The Perfumed Sleeve is the ninth book in Laura Joh Rowland's mystery series set in feudal Japan featuring Sano Ichiro. November 1694. The streets of Edo are erupting in violence as two factions struggle for control over the ruling Tokugawa regime. One is led by the shogun's cousin, Lord Matsudaira, and the other by the shogun's second-in-command, Chamberlain Yanagisawa. Each side pressures Sano Ichiro, the shogun's most honorable investigator, to join its ranks. When one of the shogun's most trusted advisers is found dead, Sano is forced to honor a posthumous request for a murder investigation. Senior Elder Makino believed that his death would be the result of assassination rather than natural causes. Although he and Sano were bitter enemies, Makino knew that the incorruptible Sano would be duty-bound to oblige his final wish. Under the watchful eyes and thinly veiled threats of both Lord Matsudaira and Chamberlain Yanagisawa, Sano moves with caution. Each is eager to implicate the other in Makino's death. Sano must discover whether the death was indeed murder, and if so, whether it was motivated by politics, love, or sex. The discovery of secret alliances, both romantic and military, further complicates matters. Sano's investigation has barely begun when violent death claims another of the shogun's favorites. With his wife, Reiko, working undercover, Sano and his chief retainer, Hirata, must not only investigate multiple deaths, but stem the tide of an impending civil war.

Perfumed Sleeves and Tangled Hair explores the possibilities and limits of terms such as "body," "woman," "gender," and "agency"—categories that emerged within the context of western philosophical, religious, and feminist debates—to analyze texts that come out of altogether different temporal and cultural contexts. Through close textual readings of a wide range of classical and medieval narratives, from well-known works such as the Tale of Genji to popular Buddhist tales, Rajyashree Pandey offers new ways of understanding such terms within the context of medieval Buddhist knowledge. Pandey suggests that "woman" in medieval Japanese narratives does not constitute a self-evident and distinct category, and that there is little in these works to indicate that the sexed body was the single most important and overarching site of difference between men and women. She argues that the body in classical and medieval texts is not understood as something constituted through flesh, blood, and bones, or as divorced from the mind, and that in the Tale of Genji it becomes intelligible not as an anatomical entity but rather as something apprehended through robes and hair. Pandey provocatively claims that "woman" is a fluid and malleable category, one that often functions as a topos or figural site for staging debates not about real life women, but rather about delusion, attachment, and enlightenment, issues of the utmost importance to the Buddhist medieval world. Pandey's book challenges many of the assumptions that have become commonplace in academic writings on women and Buddhism in medieval Japan. She questions the validity of speaking of Buddhism's misogyny, women's oppression, passivity, or proto-feminism, and points to the anachronistic readings that result when fundamentally modern questions and concerns are transposed unreflexively onto medieval Japanese texts. Taking a broad, interdisciplinary approach, and engaging widely with literature, religious studies, and feminism, while paying close attention to medieval texts and genres, Pandey boldly throws down the gauntlet, challenging some of the sacred cows of contemporary scholarship on medieval Japanese women and Buddhism.

In 1995, on the thirtieth anniversary of Tanizaki Jun’ichirō’s death, Adriana Boscaro organized an international conference in Venice that had an unusally lasting effect on the study of this major Japanese novelist. Thanks to Boscaro’s energetic commitment, Venice became a center for Tanizaki studies that produced two volumes of conference proceedings now considered foundational for all scholarly works on Tanizaki. In the years before and after the Venice Conference, Boscaro and her students published an abundance of works on Tanizaki and translations of his writings, contributing to his literary success in Italy and internationally. The Grand Old Man and the Great Tradition honors Boscaro’s work by collecting nine essays on Tanizaki’s position in relation to the “great tradition” of Japanese classical literature. To open the collection, Edward Seidensticker contributes a provocative essay on literary styles and the task of translating Genji into a modern language. Gaye Rowley and Ibuki Kazuko also consider Tanizaki’s Genji translations, from a completely different point of view, documenting the author’s three separate translation efforts. Aileen Gatten turns to the influence of Heian narrative methods on Tanizaki’s fiction, arguing that his classicism, far from being superficial, “reflects a deep sensitivity to Heian narrative.” Tzevetana Kristeva holds a different perspective on Tanizaki’s classicism, singling out specific aspects of Tanizaki’s eroticism as the basis of comparison. The next two essays emphasize Tanizaki’s experimental engagement with the classical literary genres—Amy V. Heinrich treats the understudied poetry, and Bonaventura Ruperti considers a 1933 essay on performance arts. Taking up cinema, Roberta Novelli focuses on the novel Manji, exploring how it was recast for the screen by Masumura Yasuzō. The volume concludes with two contributions interpreting Tanizaki’s works in the light of Western and Meiji literary traditions: Paul McCarthy considers Nabokovas a point of comparison, and Jacqueline Pigeot conducts a groundbreaking comparison with a novel by Natsume Sōseki.

