Japan Books

If you have ever studied FLW's architecture, you soon learn to see intuitively that he had to be influenced by Japan's art and architecture. Kevin Nute does an excellent job analyzing the connections between Japan and FLW's organic architecture. Connections range from the Ho-o-den of Chicago's 1893 World's Columbian Exposition to Ando Hiroshige's wood block prints. I enjoyed seeing the connections to FLW's renderings and the wood block prints. The analysis includes many photos (some color) and diagrams that are used to support the written text. The text itself is very easy to follow and very clear. One example that was very interesting to me was the illustration of how the Unity Temple floor plan was derived from one of Arthur Dow's two dimensional graphic interpretation of the internally purposive organic whole in the form of aesthetic `line ideas' from his book `Composition'. Nute goes on to graphically show how FLW not only used this `line idea' to create the floor plan but how he did it 3-dimentionally. While Nute did a very thorough job of analyzing Japan's influence on FLW, there were some areas that I thought he was stretching it a bit. It would have been nice to get more analysis on Wright's Imperial Hotel. While the Imperial Hotel was analyzed, the analysis was "thin". This is an expensive book but if you are interested in Japan's influence, this book will clear a lot of things up for you.......and you will want to keep it. In fact, this would be an excellent text book for any thesis project in architectural graduate school. A detailed analysis of the Imperial Hotel itself would be a great thesis project.

This book answered a lot more questions on Wright's (denied) influences than I expected. It is a remarkable look into how Japanese woodblock prints and traditional architecture (initially presented by American interpreters) may have helped shape Wright's development, creativity, and specific building designs. Nute has reviewed numerous obscure contemporary sources to help make the case that Wright probably knew a lot more about Japanese art before his first trip there in 1905, when he was already well into his Prairie style phase, than he would later admit. I found this book extremely helpful in clarifying Wright's ambiguities and obfuscations by drawing analogies to concepts clearly expressed by others, who were in effect his mentors.

Nute structures his book around the possible early influence upon Wright of four authors, members of the Boston orientalists. Wright may have learned of the abstruse meanings of "organic" art (part to whole) as practiced in the Orient from Fenollosa (1892), who was instrumental in introducing Japanese art to Americans. Fenollosa's associate, Dow (1899), explicated a theory of pattern drawing as the realization of permutations upon kernal line-ideas, rather like some of Wright's house plans. From Morse (1886), and the 1893 Chicago Fair's Japanese pavilion (Ho-o-den), he could have learned of modular design, the expression of natural materials, lack of clutter, and the flow of space in Japanese houses. And from Okakura (1893, 1906) could have come Wright's references to Lao Tzu, Taoism, and the key Void or space at the heart of buildings--as well as an Artist's rationale for the scandalous breakup of his first marriage.

Nute also explicates the geometric abstraction Wright imbibed from his enormous and early collection of Japanese woodblock prints. The only color pictures are nine of Hiroshige's lovely prints. This spare use of color reinforces Nute's argument regarding Fenollosa's and Dow's influence on Wright in the matter of "line" as his preferred mode of visualization. Although generously illustrated with old photographs and drawings, the many insights presented here will be more revealing the more familiar you already are with Wright's buildings and writings.

A reader looking for proof that Wright was derivative and an imitator will be disappointed. Nute does not find any smoking guns, but makes numerous convincing circumstantial arguments from a carefully calculated timeline that compares Wright's known movements and associates with publications, lectures, meetings, and buildings that Wright COULD have known. Strangely, it appears (from a lack of citation here) that no one knows what was in Wright's own library.

For example, what Wright was doing in his oriental pursuit of "elimination of the insignificant," was to subordinate other programmatic demands to the creation of works of art (for which others happened to be paying)--hence the irrrelevancy of owners' complaints about leaky roofs, low ceilings, or lack of closets. The difference, then, between an early Prairie and a late Usonian house Idea, is, I suspect, the change in his core Form-Idea of womens' roles from social ornament in the parlor to the director of the family from her now open kitchen workspace.

However correct Nute (or others he voluminously cites) may be in ferreting out possible sources for Wright's concepts, Nute does a clear and excellent job setting forth a significant part of the intellectual and aesthetic world of 1880-1910 in which Wright developed. Nute mentions, but does not disprove, alternative antecedents and sources in Arts and Crafts, the Aesthetic Movement, Pure Design, and other Euro-American design currents of the period. He does powerfully demonstrate that Wright abstracted and transformed any Japanese (or other) inspirations in Form (principally plan and section), and arguably transcended them in the Hegelian sense of revealing the Idea in his buildings.

Nute's book ends with some extremely useful and well-organized appendices, if you want to learn more of the fin-de-siecle period from which Wright emerged.

