Asian Books

Somewhere on the cover, or in the preface, or even in the introductions to other of his many profound works in the field of comparative religious studies, one will find Eliade's famous counsel: "I consider it the most significant of my books; and when asked in what order they should be read, I always recommend beginning with The Myth of the Eternal Return." One of the enduring monuments of twentieth century academic writing, The Myth of the Eternal Return expounds Eliade's seminal ruminations on the advent of the nuclear, or post-modern era - the naissance of our capacity for apocalyptic self-annihilation - an attempt to demonstrate in analyzable terms the relation between the foundations of the contemporary psyche to the seemingly adventitious madness which actively anticipates (and even militates in favor of) an end-time, an Armageddon, a Judgment Day, if you will. Eliade thus asks the arch-question: "What can protect us from the terror of history?"
The discussion is framed within a comparison between what Eliade deems as the distinctive difference between the ancient and modern, the archaic (or primitive) and contemporary world-view. The modern envisions reality as a series of events which fulminate in a linear, progressive history - a history which had a beginning and will have an end. The ancient experiences reality as an endless, cyclic repetition of primordial acts. "... the life of archaic man (a life reduced to the repetition of archetypal acts, that is, to categories and not to events, to the unceasing rehearsal of the same primordial myths) although it takes place in time, does not bear the burden of time, does not record time's irreversibility; in other words, completely ignores what is especially characteristic and decisive in a consciousness of time. Like the mystic, like the religious man in general, the primitive lives in a continual present. (And it is in this sense that the religious man may be said to be a `primitive'; he repeats the gestures of another and, through this repetition, lives always in an atemporal present.)"
Eliade points to the centrality of the lunar cycle in the mythological fabric woven from this perspective, which, to a degree, envelops our own world-view, however linear and eschatologically determinate. "The phases of the moon - appearance, increase, wane, disappearance, followed by reappearance after three nights of darkness - have played an immense part in the elaboration of cyclical concepts. We find analogous concepts especially in the archaic apocalypses and anthropogonies; deluge or flood puts an end to an exhausted and sinful humanity, and a new regenerated humanity is born, usually from a mythical `ancestor' who escaped the catastrophe, or from a lunar animal." Regeneration of humanity is thus always implied in its destruction. In the natural imaging, like the seasons, we assure ourselves, fall and dissolution are ever succeeded by renewal. "... just as the disappearance of the moon is never final, since it is necessarily followed by a new moon, the disappearance of man is not final either; in particular, even the disappearance of an entire humanity ... is never total ..." As the modern (historical) cultures translate this concept, "this optimism can be reduced to a consciousness of the normality of the cyclical catastrophe, to the certainty that it has a meaning and, above all, that it is never final... In the `lunar perspective', the death of the individual and the periodic death of humanity are necessary, even as the three days of darkness preceding the `rebirth' of the moon are necessary. The death of the individual and the death of humanity are alike necessary for their regeneration ... what predominates in all these cosmico-mythological lunar conceptions is the cyclical occurrence of what has been before, in a word, eternal return."
Due to the fact that the modern, predominantly Western model, of consciousness, primarily informed by Hebraic/Christian-Greek (teleological) influences, perceives time as a matrix for linear progress toward eschatological fulfillment, an end (and Eliade does not hesitate to analyze with his usual acumen - and here one must highlight the amazing passage where he claims that the concept of `ekpyrosis', the destruction of the world by fire, originates in early Iranian mythology - how Islam developed within this eschatological framework), we are forced to confront what he terms "the terror of history", the assertion (often stated by zealots of various stripes as fact) that human history, itself, must end. Recognition of this shift in human consciousness, from the archaic celebration of the repetition of nativity to the modern obsession with the limitation of mortality yields enormous explanatory power. In the face of the nuclear option, we must seriously consider how far such concepts as "resurrection", "rebirth" have tangible reality, not merely a traditionally assigned or contemplatively evoked meaning, but value as real states of affairs.
"Since the `invention' of faith, in the Judeo-Christian sense of the word (= for God all is possible), the man who has left the horizon of archetypes and repetition can no longer defend himself against that terror except through the idea of God . . . Any other situation of modern man leads, in the end, to despair. It is a despair provoked not by his own human existentiality, but by his presence in a historical universe in which almost the whole of mankind lives prey to a continual terror (even if not always conscious of it) . . .
In this respect, Christianity incontestably proves to be the religion of `fallen man': and to the extent to which modern man is irremediably identified with history and progress, and to which history and progress are a fall, both implying the final abandonment of the paradise of archetypes and repetition." These are the words with which the book concludes. If all that we are is the product of all that has been thought, they deserve the closest sort of reading by every thinking being. For the final abandonment, in the fine sense and print, means no less than the final abandonment of planet earth and the evolutionary project of humanity in full.

So far, this is a very good book that has a unique vision of religion. While most religion texts focus on either A) Christianity, B) Eastern Philosophy, or C) Atheist Polemics, this is an excellent study on the actual anthropological and existential functioning of religion as an entity. Along with Ludwig Feuerbach and Daniel Dennett, this stands as a very good, detached, objective study of religion as far as not being a polemic or an apology. I would definitely recommend this to anyone interested in general religious studies, especially if you are an Atheist and still have an interest in non-Dawkins literature on religion.

