{"title":"Literature","description":"","products":[{"product_id":"aldous-huxley-brave-new-world-1933-original-first-japanese-edition","title":"Aldous Huxley — Brave New World 1933 First Japanese Edition w\/ Original Dust Jacket Sugura Hisui","description":"\u003ch2\u003eAldous Huxley — \u003cem\u003eMigotona Shinsekai\u003c\/em\u003e (みごとな新世界 \/ Brave New World), translated by Nisaburo Watanabe (渡邉二三郎). Kaizosha (改造社), Tokyo, 1933. First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003eThis is the first Japanese translation of Aldous Huxley's \u003cem\u003eBrave New World\u003c\/em\u003e, published by Kaizosha in 1933, the year immediately following the English first edition (Chatto \u0026amp; Windus, 1932) — simultaneously with the French (\u003cem\u003eLe Meilleur des mondes\u003c\/em\u003e, Plon, 1933) and Italian (\u003cem\u003eIl mondo nuovo\u003c\/em\u003e, Mondadori, 1933) first translations. Japan was among the first nations in the world to bring Huxley's dystopian vision to its readers.\u003c\/p\u003e\n\u003cp\u003eThe cover design is by \u003cstrong\u003eHisui Sugiura\u003c\/strong\u003e (杉浦非水, 1876–1965) — the defining figure of Japanese Art Deco graphic design, whose work for Mitsukoshi department store and the literary presses of the 1920s and 1930s established the visual language of modern Japan. His cover for \u003cem\u003eMigotona Shinsekai\u003c\/em\u003e — depicting artificially incubated embryos in a Conditioned world — is a masterwork of the form: a fusion of Bauhaus geometry, biological anxiety, and the cool, prophetic detachment that Huxley's text demands. It is among the finest book covers produced in prewar Japan.\u003c\/p\u003e\n\u003cp\u003eThat this copy retains its \u003cstrong\u003eoriginal dust jacket\u003c\/strong\u003e is exceptional. Dust jackets from Japanese books of the 1930s survive at a fraction of the rate of their Western counterparts — the combination of wartime destruction, postwar paper drives, and the general fragility of the era's printing stock means that jacketed copies of this vintage are extraordinarily rare. The publisher's \u003cstrong\u003eken-in-shi\u003c\/strong\u003e (検印紙 — the official inspection seal) is also present, confirming this as a legitimate first printing from the original Kaizosha press run.\u003c\/p\u003e\n\u003cp\u003eHuxley's vision — of a society managed through pleasure, genetic conditioning, and the erasure of individual will — has never felt more contemporary. The collector who acquires this volume acquires not merely a book, but a document of the moment when one of the twentieth century's most prescient warnings first reached Japanese readers — in a translation produced with evident care, in a physical object of genuine beauty.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Aldous Huxley\u003cbr\u003e\u003cstrong\u003eTranslator:\u003c\/strong\u003e Nisaburo Watanabe (渡邉二三郎)\u003cbr\u003e\u003cstrong\u003eCover Design:\u003c\/strong\u003e Hisui Sugiura (杉浦非水)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Migotona Shinsekai \/ みごとな新世界 (Brave New World)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Kaizosha (改造社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1933 (Showa 8) — First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover with original dust jacket (DJ) and publisher's inspection seal (ken-in-shi \/ 検印紙)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket present. Ken-in-shi present.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Good — Remarkable Survival for a 92-Year-Old Jacketed Copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cb\u003eDust Jacket:\u003c\/b\u003e Minor wear, toning, and light chipping\/edge wear to the spine ends consistent with age. Presents beautifully overall, with the full visual impact of Sugiura’s design remaining intact.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBinding \u0026amp; Hardcover:\u003c\/b\u003e Solid and complete binding. There is noticeable wear and minor paper loss\/chipping to the lower spine and corners of the hard cover (visible in detailed listing photographs). This is the area most subject to shelf friction on books of this era; it is concealed when displayed with the jacket on, but clearly documented in the jacket-off photos.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eInterior \u0026amp; Pages:\u003c\/b\u003e Age-toned as expected for 1930s Japanese paper stock, but clean and well-preserved. No writing, no library stamps, and no tears (features the original publisher’s \u003ci\u003eken-in-shi\u003c\/i\u003e copyright seal).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePlease inspect all high-resolution listing photographs carefully — including those taken with the dust jacket removed — to review the spine condition before purchasing.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65419904254301,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8516.jpg?v=1785475909"},{"product_id":"george-orwell-nineteen-eighty-four-1950-first-japanese-edition","title":"George Orwell — Nineteen Eighty-Four 1950 First Japanese ed w\/ Original Dust Jacket","description":"\u003ch2\u003eGeorge Orwell — \u003cem\u003eIchiku Hachijuyon-nen\u003c\/em\u003e (一九八四年 \/ Nineteen Eighty-Four), translated by Kenichi Yoshida (吉田健一), Naotaro Tatsuguchi (龍口直太郎) \u0026amp; Tetsuo Shinjo (新庄哲夫). Bungeishunju Shinsha (文藝春秋新社), Tokyo, 1950. First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished in 1950 — the year immediately following the English first edition (Secker \u0026amp; Warburg, 1949) — this is the legendary first Japanese translation of George Orwell's \u003cem\u003eNineteen Eighty-Four\u003c\/em\u003e: one of the defining texts of the twentieth century, brought to Japanese readers at the precise moment when its warnings about totalitarianism, surveillance, and the destruction of truth carried the most urgent possible resonance. Japan in 1950 was a nation under occupation, rebuilding its identity in the shadow of war — and Orwell's vision of a world governed by perpetual war, doublethink, and the erasure of history arrived with the force of lived experience.\u003c\/p\u003e\n\u003cp\u003eThe dust jacket is among the most arresting cover designs in postwar Japanese publishing. A dense, expressionist crowd scene — uniformed figures, blank-faced masses, the sash of the Anti-Sex League — dominated by a poster bearing the face of Big Brother and the words \u003cstrong\u003e\"BIG BROTHER IS WATCHING YOU\"\u003c\/strong\u003e in English, set against the caption \u003cem\u003eLondon in 1984\u003c\/em\u003e. The title — 一九八四年 — blazes in red across the composition. It is a cover that understood exactly what it was illustrating.\u003c\/p\u003e\n\u003cp\u003eThat this copy retains its \u003cstrong\u003eoriginal dust jacket\u003c\/strong\u003e in good condition is, for a 75-year-old Japanese softcover, genuinely exceptional. Dust jackets of this era and format are among the most fragile artifacts of postwar Japanese publishing — subject to wartime paper shortages, postwar disposal drives, and the general entropy of time. A jacketed first printing of the first Japanese \u003cem\u003e1984\u003c\/em\u003e is a document of extraordinary rarity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e George Orwell\u003cbr\u003e\u003cstrong\u003eTranslators:\u003c\/strong\u003e Kenichi Yoshida (吉田健一), Naotaro Tatsuguchi (龍口直太郎), Tetsuo Shinjo (新庄哲夫)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Ichiku Hachijuyon-nen \/ 一九八四年 (Nineteen Eighty-Four)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Bungeishunju Shinsha (文詝春秋新社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear:\u003c\/strong\u003e 1950 (Showa 25) — First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover with original dust jacket \/ 366 pages \/ 190 × 125 mm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket present.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: Good — Exceptional Survival for a 75-Year-Old Jacketed Copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Age-toned and worn at edges and spine ends, consistent with 75 years of survival. The cover image retains full visual impact. Please inspect listing photographs carefully.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding \u0026amp; Text Block:\u003c\/strong\u003e Solid and complete. Pages age-toned as expected for postwar Japanese paper stock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e \u003cspan\u003eAfter removing the price tags at the used bookstore on the last page.otherwise \u003c\/span\u003eNo writing, no stamps, no tears. Text fully legible throughout.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease inspect all high-resolution listing photographs carefully before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65419943805277,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_5629.jpg?v=1788621391"},{"product_id":"ben-hecht-1001-afternoons-in-chicago-1930-first-japanese-ed-rare-jazz-literature","title":"Ben Hecht 1001 AFTERNOONS IN CHICAGO 1930 First Japanese ed Rare Jazz Literature","description":"\u003ch2\u003eBen Hecht — \u003cem\u003e1001 Afternoons in Chicago\u003c\/em\u003e \/ 1001夜・シカゴ狂想曲\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eShunpodo (春陽堂), Tokyo. 1930 (Showa 5). True First Japanese Edition, First Printing.\u003c\/strong\u003e\u003cbr\u003eFrom the legendary series: \u003cem\u003e世界大都會尖端ジヤズ文学\u003c\/em\u003e (World's Greatest Cosmopolitan Avant-Garde Jazz Literature)\u003c\/p\u003e\n\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\n\u003cp\u003eIn 1930, as Japan's \u003cem\u003eModan Boi\u003c\/em\u003e and \u003cem\u003eModan Garu\u003c\/em\u003e culture reached its electric peak — jazz cafes in Ginza, flapper fashion in Osaka, American cinema in every city — Shunpodo launched one of the most audacious publishing ventures of the prewar era: a series explicitly titled \u003cem\u003eWorld's Greatest Cosmopolitan Avant-Garde Jazz Literature\u003c\/em\u003e. This volume was its crown jewel.\u003c\/p\u003e\n\u003cp\u003eBen Hecht — the man Raymond Chandler called the most talented writer in America, the Oscar-winning screenwriter behind \u003cem\u003eUnderworld\u003c\/em\u003e, \u003cem\u003eScarface\u003c\/em\u003e, and \u003cem\u003eNotorious\u003c\/em\u003e, the journalist who invented the Chicago school of literary reportage — had written \u003cem\u003e1001 Afternoons in Chicago\u003c\/em\u003e in 1922 as a series of prose poems for the \u003cem\u003eChicago Daily News\u003c\/em\u003e. By 1930, the book had achieved cult status in American literary circles. Shunpodo's editors understood exactly what they were publishing: not merely a translation, but a manifesto of urban modernity.\u003c\/p\u003e\n\u003cp\u003eThe design mirrors the content's ambition. The cover typography — bold, geometric, jazz-age — and the extraordinary endpaper pattern (a dense grid of vignettes illustrating scenes from the book, printed in stark black and white) reflect the full force of Japanese prewar modernist book design at its most sophisticated. The interior Chicago cityscape illustrations, rendered in dense woodblock-influenced linework, transform the reading experience into something closer to a graphic document of a lost city.\u003c\/p\u003e\n\u003cp\u003eMilitary censorship ended this world within a few years. Most copies of this series were read to destruction or lost in the firebombings of 1945. What survives is vanishingly rare.\u003c\/p\u003e\n\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\n\u003cp\u003e1. \u003cstrong\u003eJazz Age Cult Significance\u003c\/strong\u003e — A primary artifact of Japan's \u003cem\u003eModan\u003c\/em\u003e era: the precise moment American jazz culture, urban cynicism, and avant-garde publishing collided in prewar Tokyo. A document of a world that ceased to exist.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eExtreme Scarcity\u003c\/strong\u003e — Shunpodo's Jazz Literature series was printed in limited numbers and largely destroyed in WWII. Surviving copies in this condition represent a survival rate of perhaps 1 in 100.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eBen Hecht's Literary Legacy\u003c\/strong\u003e — Hecht is now recognized as a foundational figure of American literary journalism, noir fiction, and Hollywood screenwriting. His primary texts in first translation are increasingly sought by serious collectors.\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003eExceptional Design Object\u003c\/strong\u003e — The endpaper vignette pattern, cover typography, and interior illustrations make this one of the most visually distinguished volumes in prewar Japanese publishing history.\u003c\/p\u003e\n\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Ben Hecht\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 1001 Afternoons in Chicago \/ 1001夜・シカゴ狂想曲\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Shunpodo (春陽堂), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 世界大都會尖端ジヤズ文学 (World's Greatest Cosmopolitan Avant-Garde Jazz Literature)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1930 (Showa 5) — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover (no slipcase, as issued)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e As issued — no additional inserts\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eVery Good Vintage Condition — Outstanding Survival for a 96-Year-Old Rarity\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers:\u003c\/strong\u003e Iconic prewar urban\/jazz graphic printed directly on boards. Yellow and red colors bright and unfaded. Minor natural rubbing at edges; structurally solid.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpine:\u003c\/strong\u003e Intact and firm. Text fully legible.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and secure throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning and light foxing consistent with 1930s Japanese paper stock. Free of modern writing, severe stains, or tears.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos to assess the detailed vintage condition.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420002459997,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8237.jpg?v=1785478799"},{"product_id":"ben-hecht-1001-afternoons-in-chicago-1930-first-japanese-ed-rare-jazz-literature-コピー","title":"William Faulkner — Sanctuary \/ サンクチュアリ 罪の祭壇 Getsuyō Shobō 1950 First Japanese Edition","description":"\u003ch2\u003eWilliam Faulkner — \u003cem\u003eSanctuary \/ サンクチュアリ —罪の祭壇—\u003c\/em\u003e, 月曜書房 (Getsuyō Shobō), Tokyo, 1950 (Showa 25). True First Japanese Edition. First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished on December 24, 1950 — the same year William Faulkner received the Nobel Prize in Literature — this first Japanese edition of \u003cem\u003eSanctuary\u003c\/em\u003e arrived in occupied Japan at a moment of extraordinary cultural significance. Translated by the distinguished team of Naotaro Tatsuguchi and Masami Nishikawa, and published by the now-defunct Getsuyō Shobō (月曜書房) of Kanda Jinbōchō, this is Faulkner's most visceral and controversial novel rendered into Japanese for the first time.\u003c\/p\u003e\n\u003cp\u003eFaulkner himself called it \"the most horrific novel I could imagine\" — a story of bootleggers, kidnapping, murder, lynching, and moral collapse in the American South. The book design is by \u003cstrong\u003eYoshio Kitanaka (北中義雄)\u003c\/strong\u003e. The volume retains its original dust jacket, the publisher's \u003cem\u003eKen-in-shi\u003c\/em\u003e (copyright stamp), and the rare \u003cstrong\u003eGetsuyō Shobō Monthly Bulletin Vol. IV (1950)\u003c\/strong\u003e — a fragile ephemeral insert almost never found with surviving copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — Published in the Nobel Prize year, this is the first Japanese translation of Faulkner's most notorious work. A primary document of postwar Japanese literary culture under Allied occupation.