Kagerou Touryuuki – A Dark and Narrow Room

照らすものといっては狭い一間の端の、行灯の火灯りばかり。古風な光源からでは光までも古びているようで、闇を照らしだすどころか陰を濃く見せている趣がある。

Translation

And to speak of the light sources in the room, we would have to point to only the lamplight of a paper lantern in a single nook. Coming from an old illuminant like that, even the light itself looked old, and there was the charm of the deepening shadows wherever the light encountered the darkness.

Source

Kagerou Touryuuki – Sensual Skin

暗がりの中で、いっそう濃い墨染めの衣が肩口にわだかまる。浮かび上がる、優しい膏を塗りこめたような肌えが―――白々と、暗がりの中に。

Translation

In the darkness, with a layer of those black robes pulled down to her shoulders. Emerging, tender skin as if a smear of tallow – white, so white, in the darkness.

Source: Kagerou Touryuuki

海の物とも山の物ともつかない

Expression – implying lack of experience and an inability to grasp the essence of things

Source – Bengarachou Hakubutsushi

この小説家というのがまだ二十歳そこそこの、自作を世に問うたのがほんの一・二編の、海のものとも山のものともつかぬ駆け出しだとぶちまけてしまえば、途端に重厚な印象は失せて、飛び方を習い覚えたばかりの若鳥の、まだ柔らかそうで小生意気な嘴くちばしばかりが目についてくる。

Translation

This so-called writer was still around the age of 20, and of those works he brought to the fore, questioning the epoch he was situated in, were only one or two volumes – and thus he was a beginner that had neither grasped the seas nor the mountains, so to put it quite frankly, we can lose that profound vision of depth, and see him as a young fledgling chick learning how to fly, cheekily pecking about with his soft beak.