It is always a joy to read a great man's greatest book- and the author himself considered this to be the most significant of all his works. He would expand the central concepts elsewhere, but it is here that they first seem to burst forth. The way he rattles out references and examples with only a line or footnote you get the feeling that he can't be bothered with detailed analysis because he is too caught up with the central ideas and is being swept along with them. It is an infectious enthusiasm.

The central idea here is that for traditional man (man before our brief and temporary modern epoch) no act or object was real if it did not repeat or imitate an archetype. All meaning, all reality, flowed down from above. The goal was to achieve connection through the divine center with the archetype and therefore become one with the god or hero, indeed to abolish profane time itself and be transported into the mythical moment when the original model took place. This wasn't superstitious imitation; it was becoming one with true reality.

Nothing in a traditional society had any reality if it had no connection to the Divine- from buildings, cities, clothing, utensils- or your own life. The goal of life was to find the center of your being in the manner of the great heroes. Through arduous seeking and wandering through the profane and illusory earthly existence one would finally find the center and breakthrough into a life that was real, enduring, and effective.

The ultimate expression of this mode of life and behavior in the West was Platonic philosophy.

In reading this book I could not but wonder if this principle is not at the deepest core of every human being, and the reason why everything "modern" inevitably seems to be so cheap, meaningless, and illusory. Of course I am no academic specialist but rather "the cultivated man" that the author refers to in his foreward...

If I may add one more brief observation, it seems to me that an understanding of the principles of this book are key to an understanding of what 2012 really means. One of the greatest of the cosmic cycles is coming to a close. Mundane time will give way to sacred time. The actual instant of creation comes again- chaos gives way to cosmos. Regeneration is achieved by abolishing past time and reactualizing the cosmogony.

This was my second book by Mircea Eliade, but certainly not the last. It is very similar in content to his more basic introduction book "The Sacred and the Profane", detailing mostly the so-called Archaic religions views on time and space and related issues of religion. Naturally, being a bit longer, it also is more focused and in many ways more interesting for me personally, since a lot of it deals with the Indo-European concept of the ages and the Cosmos. Eliade was a professor of the history of religions at the University of Chicago, among other things, but he was also very well travelled, having studied under the guidance of an Indian yogi back in Mother India. He was born in Rumania, a contemporary of the European idealist freedom fighter Corneliu Codreanu in the 30's, and in fact a member of the Legion of the Archangel Michael, a radical "Right-wing" religious organization opposed to the project of creating a new Israel on Rumanian soil.

Although Eliade throughout his life claimed to be very "apolitical", his views on religion have a natural conservative and reactionary consequence, so hence this is for sure one of "our own boys". The book itself is split into four chapters, the first one being "Archetypes and Repetition". This is highly interesting, and details the many forms of rituals throughout the world (mostly archaic) that have been performed to re-create the cosmogony and the sacred times when the Gods or God-heroes performed the original act that the ritual today resembles. Eliade claims that for sacred rituals there is always a divine model that is more real than the perceived reality around us. He is quite clearly influenced by Platonic philosophy, with his emphasis that it is the divine celestial model that is real, the "idea", if you will, and that reality merely is a cheaper mirror copy of the celestial reality. Here we can mention for example the well-known city in the sky, or the real celestial earth.

The second chapter is "The Regeneration of Time", a chapter dealing with the idea that the world and the cosmos need regeneration, which the human races have a responsibility of helping with. The Gods spent themselves when they created the world, so hence we need to give them a little push. Often, this fell on the first time of the New Year, so hence, the Ragnarok of the cosmos fell on the last day of the year, and then the cosmos was regenerated on the first.

The third chapter is "Misfortune and History", where he does get a little political as well, dryly remarking that those that have claimed all in history is good, probably wouldn't have felt the same way had they been born in the Baltic or in the Balkans, where they for the simple reason of being neighbours with the Red Beast got invaded and killed off in millions. He then goes a little quasi-Hegelian on us, when he details how many races and cultures have though of history as theophany, that is, history as the appearance of God. He also details the various Yugas, or ages if you will, and how we are now decidedly in the Kali Yuga, the last age, known as Ragnarok to my own Germanic ancestors. If you don't believe this, turn on your television, and see how degraded the West and the world has become as of late, always deteriorating further.

The final chapter is "The Terror of History", detailing how these people acted with their knowledge that everything always returns, that unless you find a way out of the circle, your soul will always return to existence, along with the eternal cosmos. Of course, the fact that Creation will occur again and again is not something that many so-called "modern Christians" will find acceptable, but alas, this is what our ancestors believed, as well as the fact that for large parts of European Christianity, the Christological interpretation of history was merged with the Aryan one, to create a kind of "Cosmic Christianity", which was the religion that Eliade himself felt a part of.

This is of course a very shallow review of such a wide and deep book filled with examples and information to the brim, but I've read it twice in a month now, so it is certainly a wonderful book.

Highly recommended!

(I read the first English 1955-edition)

I heard of the name of the author because this year Japan is coming out with a tv drama serie about some of her hidden letters. This is a passionate observer/participant of life who articulates prose with clarity and ingenuity of an accomplished writer, and with subtle modesty representing a women of the last century.