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — Book design by Yoshio Kitanaka. The bold two-tone cover — beige, crimson, and forest green — with the elegant \"sanctuary\" script is a masterwork of early postwar Japanese book design.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e月報・検印紙の希少価値\u003c\/strong\u003e — Complete with original dust jacket, Ken-in-shi, and the Getsuyō Shobō Monthly Bulletin Vol. IV — an ephemeral insert that rarely survives 75 years intact.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e William Faulkner\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Sanctuary \/ サンクチュアリ —罪の祭壇—\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslators:\u003c\/strong\u003e Naotaro Tatsuguchi (龍口直太郎) \u0026amp; Masami Nishikawa (西川正身)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBook Design:\u003c\/strong\u003e Yoshio Kitanaka (北中義雄)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 月曜書房 (Getsuyō Shobō), Kanda Jinbōchō, Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1950 (Showa 25), December 24 — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket, Ken-in-shi (copyright stamp), Getsuyō Shobō Monthly Bulletin Vol. IV (1950)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCONDITION: Good — Remarkable Survival for a 75-Year-Old Paperbound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Age-appropriate foxing and scattered tanning spots visible in listing photographs — consistent with 75 years of existence. Structurally intact. For a first printing of this age and publisher, this level of survival is genuinely uncommon.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers \u0026amp; Spine:\u003c\/strong\u003e Clean and intact. Kitanaka's cover design fully legible and visually striking.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toned as expected. Ken-in-shi present. Monthly Bulletin insert present. No writing, no tears.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify condition before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. Google Lens, ChatGPT, or Google Translate will instantly translate any page. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420029067613,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7254.jpg?v=1785479047"},{"product_id":"truman-capote-in-clod-blood-1967-japanese-fist-ed-1st-print-w-obi-band","title":"Truman Capote — In Cold Blood \/ 冷血 Shinchōsha 1967 First Japanese Edition First Printing","description":"\u003ch2\u003eTruman Capote — \u003cem\u003eIn Cold Blood \/ 冷血\u003c\/em\u003e, 新潮社 (Shinchōsha), Tokyo, 1967 (Showa 42). True First Japanese Edition, First Printing.\u003c\/h2\u003e\n\u003cp\u003ePublished on April 25, 1967 — just one year after the American first edition — this is the true first Japanese printing of Truman Capote's landmark work of literary nonfiction. Translated by Naotaro Tatsuguchi (龍口直太郎), the same distinguished translator who rendered Faulkner's \u003cem\u003eSanctuary\u003c\/em\u003e into Japanese, and published by Shinchōsha — Japan's most prestigious literary publisher — this edition arrived in Japan at the height of the book's global sensation.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn Cold Blood\u003c\/em\u003e redefined what literature could be: a true account of the 1959 murder of the Clutter family in Holcomb, Kansas, reconstructed with the precision of a novel and the moral weight of a tragedy. Capote spent six years reporting and writing it. The result became one of the most influential books of the twentieth century and invented the genre now known as New Journalism.\u003c\/p\u003e\n\u003cp\u003eThis copy is complete with its original \u003cstrong\u003eObi (belly band)\u003c\/strong\u003e bearing the arresting declaration — \"ここに描かれていることは全て冷厳な事実である！\" (Everything described here is cold, hard fact!) — and the rare \u003cstrong\u003ephotographic insert\u003c\/strong\u003e depicting the Clutter family and their killers, Dick Hickock and Perry Smith. The author photograph of Capote is present. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — The true first Japanese printing of one of the most important books of the 20th century. Published by Shinchōsha within a year of the American first edition. A primary document of postwar Japanese literary culture and the global reception of New Journalism.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — The iconic cover design featuring the two killers' eyes in a gold-framed photograph against a dark ground is one of the most recognizable book covers in Japanese publishing history. The Clutter family photographic insert adds documentary power.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e帯・インサートの希少価値\u003c\/strong\u003e — Complete with original Obi, photographic insert, author photograph — rarely found together in this condition after nearly 60 years.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Truman Capote\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e In Cold Blood \/ 冷血\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Naotaro Tatsuguchi (龍口直太郎)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 新潮社 (Shinchōsha), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1967 (Showa 42), April 25 — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover, 386 pages, 19.5 × 13 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original Obi (belly band), photographic insert (Clutter family \u0026amp; killers), author photograph.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCONDITION: Good — Exceptional Survival for a Nearly 60-Year-Old First Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eObi \u0026amp; Covers:\u003c\/strong\u003e Structurally intact. The Obi retains its striking graphic impact. Age-appropriate wear consistent with nearly 60 years.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Paper-stock tanning throughout — inherent to the paper quality of the era and consistent with age. No foxing beyond natural toning, no writing, no tears. All inserts present and intact.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify condition before purchasing.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. Google Lens, ChatGPT, or Google Translate will instantly translate any page. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420075663709,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_7225.jpg?v=1785479663"},{"product_id":"tennessee-williams-streetcar-named-desire-1952-japan-first-edition","title":"Tennessee Williams \/ A STREETCAR NAMED DESIRE 1952 Japan First ed 1st print Gutai  Jiro Yoshihara","description":"\u003ch2\u003eTennessee Williams — \u003cem\u003eA Streetcar Named Desire\u003c\/em\u003e \/ 欲望という名の電車\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eSogensha (創元社), Osaka. 1952. True First Japanese Edition, First Printing.\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eOVERVIEW\u003c\/h3\u003e\u003cp\u003eThis is not simply a first Japanese edition of Tennessee Williams' most celebrated play. It is a document of two avant-garde histories colliding on a single object.\u003c\/p\u003e\u003cp\u003eThe cover of this 1952 Sogensha edition was designed by \u003cstrong\u003eJiro Yoshihara (吉原治良)\u003c\/strong\u003e — the painter who, just two years later, would found the \u003cstrong\u003eGutai Art Association (具体美術協会)\u003c\/strong\u003e, Japan's most radical postwar avant-garde movement. Gutai's influence on Fluxus, performance art, and abstract expressionism is now firmly established in the canon of 20th-century art history. This book predates that founding moment, placing it in the formative period of one of the century's most consequential artistic minds.\u003c\/p\u003e\u003cp\u003ePublished in Osaka in 1952 — riding the wave of Elia Kazan's landmark film adaptation starring Marlon Brando and Vivien Leigh — this edition introduced Williams' searing theatrical vision to Japanese readers as a playscript: the original form in which Blanche DuBois and Stanley Kowalski were conceived. The collision of American dramatic literature and Japanese avant-garde visual culture, bound in a single volume, is precisely the kind of artifact shady2grove exists to surface.\u003c\/p\u003e\u003ch3\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/h3\u003e\u003cp\u003e1. \u003cstrong\u003eGutai Provenance\u003c\/strong\u003e — Cover design by Jiro Yoshihara, executed two years before he founded Gutai. A pre-Gutai artifact by the movement's creator, in the context of American literary history.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eExceptional Completeness\u003c\/strong\u003e — Retains original dust jacket, cast character insert, and original Sogensha promotional postcard. A 70+ year survival rate that is extraordinarily rare for an Osaka imprint of this period.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eHistorical Intersection\u003c\/strong\u003e — True first Japanese edition of a Pulitzer Prize-winning play, published at the precise moment Williams' work was reshaping global dramatic culture via Kazan's film.\u003c\/p\u003e\u003ch3\u003ePRODUCT SPECIFICATIONS\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Tennessee Williams\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e A Streetcar Named Desire \/ 欲望という名の電車\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover Design:\u003c\/strong\u003e Jiro Yoshihara (吉原治良) — founder, Gutai Art Association (具体美術協会, est. 1954)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Sogensha (創元社), Osaka\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1952 (Showa 27) — True First Japanese Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover with dust jacket\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original dust jacket (DJ), cast character insert, Sogensha promotional postcard\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch3\u003eCONDITION\u003c\/h3\u003e\u003cp\u003eGood Vintage Condition — Exceptional Survival for Age\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Present and intact. Natural toning consistent with 70+ years; the patina of a well-traveled literary artifact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning throughout; no writing, stamps, or tears.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNote:\u003c\/strong\u003e Small tear at upper right corner of front paste-down endpaper. Please inspect all high-resolution listing photos carefully.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eSHIPPING \u0026amp; HANDLING\u003c\/h3\u003e\u003cp\u003eWe treat rare and vintage literature with the utmost respect. This book will be securely wrapped in multiple layers of bubble wrap and shipped inside a rigid, highly protective box to prevent any bending or corner damage during transit. Shipped via expedited international shipping with full end-to-end tracking and insurance included.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420076024157,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_4321.jpg?v=1785480232"},{"product_id":"isaac-asimov-i-robot-rest-of-robots-1963-1969-japan-first-edition-set-slipcase","title":"Isaac Asimov — I, ROBOT \u0026 THE REST OF THE ROBOTS 1963 \u0026 1969 Japan First Ed Set w\/ Slipcase","description":"\u003ch2\u003eIsaac Asimov — \u003cem\u003eI, Robot\u003c\/em\u003e \u0026amp; \u003cem\u003eThe Rest of the Robots\u003c\/em\u003e \u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eHayakawa Shobo , Tokyo. Complete 2-Volume Set. Both True First Japanese Editions, First Printings.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003eI, Robot\u003c\/em\u003e — 1963 (Showa 38), September 15. Hayakawa SF Series No. 3054. With original slipcase (partial). Cover design by \u003cstrong\u003eNaito Masatoshi.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eThe Rest of the Robots\u003c\/em\u003e — 1969 (Showa 44), April 15. Hayakawa SF Series No. 3215.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eTranslated by \u003cstrong\u003eFusa Obi \u003c\/strong\u003eJapan's foremost SF translator.\u003c\/p\u003e\n\u003cp\u003eIn 1942, a 22-year-old biochemistry student named Isaac Asimov published a short story containing three simple rules governing the behavior of robots. He called them the \u003cstrong\u003eThree Laws of Robotics\u003c\/strong\u003e. Eighty years later, those three laws are cited in boardrooms at OpenAI, DeepMind, and the EU AI Act working groups. The conversation Asimov started has never been more urgent — and this two-volume set represents the precise moment that conversation entered the Japanese imagination.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI, Robot\u003c\/em\u003e (1950 in English; \u003cstrong\u003e1963 in Japan — this copy\u003c\/strong\u003e) collected the foundational Robot stories: Susan Calvin, the robopsychologist; Speedy, the robot stranded on Mercury; the philosophical paradoxes of machines that cannot harm, cannot disobey, cannot lie. The cover design was executed by \u003cstrong\u003eNaito Masatoshi \u003c\/strong\u003ethe visionary photographer and ethnologist whose lens documented Japan's vanishing folk traditions and whose visual imagination shaped some of the most distinctive book design of the Showa era. His bat-motif cover for this volume reads today as pure retro-futurist art: a design that belongs simultaneously to 1963 and to now.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Rest of the Robots\u003c\/em\u003e (1964 in English; \u003cstrong\u003e1969 in Japan — this copy\u003c\/strong\u003e) extended the Robot universe with eight additional stories and two novels, deepening the ethical architecture Asimov had constructed. Together, these two volumes constitute the complete foundation of Asimov's Robot canon in Japanese translation.\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003ch3\u003eCONDITION\u003c\/h3\u003e\n\u003cp\u003eGood Vintage Condition \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eI, Robot Slipcase:\u003c\/strong\u003e Present but with upper third missing. Remaining portion intact and structurally sound. Natural age-toning consistent with 63 years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eI, Robot — Interior:\u003c\/strong\u003e Handwritten annotation present on table of contents page. All other pages clean and free of writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers:\u003c\/strong\u003e Both volumes retain strong color and legible text. Natural vintage rubbing at edges consistent with age.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Both volumes tight and secure.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Natural age-toning consistent with period paper stock. Free of tears or severe staining.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e*Please carefully review all high-resolution listing photos to assess the detailed vintage condition. We believe in complete transparency.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text. Language is no longer a barrier to owning this rare piece of international history.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420305269085,"sku":null,"price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8497.jpg?v=1785483875"},{"product_id":"james-joyce-finnegans-wake-1971-first-1st-print-jpn-ed-slipcase-obi","title":"James Joyce — Finnegans Wake \/ フィネガン役夜祭 Toshi Shuppansha 1971 First Japanese Edition","description":"\u003ch2\u003eJames Joyce — \u003cem\u003eFinnegans Wake \/ フィネガン役夜祭 (Finnegan Tetsuyasai)\u003c\/em\u003e, 都市出版社 (Toshi Shuppansha), Tokyo, 1971. True First Japanese Edition. Part 1.\u003c\/h2\u003e\n\u003cp\u003eAn extraordinary milestone for global James Joyce collectors and avant-garde literature enthusiasts. This is the historic 1971 first Japanese edition of \u003cem\u003eFinnegans Wake\u003c\/em\u003e — the first time Joyce's final, most labyrinthine masterpiece was translated and published in book form in Japan. Translated by a distinguished team of British literature scholars including Yukio Suzuki, Ryo Nonaka, and the legendary Joyce translator Naoki Yanase, this publication represents a landmark in the history of world literature in translation.