Asian Books

This lyrical story is gloriously illustrated by Elena Gomez and makes a perfect, peaceful read-aloud just before bedtime. Don't worry if listeners don't know what a sari is -- this is a story about every young girl's desire to be as glamorous as Mom, and the tender mother-daughter bond that transcends cultures. Plus, by the end of the book, you'll both be wanting to try on a sari.

Mama's Saris by Pooja Makhijani is an eloquent and colorful presentation of a story that celebrates the beauty of saris, and the special role they play in an East Indian family. The story is a vivid portrayal of a conversation between a mother and her daughter around the daughter's desire to wear one of Mama's precious saris for her 7th birthday party. It is based on a simple fact common to most cultures - "little girls LOVE to play dress up in their moms' clothes, and discover in themselves the images of their mothers."

A little girl is celebrating her seventh birthday. And obviously, there is a party for which Mama is planning to wear a sari. The little girl has to help her mother decide which sari to wear for the party. When Mama flips open the suitcase filled with saris that she wears only for special occasions, the girl's excitement to wear one on herself naturally increases. They talk about the different occasions Mama wore each of her saris - a black chiffon one "that shimmers like the night-time sky" she wore for Devi Masi's annniversary; the magenta one with "a herd of galloping deer embroidered on it" is the one she wore when Nanima came to visit the first time. And so on and so forth....Finally, the little girl picks an orange one that Mama tells her she wore when the little girl was first brought home from the hospital. She watches her mama elegantly tie the sari, and "weave the fabric into an accordion between her slim fingers."

Seeing her mother shimmer in a beautiful sari, the girl feels a stronger desire to look all grown-up like Mama. And she explains to her Mama she wants to pick a sari for herself because she is a big girl who can "pour her own glass of milk in the morning without spilling and also, does not need the nightlight anymore." Finally, Mama agrees to grant her wish only because it's her birthday. So Mama ties a beautiful, blue sari with gold flowers on her little girl by wrapping the fabric around her again and again. She also gives her bangles to match, and then puts a beautiful glittery bindi in the middle of her forehead! And then asks, "So, what do you think?", and the girl answers with a sparkle in her eye, "I think I look like you!"

I love books like this one where the text and the illustrations enhance each other so much that you can actually feel the textures, and fabrics of the different saris that the little daughter admires in her mother's collection. In fact, wouldn't be an exaggeration to describe that the text and the illustrations flow together just as beautifully as the pleats and folds of an elegantly clad sari. I loved the part in which the author so beautifully describes the little girl's fond memories of her nanima's saris - "the folds and nooks of nanima's saris holding lots of secrets; safety pins and coins fastened on the inside; the smell of cardamom and sandalwood soap all over." That was a neat treat!

Final say:
Mama's Sari is a multi-cultural and a multi-sensory treat.
This book can be just as pretty, stylish, delicate and dignified as your mother's collection of saris! So, let's share the tender and delicate tale of Mama's Saris with our children. Add this to your mother/daughter collection of all things precious! I am sure your family will cherish the book, and talk about it for a long time. Moms/dads of sons, may be the author is considering doing a sequel - Papa's Kurtas???? :D

Additional Resources for Mama's Saris: There's a teacher's guide available on the author's website. A great resource to discuss some of the things that the book highlights. The guide has discussion questions, and project ideas.

Aside from seeing, touching, smelling,and of course, reading the book many,many times, my daughter and I loved singing the lyrics of Mama's Saris (available on the author's website) to the tune of "Frere Jacques"...LOVELY,LOVELY IDEA!

"Mama's Saris

Mama's Saris

Orange and Blue

Eggplant too

Folded Pleats of secrets

Folded Pleats of secrets

Try one on!

Try one on!"

"Mama's Saris" is Pooja Makhijani's first picture book and I'm happy to report it's a beauty.

The narrator of "Mama's Saris" is about to turn seven years old and Mama, who wears saris only for special occasions, is choosing what she will wear to her daughter's party. The daughter helps, but, really, all she wants is to wear a sari too:

"Mama unfurls it. It shines like the afternoon sun. I watch her tuck one end into her petticoat and pull the other end over her left shoulder. Then she folds the pleats, weaving the fabric into an accordion between her slim fingers.

I look down at my Mary Janes and corduroy jumper. I feel so plain next to her."

Finally, mama relents and helps her daughter dress in one of her saris, accented with gold bangles and a bindi. When she is dressed, the narrator looks in the mirror:

"I feel like I am floating in an ocean of blue. The shiny material makes me sparkle. I think it looks beautiful."

When mama asks, "what do you think?", the little girl answers, "I think I look like you."

It's a simple story on the surface of things, but the text speaks volumes about growing up, mother-and-daughter relationships, and family traditions. Elena Gomez' s warm, lush paintings fit Makhijani's text perfectly and bring the saris and mother and daughter to life. "Mama's Saris" is a lovely, heartfelt debut and not to be missed.

Intrigued with the idea of acquiring some sari fabric, I visited a store in my metropolis that sells clothing and fabric from India. What an amazing experience!

Long rolls of fabric lined the walls. It was like a glittering, glowing shimmering color wheel. Initially, the best we could manage was, "um, how about...orange." We were faced with more patterns and shades of orange to red to yellow than we could take in. The sales woman cheerfully pulled down bolt after bolt and sent the rolls of fabric shooting across the large tables so we could see the amazing designs and hues.

We left with three lengths of color feeling dazzled and elated.

