Asia Books

The other reviewers have done a great job of describing this book so I'll keep my review short. I was not prepared for this book. I'm not sure anyone can be prepared. Halfway through I started crying and had to put it away for awhile. Our country is capable of doing some wonderful things. We (and yes I mean we, because the actions of our leaders and military represent all of us) are also capable of doing some truly horrible things. This book shines a light on one of the horrible things we did in Vietnam.

In September, 1976, just back from eight years helping homeless streetchildren in Viet Nam, I wrote an Op/Ed piece for the New York Times ( "Learning From the Vietnamese -- And Giving", 12/04/76) that concluded: "And I'm at a loss how to tell my own people that Vietnam's needs are our remedy - to say that what the Vietnamese people have to offer us - as they did me - is so great that for our own sake we must help them." I was attempting to make a connection between the spiritual strengths the people of Viet Nam had to offer us and the technological assistance we, in turn, could give them. Philip Jones Griffiths, in his book "Agent Orange, 'Collateral Damage' in Viet Nam" has made an even more compelling, if depressing, case for interdependency, i.e., because of the American military's chemical spraying in south VN during the war years there are now thousands of people in both the U.S. and Viet Nam who are dealing with deformities and death because of a ticking "time bomb" planted in Indochina decades ago. Griffiths, author of "VIETNAM, INC.", an award-winning photography book on America's longest war, has included here some unsparing images of humans beings brutally deformed by man's more fiendish dalliance with Weapons of Mass Destruction. Here is a "legacy" that must give all of us pause by a brilliant photographer's tireless effort to bring almost unbearable evidence to us of man's inhumanity to man. Like the Holocaust itself, the full impact of these atrocities took years to come to the fore, but "Agent Orange" makes a compelling case that two countries once at war remain linked in a tragic bond that will not soon go away. This is not an easy book to read or, should I say, to view, but I think we ignore it at our peril. Griffiths knows what of he "speaks", having spent years in Indochina and seen un-speakable carnage firsthand. Here he has placed the evidence before us, as well as a precious opportunity to understand where we have gone wrong and how we may become better human beings in the future. "Agent Orange, 'Collateral Damage'", it almost goes without saying, may be the ultimate brief on America's own WMDs. - ---------------------------------------------------------------------

For those already committed to voting for the so-called 'antiwar' candidate, I recommend putting this book in front of Sen. John Kerry and demanding to know what he will do as president to address American responsibility and pay reparations for the genocidal assault on the people of Vietnam. Such action will constitute a litmus test for this candidate, his "band of brothers" and future warriors about how the USA intends to solve the problem of terrorism. Will they acknowledge international law and prosecute the guilty parties including politicians, bureaucrats, executive military officers and defense contractors? Will they honor, finally, the Paris Accords and repair the ecocide brutally wrought upon the Vietnamese by their chemical weapons? Or will they continue to cover up a deliberate, malefic genocide by honoring war criminals like Kissinger and McNamara who now cries cinematic tears while his Pentagon successors plan the mass destruction of any nation that dares to oppose American hegemony?

Philip Jones Griffiths's AGENT ORANGE, COLLATERAL DAMAGE IN VIETNAM is a complex, dense statement that can be viewed and read several ways. Foremost, it is unquestionably the greatest work of photojournalism ever published. I do not make this statement lightly or without professional judgement. For twenty-five years, I edited the work of distinguished photojournalists -- Capa, Richards, Salgado, Peress, and Nachtwey among many others. Comparable only to W. Eugene Smith's MINIMATA: LIFE -- SACRED AND PROFANE, a passionate chronicle of the devastating effects of post-WW II industrial pollution on a Japanese town, AGENT ORANGE surpasses all previous attempts to synthesize the medium of still photography with historical documentation. Griffiths's masterly images unselfconsciously insert readers into the scene of an historical crime and guide them through the evidence page by excruciating page as a means to elicit direct testimony from the perpetrators and their victims. With the possible exception of Erich Maria Remarque' s ALL QUIET ON THE WESTERN FRONT, no other monograph so successfully confronts citizens with the folly of leaders who commit atrocities in their name. The stares of genetically deformed children struggling to articulate humanity across the threshold of pain and disability give absolute lie to the facile excuses of national security used by politicians to conduct high tech assault-and-battery on unwitting, innocent populations. Then it was Vietnam, today Iraq and Afghanistan.

