. I can easily recommend both <a href="http://phoenixterranbooks.blogspot.com/2010/11/moribito-guardian-of-spirit.html"><i>Guardian of the Spirit</i></a> and <i>Guardian of the Darkness</i> to any fan of fantasy and even to many readers who are not. If I have one lament, it is that the rest of the <i>Guardian</i> series is unlikely to see publication in English; the last I heard, the series had been put on indefinite hold. I cannot begin to explain how greatly this breaks my heart, but I will continue to treasure the first two volumes and encourage others to read them as well.<br /><br /><br /><br /><div style="text-align: right;"><a href="http://www.worldcat.org/oclc/256761912"><i>Find in a library... </i></a><br /><br /><br /></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/13598029-8414109478063036422?l=phoenixterranbooks.blogspot.com' alt='' /></div>