"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.
This is the story of the Japanese who immigrated to Hawaii around the turn of the present century, worked as forced laborers on the sugar plantations, and afterwards remained in Hawaii to work as free men and to raise families. It is the story also of their children, born and raised in Hawaii, and who, during World War II, won fame and glory for themselves and their country on the bloody battlefields of Italy and southern Europe. But more than all of this, it is the story of the fate of the original immigrants during World War II. Rounded up by a panic-stricken American Government after the Japanese attack on Pearl Harbor, these people were sent to the mainland to spend the war years being confined in one refugee camp after another, all while their sons were winning fame as American combat troops. And finally, it is the story of these elderly people who, at the end of the war, became free men once again and were allowed to return to their beloved Hawaii to live out their lives in peace.
Consists of twenty Japanese language lessons. There are two teachers, a linguist who talks about Japanese, and a tutor who is a native speaker of Japanese. Students learn by guided imitation.
This collection of Japanese folk plays reveals a previously unknown and decidedly unaristocratic element to Japanese theater. Interspersed between the stately, slower paced dramas of Japan’s Noh theater are the delightful comic plays or interludes known as Kyogen. These brief plays evolved from the bawdy skits that were rousingly enjoyed by the plebeian populaces of the cities in feudal Japan some hundreds of years ago when Noh itself was a pastime and entertainment exclusively reserved for the aristocracy. Today they still provide delightful relief from the sustained and concentrated action of the Noh play that has changed very little throughout the centuries. Among the various forms of classical Japanese drama, the flamboyant action and brilliant coloring Kabuki has perhaps enabled it to be the most easily understood; and the Noh, in a number of excellent translations, has become widely known for its poetic beauty. But the Kyogen, equally deserving of attention, have remained relatively unknown. Only now, with this new edition of Miss Sakanishi's excellent translations, are they at last readily available to the Western reader.