Beginning with his eloquent book, VIETNAM INC. first published in 1971, Griffiths has pursued an unrelenting inquiry into the truth of violence and war. He reported from the Mekong Delta battlefront and also the brothels of Saigon. Returning years later, he earned the trust of farmers who had rebuilt their devastated villages with the detritus of war. Pushing his inquest further he located and photographed war orphans, now shunned as the miscegenated offspring of foreign invaders (DARK ODYSSEY, 1997). Infrequently supported by the mass media, Griffiths parlayed his skills as a commercial photographer to raise the cash necessary to return periodically to Southeast Asia, as if excavating its pitted landscape for some fragment of reason that might explain the macabre body counts and haunting trans-generational birth defects. Some photographers are celebrated for their commitments in documenting a family coming of age or the rise and fall of a nation. Journalism schools promote the virtues of in-depth or extended coverage (sometime a whole week!) while network and cable news personnel embrace the fame of sticking with a big story only to defer, in the final analysis, to the desire of corporate sponsors. By contrast Griffiths has the determination of a seasoned forensic scientist. Although no maverick, he has paid the price of banishment from the newspapers and magazines "of record" whose editors remain too frightened by management to commission or publish his work. Why would they want to remind subscribers of their own inaccuracies and slavish pandering to the official story?

In this respect, AGENT ORANGE can also be read for its scholarship because it presents new historical research about the manufacture and deployment of chemical weapons during the Vietnam era. It has been almost twenty years since American courts acknowledged the gravity of dioxin poisoning in rulings on lawsuits filed by military veterans. Yet companies who supplied the military with these chemical defoliants continue to falsify experimental data on their products' potential for birth defects. Our government stands mute on the issue of "peace with honor" and refuses to contribute any meaningful economic assistance, nonetheless stipulated in the treaty with Hanoi. The war's apologists and neoliberal ideologues continue to deride Vietnam as a failed socialist experiment. Griffith's photographs and words rip their lies to shreds and dissolve their chauvinism in the cold truth of twisted limbs, hare lips, and hydrocehpalic fetuses preserved in formaldehyde. AGENT ORANGE is the black book of American infamy, its author has given citizens a priceless instrument to test their politicians sincerity and commitment to peace. Buy a copy and ask Kerry for a clear statement of conscience!

Philip Jones Griffiths is among the unsung heroes of our time, photographing the otherwise untold, unsavory aspects of a mean-spirited war completely lacking in human decency. Agent Orange is masterfully conceived, researched, photographed and written in prose that at once is dark, beautiful poetry.

Excellent collection of essays- some repetitive, all comprehensive, accompanied by extremely good illustrations and photographs.

Often scholarly volumes have excellent content but are poorly produced and edited while musem volumes are often well produced and edited but lack serious and contemporary scholarly material--they become catalogues of artifacts without real contextualizing material.

Ainu: Spirit of a Northern People manages to overcome both of these problems. As a scholarly volume it has excellent content (much of which has not been previously available to non-Japanese speakers) and is well-produced and beautifully laid out.

Aside from some small quibbles I have with some other articles seeming truncated for space concerns and others for not presenting enough information (notably the articles dealing with Ainu language/linguistics), I find little to find fault with. Even my concerns about some aspects of the volume are only a request for more, not a complaint with what is in the volume.

Overall this volume does a wonderful job of making contemporary Ainu research accessible to the lay reader while also presenting enough scholarly material to make it worth-while reading for those with a deeper interest in the Ainu. Even though the volume does not deal directly with the area of my research, the amount of knowledge it conveys has foced me to rethink aspects of my own work.

Despite the fact that I have lived in Japan for more than fifteen years, my visit to the Smithsonian's fabulous "Ainu: Spirit of a Northern People" exhibit last year provided my first meaningful look at this long overlooked or misunderstood part of East Asian cultural heritage. I ordered a softcover copy of the (at the time yet to be released) book right away and have since poured through it time and again. Written largely by anthropologists, as a layman I feared that it might well be too scientific to appreciate; happily such is not the case. The book is beautifully written, edited, and illustrated. Anyone with an interest in Japan's northern culture and/or the animist nature of the nation as a whole will find this book profoundly enlightening. I regret that a hardcover edition was not available sooner.