Reviewed by Deb Shunamon for Reader Views (7/06)

"The Name of the Flower" by Kuniko Mukoda is a wonderful book that would be of particular interest to those who think they know and understand Japan. While I can envision a Japanese reader nodding his or her head and muttering over these brilliantly translated snapshots of male/female relationships, a lot of "gaijin" will likely be quite bewildered as to what is going on much of the time. The reader quickly learns that this is not going to be an easy read. That's exactly what makes this book such a delight - it's a great, emotional reading experience that will show Westerners how little we truly understand Japanese society.

Kuniko Mukoda was a prolific scriptwriter for Japanese radio and television, and at the time of her death in a plane crash in 1981 she was well into a career as a popular essayist and short story writer. The Afterward by translator Tomone Matsumoto is an interesting piece on just how popular and hard-working Mukoda was. So much can be learned and enjoyed from this collection, the least of which being that Japan is now, of course, a very modern, westernized society. That this modernity can be unrecognizable when it concerns human relationships, or that Westernization does not necessarily mean the North American way, is repeatedly revealed in Mukoda's book. In addition to outright bewilderment, feelings of being insulted or angry can be indicators that you've encountered a cultural difference, and these strong emotions are evoked by many of the stories. "Small Change" is guaranteed to make any independent, Canadian woman scream in frustration. "The Carp", "The Fake Egg", and a few others still have me puzzled, while "Half-Moon" and "Otter" will break your heart.

What will non-Japanese readers take away from this book besides knowing that they may never fully understand Japanese society? This will likely be answered differently depending on whether the reader is male or female, and could be the start of some great discussions. However, seeing the familiar importance of marriages, families, and lovers in these stories, as well as the struggles we all go through to understand our own lives, keeps you riveted to this cross-cultural reading encounter to the last page. Modern works such as Kuniko Mukoda's "The Name of the Flower" will leave all readers with a great deal of respect for how similar relationships are between men and women around the world, yet how truly different.

There is a fairly silly comment in the Publisher's Weekly review above that Kuniko Mukoda's stories "mix Eastern tradition with Western values." Another reviewer on this page states that this short story collection will demonstrate how little Westerners understand Japanese society. I couldn't disagree more. The late Mukoda wrote closely observed stories about domestic dilemmas set in Japan of the 60s and 70s. Although there are naturally references to Japanese traditions and cultural practices, I did not find them a barrier to understanding--and I don't think that's just because of my long acquaintance with the country. Mukoda's characters are typically experiencing a crisis in their family life that is illuminated or complicated by memories of past events. These characters, their emotions, and their struggles are very recognizable to Western readers, not because Mukodas wrote about "Western values" but because she is a talented observer of human nature, which remains a constant everywhere.

I picked up this book for some light reading over the weekend. I am doing research for an essay and I wanted a book of short stories to read while I was in between sections of the books that I am supposed to be reading. Unfortunately I found this book so interesting that I finished it in a couple of sittings. I am pretty sure that this book gets lost between the cracks left between the works of Mishim, Tanizaki, and Kawabata and those of Yoshimoto and Murakami. I'd certainly had never heard of the writer and when one reads the bak of the book one learns why. Kuniko Mukoda only wrote prose fiction for a very short time because soon after she started writing her short stories she was killed in a plane crash, before that she wrote radio and television dramas. The translator points out that she wrote over one thousand radio dramas.

The stories in this little book seem to follow under one main theme infidelity. The reader gets to see both sides of the relationship. We see the husband who is being eaten up inside because of his outside relationhips, and we see the wife's side in which wonders if in fact her husband is cheating on her. Interesting stories of daiily life that makes one wonder how Mukoda made such mundane things so interesting.

book came in excellent condition, on time, as expected.

The Nan Jing is a fundamental book in the study of Traditional Chinese Medicine (TCM).
A lot of books of TSM were translated, but often the translation is not correct or definitively wrong or bizarre.
In this case we have a monumental work with a unique coincidence of positive situations.
The author of the revision is Paul Unshuld, a giant of the study of TCM.
Absolutely no doubt on the knowledge of the language and the understanding of the text.
The original text is present in the book and Paul added the main commentary at the text written by the most famous studious of TCM of all ages.
If you love TCM and you want to understand all subtle questions of this fine art, this is a book you must have.
A concentrate of Chinese TCM, language and culture like no other book.

Unschuld is a scholar, a genuine translator that doesn't leave much to the imagination. His understanding of the cultural contexts (as there are many) in which TCM grew are un-matched in terms of written text. Get his books, if not for the honest look he takes at TCM, but for the fact that his works are the bread and butter of TCM. The gross ignorance of the classics among so called "Doctors of TCM" in the western world is amazing. Don't guess about TCM, either learn to read Chinese or get good translations of the classics. Not pocket translations at a American grade five reading level. If we expect people to view us as Doctors, we should study like one.

If your professors don't quote the classics, they don't understand TCM. If you haven't read them you're really limiting your potential.

This book is the most profound, deep work that has ever been done on this book. As practitioners of Chinese medicine we allways read and give attention to the two books of the Huang Ti Nei Ching,the Su Wen and the Ling Shu. The nan Ching is a must for every Chinese Medicine practitioner. This book gives many aspects that made me think again on theories and practical aspects that I use every day as teacher and practitioner.
It is pointless to mention the vast knowledge and contribution that Pro. Unsculd bring to the field, saying that it is allways has been great to read his books.

While a translation can always be disputed, it is the illustrations that make this book worth the having. The incredible images are supposedly cut from paper and layered into a collage, yet some could pass for silk screen prints with their intricate detail.

