This dreamlike dystopian novel “shines a dark spotlight on the modern allure of pharmaceuticals’ seeming power to assuage all ills” (Booklist). Set in the very near future, this is the story of a traveling salesman floating from arid Arizona parking lots to steamy Bangkok bars and beyond to peddle the hottest new commodity for a group known only as The Company. What he has is a drug that erases memory. You can choose your oblivion, be it one mistake or a lifetime of pain. But things become hazy when our hero begins sampling the goods and reaches the point where he can’t even remember what it is he cannot remember. A pitch-perfect piece for our times filled with hypnotic prose, Tokyo Doesn’t Love Us Anymore is both a riveting story and a thoughtful exploration of the drug culture that surrounds us, the nature of forgetfulness, and the implacable tyranny of emotions—questioning what it means to be human when everything, including human identity, can be bought. “Part crime novel, part political allegory, part love story . . . Compelling.” —The New York Times Book Review

Set in the very near future, this is the story of a traveling salesman floating from arid Arizona parking lots to steamy Bangkok bars to peddle the hottest new commodity--a drug that erases memory--for a group known only as The Company.

From the bestselling author of Kafka on the Shore: A magnificent coming-of-age story steeped in nostalgia, “a masterly novel” (The New York Times Book Review) blending the music, the mood, and the ethos that were the sixties with a young man’s hopeless and heroic first love. Now with a new introduction by the author. Toru, a serious young college student in Tokyo, is devoted to Naoko, a beautiful and introspective young woman, but their mutual passion is marked by the tragic death of their best friend years before. As Naoko retreats further into her own world, Toru finds himself drawn to a fiercely independent and sexually liberated young woman. Stunning and elegiac, Norwegian Wood first propelled Haruki Murakami into the forefront of the literary scene.

This much-needed guide to translated literature offers readers the opportunity to hear from, learn about, and perhaps better understand our shrinking world from the perspective of insiders from many cultures and traditions. In a globalized world, knowledge about non-North American societies and cultures is a must. Contemporary World Fiction: A Guide to Literature in Translation provides an overview of the tremendous range and scope of translated world fiction available in English. In so doing, it will help readers get a sense of the vast world beyond North America that is conveyed by fiction titles from dozens of countries and language traditions. Within the guide, approximately 1,000 contemporary non-English-language fiction titles are fully annotated and thousands of others are listed. Organization is primarily by language, as language often reflects cultural cohesion better than national borders or geographies, but also by country and culture. In addition to contemporary titles, each chapter features a brief overview of earlier translated fiction from the group. The guide also provides in-depth bibliographic essays for each chapter that will enable librarians and library users to further explore the literature of numerous languages and cultural traditions.

López-Calvo uses contemporary Nikkei texts such as fiction, testimonies, and poetry to construct an account of the cultural formation of Japanese migrant communities, and in so doing challenges fixed notions of Japanese Peruvian identity.

Geocriticism provides a theoretical foundation and a critical exploration of geocriticism, an interdisciplinary approach to understanding literature in relation to space and place. Drawing on diverse thinkers, Westphal argues that a geocritical approach enables novel ways of seeing literary texts and of conducting literary studies.

A young man describes his torment as he struggles to reconcile the diverse influences of Western culture and the traditions of his own Japanese heritage.