In addition to what the other readers have written I would also add that this book is truly a "must-have" for anyone having an interest either in the Ainu specifically, or native peoples such as the Aleuts, the Inuits, the Polynesians, the Moari, etc. This, in part, because anyone interested in the Ainu will be hard-pressed to find a great deal of books in print regarding this topic, in any case in English. Photographs or Ainu artifacts are perfect and highly details, and there are a great deal of reproductions of "Ainu-e", or paintings done by the Japanese when they were slowly but surely in the process of taking over what is today Hokkaido. These are invaluable because they are rich in detail and depict a way of life that no longer exists, much in the same way that Edward Curtis' photographs of the Native Indians in the US are. I would personally recommend the hard-cover version though more pricy is a much better book to own in one's collection.

This book is personal for me. It mentions by name or by anecdote, my friends, my classmates, my squadron mates. For 35 years, I neglected reading about the war I was in, as a C-130 co-pilot. This book was exactly what I was looking for, to fill in the gaps of what I knew. In any history of Vietnam, it is good to assess its bias. This book is factual and does not try to promote or debate the politics of the war. It does make a few assessments of the capabilities of the South Vietnamese army, air force, and marines, and the role of American air force and advisors on the ground. It factually describes instances when South Vietnamese army units surrendered with little or no fight, would not go out on patrol, and dropped wounded comrades to clamor on board a med-evac helicopter. Some of the strongest criticism is directed at some South Vietnamese officers who were corrupt, cowardly, or incompetent. It also tells of soldiers who bravely and effectively took on North Vietnamese Army (NVA) tanks with Light Antitank Weapons (LAWs), and who bravely fought the NVA soldiers. Some of the South Vietnamese officers are described as courageous and effective. It tells of the NVA atrocities, such as firing artillery and machine guns on civilians attempting to leave An Loc and other battlegrounds.

The stories are told mostly from the point of view of the American army advisors and, to a lesser extent, the South Vietnamese officers who were their counterparts. Andrade describes the NVA maneuvers and attacks and the South Vietnamese response, then zeroes in on the American advisors so that you get acquainted with them and become emotionally attached to their survival and success. By January 1972, almost all American combat units had left Vietnam. The Army of the Republic of Vietnam (ARVN) and South Vietnamese Marines were doing the fighting, with American advisers at the upper levels of command. The advisers helped the ARVN officers deploy their men, and their most essential role was to direct the air force and army helicopter support. (Also naval gunfire in I Corps.) Hue, Kontum, and An Loc all survived the NVA attacks, but would have been overrun if it were not for the B-52s and the close air support of fighters, gun ships, and helicopters. Supplies delivered by the C-130s of the 374th Tactical Airlift Wing were essential to Kontum and An Loc. Andrade does not give a lot of details on the fighting done by individual ARVN soldiers. He generally does not personalize the ARVN by introducing you to the soldiers.

Two dominant factors were the NVA artillery and American air power. The ARVN had fire support bases scattered around the enemy objectives in all three areas, and the NVA artillery was able to destroy the ARVN artillery, then pound the ARVN infantry. The ARVN artillery were in fixed defensive positions, and NVA spotters were able to direct accurate artillery onto them. The NVA concealed and frequently moved their artillery, and the ARVN did not have spotters in position to direct counterbattery fire onto the NVA artillery. American air power (plus, in I Corps, naval gunfire) filled the void of ARVN artillery. NVA anti-aircraft artillery was significant only at An Loc. On May 17, 1972, my C-130 crew delivered 15 tons of 105mm howitzer ammunition to Kontum. But on May 24, NVA artillery neutralized all of the ARVN 23rd Division's artillery (page 301), and on May 27th, the ammunition dump near the airfield was struck by mortar fire, destroying ammunition.

I have two minor criticisms, which do not significantly detract from the excellent quality of the book. It attributes the failure of the peace negotiations in December, 1972, to North Vietnam secretly inserting 17 changes into the document on December 13. (Page 479) Other accounts I have seen attribute it to South Vietnam's President Thieu rejecting the treaty, which is not mentioned here. Second, its understanding of air power is somewhat limited. It describes Combat Skyspot (Page 75) as "a high-tech method of delivering bombs using laser beams." Skyspot did not use laser beams, it used ground radar, the AN/MSQ-77. After mentioning laser beams, Andrade vaguely but more accurately mentions that Skyspot involved aircraft dropping bombs on command from a radar center on the ground. We also used Skyspot to accurately direct C-130s to the release point for air delivery of cargo.

Andrade has eloquently captured the details and meaning of the final campaign involving US Forces. In particular, he wonderfully details the herculaean effort of John Paul Vann and his outstanding Deputy, BG George Wear, USA. I served at Pleiku under these men, and sincerely appreciate Andrade's superb tribute to them--well done, Mr Andrade.