Kevin Nute's book, Frank Lloyd Wright and Japan, is written with an unusual depth of inquiry. Thorough and clearly labeled illustrations and descriptive text identify connections between real Japanese buildings and works of art and Wright's architecture and design motifs. By examining the influence of Japanese art & architecture on Wright's work, Dr. Nute also has described the manner in which any designer might be influenced by built and natural environments.

It's great that this book now is available in paperback, as it will prove inspiring to practitioners and students of architecture - as well as the general public. A must buy for everyone interested in the development of ideas who are searching for a fascinating story about creativity at its best!

I have read two other books on the General and listened to another on Books on Tape. Mr. Valley's book is easily the best, probably because he was really there not learning about it from a library. Brilliant insights and personal details fill this magnificent work. Get it! Enjoy it!

Larry Durbin, Captain, United Airlines

David Valley's book, "Gaigin Shogun ..," is great fun and an easy read. At the same time it makes you think about things you may not have thought about before. I never realized how much of the Japanese miracle recovery was attributable to the manner in which the occupational forces governed Japan after the war. Also the excerpts of the writings by MacArthur made the message crisp and believable. It leaves one in awe of MacArthur, and feeling that he may have been one of the most under appreciated hero's of our past. Valley did a fine job. Definitely worth reading.

The author did an excellent job in pointing out the accomplishments of General Douglas MacArthur in Japan. I, also,was one of the General's Honor Guard. David and I went over events during of our tours of duty both before and after the author's assignment of how MaArthur was bringing the Japanese back into the United Nations fold as an upstanding nation. I was delighted to read what he had written , but how well he had written it.

When we compared notes, it became amazing to each of us how slowly the progress was at first. Perhaps, items such as the Marshall Plan and Harry Bridges "Long Shoremans strike" that lasted for over seventeen months. Nobody saw a real potatoe for over six months. Not that anyone suffered for it. Japanese national progress did accelerated over the following short years.

The personal climate to all of us including Mrs MacArthur was that we were unafraid to walk among the Japanese from the very first moments we where there at any time , day or night. There was seldom a case of anamosity shown. The Japanese were model citizens. This is a illustration of how well MacArthurs policies were performing.

The author was factual, brief and very accurate with details. He created each scene with actual quotations from the General about verbal discriptions. The General took all his problems in his stride. The resolve was contigious. When it came to authority, the author precisely depicted the attitudes and backgrounds of the British and the Russians and the worst party of all, our own State Department. He was candid. The General was skillful in his steps that he took. He had spent too much time in the houses of power to be careless with the heads of state and worse their correspondants.

In total, the book is a good comprehensive story of the General who did an extraordinary job of uplifting the country of a former enemy. After all his seventy years of preparation, his experience prepared him well for the task. It is noted that it has not been repeated since the reigns of Alexander the Great and Julis Ceasar.

This book was a pleasure--beautiful photos and nice comments from the subject that explain the occasion and feelings at the time. Highly recommended!

I have read and enjoyed both Lesley Downer's and Liza Dalby's books on geisha, and this gorgeous photo book serves as a lovely accompaniment to both. The text is somewhat sparse (as is to be expected in a photo book) but Komomo's voice really shines through. The foreword by Koito, her geisha "older sister" is also a treat. We get a glimpse of the unique customs of the Miyagawa-cho geisha district. The photos are intimate at times, but never intrusive - the photographer approaches his subjects with respect and affection. Komomo is truly charming and it is not difficult to see why she was one of the most popular maiko in Miyagawa-cho!

I could wish that this book were a little longer, but it is completely worth its purchase price.

I was honored to receive an advance copy of this book and I LOVE IT! "A Geisha's Journey" ranks right up there with "Geisha of Gion" (Mineko Iwasaki) and "Geisha" (Lesley Downer)*. The pictures are a fabulous peek inside a geiko's life and I heartily thank Momo-chan and Naoyuki-san for putting this book together for us! The other books I mentioned are great, but Lesley-san's book is mainly about the history of geisha and Mineko-san's book covers a geiko's life in the 70s. It's lovely to get to know a "21st Century Geisha" (as it says on the front cover).

I recommend this book mostly to seasoned "geisha geeks" like myself. If you're just starting out, read "Geisha" first, followed by "Geisha of Gion"...THEN add "A Geisha's Journey" to your collection.

--------------

* For those who have already read this book, one of the geiko that Lesley-san interviews/mentions, Koito, is Komomo's okasan!

what happened on Iwo Jima. It ought to be required reading for every American high-school student and anyone wishing to become a citizen of this country. It's that good..

This book is one of the best personal accounts of WWII and the battle for Iwo Jima especially. The story takes a while to get going but the author's account of battle on Iwo Jima is very interesting.