\u003c\/p\u003e\n\u003cp\u003eThe book design is by \u003cstrong\u003eSeiichi Horiuchi (堀内誠一)\u003c\/strong\u003e — one of postwar Japan's most celebrated graphic designers and art directors, whose work defined the visual language of Japanese publishing in the 1960s and 70s. The volume includes \u003cstrong\u003ethree original illustrations by Gertrude Stein\u003c\/strong\u003e, adding a further layer of literary and artistic significance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003e歴史的・文学的価値\u003c\/strong\u003e — The first Japanese translation of \u003cem\u003eFinnegans Wake\u003c\/em\u003e in book form. Joyce's most complex work, rendered into Japanese by the foremost Joyce scholars of the era. A primary document of postwar Japanese literary culture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eビジュアル・芸術的価値\u003c\/strong\u003e — Book design by Seiichi Horiuchi, whose graphic work is now collected in its own right. Three illustrations by Gertrude Stein. Gold-edged pages (Tenkei). Navy and silver hard slipcase.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e帯・函の希少価値\u003c\/strong\u003e — Complete with original Obi (belly band) and hard slipcase — rarely found together in this condition after 55 years.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003ePRODUCT SPECIFICATIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e James Joyce\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Finnegans Wake \/ フィネガン役夜祭 (Finnegan Tetsuyasai)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslators:\u003c\/strong\u003e Yukio Suzuki, Ryo Nonaka, Naoki Yanase, et al.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIllustrator:\u003c\/strong\u003e Gertrude Stein (3 plates)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBook Design:\u003c\/strong\u003e Seiichi Horiuchi (堀内誠一)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e 都市出版社 (Toshi Shuppansha), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1971 (Showa 46) — True First Japanese Edition, Part 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original hard slipcase (navy \u0026amp; silver), original Obi (belly band)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCONDITION: Very Good — Outstanding Vintage Survival\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlipcase:\u003c\/strong\u003e Light rubbing and shelf wear consistent with 55 years of age — noted and photographed. Structurally sound.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCovers \u0026amp; Spine:\u003c\/strong\u003e Clean and intact. Horiuchi's iconic cover design fully preserved.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e No foxing, no writing, no tears. Gold page edges intact. Ken-in-shi present.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photographs to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with Google Lens, ChatGPT, or Google Translate, the AI will instantly translate the text. Language is no longer a barrier to owning this rare piece of literary history.\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65420630491485,"sku":null,"price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8126.jpg?v=1785486983"},{"product_id":"shuji-terayama-jidai-no-shashu-1967-first-ed-1st-print-daido-moriyama-photos-ikko-tanaka-design","title":"Shuji Terayama: Jidai no Shashu - 1967 First ed 1st print Daido Moriyama Photos, Ikko Tanaka Design","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Shuji Terayama (寺山修司)\u003cbr\u003e- Title: Jidai no Shashu (時代の射手) — \"The Marksman of the Age\"\u003cbr\u003e- Publisher: Haga Shoten (芳賀書店)\u003cbr\u003e- Year Published: 1967 First ed 1st print\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover, 316 pages, 19.5 × 13.5 cm\u003cbr\u003e- Photography: Daido Moriyama (森山大道)\u003cbr\u003e- Book Design: Ikko Tanaka (田中一光)\u003cbr\u003e- Inclusions: None (no obi or slipcase)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJidai no Shashu\u003c\/em\u003e — \"The Marksman of the Age\" — stands as one of the most electrifying documents of Japan's cultural insurrection of the 1960s. Written by Shuji Terayama, the enfant terrible of Japanese avant-garde theatre, poetry, and film, this volume is a manifesto disguised as prose: a sustained assault on postwar conformity, bourgeois domesticity, and the suffocating weight of tradition.\u003c\/p\u003e\n\u003cp\u003eThe book's visual identity is inseparable from its content. Daido Moriyama — then at the very threshold of his legendary career — contributed raw, grain-saturated monochrome photographs to this volume, while Ikko Tanaka, one of Japan's supreme graphic designers, conceived the stark, hypnotic cover that has made this book instantly recognizable to collectors worldwide. The collision of these three titans of Japanese modernism in a single object is, by any measure, a singular event in postwar publishing history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\n\u003cp\u003e- Covers \u0026amp; Spine: The bold black-and-white boards retain their graphic impact with the natural patina of nearly 60 years. Signs of wear from age are visible on the upper back.Slight damage to the corner of the cover. Signs of tape repair on the back.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Pages present cleanly throughout.Light soiling to the page edges (fore-edge). No tears, no underlining, no further markings.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65551064007005,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9345.jpg?v=1789024443"},{"product_id":"マルキ-ド-サド-閨房哲学-祖父江喬-春潮社-昭和23年","title":"Marquis de Sade: La Philosophie dans le Boudoir — First Japanese Translation, 1948 (Showa 23)","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Marquis de Sade (マルキ・ド・サド \/ Donatien Alphonse François, Marquis de Sade)\u003cbr\u003e- Title: 閨房哲学 (Keibou Tetsugaku) — Japanese translation of \u003cem\u003eLa Philosophie dans le Boudoir\u003c\/em\u003e (1795)\u003cbr\u003e- Translator: Sobue Takashi (祖父江喬)\u003cbr\u003e- Book Design: Kumada Goro (熊田五郎)\u003cbr\u003e- Publisher: Shunchōsha (春潮社) \u003cbr\u003e- Year Published: 1948 (Showa 23)\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Softcover, 196 pages, 17.8 × 12.5 × 1.2 cm\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLa Philosophie dans le Boudoir\u003c\/em\u003e — composed by the Marquis de Sade in 1795, in the immediate aftermath of the Terror — is one of the most incendiary philosophical texts in the Western canon. Cast as a series of dialogues conducted in a boudoir, it deploys libertine excess as a vehicle for radical Enlightenment argument: against religion, against bourgeois morality, against the hypocrisies of the new Republic. Its central pamphlet, \u003cem\u003eFrançais, encore un effort si vous voulez être républicains\u003c\/em\u003e, remains one of the most provocative political tracts of the revolutionary era.\u003c\/p\u003e\n\u003cp\u003eThis 1948 Japanese edition — published in the immediate postwar period, when censorship had only just lifted and intellectual Japan was ravenously consuming forbidden Western thought — represents a significant moment in the reception of Sade in Japan. Translator Sobue Takashi's two-page afterword is, by the seller's own account, a substantial and rewarding text in its own right.\u003c\/p\u003e\n\u003cp\u003eWhat makes this copy immediately arresting is its cover: a pale celadon ground embossed with white chrysanthemum motifs, framing a central silhouette illustration in the cut-paper style — a design vocabulary rooted firmly in the Japanese book arts of the late 1930s (Showa 13 era). The result is a cover of extraordinary incongruity and beauty: Sade's most transgressive text dressed in the restrained elegance of prewar Japanese graphic design.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Documentary Value\u003c\/strong\u003e — A primary document of postwar Japanese intellectual life: Sade in Japanese translation, published in 1948 in the charged atmosphere of Occupation-era Tokyo. The table of contents alone — covering sodomy, adultery, murder, and the famous republican pamphlet — signals the audacity of this publication.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The cover design by Kumada Goro is a collector's object in its own right. The pale celadon cloth with embossed chrysanthemum pattern and central silhouette vignette belongs to the refined aesthetic of late-1930s Japanese book design — a style that reached its peak around Showa 13 (1938) and was largely extinguished by wartime austerity. To find it clothing Sade's most notorious text is a collision of sensibilities that no designer would dare attempt today.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eRarity of This Specific Edition\u003c\/strong\u003e — While Japanese translations of Sade exist, this particular 1948 Shunchōsha edition — with Kumada Goro's distinctive prewar-style binding — is considerably scarcer than later printings and is rarely encountered in collectible condition outside Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\n\u003cp\u003e- Covers \u0026amp; Spine: Shows the honest wear of nearly eight decades. Foxing present to covers, top and bottom edges, and fore-edge — entirely consistent with paper of this era and origin. The celadon cloth and embossed design remain legible and characterful.\u003cbr\u003e- Binding: Intact.\u003cbr\u003e- Interior \u0026amp; Pages: Foxing present throughout the text block, consistent with age. No inscriptions, no underlining, no annotations of any kind.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65552032039261,"sku":null,"price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8781_a06b6109-040c-414d-bfe5-b8c7df7e4032.jpg?v=1786528935"},{"product_id":"raymond-radiguet-le-diable-au-corps-nikutai-no-akuma-trans-watanabe-akimasa-jinbun-shoin-1951","title":"Raymond Radiguet: Le Diable au Corps — Nikutai no Akuma, Trans. Watanabe Akimasa, Jinbun Shoin 1951","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Raymond Radiguet (レーモン・ラディゲ)\u003cbr\u003e- Title: 肉体の悪魔 — 魔に憑かれて (Nikutai no Akuma: Ma ni Tsukarete) — Japanese translation of \u003cem\u003eLe Diable au Corps\u003c\/em\u003e (1923)\u003cbr\u003e- Translator: Watanabe Akimasa (渡邉明正)\u003cbr\u003e- Publisher: Jinbun Shoin (人文書院)\u003cbr\u003e- Year Published: 1951 (Showa 26) — First Edition\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, 228 pages\u003cbr\u003e- Inclusions: Obi (band) present\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLe Diable au Corps\u003c\/em\u003e — written by Raymond Radiguet at the age of seventeen and published in 1923 to immediate scandal and sensation — is one of the most precocious masterworks in French literature. A spare, merciless psychological novel set during the First World War, it recounts the affair between a teenage boy and a young married woman whose husband is at the front. Its cool, classical prose — indebted to Stendhal and the \u003cem\u003emoralistes\u003c\/em\u003e — conceals a devastatingly modern emotional intelligence. Radiguet died of typhoid fever the same year of its publication, aged twenty. The legend was complete.\u003c\/p\u003e\u003cp\u003eThis 1951 Jinbun Shoin edition — translated by Watanabe Akimasa and subtitled \u003cem\u003eMa ni Tsukarete\u003c\/em\u003e (魔に憑かれて, \"Possessed by the Demon\") — is among the earliest and most distinguished Japanese translations of the novel. The dust jacket reproduces a line portrait of Radiguet drawn by Jean Cocteau in 1919: a single red-ink contour of the young writer's profile, signed and dated, that serves as both frontispiece and emblem of the intimate artistic bond between the two men. The pale cream upper panel and mint-green lower band carrying the French title in elegant italic typography make this one of the most quietly beautiful book designs in postwar Japanese publishing.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — Radiguet's \u003cem\u003eLe Diable au Corps\u003c\/em\u003e is a canonical text of twentieth-century French literature, and this 1951 Jinbun Shoin edition is among the earliest Japanese translations — a primary document of postwar Japan's passionate engagement with French modernism.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket reproduces Cocteau's 1919 portrait of Radiguet in red line on cream — one of the most iconic images in French literary history — paired with a mint-green obi bearing the French title in italic. The design is restrained, elegant, and entirely of its era.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — First editions of this Jinbun Shoin translation with intact dust jacket and obi are seldom encountered. The combination of jacket, obi, and interior in good condition represents an exceptional survival for a 75-year-old Japanese paperback.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — With Obi\u003c\/p\u003e\u003cp\u003e- Dust Jacket \u0026amp; Obi: Small tear to the upper edge of the dust jacket. Obi present and intact. Overall the jacket retains its graphic character well.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Interior and all inclusions in good condition. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65552733208925,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8739.jpg?v=1786530143"},{"product_id":"henri-barbusse-lenfer-jigoku-trans-komaki-omi-sojusha-1950-showa-25-5th-printing-with-obi","title":"Henri Barbusse: L'Enfer — Jigoku, Trans. Komaki Omi, Sojusha 1950 (Showa 25) with Obi","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Henri Barbusse (アンリ・バルビュス)\u003cbr\u003e- Title: 地獄 (Jigoku) — Japanese translation of \u003cem\u003eL'Enfer\u003c\/em\u003e (1908)\u003cbr\u003e- Translator: Komaki Omi (小牧近江)\u003cbr\u003e- Publisher: Sojusha (蒼樹社)\u003cbr\u003e- Year Published: 1950 (Showa 25) — 5th Printing\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, 328 pages, B6\u003cbr\u003e- Inclusions: Obi (band) present\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eL'Enfer\u003c\/em\u003e — published by Henri Barbusse in 1908, a decade before his Prix Goncourt-winning \u003cem\u003eLe Feu\u003c\/em\u003e — is one of the most audacious novels in the French naturalist tradition. Its unnamed narrator, installed in a cheap Parisian hotel room, discovers a crack in the wall through which he can observe, unseen, the intimate lives of the room's successive occupants: lovers, the dying, the grieving, the ecstatic. What begins as voyeurism becomes a sustained philosophical meditation on desire, mortality, and the human condition. Banned in several countries on publication, it circulated as a clandestine classic for decades before achieving its rightful place in the canon.\u003c\/p\u003e\u003cp\u003eThis 1950 Sojusha edition — translated by the distinguished leftist intellectual and France-Japan cultural bridge Komaki Omi — is the first complete Japanese translation of the novel, as the obi proudly announces: \u003cem\u003eKanchu no mondai no shosetsu, Nihon-ban hajimete kannyaku naru\u003c\/em\u003e (「刷中の問题の小説、日本版初めて完訳成る」). The obi further notes that the French edition had been reprinting continuously since 1939 — a testament to the novel's enduring power. The fact that this copy is a 5th printing, achieved in rapid succession from the first edition, speaks to the hunger with which postwar Japanese readers consumed this long-forbidden text. The bold black-and-red dust jacket — with its stark typographic design — is a fine example of early 1950s Japanese book design.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — The first complete Japanese translation of Barbusse's scandalous masterwork, published in 1950 when Japan was rediscovering the forbidden literature of the West. Komaki Omi — who had lived in France and was a key conduit of French leftist and literary culture to Japan — was the ideal translator for this text.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket's bold black ground with red title panel and bilingual typography (地獄 \/ L'ENFER \/ HENRI BARBUSSE) is a striking piece of early postwar Japanese graphic design — direct, unornamented, and entirely confident.