Japan Books

A nice hardcover edition of this book with lots of explanations about the making and good full color illustrations. I liked the section on the CG. It's definately worth the price and could be used as a good coffee table book or such.

I saw this movie when the dubbed version came out in theatres. I had never been a fan of Japanese animation beofre, but after I saw this movie, all my misconceptions were blown away. Unfortunately, it took a long time to come out on video, so to pass the time, I bought this book. It is a great coffee table and conversation piece, and the pictures chosen are beautiful. My only problem with this book was the captions that described the pictures. Since they were based on the original Japanese and not the dub, there were a few small facts that were differing and served to confuse me. Yet that is a very small problem. All in all, a good book.

This book is a wonderful little look into the world of not only Mononoke Hime, but Hayao Miyazaki's world as well. It contains high quality screen captures, pencil boards, original movie posters, and original character designs. It is a hardbound keepsake for all those who loved the movie and/or any of Hayao Miyazaki's other works. The book is also highly informative about the storyline and the creators views about the story and characters. It is a good thing to have in your collection.

I've given this a high rating, not because it is flawless but because it is an awesome companion to the film and a wonderful keepsake for that time in your life when you get a coffee table to put it on. If you own the film, you probably won't need this--and honestly, I purchased it as a way to show my support of the US distribution of this film. The book is a US translation of the Japanese edition, and as you can expect was lovingly put together. The last section does seem to perhaps be filler, but with such wonderful reproductions from the film along with in-depth background information, what more could you want out of it. On the other hand, it isn't really cheap either, but given it is probably one of the 10 best animated films ever, it makes a very nice addition to your over-sized film book collections.

Lastly, if you can recall the boring titles your grandparents kept on their coffee table, I think you can start to seel the appeal of things like this. Why settle for pretty national geographic titles (or whatever) when you can have this or big godzilla coffee table books (as do I)? Let your future grand-kids know that you were plenty weird in your former years.

I loved this book, the drawings are excelent, the writing also, this one was the only one that i reed with a smile.

Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."

The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.

Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.

There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".

Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)

I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.

Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?

Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.

Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.

During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.

Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."

This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."

Professor Urwin has contributed a priceless addition to the collection of great American historical letters. Perhaps one of the best compilations of Wake Island information that at no time reads like the encyclopedia it resembles.
This is a huge and potentially intimidating book that is worth every bit of its seemingly steep price tag. Invest in your brain, you get what you pay for and then some!

REVIEW EVERY BOOK YOU READ, AUTHORS DESERVE YOUR OPINIONS!

Most people only know about wake Island from the William Bendix movie made in 1942 when very few facts of the battle were known. What was know was that in 1941, as most American outposts in the far east fell in hours, this small Island with a garrison of some 450 marines and a few airmen held out for weeks and became a symbol of hope for Americans in a world of otherwise bleak news. The papers called this unlovely rock "The Alamo of the Pacific" in rememberance of that other famous last stand.
What Dr Urwin goes into is the detail beyond these facts, having interviewed survivors from both sides of the battle and poured over navy records he takes Marines who were little more than faceless icons, and made them human, with fears and hopes and lives all their own, and in so doing makes their stand more iconic. He gives them lives and personalities with annecdotes and humor as remembered by their friends in later years that shows them as a uniquiely American force.
Is it a big book? yup. Is it easy to read? Oh Yeah! The early chapters are about the finding, losing and refinding the atoll known as "Wake," then going into how it was developed in an attempts for commercial air travel in the 1930's. These chapters were so easy to read I found myself wondering if there were books on this, A topic I'd previously had no knowledge of or desire in. The writing is that good.
"What better way for man to die, then facing fearful odds, for the ashes of his fathers and the Temples of his gods." yup, sums it up well.