This memory was in my mind as I looked at Pooja Makhijani's new book, Mama's Saris. The little girl in the story is celebrating her seventh birthday and asks to wear one of her mother's saris. Thinking the girl is too young, the mother tries to negotiate the request with her daughter, "Why don't you wear your chaniya choli?"

Ultimately, she is moved by the strength of her daughter's memories of her different saris and acknowledges this special occasion by letting her daughter select one to wear.

The tender give and take between them is beautifully written.

Elena Gomez has caught the glow and shimmer of this elegant clothing in the backgrounds of the illustrations. The fabric fairly swirls off the page as the little girl looks at herself, in the mirror for the first time, dressed in a blue sari with gold bangles on her arm.

Beautiful!

I guess I never really realized that it was a universal instinct. You are born. You grow a little older. And then one day your raid your mother's closet, trying on her dresses, shoes, scarfs, and so on for the sole purpose of becoming, if only for a little while, older. I remember trying on my mom's wedding dress once, in all its frilly early 70s lace glory, and I was not a child usually prone to "playing dress up" as it were. Imagine then if you had a mother that wore clothes that had names like Zardosi, Banarasi, and Kalamkari. Pooja Makhijani has taken a very simple concept and has expanded it to encompass the whole wide world. With simple language and just the right words, she conveys better than anyone what it can mean to a daughter to find herself made into the image of her mom.

A small girl is about to celebrate her seventh birthday and you know what that means. Time for Mama to pull out the suitcase of saris she always stores carefully under her bed for special occasions. On this day in particular she lets her daughter pick out which sari to wear. Will it be the black chiffon one that "shimmers like the nighttime sky"? Or how about the blue with the gold flowers that dance along its border? No, nothing but the brilliant orange, "with edges that look like they have been dipped in red paint", worn on the day when our little girl was first brought home from the hospital will do. Only, it's not enough. The girl wants to finally wear a sari of her own, and this time, because it's her birthday, she's finally getting her wish. She is swathed in blue, bangled to match, and then in the final crowning touch is given the kiss of beautiful glittery bindi right in the center of her forehead. And when asked what she thinks, the kid answers in delight, "I think I look like you!"

There's an awfully helpful Author's Note at the beginning of the book that provides quite a bit of sari-related information for people who, like myself, haven't been initiated into the world of Kantha and the like. Says Ms. Makhijani, "I wrote Mama's Saris after realizing that my own fascination with my mother's fancy clothes was not unique. It seemed as if each of my female friends, regardless of ethnicity or age, remembers being captivated by her mother's grown-up clothes." True nuff. Extra points for the rather nice Glossary of terms, also at the front of the book, that defines everything from what a didi is to chaniya choli, alongside pronunciations. As for the text itself, it really does convey the yearning many a little girl feels towards becoming as glamorous as her mother. Add in the extra delight of dress-up and you've got yourself a book that speaks to all kids of all persuasions.

Now sometimes the stars align in just the right way to allow a first-time picture book author like Ms. Makhijani to be paired with just the right illustrator. What this book required was an artist that could match the author's eloquent ode to the sari in a realistic fashion. A messy illustrator or representational one working primarily in the realm of splotches and blots would not have done this book any justice at all. Elena Gomez is no newcomer to the world of picture book illustration, but she has yet to be recognized fully. And in the case of "Mama's Sari", she proves herself to be especially good at repeating vibrant patterns in this story, and everything from the bedspread to the saris to the wallpaper is reproduced here magnificently. I also enjoyed the moments when the narrator would discuss a moment from the past and Gomez would accommodate by showing the characters from that moment as snapshots lovingly framed and fallen against a multitude of glorious fabrics. Interestingly enough the artist's figures are far more natural when they aren't side-views of faces. Sometimes a shot from the side will look a little forced or unnatural. It rarely happens, however, and she makes up for these with pictures like the magnificent view of the girl's mother smiling in her vibrant orange and red sari, as her daughter pouts over her left shoulder, simultaneously entranced and envious.

All in all, a soft and sweet little book. Written with love and illustrated with obvious care, it definitely is a keeper through and through. Consider adding it to your own collection should you feel you need to beef up your mother/daughter selection. A perfect Mother's Day gift, to say the least.

Read your typical history book covering Chinese history and you'll get a very distinct picture of the Jurchens and Manchus--about their conquest of china, the corruption of the Qing government (as if no other dynasty had corruption), of the power-hungry Aisio-gioro Nurgaci, founder of the Qing dynasty, and their alien, steppe-nomadic ways. Most Chinese history books have little good or substantive to say about this north-east Asian culture whose term for their religious priesthood was adopted by the West, "Shaman" (Chinese, "saman").

This book takes all that mythology and anti-Manchu rehtoric and blasts it to pieces with a compelling story of a people who have rarely been studied objectively and as a culture separate from the Mongols and Chinese. Nurgaci was not the man of the myths we've heard and never called himself Emperor. In fact for most of his life his title was "beile of the Jianzhou Jurchens". He was a great lord and chieftain of his lineage, but not even an autocrat in his authority, ruling jointly with his brother, Surgaci, for many years.

Besides the myths about Nuragi, many cultural myths are also dispelled. One major one is the assumption that the Manchus were nomads with a steppe culture analogous to the Mongol culture. This book explains how and why this assumption is wrong and is essential to anyone who wants to know the real Manchu people.

