UNSHEATHED FURY, INESCAPABLE TERROR Imprisoned for thousands of years in the hilt of a ceremonial sword, the oni, a hideous Japanese demon, is accidentally released to wreak the havoc of its pent-up fury on an unsuspecting world. All-powerful, immortal, and possessed of an unquenchable lust for human blood, the demon seems invincible, leaving in its wake an increasing number of horribly mutilated bodies. Only one woman has learned the oni’s history and the key to its destruction. But will she be able to pit her puny human strength against the demon’s murderous powers before she becomes yet another victim?

One by one, ten tiny oni, Japanese goblin-like creatures, grow larger and larger as they beat their drums on the sand, chasing away bad dreams. Includes the Japanese characters for the numbers from one to ten.

He is a master assassin, combining a mercenary's deadly efficiency with a sadist's lust for blood. Stalking the world of the wealthy and the powerful, he sells death to the highest bidder. And now he works for "the Empress", the ruthless shadow ruler of a Japanese conglomerate.

Oni, ubiquitous supernatural figures in Japanese literature, lore, art, and religion, usually appear as demons or ogres. Characteristically threatening, monstrous creatures with ugly features and fearful habits, including cannibalism, they also can be harbingers of prosperity, beautiful and sexual, and especially in modern contexts, even cute and lovable. There has been much ambiguity in their character and identity over their long history. Usually male, their female manifestations convey distinctivly gendered social and cultural meanings. Oni appear frequently in various arts and media, from Noh theater and picture scrolls to modern fiction and political propaganda, They remain common figures in popular Japanese anime, manga, and film and are becoming embedded in American and international popular culture through such media. Noriko Reiderýs book is the first in English devoted to oni. Reider fully examines their cultural history, multifaceted roles, and complex significance as "others" to the Japanese.

Shun is the new kid in school, but he's already managed to attract the attention of the school bully, who's now making his life a living hell. It doesn't seem like things could get any worse, until the night he finds himself and a group of his classmates inside a creepy, abandoned mansion known as the Jailhouse. They quickly start to hear strange sounds and see weird things, but everything escalates when they realize they can't get out. Once they're trapped inside, a blue, unnaturally large figure chases after them. Is it a new species? Or is it the ghost of their old classmate who died in an accident? Nobody knows, but one thing is for certain... If it catches them, they're dead! The scariest game of tag in history begins!

Oni Buchanan explores the problem of violence against the undefended, elemental self through a variety of emotional and linguistic responses. The violation itself is unspecified but involves the forced transformation from an instinctual, animal self, housed in the body and in the senses, into a socialized, time-based “citizen,” familiar with death, decay, and systemic injustice. This exploration plays out through the twin challenges of perception and compassion. Perception can bind us to the known world or cut us loose in dangerous, horrific territory. Compassion for other creatures (wild or domesticated, and sometimes both) is born of perception, of the hard limits and surprising insights encountered by attending to the bodies, gestures, and plights of others. In Must a Violence, the tones and personalities vary widely but trust is always placed in the five senses. These poems gather and relay extraordinary sense data, from inaudible sounds to long-absent smells. These deeply musical poems demand the reader attend to their sounds: to the waveforms, repetitions, durations, and delicate interrelationships of words. In sounding out the problem of how to respond to violence and to the betrayal and domestication of that which is wild, this book counters with aesthetic violence and disruption of its own, opening the self to the unexpected powers of the senses and to encounters between "wildness" and "domestication" within the self. Though never easy, this openness creates the possibility for an all-enveloping love that touches and joins all animals, both nonhuman and human.