Author Gregory Urwin spent years researching the epic defense of Wake Island using uncovered documents, personal interviews of civilian and military survivors, diaries, library archives and just plan hard leg work. The author to this day still honors those that served at Wake by staying in touch with the survivors at their yearly reunions and was instrumental in making the documentary on The History Channel become a reality. 'Facing Fearful Odds' brings the battle to life again through the eyes of those that were there and gives a balanced view on the Devereux-Cunningham contravercy which showed beyond doubt the shabby treatment given to the Navy Commander. The book is a must read to anyone who wants to learn about dedication, friendship, survival and love of country.

I am a student in one of Dr. Uwrin's classes and he assigned this book for us to read. Usually I get annoyed when this happens because it is usually a way for teachers to throw their ideas further onto students and make them pay (literally) for it. Urwin's is one of only two professor written books that I have enjoyed reading for class. Dr. Urwin's writing is extremely clear and easy to follow, and he grips the reader. The language is not the pompous scholarly language one usually finds in books like this. You don't have to be a student of WWII to read this, anyone could pick it up and read it without problems. And to answer someone's musing that if Dr. Urwin's lecturing is as good as his writing, it is and then some! READ THIS BOOK!

The title, Facing Fearful Odds, is taken from Macaulay's "Horatius at the Bridge" (a poem I lovingly remember reading as a schoolboy), and it's evocative of the dramatic siege of Wake Island in the immediate aftermath of the Japanese attack on Pearl Harbor.

Gregory Urwin is a fine writer who vividly portrays the drama of a handful of Marines and civilian construction workers who repelled daily assaults by the Japanese navy and air force for 16 harrowing days before finally capitulating to overwhelming force. In stunning detail, the author depicts the frantic preparatory events leading up to the siege, the fierce resistance, and the bitter aftermath. It is sad that these heroic events are little known by today's generation.

What is compelling about Mr. Urwin's account of the Wake Island story is his depiction of ordinary men thrust into extraordinary circumstances. Although the Marines were volunteers, many of them joined the Corps to escape the Depression, and many of them never expected to find themselves in such a perilous position. Nonetheless, like Horatius at the Bridge, these men did more than their duty.

Facing Fearful Odds describes how the United States failed to marshal its considerable resources during the year and three months that Europe had been at war; we were dreadfully unprepared militarily, economically and psychologically for the sudden impact of the terrible defeats Japan dealt us. If we view the events of late 1941 in the context of the smug condescension most Americans felt toward Japan, and the fact that we woefully underestimated Japanese military prowess, we can begin to understand how shattering Pearl Harbor was. Americans were angry as hell and damned scared.

Then, a few gritty Marines and civilian construction workers - every one of them a regular "Joe Everyman" with whom any American could identify - held off the mighty Japanese navy and air force for more than two weeks and dealt them a stunning, crushing blow. That we ultimately lost Wake Island mattered little. That these brave men showed the world that Americans could - and would - fight back meant everything to the people at home and to those in the service. These few men lifted America from its fear and helped focus its anger in a powerful resolve to defeat the enemy.

The Marines of Wake Island were expendable, and they knew it. Mr. Urwin enables the reader to imagine why a man would willingly put himself in harm's way knowing - with near certainty - that he was unlikely to survive. One could argue that the man doesn't have a choice, but of course he has a choice - he can surrender. Urwin shows us that the willingness to fight and not surrender came from something more than patriotism. Though they fully expected to die, it was a matter of pride; though they believed no one would ever know it, they were determined to make the enemy pay dearly for American lives. They knew if they did that, someone else might live a little longer.

Facing Fearful Odds is about defiance in the face of certain death, of abject determination to make the enemy pay a terrible price for their arrogance. The men of Wake Island didn't save the world - that was for the men and women who came after them to do. But they saved America's face. Guam surrendered immediately. Wake Island did not.

Several weeks before the battle of the Alamo, Mexican troops marched into San Antonio demanding a siege cannon that the Texan rebels held. The Texans' reply was, "Come and take it." Implied were the words, "...if you can." Gregory Urwin gives the reader a rare opportunity to know how the men of Wake Island felt when they made the Japanese Navy "come and take it."