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity \u0026amp; Demand\u003c\/strong\u003e — The obi — which documents the translation rights, the novel's continuous French reprinting since 1939, and its status as the first complete Japanese edition — is itself a primary document. Copies with intact obi from this edition are seldom found outside Japan.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — With Obi\u003c\/p\u003e\u003cp\u003e- Dust Jacket \u0026amp; Obi: Small tears to the upper and lower edges of the dust jacket. Small loss to the lower-left corner of the rear cover. Obi present and intact with full text legible. Overall the jacket retains its bold graphic character.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Age-toning (browning) to pages throughout — entirely consistent with paper of this era. No inscriptions, no underlining, no annotations.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553134322013,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_87502.jpg?v=1786531070"},{"product_id":"アルテュウル-ランボオ-酔ひどれ船","title":"Arthur Rimbaud: Yoidore Fune — Trans. Shinjo Kazuichi, Shirakaba Shobo 1948 (Showa 23)","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Arthur Rimbaud (アルテュウル・ランボオ)\u003cbr\u003e- Title: 酔ひどれ船 (Yoidore Fune) — Japanese translation of Rimbaud's collected works including \u003cem\u003eLe Bateau Ivre\u003c\/em\u003e\u003cbr\u003e- Translator: Shinjo Kazuichi (新城和一)\u003cbr\u003e- Publisher: Shirakaba Shobo (白樺書房)\u003cbr\u003e- Year Published: 1948 (Showa 23)\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket, 201 pages, 13 × 18 cm\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eArthur Rimbaud abandoned poetry at nineteen. By then he had already written everything: \u003cem\u003eLe Bateau Ivre\u003c\/em\u003e, \u003cem\u003eUne Saison en Enfer\u003c\/em\u003e, the \u003cem\u003eIlluminations\u003c\/em\u003e. The body of work he left behind — composed between the ages of fifteen and nineteen — detonated the foundations of French verse and sent shockwaves through every subsequent generation of poets, from the Surrealists to the Beats. No poet has been more imitated, more mythologized, or more impossible to translate.\u003c\/p\u003e\u003cp\u003eThis 1948 Shirakaba Shobo edition — translated by Shinjo Kazuichi and titled after Rimbaud's most celebrated single poem — belongs to the first wave of serious Rimbaud scholarship in postwar Japan, when the poet's radical vision found an immediate resonance among a generation confronting the ruins of one world and the uncertain shape of another. The dust jacket — cream ground with bold red vertical title typography and a deep crimson panel of arabesque floral ornament — is a quietly distinguished piece of late-1940s Japanese book design, its decorative vocabulary at elegant odds with the incendiary content within.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — A 1948 Japanese edition of Rimbaud — published three years after the end of the war, in the first flush of Japan's postwar intellectual reopening — is a primary document of the era. Rimbaud's influence on Japanese poetry and counterculture runs deep; this is one of the earliest postwar translations.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket's cream ground, red calligraphic title, and deep crimson arabesque panel create a design of restrained beauty entirely characteristic of late-1940s Japanese publishing at its most considered.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — Postwar Japanese editions of Rimbaud from 1948 in collectible condition are seldom encountered outside Japan. This is a volume sought by collectors of French poetry, Japanese literary history, and mid-century book design alike.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\u003cp\u003e- Dust Jacket: Soiling and age-toning (foxing) to the dust jacket, consistent with nearly 80 years of age. The design and typography remain fully legible and characterful.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Age-toning (browning\/foxing) throughout the text block — entirely consistent with paper of this era. No inscriptions, no underlining, no annotations.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553552048477,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8889.jpg?v=1786532736"},{"product_id":"ray-cummings-time-machine-28000-shonen-shojo-sekai-sf-bungaku-zenshu-vol-4-akane-shobo-1974","title":"Ray Cummings: The Man Who Mastered Time — Time Machine 28000 Akane Shobo 1974, Shonen Shojo SF Zenshu Vol.4","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: Ray Cummings (レイ・カミングス)\u003cbr\u003e- Title: タイムマシン28000年 (Time Machine 28000-nen) — Japanese adaptation of \u003cem\u003eThe Man Who Mastered Time\u003c\/em\u003e (1924)\u003cbr\u003e- Series: 少年少女世界SF文学全集 Vol. 4 (Shonen Shojo Sekai SF Bungaku Zenshu, No. 4)\u003cbr\u003e- Translator: Saito Hakuko (斎藤伯好)\u003cbr\u003e- Illustrations: Arai Sonoko (新井苑子)\u003cbr\u003e- Publisher: Akane Shobo (あかね書房)\u003cbr\u003e- Year Published: 1974 (Showa 49) — 9th Printing\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket, 247 pages, Shiro-roku-ban (A5 equivalent)\u003cbr\u003e- Inclusions: None\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eRay Cummings — a protegé of Thomas Edison who became one of the founding voices of American pulp science fiction — published \u003cem\u003eThe Man Who Mastered Time\u003c\/em\u003e in 1924, at the very dawn of the genre. A time-travel adventure of vertiginous ambition, it sends its hero 28,000 years into the future to encounter a world transformed beyond recognition: the future city of Angriz, the rebellion of the Bass people, aerial battles between time machines, and the first tentative steps toward a new civilization.\u003c\/p\u003e\u003cp\u003eThis Akane Shobo edition — part of the celebrated \u003cem\u003eShonen Shojo Sekai SF Bungaku Zenshu\u003c\/em\u003e series, Vol. 4 — presents Cummings's novel in a children's adaptation translated by Saito Hakuko, with interior illustrations by Arai Sonoko. The series was one of the defining SF publishing projects of 1970s Japan, introducing a generation of young readers to the canon of world science fiction. The dust jacket — black upper panel with bold red title typography dissolving into a swirling vortex of clock numerals and a transparent time machine piloted by a young hero — is a vivid artifact of 1970s Japanese SF illustration at its most exuberant.\u003c\/p\u003e\u003cp\u003eThe book's preface sets the tone with characteristic directness: \u003cem\u003e\"Would you like to travel to the past and meet yourself as a baby? Or would you rather journey thousands of years into the future, to see what Japan, what the world, what our descendants will look like? If only you could travel through time to any era you chose — this has been humanity's dream for a long, long time.\"\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Literary Value\u003c\/strong\u003e — Ray Cummings is a foundational figure in American SF, and this 1974 Akane Shobo edition — reaching its 9th printing, a testament to its popularity — is a primary document of Japan's 1970s SF boom and the golden age of children's SF publishing.\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value\u003c\/strong\u003e — The dust jacket illustration — a swirling time-vortex of clock numerals in green, yellow, and orange, with a transparent capsule carrying its young pilot — is a superb example of 1970s Japanese SF cover art, full of the era's optimistic, kinetic energy.\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eCollectibility\u003c\/strong\u003e — Complete sets and individual volumes of the \u003cem\u003eShonen Shojo Sekai SF Bungaku Zenshu\u003c\/em\u003e series are actively collected by Japanese SF enthusiasts and nostalgia collectors worldwide. Vol. 4 with intact dust jacket is increasingly difficult to find in good condition.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — Honest Survivor\u003c\/p\u003e\u003cp\u003e- Dust Jacket: Small tear and scuffing to the upper edge of the dust jacket. Age-toning and light soiling consistent with 50 years of use.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Light age-toning (yellowing) to page edges (fore-edge). Tape repair mark on the inside front cover. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65553795121501,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8755.jpg?v=1786533744"},{"product_id":"bonny-cride","title":"David Newman \u0026 Robert Benton: Bonnie and Clyde — Oretachi ni Ashita wa Nai, Trans. Mitani Kisao, Futami Shobo 1973","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003e- Author: David Newman (デビッド・ニューマン) \u0026amp; Robert Benton (ロバート・ベントン)\u003cbr\u003e- Title: BONNIE AND CLYDE — 俺たちに明日はない (Oretachi ni Ashita wa Nai)\u003cbr\u003e- Translator: Mitani Kisao (三谷茌沙夫)\u003cbr\u003e- Publisher: Futami Shobo (二見書房)\u003cbr\u003e- Year Published: 1973 (Showa 48) — First Edition\u003cbr\u003e- Language: Japanese\u003cbr\u003e- Format: Hardcover with dust jacket and obi, Warner Bros.-Seven Arts \/ Futami Shobo authorized edition\u003cbr\u003e- Inclusions: Obi (band) present; film stills and historical photographs throughout\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBonnie and Clyde\u003c\/em\u003e — directed by Arthur Penn and released in 1967 — did not merely depict an outlaw couple. It detonated American cinema. Written by David Newman and Robert Benton, the screenplay fused the French New Wave's formal audacity with the raw violence of the American gangster tradition, producing a film that the studios feared, the critics divided over, and the public made into a cultural phenomenon. Warren Beatty and Faye Dunaway became icons. The film's final ambush — a slow-motion ballet of bullets — entered the permanent vocabulary of cinema.\u003c\/p\u003e\n\u003cp\u003eIn Japan, the film was released under the title \u003cstrong\u003e「俺たちに明日はない」\u003c\/strong\u003e — \u003cem\u003eOretachi ni Ashita wa Nai\u003c\/em\u003e, \"We Have No Tomorrow\" — and this Japanese title is itself a masterwork of translation. Where the American title names two individuals, the Japanese title speaks in the first-person plural: \u003cem\u003ewe\u003c\/em\u003e. It transforms a story about Bonnie and Clyde into a statement about an entire generation — the young, the reckless, the doomed. In the Japan of the early 1970s, still reverberating from the collapse of the student movement and the disillusionment of the postwar dream, those four words landed with the force of a manifesto. 俺\u003cem\u003eたちに明日はない\u003c\/em\u003e became one of the most resonant film titles in Japanese cinema history.\u003c\/p\u003e\n\u003cp\u003eThis 1973 Futami Shobo first edition — authorized by Warner Bros.-Seven Arts and arranged through Charles E. Tuttle, Inc., Tokyo — is far more than a novelization. Its illustrated pages juxtapose two distinct realities: the glamorous Warner Bros. production stills of Beatty and Dunaway, and — in a section captioned \u003cem\u003e「実際に存在したボニーとクライド」\u003c\/em\u003e (\"The Real Bonnie and Clyde\") — authentic historical photographs of the actual outlaws. The collision of Hollywood myth and Depression-era documentary reality on the same page is one of the most striking editorial decisions in Japanese film publishing of the era. The back cover carries endorsements from \u003cem\u003eTime\u003c\/em\u003e, \u003cem\u003eNewsweek\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, and \u003cem\u003eL'Express\u003c\/em\u003e, with the obi spine reading: \u003cem\u003e「烈しく美しい愛と死！」\u003c\/em\u003e — \"A fierce and beautiful love and death!\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cstrong\u003eHistorical \u0026amp; Cultural Value\u003c\/strong\u003e — \u003cem\u003eBonnie and Clyde\u003c\/em\u003e (1967) is one of the defining films of New Hollywood. Its Japanese title — 俺\u003cem\u003eたちに明日はない\u003c\/em\u003e — became a cultural touchstone in its own right, capturing the generational despair of early 1970s Japan with devastating precision. This 1973 first edition is a primary document of that moment.\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003eVisual \u0026amp; Documentary Value\u003c\/strong\u003e — The book's illustrated sections are exceptional: Warner Bros. production stills of Beatty and Dunaway alongside authentic historical photographs of the real Bonnie Parker and Clyde Barrow, captioned side by side. Myth and history, Hollywood and the Depression, on the same page. The back cover reproduces international press coverage from \u003cem\u003eTime\u003c\/em\u003e, \u003cem\u003eNewsweek\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, and \u003cem\u003eL'Express\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003eRarity\u003c\/strong\u003e — First editions of this Futami Shobo authorized edition with intact obi are seldom encountered. The combination of dust jacket, obi, film stills, and historical photographs in good condition represents an exceptional survival for a 50-year-old Japanese film book.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eGood Vintage Condition — First Edition, With Obi\u003c\/p\u003e\n\u003cp\u003e- Dust Jacket \u0026amp; Obi: Obi present and intact with full text legible. Light age-toning consistent with 50 years of age.\u003cbr\u003e- Covers \u0026amp; Spine: Firm and square.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Film stills and historical photographs in good condition. No inscriptions, no underlining.\u003cbr\u003e- *Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.*\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65554428428637,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8601.jpg?v=1786537412"},{"product_id":"bram-stoker-majin-dracula-1967-chuu-ichi-bunko-no-4","title":"Dracula — Bram Stoker 1967 First ed Nakajima Kotaro. Chuu-Ichi Bunko No. 4 Gothic-Horror","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Author:\u003c\/strong\u003e Bram Stoker\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdaptation :\u003c\/strong\u003e Nakajima Kotaro \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 魔人ドラキュラ (Majin Dracula)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e (Chuu-Ichi Bunko), No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Ohbunsha \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1967 (Showa 42)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIssued as:\u003c\/strong\u003e Third supplementary booklet (第3付録) to \u003cem\u003eChuu-Ichi Jidai\u003c\/em\u003e  July 1967 issue\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Bunkoban  approx. 64 pages. Two-color cover (red and black); black-and-white interior illustrations signed \"HID\/URA\".\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original publisher's clear protective cover (as issued), still present\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1967, Obunsha — one of Japan's leading educational publishers — issued this remarkable object: a pocket-sized adaptation of Bram Stoker's \u003cem\u003eDracula\u003c\/em\u003e, retold for Japanese junior high school students by Nakajima Kotaro, one of the most distinguished figures in Japanese mystery and detective fiction criticism. Distributed not through bookshops but as a free supplement tucked inside the July 1967 issue of \u003cem\u003eChuu-Ichi Jidai\u003c\/em\u003e (中一時代), a mass-circulation study magazine for first-year junior high students, this booklet was never sold commercially and never reprinted. It existed, briefly, in the hands of a generation of thirteen-year-olds — and almost none of it survived.\u003c\/p\u003e\n\u003cp\u003eThe cover — a stark, two-color composition of crimson and black, depicting a young woman clutching a crucifix as Dracula looms behind her — is a masterpiece of low-budget graphic design: lurid, urgent, and entirely effective. The interior illustrations, signed by the artist \"HID\/URA\", capture the gothic atmosphere of the Carpathian journey with a confident, expressionist line. Nakajima Kotaro's adaptation strips Stoker's sprawling epistolary novel to its essential terror, delivering it in clean, accessible prose that retains the dread of the original.