All I Asking For Is My Body

From the Afterword by Franklin S. Odo: The most important feature of Milton Murayama's brilliant All I Asking for Is My Body is the quality of the storytelling. It deserves thorough discussion and criticism among literary professionals and students. The work has a further genius, however, in its evocation of several major topics in modern Hawaiian history, specifically during the 1930s, the decade before United States involvement in World War II. I suggest that Murayama’s novel provides us with valuable insights into the worlds of language, sugar plantation history, and the second-generation Japanese Americans, the nisei. . . . Critic Rob Wilson noted: “Part of the accomplishment of the novel is that the language ranges from the vernacular to the literate and standard, and so reflects the cultural and linguistic diversity of Hawaii.” In the novel, Murayama uses standard English and pidgin. In real life, the narrator Kiyo explains, “we spoke four languages: good English in school, pidgin English among ourselves, good or pidgin Japanese to our parents and the other old folks.” The wonder is that Murayama emerged using any one of the languages well. For most, that experience proved to be an insuperable barrier to good creative writing. . . . All I Asking for Is My Body is the most compelling work done on the Hawaii nisei experience. Murayama understood his theme to be “the Japanese family system vs. individualism, the plantation system vs. individualism. And so the environments of the family and the plantation are inseparable from the theme.” Fortunately for us as readers, however, he understood that the story was the key ingredient; that anything less would simply add to the sociological study of the plantation and the Japanese family in Hawaii.

No other writer has attempted such a broad view of the nisei experience in Hawai‘i as Milton Murayama. In Plantation Boy, the third novel in a planned tetralogy that includes the highly popular All I Asking for Is My Body and Five Years on a Rock, eldest son Toshio narrates the continuing story of the Oyama family. Outspoken, proud, determined, passionate: Tosh is the voice of the rebel that authority seeks to silence; he is the proverbial "protruding nail" that Japanese tradition seeks to flatten. His fight is against not only his family’s poverty and the environment that keeps them oppressed, but also his own plantation-boy mentality. His struggles are set against the cataclysmic events of World War II—the bombing of Pearl Harbor, the internment of Japanese Americans, the heroism of the 100th and 442nd in Europe, the atrocities committed by the Japanese army in Asia—and the social and political upheavals in Hawai‘i. Here is a powerful work about Japanese in Hawai‘i that shows us more than stereotypes. By illuminating Tosh’s life, Murayama evokes a family and a community and, brilliantly, a critical vision of culture, of language, and of history itself.

Emma O'Donovan is eighteen, beautiful, and fearless. It's the beginning of summer in a quiet Irish town and tonight she and her friends have dressed to impress. Everyone is at the party, and all eyes are on Emma. The next morning Emma's parents discover her collapsed on the doorstop of their home, unconscious. She is disheveled, bleeding, and disoriented, looking as if she had been dumped there. To her distress, Emma can't remember what happened the night before. All she knows is that none of her friends will respond to her texts. At school, people turn away from her and whisper under their breath. Her mind may be a blank as far as the events of the previous evening, but someone has posted photos of it on Facebook under a fake account, "Easy Emma"--photos she will never be able to forget. As the photos go viral and a criminal investigation is launched, the community is thrown into tumult. The media descends, neighbors chose sides, and people from all over the world want to talk about her story. Everyone has something to say about Emma. Asking For It is a powerful story about the devastating effects of rape and public shaming, told through the awful experience of a young woman whose life is changed forever by an act of violence.

Milton Murayama returns to the places and people of his earlier fiction - to the sugar plantation company towns and sleepy villages of Maui, and to the resilient Oyama family. Five Years on a Rock is the story of Sawa Oyama, the mother who plays a major role in All I Asking for Is My Body. In a spirited voice full of courage and wit, Sawa tells of her arrival in Hawaii in 1915 as a seventeen-year-old picture bride. But her hope of returning to Japan after "five years on a rock" wanes as the five years stretch to twenty, during which six children are born, her husband's fishing business succeeds then fails, and the family debt grows. Overworked and sick with worry, Sawa loses all her teeth and falls deathly ill, the victim, she believes, of someone else's bachi (divine retribution). She recovers, however, when an aunt dies in her stead, and she returns to her family with renewed vigor and a new set of teeth.

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."

If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

From the creator of the popular website Ask a Manager and New York’s work-advice columnist comes a witty, practical guide to 200 difficult professional conversations—featuring all-new advice! There’s a reason Alison Green has been called “the Dear Abby of the work world.” Ten years as a workplace-advice columnist have taught her that people avoid awkward conversations in the office because they simply don’t know what to say. Thankfully, Green does—and in this incredibly helpful book, she tackles the tough discussions you may need to have during your career. You’ll learn what to say when • coworkers push their work on you—then take credit for it • you accidentally trash-talk someone in an email then hit “reply all” • you’re being micromanaged—or not being managed at all • you catch a colleague in a lie • your boss seems unhappy with your work • your cubemate’s loud speakerphone is making you homicidal • you got drunk at the holiday party Praise for Ask a Manager “A must-read for anyone who works . . . [Alison Green’s] advice boils down to the idea that you should be professional (even when others are not) and that communicating in a straightforward manner with candor and kindness will get you far, no matter where you work.”—Booklist (starred review) “The author’s friendly, warm, no-nonsense writing is a pleasure to read, and her advice can be widely applied to relationships in all areas of readers’ lives. Ideal for anyone new to the job market or new to management, or anyone hoping to improve their work experience.”—Library Journal (starred review) “I am a huge fan of Alison Green’s Ask a Manager column. This book is even better. It teaches us how to deal with many of the most vexing big and little problems in our workplaces—and to do so with grace, confidence, and a sense of humor.”—Robert Sutton, Stanford professor and author of The No Asshole Rule and The Asshole Survival Guide “Ask a Manager is the ultimate playbook for navigating the traditional workforce in a diplomatic but firm way.”—Erin Lowry, author of Broke Millennial: Stop Scraping By and Get Your Financial Life Together