I have a tendency to be too wordy in my writing, so to learn more focus and control, I have been studying (and writing) haiku. The Haiku Handbook has been an engaging resource for me in those efforts. Each of the book's five sections contains a wealth of ideas and information that both challenges and inspires:

Part One: Haiku Old and New [A great introduction to the experience of haiku and to Japanese Masters. The "Why Haiku" is helpful in clarifying one's purpose for writing such brief poetry.]

Part Two: The Art of Haiku [Natural themes, the form and craft of haiku; this is the section that I like best, and I repeatedly refer back to these pages. I especially enjoy how the author discusses the difference in Japanese and English languages.]

Part Three: Teaching Haiku [How to teach haiku writing to children, lesson plan included]

Part Four: Before and Beyond Haiku [Haiku and its uses]

Reference Section [With Season-Word List & Glossary]

Overall, this is a worthy product for anyone who wishes to delve into haiku more deeply than the introduction that most Westerners receive.

I love this book, as a matter of fact I love it so much I purchased two. One for my desk and one for my purse. Great info for Haiku writers.

The perfect volume for fans and writers of haiku. Indispensable.

Blyth's Haiku Seasons books and Higginson's guide to reading and writing "haiku" in English are two of the necessary books to begin to understand what haiku is all about. I have a difficult time with the idea that a tiny poem written in any of the Romance languages--esp. English-- could be called a "haiku," even though the author might include season words and even the 5/7/5 syllable count. I would much rather call them epigrams, because they simply cannot give you the effect of a Japanese haiku. Anyone who argues otherwise is simply fooling themselves, and you. Given all of that, however, Blyth and Higginson are good books to have on the shelf. Blyth, I believe, is the better writer/translator and his sense of chronology and history is stronger. In addition he gives hundreds of translated gems to admire from Basho, Issa, Buson, and others. He also doesn't try to convince you that haiku can be written in English. Higginson is the warmer writer and his generosity to the reader is apparent from the beginning, so practioners will find him perhaps more useful than Blyth in a practical sense. I disagree with Higginson's history of English language "haiku"--there are some important people he simply leaves out, but he more than makes up for the omissions in other chapters. Both writers impart an enthusiasm for the subject to their readers. If you're building a haiku library and would like a great start, Blyth's four volume set and Higginson's Haiku Handbook are the way to go.

There are very few books on how to write in any idiom. This book explains the hows and whys of haiku. What it takes to get started and to continue to write. I have found this useful in my writing that is not associated with haiku or poetry. This book is a lot of fun to read, and is not stuffy and boring as text books are. It will serve all writers well.

What impressed me the most of this book, is how Walter Lord presents personal details, whether it would be the people involved or the happenings around Hawaii or the western United States. Case in point, Mr. Lord describes how the power went out in parts of Oahu cause Pearl Harbor needed extra electricity as they repaired the USS YORKTOWN.

This book is a classic.

This book presents a complete, chronic picture of the Battle of Midway and is a timeless classic in its own right. It is true that Walter Lord may have exaggerated a bit by saying that "they (the Americans) had no right to win", "they were hopelessly outclassed" because in reality this was a battle between carriers and airplanes (and to a lesser extent submarines). The battleships, destroyers and cruisers never fired a shot against each other from the two sides (in fact, they never saw each other), therefore the two sides were matched pretty much evenly in terms of carriers (Japan: 4, U.S.: 3), and even more so in runways (the U.S. had the added benefit of the unsinkable "aircraft carrier" of Midway Atoll itself.

But otherwise this is a fine book, it unfolds the story from the preparation for the war on both sides, code breaking of the U.S. intelligence personnel, and the high drama of the battle itself. What's also impressive is how Lord blends the afterwards recollections of the participants into his own story-telling, it makes the book read like a Montaged documentary, it also gives the book a very personal perspective.