I'm only 3 chapters into the book and already know I need to reread it. there's a lot of information for the student of Jurchen and Manchu history!

WELL DONE!!

I read this book after Evelyn Rawski's "The Last Emperors" and it did answer & clarified a lot questions I had with regards to the Manchus and how they were like before entering China proper. The chapter on Nurhachi was good as was the section on the inevitable power struggle between Cixi and Guangxu (my only wish that this was elaborated further).
Crossley's book is highly recommended for both casual & serious historians alike. My suggestion is to read this first before Rawski's "The Last Emperors"

I have read a more recent book Evelyn Rawski's "The Last Emperors: A Social History of Qing Imperial Institutions " in which she discusses the context between her book and "The Manchus". The two books are probably quite similar but I think that Rawski's book would contain much more undisclosed material.
I have decided not to change the rating on this book in the interest of fair play.

I visited to pick up the paperback of this book, and saw this perplexing comment below. This book and The Last Emperor are apples and oranges. This is a popular book (I got my original copy from History Book Club) and intended for reader's with a general interest, or maybe beginning historians. The book by Evelyn S. Rawski is an academic title, very thorough and erudite. But also the books are not on the same subject. Rawski is about the Manchu emperors, their courts and palaces. The Manchus is much more general. Please do not get confused into thinking that these two books are on the same subject.

It's funny to note that at many times the Qing dynasty faced many of the same problems that we see today: overpopulation, government corruption, war against drugs. So much of what we think of as Chinese is also Manchu and was introduced rather recently. Well writen and clear all the way through.

That is the best translation of the Masnavi I have ever seen. It consists both the original idea and the rhyme.

Though excited about this fresh translation of the first book of the Masnavi in a rhymed and metered format, I must admit I was a bit skeptical at first about its faithfulness to the original. Recently, though, I had the chance to go over portions of the translation with my father, who is very well versed in Farsi and in Rumi's works, and we were positively surprised by how much this rendering is loyal to Rumi's masterpiece in both spirit and form. May Mr. Mojaddedi be inspired and energized to carry out the monumental task of making the Light of all six of the Masnavi's books available to the English-speaking public in its original and delightful rhymed couplet form.

The translation is a little off on some parts, in my opinion, but other than that it is good. It is a mid-level book of Sufi Anecdotes written in symbolic couplets. It is not for beginners. One should, before reading this, study theology and jurisprudence (the Creed of Imam Tahawi and Maqasid are good for theology and jurisprudence). On top of that, The Book of Illumination and al-Hikm (Sufi Aphorisms) by Imam ibn 'Ata'illah should both be read before delving into the Masnavi. Otherwise the reader will not understand anything.

If you visit Konya, and see Rumi's tomb, with his father and son and other family members buried nearby, in a gorgeously illuminated mauseleum-mosque, with its supernal light and its electric energy of peace and vastness, you see Rumi is no pop-figure but drenched in traditions of Islamic Sufism that brings out its deepest and most original heart, the Prophet Muhammad's (peace be upon him) true teaching... compassion, love, and adherence to God's world above and beyond this one through right action and sincerity, wild daring, discipline and spiritual transformation.

Rumi's Masnavi is a true companion on this Path, and Rumi a true indicator of this Path, and for those without Persian, we've relied on the Victorian (though unrhymed and much interpolated) masterpiece of Nicholson (and later revisions by Arberry) and the rather haphazard fragments either "translated" or "rendered" in new, modern versions by contemporary poet-scholars.

With this new translation by Jawid Mojaddedi we have a sensational new take on Rumi, whose original (as indicated by its title) is in rhymed couplets (Masnavi means "rhymed couplets"), and which ranges from praise-poetry to stories, both high and low, to long stretches of ecstatic gnostic realization and "revelation" filled with light. This new translation keeps it all, and in a flowing smoothness that is truly remarkable, drenched (as in the original) in remembrance of Allah (the same One God of us all).

It's eminently readable, and you feel you're getting closer (by the fidelity and sincerity of the translator, direct from Persian this time!) to Rumi's actual tone and intention.

I'm a cheerleader for this translation (and have no qualms calling it this, since it is), it's a sweet gift to us, and attests to Rumi's saintliness after all these centuries. He's reached us in our mire, and now in a voice that sings in poetic tune to lift us from it (from mineral to plant, from plant to animal, from animal to angel)!

May our intrepid and courageous translator be given strength and inspiration to continue until all six books of this world treasure, this rare compendium of spiritual truths, are as superbly translated and made available.

This is a superb translation by a true expert. So many of the "translations" of Rumi are actually rewordings of the old Brits' English translations - done no doubt with the best of intentions and enjoyable to read - and should not be called translations at all. So much time has elapsed since Coleman Barks began his love affair with Mevlana; why on earth hasn't he used that time to learn Persian and Arabic? Then his translations could be true and poetic.

So, this one is really precious. May Mojaddedi the translator live long and keep putting out more and more of the Mesnevi. Why does amazon put this new translation, the most important Rumi publishing event of the last half century, way down the list when you search under "Rumi"? If I were marooned on a desert island, this is the book I would want with me.

I am the formless form
I operate on myself in this way so that I am continuously arriving
And I am the knower of this field of Description.

As you start reading, your heart will lock it's claws into the book while your brain boils away in a fit of rage.

This is the Most definitive translation of Rumis's Grandest and most Important work. So literal a very few times that it may loose accuracy. Yet surprisingly loyal for being the work of a western scholar.