I came upon this book while researching my book, The Quiet Hero: The Untold Medal of Honor Story of George E. Wahlen at the Battle for Iwo Jima. I had heard from several Iwo Jima vets that Richard Overton had written an incredible memoir of his experience as a corpsman on Iwo, and interestingly enough, he lived near my home in Utah. When I approached Dick about my desire to read it, he was hesitant, and put me off for some time, I think he hoped that I would go away. As I persisted, and I promised not to copy it or share it with anyone, he reluctantly agreed let me read his manuscript.

It was printed from an old dot-matrix printer and was falling apart from having been manhandled. Before handing it to me, Dick warned me that I would not be the same once I finished reading it. Admittedly, I dismissed his warning, and inwardly doubted that any book could change me to any significant degree.

In the months leading up to meeting Dick, I was heavily involved in researching my book, and I read everything about Iwo Jima I could get my hands on. Over time, many books began rehashing the same old stories and themes. But as soon as I began reading Dick's manuscript, I knew his story was unique. Now I knew why Iwo Jima veterans were recommending that I read this story. His was the brutal and grinding story of a combat veteran that could only be told by a personal witness. For once, I began to get a sense for the type of warfare waged on Iwo Jima, and how it affected those who were forced to endure it. I was indeed a changed man.

After completing the book, I called Dick, and asked the question everyone seems to ask after reading his book: "what accounts for your incredible attention to detail?"

He explained that shortly after being evacuated from Iwo Jima, he began writing notes about his day-by-day experiences on the battlefield. He recognized the battle would be a major milestone in his life, and he also understood the historical significance of what he had witnessed. He was determined to record his experiences for posterity, and he spent considerable time compiling his notes. Most of his notes were penned during the long, tedious days when the 5th Marine Division was stationed in Sasebo, as part of the occupation of Japan.

Upon returning to civilian life, these notes were among his most prized possessions. On one occasion, his well-intentioned mother nearly discarded his notes. She believed she would help her son cope with the memories that were troubling him, by ridding him of the volumes of notes he had collected. Fortunately, Dick retrieved them before the garbage man carted them off, and he faithfully safeguarded his notes for almost forty years, until he was finally ready to begin writing his manuscript.

He never intended for his manuscript to be published, it was written for his and a few friends. I was so taken by the book, that I worked with him and my publisher, American Legacy Media, and get it published.

In getting the manuscript ready for print, Dick decided to pair down the manuscript, fearing that some stories would be too graphic or otherwise offend some readers. Dicks manuscript became a 330 page memoir titled God Isn't Here: A Young American's Entry into World War II and His Participation in the Battle for Iwo Jima.

The book went into a limited release in 2005, but the response was immediate. Veterans began calling Dick at all hours of the night, many in tears, thanking him for writing his book. With virtually no marketing but word-of-mouth, orders from around the world convinced Dick that his book had struck a chord.

With the success of the book came Dick's desire to tell the entire, uncensored story. The updated, revised and expanded version includes all the unvarnished and descriptive details that were edited from the original book. Now, the book is 432 pages long, but it's a more intimate and powerful work that is, what I believe to be among the most compelling World War II biographies ever written by an eyewitness.

I love this book. Everyone who has read it upon my recommendation has thanked me. If you can handle the gritty and gruesome details of combat, I highly recommend you that you read it... you can't helped but be changed for doing so.

For many years, the view was widely held that Japan's Midway Operation in June 1942 was limited to two major aims. The first was to extend Japan's eastern defensive perimeter to the Midway Atoll, and thereby deprive the United States of its last island outpost west of Hawaii. The second aim was to draw the aircraft carriers of the United States Pacific Fleet to a decisive battle off Midway where they could be destroyed by the Japanese Navy.

Powerful historical evidence now indicates that Admiral Yamamoto had a third aim when he launched his Midway Operation. He did not intend simply to capture Midway Atoll and garrison it. The Japanese knew that it would be impossible to supply, maintain and hold a tiny atoll so far from Japan. It was too small to develop into a stronghold. Moreover, it was within range of B-17 heavy bombers based on Oahu. If he succeeded in destroying the carriers of the US Pacific Fleet at Midway, Yamamoto intended to use Midway Atoll as a stepping stone to attack Hawaii. At the highest levels of Japan's Combined Fleet, the plan to attack Hawaii was known as "Eastern Operation".

New light was thrown on the full scope of Japan's Midway Operation by Professor John J. Stephan in his book "Hawaii under the Rising Sun: Japan's Plans for Conquest after Pearl Harbor" (1984), University of Hawaii Press. At the time he wrote that book, Dr Stephan was Professor of Modern Japanese History at the University of Hawaii. Professor Stephan speaks and reads Japanese fluently, and he has lectured at the National Defence College at Tokyo and major Japanese universities (including Tokyo and Waseda).