If you have to read one book about the Battle of Midway, this is the one.

Wow! Although the outcome of this battle is a given, I cannot remember a more thrilling, edge-of-the-seat read than this one. Truth is indeed more exciting than fiction, or at least it can be when the right author relates the tale. Mr Lord has shown us just how contingent and unpredictable history can be -- although nearly everything we threw at the japanese was shrugged off by the emperor's men, when we finally succeeded, it was a magnificent triumph that no one would believe if it had happened in a story. Lord's book is well-documented and he tells us a few new things about this battle -- for instance, although we had supposedly cracked the japanese code, it was more like a few bits of information rather than the entire plan.
I'd recommend it highly, but only if you have a good heart and a tolerance for intensity.

Incredible Victory is a great telling of the events on the Battle of Midway. As events are occurring, you will 1st get the Japanese side and next you'll get the American side or vise versa. The book is written well. It is hard to put down; very interesting. Walter Lord has a good writing style. I was enjoying his book so much that before I was half way through it, I ordered his "Day of Infamy". I would buy this book again.

This book is a great example of how compelling history can be in the hands of a great writer, one who puts a human face on the history without sacrifing accuracy.

Granted, the battle of Midway was an inherently dramatic event, but other accounts of the battle don't rise to the level of Lord's writing.

This is another book I'd give a 6 if I could.

I thoroughly enjoyed "Kishido: The Way of the Western Warrior" by Peter Hobart. The book can be read pretty quickly. It contains 50 short chapters in 161 pages and then includes a short Glossary of Japanese terms used in the book as well. While the chapters are short, the contain some very important lessons.

The book is a series of lessons that Hobart's martial art master passed to his students while not only teaching martial arts, but teaching virtues embedded in all traditional martial ways. The instructor taught through example that conduct is just as important as ability. He exemplified integrity, dignity, courtesy, chivalry, truth, trust, benevolence, and wisdom. He passed these lessons to his students, and now Hobart has written them down so the reader can blend the philosophical and spiritual concepts found in martial arts with the physical and technical training of their specific art.

The lessons include:

Part I: Foundation

1. Kishido The Way of the Western Warrior
2. Bumon Lineage
3. Shoshin An Open Mind
4. Junshin A Pure Heart
5. Fudoshin A Determined Spirit
6. Ihtaram A Civil Code
7. Enkyoku The Winding Way
8. Ganshiki Insight
9. Discretio Mater Virtutis Restraint
10. Noblesse Oblige Obligation

Part II: Range

1. Bangei Versatility
2. Bunbuichi Sword and Brush
3. Bokuden, Ima Anachronism?
4. Koji The Master Texts
5. Nihongo The Lingua Franca
6. Shika, Doka, Renga Expression
7. Heiho Strategy
8. Koan Mumonkan
9. Kanpo Healing
10. Garyotensei The Eyes of the Dragon

Part III: Strategy

1. Yohei Mercenaries and Merchants
2. Gi Right Decision
3. Yu Bravery
4. Jin Benevolence
5. Rei Right Action
6. Makoto Truth
7. Meiyo A Matter of Honor
8. Chugi Loyalty
9. Ichigo, Ichie The Power of One
10. Hanare Time to Let Go

Part IV: Harmony

1. The Dao Interconnectedness
2. Docere Versus Ducere Instructors and Educators
3. Primum Est Non Nocere First Do No Harm
4. Chaqun A Son Gout Horses for Courses
5. Shojin Demagogues and Curmudgeons
6. Stare Decisis Tradition
7. Girei Professional Courtesy
8. Kiki Opportunity
9. Kouhei No One is Above the Law
10. Tatsutoriatowonigosazu Leave Things a Little Better Than You Found Them

Part V: Void

1. Kotan Elegant Simplicity
2. Heisei Serenity
3. Fuga Refinement
4. Enryo Reserve
5. Panache A White Plume
6. Gyakute The Unexpected
7. Hokosaki Advance and Be Recognized!
8. Okunote The Other Hand
9. Matsunen The Final Days
10. Renzoku Passing the Torch


As you can see, there are quite a few topics with quite a range of lessons. I think some of the most important are illustrated in the final chapter, those of gi, yu, jin, rei, makoto, meiyo, and chugi; or Right Decision, Bravery, Benevolence, Right Action, Truth, Honor, and Loyalty.

