17-syllabet Japanese poems about human foibles, sans season (i.e., not haiku), were introduced a half-century ago by RH Blyth in two books, "Edo Satirical Verse Anthologies" and "Japanese Life and Character in Senryu." Blyth regretted having to introduce not the best senryu, but only the best that were clean enough to pass the censors. In this anthology, compiled, translated and essayed by Robin D. Gill, like Blyth, a renowned translator of thousands of haiku, we find 1,300 of the senryu (and zappai) that would once have been dangerous to publish. The book is not just an anthology of dirty poems such as Legman's classic "Limericks" or Burford's delightful "Bawdy Verse," but probing essays of thirty themes representative of the eros - both real and imaginary - of Edo, at the time, the world's largest city. Japanese themselves use senryu for historical documentation of social attitudes and cultural practices; thousands of senryu (and the related zappai), including many poems we might consider obscene, serve as examples in the Japanese equivalent of the OED (nipponkokugodaijiten). The specialized argot, obscure allusions and ellipsis that make reading dirty senryu a delightful riddle for one who knows just enough to be challenged yet not defeated, make them impenetrable to outsiders, so this educational yet entertaining resource has not been accessible to most students of Japanese (and the limited translations prove that even professors have difficulty with it). This book tries to accomplish the impossible: it includes all the information - original poems, pronunciation, explanation, glossary - needed to help specialists improve their senryu reading skills, while refraining from full citations to leave plenty of room for the curious monolingual to skip about the eclectic goodies. [Published simultaneously with two titles as an experiment.]

Readings combined into a single cluster to English Japanese poems of Joycean density untranslatable as single poems came to be called composite translations. While this book essays the translation of poetry and glances at other books of multiple translation, it is mostly an exhibition of the art not only intended for serious students or scholars of translation but all word-lovers. While the author hates how to books, writing the last chapter, he came to realize that not only translators, but monolingual readers who find it hard to compose poems or do not know how to get other people to do so, might find it instructive. He dreams of millions of people working out their own poems - or variations on others' work - rather than crossword puzzles. A crossword solved ends up in the trash; with a poem, you can have your cake and not only eat it, too, but serve it up for others to eat.--amazon.com.

Imagine a cat who mastered more tricks than a highly trained dog, covered up cans of food he did not want to eat before they were opened and could delicately touch a tiny finger-spun top repeatedly without stopping it. Han-chan was such a cat. His memory, preserved in notes and sketches, inspired an authority on stereotypes of national character and translator of Edo era Japanese poetry to essay out of his fields of expertise and into felinity. Sample chapters: The animal that kneads the world. / Conversing with cats: easier in Japanese? / Smiling with closed eyes, or far from Ecotopia. /Are cats the most or least false animal. / Beauty: Is it relative or . . . is it the cat? / A little red mouse, or are we keeping the right pet? / The third-generation tanuki - a new theory of domestication. Observations are coupled with thought about things such as 1) whether the altered behavior usually explained as saving face or covering up weakness is not more like improvisation that, retrospectively, makes melodic sense of what would be wrong notes by offsetting or dream-style logic that, ever present, keeps the flow from breaking. 2) Cats, or some cats, may avoid trauma from bad experiences by convincing themselves it was only a nightmare and continuing to hope until they can cope. 3) Cats demonstrate their social nature by showing off their catches, sleeping together in the cold and behaving themselves, but most are, unfortunately, like so-called feral children: because they are separated from their family while too young to have socialized, they re-enforce the stereotype of the independent asocial cat. One can only understand felinity by living with generations of cats under one roof. The author did this. People who liked Barbara Holland's "Secrets of the Cat," the cat chapter in Vicki Hearne's "Adam's Task" and Leonard Michaels' "A Cat" will probably purr while reading this.

Folk songs are short stories from the souls of common people. Some, like Mexican corridos or Scottish ballads, reworked in the Appalachias, are stories of tragic or heroic episodes. Others, like the African American blues, reach from a difficult present back into slavery and forward into a troubled future. Japanese workers in Hawaii's plantations created their own versions, in form more akin to their traditional tanka or haiku poetry. These holehole bushi describe the experiences of one particular group caught in the global movements of capital, empire, and labor during the late nineteenth and early twentieth centuries. In Voices from the Canefields author Franklin Odo situates over two hundred of these songs, in translation, in a hitherto largely unexplored historical context. Japanese laborers quickly comprised the majority of Hawaiian sugar plantation workers after their large-scale importation as contract workers in 1885. Their folk songs provide good examples of the intersection between local work/life and the global connection which the workers clearly perceived after arriving. While many are songs of lamentation, others reflect a rapid adaptation to a new society in which other ethnic groups were arranged in untidy hierarchical order - the origins of a unique multicultural social order dominated by an oligarchy of white planters. Odo also recognizes the influence of the immigrants' rapidly modernizing homeland societies through his exploration of the "cultural baggage" brought by immigrants and some of their dangerous notions of cultural superiority. Japanese immigrants were thus simultaneously the targets of intense racial and class vitriol even as they took comfort in the expanding Japanese empire. Engagingly written and drawing on a multitude of sources including family histories, newspapers, oral histories, the expressed perspectives of women in this immigrant society, and accounts from the prolific Japanese language press into the narrative, Voices from the Canefields will speak not only to scholars of ethnomusicology, migration history, and ethnic/racial movements, but also to a general audience of Japanese Americans seeking connections to their cultural past and the experiences of their most recently past generations.

"Here there be dragons"--this notation was often made on ancient maps to indicate the edges of the known world and what lay beyond. Heroes who ventured there were only as great as the beasts they encountered. This encyclopedia contains more than 2,200 monsters of myth and folklore, who both made life difficult for humans and fought by their side. Entries describe the appearance, behavior, and cultural origin of mythic creatures well-known and obscure, collected from traditions around the world.

The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.

The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States.