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      • The Shoestring Publisher

        The Shoestring Publisher is an independent publisher of illustrated books on India’s history and cultural heritage, with a particular focus on the visual arts including architecture, fine art, design, film, photography and textiles.   Founded by Meera Ahuja in 2006, it has received the Indian Tourism Award for Excellence in Publishing for its panoramic limited editions The Monumental India Book (acclaimed as one of the world’s ten best coffee-table books of 2009) and The Sacred India Book. Its most recent publications are America: Films from Elsewhere (2019) and the monograph Mrinalini Mukherjee, published in conjunction with the exhibition “Phenomenal Nature: Mrinalini Mukherjee” at The Met Breuer, NY, in 2019.   Shoestring’s numerous international co-editions include The Monumental India Book (Citadelles & Mazenod, 2007; Schirmer Mosel Verlag, 2008; The Vendome Press, 2008; and Constable & Robinson, 2008), Western Artist and India: Creative Inspirations in Art and Design (Thames & Hudson, 2013) and Mughal Architecture and Gardens (Antique Collectors’ Club, 2011; and Éditions de La Martinière, 2013).

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      • The Authors Show ®

        We present during this event a handful of authors who appeared on our show, and who have expressed an interest in selling the international rights to their work.

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      • Trusted Partner

        ATENTADOS TERRORISTAS: la nueva amenaza urbana

        by Prof. H. Granot y el Dr. J. Levinson

        ATENTADOS TERRORISTAS: la nueva amenaza urbana por el Prof. H. Granot y el Dr. J. Levinson En este trabajo sumamente relevante e innovador, los autores hacen hincapié en los métodos con los que organismos locales pueden responder a los peores atentados terroristas que han debido enfrentar las autoridades en centros urbanos y mitigar sus efectos. Los autores también combinan la teoría con la práctica, citando incidentes en todo el mundo —incluido el devastador ataque perpetrado el 11 de septiembre de 2001 contra el Centro de Comercio Mundial en Nueva York y contra el Pentágono— haciendo al mismo tiempo hincapié en la singular experiencia de Israel en este campo. En vista de la creciente amenaza de atentados terroristas y del acrecentado interés en la gestión de casos de emergencia, Atentados terroristas provee un bien fundado material de fondo a funcionarios y miembros de unidades de emergencia que tratan de comprender una de las peores amenazas al mundo moderno.  Namiki Shobo ha publicado a fines de 2005 una versión en japonés de esta obra. Dekel, junto con THE KEY Publishing House Inc., de Toronto, Canadá, publicó en abril de 2009 una versión en inglés americano.

      • Trusted Partner

        La Terreur des Bombes

        by Pr. H. Granot

        La Terreur des Bombes – La peur urbaine universelle par le Pr. H. Granot et le Dr. J. Levinson Dans leur étude innovante et si importante, les auteurs insistent sur la façon dont les organismes locaux peuvent répondre et surtout mitiger les effets des pires actes de terreur auxquels doivent faire face les autorités urbaines. Ils allient théorie et pratique, citant des incidents à travers le monde (y compris les attaques meurtrières du World Trade Center à New York et du Pentagone le 11 septembre 2001), tout en mettant l’accent sur l’expérience particulière d’Israël dans ce domaine. Etant donné l’augmentation certaine de la menace d’actes terroristes et l’importance croissante de la gestion de l’état d’urgence, la Terreur des Bombes procure une information sérieuse pour les officiels et les personnes devant répondre à des situations d’urgence et cherchant à comprendre l’une des menaces les plus dangereuses de la vie moderne.   Une édition japonaise de ce titre a été publiée à la fin de l'année 2005 par Namiki Shobo. L'édition en anglais pour l'Amérique du Nord a été publiée en avril 2009 par DEKEL en collaboration avec le KEY Publishing House Inc., Toronto, Canada.

      • November 2014

        Who is the worst second?

        by Kirin Hayashi / Naoko Shono

        Only animals appear,no human comes out in this book.But the first page starts with this phrase,"Can we say that this is all a myth?"The golden lion, with its golden mane, wants to be the king of a nation.He thinks "I deserve to be the king."However, he hears the gentle silver lion living on the outskirts of the cityis a candidate for the king.One day, the golden lion starts doing something ridiculous.

      • Fun & Easy Cross Stitch: Kimono Patterns

        by Saeko Endo

        Have fun making beautiful cross stitch projects based on Japanese kimono patterns. Presented in a beautiful, clean layout, this is the perfect book for beginners, or more advanced cross stitchers looking for inspiration.