"The Narrow Road to Oku" is about as close to perfection as one can get. First you have Matsuo Basho, Japan's greatest poet, chronicling his hundred and fifty day journey into Oku to visit the grave of his mother, who had died the previous year. Translating this masterpiece is Donald Keene, possibly the greatest modern interpreter and translator of the Japanese mind. If this wasn't enough, Miyata Masayuki has taken Basho's poetry and created stunning works of Kiri-e, torn paper art, that provides a visual to match the written imagery.

"The Narrow Road to Oku" was the last of Basho's five travelogues, and he finally attained the essential balance between observation and inspiration, between prose and poetry. Along the narrow road he and his traveling companion, student Kawai Sora, experienced the highs and lows of ancient Japan. The Tokugawa Shrine at Nikko, the famed Bridge of Heaven at Matsushima and the ancient Ise Shrine were all stops on this fantastic voyage. As well as these wonders, he encountered poor prostitutes and fishermen, giving them equal time to his poetic genius.

Miyata Masayuki, as he has with other books in this series such as "The Tale of the Bamboo Cutter" and "Love Songs from the Man'Yoshu," has created delightful and whimsical artwork that enhances rather than distracts from Basho's musings. There is a hint of Ukiyo-e in his style, but not enough to consider it redundant. The art is fresh and lively. sometimes powerful and bittersweet.

The original Japanese text is preserved alongside Keene's translation, which I think is essential of a work of this type. "The Narrow Road to Oku" is 100% authentic, and 100% beautiful. Definitely a treasure in my library.

If anyone adores the simple beauty and truth of haiku, this is the text to own. Not only are the Japanese characters printed alongside the inquisitive English translations, but the accompanying collages are breathtaking interpretations of the works. The entire book is a work of art.

This book is a must have for any fan of Kiri-E, or Masayuki Miyata. His illustrations are beautiful...it is easy to see why he has become one of Japans modern masters of this traditional artform. Great Stuff!

I read this book for an introductory cultural anthropology course I took for personal enrichment. Although it does not at all explore the conflict between Israelis & Palestinians, it did give me some astounding insights into why conflicts in that region of the world seem so intractable to Westerners. It reveals how personal and political identities are created in societies and cultures that are tribal and oral. It challenges easy assumptions that writing things down is simple and desirable, and that talking produces political peace.

This book is a scholarly ethnography with the footnotes and discussion of theory and methodology requried in such books, and it is not a leisurely, easy read. But the diligent reader is rewarded with some eye-popping realizations about a culture that is very different from ours, some beautifully evocative tales from the Bedouin tradition, and even some flashes of perhaps unintended humor in Shryock's accounts of his present-day efforts to track down the 'truth' in a setting that makes the American red-state/blue-state rift blur into a pale shade of lilac.

I am an admitted egghead who enjoys academic writing more than the average person, but I intend to read this book again now that I am beyond the requirements of the college course that first brought it to my attention. Perhaps Sec. of State Rice might also enjoy it?

The author does an excellent job of skirting the volatile plausibility of transcribing oral histories to the written word. For anyone wanting to understand both the intricacies and basic histories of the Jordanian Balga Bedouin, it is a fascinating read. Having a Jordanian father and a Palestinian mother, I especially enjoyed Shryock's investigation into their age-old rivalries. Tribalism is alive and well, as Shryock adeptly shows, and he brings it to us in clear and cunning detail.

Andrew Shryock is the oldest of five boys. All the brothers are very close and that is why I, his youngest brother, am very proud of his work. All the brothers will be home for Christmas and will anticipate reading his work of art. Andrew is a great writer as well as a great person. Number Five, Benjamin Shryock.

Andrew Shryock captures the fragmented nature of oral histories among the Bedouin tribes of a Jordanian region known as the Balga. This text, which is actually an ethnography, brings into relief greater concepts of history that are often not obvious. The histories that Andrew collects have never been written, except a few segments in travelogues. This brings to mind questions about the unsubstantiated faith in written historical texts. Andrew illustrates that it is possible to interrogate the oral histories in the same way other historians interrogate archival data. Questions of the source of the document, the identity of the author, the comparison of data with other sources creates a "complete reality" of history. While Andrew flirts with this definition of history in chapter one when he compares the data he retrieves from oral histories to data found in archives, he also opens several other issues entirely. The oral histories of the Balga tribes are by their very nature fragmentary and disjointed. They do not lend themselves to a uniform, linear universal whole history. Instead, they provide only highlights. This brings to mind a question of validity for so-called modern history. How much is filled in like the archeologist filling in the gaps in crumbled structures? Is it possible that the Balga tribes' oral histories, untouched by the pressure of conformity, be closer to historical truth than the modern version whose rough edges have been hewn squarely into a proper line? Andrew also illustrates the uses that are not directly historical. Oral histories contribute a part to building political clout and are propagated because of political clout. Moreover, the oral histories play a part in identity forming for young members of the tribes. They relate to their place in the universe, not only in the tribe, but also in relation to other tribes, Jordanian politics and the world at large, based on how they see themselves in relation to the oral histories. For these two purposes, the non-textual aspect of the oral histories is part of their significance, part of their social power. It brings into question classic historical texts all over the world. Exactly how historically accurate is everything we call history? An excellent piece of work, it's easy to see why it won scholastic awards.