Mr. Andrade places you right in the frontline with South Vietnamese and US adivsors trying to stop the North Vietnamese "Blitzkreig" of 1972. If you still believe that the US and her allies in Vietnam fought mostly a communist peasent guerilla force armed with flintlocks and a few bags of rice, you're saddly misinformed unless you read this book!
This is one of a VERY few books which deal mostly with ARVN ground combat and about the bravery of individual South Vietnamese troops fighting NVA armored forces.
After you read this book, you will know what most ex-ARVN and many US Viet-vets have known for a long time-The North Vietnamese employed tactics and weapons which would've been more familiar to Guderian or Zhukov, not Che' or Mao.

A terrific book that covers the heroic efforts of the remaining US advisors and their ARVN compatriots to resist the North Vietnamese invasion of '72. The narrative is thrilling and Andrade's mastery of detail is marvelous.

This book has helped open the way for revisionist understanding of what actually happened to South Vietnam after the US withdrawal, two years earlier. The simple assumption that the ARVN was incompetent, which was in part used to justify the US pullout, needs reexamination.

The heroism of the ARVN and the remaining US advisors is finally brought to light. Perhaps Andrade in the future can bring us an account that focuses on the role of the ARVN during this same period--and how it performed without adequate support from the United States. It would be interesting to find out how much of the "incompetence" myth remains.

Thank you Dale Andrade.

This book will guide you step by step (literally) through the magnificant temples of Angkor. And even if you weren't planning to go, you will want to for sure, after viewing Michael Freeman's superb photographs and reading Claude Jacques' expert commentary.

No matter where you wander on the very large site of Angkor, Freeman and Jacques are right alongside you, suggesting places to look and explaining what you are looking at. There are maps and temple plans, a glossary, and an index. For visitors with limited time, the suggested itineraries (from one to seven days' length) will let you make the most of your visit.

The book is especially helpful for photographers. Freeman, who has photographed professionaly at Angkor for over a decade, describes the best vantage points and subjects, suggests the best time of day to shoot, and provides itineraries that take you to each location just when the light is best.

The book is well designed and contains many helpful features. For example, a cross-referenced list of architectural features and mythological scenes makes it easy to locate temples that contain whatever the visitor is most interested in seeing.

In short, carrying this book with you is like having an expert photographer and historian as personal guides during your visit to Angkor. You probably won't even need to engage an actual guide, unless you want to pick up a bit of local color; everything you need is right there in the book.

This book is a fantastic combination of pictures and facts for people wanting to visit the Angkor temples. The pictures stir the imagination and the text provides the facts to go with the pictures.

In fact I recently used this book as my guide while visiting Angkor. It provides a section for each of the most-visited temples and will also give you information on suggested time to put aside for each visit and the best time to go. In fact, my guide at Angkor said this was the best guide book he had seen, and I saw other people using this same book to guide themselves around the temples like I did.

This book provides suggested itineries to the temples and the best times to visist for photography. whether you can actually manage to combine the two is debatable on a short visit. The books main downfall is not its content, but its weight which is quite heavy because of the good quality paper used.

The climate (extremely hot and humid - air conditioning is a worthwhile investment) can make visiting these monuments as trial at times, but they are worth the effort. All the buildings are unique, covered in exquiste carvings (which books can only hint at) and original. Some are still partly swallowed by the jungle. Straight out of indiana Jones.

Get this book, let your imagination wander and visit these amazing ruins if you can before too many other tourists turn up - for they are a world wonder not to be missed. And don't forget your camera - these are places begging to be photographed.

Claude Jacques is an expert on Angkor, and has studied its history for 30 years. Photographer Michael Freeman has been taking pictures of Angkor for over 15 years. Together Ancient Angkor is the product of a partnership that has yielded over 350 color illustrations, and a well-written guide to the ruins of Angkor.

Included are detailed plans and descriptions,[even of lesser known temples not found in other guides]. The book is well thought-out -with suggestions of various itineraries, and information on hotels and other items pertaining to travel . This serves not only as a great tourist guide for travellers planning a trip to the ancient ruins but also a great book for armchair travellers with lush color illustrations and meticulous descriptions.