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of Japanese publishing history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHistorical \u0026amp; Documentary Value:\u003c\/strong\u003e Supplementary booklets issued with Japanese study magazines of the 1960s are among the most ephemeral objects in postwar Japanese publishing. Distributed free, read once, and discarded, they survive in vanishingly small numbers. A copy in collectible condition — retaining its vivid two-color cover and complete interior — is a genuine rarity. Online bibliographic records for this specific title are almost nonexistent.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLiterary \u0026amp; Cultural Value:\u003c\/strong\u003e Nakajima Kotaro (1917–2004) was not a hack adapter: he was a founding figure of Japanese mystery criticism, editor of landmark anthologies, and a scholar of international standing. His decision to retell \u003cem\u003eDracula\u003c\/em\u003e for junior high students in 1967 — the same year Japan's horror publishing boom was gathering force — places this booklet at the intersection of literary history and popular culture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual Value:\u003c\/strong\u003e The two-color cover design and the \"HID\/URA\" interior illustrations represent a distinct strand of Japanese commercial illustration of the mid-Showa period — bold, economical, and deeply atmospheric. As a graphic artifact, this booklet stands entirely on its own.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGood Vintage Condition — Outstanding Survival for a Disposable Supplementary Booklet\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e The two-color (red and black) cover retains strong graphic impact. Protected by the original publisher's clear plastic cover, which remains present — an exceptional survival detail that speaks to the care with which this copy has been kept. Light age-toning to edges consistent with nearly 60 years of natural patina. No tears, no writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Secure and intact. Staple-bound, as issued.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePage Edges (Fore-edge):\u003c\/strong\u003e Minor age-spotting to the fore-edge — light and entirely consistent with the age and paper quality of the original printing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEndpapers:\u003c\/strong\u003e Minor age-toning to the endpapers — a natural characteristic of mid-Showa newsprint. No writing, no stamps, no ownership marks.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e No writing, no clipping, no damage. The text and illustrations are clean and fully legible throughout.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65596262613341,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8914.jpg?v=1786933710"},{"product_id":"bram-stoker-dracula-1985-first-ed-1st-print-w-obi-band","title":"Dracula - Bram Stoker 1985  Poplar-sha  1st ed w\/obi Gothic-Horror","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Author:\u003c\/strong\u003e Bram Stoker\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdaptation (文):\u003c\/strong\u003e Nakasono Chouko (中ぞの蝶子)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 吸血鬼ドラキュラ (Kyuuketsuki Dracula)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Poplar-sha (ポプラ社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1985 (Showa 60) — True First Edition, First Printing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Poplar Bunko, Kaiki Series (ポプラ社文庫 怪奇シリーズ)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Bunkoban, 18 × 12 cm. Black-and-white interior illustrations throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Original obi band (present)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003ePublished in 1985 by Poplar-sha — one of Japan's most beloved publishers of children's and young adult literature — this first edition of \u003cem\u003eKyuuketsuki Dracula\u003c\/em\u003e belongs to the celebrated Kaiki (Weird\/Horror) Series, a line of pocket-sized horror classics that introduced a generation of Japanese readers to the great monsters of Western gothic fiction. Adapted by Nakasono Chouko, the text distills Bram Stoker's sprawling Victorian masterpiece into urgent, atmospheric prose perfectly calibrated for young readers who wanted to be frightened. The interior illustrations — rendered in bold, expressive black-and-white line work — are among the most viscerally effective in the series: Dracula commanding his wolves beneath a full moon, the Count looming over a helpless victim, a female vampire stalking a moonlit graveyard. These are images that stay with you.\u003c\/p\u003e\u003cp\u003eThe original obi band — bearing the irresistible challenge \"Read this book at midnight and you will never sleep again!!\" — is present, a survival that dramatically elevates the collectible value of this copy. Obi bands are among the most fragile and discarded elements of Japanese book production; their presence on a 40-year-old paperback is a mark of exceptional care.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of Japanese publishing history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHistorical \u0026amp; Documentary Value:\u003c\/strong\u003e A true first edition, first printing of a title from Poplar-sha's Kaiki Series — one of the defining horror imprints of 1980s Japanese juvenile publishing. This is the edition that frightened a generation of Japanese schoolchildren, and it has never been more collectible.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eObi Band:\u003c\/strong\u003e The original obi band — with its gleefully provocative tagline — is present and intact. In the collector's market for Japanese vintage paperbacks, an obi-present copy commands a significant premium. This is not a detail; it is the difference between a reading copy and a collector's copy.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual Value:\u003c\/strong\u003e The interior illustrations are a sustained achievement of mid-Showa horror illustration — bold, economical, and deeply atmospheric. As a graphic artifact, this book stands entirely on its own.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVery Good Vintage Condition — First Edition with Original Obi Band\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover \u0026amp; Obi Band:\u003c\/strong\u003e Cover retains strong color and graphic impact. Original obi band present and intact — an exceptional survival for a 40-year-old paperback. Light age-toning to edges consistent with natural patina. No tears, no writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Secure and intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePage Edges (Fore-edge):\u003c\/strong\u003e Minor age-spotting to the fore-edge — light and entirely consistent with the age and paper quality of the original printing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Clean throughout. No writing, no stamps, no ownership marks. Text and illustrations fully legible.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65596420096349,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8381.jpg?v=1786935451"},{"product_id":"the-great-gatsby-idai-naru-gatsby-f-scott-fitzgerald-kenkyusha-1957-first-ed-trans-nozaki-takashi","title":"The Great Gatsby (Idai naru Gatsby) — F. Scott Fitzgerald. Kenkyusha 1957 First ed  Trans. Nozaki Takashi.","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e F. Scott Fitzgerald\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Nozaki Takashi (野崎孝)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJacket Design (装釘):\u003c\/strong\u003e Kamekura Yusaku (亀倉雄策)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 偉大なるギャツビー (Idai naru Gatsby \/ The Great Gatsby)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 研究社アメリカ文学選集 第一期 (Kenkyusha American Literature Series, First Series)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Kenkyusha (研究社出版株式会社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1957 (Showa 32) — Second Printing, November 25, 1957 (First printing: April 25, 1957)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover with dust jacket, 18 cm, 291 pages. Includes portrait frontispiece of F. Scott Fitzgerald (age 21).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eContents:\u003c\/strong\u003e 偉大なるギャツビー (The Great Gatsby, p.1) \/ バビロン再訪 (Babylon Revisited, p.187) \/ 金持の青年 (The Rich Boy, p.229) \/ 解説 (Commentary, p.281)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Dust jacket (present). No slipcase (issued without).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished in April 1957 by Kenkyusha — Japan's foremost publisher of English-language scholarship and literary translation — this edition of \u003cem\u003eThe Great Gatsby\u003c\/em\u003e was the first book publication of Nozaki Takashi's celebrated Japanese translation, and it sold out within months: this copy is the second printing of the same year, issued November 25, 1957. The Nozaki translation went on to become the standard Japanese text of the novel for decades — later reissued by Shincho Bunko in 1974 (retitled \u003cem\u003eKarei naru Gatsby\u003c\/em\u003e to coincide with the Robert Redford film adaptation) and again revised in 1989 as \u003cem\u003eGreat Gatsby\u003c\/em\u003e. But this 1957 Kenkyusha edition is where it all began: the translation in its original form, in its original publisher's binding, in the year of its birth.\u003c\/p\u003e\n\u003cp\u003eThe dust jacket was designed by \u003cstrong\u003eKamekura Yusaku\u003c\/strong\u003e (亀倉雄策, 1915–1997) — one of the supreme figures of twentieth-century Japanese graphic design, and the man who created the iconic poster for the 1964 Tokyo Olympics. His jacket for this volume — a severe, modernist composition of grey, black, white, and red geometric blocks — is a masterpiece of restraint: the visual language of the International Style applied to a novel about excess, desire, and the American Dream. To hold this book is to hold a Kamekura original.\u003c\/p\u003e\n\u003cp\u003eThe volume contains three works in Nozaki's translation: \u003cem\u003eThe Great Gatsby\u003c\/em\u003e, \u003cem\u003eBabylon Revisited\u003c\/em\u003e, and \u003cem\u003eThe Rich Boy\u003c\/em\u003e — three of Fitzgerald's finest achievements, assembled here into a curated collection of rare literary completeness. The frontispiece portrait of Fitzgerald at twenty-one adds a biographical intimacy that later editions abandoned.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eKamekura Yusaku Design:\u003c\/strong\u003e The dust jacket is a documented work by Kamekura Yusaku — designer of the 1964 Tokyo Olympics poster, recipient of the Mainichi Industrial Design Prize, and one of the founding figures of modern Japanese graphic design. A Kamekura-designed dust jacket on a 1957 literary edition is a collector's object of the first order, independently of the text it contains.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHistorical \u0026amp; Literary Value:\u003c\/strong\u003e This is the Nozaki Takashi translation in its original 1957 Kenkyusha form — the translation that defined \u003cem\u003eThe Great Gatsby\u003c\/em\u003e for Japanese readers for half a century. The inclusion of \u003cem\u003eBabylon Revisited\u003c\/em\u003e and \u003cem\u003eThe Rich Boy\u003c\/em\u003e makes this a curated Fitzgerald collection of exceptional literary depth.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRarity:\u003c\/strong\u003e Nearly 70 years old, in dust jacket, with all three texts intact and a documented Kamekura design. Copies in this condition are increasingly difficult to find.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGood Vintage Condition\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Retains strong graphic impact. Light wear to spine ends. No tears, no writing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEndpapers:\u003c\/strong\u003e Natural age-toning consistent with period paper stock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Light toning throughout — consistent with age. No writing, no stamps, no ownership marks.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65606581453149,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8924.jpg?v=1787036537"},{"product_id":"chika-engeki-underground-theater-no-4-shuji-terayama-et-al-tokyo-1971-first-edition-with-slipcase-supplement-newspaper","title":"Chika Engeki \/ Underground Theater No. 4 — Shuji Terayama et al. Tokyo 1971. First Edition. With Slipcase \u0026 Supplement Newspaper.","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 地下演劇 第4号 (Chika Engeki \/ Underground Theater, No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Chika Engeki-sha (地下演劇社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1971 (Showa 46) — First Edition, June 1971\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKey Contributors:\u003c\/strong\u003e Shuji Terayama (寺山修司) and others\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover in slipcase, 21 × 15 × 2.5 cm. Unpaginated. All B\u0026amp;W text, photographs, and illustrations throughout.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eContents include:\u003c\/strong\u003e 「Homofiktus 20℃ Sengen」 \/ 「Shuto Homoludens Houan」 \/ 「Chijou no Densetsu Bungaku Juusanshou」 \/ 「Keitai Toshi」 \/ 「Soha-ro Kougun-ki」 \/ 「Gairo Opera」 \/ 「Shounen Shoujo Bungaku Zenshuu」 \/ 「Jinsei Shiron」 \/ 「Niku no Rippou」 \/ 「Akahada no Shuto — Daiisshou」, and more.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Slipcase (present, with staining to rear panel); supplement newspaper \u003cem\u003eCapital Tribune\u003c\/em\u003e, June 1971 (laid in, small tears.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJune 1971, Tokyo. The student movement has crested and broken. The barricades at Todai have been dismantled. And yet \u003cem\u003eChika Engeki\u003c\/em\u003e — Underground Theater — continues to publish, issue by issue, one of the most radical and visually ferocious little magazines in the history of Japanese counterculture. No. 4 is a sustained assault on the senses: a dense, unpaginated accumulation of manifestos, prose poems, theoretical texts, and full-bleed illustrations that refuses every convention of the literary magazine. The cover — a vivid painting of a subterranean bar packed with bodies in motion — gives way to interior spreads of hallucinatory power: a double-page diagram of the 「Keitai Toshi」 (Morphological City), its axes labeled with categories of law, desire, death, and revolution; a full-bleed spread of a demonic figure looming over scattered fetuses; photographs of street performances dissolving into text.\u003c\/p\u003e\n\u003cp\u003eShuji Terayama — poet, playwright, filmmaker, provocateur, and the presiding genius of Japanese underground culture in the 1960s and 70s — is the gravitational center of this issue. His presence connects \u003cem\u003eChika Engeki\u003c\/em\u003e to the broader international network of performance art, Situationist theory, and body politics that defined the radical imagination of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of cultural history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eShuji Terayama:\u003c\/strong\u003e Terayama (寺山修司, 1935–1983) is one of the most internationally recognized figures of the Japanese avant-garde — a poet, playwright, and filmmaker whose work with Tenjō Sajiki theatre company and his films \u003cem\u003eThrow Away Your Books, Rally in the Streets\u003c\/em\u003e and \u003cem\u003ePastoral: To Die in the Country\u003c\/em\u003e have secured his place in the canon of world experimental culture. Material associated with his work commands serious collector attention in Japan, Europe, and North America.