Deep in the dense volume of Delhi’s history Raghu Kardad investigates ‘the remarkable, untold story of the Japanese in the Old Fort’.
It is possible to live in Delhi and not believe in ghosts, but that would be stubborn considering that they’re everywhere. And some, more than others, have to be believed. A dead woman in a kimono visits the grounds of the Old Fort, the Mughal massif at the heart of modern Delhi. She is seen at du…
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‘Men believed without a doubt that rape was just a variety of sex. That was the world in which Narumi and her classmates lived.’
Mieko Kawakami, translated by Louise Heal Kawai & Hitomi Yoshio.
‘First prize went to the dog school principal, who of course had submitted a cartoon dog.’
Three stories by Hiromi Kawakami, translated by Ted Goossen.
‘Even if the children don’t understand, they know. Everything they managed to forget during the day comes back.’
Masatsugu Ono, translated by David Boyd.
‘Sounds like rain If I go to the window,
it could easily turn into bullets or rabbits.
Which one is right?
Should I go with my eyes or my ears?’
Toshiko Hirata, translated by Eric Hyett and Spencer Thurlow.
‘Hey, Nagaoka, wanna start a new cult with me?’
Sayaka Murata, translated by Ginny Tapley Takemori.
‘We Indigenous peoples know how nature works, how water, mountains, trees function and relate to each other, how stars in space are connected with the earth.’
‘Hey, Nagaoka, wanna start a new cult with me?’
New fiction by Sayaka Murata, translated from the Japanese by Ginny Tapley Takemori.
‘Compared to all of you, I’m not the handsomest guy or the smartest, which might’ve caused me all sorts of grief if I was a landlubber. But I spent my life at sea, so I got by.’
‘After a while people’s faces began to fade, and they came to seem like hoards of noppera-bō, faceless spirits gliding by.’
Two stories by Tomoka Shibasaki.
‘I’d lived for half a century, but I had no sense of what that meant; no particular reaction.’
‘These are the stories and concerns of everyday people at the height of a time of great change, and perhaps the best work by one of Chicago's best-known sons.’