If you want to drink Rumi with a glass of wine on a slow afternoon then this work is NOT for you.

This is because in this work his mysticism interweaves deep Islamic thought you cannot conviniently delete or distort.

Potiential readers should be aware that this is the diffinative English translation of this spiritual classic. It is sometimes referenced by native Farsi speakers because of it's accuracy. However, it is difficult to read. Know that the work required to read this translation will be well rewarded for anyone with a heart.

Jalaluddin Rumi, b. 1205 in Balkh, now Turkestan, d. 1273 was founder of the Mevlevi order of Sufi Dervishes. He was known among followers as "Mevlana" or "Our Master". The Mathnawi, "Song of the Reed" is often referred to as the Koran in Persian, and ranks among the classics of world spiritual literature.

A series of 3 volumes, the Mathnawi is an ingenious series of allegories, fables, parables and tales, often no more than a page or two in length. The sprawling scope of the subjects covered include everything from accounts of the famous saints of Islam, Christianity and Judaism; told in symbolic and allegorical form to deeply mystical interpretations of life and a renewed call to faith. The quality of the writing is best described as ecstatic prose verse. They are rich with detail about the cultural life of the period.

Rumi dictated the 3 volume series to a scribe, after the loss of his closest friend, guide and spiritual companion, Shams of Tabriz.

Shams was a wandering mystic of astonishing accomplishment who came upon Rumi in his mature middle years and through their relationship, helped carry Rumi into further phases of his development. Their bond was so close, it aroused suspicion and finally jealousy among Rumi's followers, who plotted against Shams and eventually had him killed.

Rumi was inconsolable. According to the tales, the famous turning of the Whirling Dervishes was invented as a form of meditation and praise to God after the wrenching loss of his spiritual companion.

The richly layered stories of the Mathnawi will prove inspirational for the spiritually-inclined of any faith, as well as students of comparative religion, and those open to inner adventures describing the mystical travels of one of the world's greatest, and most literate saints.

Forget all the 'new translations' 'new interpretations' blah blah blah they are nothing of the kind, they are all just re-writes of this classic. Save yourself the money and the time reading books by people making money off the backs of scholars who given years to produce this masterpiece and buy this.

Nicholson based this translation on manuscripts in Konya at the Mevlevihane during the early part of the last century. It must have been particularly hard during those troubled years in Turkey. He studied the commentary of the great Mevlevi Sheikh Ankarawi and the 2 volume notes and commentary (sold separately) are actually translations of that Sheikhs works.

Modern day Sheikhs have said openly that this is one of the best interpretations of Rumis works around today. Sefik Can one of the last great scholars of the Mathnawi who continued the commentary Tahir ul Mevlevi the Turkish commentary on the Mathnawi praised Nicholsons translation so that should give you some idea of the quality of this book.

You may wish to also look for the Discourses of Rumi also by Nicholson and the works of his student A J Arberry. Of modern scholars only Schimmel has come close with her excellent work 'I am wind and you are fire' and Chitticks translation of chapters of the Mathnawi (Chittick is a scholar in Persian, Schimmel is multi lingual) Save yourself the time and money, avoid the thousands of other books on Rumi and buy this one.

One of the best books about pre-war Japan. Each story brings to life a different aspect of life, culture, and class as they existed before the war. If you've visited Japan, you'll have a hard time believing this kind of world ever existed. I guarantee you won't be able to put it down.

This is a factual book in which a world that no longer exists becomes vividly real as seen through a provincial doctor's elderly patients recollections of their younger lives. My first introduction to this book came through my Japanese language teacher. Her physician is the son of the author. Each chapter covers the recollections of a single patient, so the book is very easily read in discreet portraits which together paint the overall picture. Dr Saga's patients tell their stories with such intimacy, warmth and frankness that you are drawn ever deeper into their world. All lived in and around Tsuchiura, a town on the edge of a large lake about 30 miles north of Tokyo. Many of the stories are of fishermen who made their living from the lake. There are also the merchants, gangsters and entertainers. Together, these people provide a real insight into the way people lived and worked in Japan before the rapid development of the latter half of the 20th century produced the comfortable lifestyles of today.

1st person accounts collected by a Tsuchiura doctor from elderly Japanese. Together, they piece together a quiltwork of Japanese society from the bottom on up. All, in pre-war Japan. Tsuchiura is just next door to Tsukuba, a modern science city and destination for many foreign researchers in Japan. As one such researcher, the book helped me understand some seemingly unexplainable remnants of old practices that still persist. I couldn't put the book down. The stories of lives jump out of the pages.

This book is filled with priceless historic snapshots of real-life everyday drama that cannot be found in any textbook. From farmers, fishermen, and merchants to executioners and geishas who entertained kamikaze pilots in the last days of their lives, these simple, unadorned memories of ordinary smalltown Japanese people living in a previous era under circumstances that we in modern, high-tech times cannot imagine left me in awe of the power of the human body and spirit. A learning experience in culture and history that reinforces how valuable the memories of our own elders are.

A collection of interviews with people who tell stories of their lives in a small japanese village from about 1890 to 1930. Arranged by occupation, all are very interesting. One of the most intriguing aspects of the book is the commonality the stories share with my own American relatives (as to the hardships of farm life, what people did for fun, etc.). The book even occasionally slips into a "when I was a kid we had to walk two miles uphill in the snow" sort of mode, but this makes many of the stories all the more touching.