Based upon extensive research and documentation, including the combing of Japanese archives and discussions with Japanese military historians, Professor Stephan claims in his book that the aims of Japan's Midway Operation were not limited to destruction of the US Pacific Fleet and the capture of Midway Atoll as an end in itself. He claims that the capture of Midway Atoll was intended to be the first stage of a more ambitious plan that would culminate in a major Japanese attack on Hawaii. The next step would be the occupation of America's Johnston Island (710 miles south-west of Pearl Harbor), and then establishing bases on Hawaii, the largest island in the Hawaiian archipelago. Having established air and naval bases on Hawaii, Stephan claims that the Japanese intended to launch air and naval attacks on Oahu from those bases. Professor Stephan claims that the planned operations against Johnston Island and Hawaii were aspects of what was known collectively at the highest levels of Japan's Combined Fleet as Eastern Operation, and that Eastern Operation was predicated on the destruction of the carriers of the US Pacific Fleet at Midway. As Admiral Yamamoto saw it, the placing of a Japanese noose around Oahu, and relentlessly tightening it, offered the best prospect of drawing the United States into peace talks that would lead to recognition of Japan's claim to domination of the western Pacific region and save Japan from a prolonged war that Yamamoto believed would inevitably be disastrous for Japan.

Professor Stephan supplies extensive references in his book to support his account of Japanese strategic planning for an attack on Hawaii in 1942, and intra-service and inter-service squabbling between Pearl Harbor and the Battle of Midway (these references appear as page notes at the end of the book). Many of his references are Japanese sources, both published and unpublished. The distinguished Japanese military historian, Ikuhiko Hata, lends his support to Professor Stephan's research and conclusions about Imperial Japanese planning for an invasion of Hawaii, as does Professor Henry Frei who lectures in Japanese history at Tsukuba Women's University.

Professor Stephan claims that on 3 June 1942 (Tokyo Time) Major General Tanaka instructed his subordinates in the Operations Section of Army General Staff to prepare a feasibility study for an assault on Oahu (p.119). On 5 June 1942 (Tokyo Time) the four fleet carriers of the Japanese carrier striking force at Midway were destroyed by SBD dive-bombers of the US Pacific Fleet. For an extensive illustrated account of the momentous Battle of Midway and its importance in the overall scheme of World War 2 see my web-site at

www.users.bigpond.com/pacificwar/Midway.html

Professor Stephan claims that the disaster at Midway put an end to "Eastern Operation", and that on 8 June 1942 (Tokyo Time), all training for the Hawaii invasion was cancelled (p.120).

CONCLUSION

Professor Stephan limits himself to an examination of Japan's strategic aims when it launched the Midway Operation in June 1942. He tells us what Admiral Yamamoto was planning to achieve in Hawaii if the Midway Operation fulfilled Japanese expectations and produced the annihilation of the US Pacific Fleet. In my view, Professor Stephan has very properly, and sensibly, avoided the quite separate and speculative issue of whether or not Japan had the capability to capture or seriously threaten Oahu if it had succeeded in destroying the US Pacific Fleet.

As a Pacific War historian and author of the Battle of Midway web-site (reference above), I found Professor Stephan's scholarship impressive and his conclusions about Japan's Midway Operation convincing. His research and conclusions about the full scope of the Midway Operation resolve the difficult problems raised by the suggestion from Japanese naval officers Fuchida and Okumiya in their book "Midway: The Battle that Doomed Japan" that the aims of the Midway Operation were limited to the destruction of the US Pacific Fleet and the capture and garrisoning of Midway Atoll as an end in itself. If the Midway Operation is accepted as being the first step in a Japanese plan to seize Hawaii and thereby persuade the United States to take part in peace talks favourable to Japan, Midway is clearly entitled to be viewed not only as the most important battle of the Pacific War but also as one of the five most important battles of World War II.