A lovingly prepared compilation of superb color photographs, maps, history and scholarly explanations of the major world monument that is Angkor Wat. The authors thoughtfully include suggested itineraries ( ranging from one to six days ), sites ranked by interest, peak times and locations for photographing and even helpful suggestions for accomodations. A must for planning a visit to Angkor Wat or for preserving memories.

This is a great book if you're planning a trip to India with children aged 4-11, or if you've been to India with them and you want to help them recapture the experience. (I'm not sure what children who have no other connection to India would make of it.)

My son is four and loves the book in spite of all the text. He's been to India, and so have his parents. The wonderful jumble of drawings (mostly quite accurate--must have been either on-site or from a good photo collection) and collage is captivating enough that I think most youngsters would be capable of sitting through the lengthy text, though the diary format is a little awkward for reading aloud. There are occasional minor inaccuracies (the library review above correctly points out the "puja" problem... but then, this book doesn't pose as an encyclopedia entry), but as children's books on India go, this one's on the more accurate side of the scale. What's most impressive is the girl's eagerness to meet children from another place, culture, and economic class. She makes friends in a way that seems genuinely non-judgemental. (She and her family chat with a poor pavement dweller in Calcutta, an incense worker in Mysore, a fruitseller on the beach in Goa...)

This is a great book! My son is 9 years old and went to India a couple of years ago. This book vividly brought back all his memories. What I liked best was that even though it is not written by an Indian, it is so authentic. The illustrations are just great! I highly recommend it.

India is a large and diverse country, the home of many ancient and interesting cultures. This book is the travel dialog of a young girl named Anni as she travels through India with her mom and dad. They travel by train, bus, camel and elephant. There are many illustrations and they illustrate the daily street life of India. You see people bathing in the Ganges River, carts being pulled by oxen, people cooking their food in the streets, street vendors hawking their wares, children at school under a tree, and the clothes that the Indians wear. What was most interesting were the pictures of products they encountered in India. Postage stamps, matches, cameras, railway tickets, lottery tickets, honey, fireworks, fabrics, hotel receipts and other products that I did not recognize.
An excellent introduction to India written for young people, this book demonstrates some of the variety and vitality of a country whose culture was old when the first white people landed in North America.

This is a great book! My son is 9 years old and went to India a couple of years ago. This book vividly brought back all his memories. What I liked best was that even though it is not written by an Indian, it is so authentic. The illustrations are just great! I highly recommend it.

Usamah calls his book "Kitab al-Itibar" or "The Book of Instructive Example." True to its title, there is much to learn from this book, but what I found very interesting were perhaps things other than what Usamah wanted us to learn. For example, it was interesting to note the Arab perception of Franks, the relationship between Arabs and Franks during the first of two centuries of crusades on the Eastern Mediterranean, and aspects of the life of a prince and some commoners as well. The stories about hunts are numerous and tend to get boring, but they tell us of a rich fauna that is now largely extinct (lions, leopards, etc.). Usamah's talk of old age provides a sobering philosophical view of life.

What an excellent job by Philip Hitti who translated the manuscript from Arabic! Considering that the manuscript was lacking in things such diacritical marks (dots on Arabic letters), punctuation, etc. it is truly an amazing that he was able to pull this book together in the manner its stands. Thanks to Philip Hitti we can enjoy Usamah's book: it is truly a delightful read!

Unlike any other history book, this is a first hand account, day to day life of an Arab Syrian prince in the time of the crusades; He talks about his advantures, feelings and thoughts, it's just like going back in time almost 1000 years. If you like history and especially the crusades, this book is a must. I go back and read this book every once in a while, it's entertaining and informative.

We in the Western world all too rarely take the time to perceive and understand our modern society through anything other than Western eyes. So it is as well with that wondrously tragic period of our history known as the Crusades. While there are many contemperary histories of this era incorporating Western eye-witness accounts, there are but few with the perspectives of the invaded Orientals (i.e. Arabs, etc.). So the uniqueness of an account written by a period-contemporary 'Arab-Syrian Gentleman' will not be lost on the reader. "The Memoirs" are essentially just that: an autobiography of a twelfth-century Arab Muslim and the experiences of his long and eventful life. From his earliest memories in Syria before the First Crusade to his twilight days in Egypt and Damascus, Munqidh shares his vast knowledge with the reader, imparting as well his personal, ingrained biases. It is this latter which assists the reader in understanding the mind of the Crusading-era Muslim, even now oft-considered the enemy of Western "Christendom". Indeed, some scholars argue that the key to understanding the Middle Easterner's distrustful eye to the West lies in the very heart of the Crusades. Munqidh writes in the learned style one might expect of the educated nobility of his period, and though exquisitely detailed, he is neither long-winded nor boring. So whether the avid scholar or simply the interested amateur, "The Memoirs of Usamah Ibn-Munqidh" is truly a worthy read

A great read as well as a solid historical source for the period.