Poetry is soppy, Zen is impractical and Orientals don't think or feel like the rest of mankind - three myths demolished in one elegant little book. Every poem breathes humanity and warmth, and the pictures complement them beautifully. A translator should above all respect and preserve the intent of the original author; Clements' fine, perceptive translations allow the underlying emotions and sensations of the works room to breathe, and give the reader space to make his own interpretation. These are poets who, attempting detachment from the world, have stood back far enough to observe it and themselves with loving exactness. Beautiful in every way.

This book is beautiful not only for the wonderful poetry but also forthe wonderful artwork throughout. Here's one of my favorite haikus from the book:

A fallen flower
Flew back to its perch
A butterfly

Then on the opposing page there is a wonderful chinese painting of a butterfly amongst some flowers.

The haiku included here (and there are many!) are so beautiful, they make me slow down and breath when I read them. Here's another wonderful one:

Without a brush
The willow paints the wind.

Simply wonderful. This would make a fantastic gift for the nature lover or the lover of haiku.

The cover itself - so beautifully - lets the reader know the jewels to come. In a sparse, delicate writing style, these haiku take us through dawn to dusk.

The illustrations - wood block prints, scenes from painted folding screens - create a haiga in the mind.

If you can procure a copy, please do so. It will enrich your life immeasurably.

A book to savor. If you're familiar with haiku, you keep feeling a shock of recognition when you encounter a favorite redone in Clements's thoughtful lean style. Fresh organization, by time of day. Illustrations well chosen and well reproduced. This would be a fine gift book for a young person you want to interest in poetry.

A beautiful gift book. Each page of three haiku faces breathtaking paintings in the Japanese style. Most of the paintings are of nature, giving a sense of the season as one reads haiku of that season. The combination of painting and haiku gives a much deeper value.

I ordered this book for my granddaughter to read this summer.
I was pleased with it and she will enjoy the book and pass it on to
her classmates, I'm sure.
Bonnie Cadwell

Mountain light is a really good book. i would give it 5 stars because it is an all together really good book. it is about Cassia and her "friend" squeaky, and how they help their villages, and how squeaky goes the the land of the golden mountain.

this book was a great sequel to The Serpent's Children, which i recommend. it shows a more subtle romeo+juliet deal, except less dramatic and fatal. it shows us that friendship and love can conquer all.

Mountain Light shows how a friendship can survive the adversity of war and ancient grudges. The two characters are hardly alike but they seem to be the same person.

Mountain Light
Mountain Light by Lawrence Yep is the best children's book I have ever read. It is full of Adventure, Comedy, Drama, Mystery, love and at the same time like a cool documentary because it is so educational. It is about a young man that is faced with the decision whether or not to leave his friends and go back to his family or "pack" where he belongs. But he realizes that he has become so close to his new friend Cassia it is a hard decision to make. He decides to go to the land of the Golden mountain in America and work with his friend's brother and his friend to make money so maybe, just maybe he can be married to Cassia. It is full of hardship and a lot of drama. Mountain Light is actually a book in the Serpent Children Series which is one thing that I love about this kind of book, they never seem to end when it's a series. I don't find books very exciting if it's only one topic. This book is about every topic you can think of! Another thing about the book that makes it interesting is the characters in the book can relate to everything and everyone and it's fascinating. What makes this book so much unlike others that I have read before is every time you read a new book in the series it is always a different person in the series telling the story. I believe that anyone who likes to read at all would fall deep into this book. During the time reading this book I refused to go down to dinner! Mountain Light is defiantly the best children's book if not book i have ever read!

Santoka was a royal pain in the posterior for his long-suffering wife. No doubt he reeked from days on the road and a daily diet of sake and pickles and not much else. His manners, too, were less than couth. Not much about his personal life comes through the sometimes barely permeable wall between Japanese and English, and perhaps that's good for Santoka's English readers. The Japanese are a bit more tolerant of this kind of behavior, especially when one has a real literary genius to contend with. It's a fact: telling simplicity, and an incredible ear for saying (in the originals) just enough to make the magic happen. I've wrestled with translating this man's work and English doesn't even begin to begin to convey what Santoka does with the layers of meaning in the Chinese characters (Kanji) as well as the very sound of the Japanese itself. Take, for instance, that famous poem that sounds a bit like a commercial for a clothing company (Blue Mountain is a clothing chain in Japan that sells cheap suits to salary men)--that goes something like: "Push apart/ enter/ push apart/ enter/ blue mountain"? Well, it mimics, among other things, the sound of a work gang in the original. No kidding--that repetitive drum-beat in miniature. You can't get that into English, folks. No translation into English--not even these--can help you "get" Santoka's rightness as well as his breath-taking simplicity. The most one gets is an approximation here, a pointing. The original Japanese is where the real Santoka shows his stuff and no translation, however deft, is going to give him to you. I lived in Kyushu for eight years and am familiar with Kumamoto and those blue mountains that you can't look away from. On the train going to work in the morning and coming home in the evening I'd watch them and think "Santoka walked there."

This is a good book of translations, and one sturdy enough for those who want to take it along on their own forays into "walking Zen," though only a fool would elect to follow Santoka's path. Those blue mountains are steep and dangerous and you have to be sturdy and single-minded as a mule to climb them.

Kaneda Santoka, Mountain Tasting (Weatherhill, 1980)

Kaneda Santoka, itinerant Zen monk, storied drunkard, and haiku poet, never achieved the fame in the West as did more traditional haiku poets like Basho and Soseki. Some few admirers of his work have been silently pulling strings offstage to change that, and while it hasn't happened yet, things slowly progress.