The looming threat of a once-in-a-millennium magical event sends nineteenth-century China into violent chaos in this epic alternate-history fantasy. Author of the Seventh Sword series Dave Duncan transports us to Imperial China in an alternate nineteenth century—an Asian epoch not unlike the Boxer Rebellion era—with a spellbinding tale of rebellion, political intrigue, larceny, seduction, shape-shifting, dark magic, and murder. These are troubled years in the Good Land. Ten centuries have passed since the last time the Portal of a Thousand Worlds opened, bringing chaos, upheaval, and radical change to the then-ruling dynasty, and now the mystical gateway is rumored to be on the verge of opening once more. Only the Firstborn—he who has been reincarnated through countless generations and remembers all he has ever learned—knows what the future holds, but he has been imprisoned for refusing to comply with a repressive imperial government’s wishes. Now, those hoping to seize the opportunity for wealth and position are hatching sinister plots. And as the cold-hearted dowager empress closely guards a fateful secret, and a rebel army led by a fanatical zealot gathers strength under the Bamboo Banner, the cataclysm approaches. . . . The recipient of two Aurora Awards and numerous Locus and Endeavour Award nominations, Dave Duncan is an acknowledged master of sword-and-sorcery adventure on par with George R. R. Martin of Game of Thrones fame. A sprawling epic with a colorful cast of royals, thieves, prostitutes, gods, warriors, dragons, assassins, merchants, and mages set against the backdrop of a volatile alternate Asia, Portal of a Thousand Worlds is a magnificent work of invention from one of the premier fantasists of our day.

DEADLY SECRET It is a lost art, passed down by the ancients in great secrecy: Dim-mak. It is death, by the lightest touch of a finger. Sano Ichiro, tenuous in the new regime as the shogun's second-in-command, does not have the luxury of skepticism?another senior official is dead, a fingerprint lightly glazed into his skin. DEADLY CRIMESano's wife Reiko has an investigation of her own: a beautiful, proud, and hopelessly poor woman has confessed to murdering her family. Yet the pieces do not fit, and as Reiko looks deeper into the woman's life as a hinin?a moral outcast, shunned by the world?inexplicable connections appear between her investigation and Sano's. DEADLY TOUCHAs Reiko's questions spiral her further into the squalor of life as a hinin, Sano and Hirata?his most loyal samurai?pursure their prey, uncovering an intricate tapestry of betrayal woven into the highest levels of the new regime. But they are no match for the one who has mastered dim-mak, a warrior who will strike all those who cross him or his path?even Reiko. "Sano may carry a sword and wear a kimono, but you'll immediately recognize him as an ancestor of Philip Marlowe or Sam Spade." --The Denver Post

Asian American literature is one of the most recent forms of ethnic literature and is already becoming one of the most prominent, given the large number of writers, the growing ethnic population from the region, the general receptivity of this body of work, and the quality of the authors. In recent decades, there has been an exponential growth in their output and much Asian American literature has now achieved new levels of popular success and critical acclaim. Nurtured by rich and long literary traditions from the vast continent of Asia, this literature is poised between the ancient and the modern, between the East and West, and between the oral and the written. The Historical Dictionary of Asian American Literature and Theater covers the activities in this burgeoning field. First, its history is traced year by year from 1887 to the present, in a chronology, and the introduction provides a good overview. The most important section is the dictionary, with over 600 substantial and cross-referenced entries on authors, books, and genres as well as more general ones describing the historical background, cultural features, techniques and major theatres and clubs. More reading can be found through an extensive bibliography with general works and those on specific authors. The book is thus a good place to get started, or to expanded one’s horizons, about a branch of American literature that can only grow in importance.

When the shogun is forced to claim an illegitimate son as his heir after the death of his only child, Sano Ichirō, believing the malevolent youth to be part of a plot to seize power, risks the safety and honor of his family to uncover the truth.