. Equipped with Japanese language skills and academic experience in Japan, Dr. Stephan conducted exhaustive research into military and civilian sources in order to develop the full story of Japan's designs upon Hawaii in the early stages of WWII. His book reveals a serious intent to actually invade and occupy the islands, primarily to deny the U.S. Navy its natural springboard for challenging Japanese advances in the Pacific. The kicker in that regard was the Doolittle Raid in April 1942, which convinced the Japanese Army that Hawaii was a threat that had to be neutralized.
. A secondary goal was to liberate the "Asian" poplace of Hawaii (which to Imperial Japan was everyone there except Caucasians) and bring them into their Greater East Asian Co-Prosperity Sphere. Some Japanese even advocated annexing Hawaii outright, as a natural extension of their own island nation.
. One surprise to this reviewer was learning the extent to which many of Hawaii's ethnic Japanese citizens directly participated in the mother country's war, at least before Pearl Harbor. Many served in the Imperial armed forces (i.e., in China) and others returned to Japan before Pearl Harbor to support the war through academic or jounalistic pursuits. There is no suggestion, though, that Japanese-Americans in Hawaii (after Pearl Harbor) engaged in any such activities.
. The book also reveals that a Japanese attempt to take and hold Hawaii was most likely doomed to failure; a potential calamity on a grand scale. By late 1942 (the proposed time frame for the invasion) U.S. forces on Oahu alone were far superior, at least in numbers, to the proposed Japanese invasion force. Ghastly attrition of invasion troops would have been unavoidable, even if the campaign was ultimately successful. And once in control of Hawaii, Japan clearly didn't have the logistic capacity to sustain themselves there--there's no way their merchant marine could have replaced the necessary constant flow of supplies coming from the U.S. Both conquerers and conquered would have faced cruel deprivation in a few short months.
. Clearly, Hawaii would have been Japan's "Bridge Too Far." Everyone--Japanese, Hawaiians, and other Americans--were far better off because the Battle of Midway put an abrupt end to the whole idea.
. In summary, this is a fascinating topic that will hold the interest of any serious student of WWII in the Pacific. Dr. Stephan's treatment of it is highly detailed, thoroughly researched, and presented in a manner that holds the reader's interest from cover to cover.

This is true scholarship in service of a great question. A distinguished historian at University of Hawaii, Stephan analyzes the place of Hawaii in Japanese military strategy in WW II. Obviously, this raises the question of the fate of Japanese-Americans during World War II. The issue has received illumination in recent books by Greg Robinson and Eric Muller. Stephan offers a politically incorrect interpretation that indicates that the Japanese military thought they could rely on using American Japanese for their purposes following a successful invasion of Hawaii. The prospect cannot be denied. With internal national security issues more vital than ever, Stephan's book should be on the minds of all serious students and citizens today.

As a history buff, I read a great deal about wars. I had read articles on the bombing but this book is full of actual victim's stories. Whether you agree with the dropping of the bombs on Hiroshima and Nagasaki is not really relavent. What is the important message here? Simply, man's inhumanity to man. It happens in all wars by all nations. Will we ever learn?

I bought this book while visiting Peace Memorial Museum in Hiroshima, in November 1998. Even if I had not been to this incredible place, this book alone would have affected me greatly. The accounts are brief and striking. My heart ached for the children, whether they were the Hibakusha (Bomb Survivors)telling the story as an adult, or whether they were describing a horrific scene involving these innocents. This isn't a dry historical account with scientific information and political overview. It is a recollection of activities, emotions, and devastation experienced by real people on and since August 6, 1945. I wish there were more books along this line, written as well as this one.

Hibakusha's age(the survivors in Hiroshima and Nagasaki, where is only city fell atomic bombs in the world) is getting to be older recently. Their age will be over 70 years old in many cases. At the same time, the young people in Japan who don't know about Genbaku in Hiroshima and Nagasaki at that time well is increasing. That will be uneasy truth for the mean that the fear of atomic bombs disappear. But when August comes in Japan, many Japanese remember about atomic bombs in H and N (Hiroshima and Nagasaki), why? Because the atomic bombs fell down in August 1945.

Even now, in Japan at August many TV programs are broadcasted. The deads were over 100000 in Hiroshima, 70000 in Nagasaki. People over 95% that lived inner 1km from the center where the bomb fell were killed immediately and some people that lived inner 2km had heavy skim burn in their all body. The fear of atomic bomb is not always only the number of the victim. The burn is never the same of the bomb victim in ordinary mean, that is, because when the atomic bombs exploded the temperature was over 3000, they had heavy skin burn over our imagination. In addition to that, their scars never disappeared till their death, called Keroido, for the heat ray made when the bomb exploded included radiation. Their radiation destroyed their skin cells. The burn never disappeared till their death. Off course, that meant that the burn was fatal mental point for young girls who spent fresh daily life in those days. Can you imagine about the girl's despair and agony that dared to choose the suicide killing for the cruel daily lifes after they injured heavy burn on all the body? I never have the thinking that I want to blame for American by explaining and expressing such cruel things. Certainly, the atomic bombs might be good choice for finishing WW2, however the weapon has dreadful factors over our imagination like I have written already.

If you have the chance that you go to Japan, I recommend going to Hiroshima at any cost, going to many Genbaku bomb memorial place, especially to Genbaku Peace Memorial Museum. Apart from the factor whether county have the responsibility of the war, by watching the cruel photograph or the clothes that they put on those days, you must feel a kind of shock absolutely, may feel a kind of the sympathy for them at that time, or may feel the anger for the war. And in Hiroshima and Nagasaki, there is the event of Hibakutaiken Dan, the act that Hibakusya (the survivors of H and N) tell about the peace by talking the dreadful scenes to travelers. I recommend that you listen to their talk when you go to Hiroshima or Nagasaki. There are the talkers who can tell with easy English for them, too.