Santoka was on the cusp of the nontraditional haiku movement when he began writing, and was drawn to the idea of haiku that didn't use seasonal imagery, nor stick to the exact seventeen-line syllable used for traditional haiku in Japan. In the hands of a good enough poet, nontraditional Japanese haiku remain haiku; short, image-laden pieces that beg reflection from the reader while offering a quick view through the eyes of the poet. And Santoka was assuredly a good enough poet.

This selection of just over three hundred haiku from his works was, to my knowledge, the first collection of his work published in English (a complete works has been published in Japan, along with a few biographies). Santoka's haiku are deceptively simple, but open farther upon meditation (which is why the books' subtitle calls them "Zen haiku," presumably):

Going deeper
and still deeper
the green mountains.

or

The green grass!
I return, barefoot.

A wonderful little book, well worth reading. Especially recommended for aspiring haiku poets who write in English, as Santoka's haiku translate very well and are also excellent examples of nontraditional haiku in English. *** ½

MOUNTAIN TASTING : ZEN HAIKU BY SANTOKA TANEDA. Translated by John Stevens. 126 pp. New York and Tokyo : Weatherhill, 1980 and Reprinted.

Santoka's life may seem tragic. Son of a womanizing father who lost the family property through an unwise business venture; a mother who committed suicide by throwing herself into a well when he was eight; himself a university dropout; failed jobs; alcoholism; a failed marriage; a series of nervous breakdowns; a suicide attempt which failed when the train was just able to stop in time. How could such a man have become one of Japan's best-loved poets? And what, we wonder, could we ourselves possibly have to learn from him? The answer to this last, in a word, is everything.

Santoka was pulled from the tracks and taken to a nearby Zen temple. The head priest, Gian Mochizuki Osho, a shrewd and kindly man, simply took him in without any reprimands or questions, and offered to let him stay as long as he liked. Santoka had always been interested in Buddhism, and after one year of Zen meditation, chanting sutras, and working around the temple, at the age of forty-two he was ordained a Zen priest. The Zen he was ultimately to practice, however, though traditional, was unusual. It was the Zen of solitary walking. The open road was to become his home and his monastery.

John Stevens has provided a truly interesting and moving account of Santoka's life and work which will fill you in on the details. Suffice to say here that Santoka's first walking pilgrimage through Japan, begging as he went from village to village, began in April 1926 and was to last for four years. During this trip to Shikoku, he visited the 88 shrines and temples associated with the Buddhist saint Kukai (774-835) to pray for the troubled spirit of his departed mother.

There is a wonderful photograph of Santoka on page 30, which shows him setting out on a similar pilgrimage in 1933. With his straw sandals, white cotton pants, long robe, monk's staff, and large woven straw hat, he looks an odd, if not laughable, figure. Few would suspect they were looking at a person of incredible courage, someone who had undertaken the most fearsome and difficult task of all, the full acceptance and savoring of the moment, despite what it may bring.

All told, Santoka is said to have walked more than twenty-eight thousand miles, starting out each morning penniless and with no food, and not knowing where he would stay or even if he would find lodging for the night. These were very hard miles, miles which brought sun and rain, generosity and hostility, food and hunger, smiles and scowls, health and illness, thirst and pure water, loneliness and moments of companionship, grief and intense happiness, but moments always lived with the thought that everything should be welcomed, whether good or bad, just as he himself was not judged but welcomed and taken in by the kindly Gian.

The record of his various thoughts, feelings, perceptions, and of the myriad sights and sounds he encountered on his walks of self-discovery, will be found in his poems. The poems are characterized by an absolute simplicity, an absolute honesty, a total absence of artifice. In a world such as ours, brimming over as it is with lies, disinformation, propaganda, and the totally phony, Santoka's spontaneous utterances come to us like a pure, cool, and refreshing breath of air. He is even, as Stevens points out, honest about his failure to solve what for him was the ultimate Koan - sake.

After his very fine 29-page Introduction, Stevens has given us 372 of Santoka's free-style haiku in excellent translations. Since the poems are linguistically very simple, their literal meaning carries over easily into English. What is lost, however, as Stevens points out, is the beautiful rhythm, assonance, and onomatopoeia of many of the poems, and to offset this he has thoughtfully provided, at the bottom of each page, the romanized Japanese of the originals, a few of which are accompanied by his notes. He has also provided a useful Selected Bibliography of both Japanese and English sources at the end of the book.

Here, to give you a taste of Santoka, is Poem 18 as translated and annotated by Stevens (with my indication of pronunciation added). A halftone of Santoka's striking brush calligraphy of this poem has been used as frontispiece to the book:

"Going deeper / And still deeper - / The green mountains.

Wake itte mo wake itte mo aoi yama [wa-ke it-te mo wa-ke it-te mo a-o-i ya-ma]. This was written in early summer in the mountains of Kumamoto Prefecture and is perhaps Santoka's best-known poem. Deeper and deeper into the human heart without being able to fathom its depth. . . ." (page 37).

The human heart, yes, but also self, nature, time, reality, the mystery of existence, and, ultimately, the world of Buddha, or, for others, God.

Santoka's great merit is that he returns us to a reality that is also ours, though most of the time we choose to overlook it. I can't even begin to do justice to him here - he's just too big. But what can be said is that there is a depth and resonance to his poems that will evoke a powerful response in all sensitive readers. His love of the simple things in life, of nature, and of all life-forms and living creatures, is infectious.