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRarity:\u003c\/strong\u003e \u003cem\u003eChika Engeki\u003c\/em\u003e was published in small print runs for a coterie audience and was never distributed through mainstream channels. Individual issues are difficult to find; copies in slipcase are exceptionally rare.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVisual \u0026amp; Artistic Value:\u003c\/strong\u003e The illustrations throughout — full-bleed, uncompromising, and executed with the graphic intensity of the best underground press of the period — make this a significant artifact of Japanese counterculture visual art, independently of its textual content.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVery Good+ Vintage Condition\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlipcase:\u003c\/strong\u003e Present. Front and spine strong. Significant staining to rear panel — clearly visible in listing photographs. Does not affect the book.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Very Good+. Clean, bright, no tears.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Very Good+. Clean throughout. No writing, no stamps, no cut sections. All pages complete.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupplement (\u003cem\u003eCapital Tribune\u003c\/em\u003e newspaper):\u003c\/strong\u003e Present. Small tears consistent with 55-year-old newsprint. Fully legible.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65620586004829,"sku":null,"price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_6615.jpg?v=1787117763"},{"product_id":"carmilla-kyuuketsuki-carmilla-sheridan-le-fanu-tokyo-sogensha-1960-trans-hirai-teiichi-with-slipcase","title":"Joseph Sheridan Le Fanu - Carmilla (Kyuuketsuki Carmilla) Tokyo Sogensha 1960 With Slipcase.","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eJoseph \u003c\/span\u003e\u003cem\u003eSheridan Le Fanu.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator \u0026amp; Editor:\u003c\/strong\u003e Hirai Teiichi (平井呈一)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 吸血鬼カーミラ (Kyuuketsuki Carmilla)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 世界恐怖小説全集 第1巻 (Sekai Kyoufu Shosetsu Zenshuu \/ World Horror Fiction Series, Vol. 1) — 12 volumes total\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tokyo Sogensha (東京創元社), Tokyo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1960 (Showa 35) — Second Printing, August 1, 1960\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover in slipcase. Commentary by Hirai Teiichi (p. 269–).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInclusions:\u003c\/strong\u003e Slipcase (present, with wear); monthly series bulletin (月報, laid in — lists all 12 volumes in the series)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished in 1960 by Tokyo Sogensha — Japan's foremost publisher of mystery and horror fiction — this volume inaugurates the \u003cem\u003eSekai Kyoufu Shosetsu Zenshuu\u003c\/em\u003e (World Horror Fiction Series) with the work that deserves to open any such collection: Sheridan Le Fanu's \u003cem\u003eCarmilla\u003c\/em\u003e, the female vampire novella that preceded Stoker's \u003cem\u003eDracula\u003c\/em\u003e by a quarter century and remains, in the judgment of many, the more psychologically disturbing of the two. The translator and editor is Hirai Teiichi (平井呈一, 1902–1976) — the supreme figure of Japanese Gothic and horror translation, the man who introduced Le Fanu, Algernon Blackwood, Arthur Machen, and M. R. James to Japanese readers, and whose translations defined the aesthetic of Japanese literary horror for a generation. His extended commentary, beginning at page 269, is itself a significant document of Japanese horror criticism.\u003c\/p\u003e\n\u003cp\u003eThe dust jacket design — a bold, abstract composition of terracotta, black, and orange geometric forms — is a masterpiece of early-1960s Japanese book design: severe, modernist, and entirely at odds with the lush Victorian atmosphere of the text it contains. The grey slipcase, lettered simply 「世界恐怖小説全集」 in black, completes a package of considerable visual distinction.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGood Vintage Condition\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlipcase:\u003c\/strong\u003e Present. Wear and age-toning consistent with 65 years. Structurally intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Good. Retains strong graphic impact. Light wear to edges and spine ends.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Age-toning consistent with 1960 paper stock. No writing, no clipping. Bookseller's stamp to colophon page.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMonthly Bulletin (月報):\u003c\/strong\u003e Present. Light age-toning. Fully legible.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65632119095645,"sku":null,"price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8954.jpg?v=1787195090"},{"product_id":"terayama-shuji-throw-away-your-books-rally-in-the-streets-yokoo-tadanori-haga-shoten-1972-2-vol-set","title":"Shuji Terayama  Throw Away Your Books, Rally in the Streets  Yokoo Tadanori. Haga Shoten 1972. 2-vol. Set.","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Terayama Shuji (寺山修司)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 1 — 「書を捧てよ、町へ出よう」 (Throw Away Your Books, Rally in the Streets):\u003c\/strong\u003e Illustrations by Yokoo Tadanori (横尾忠則)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 2 — 「続 書を捧てよ町へ出よう」 (Throw Away Your Books, Rally in the Streets — Continued):\u003c\/strong\u003e Design, layout \u0026amp; illustrations by Mishima Noritou (三嵪典東). Photography: Tatsuki Yoshihiro (立木義浩), Kanda Masayoshi (勘田正義). Cooperation: ATG (日本アートシアターギルド)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Haga Shoten (芳賀書店), Tokyo — Kanda Jinbocho 2-7\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1972 (Showa 47). Vol. 2: Printed March 25; Published April 7, 1972. (First edition of Vol. 1: 1967)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e 2-volume complete set. Softcover. Full-colour covers. Fully illustrated throughout with photographs, collage, and original artwork.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe original edition of \u003cem\u003eThrow Away Your Books, Rally in the Streets\u003c\/em\u003e was published by Haga Shoten in 1967 — the year Terayama Shuji founded Tenjō Sajiki, his legendary underground theatre company. By 1972, when these volumes were issued, the book had become a generational manifesto: the text that told a postwar Japanese youth to abandon the passive consumption of culture and enter the street, the city, the body, the world. The 1972 Haga Shoten editions — Vol. 1 redesigned by Yokoo Tadanori, Vol. 2 newly issued with design by Mishima Noritou — represent what is likely the final standalone hardcover publication of these texts before they entered the paperback and collected-works editions that followed.\u003c\/p\u003e\n\u003cp\u003eVolume 1 is a Yokoo Tadanori (横尾忠則) production. The cover — a black-and-white sunburst radiating from a giant painted mouth with a cigarette, the lips rendered in shocking pink — is one of the most recognizable images in the history of Japanese graphic design. Yokoo, by 1972, was already internationally recognized — his posters had been exhibited at MoMA — and his work for Terayama represents the fullest expression of their shared aesthetic: erotic, political, carnivalesque. Volume 2 is designed by Mishima Noritou, with the cooperation of ATG. The endpapers — a cyanotype-blue photomontage of a red sun over dark water facing a crowd of identical suited men — are among the most politically charged book design elements of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of cultural history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eBoth Volumes Together — An Exceptionally Rare Complete Set:\u003c\/strong\u003e Vol. 1 and Vol. 2 of the 1972 Haga Shoten edition are each difficult to find individually. Finding them together, in matching condition, is another matter entirely. Each volume was designed by a different artist — Yokoo Tadanori on Vol. 1, Mishima Noritou on Vol. 2 — and each circulated separately in the market. A complete 2-volume set in this condition is, quite simply, the thing collectors wait for.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYokoo Tadanori Cover Design:\u003c\/strong\u003e Yokoo Tadanori (横尾忠則, b. 1936) is Japan's most internationally celebrated graphic designer — the artist whose posters were acquired by MoMA. The Vol. 1 cover is a canonical Yokoo image, actively collected by design institutions and private collectors worldwide.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTerayama Shuji at the Peak:\u003c\/strong\u003e Published in the same year as his ATG film of the same title, these volumes document Terayama (寺山修司, 1935–1983) at the precise moment when his influence on Japanese culture — theatre, film, poetry, performance — was at its widest. His work commands serious collector attention across Japan, Europe, and North America.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLikely the Final Standalone Edition:\u003c\/strong\u003e After 1972, these texts moved into paperback and collected-works formats. This is in all likelihood the last time they were published as individually designed objects — the last version in which the book was treated as a work of art in its own right.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVery Good Vintage Condition — Complete 2-Volume Set\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 1 Cover:\u003c\/strong\u003e Very Good. The Yokoo Tadanori sunburst-and-lips cover retains full graphic impact. Light age-toning to edges consistent with 54 years.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVol. 2 Cover:\u003c\/strong\u003e Very Good. The Mishima Noritou photomontage cover bright and clean. Light wear to spine ends.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBindings:\u003c\/strong\u003e Both tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInteriors:\u003c\/strong\u003e Both Very Good. Clean throughout. No writing, no stamps.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65662026187101,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8986_7808fcdc-07d4-4ca6-a4fc-5b3ad285b3a3.jpg?v=1787460136"},{"product_id":"a-gun-for-sale-kenju-urimasu-graham-greene-hayakawa-shobo-1952-first-edition","title":"Graham Greene　A Gun for Sale  Hayakawa Shobo 1952　First Edition　","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Graham Greene\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslators:\u003c\/strong\u003e Iijima Tadashi (飯島正) \u0026amp; Funada Keiichi (舟田敬一)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 拳銃売ります (Kenju Urimasu \/ A Gun for Sale)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Hayakawa Shobo (早川書房), Tokyo — Kanda Kanagacho 2-2\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1952 (Showa 27) — First Edition, First Printing. Printed November 20; Published November 25, 1952.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover with dust jacket. Illustrated cover (oil-painting style, signed “mizo”).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Price:\u003c\/strong\u003e ¥230\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eNovember 1952. Hayakawa Shobo — the Tokyo publisher that would go on to define the Japanese market for crime fiction, science fiction, and literary thriller — issues the first Japanese translation of Graham Greene's \u003cem\u003eA Gun for Sale\u003c\/em\u003e (1936), one of the novels Greene himself classified as an “entertainment”: a category he used not to diminish these books but to distinguish their formal ambitions from his more explicitly Catholic fiction. \u003cem\u003eA Gun for Sale\u003c\/em\u003e, alongside \u003cem\u003eThe Third Man\u003c\/em\u003e and \u003cem\u003eThe Confidential Agent\u003c\/em\u003e (both also published by Hayakawa), represents Greene at his most cinematically taut — a thriller in which the moral weight of the genre is carried not by the detective but by the killer, Raven, a man with a harelip and a contract and a conscience he cannot suppress.\u003c\/p\u003e\u003cp\u003eThe dust jacket — a painterly, oil-sketch rendering of a rain-swept European square, signed “mizo” in the lower right corner — is a distinguished example of early-1950s Japanese book cover art: atmospheric, European in sensibility, and entirely suited to Greene's world of wet streets and moral ambiguity. The title in bold red characters against the muted cityscape gives the cover an urgency that the English first edition, with its more restrained design, does not match.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHayakawa Shobo First Edition, 1952:\u003c\/strong\u003e This is the first printing of the first Japanese translation of \u003cem\u003eA Gun for Sale\u003c\/em\u003e, published by Hayakawa Shobo in the year the publisher was establishing itself as Japan's premier home for literary crime fiction. Early Hayakawa first editions from the 1950s — before the publisher's output expanded dramatically — are increasingly scarce in any condition.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGraham Greene's “Entertainments”:\u003c\/strong\u003e Greene's self-designated entertainments — \u003cem\u003eA Gun for Sale\u003c\/em\u003e, \u003cem\u003eThe Third Man\u003c\/em\u003e, \u003cem\u003eThe Confidential Agent\u003c\/em\u003e, \u003cem\u003eThe Ministry of Fear\u003c\/em\u003e — are among the most collected works in twentieth-century British fiction. First editions in any language from the 1950s represent the earliest stratum of their international publication history.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover Art by “Mizo”:\u003c\/strong\u003e The dust jacket illustration — a signed oil-sketch of a rain-swept European square — is an independent work of art. The artist's signature “mizo” is visible in the lower right corner. Early Hayakawa cover art of this quality is a collecting category in its own right among Japanese book design enthusiasts.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eGood Vintage Condition\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDust Jacket:\u003c\/strong\u003e Present. Significant wear, creasing, and soiling — consistent with 74 years and clearly visible in listing photographs. The cover illustration retains its atmospheric impact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBoards:\u003c\/strong\u003e Solid beneath the jacket.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Age-toning consistent with 1952 paper stock. Bookseller's sticker to colophon page. No writing, no clipping.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65662224204125,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9046.jpg?v=1787463087"},{"product_id":"hermann-hesse","title":"Hermann Hesse - Siddhartha (Shittaruta)  Shinchosha 1925 First JPN ed","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Hermann Hesse\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Mitsui Mitsuya (三井光彌)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e シッタルタ (Shittaruta \/ Siddhartha)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 海外文学新選 第22編 「獨逸文学」 (Kaigai Bungaku Shinsen \/ New Selection of World Literature, Vol. 22 — German Literature)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Shinchosha (新潮社), Tokyo — Ushigome-ku Yarai-cho 3. Founded by Sato Yoshiaki (佐藤義亮).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1925 (Taisho 14) — First Edition, First Printing. Printed February 20; Published February 25, 1925.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover. Geometric star design cover in brown and black (Taisho-era typography, vertical text, traditional characters). Frontispiece portrait photograph of Hermann Hesse.