What i really enjoyed about this source where the unsual, little storie's scattered throughout it's pages. Beautifuly described little detail's that help the reader get a more colourful picture of the Usamah's times.

For instance there is a description of a dual between a Mounted Frankish Knight and a Mounted Muslim Cavalier. The story recite's how Usamah saw them both kill each other on their first charge, but how their warhorse's continued to fight for a long time after.

Unlike many other Chronicler's of the time, Usamah is relativley unbiased. He recognise's the Franks valour in battle, the Christian's piety (saying that he has never seen a Frankish Christian genuinely convert to Islam).

It is also a Medevial travel diary, documenting Usamas extensive travels.

It is full of the usual curse's and insults everytime the Christians or Jews name's are mentioned, like all the Medieval Islamic Chronicles. However, if you can see beyond the propogandist protocol of the day, you will be entertained by Usamahs amusing antidotes and tales.

A must for anyone intrested in either Islamic or Crusader history.

My only reservation from giving this book five stars was that i became slightly bored torwards the end, when the book is describing Usamah's many hunting exploits. I sometimes felt that had Usamah killed as many human foes as he had Lions, the Franks would of been expelled from Jerusalem far earlier than they actually where!!!!!

Krepinevich has a cult following among professors and students at the Marine Corps Command and Staff College. After reading his work I understand why. It is rare that ones comes across a book that radically changes the way one looks at military history. Thousands of books have been written on Vietnam and the movies "Platoon" and "Apocalypse Now" brought the war to millions of Americans. Until I read this book, I thought I understood the causes and conduct of the war. Krepinevich brilliantly analyzes how the U.S. Army planned for and conducted the war. How it tried to fight the war it wanted to fight, vice the war as it actually existed. Army leadership brought their conventional mindset to the jungles of Vietnam. The inability to adapt to change proved a greater threat to the U.S. Army than the North Vietnamese Army. The book rises above the personal narrative style that dominates most Vietnam books. Instead, the book is based on solid military analysis. Even more telling was how the U.S. Army failed to grasp the lessons of counter-insurgency following Vietnam and quickly returned to the conventional mindset it preferred. The writing is crisp and powerful. The lessons of this book remain vital today as the U.S. continues to struggle on how to best defeat America's latest enemies.

This book deserves to be far more widely read than it is--and I have no idea why it isn't. Krepinivich's thesis is a brilliant one--the US army was "conceptually" unprepared to fight the Vietnam war: it brought a cold war mentality to the jungles of Vietnam and spent the first seven or eight years of the war trying to "find" this war. The US army imagined that the Viet Cong was a variant of the Soviet army--they "must" have been controlled by a central organization and "must" have had "hidden armies" lurking in the jungle. Decively defeating them would, the Army believed, end the war.

In fact, Krepinivich convincingly argues, the VC was not in the jungle at all--but in the cities along the coast. "We should have done less 'flit'in' and more 'sit'in'", he says.

The war was actually fought more effectively after US troop reduction prevented the "jungle search" strategy from being implemented. This was something akin to what the Marines performed in I Corps: rather than participate in large scale jungle sweeps, troops were divided up and put in small villages with radios. The strategy was more hazardous as troops, because of their small numbers might be overrun. However, it was more effective because it allowed allied forces to prevent the VC from retaking a village after they had withdrawn from their major operation.

This book should eventually allow for US military operations in the first part of the war to be put in the context of greater US cold war culture. The "willing blindness" of the US military during much of the sixties came from what amounts to a cultural fixation on a way power was imagined to function. Even in '71, Nixon believed that the Vietnamese communists was controled by a "COSVN", which functioned like a sort of "tumor": nip the tumor and the body will fall. This, Krepinivich proves, was all part of the American imaginary. Our blindness went far beyond the generals: it was part of our culture.