'Mountain Tasting' is a golden book that would make a wonderful gift for someone very special to you, but you'd better not start reading it - or you won't want to part with it!

There is a notion of the spiritual life especially prevalent in Christian circles that our shortcomings are something we should seek to eliminate. As in so many other aspects of our life these days, we "wage war" on the many things that make us less than ideal specimens. Obesity, drinking, sexual hangups, shiftlessness, and a hundred other vices are seen as antithetical to the spiritual life. One of the things that Santoka has helped me to understand is how narrow a view of the life of the spirit this kind of thinking is. Santoka was by most people's standards a shiftless drunk. He was poor, unemployed (in fact he lived as a beggar) and content to remain so. His family and marital life were pretty much a disaster. That he was also one of Japan's greatest haiku poets is, according to the narrow, eliminate-the-vice, make-something-of-your-life mentality, an achievement in spite of his failings. I see his poetry as a measure of his success in living with his vices, and at least in part of deriving from them some of the depth and simplicity that makes his work so appealing. As psychologist Thomas Moore tells us, the things we seem to fail in may in fact be our path to greater spiritual depth, not necessarily by overcoming them, but in learning from them about a spiritual reality that is direct and earthy and real. It is a spirituality of not arriving, or, what amounts to the same thing, of arriving with every step. There is no destination, only the journey. Although there were other poor, itinerant haiku poets, none, not even the great Issa, is as earthy as Santoka, "earthy" not in a vulgar sense, though he and Issa too could be delightfully and sometimes not-so-pleasantly vulgar, but in that he lives very close to the physical reality of life largely unmediated by social security, health insurance, family, friends, and a "real" job.

Santoka finds a very sympathetic interpreter in John Stevens, whose translation and brief biographical summary are the best introduction you'll find to this great poet. Burton Watson's For All My Walking: Free-Verse Haiku of Taneda Santoka is also worth reading, especially for the translation of Santoka's diary excerpts, but the haiku selection is (deliberately, because he didn't want to duplicate Stevens) not as rich. Stevens gives us the cream. Of course, there are also many of Santoka's haiku in Reginald Blyth's still unsurpassed anthology of haiku (Haiku, in four volumes), and Blyth's translations are unfailingly insightful. But in Stevens we have more, and we have it all together.

If you're interested in other books on haiku, I've posted a bibliography of my personal recommendations (in PDF format) at http://www.redrockyellowstone.com. Once there, go to The Art of Haiku and click the link entitled "Read more about haiku..."

Beware! The haiku of Santoka is nuanced and subtle - deceptively simple:

The green grass!
I return barefoot.

Upon my first reading I had the overwhelming impulse to race through the book which I gave into. But then, I found myself reaching for it and savouring one or two of these wonderful translations.

For those writers of haiku, trying to imitate Santoka's style is quite an exercise. How to approach:

Even the sound of the raindrops
Has grown older.

or

The moonlight

pierces
my empty stomach

These haiku will resonate long after you put the book down.

Myths of Light is a compilation of articles and lectures given over the years by Joseph Campbell. The topics explored in these pieces are quite varied. However, the main theme that ties these works together is that they all explore aspects of Eastern belief, mythology, iconography, and symbolism.

Written from the perspective of the outsider taking a look into the beliefs and mythology of the East, Campbell provides an insightful overview. Campbell takes the stance that whether our stories are based upon fact or are merely fiction meant to illustrate proper behavior really isn't the issue. The truly important thing is that within mythology, dogma, and ritual we see the remnants of belief.

I believe it is this viewpoint that allows Campbell to look within the various belief systems of the Eastern World with wonder and objectivity. Quite interesting. Perfect for new to the study.

This book was a lovely, focused introduction to Hinduism and Buddhism, with a little Jainism and Taoism thrown in for good measure. I loved Cambpell's ability both to find the lovely, telling details in each of these traditions, and to find the overarching themes--especially the idea of Brahman, which he sees as underpinning all of them. I also particularly loved Cambpell's sense of humor--in one section he's describing the reincarnation of the soul, and says it's putting on and taking off bodies "like a shopper at Macy's trying on scarves"! That page is marked in my copy by the tea I sputtered because I laughed so loudly.
The only downside from my point of view was an emphasis in the sections on Buddhism on Mahayana as opposed to Theravada Buddhism. Though he does discuss the older branch of the Buddhist tradition, it is somewhat in passing. Nonetheless, I enjoyed this book enormously.

Having devoured Campbell's work in the nineties, I'd almost given up on his unpublished essays and lectures ever seeing the light of day. Then came Thou Art That and now Myths Of Light. These books are just perfect echoes of Campbell's comparative conclusions, only more concise. After a lifetime of work, his lectures honed his thoughts into great clarity. These two books are actually great introductions to Campbell's thoughts and work. They touch here and there on historical evidence, but mainly stay in the line of clarifying what occident and orient mythology entails.
If you've been waiting a long time to read more Campbell, you'll have bought these books already. And if you haven't, you'll be very surpised.

I heard about this book at the Campbell Foundations website and was very interested--I'd always wanted to learn more about Asian religions but had found the books I'd looked at either too hard-core academic or too new-agey or too obscure. I tried reading the Bhagavad Gita ten years ago, and thought it was cool, but couldn't really understand it.