The book is full of stories and examples of how the master not only taught the lessons, but lived them as well. I'll say again, you can read through this book quite quickly, but it will mean more if you savor each lesson and look to see if you are applying it to your own life. I know I related many of the lessons to teachings that I've had from my instructors and I looked for ways that I could better live by the code outlined in this book to make me a better teacher as well. I hope to be an example of these traits to my students also, and I truly believe if you are going to teach someone skills that can hurt or kill someone, you must also instill the positive character traits so that person will only use those skills if necessary and will never misuse the teachings.

I highly recommend this book. I believe the teachings Hobart has shared from the wise master will enhance your own martial art journey.

Reviewed by Alain Burrese, author of Hard-Won Wisdom From the School of Hard Knocks and the dvds: Hapkido Hoshinsul, Streetfighting Essentials, Hapkido Cane, the Lock On Joint Locking Essentials series and articles including a regular column on negotiation for The Montana Lawyer. Alain Also wrote a series of articles called Lessons From The Apprentice.

This collection of short stories is very philosophical and eclectic spanning a wide range of topics that all have to do with personal growth. The story Ihtaram: A Civil Code takes place takes decades ago on the Arabian Peninsula. The author incorporates Bushido principles as he tells of a good host allowing a murder to happen rather than violate the code of hospitality. The point of this extreme story is to show that the host chose to find resolution by working within the mandated code. I don't exactly agree with this viewpoint but the story was intriguing. I also loved the calligraphy and the quotations.

....ask those who have gone before. Sometimes, I struggle to blend eastern thought with everyday western living. Peter Hobart helps by taking years of experience and distilling it down to an essence over a few pages. Pick out either an idea or concept listed, and gain a new thought (or revisit an old one semi forgotten) to work on. Not just for the martial artist, also for those who wish to live, rather then exist.
The chapters may be thin, so what?! Never say in 300 words what can be said in 30.So, if you are wanting to stetch your mind, or just want a degree of clarity in everyday living, then perhaps this is the book for you.

A very readable series of essays on the philosophy behind the martial way. I'm reading it again as a guide for teaching design in an art school.

Kishido: The Way of the Western Warrior
I've been studying martial arts for over 35 years (karate, aikido, iaido, and tai chi), and I'm also an amateur historian. Along the Way I've read a good deal (in translation largely) about budo and the historical contexts in which it evolved.

Recently I went in search of books to give as gifts to some of my students, and largely based on reviews at Amazon I picked 'Kishido'. However, to assure that it was 'worthy' for my purposes, I read it before presenting it. I could barely put this book down until I finished it. I've found little else that I've read that has touched me so profoundly and captured the essence of the martial arts, including autobiographies of the masters of the past century.

Not only did I present this to my students, I've now shared it with my peers and teachers, as well as added it to my library. This is one book I'll read more than once, and I highly recommend it to anyone who shares my love of budo.

I love this book! I don't know how many times I've re-read my copy but I find new ideas every time I do. Here is tradition and the real spirit of the martial arts. No matter what martial art you practice, GET THIS BOOK!

Lowry's book, a collection of his articles, is surprisingly consistent in theme. His outlook reminds of Merzel's "Beyond Sanity and Madness" for his fairly stern reminders that the Path lies within simplicity and that the early lessons in any of the martial arts (and many other Eastern disciplines such as Qigong and Zen) contain the essence that you, as a beginner, are unfortunately unlikely to recognize for a long time.