I pray that all the atomic weapons on earth disappeared as Japanese, the first and last atomic victim county.

Thank you for reading poor English till last sentence.

This huge and beautiful book is an achievement in itself, but I really meant Hiroshige's original cycle of prints, 118 in all. They cover every aspect of the bustling city: summer and snow, crowds and quiet, industrial sectors, temples, and pleasure quarters. In some, the city's people are clearly the focus of attention. In others, they are implicit and unseen. Even when birds, exotic trees, or vast landscapes dominate, the human presence remains. This is about the city, after all, and the city is always there.

Hiroshige's composition displays distinctive layering. His strong, immediate foregrounds place the viewer directly in the scene, then lead the viewer inward and onward to skies and mountains in the distance. It's dramatic and engaging, and striking by its absence in the very few images composed by his successor.

Japanese prints are hugely more complex and subtle than nearly anything in the Western canon. These masterworks are built up from images on a dozen or more blocks, perfectly aligned on the printed sheet of paper. That comes through beautifully in these large reproductions, even in the subtleties of "bokashi" gradients of color. Even so, the commentary reminds us of how much we're missing. The originals are often overprinted in lustrous mica, in glossy inks that emphasizes an eagle's claws, and in un-inked embossing or "cloth printing." Between the dramatic printing in these reproductions and the authors' description, we get nearly the whole effect of the imagery anyway.

I recommend this book to any reader, whether a connoisseur of fine prints already or some who can learn to love them - in otherwords, to everyone.

//wiredweird

In college I met one of the sons of George Braziler, the publisher, and feel that the wonderful quality of their art books reflects the generous and thoughtful nature of their family. The prints are meticulously reproduced, complete with woodgrain. The written text takes the reader back to another time within a totally different culture with subtle details explained. More generally, Japanese prints represent an effort to provide art to the normal working people, not just wealthy aristocrats. Hiroshige memorializes the exquisite and delicate mood of ancient Japan and lets you feel their experiences.

Darcy Kishida (midk@crisscross.com) Anyone who has ever visited modern Tokyo knows what a dreary and uninviting place it can be. Monotonous rows of offices, apartments with no charm whatsoever, and a shocking lack of architectural originality conspire to rob the metropolis of most of the character it once had. "One Hundred Famous Views Of Edo" will, if not completely change your opinion of Tokyo, at least make you see the city in a new light, enabling the reader to look past the run down buildings and aging neon and view the city as it used to be: an enchanting place virtually untouched by foreign influences and filled with ancient shrines, women in kimono, swaggering samurai, Kabuki theaters, the pleasure quarters, and everything else we associate with old Japan. It will also, if you're not already, make you fall in love with the art of ukiyo-e. "One Hundred Famous Views Of Edo" succeeds in two ways. First, from a purely artistic point of view, it is a stunning collection of all 118 prints in Hiroshige's "Meisho Edo Hyakkei" series (One Hundred Famous Views Of Edo), full-size and faithfully reproduced from the Brooklyn Museum's high quality set of mostly first edition prints. The book is unique in that it includes, in addition to the acknowledged masterpieces such as "Plum Estate, Kameido" and "Sudden Shower over Shin-Ohashi Bridge and Atake," many inferior prints which are rarely, if ever, seen. Here though, every print, even the obscure ones, is given its own commentary. Henry D. Smith II, a professor of Japanese history at Columbia University, wrote the commentaries accompanying the plates and explains in his introduction that only focusing on the stronger designs "discourages the appreciation of the many strong features of the lesser designs, and it also distracts attention from the descriptive qualities that clearly appealed to Hiroshige's audience and that can teach us much today about the city of Edo and its culture." Also significant is the fact that "One Hundred Famous Views Of Edo" shows us the series as it was meant to be seen. Those who are familiar with Hiroshige already know that this was his last series and it was enormously popular. As was the case with most ukiyo-e prints, the first edition copies were generally of the highest quality, with sharp, clear lines and delicately graded colors. In later printings, which are comparatively plentiful, a sharp drop in the subtlety of color becomes obvious and the once clean lines begin to blur. The majority of the prints from the Brooklyn Museum fall into the former category. As Professor Smith notes, the great success of the series "led to countless later impressions of far inferior quality, eliminating the most refined printing effects and transforming the color schemes in ways that utterly destroyed the expressive intent of the first impressions." Even to the untrained eye, a side-by-side comparison between a high quality, early impression and a hastily made later one will quickly make this clear. Any ukiyo-e connoisseur will tell you that there is really nothing else like a well-preserved, first edition copy of a favorite print and these are in abundance in "One Hundred Famous Views Of Edo". As impressive as the prints are, however, the commentary is what steals the show here, giving the reader fascinating glimpses into what was the city of Edo and its inhabitants. It has the effect of turning the prints into virtual postcards, which, in the absence of Edo era photographs, serve as a precious visual record of the city and its customs. In his commentary, Smith has the uncanny ability to make even the most mundane details fascinating. Mediocre plates, which would normally hold your attention for only a few seconds at most, are given substance and life by Smith, whose keen eye and attention to detail turn these lesser designs into mini history lessons, travel guides, or short biographies. A good example is plate 70 (Nakagawa River Mouth), which, artistically, this writer considers among the worst of the series. Here were are given a short history of Edo's canal system, learn where its citizens procured their salt, and discover how the scene has changed in the last 150 years. The print is thus saved from obscurity by, ironically, acting as a sort of visual supplement to Smith's text instead of the other way around. The amazing variety of the locations and subject matter of the 118 views and their astute commentary combine to bring Edo alive for the viewer, making it seem strangely familiar and real. We regret the loss of so many beautiful places to modernization and cherish the few precious gems that remain. "One Hundred Famous Views Of Edo" will make those who have never been to Tokyo want to go and former residents want to return for a visit. As for the fortunate who live there now, this book can only increase their appreciation of the city and its unique history.