"No more cherry blossoms" is a brutal dive into the tangled hearts of a select but varied group of Asian American characters, from sisters returning home after the internment to a 1919-Hawaiian potter's apprentice to a Hollywood-obsessed mother-daughter team of actors.

This collection of plays crosses decades & perspectives--each one exploring a specific Asian American experience/theme (post-internment, the civil rights movement, asian fetishism/objectification)--but in each play Gotanda tunnels through overarching broad, political climates to unearth the most intimate and beating core of the character and her individual challenges and questions.

Each of these plays has been and should be staged again and again, as their relevance lies in the human themes and not within any specific timeframe or ethnic affiliation (I know that's probably obvious to most). But these plays are also plays to be read on the page; reading the book cover-to-cover is an absorbing experience, and you feel almost pummeled by the end (or at least I did). In experiencing this particular book, I was reminded that reading a play is an entirely different experience from watching one. In reading a play, you are able to imagine the setting and the possibilities, to see these plays and the intent of the playwright, before they are shaped and changed by a director's eye and an actor's interpretation.

"What I try to do," says Gotanda in the book's preface, "is get up each day and give my body the chance to speak. In whatever format, language, medium it chooses." The plays of "no more cherry blossoms" live out this approach: each play speaks in its own unique voice and moves to its own distinct rhythm. The reader can hear the everpresent musical clamor in The Wind Cries Mary, see the cinematics of Ballad of Yachiyo-it's clear from the varied composition and structure of each piece that the playwright's professional/creative background encompasses film, music, and poetry as well as theater.

At times, you might find yourself yearning for more self-determination in the women characters in particular, but the complex relationships and dynamics throughout generate an insistent energy that makes these plays resonate regardless. "No more cherry blossoms" is an arresting and powerful volume, one that, after reading, will work its way into your consciousness, and whose themes and questions will surface again and again. These stories stay with you.

As an Asian American man, I've been familiar with Philip Kan Gotanda's work that centers primarily around the Asian American male in plays such as "Yankee Dog You Die." Knowing his work in this way made me curious to see how a man, who writes so well about men, would choose to write about women. And not just any women, Asian American women.
"No More Cherry Blossoms" spans decades from 1919 Hawaii in the aching "Ballad of Yachiyo," to the post World War II release of Japanese American internees in the beautiful "Sisters Matsumoto," and even to 1968 in the play "Wind Cries Mary."
The breadth is evident but what is truly exciting is the voice that Mr. Gotanda gives to each of his female characters. Each has something specific to say and no matter how different their actions or their attitudes, they are always honest, uncompromising and because of this, surprising.
The title itself, "No More Cherry Blossoms," breaks the long perpetuated stereotypes of Asian women as submissive, demure, and delicate. Each play successfully presents Asian women that are far more complex than any cherry blossom stereotype. It is an interesting choice that Mr. Gotanda chooses to end this collection of plays, about Asian American women, with a modern white male's "how-to" discourse on getting them into bed in the final play, "Got Rice?" It seems Mr. Gotanda is saying that as far as things may have come, we still have a long way to go.

There is remarkable breadth to this collection. Not only do the four plays span the 20th century of Japanese-American experience, but they range widely in style and tone as well. From the quiet, bittersweet beauty of "Ballad of Yachiyo" to the rock n' roll defiance of "The Wind Cries Mary," Gotanda's plays showcase heroines who search for identity in vastly different social climates, and with vastly different voices. The collection will move you at times with its lyricism, surprise you at times with its wit, but always engage you because of the unapologetic honesty of the author. Avoiding melodrama at every turn, Gotanda crafts characters who lust for something more than they are prescribed. In doing so, this truly gifted playwright at once honors a culture's experience while creating works that are universal in appeal.

This rich collection of works by one of our country's foremost playwrights reveals an incredibe breadth of vision. From the achingly poignant, exquisitely lyrical "Ballad of Yachiyo"; to the elegant, Chekhovian "Sisters Matsumoto"; to the ruthless honesty of "The Wind Cries Mary;" to the boldly political diatribe of "White Manifesto;" Gotanda continually surprises us with his uncanny ability to paint the truth of human experience with candor, wit and grace. His compact language, solid command of form, and daring willingness to articulate the uncomfortable realities of social engagement -across the lines of gender, race and class-- truly set him apart among contemporary playwrights. This is a must-have collection for any serious theater person, and one that will surely lead to many more productions for this already widely-produced playwright.

I caught this guy on the PBS TV show "Chefs A' Field" harpooning a giant Bluefin Tuna and thought "that dude rocks!" Yes, it sounds odd to harpoon something, but it's cool and very good for the environment...go figure. Anyway, I looked into him and found this fabulous book. The recipes are execllent as well as his philosophy. Anyone who likes a little asian influence in their dining experience will love this book!
P.S. I also picked up another book he is in, the Chefs A' Field cookbook (from the tv series), and really like that as well - he shares the spotlight with 12 other chefs in this one.

This is a great cookbook for the home cook. It gives the home cook the opportunity to cook using Asian ingredients and techniques readily available to most. The simple instructions are refreshing and encouraging. I have been quite pleased with the recipes I have tried, and I consider myself quite a "Food Snob", not that you have to be a snob to appreciate the food, my ten year old enjoys the recipes almost as much as I do.