      • Fun & Easy Cross Stitch: Traditional Japanese Patterns

        by Saeko Endo

        Create unique cross stitch projects inspired by traditional Japanese patterns. Easy-to-follow instructions and beautiful photographs throughout make this the perfect book for beginners, or more advanced cross stitchers looking for new ideas.

      • Cute & Easy 4-Color Pen Notebook Illustrations

        by Igloo*dining

        Make everyday more fun by decorating your favorite notebooks, diaries and planners with this bestselling 4-color ballpoint illustration guide from the popular illustrator Igloo*dining. Image and lettering patterns included.

      • Fiction

        I, I'am Going Alone

        by Chisako Wakatake

        Universal and eternal truths about human existence emerge in bold relief from the reflections of an elderly widow on what at first glance appears to be an unexceptional life. The Japanese title, which can be translated more straightforwardly as “I, I’m Going Alone,” is in the Tōhoku dialect that figures strongly in the story. It is a slight variation on a line from a poem “The Morning of the Last Farewell” by Kenji Miyazawa (1896–1933), a well-known poet and children’s author from near where author Chisako Wakatake as well as her story’s protagonist grew up. Narrator Momoko Hidaka is 74 years old. Her husband died 15 years ago, and since then she has been living alone in the home they shared in a suburban Tokyo residential community. Lacking anyone to talk to, she gets to thinking back over her life as she enjoys her daily cup of tea, or when sitting alone in a coffee shop, or as she makes a pilgrimage to her husband’s grave by an isolated back route. She is the mother of two children. The eldest, son Shōji, dropped out of college and moved away to a job in another prefecture. He rarely contacts her, and the words he spat out when he left home still ring in her ears: “You’ve got to stop smothering me, Mom.” Momoko had once lost ¥2.5 million (about $25,000) to an “It’s me, it’s me” scammer, thinking she was sending the money to Shōji. As she reflects on these and other events involving her son, she feels remorse at having taken the joy out of life for Shōji by being overly attached to him. Her daughter Naomi lives with her husband and two children just 20 minutes away by car. Their relationship has long been strained and distant, but she now calls occasionally to see if she can pick some things up at the store for her mother. During one such call, she asks for money to sign her son up for special art lessons. Caught off guard, Momoko is momentarily at a loss, which prompts Naomi to remind her pointedly that she was quick to pay when she thought it was her brother asking for money. After the exchange with her daughter, Momoko reflects on the relationship she had with her own overbearing mother, and her thoughts then drift by association to how she left northeastern Honshu for Tokyo 50 years before. Upon graduating from high school, Momoko had taken a job with the agricultural co-op in her hometown. When she reached 24 her parents arranged a marriage for her—as was the practice in a rural region still bound by old traditions. But the man meant nothing to her, so three days before the wedding, she fled to Tokyo. This was during the boom era of Japan’s economic growth, and there were plenty of jobs to be had. While working at a restaurant, she met and fell in love with a handsome customer named Shūzō who came from the same part of the country she did, and they eventually got married. Until this she had been self-conscious about her country accent and dialect, but the marriage allowed her to renew her fondness for the language she’d grown up with. From then until Shūzō died of a sudden heart attack, she had devoted herself body and soul to serving her husband and family. Shūzō’s death had brought her an unbearable sadness as painful as being torn limb from limb. Even after so many years have gone by, she still misses Shūzō dearly in her now solitary life, and frequently wishes she could see him again. But she also wonders if it was her love that killed him. It was out of love that she’d devoted herself to serving her husband, but at the same time, she had in effect held power over him by making it impossible for him to live without her. Then, just when she began to feel hemmed in by the walls she had constructed for herself, he had died. She blames herself for failing to notice how tired he had become. Now she feels her own decline, sensing the approach of death day by day. Momoko’s reflections often take the form of conversations in her childhood dialect with and among voices in her head—voices that are different “layers” of herself. One of the voices tells her that Shūzō died in order to let Momoko live freely. On a winter’s day, Momoko recalls a vision she once had in which a procession of women were walking along with mute determination, their eyes fixed straight ahead. She understands them to be women of the last generation who, like her, lived their entire lives in silent endurance. Soon spring arrives, and out of the blue one day, her eight-year-old granddaughter Sayaka comes to visit. Momoko feels a surge of happiness as she sits talking with her beloved grandchild. The reflections on love, self, and meaning that unfold within a lonely old woman’s internal conversations with herself will pull on every reader’s heartstrings.

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