This extended monograph examines the work of the radical journalist Kotoku Shusui and Japan’s anti-imperialist movement of the early twentieth century. It includes the first English translation of Imperialism (Teikokushugi), Kotoku’s classic 1901 work. Kotoku Shusui was a Japanese socialist, anarchist, and critic of Japan’s imperial expansionism who was executed in 1911 for his alleged participation in a plot to kill the emperor. His Imperialism was one of the first systematic criticisms of imperialism published anywhere in the world. In this seminal text, Kotoku condemned global imperialism as the commandeering of politics by national elites and denounced patriotism and militarism as the principal causes of imperialism. In addition to translating Imperialism, Robert Tierney offers an in-depth study of Kotoku’s text and of the early anti-imperialist movement he led. Tierney places Kotoku’s book within the broader context of early twentieth-century debates on the nature and causes of imperialism. He also presents a detailed account of the different stages of the Japanese anti-imperialist movement. Monster of the Twentieth Century constitutes a major contribution to the intellectual history of modern Japan and to the comparative study of critiques of capitalism and colonialism.

In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations.

"The strange and wonderful define Kim Fu’s story collection, where the line between fantasy and reality fades in and out, elusive and beckoning." —The New York Times Book Review A LitHub, ALTA, and PureWow Best Book of the Month A BuzzFeed and WIRED Pick for a Book You Need to Read This Winter In the twelve unforgettable tales of Lesser Known Monsters of the 21st Century, the strange is made familiar and the familiar strange, such that a girl growing wings on her legs feels like an ordinary rite of passage, while a bug-infested house becomes an impossible, Kafkaesque nightmare. Each story builds a new world all its own: a group of children steal a haunted doll; a runaway bride encounters a sea monster; a vendor sells toy boxes that seemingly control the passage of time; an insomniac is seduced by the Sandman. These visions of modern life wrestle with themes of death and technological consequence, guilt and sexuality, and unmask the contradictions that exist within all of us. Mesmerizing, electric, and wholly original, Kim Fu’s Lesser Known Monsters of the 21st Century blurs the boundaries of the real and fantastic, offering intricate and surprising insights into human nature.

Beautiful Monsters explores the ways in which "classical" music made its way into late twentieth-century American mainstream culture—in pop songs, movie scores, and print media. Beginning in the 1960s, Michael Long's entertaining and illuminating book surveys a complex cultural field and draws connections between "classical music" (as the phrase is understood in the United States) and selected "monster hits" of popular music. Addressing such wide-ranging subjects as surf music, Yiddish theater, Hollywood film scores, Freddie Mercury, Alfred Hitchcock, psychedelia, rap, disco, and video games, Long proposes a holistic musicology in which disparate musical elements might be brought together in dynamic and humane conversation. Beautiful Monsters brilliantly considers the ways in which critical commonplaces like nostalgia, sentiment, triviality, and excess might be applied with greater nuance to musical media and media reception. It takes into account twentieth-century media's capacity to suggest visual and acoustical depth and the redemptive possibilities that lie beyond the surface elements of filmic narrative or musical style, showing us what a truly global view of late twentieth-century music in its manifold cultural and social contexts might be like.

The Nobel Lecture in Literature, delivered by Kazuo Ishiguro (The Remains of the Day and When We Were Orphans) at the Swedish Academy in Stockholm, Sweden, on December 7, 2017, in an elegant, clothbound edition. In their announcement of the 2017 Nobel Prize in Literature, the Swedish Academy recognized the emotional force of Kazuo Ishiguro’s fiction and his mastery at uncovering our illusory sense of connection with the world. In the eloquent and candid lecture he delivered upon accepting the award, Ishiguro reflects on the way he was shaped by his upbringing, and on the turning points in his career—“small scruffy moments . . . quiet, private sparks of revelation”—that made him the writer he is today. With the same generous humanity that has graced his novels, Ishiguro here looks beyond himself, to the world that new generations of writers are taking on, and what it will mean—what it will demand of us—to make certain that literature remains not just alive, but essential. An enduring work on writing and becoming a writer, by one of the most accomplished novelists of our generation.

The intellectual history of race, one of the most pernicious and enduring ideas in American history, has remained segregated into studies of black or white traditions. Bruce Dain breaks this separatist pattern with an integrated account of the emergence of modern racial consciousness in the United States from the Revolution to the Civil War. A Hideous Monster of the Mind reveals that ideas on race crossed racial boundaries in a process that produced not only well-known theories of biological racism but also countertheories that were early expressions of cultural relativism, cultural pluralism, and latter-day Afrocentrism. From 1800 to 1830 in particular, race took on a new reality as Americans, black and white, reacted to postrevolutionary disillusionment, the events of the Haitian Revolution, the rise of cotton culture, and the entrenchment of slavery. Dain examines not only major white figures like Thomas Jefferson and Samuel Stanhope Smith, but also the first self-consciously "black" African-American writers. These various thinkers transformed late-eighteenth-century European environmentalist "natural history" into race theories that combined culture and biology and set the terms for later controversies over slavery and abolition. In those debates, the ethnology of Samuel George Morton and Josiah Nott intertwined conceptually with important writing by black authors who have been largely forgotten, like Hosea Easton and James McCune Smith. Scientific racism and the idea of races as cultural constructions were thus interrelated aspects of the same effort to explain human differences. In retrieving neglected African-American thinkers, reestablishing the European intellectual background to American racial theory, and demonstrating the deep confusion "race" caused for thinkers black and white, A Hideous Monster of the Mind offers an engaging and enlightening new perspective on modern American racial thought.

This year, to mark the fiftieth anniversary of his first appearance on the screen, the original, uncut version of Godzilla was released in American theaters to the delight of Sci-Fi and B-Movie fans everywhere. Ever since Godzilla (or, Gojira, as he is known in Japan) crawled out of his radioactive birthplace to cut a swath of destruction through Tokyo, he has claimed a place alongside King Kong and others in the movie monster pantheon. He is the third most recognizable Japanese celebrity in the United States, and his fan base continues to grow as children today prove his enduring appeal. Now, Bill Tsutsui, a life-long fan and historian, takes a light-hearted look at the big, green, radioactive lizard, revealing how he was born and how he became a megastar. With humorous anecdotes, Godzilla on My Mind explores his lasting cultural impact on the world. This book is sure to be welcomed by pop culture enthusiasts, fans, and historians alike.