I also enjoy his viewpoint regarding the the 'need' for less ego and posturing; instead he consistently points out that 'Master' depends upon what is deep inside and is displayed through consistent behaviour at all times. Certainly this viewpoint is sorely lacking in many so-called 'Masters' at this time.

Lowry also gives some valuable insight into aspects of Japanese culture that are quite fascinating including Noh and the tea ceremony. He also includes many tidbits about visiting Masters that I found very informative.

Even if you are not that interested in martial arts I believe there are many lessons in this book that make it worthwhile to read.

Written by a Westerner with a Japanese mind. I have followed Dave Lowry's column, The Karate Way in Black Belt magazine for years. Some issues I purchased just for his work. This delightful book is a collection of his best stuff. It is an insightful look at Zen, the martial ways, the mindset necessary to truly master a Japanese art, and the implications thereof in Western society. He is clear, articulate, and never preachy. I liked it a lot.

Lawrence Kane
Author of Surviving Armed Assaults, The Way of Kata, and Martial Arts Instruction

This books brings together a number of Lowry's columns over the years on Zen and the martial arts, and you can learn a lot that is worthwhile about Zen and how a Zen master would apply these principles in everyday life from reading this book. There is no doubt in my mind that many martial artists and westerners in general could benefit from adopting certain Zen principles in their lives, especially in regard to the West's dysfunctional obsession with the individual ego and individual consciousness.

That having been said, I have a problem with books like this. The problem is the same one I had with Alan Watts's famous work, The Book, On the Taboo Against Knowing Who You Are, back in the 60's and 70's, which I saw as catering to that segment of the western readership who are perennially eastern-obsessed and therefore too naive and uncritical of their philosophy. Back then, there were just too many young people, who, having rejected whatever western culture they were brought up in, simply accepted, lock, stock, and barrel, Zen, Tao, Vedanta, and/or Buddhism after having read one or two books and therefore having finally discovered "the truth."

Well, looking back, that is perhaps too harsh an assessment, and as I said, you can learn a lot that is important and worthwhile from reading Lowry's books about Zen and eastern philosophy. But having studied many of the world's philosophies and religions, I would have to point out that no one philosophy, whether eastern or western, has a monopoly on the truth. They all have their strengths and weaknesses, and no one philosophy or system has all the answers. But overall, I think Lowry has done an important service by writing so clearly and articulately for the westerner who may be at a loss for how to approach a subject as esoteric as Zen philosophy.

I had one more comment, by way of leaving you with a little more perspective perhaps on the relationship between east and west. The great philosopher of history and culture, Frederick Northrop, in his comparison of eastern and western modes of thinking, once pointed out that at the highest levels western epistemology and Zen both become theories of perception, although they take different approaches. The western approach is to look "hard" at something, trying to analyze every possible facet of the perceived object. The Zen master's approach is just the opposite. His approach is more passive, but also more reflective and receptive. He sees more by "looking softer," and letting the object reflect its qualities to him by emptying his mind of all preconceived thoughts. This is the principle of "mind like the moon," and it is one of the most interesting Zen principles, and a useful one for the martial artist too (at least Mas Oyama thought so, which is good enough for me). Lowry discusses many other Zen principles in his book and how a true master might apply them in his everyday life, and that you may also find useful in your own life.

If you study martial arts to become mentally strong and approach that "zen" state, this is the book for you. The chapters are like short lessons; each can be read independently and out of sequence. David Lowry does a great job emphasising martial arts is not about being better than everyone in your dojo or becoming an ultimate fighter, there is an art and a "way" to be gained by studying martial arts.

Fabulous book. Inspiring look at how not to mess around with Mother Nature. Nature is not the enemy we have been led to believe! I love this book, and it was one of the first to make an indelible impression about changing one's philosophy of how to possibly go about organic farming (I was an organic farmer later on). Poses searching questions (and one man's answers) that every gardener and farmer should look for the answers to, regarding how much we need to interfere with natural processes to produce food. Also a thoughtful look at balancing nutritional needs with what is seasonally available. Vital reading for anyone interested in permaculture, sustainable agriculture, or just a soul-lifting antidote to modern, corporate food production.