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Price:\u003c\/strong\u003e ¥1.50 (壱円五拾錢)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eHermann Hesse published \u003cem\u003eSiddhartha\u003c\/em\u003e in Germany in 1922. Three years later — in February 1925, in the final year of the Taisho era — Shinchosha issued the first Japanese translation as Vol. 22 of its \u003cem\u003eKaigai Bungaku Shinsen\u003c\/em\u003e series. This is not merely an early translation. It is the first translation of \u003cem\u003eSiddhartha\u003c\/em\u003e into any Asian language, published 26 years before the 1951 New Directions edition — with Alvin Lustig's iconic cover design — that established the novel's canonical status in the English-speaking world. The 1925 Shinchosha edition belongs to a stratum of the book's history that precedes its fame entirely.\u003c\/p\u003e\u003cp\u003eThe cover design — a bold geometric star in brown and black, framed by a ruled border with decorative corner elements, set against cream stock — is a distinguished example of Taisho-era Japanese book design: modernist in its abstraction, Eastern in its symmetry, and entirely suited to a text that moves between the Brahmin world and the river's edge. The frontispiece portrait of Hesse — young, bespectacled, in a bow tie — is the face of a writer not yet famous in the West, photographed before the Nobel Prize (1946) and before the 1960s counterculture rediscovery that made \u003cem\u003eSiddhartha\u003c\/em\u003e a global phenomenon.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe First Asian Edition — 26 Years Before New Directions:\u003c\/strong\u003e The 1951 New Directions first edition, with Alvin Lustig's celebrated cover and slipcase design, is the benchmark of the English-language collector market for \u003cem\u003eSiddhartha\u003c\/em\u003e. This 1925 Shinchosha edition predates it by 26 years. It was published just three years after the German original (1922) — making it the first translation of \u003cem\u003eSiddhartha\u003c\/em\u003e into any Asian language, issued at a moment when Hesse was known only to a small international readership. The time-axis advantage over the New Directions edition is absolute.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePre-Nobel, Pre-Counterculture Hesse:\u003c\/strong\u003e The Nobel Prize came in 1946. The 1960s counterculture canonization — when \u003cem\u003eSiddhartha\u003c\/em\u003e became required reading for a generation — came later still. This copy predates both. The frontispiece portrait shows Hesse as he was in 1925: a respected but not yet globally celebrated author. This is \u003cem\u003eSiddhartha\u003c\/em\u003e before the world caught up with it.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTaisho-Era Design — A Collector's Object in Its Own Right:\u003c\/strong\u003e The geometric star cover — bold, abstract, hand-composed in traditional vertical typography — is a significant example of Taisho-era Japanese graphic design. Where the 1951 New Directions edition is prized in part for Alvin Lustig's modernist American design, this 1925 edition offers its own visual argument: a Japanese modernism that arrived at abstraction independently, from a different tradition entirely.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eShinchosha's Founding Decade:\u003c\/strong\u003e Shinchosha, founded by Sato Yoshiaki, went on to become one of Japan's most important literary publishers. This volume, as No. 22 in the \u003cem\u003eKaigai Bungaku Shinsen\u003c\/em\u003e series, is a primary artifact of the publisher's early ambition to map world literature for Japanese readers — an ambition that placed \u003cem\u003eSiddhartha\u003c\/em\u003e at the center of Taisho Japan's engagement with European modernism.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eGood Vintage Condition — Remarkable Survival for a 101-Year-Old Softcover\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Good. Age-toning and wear to edges consistent with 101 years. The geometric design retains its graphic clarity.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Intact. Some loosening consistent with age — clearly visible in listing photographs.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toning throughout — natural and consistent with Taisho-era paper stock. Bookseller's stamp to colophon page. No writing, no clipping.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFrontispiece:\u003c\/strong\u003e Hesse portrait photograph present and legible.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65662359863645,"sku":null,"price":165.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9007_c2a21ef2-beae-4cc3-ba1f-7b6822dd2d5d.jpg?v=1787464743"},{"product_id":"cocteau-poetry-collection-kokutoo-shishu-jean-cocteau-sogensha-1951-first-edition-trans-horiguchi-daigaku","title":"Jean Cocteau Cocteau Poetry Collection Sogensha 1951 First ed","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Jean Cocteau\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Horiguchi Daigaku (堀口大学)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Edition:\u003c\/strong\u003e \u003cem\u003eCollection Poètes d’aujourd’hui — Jean Cocteau\u003c\/em\u003e. Une étude par Roger Lannes; Un choix de poèmes par Henri Parisot. Éditions Pierre Segers, Paris.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e コクトオ詩集 (Kokutoo Shishu \/ Cocteau Poetry Collection)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 世界現代詩叢書 (Sekai Gendai Shi Sosho \/ World Contemporary Poetry Series)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Sogensha (創元社), Tokyo — Nihonbashi Kobune-cho 2\/4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1951 (Showa 26) — First Edition, First Printing. Printed October 20; Published October 30, 1951.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCopyright:\u003c\/strong\u003e Originally Copyrighted by Pierre Segers, Paris. Copyrighted in Japan by Leon Prou.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Softcover. Collage-style cover design (abstract wood\/board composition in original ochre and grey tones). Frontispiece: iconic photograph of Cocteau cradling a white mask.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Price:\u003c\/strong\u003e ¥220\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003ePoètes d’aujourd’hui\u003c\/em\u003e series, published by Pierre Segers in Paris, was one of the defining editorial projects of postwar French poetry: a sequence of monographs, each devoted to a single poet, combining critical study with a selection of poems. The Cocteau volume — with a critical essay by Roger Lannes and a poetry selection by Henri Parisot — was among the most celebrated in the series. This 1951 Sogensha edition is the first Japanese translation, issued in the same year as the series was at the height of its Parisian prestige.\u003c\/p\u003e\u003cp\u003eThe translator is Horiguchi Daigaku (堀口大学, 1892–1981) — the supreme figure of French poetry translation in Japan, the man who introduced Apollinaire, Verlaine, Cocteau, and the French Symbolists to Japanese readers, and whose own poetry was shaped by the same Francophone modernism he spent his life translating. A Cocteau collection in Horiguchi's translation is not a secondary document: it is the primary Japanese encounter with Cocteau's poetry, in the hands of the one Japanese poet-translator who understood it from the inside.\u003c\/p\u003e\u003cp\u003eThe cover design — an abstract collage of overlapping wooden boards and planes in the original muted ochre and grey of the 1951 printing, with the title in dark red vertical characters — is a distinguished example of early-1950s Japanese constructivist book design, entirely suited to Cocteau's own visual world of collage, drawing, and surface. The frontispiece photograph — Cocteau cradling a white plaster mask, his eyes closed — is one of the most reproduced images of the poet.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eHoriguchi Daigaku Translation:\u003c\/strong\u003e Horiguchi Daigaku is to French poetry in Japan what Baudelaire is to French poetry itself — the figure through whom an entire tradition was filtered and transformed. His translation of Cocteau is the standard Japanese text, and his name on the cover is a guarantee of literary seriousness. Books in Horiguchi's translation, in first-edition condition, are primary artifacts of Japanese literary history.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFirst Japanese Edition of the Segers \u003cem\u003ePoètes d’aujourd’hui\u003c\/em\u003e Cocteau:\u003c\/strong\u003e The Pierre Segers series is one of the most collected poetry imprints of the twentieth century. This 1951 Sogensha edition translates the Cocteau volume in the year of its Parisian currency — a document of the speed and seriousness with which postwar Japan engaged with contemporary French literature.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIconic Cocteau Frontispiece:\u003c\/strong\u003e The photograph of Cocteau cradling a white mask — one of the most reproduced images of the poet — appears here as the frontispiece in its original 1951 Japanese printing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover Design:\u003c\/strong\u003e The abstract collage cover — overlapping wooden planes in the original ochre and grey palette, with dark red vertical title characters — is a significant example of early-1950s Japanese constructivist book design, and a visual complement to Cocteau's own practice as a collagist and draughtsman.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eGood Vintage Condition\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover:\u003c\/strong\u003e Good. The ochre and grey tones are the original printed colours of the 1951 design — not age-toning. Light wear to edges and spine ends consistent with 75 years.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRear Cover:\u003c\/strong\u003e Bookseller's label to upper left corner. Ink inscription visible to left side — clearly visible in listing photographs.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Intact. Some wear to spine ends consistent with age.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toning consistent with 1951 paper stock. Frontispiece photograph present and clean.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65662672994653,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9056.jpg?v=1787472219"},{"product_id":"arsene-lupin-le-triangle-dor-kin-sankaku-maurice-leblanc-aisui-shobo-1947-first-edition-illus-kabashima-katsuichi","title":"Maurice Leblanc Arsene Lupin: Le Triangle d'Or  Aisui Shobo 1947 First ed Kabashima Katsuichi","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Maurice Leblanc\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTranslator:\u003c\/strong\u003e Hoshinoya Tatsuo \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCover \u0026amp; Frontispiece Illustration:\u003c\/strong\u003e Kabashima Katsuichi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e 怪奇探偵アルセーヌ・ルパン 金三角 (Kaitei Tantei Arsene Lupin: Kin Sankaku \/ Le Triangle d’Or)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e 怪奇探偵アルセーヌ・ルパン Vol. I (of III)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Aisui Shobo  Tokyo — Chiyoda-ku Kojimachi Ogawacho 1-17\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYear Published:\u003c\/strong\u003e 1947 (Showa 22) — First Edition. Printed and Published December 20, 1947.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher's Seal:\u003c\/strong\u003e Aisui Shobo author's inspection seal (著者検印) present — decorative border stamp, as required by postwar Japanese publishing regulations.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Hardcover. Illustrated cover and rear cover by Kabashima Katsuichi (continuous panoramic composition across front and rear). Coloured page edges.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLanguage:\u003c\/strong\u003e Japanese\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Price:\u003c\/strong\u003e ¥80\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDecember 1947, Tokyo. Japan is two years into the Occupation. Paper is rationed, publishing houses are reconstituting themselves from the ruins of the war, and readers are hungry for entertainment. Into this moment, Aisui Shobo issues the first volume of its \u003cem\u003eKaiki Tantei Arsene Lupin\u003c\/em\u003e series — beginning, correctly, with \u003cem\u003eLe Triangle d’Or\u003c\/em\u003e (1918), one of Leblanc's most theatrically plotted Lupin novels, in the translation of Hoshinoya Tatsuo (保筌龍绪), the man who had been translating Lupin for Japanese readers since the prewar decades and whose name on a Lupin volume was a guarantee of fidelity to Leblanc's world.\u003c\/p\u003e\n\u003cp\u003eThe cover and rear cover are by Kabashima Katsuichi (樺島勝一, 1888–1965) — the most celebrated illustrator of Japanese adventure fiction and boys' magazines from the Taisho era through the postwar period, whose work defined the visual imagination of Japanese popular fiction for two generations. The cover — Lupin in top hat and cape, cigarette in gloved hand, against a Parisian gas-lamp at night in deep teal and blue — and the rear cover — the same gas-lamp, now seen from behind, the tree branches spreading against the night sky — form a single continuous panoramic composition of considerable atmospheric power. The coloured page edges — a production detail unusual for a 1947 Japanese paperback — confirm that Aisui Shobo invested in this series as a prestige publication despite the austerity of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools. By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of literary history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eKabashima Katsuichi Cover Art:\u003c\/strong\u003e Kabashima Katsuichi (樺島勝一, 1888–1965) is one of the most significant illustrators in the history of Japanese popular fiction — the artist whose work in \u003cem\u003eShonen Club\u003c\/em\u003e and other major magazines defined the visual language of Japanese adventure and detective fiction for the prewar and postwar generations. His cover for this volume — a panoramic nocturnal Paris in deep teal, with Lupin in full theatrical regalia — is a primary example of his mature style. Books with Kabashima covers in first-edition condition are actively collected by Japanese illustration and book design enthusiasts.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eImmediate Postwar First Edition, 1947:\u003c\/strong\u003e Published just two years after the end of the war, under paper rationing and Occupation censorship, this volume is a document of the resilience of Japanese popular publishing. The publisher's inspection seal — required by postwar regulations — is present and intact, confirming the book's authenticity as a period first printing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHoshinoya Tatsuo Translation:\u003c\/strong\u003e Hoshinoya Tatsuo is the canonical Japanese translator of Arsene Lupin — the figure through whom Leblanc's gentleman-thief entered Japanese popular culture in the prewar decades and was reintroduced to postwar readers. His name on this volume connects it to the full arc of Lupin's Japanese reception.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eComplete Series Context:\u003c\/strong\u003e The rear advertisement lists all three volumes of the Aisui Shobo Lupin series: I. \u003cem\u003eKin Sankaku\u003c\/em\u003e (Le Triangle d’Or), II. \u003cem\u003eHachiten Sho\u003c\/em\u003e (Les Huit Coups de l’Horloge), III. \u003cem\u003eKaiki no Ie\u003c\/em\u003e (La Demeure Mystérieuse). This is Vol. I — the opening volume of a postwar publishing project of real ambition.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGood Vintage Condition — Honest Survivor of 79 Years\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpine:\u003c\/strong\u003e Significant loss of gilt lettering and surface material — the most visually prominent defect, clearly shown in listing photograph 3. The spine is structurally sound; the damage is cosmetic.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFront Cover:\u003c\/strong\u003e Good. The Kabashima Katsuichi illustration retains full atmospheric impact. Light soiling and edge wear consistent with age.