This is a great cookbook for the home cook. It gives the home cook the opportunity to cook using Asian ingredients and techniques readily available to most. The simple instructions are refreshing and encouraging. I have been quite pleased with the recipes I have tried, and I consider myself quite a "Food Snob", not that you have to be a snob to appreciate the food, my ten year old enjoys the recipes almost as much as I do.

Just reading the recipes makes my mouth water. The first chapter describes the basic ingredients and gives tips on stocking your pantry. I especially like the little blurbs on special ingredients that are interspersed with the recipes throughout the book. One of my favorite dishes at Salamander is the tea-brined chicken, so I was especially pleased to see the recipe was included in this book.

We are using this book during our study of Ancient History. It is really wonderful to be able to help our childen understand the Sumerian or Egyptian culture by having our children create a clay tablet with cuneiform writing or by making a wooden "paddle doll" as the Egyptian children may have done. We have eaten meals that the Hebrews may have eaten in the desert, and will be making a bee hive that is based on one they may have used. Our kids love the projects in this book. The projects are easy enough for very young children to do, and most can be done with materials you have around the house, or could be purchased easily and inexpensively. The text is very informative, too, and can be used as a read-aloud with younger children in order to throw a little more light on the culture of the peoples we are studying.

This is a great resource. Although billed as Old Testament Days there are activities in here that would appeal to teachers who are not teaching 'old testament times' but teaching about that period of time. There are crafts for Egypt for example. Very fun and very easy crafts and information.

Nancy I. Sanders has compliled a wonderful book of activities that will greatly enrich any child's Bible education. Sanders briefly explains concepts/stories from the Old Testament (starting with the days of Abraham and ending with the days of Nehemiah)and then gives a simple enrichment activity to help recreate a moment from Biblical times. A few of the fun activities include making a lyre, building a salt-dough map, creating a seal and reinacting a day at a market in Jerusalem. If you want to bring the Old Testament to life for children, this book is a must.

This is a fantastic resource for use with children. This resource helps children learn realities about life during bible times. It also has a wide variety of activities, not just the same activity done different ways. The activities take some time and may be a little messy but they are excellent for involvement and for learning.

The scope of this book is incredible spanning nearly 1000 years of people making a pilgrimage. It also demonstrates how life-changing the experience could be. Michael Wolfe is a great writer and does a splendid job introducing each piece. Some of participants are simply incredible people- especially the Spanish Muslim from the 1700s (my memory escapes me as to his names). Each piece shows something new. Its definitely a book I'll be looking into again.

This is easily one of the most splendid and accessible
English-language works on the hajj in recent years. For Muslims about to undertake the hajj, Wolfe's thousand-year history of the great hajj narratives of men like ibn Jubayr and years later Malcolm X will offer the richness of the pilgrimage, which was often as much a picaresque travel adventure as spiritual rite. Non-Muslims will get a great swath of Muslim intellectual history, freed of the sometimes needless formalism and apologia of recent hajj narratives and a wonderful encapsulation of Islamic civilization at its height, and of course the great beauty of the pilgrimage itself. Wolfe's introductions to the many narratives serve, perhaps unintentionally, as an excellent summary of Muslim history to the present.

Michael Wolfe is an excellent writer. He is also a very convincing writer. For years my parents have been asking me to go for Hajj. I compromised and went for Umra. Mr. Wolfe's preface and the introduction convinced me that I should make this journey. I am preparing for the trip in year 2003. Inshallah.
This is an excellent book. Equally enlighting to Muslims and Non-Muslim. I recommend it.

I found this book to be wonderful. I enjoyed it alot. It really has showen change in the pilgrimage. I would recomend the book for Muslims, like my self and non- Muslims alike.

I've only read the first chapter so far, my first impressions of the content are excellent, but I have a complaint for the publisher: the font is painfully small and makes it actually a bit of struggle to read.

The ideas are very dense, so I would tend to make the font and line spacing a bit bigger than usual to reduce the strain in that area of comprehension and save the reader's mental energy for understanding the ideas rather than screwing their eyes up at the type. I'm not exaggerating - it's like the size they usually print footnotes in!

Clarke uses the following Framework for intercultural contact: - Gadamer: hermeneutics of the dialogue: it comes bit by bit, and entails a continuous exchange of meaning between interpreter and interpreted, the goal is 'fusion of conceptual horizons' which requires 'self-awareness of difference' and 'recognition of otherness of the other'. Problem: doesn't take into account underlying discursive power relations (Foucault) - Said: the influence (power) that the west exerted via colonisation, to secure world hegemony, is present in the image that has been created of the East in the West. Everybody involved in orientalism is consciously or not guilty of western imperialism. Clarke says that this image of Said is not complete and shows that interest for the East has often been connected to pragmatic interests, deeply rooted in Europe's own intellectual, cultural and political history. Orientalism often had a countercultural, counterhegemonic rol in the past three centuries and has often been source of energy for radical protest. This way orientalism has often not enforced Europe's established role and identity, but undermined it. Periods of cultural revolution and global expansion in Europe made it possible to create a painful void in the spiritual and intellectual heart of Europe, but also favoured the establishment of certain geopolitical conditions that allowed the transmission of alternative worldviews of the East to the West more easily.