I read this book years ago when it was first published and it has been a magor influence on me and my gardens for all these years. I've followed Fukoka's ideas as much as closely I can living in a city and have had wonderful results. He is right, let nature do the work. My garden is the most beautiful in the neighborhood, and without any pesticides, fertilizers, tilling, or backstrain. Buy this book, Gaia's Garden, and Forest Gardening. They all follow the naturalistic, symbiotic, permaculture mode that mother nature has been evolving for a billion years - just plug into the natural order and start growing!

Some have said that the Fukuokan philosophy is the tap root of what is now more broadly called Permaculture, only Masanobu Fukuoka was a Japanese farmer, working with rice and winter grain in a southern Japanese climate. Both are no-till methods that shun the use of chemicals. However, Fukuoka should be set apart from farming in general and Permaculture in particular, in that The One-Straw Revolution is essentially a profound work of literary philosophy. Indeed, in many cases it reads like a naturalist's bible. Although the book is dressed in the language and anecdotes of a farmer, the message looms much larger. We read of a man who came to terms with the problem of death, and then decided to form a profoundly new (or is it old?) relationship with nature. In essence, the nugget of his wisdom is that, instead of struggling to control and command nature, we must learn to work with and learn from nature. Allow me to share one quote:"To build a fortress is wrong from the start. Even though he gives the excuse that it is for the city's defense, the castle is the outcome of the ruling lord's personality, and exerts a coercive force on the surrounding area. Saying he is afraid of attack and that fortification is for the town's protection, the bully stocks up weapons and puts the key in the door." Now I ask you, does the following paragraph sound like the words of a farmer or a philosopher? From the face of it, one might think Fukuoka is here criticizing the nuclear arms race, but he is actually talking about the warlike mindset of farmers who see leaf-munching pests as evil enemies that must be fortified against, sought out and destroyed. Whether we are talking about bull weevils or communities, though, his advice is sound. We must change our frame of reference and establish a different relationship with the world. Concise and yet elegant, Fukuoka's prose is pregnant with meaning. Altogether, this work provides poetic an intelligent critique of industrial agricultural practices and the linear notions of nature and progress that underlay those practices. In fact, Fukuoka goes as far as to declare that the scientific method itself limits our experience and knowledge of nature. An invaluable, timeless work that will move you, even if you have never picked up a hoe.

j.w.k.

Ladies and Gentlemen, please get on board, the Fukuoka earth ship is departing for Earth. All I can say is to get involved with the growing community of Fukuoka farmers around the world. Please come and visit us at fukuokafarmingol.net if you have any inclination towards ecological farming and leaving behind the fear of growing your own food because you are afraid the results will not be what you want or because you are afraid to damage the soil. Masanobu points the way to farming without destruction.

Though I had heard a little bit about Fukuoka and his practice, I was not prepared in the least for the way that this book would touch me. It was like a ray of light piercing through the murky cloudiness that was my mind; all the more remarkable because I stumbled on it by chance at the public library while glancing through the gardening books. He does an excellent job of demonstrating how much extra work we have all created for ourselves, how our scientific solutions all require further solutions, and that it is an endless cycle as long as we are straying from nature and its example. This book managed to eloquently lay out a great many ideas that had been lying dormant in my head: the overemphasis on specialization vs. generalism in our society, the break between modern urbanized lives and natural agrarian lives, the definition of 'enough' and how desire leads us ever farther away from that baseline. Fukuoka discusses all these topics and more--and in a style that is far more effective than anything I can write to explain it. It is philosophy, agricultural method, and cultural criticism wrapped up into an effective unity. A shame that it appears to be out of print right now.