This is an excellant book that should be read by every military professional and anybody interested in civil-miltary relationships and what happened in Vietnem. The authors premise is that the Army was unprepared for a war in Vietnam. Krepinevich states that Army training, doctrine and organization was geared toward a conventional conflict like what had happened in WWII and Korea. The Army was not prepared to fight a counterinsurgency against a foe that was only going to fight when they had to and when the circumstances and odds were in their favor. The senior leadership of the Army thought the war would be won be killing VC and NVA. According to Krepinevich this is all wrong. To defeat an insurgency you must protect and convince the people of the country you are trying to save that their fortunes lay in siding with you. If the people aren't going to back you then you will lose. It doesn't matter how many VC you kill. The Army's senior leadership did not want to deal with the pacification programs that would have won the war. Many in the military like to lay the blame for the loss in the war at the feet of the politicians in Washington. And there is justification for that. But Krepinevich makes a strong arguement that the war would have still been lost due to the poor/lack of strategy by our military leaders. Reading this book really angered me. Prior to this I had just finished reading "Street Without Joy" by Bernard Fall and I could not help but note the similarities between the failed French efforts and our own. It was like reading the same book over again except the units and the names of the leaders were different. There were almost no lessons learned by our senior leadership from the French debacle.

Although coming to this work as a result of a contemporary (2006) news story about the author I was shocked at the relevance of the book to the issues facing the US Army (and others) in Iraq.

The Army and Vietnam is a fascinating study of how not to organise and fight a counter-insurgency campaign amongst a resentful populace using the most aggressive and technologically advanced "shock and awe" methods.

It appears, not least from the paucity of reviews, that this is a book that was seen to lack relevance or lessons for America's warriors. How wrong they were.

I would strongly commend this book both to students of the history of the Vietnam War and those looking for a fresh, professional, perspective on the problems the US faces in Iraq.

This fabulous 2 volume set is a must for any Asiaphile and a great gift item or a wonderful addition to any coffee table or art book collection. The hard sleeve is covered in exquisite detailing from a pair of Edo Period screens by Kano Chikanobu, the two volumes filled with full color photos of hundreds of treasures from throughout Asia. My favorite is the section on Japan. It is written by a well known Tokyo collector-dealer with a clear passion for the objects of his work. His appreciation of Japanese paintings and easy writing style transforms the reader's understanding, allowing easy access to a new level of appreciation for Japanese art. He writes in detail and yet with a simplicity that captures the imagination and informs. The process of learning in these pages hangs in the void between vicarious and direct experience. Highly recommended.

I'm currently taking my first course in Asian Art history, and I wish we were using this text! The Art of East Asia is eloquently and insightfully written and stunningly produced. The authors do an excellent job of bringing the art into the historical and cultural contexts of the time periods when it was produced. The color photographs are plentiful, large, and beautifully printed -- this is an important point, as black and white photos fail to capture the details of either fine brushwork or three dimensional pieces. This book is a tremendous value; it is far superior to other volumes costing almost twice as much. The only limitation to be aware of is that it does not include the art of India.

The entire book is a mine of information complemented by wonderful photographs. It is perhaps the best introduction to an ancient and profound culture. The Japanese and Korean section is a must for any person seriously interested in trying to understand what is a complex and usually inaccessible subject. In particular the masterful text on Japan by Michael Dunn illuminates the often misunderstood area of the overwhelming influence of Zen on Japanese Art. He should be encouraged to write in more detail on subjects with which he has such a commanding knowledge and insight.

This book manages to present East Asian art without mystification, but also without academic stuffiness.An extraordinary combination! If you want an accessible (but not vulgar) introduction to the subject that will whet your appetite for more, this is the book. The illustrations are exceptional. It's incredible that the publisher can put this kind of quality out for the price.

Very Informative Great book To lean about grades of stones and thier uses

Men have always decorated their weapons. The main items being decorated in the United States have been guns. But in Japan it is the traditional Japanese sword. Being more of a land of tradition, the Japanese sword became more or less standardized in shape as long ago as the thirteenth and fourteenth centuries and polishing the sword had to have followed shortly after that.

There are many books that describe the techniques of polishing and blueing guns. But this appears to be the first book available in English that discusses the polishing techniques used by Japanese craftsmen.

The Japanese practice is a strikingly different process than that used here. Polishing stones, not unlike whetstones but in far more diversity are used. A shop selling such stones is pictured with what appear to at least a couple of hundred different types of stones. And unlike here where stones are simply given numbers to indicate coarseness, in Japan they are given names.

The polishing area used with Japanese swords is a traditional form as well. It sits on the floor, and the polisher typically sits in a traditional position that most of us would find difficult to get into, and impossible to maintain for any period.