The making of "the Orient"

Both the French Sinophile Enlightenment thinkers and the German Indophile Romantici used orientalism as instrument for the subversion and reconstruction of European civilization, to fight the deeply rooted evils of that time. This way they idealized and romanticized heavily eastern thought and culture. Confucianism gave the French a model for rationalistic, deistic philosophy, but also the Hinduism of the Upanishads gave the Germans an elevated metaphysical system that resonated with their idealist suppositions, as a counterweight to the materialistic and mechanistic philosophy that came to dominate the Enlightenment period.Buddhism: Schopenhauer formulates a radical critique on the Jewish-Christian tradition that searches salvation throught a divine Savior, while buddhism searches it by denial of the will. Wagner and Nietzsche give similar critiques because buddhism, so they claim, offers a psychologically more honest explanation of suffering. Because of the Victorian crisis of faith and belief in progress, and the apparent compatibility of buddhism and science (positivism, Darwinism, evolutionism, materialism, monism), buddhism gains importance. Also the American transcendentalists (Emerson, Thoreau) used buddhism against Lockean materialism and Calvinism, in their belief in the essential unity and spiritual nature of the cosmos, combined with a belief in the goodness of humans, and the domination of intuition over rational thinking.Besides romanticizing voices, also racist and denigrating voices are found in orientalist discourses.

Twentieth century

Because of the quick progress and economic and social transformation of traditional to modern, Europe experienced an atmosphere of malcontentment with the promises of Western civilization, which made it search for more meaningful and satisfying alternatives. There are two types of associations of the turbulent twentieth century with orientalism: on the one hand the creative involvement in philosophy, theology, psychology, science and ecology, and on the other hand associations with occultism, and mystical undercurrents of fascism. In a period of growing imperialist expansion (which enhanced communication with the East), there was a possibility to begin to see the East really as other (with a different culture), but there was also a sense of being afraid, mixed with feelings of guilt toward the East. This had a different intellectual response: on the one hand there were big speculations about a universal philosophy or global religion, on the other hand there were more modest propositions for the encouragement of a hermeneutical dialogue. There was a tremendous spread of orientalism in the twentieth century, buddhist monasteries arised in the West, poets, writers, hippies and Beat movement, and also New Agers made use of Eastern thought, though not all of them seriously. Academic institutions were built, and eastern scholars came to Europe. Important European thinkers were influenced by the East. This accelerated the understanding of Eastern thought.

Philosophy

- Universalism (Leibniz, Moore) - Comparative philosophy (Nagarjuna compared with Nietzsche, Heidegger and Derrida, Madhyamaka with Wittgenstein) - Hermeneutics (Rorty: "the conversation of mankind", Larson: "from talking to one another, to talking with one another") - Diversity, otherness, difference, but a sharp awareness of the danger of cultural imperialism

Religion

- Exclusivism - Inclusivism - Pluralism

Psychology

- Psychotherapy and mental health: holistic contextual approach of the individual, more emphasis on experiential knowledge than on intellectual knowledge - Fromm, Jung, Maslow, Naranjo, Ornstein - Transpersonal, humanistic, cognitive psychology - Meditation

Science and ecology

- Sovjet Marxism and buddhism - Capra, Jung, Bohr, Heisenberg, Schroedinger, Prigogine, Bohm - Schumacher, Naess, Macy - Wholeness (holistic medicine, ecology)

Reflections

Besides the problem of interpretation of different cultures, there 's also a problem of projection: Eastern ideas are appropriated by simply projecting them to categories and presuppositions of the West, and the West has become a sort of all-eating monster, usurping all cultures. Clarke claims the aim is not to avoid use of a vocabulary that is derived from the own culture, but that the crucial point is that one does so with critical self-awareness. He emphasizes the importance of mutuality in the hermeneutical process: interpretation begins with pre-conceptions that are replaced by more appropriate conceptions. Example: the wrong understanding the West had (and still has) throughout buddhist history doesn't have to be considered as a failure, but as a necessary and wholesome "turning of the hermeneutical wheel". Orientalism contributed, so says Clarke, to a growth in mutuality, dialogue, knowledge and sympathy, and this while the East has now on the one hand enhanced grip to its own tradition (partly as a result of the encounter with the West) and on the other hand can formulate a solid critique to fundamental aspects of western culture. Also Said believed in a postcolonial era, where an increasingly sophisticated study and criticical self-awareness would make possible a post-orientalist epoch where westerners could approach the East without disturbing presuppositions.

This book is principally an examination and explanation of how the West has seen the philosophies, religions and cultures of the Far East - chiefly of China and India. To this interest in the East Clarke gives the name Orientalism. That word since 1985 has carried the connotation that Edward Said gave to it in his book of that name. Though that work concerned itself chiefly with the Arab Middle East, other scholars have applied Said's characterization to the western study of cultures further East. That school of thought saw Orientalism as permeated with condescending, exploitative and colonialist attitudes, and scarcely allowed any other factors to play a role. Clarke admits that colonial attitudes were one aspect of Orientalism, but his study demonstrates that there were many others. True, students of Orientalism, like students of all other subjects, cannot help having agendas, and agendas are liable to lead to distortions. So the West's interpretations of the Orient (the word `hermeneutic' turns up with rather tiresome frequency in this text) generally fulfil some need felt by the West; but this is often not at all a need to exploit the East, but rather to gain through Oriental studies a new and enriching perspective on Western culture and frequently to provide a remedy for what are perceived to be its flaws or discontents.