An essential feature of any historical work is the selection ofsources one wishes to present as an argument. The role of memory and access to history, that is public access to 'other' histories, is an area of much contention in the contemporary world. What I most enjoyed about this book is the authors have not shied away from commenting on earlier critiques of the proposed Smithsonian display, involving the restored fuselage of the Enola Gay. What was shameful about the ensuing debacle, I believe, was the attempt to discredit the further development of an alternate memory given 50 years had passed since the atomisation of Hiroshima. After all, was it not possible to show an American and Japanese view of the closing months of the Pacific War, regardless of who the victor was? It is critical to understand that Australians, let alone Japanese, cut a different slant on the way we interpret history, particularly that of Pacific War history. I believe we are richer for the experience.

But, of course, an alternate memory has developed, yet it is often dismissed by the euphemistic expression, 'historical revisionism'. This appears to be some sort of code for 'this sort of history is not acceptable to the conservative elements in contemporary American society, certainly much less to those who actually witnessed combat in the Pacific'. By virtue of fact, it has no legitimate place among orthodox histories. All history is subject to revision, for the simple reason new facts become available and each generation chooses to impose it's own standards. This is certainly the case with Hiroshima. But this shouldn't be construed as 'wrong' or a 'threat', rather it adds to the debate and formation of ideas which underpin the importance of Hiroshima and historiography. Context retains an essential place.

However, for those of you interested in the importance of historicity, of debate, and value the idea of an education as opposed to acccess to information, I cannot recommend this book enough. It has it all. Needless to say Hiroshima touches a raw nerve both in Japan and America. It also has much currency in Australia. So I do not in any way set out to discredit the efforts of those men and women who gave their services to the state during WW2. I do, however, recommend that prospective readers keep an open mind and try avoid getting caught up in the limited rhetoric of the conservative right and the emotional left.

The bombing of Hiroshima was one of many horrific events that occurred in World War II and in human history. World War II was a pivotal time, and only in the present are we able to look back and reflect on the event with a critical eye. Michael J. Hogan's HIROSHIMA IN HISTORY AND MEMORY provides a collection of essays by cultural and diplomatic historians who analyzed the bombing of Hiroshima based on unclassified documents and past commentary that emphasized the how and why the bomb was dropped. Although this historiographical collection is considered revisionist scholarship, it is by all means essential in order to understand the complicated decision that President Truman had to make in dropping the bomb, and the effects it has had decades after.

Several essays reflect on how the bombing has affected commemoration of the event. Without a clear understanding of Hiroshima from both Americans and Japanese, one cannot equally or fully commemorate or represent the bombing of Hiroshima. The essays in HIROSHIMA AND HISTORY AND MEMORY attempts to present the facts within each essay, and each historian, such as J. Samuel Walker, John W. Dower, Barton J. Bernstein, and a host of others emphasize that the decision to drop the bomb and end the war did not only involve justifying saving military casualties, but the fear of an imminent power on the rise -- the Soviet Union (despite their position as an allie at the time, their possible invasion would have helped the Japanese surrender).

