1868. In Japan's exotic pleasure quarters, sex is for sale and the only forbidden fruit is love ... Hana is just seventeen when her husband goes to war, leaving her alone and vulnerable. When enemy soldiers attack her house she flees across the shattered city of Tokyo and takes refuge in the Yoshiwara, its famous pleasure-quarters.There she is forced to become a courtesan. Yozo, brave, loyal and a brilliant swordsman, is pledged to the embattled shogun. He sails to the frozen north to join his rebel comrades for a desperate last stand. Defeated, he makes his way south to the only place where a man is beyond the reach of the law - the Yoshiwara. There in the Nightless City where three thousand courtesans mingle with geishas and jesters, the battered fugitive meets the beautiful courtesan. But each has a secret so terrible that once revealed it will threaten their very lives ...

Drawing on both historical and literary sources, examines life in the pleasure houses of Japan during the Edo period from the early 1600s to 1868. Among the topics are the origins, illegal competitors, the cost of a visit, the treatment of the courtesans, traditions and protocols, Yoshiwara arts, th

Japan, and the year is 1853. Growing up among the samurai of the Satsuma Clan, in Japan's deep south, the fiery, beautiful and headstrong Okatsu has like all the clan's women been encouraged to be bold, taught to wield the halberd, and to ride a horse. But when she is just seventeen, four black ships appear. Bristling with cannon and manned by strangers who to the Japanese eyes are barbarians, their appearance threatens Japan's very existence. And turns Okatsu's world upside down. Chosen by her feudal lord, she has been given a very special role to play. Given a new name Princess Atsu and a new destiny, she is the only one who can save the realm. Her journey takes her to Edo Castle, a place so secret that it cannot be marked on any map. There, sequestered in the Women's Palace home to three thousand women, and where only one man may enter: the shogun she seems doomed to live out her days.

This Naoki Prize-nominated historical thriller marked the auspicious debut of late-blooming author Keichiro Ryu, who in five years made a name for himself as a master of period novels. In The Blade of the Courtesans, a young samurai by the name of Seichiro Matsunaga, trained in swordfighting by non other than the legendary samurai Musashi Miyamoto, finds himself in Yoshiwara (the pleasure quarters of old Tokyo), per Miyamoto's dying wishes. In Yoshiwara, Seichiro finds himself defending its denizens against what may be spies from the Yagyu Clan, including one young woman named Oshabu, whose story runs deeper than still water suggests. The Blade of the Courtesans is at once a quiet ode to human liberties in the face of political warfare and edge-fo-your-seat swordfighitng, a Japanese counterpart to the romantic adventures of the medieval knights whose chivalry is rivaled only by their prowess at battle.

Growing up deep in the mountains of rural Japan in 1861, Sachi has always felt different. Her life is turned upside down at 11 when she is taken to the women’s palace in the great city of Edo. There she is chosen to be the young shogun’s concubine. Set in one of the most tumultuous eras in Japanese history, The Last Concubine is an epic evocation of a country in revolution, and of a young woman’s quest to find out who she really is.

The intrigue began with a triple homicide in a luxury apartment building just steps from the Champs-Elyseés, in March 1887. A high-class prostitute and two others, one of them a child, had been stabbed to death—the latest in a string of unsolved murders targeting women of the Parisian demimonde. Newspapers eagerly reported the lurid details, and when the police arrested Enrico Pranzini, a charismatic and handsome Egyptian migrant, the story became an international sensation. As the case descended into scandal and papers fanned the flames of anti-immigrant politics, the investigation became thoroughly enmeshed with the crisis-driven political climate of the French Third Republic and the rise of xenophobic right-wing movements. Aaron Freundschuh's account of the "Pranzini Affair" recreates not just the intricacies of the investigation and the raucous courtroom trial, but also the jockeying for status among rival players—reporters, police detectives, doctors, and magistrates—who all stood to gain professional advantage and prestige. Freundschuh deftly weaves together the sensational details of the case with the social and political undercurrents of the time, arguing that the racially charged portrayal of Pranzini reflects a mounting anxiety about the colonial "Other" within France's own borders. Pranzini's case provides a window into a transformational decade for the history of immigration, nationalism, and empire in France.