Clarke argues, along with other scholars whom he cites, that in the West the Renaissance and the Reformation ushered in a philosophical restlessness and uncertainty which made Europeans be more inquisitive and open to other ways of thinking. This uncertainty was generated from within European culture, whereas in Asia it was only when Western technology and power irrupted into the area that the interest of Asians in European culture began, in response to a challenge from outside rather than from within their own culture. Clarke acknowledges this interest, but devotes only a small part of the book to the impact of Western thought on Asia.

He documents how in the 18th century the philosophes set up their rosy view of Confucian China in opposition to the religious and social criticisms they made of their own society; how, when this interest faded, it was replaced in the 19th century by the interest of the Romantics in Indian thought. We learn of Anquetil Duperron (1723 to 1805) who first translated the Upanishads (into French) and of William Jones (1746 to 1794), who showed that most European languages have an affinity with Sanskrit, which suggested that many of the peoples of Europe came originally from Asia. German nationalists, resenting French cultural hegemony, preferred the idea that their culture was rooted in the Aryan languages (and later, by a perversion of the word, in the Aryan race). Philosophically also, the most profound impact of Indian thought was on a line of German philosophers: Hegel, Schelling, Schlegel and Schopenhauer saw an affinity between the monism of the Absolute and that of Brahman, between their own metaphysical ideas that the world as we know it through our senses is not the real world and the Indian notion that we see the world only through the veil of maya. Both Confucianism and Buddhism were seen by many Europeans as a system of ethics which was independent of a belief in God, and was therefore espoused by many western thinkers in reaction to the claims that religion was the essential basis of ethics.

Towards the end of the 19th century and into the twentieth, at the very time when the West's cultural imperialism emphasized by Edward Said was at its height, there was also the countervailing current that the West's cultural hegemony was increasingly questioned in the West itself; and the interest in Eastern ideas became a broad stream with wide diffusion. Ralph Waldo Emerson (1803 to 1882) and Henry David Thoreau (1817 to 1862) popularized Eastern thought in America on a scale that earlier thinkers had not been able to achieve. Edwin Arnold's poem The Light of Asia (1879), disseminated the Buddhist message and sold nearly a million copies. The Theosophical Society, founded by Madame Blavatsky and Colonel Alcott in 1875, had over 45,000 members in 1920. It was strongly infused with oriental ideas, and even played a part in the revival of Hindu and Buddhist self-awareness and self-respect in Asia itself. Some Western actually thought that western civilization, with its frenetic materialism and its spiritual life eroded by rationalism, was worn out and needed to draw on Eastern thought to renew itself. Eastern influences have moved out of the academic and literary world to permeate the very life-style of many westerners.

So Zen and Tibetan Buddhism have found many followers in the West; there are now many practitioners of t'ai chi, yoga and transcendental meditation; the young have gone on the hippy trail to visited ashrams in India. From this point onwards, about half way through the book, Clarke produces so many examples of the interaction between East and West - on literature, on the arts, on religion, on psychotherapy, on holistic medicine, on ecological thinking, on non-violence, even on the philosophy of modern physics (though, curiously, only marginally on the mainstreams of western academic philosophy) - that a short review like this cannot do justice to them. There was even a strand in fascism which claimed an Oriental heritage. Clarke's range is truly encyclopaedic, and in this second half of the book that there will be found much detailed material and many names that are likely to be unfamiliar to the educated non-specialist.

The mainly narrative chapters are followed by two final superb reflective ones. In the first of these Clarke reflects on the philosophical traps into which Orientalism can fall and sometimes has fallen, but his defence of the value of Orientalism is eloquent and persuasive. In the second (more difficult) one he shows how deconstructive Post-Modernism challenges Orientalism but can also find an ally in it.

I'll like to write this review partly in relation to the last one written for this book, which, I think, many people will find quite daunting. While I'd agree with the author of that review about the excellence of the book I'd like to give a more accessible view, hoepfully just as Clarke's book provides an accessible approach to very difficult ideas.

Firstly, ,any readers are likely to be put off by all the references to those very difficult postmodern (etc) philosophers who are mentioned, either because they'll think, a) I won't understand that, or b) I'm not into postmodernism. To set your minds at rest, Clarke doesn't engage in the lingusitic exercises of using almost indecipherable language to say very little that is typical of many of this school, also, he sets the postmodern agenda (or, at least parts of it) firmly in his sights and demolishes many of their empty stances based on ideology not fact or reason.

As such we can recommend this book to a)anyone who either doesn't know much about orientalism - he provides an excellent introduction as well as analysis; b) anyone who doesn't know much about postmodernism, as you'll be treated to a critical survey of certain aspects of it; c) supporters of postmodernism, as you'll find an able voice against whom you need to defend your ideas; d) a whole range of people not at all interested in orientalism and postmodernism but who have interests in such things as cross-cultural encounter, especially between Europe and Asia, religion, modern European thought, etc.

As to the contents of this book, Clarke surveys the history of the encounter between East and West (Asia and Europe) to show that claims that the two stand as polar opposites which have no connection is untenable. with lucid commentary, clarke deals with the views of orientalists and postmodernists and presnts a more balanced and less Euro-centric approach. for more details, using technical terms which Clarke aptly leads the uninitiated through with subtlety and clarity, whilst providing new insights which will give food for thought for even those well read within this area.