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It all begins on the night of the Poo-yang dragonboat races in 699 A.D.: a drummer in the leading boat collapses, and the body of a beautiful young woman turns up in a deserted country mansion. There, Judge Dee—tribunal magistrate, inquisitor, and public avenger—steps in to investigate the murders and return order to the Tang Dynasty. In The Emperor’s Pearl, the judge discovers that these two deaths are connected by an ancient tragedy involving a near-legendary treasure stolen from the Imperial Harem one hundred years earlier. The terrifying figure of the White Lady, a river goddess enshrined on a bloodstained altar, looms in the background of the investigation. Clues are few and elusive, but under the expert hand of Robert van Gulik, this mythic jigsaw puzzle assembles itself into a taut mystery. “If you have not yet discovered Judge Dee and his faithful Sgt. Hoong, I envy you that initial pleasure which comes from the discovery of a great detective story. For the magistrate of Poo-yang belongs in that select group of fictional detectives headed by the renowned Sherlock Holmes.”—Robert Kirsch, Los AngelesTimes “The title of this book and the book itself have much in common. Each is a jewel, a rare and precious find.”—AtlantaTimes
(Applause Books). When 20th Century Fox planned its blockbuster portrayal of Japan's attack on Pearl Harbor, it looked to Akira Kurosawa a man whose mastery of the cinema led to his nickname "the Emperor" to direct the Japanese sequences. Yet a matter of three weeks after he began shooting the film in December 1968, Kurosawa was summarily dismissed and expelled from the studio. The tabloids trumpeted scandal: Kurosawa had himself gone mad; his associates had betrayed him; Hollywood was engaged in a conspiracy. Now, for the first time, the truth behind the downfall and humiliation of one of cinema's greatest perfectionists is revealed in All the Emperor's Men. Journalist Hiroshi Tasogawa probes the most sensitive questions about Kurosawa's thwarted ambition and the demons that drove him. His is a tale of a great clash of personalities, of differences in the ways of making movies, and ultimately of a clash between Japanese and American cultures.
path, even though many writers, myself included, have taken this path. Many great novel writers started out writing masterpieces, such as Cao Xueqin and Luo Guanzhong. I think the key for a writer to be able to write a novel and be able to write it well is to have a "long-form mind." Those who have a "long story mind" have big ravines, big mountains, and big weather in their minds. It must have the spirit of being rough and wild, and it must have the capacity to accommodate hundreds of rivers. The so-called handwriting of everyone is exactly the external expression of the big ravines, big mountains and big weather in the mind. Great depression, great compassion, great ambition, a great spirit like a wild horse, and a great feeling that the vast white land is really cleant