All in all, a fascinating book on techniques very different to those commonly used here.

After reading the book entitled "The Art of Japanese Sword Polishing" I now have a much clearer and detailed understanding of the process used by traditional Japanese sword polishers. The book takes the reader though all of steps from the foundation polish, used to shape and sharpen the blade, to the finish polish, which is used bring out the details of the steel and shape of the temper line, using good text and a fair number of detailed photographs. It includes some Japanese sword polish theory and how Japanese swords have changed over the historical periods. It also explains how the age of the sword can affect how the sword should be polished and what damage can and cannot be repaired by a polisher. In the last section of the book it contains a few profiles of professional Japanese sword polishers the authors of the book had interviewed which I enjoyed reading.
As someone who studies and appreciates the Japanese sword I found the book very helpful in educating me more about the process of how a Japanese sword is polished. I would recommended this book to anyone interested in learning in detail how Japanese swords are polished.

I wish I had this book 20 years ago when I first started to investigate the art of polishing. This book provides a wealth of information on the technigues, the material and the different ways that can be used to get a sword polisihed. In fact, the diversity of the art is highlighted by the book and certainly dispells the notion that there is only one way to restore a blade. The section on foundation polish discusses how to achieve the proper shape without removing too much material. The different stones are described and how each is used to establish and refine the shape. The finishing section covers the range of materials and tools used to bring out the grain and tempered edge unique to the Japanese sword. It also shows the burnishing and how to highlight the boshi.
There are sections that talk about the history of polishing, the schools of polishing and interviews with several modern polishers. As always there is a note warning about the perils to the blade that can be inflicted by an inexperienced person. The book doesn't reveal all the secrets to the art, such as the various forms of nugui (other than the basic hadori and sashikomi formulas),what types of stones work best with each school or era, etc. But it certainly does provide a well documented, well photographed look at this art form. I highly recommend it for anyone interested in Japanese swords.

Cannot go wrong with the art book about Chinese art. It's an excellent one, used a lot as a textbook both by university art teachers as well as teachers of Chinese culture and history.

It is difficult to write "Short History of Chinese Arts". Suppose that an honest scholar start preparing his lecture note of " Chinese Arts", he shall struggle with selecting subjects and plates. Moreover, for example, he feels that he be an expert on ancient bronzes, and a beginner of export wares in 17th century. Leaving the purgatory, he would want help to a standard textbook.

Among English books, this noted book may have used in many college courses. 1st edition(1967) and The revised edition(1973) were welcomed by many students and scholars. Even a japanese translation had been popular for many years. In this 4th edition, 84 old respectable scholar still attracts me with lucid style.

For beginners, this should be a good introduction. Appreciating artifacts in Museum, finding something in antique shop, or reading books/papers/articles about a particular subject, it needs some elementary background knowledge for chinese arts and history. This offers such COMMON SENSE.

For experienced scholars, this is an interesting reading. This might look a mean textbook for them. Before reading, I minded I become tired for many facts already learned, but I enjoy this book even in commute train, although this edition format is too large. Because not only this is Readable for a japanese, but also gives many (sometimes implicit) skeptical suggestions. At 258p, about Wan Hui (1632-1677, painter), "The Palace Museum collection also contains a number of clever pastiches of tenth-century and Northen Song landscapes that are almost certainly his work"; keen insight!.

I should regretfully notice that some illustrations/items might be inadequate, blurred, or damaged. I hope that they will be changed at next chance.

The colour illustrations in this book are lovely to behold. Many show restored artifacts from China's long history. Vases, stoneware, flasks, paintings, handscrolls and much more. From the paintings, you can see where the traditional misty style of Chinese landscape paintings arose. There are even genres, like bamboo painting. Just like the Europeans developed portraits of horses and landed gentry.

Naturally, there is also extensive coverage of porcelain plates and containers. Beautifully decorated. The items that the Europeans would call "china"; so close was the identification of the objects with China itself.

But more than just objects, the narrative also gives insight into the various Chinese dynasties from which these arose. And also the provinces, like Jiangsu and Anhui, that were artistic centers.

The book, The Arts of China, was book I needed to purchase for a college level Asian Art History class focused on China. Each chapter was divided into dynasties and within each chapter sections were written on: background history, ceramics, paintings, sculpture, and other various topics. There are lovely color pictures with high resolution, which are an essential to any student or scholar studying this art. The writing is clear and even enjoyable. I'd highly reccommend this book!