Kotaro’s classmates balk when his entire family shows up on the first day of high school. Just when he’s sure this embarrassment will lead to his social exile, Kotaro’s family wins hearts through charm, surprising sports skills, and...desserts?! There’s never a dull moment as the Ietani family tries to fit in at school! -- VIZ Media

Examines beliefs and values generally shared by the Japanese and the importance they place on social interactions, relationships, and proper conduct.

A two-volume introduction to written and spoken Japanese, comprising fifty-two lessons with exercises and vocabularies.

What destiny awaits them after the screaming? After abruptly departing from a train in a small town, a couple encounters a “weeping woman”—a professional mourner—sobbing inconsolably at a funeral. Mako changes afterward—she can’t stop crying! In another tale, having decided to die together, a couple enters Aokigahara, the infamous suicide forest. What is the shocking otherworldly torrent that they discover there? One of horror’s greatest talents, Junji Ito beckons readers to join him in an experience of ultimate terror with four transcendently terrifying tales. -- VIZ Media

Now that Bondo has his very own OrderMaid, it’s time to show her off to his friends. But will they be able to handle Roboco? And what exactly is the secret behind this special robot?! -- VIZ Media

"Outlaw Masters of Japanese Film" offers an extraordinary close-up of the hitherto overlooked golden age of Japanese cult, action and exploitation cinema from the early 1950s through to the late 1970s, and up to the present day. Having unique access to the top maverick filmmakers and Japanese genre film icons, Chris D. brings together interviews with, and original writings on, the lives and films of such transgressive directors as Kinji Fukasaku ("Battles Without Honour and Humanity"), Seijun Suzuki ("Branded to Kill") and Koji Wakamatsu ("Ecstasy of the Ange."

ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • In this amazing autobiography, Kazan at seventy-eight brings us the undiluted telling of his story—and revelation of himself—all the passion, vitality, and truth, the almost outrageous honesty, that have made him so formidable a stage director (A Streetcar Named Desire, Death of a Salesman, All My Sons, Cat on a Hot Tin Roof, Tea and Sympathy), film director (On the Waterfront, East of Eden, Gentleman’s Agreement, Splendor in the Grass, Baby Doll, The Last Tycoon, A Face in the Crowd), and novelist (the number-one best-seller The Arrangement.) “This is the best autobiography I’ve read by a prominent American in I don’t know how many years. It is endlessly absorbing and I believe this is because it concerns a man who is looking to find a coherent philosophy that will be tough enough to contain all that is ugly in his person and his experience, yet shall prove sufficiently compassionate to give honest judgment on himself and others. Somehow, the author brings this off. Elia Kazan: A Life has that candor of confession which is possible only when the deepest wounds have healed and honesty can achieve what honesty so rarely arrives at—a rich and hearty flavor. By such means, a famous director has written a book that offers the kind of human wealth we find in a major novel.” —Norman Mailer Kazan gives us his sense of himself as an outsider (a Greek rug merchant’s son born in Turkey, an immigrant’s son raised in New York and educated at Williams College). He takes us into the almost accidental sojourn at the Yale Drama School that triggered his commitment to theatre, and his edgy, exciting apprenticeship with the new and astonishing Group Theatre, as stagehand and stage manager—and as actor (Waiting for Lefty, Golden Boy) . . . his first nervous and then successful attempts at directing for theatre and movies (The Skin of Our Teeth, A Tree Grows in Brooklyn) . . . his return to New York to co-found the Actors Studio (and his long and ambivalent relationship with Lee Strasberg) . . . his emergence as premier director on both coasts. With his director’s eye for the telling scene, Kazan shares the joys and complications of production, his unique insights on acting, directing, and producing. He makes us feel the close presence of the actors, producers, and writers he’s worked with—James Dean, Marlon Brando, Tennessee Williams, Vivien Leigh, Tallulah Bankhead, Sam Spiegel, Darryl Zanuck, Harold Clurman, Arthur Miller, Budd Schulberg, James Baldwin, Clifford Odets, and John Steinbeck among them. He gives us a frank and affectionate portrait of Marilyn Monroe. He talks with startling candor about himself as husband and—in the years where he obsessively sought adventure outside marriage—as lover. For the first time, he discusses his Communist Party years and his wrenching decision in 1952 to be a cooperative witness before HUAC. He writes about his birth as a writer. The pace and organic drama of his narrative, his grasp of the life and politics of Broadway and Hollywood, the keenness with which he observes the men and women and worlds around him, and, above all, the honest with which he pursues and captures his own essence, make this one of the most fascinating autobiographies of our time.