This book really gave me an insight into the mindset that lies behind Buddhism and Hinduism. I'd always thought the emphasis on reincarnation was a little creepy, but now I have an idea of what its about. Campbell tells some wonderful stories and connects the dots between what seem like really random ideas. And the short section on the Bhagavad Gita was really eye-opening. I went back and reread the book and feel like I finally understand it.

This is a perfect book to start your exploration of Eastern Religion.

Having not much more background in Asian religion than a Zen Buddhism class I took to fulfill a distribution requirement in college 20 years ago, I approached this book with some anticipation and some anxiety. My main memory of those long-ago days in that lecture class was of reading and discussing religious texts that seemed to have been written by another species--the basic assumptions were beyond me, and my professor (who had spent his adult life immersed in the study of esoteric Buddhism) had a hard time understanding why we didn't just get it. But I'd been fascinated by what little I'd understood and always wanted to find a more accessible guide to the ins and outs of Asian myth. This book is it! Campbell, who I knew from Power of Myth, lays out the basic principles that underlie Buddhism, Hinduism and Jainism (and he touches on Taoism too) with the same sort of humor and wisdom that I'd expected. What a fun book to start the summer reading season with!

There are a lot of high quality photographies of very wonderful netsuke, interesting design, good advice how to do the photographies of small netsuke better! This book is very good for beginning carvers, galleries!

Symmes does a wonderful job of composing this text. He gives a nice history of netsuke, covering the span of time from feudal Japan to the present. He includes a small section on netsuke manufacture, and another on photographic techniques for macro photography and design, and then the text opens into a wonderful collection of full-page photographs of several varied and incredible pieces, some dating back to the seventeenth century. He includes brief descriptions of the netsuke, although he could have elaborated on the Japanese (and Chinese) fables that inspired many of these creations for Western audiences. Many of the pieces in this book are available today in reproduction form, and the netsuke are composed of several different materials, not just the "typical" ivory or wood. This text is a must have for any collector, beginning or advanced, as it will inspire readers to research their private collections as well as create the desire to build them! The reproduction of detail from the photographs is amazing!

Between the introductory text and the stories attached to each picture, this book serves to both educate and whet the appetite. I struggled with the desire to own each of the pieces that Symmes so lovingly photographed.

As author Symmes says, netsukes have the "power to influence people and pocketbooks." This statement is true in several aspects. First, the collector of netsukes will find that they are expensive. Second, the purpose of a netsuke is to fasten an "inro," or case holding valuables, to an obi or belt. "Ne" translates as "root" and "tsuke" translates as "to fasten." An inro's cords are held tightly by an "ojime," or bead, to keep it closed and the netsuke keeps the inro from falling off of the wearer.

The highly-detailed photographs of netsukes are in harmony with the scenery and objects surrounding them, so lusciously artistic that you may consider framing them.

HIH Prince Norihito of Takamado, who wrote this book's foreward, says he looks for "warmth, wit, and a certain twist" in his own netsuke collection. To fully appreciate a netsuke, "hold it, feel it, and examine it closely in one's hand."

Netsuke figures have stories associated with them. Many figures are puns in which the same word may have several meanings. For example, monkey is "saru" which is pronounced the same as "to leave," so it would be unlucky to marry in a monkey year.

If you are not familiar with Asian astrology, this book will teach you much about the associated legends. One tale that fascinated me was about Daruma, the 28th patriarch of Zen Buddhism. Daruma meditated for 9 years, sitting so long that his legs lost their strength. My sister, who lived in Japan for many years, sent me a wooden Daruma doll with two blank eyes. When you knock over the Daruma doll, it pops back upright, reflecting an undaunted spirit. Here's what you are supposed to do with a Daruma doll: you color one eye to make a prayer, then you color the other one when the prayer is answered.

You'll learn much about Japanese life and legend from studying these tiny netsukes -- and Symmes provides us with a fun way to learn.

This book is a lot like the netsuke themselves. At first, it looks like it might be something interesting, so you pick it up, look a little closer, and...you are inside a whole different world. Something deceptively simple shows itself to have hidden depths.

I had been interested in netsuke for awhile, ever since buying a little ivory sumo in an antique shop in Japan one day. There was something about the miniature wrestler that fascinated me, and I found myself going back to the shop over and over again, just to look at it. I finally knew that, even though it was expensive, it had to be mine.

This is much like the feeling that author Edwin Symmes describes, leading me to believe that it must be a universal experience amongst netsuke appreciators. He is someone who loves the stories behind the tiny figures, who tries to find their personality rather than figure out their rarity or value. In "Netsuke: Japanese Life and Legend in Miniature", he combines his fascination with his skills in photography, creating small vignettes incorporating the figures with appropriate settings, such as an ivory tiger emerging from real bamboo, or a wooden Daruma nestled inside a rock cave. Next to each image is a story, detailing the legends behind the figure, or maybe a little something about the carver, something that you wouldn't know just by looking but which deepens the understanding and appreciate of the figure.

What this book is not is a collector's guide to netsuke. Anyone new to the art form, and looking for a "How to.." guide to give them tips as what to look for, isn't going to find that here. Not that it is entirely lacking in practical information. There are sections describing the history of netsuke, their original use and their evolution, but that is not the focus. To those who's interest lies in photography, Symmes includes a fascinating section on photographing netsuke. But the real joy lies in looking at the pictures, reading the stories, and sharing the love of netsuke that radiates from this book.