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRear Cover:\u003c\/strong\u003e Two areas of paper loss to upper left — clearly visible in listing photographs. The nocturnal gas-lamp composition remains legible and striking.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBinding:\u003c\/strong\u003e Tight and fully intact despite the spine's surface condition.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior \u0026amp; Pages:\u003c\/strong\u003e Age-toning consistent with 1947 paper stock. Clean throughout. Publisher's inspection seal present on colophon page. No writing, no clipping.\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003ePlease carefully inspect all high-resolution listing photos to verify condition. The spine condition is clearly documented.\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65662830313821,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_8791.jpg?v=1787476763"},{"product_id":"shuji-terayama-machi-ni-senjo-ari-a-battlefield-in-the-city-1968-true-1st-ed-original-moriyama-nakahira-yokoyama","title":"Shuji Terayama - Machi ni Senjo Ari (A Battlefield in the City) 1968 TRUE 1st Ed ORIGINAL — Moriyama, Nakahira, Yokoyama","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003cbr\u003eAuthor: Terayama Shuji (寺山修司)\u003cbr\u003eTitle: 街に戦場あり (Machi ni Senjo Ari \/ A Battlefield in the City)\u003cbr\u003ePhotography: Moriyama Daido (森山大道), Nakahira Takuma (中平卓馬), Yokoyama Akira (横山明)\u003cbr\u003ePublisher: Tensei Shuppan (天声出版)\u003cbr\u003eYear Published: 1968 (Showa 43) — True First Edition, First Printing (初版1刷) — \u003cstrong\u003eORIGINAL. NOT the 2013 reprint.\u003c\/strong\u003e\u003cbr\u003eLanguage: Japanese\u003cbr\u003eFormat: Softcover (perfect bound)\u003cbr\u003eSize: 21 × 18.5 cm, 240 pages\u003cbr\u003eWeight: 675g\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003cbr\u003ePublished at the peak of Japan's student uprisings and the global upheaval of 1968, \u003cem\u003eMachi ni Senjo Ari\u003c\/em\u003e stands as one of Shuji Terayama's most visceral provocations. Poet, playwright, filmmaker, and enfant terrible of postwar Japanese culture, Terayama here turns the streets of Tokyo into a battlefield — not of bullets, but of desire, alienation, and revolutionary consciousness. The cover art alone — a surreal montage of fragmented male bodies — announces this as something fundamentally different from polite literary culture. The photographic contributions of Moriyama Daido and Nakahira Takuma, the twin engines of Japan's Provoke movement, charge every page with a documentary rawness that was rewriting the language of photography in real time.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThis is the rare 1968 Tensei Shuppan original — not the widely available 2013 reprint.\u003c\/strong\u003e Collectors seeking the authentic artifact of Japan's countercultural moment will find no substitute.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003cbr\u003eWhile the text is printed in Japanese, you can easily read and study this historic book using modern smartphone AI tools! By taking a photo of any page with your smartphone and using free apps like Google Lens, ChatGPT, or Google Translate, the embedded AI will instantly scan and translate the text on your screen layout. Language is no longer a barrier to owning and enjoying this rare piece of international history.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003cbr\u003e1. \u003cstrong\u003eHistorical \u0026amp; Documentary Value:\u003c\/strong\u003e Published in the pivotal year of 1968, this is a primary document of Japan's countercultural moment — Terayama's literary rage fused with the street photography of Provoke's founding members.\u003cbr\u003e2. \u003cstrong\u003eVisual \u0026amp; Artistic Value:\u003c\/strong\u003e Photographs by Moriyama Daido and Nakahira Takuma — two of the most sought-after names in 20th-century Japanese photography — make this as much an art object as a literary one.\u003cbr\u003e3. \u003cstrong\u003eOriginal 1968 Edition Rarity:\u003c\/strong\u003e A 2013 reprint exists and circulates widely — but this is the true first printing (初版1刷) from Tensei Shuppan, 1968. Over 55 years of survival in Very Good condition is exceptional for a Japanese softcover of this period.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003cbr\u003eVery Good Vintage Condition — Outstanding Survival\u003cbr\u003e- Covers \u0026amp; Spine: The cover retains its original illustration with a gentle, even fading across the surface — a natural patina acquired over 55 years that speaks to the volume's authentic age rather than detracting from it. \u003cstrong\u003eTop of spine shows wear consistent with age\u003c\/strong\u003e — please refer to photo 3 for accurate reference. Overall presentation remains strong for a mid-century Japanese softcover.\u003cbr\u003e- Binding: Tight, secure, and fully intact.\u003cbr\u003e- Interior \u0026amp; Pages: Natural, even toning consistent with age — no foxing, no inscriptions, no tears. The pages turn cleanly and the photographic reproductions remain sharp.\u003cbr\u003e- \u003cem\u003e*Please carefully inspect all high-resolution listing photos to verify the exceptional vintage condition.\u003c\/em\u003e\u003c\/p\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65794960884061,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9223.jpg?v=1788397321"},{"product_id":"yukio-mishima-the-sun-and-steel-1968-true-first-ed-1st-print-w-slipcase-obi","title":"Yukio Mishima Sun \u0026 Steel 1968 Kodansha True First Ed 1st Print Hardcover w\/Slipcase \u0026 Obi","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eAuthor: Yukio Mishima (三島由紀夫)\u003c\/li\u003e\n\u003cli\u003eTitle: 太陽と鉄 (Sun \u0026amp; Steel)\u003c\/li\u003e\n\u003cli\u003ePublisher: Kodansha (講談社), Tokyo\u003c\/li\u003e\n\u003cli\u003eYear Published: 1968 (Showa 43) — True First Edition, First Printing\u003c\/li\u003e\n\u003cli\u003eLanguage: Japanese\u003c\/li\u003e\n\u003cli\u003eFormat: Hardcover, 23.5 × 19 cm, 150 pages\u003c\/li\u003e\n\u003cli\u003eInclusions: Cardboard slipcase (函) + Obi band (帯, 6-line)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIn 1968, two years before his ritual suicide on the grounds of the Japan Self-Defense Forces headquarters, Yukio Mishima published \u003cem\u003e太陽と鉄\u003c\/em\u003e — \u003cem\u003eSun \u0026amp; Steel\u003c\/em\u003e — his most nakedly autobiographical document. Framed by the publisher as a new literary genre — 「自伝的評論」, autobiographical criticism — the text traces the arc of Mishima's obsession with physical transformation: the scrawny, bookish child who remade himself through iron and sunlight into the body displayed on the dust jacket, sword in hand, staring into the black circle of absolute confrontation.\u003c\/p\u003e\u003cp\u003eThe back cover photograph is the argument made flesh: Mishima's torso in a circle of darkness, sword drawn, the composition of a man who had decided. The Obi band announces it as the sequel to \u003cem\u003eKamen no Kokuhaku\u003c\/em\u003e, \u003cem\u003eConfessions of a Mask\u003c\/em\u003e. The slipcase — plain kraft, unadorned — encloses it all in the quiet of a relic. On November 25, 1970, Mishima performed seppuku. This copy predates that event by two years.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe text is printed in Japanese. An authoritative English translation — \u003cem\u003eSun \u0026amp; Steel\u003c\/em\u003e, translated by John Bester — is widely available, making this Japanese first edition accessible as a collector's object for readers who already know the work. Japanese text is also easily translatable using Google Lens, ChatGPT, or Google Translate.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrue First Edition, First Printing — Two Years Before Mishima's Death\u003c\/strong\u003e — Published in 1968 (Showa 43), this is the first printing of the text in which Mishima most explicitly theorized his own mortality, his body, and his relationship to the sword. First printings of major Mishima titles in complete, intact condition are increasingly scarce on the international market.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eComplete with Slipcase and Obi — Intact After 58 Years\u003c\/strong\u003e — The cardboard slipcase and six-line Obi band — announcing the book as the sequel to \u003cem\u003eConfessions of a Mask\u003c\/em\u003e — survive together. The survival rate of both elements in collectible condition after nearly six decades is extremely low.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Dust Jacket Photograph as Manifesto\u003c\/strong\u003e — The back cover image of Mishima — bare-chested, sword drawn, posed within a black circle — is one of the most reproduced photographs in Japanese literary history. To hold this first printing is to hold the primary document of one of literature's most extreme aesthetic commitments.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVery Good (VG) — Honest Vintage Survival\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSlipcase: Very Good. Light overall toning consistent with 58 years of age. Small tears and brown sun-fading marks on the spine — the natural consequence of decades of careful shelving. Structure fully intact.\u003c\/li\u003e\n\u003cli\u003eObi Band: Present and intact, with light toning at edges.\u003c\/li\u003e\n\u003cli\u003eCovers \u0026amp; Spine: Very Good. The striking red-to-black gradient dust jacket with white solar disc retains strong visual impact. Spine intact and legible.\u003c\/li\u003e\n\u003cli\u003eBinding: Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003eInterior \u0026amp; Pages: Very Good. Interior is clean throughout. The gold-toned endpapers show a rich patina from 58 years of natural aging — a hallmark of quality Japanese bookbinding of the era. No writing, no tears, no missing pages. All 150 pages complete and intact.\u003c\/li\u003e\n\u003cli\u003e*Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65828139499869,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/IMG_9259.jpg?v=1788689098"},{"product_id":"william-s-burroughs-nova-express-1978-jpn-first-ed-sanrio-sf-bunkoi-beat-generation","title":"William S. Burroughs Nova Express 1978 Sanrio SF Bunko Tokyo First Edition w\/Insert Japan","description":"\u003cp\u003e\u003cstrong\u003e[PRODUCT SPECIFICATIONS]\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eAuthor: William S. Burroughs (ウィリアム・S・バロウズ)\u003c\/li\u003e\n\u003cli\u003eTitle: ノヴァ急報 (Nova Express)\u003c\/li\u003e\n\u003cli\u003eTranslator: Yu Suwa (諸詪優訳)\u003c\/li\u003e\n\u003cli\u003ePublisher: Sanrio SF Bunko (サンリオSF文庫), Tokyo\u003c\/li\u003e\n\u003cli\u003eYear Published: 1978 (Showa 53) — First Edition\u003c\/li\u003e\n\u003cli\u003eLanguage: Japanese\u003c\/li\u003e\n\u003cli\u003eFormat: Softcover, 15 × 10.5 cm, 258 pages\u003c\/li\u003e\n\u003cli\u003eCover Illustration: Yoji Kuri (久里洋二)\u003c\/li\u003e\n\u003cli\u003eInclusions: Sanrio SF Bunko catalog insert (「宇宙へのパスポート」)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003e[OVERVIEW]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNova Express\u003c\/em\u003e — the third volume of Burroughs' Nova Trilogy, following \u003cem\u003eThe Soft Machine\u003c\/em\u003e and \u003cem\u003eThe Ticket That Exploded\u003c\/em\u003e — appeared in Japan in 1978 under the improbable imprint of Sanrio SF Bunko: the same publisher best known for Hello Kitty. That a company built on pastel characters and gift-shop sentimentality would publish Burroughs' most corrosive cut-up fiction is one of the stranger footnotes in Japanese publishing history — and the cover design by Yoji Kuri (久里洋二) makes the collision complete.\u003c\/p\u003e\u003cp\u003eKuri — the animator, illustrator, and avant-garde provocateur whose short films had scandalized and delighted audiences at Cannes, the New York Film Festival, and across Europe since the early 1960s — painted two striped, eyeless figures against a deep-blue star field: absurdist life-forms that are simultaneously funny and deeply unsettling, perfectly attuned to Burroughs' Nova mythology of alien control systems and interstellar contagion. The yellow title lettering — 「ノヴァ急報」 — blazes across the top like a dispatch from a frequency no one intended to receive.\u003c\/p\u003e\u003cp\u003eThe translation is by Yu Suwa (諸詪優), the poet, translator, and critical voice who had already introduced Allen Ginsberg and the broader Beat canon to Japanese readers. Tucked inside this copy is the original Sanrio SF Bunko full-catalog insert — 「宇宙へのパスポート」 (“Passport to the Universe”) — a full promotional broadsheet listing the imprint's titles, now a collector's document in its own right.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[IMPORTANT NOTE FOR INTERNATIONAL BUYERS: EASY AI TRANSLATION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe text is printed in Japanese. An authoritative English original is widely available. The Japanese text is easily translatable page-by-page using Google Lens, ChatGPT, or Google Translate on any smartphone.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e[WHY THIS VOLUME IS A PRIZED COLLECTOR'S ITEM]\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eYoji Kuri Cover — Avant-Garde Meeting Avant-Garde\u003c\/strong\u003e — Kuri Yoji (久里洋二) is one of Japan's most significant post-war animators and illustrators, winner of prizes at Cannes, Oberhausen, and New York. His cover for this edition — two alien figures in a cosmic landscape, equal parts Dada and children's nightmare — is among the finest visual interpretations of Burroughs' work in any edition, in any language. The collision of Kuri's playful surrealism with Burroughs' cut-up cosmology produces an object whose cover alone repays sustained attention.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSanrio SF Bunko — The Improbable Imprint\u003c\/strong\u003e — Sanrio SF Bunko (サンリオSF文庫) — the short-lived SF imprint of the Hello Kitty company — published a remarkably serious and adventurous list in the late 1970s before dissolving. Its titles are now collected as a distinct cultural artifact of the period. A first edition Burroughs in Sanrio SF Bunko is not a curiosity — it is a document of one of Japanese publishing's most surprising experiments.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSanrio SF Bunko Catalog Insert — Intact\u003c\/strong\u003e — The original promotional catalog insert — 「宇宙へのパスポート」, listing the full Sanrio SF Bunko titles — is present and intact. These inserts, issued loosely inside the volumes, rarely survive. Its presence here anchors this copy firmly to its moment of publication.\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003e[CONDITION]\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVery Good (VG) — Honest Vintage Survival\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eCovers \u0026amp; Spine: The Kuri cover retains its vivid chromatic energy. Light overall toning consistent with 48 years of age. Spine intact and legible.\u003c\/li\u003e\n\u003cli\u003eBinding: Tight, secure, and fully intact.\u003c\/li\u003e\n\u003cli\u003eInterior \u0026amp; Pages: Very Good. Pages show natural aging and light sun-fading consistent with the paper stock and period of publication — a characteristic of Sanrio SF Bunko's production values. No writing, no tears, no missing pages.\u003c\/li\u003e\n\u003cli\u003eSanrio SF Bunko Catalog Insert: Present.\u003c\/li\u003e\n\u003cli\u003e*Please carefully inspect all high-resolution listing photos to verify condition.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"shady2grove","offers":[{"title":"Default Title","offer_id":65855901794653,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1082\/5888\/5981\/files\/s-l1600_d502870c-593a-404f-8a31-35d799d01dfc.jpg?v=1788854023"}],"url":"https:\/\/shady2grove.com\/collections\/literature.oembed?page=2","provider":"shady2grove","version":"1.0","type":"link"}