HIROSHIMA IN HISTORY AND MEMORY examines basic history as it pertains to the bombing of Hiroshima. The essays are readable and understandable. The events that occurred in August 1945 in Hiroshima and Nagasaki are two major historical events that continue to be a discussion of debate.

as far as hiroshima books go. this was the best one i found. i was writting a piece of history coursework on this travesty and this book not only gave me historians views but in the essays they mentioned other historians and their views!! it looked at this event from many different angles and managed to be interesting, factual and collectively unbiased throughout. very thought provoking.

I had to write a paper for my Japanese Pop Culture class on the history and current events of Irezumi and I have to say, with all the research I put into it this book won out over competitors such as Bushido : Legacies of the Japanese Tattoo, and The Japanese Tattoo. To a certain degree this book repeated its facts however it was necessary in some sections to give more details. Overall I was quite satisfied with the huge volume of information on the history, actual tradition insofar as physical tattooing and the culture around tattooing in Japan. Definitely the BEST buy for the Japanese Tattoo (Irezumi) enthusiast.

This book was extremely well written and very thorough. It's an excellent history of the traditional Japanese skin suit.

Deserving of ongoing mention for any arts collection providing comprehensive coverage of tattooing art is A History of Japanese Body Suit Tattooing, which explores not only the art involved, but the social and political forces which evolved Japanese methods from prehistoric to modern times. Connections between tattooing and cultural influences are rare, making this a top pick for not only college-level arts collections, but for any college-level holding strong in Japanese history and culture.

A surprisingly well-written and comprehensive look at religion in Japan, suitable for both specialists and non-specialists. The narrative is extremely well-organized and easy to follow.

Some reviewers have mentioned that the book has far more pages on Buddhism than Shinto. However, that does NOT mean that Shinto is given short-shrift or that readers will not receive here an excellent history of that faith- it is just that the Buddhist sections are truly comprehensive.

Chapters on Japan's much overlooked "third faith"- Shugendo- are also thorough and intriguing.

Possibly the main strength of this book is its compassion and balance. It treats Buddhism, Shinto, Shugendo, and Christianity in a way that could offend none of them. More pages on Buddhism do not entail a pro-Buddhist slant to this book. In fact, some of the comments about the corruption of Buddhism during the Edo period are extremely biting.

By the end of A History of Japanese Religion, one cannot but dwell upon the unstated and obvious fact that after 60 years of prostletizing, tens of thousands of missionary visits, millions of dollars of donations, and official government support after World War II, Chistianity has made little or no impact on the country, with less than one half of one percent of the country, for example, describing themselves as "protestant". Astounding. There are far more members in obscure Shinto cults, such as Tenrikyo. There's a thesis in there somewhere...

If you are seeking to understand the complex history of Eastern religion this book is a godsend. In clear, concise and readable prose, it lays out the development of religion in Japan from its prehistory to the present. It includes detailed descriptions of the major Buddhist and Shinto sects including biographies of their founders and major figures, as well as the history of Christianity in Japan and the development of various other "new religions" in more recent times.

The book begins with a preface and introduction which paint the history of Japanese religion in broad strokes. A chapter devoted to the development of religion to the Nara period (began c. 500 AD) is followed by a discussion of the early development of Mahayana buddhism. The Tendai and Shingon sects receive special attention as does the development of Pure Land Buddhism. The Kannon, Miroku and Jizo buddhist cults are discussed as is early Shinto and its relationship to Buddhism. Buddhist development in the Kamakura period, especially the Pure Land sects of Jodo, Jodo Shin and Ji are covered next, along with the Rinzai and Soto schools of Zen and the Nechiren Lotus Sutra Buddhists. Developments in Shinto and Shugendo (a mountain-based ascetic movement) are discussed as are changes in the major sects under the Shogunate. The early history of Christianity in Japan is well treated and, from a Western perspective, is fascinating. The process whereby Buddhism became the dominant religion under the Shoguns only to be superceded by Nationalistic Shintoism in the Meijan period is likewise interesting. Finally, the development of myriad cults and the splintering of older established religions following the world war and the changes in religious thought up to the present make for interesting comparisons with the changes in religious thought in the West.

The book, by a panel of Japanese scholars, was part of a series written originally in Japanese, on the religions of the world. The translation is very readable and the text hangs together remarkably well for something written by a panel of experts. There is occasional redundancy between sections and even through the translation one can hear different voices speaking at different times. The level of detail will satisfy most in the West, although scholars of particular eras or faiths may find it too general. The book is a history of religion and as such is not really a history of religious ideas. I occasionally wished for more discussion of the philosophical and theological notions underlying the historical actions and developments. The book is supplied with an excellent set of maps but would be improved in my opinion, by the addition of some illustrations. That said this is possibly one of the best books on Eastern Religion I have read in some time.

This is a terrific book. Primarily from a Buddhist prospective, this book provides an excellent overview of Japanese religion. It is up to date and will serve as an excellent basis for more in depth study.