I read one of the stories in a volume of Junior Great Books. Then I went on a hunt for the whole book, after finding it in the library. The stories are wonderful! I really think that the book should be required reading in every school, the lessons are that good.

i really hope this book gets reprinted - I would buy a copy for each of my children, and perhaps a few extra for future grandchildren, too!

I just found a wrapped reprint hardback and reading the first few stories was bringing back memories from way back. I stopped and put it back in it's wrapping, planning on reaading it a little at a time. Ooka was a good judge who used common sense and compassion. My favorite story is "the Stolen Scent" and I realise how much reading the stories when I was a child gave me an idea on how to base my ideas.

This is a must read!! Once I find the second book, More Stories of Solomon, my set will be complete.

I remember reading this book when I was a kid and I absolutely loved it. I was disappointed when I looked it up to buy for my kids and it is out of stock. From the other reviewers comments, I assume it is hard to come by. Isn't there a way to get it re-released?

I got a used paperback copy of all Ooka's stories and still have it. I came online to see if there were any more collections- unfortunately I haven't been able to find any, but I would love to see this book reprinted! I'd really hate to wear out the one copy I own.

I first read this book when I was 10. That would be 40 years ago. I've tried to find a copy of my own ever since. It was one of the best and most memorable children's books I ever read. It's right up there with Tom Sawyer and Huck Finn.

These are among the most amazing short stories ever written. Some could be stereotypically described as poetic; others are more straightforward and prosaic. Some focus on brief moments; others traverse entire lives. Other reviewers have added a note of caution, but my suggestion is instead to jump right in. If you don't like one story, try a few more. The mystery and grace of these stories, the fullness of the emptiness surrounding their intensity and concision, and their range in time, content, and form will continue to astonish throughout one's life.

I hate the actual physical cover of this book,
the front and back cover are both very much curling outward,
so its hard to insert the book in a bookshelf.
This has nothing to do with the content of the book,
but it is very annoying nevertheless.

Yes, I'm serious about the title of this review. Nobel Prize winner Kawabata's "Palm-of-the-Hand Stories", a collection of 70 mostly 1-4 page stories makes for excellent toilet reading, reading of the highest order. Don't lie to yourselves, we all do it - even the ladies. So instead of reading some junky magazine or playing a hand-held video game while on the throne, read this book; its stories are of the perfect duration. The stories range from slight observations to deep expositions on human nature. Coincidentally, one of the stronger stories in the book is titled 'Lavatory Buddhahood'. Go figure. So whether you take my advice as to where this book is best read or not, it's worth reading.

If you like Sudden Fiction as a genre but not the usual silliness which accompanies it, this is the perfect union of very short fiction, craftsmanship and seriousness. Not always serious in tone but in effort. For the most part they are tender stories of rememberance, loss and the betterments of life. They are brief and dream-worthy, almost as if they were prose acting as poetry:

"Startled by a sharp pain, as if her hair were being pulled out, she woke up three or four times. But when she realized that a skein of her black hair was wound around the neck of her lover, she smiled to herself. In the morning, she would say, "My hair is this long now. When we sleep together, it truly grows longer."

Quietly she closed her eyes.

"I don't want to sleep. Why do we have to sleep? Even though we are lovers, to have to go to sleep, of all things!" On nights when it was all right for her to stay with him, she would say this, as if it were a mystery to her." from Sleeping Habit

Even when the stories are harsh they aren't beleagured with excess, but consequential life and its misgivings with some ironic humor interjected amongst the living ghosts. The same can be said for the norm: lush stories that are kindly felt but never over-sentimentalizations and mush. A great bed-side companion to make you dream better and wake a little more human.

House of the Sleeping Beauties is one of my favorite anthologies, and I couldn't wait to get my hands on another book from this brilliant author. The stories in Palm of the Hand are full of poetic and philosophical undertones and magical realism. My favorite one is "Bamboo-Leaf Boats," a poignant tale about a woman who grieves the loss of her fiance. The pain the protagonist goes through moved me. The other stories are beautiful as well. I suggest you read this wonderful book...