Asia Books

Scars and Stripes by American idol Red McDaniel paints a vivid picture of his life's greatest struggle as a POW in the Vietnam conflict after his plane was shot down.
Scars and Stripes written by Red himself puts you in a world that only he could describe. The book is interesting and factual filled with many tragedies and accomplishments to keep you reading.
As a reader I could only find one minor fault. Towards the middle of the book when Red has been held prisoner for his second year, the description becomes dragged out. The action slows down a little too much. I say this not in the least to discourage you from reading. I would advise anyone who likes biographies or stories about true survival to read either rent or buy it.
Red McDaniel gives descriptions and accounts anyone would like to hear and is altogether a good read.

Scars and Stripes is the emotional story of Eugene McDaniel and his seven year emotional rollercoaster in Vietnamese prisoner of war camps. McDaniels served in the Navy during the Vietnam War (965-1972), was shot down while flying an A6A jet on May 19, 1967, crushed two vertebrates after falling forty feet out of a tree (p. 25), captured by compassionless Vietnamese (p. 35), imprisoned, tortured and finally released seven years later on March 4, 1973. The ful range of emotions shine through this book and I shall write a review by focusing on the emotions.

LOVE was felt by McDaniel and his family after his release from the Hanoi Hilton; "All the black hours [in prison]... were gone and we had the sweet reality of faith rewarded, of enduring love fulfilled" (p. 170). His DESIRE was to forgive "Spot", his jailor/torturer; "Looking at him... I felt only a desire to share with him the innter, deeper secrets of God and His never-ending care" (p. 167). And JOY filled the soul of McDaniel when he entered his warm house after leaving the cold prison in 1973; "When I walked into the house with my family... I suddenly was too overwhelmed to absorb it" (p. 170).

His HATRED for the Vietnamese guards was dissolved by prayers; "I had once hated them for what they were doing to me in torture... yet I felt the need to pray for them" (p. 132). DISGUST was felt daily in the camp since the bodily injuries were gross; "My eardrum had ruptured when they struck me across the head with my shoe and it too was oozing blood" (p. 124). SADNESS was always present in camp for the guards were regularly cruel; "Each time I would drop my arms after hours of holding them up, they would beat me around the shoulders with a bamboo stick" (p. 109).

HOPE came to McDaniel one day when, "at the height of my three-day torture, I heard church bells coming from somwhere in downtown Hanoi... It had given me hope" (p. 120). DESPAIR filled the camps since the guards could care less about the American prisoners; "One of them told me, 'I am here to give you rations and bury you when you die'" (p. 49).

There was plenty to FEAR at the Hanoi Hilton; the guards "would take a dog and torture it to death for the sheer pleasure of inflicting pain. It got to us, because we did not know how far that streak in them would carry over to us in the torture room" (p. 54). COURAGE was demanded of McDaniel every day;"I felt that Christ was able to do more in methan if I had counted only on my strength and courage" (p. 172). Finally, the reader cannot help but become ANGRY due to the inconsistencies and unreasonableness of the Vietnamese guards; "The guards kept inflicting wounds- but at the same time they made sure I had medicine so I would not die" (p. 131).

Understanding the story of McDaniel and the full range of emotions triggered by his traumatic prison experience will possibly bring a person to an appreciation of his own emotional life, of the brave military men and women and of the federal republic of the USA.

The story of Eugene "Red" McDaniel is not only about a prisoner of war in Vietnam, it is the story of a hero who defied the odds and overcame extreme adversity.

Eugene McDaniel was shot down in 1967 and spent 5 years in captivity in North Vietnam's Hanoi Hilton, Zoo, and Zoo Annex prison compounds. While imprisoned, he made very aggressive strides to keep secret communications going between the prisoners even though such communicating was prohibited. In continued defiance of his captors, he paid a dear price.

McDaniel had the unfortunate distinction of being one of the most viciously tortured prisoners of the Vietnam war. Methods used on him were sadistic and barbaric and leaves you wondering how his jailors could possible treat another human being in this manner.

In the most trying of times, when all hope was lost and despair was complete, McDaniel turned to faith and prayer in God and was lifted up from the depths he was in. McDaniel was a constant source of optimism and strength for his fellow prisoners during confinement.

This book, outstanding in its message of courage, perseverance, and inspiration, will leave you knowing that no matter how difficult things can become, faith in God will always see you through.

A magnificent book from start to finish and definitely recommended to everyone.

Wonderfull book! It tells the story of my friend "Red" McDaniel of him being in the infamous HANOI HILTON were he was beaten severely. In the book, he tells how he got through those years of pure Hell with the help of God. If you are religous, POW-MIA reader, or someone who just likes a good book, I recommend that you read this book, it will truely move you.

Burton Watson, recognised as one of the finest translators of our time, gives us a selection of poems by an illustrious Chinese poet who lived in the 11th century. Many of the poems refer to Su Tung-P'o's travels as a government official in China. The poems are remarkable for their descriptions of the landscape and for their clear, concrete detail. The poet often has a light, playful touch. The poems reveal Su Tung-P'o as a compassionate man who, even though he suffered hardship, had a cheerful temperament. He asks questions still relevant to us all. There are poems that are warm and tender - others that reveal the influence of Taoism - and others such as "Dipping water from the river and simmering tea" that are artistic and touching. Jan Hutchison.

This is a fine little volume of poetry by Su Tung-p'o, one of the great poets of Sung Dynasty China, translated with the usual virtuosity by Burton Watson. As usual, too, Watson knows how to be scholarly without being pedantic: his introduction is appropriately brief and to the point, outlining the poet's life and his poetics nicely and so giving readers enough background information without delaying them too much from the wonderful poems that follow. In the same way, enough footnotes are included to clarify and contextualize without overburdening the poems with a morass of prose.

Su has sort of helped Watson out on this, though, because his poems are for the most part very straightforward and accessible, appealing directly to our sensibilities. There is nothing so very convoluted or obscure about them that would require lots of annotation (in contrast, say, to poetry like that of Li He (as seen in Goddesses, Ghosts and Demons (Poetica)). This is not to say that Su's poems are shallow or simplistic. Far from it. They include within themselves depths and depths of feeling and insight by someone who was clearly moved by the world around him, someone who had seen his shares of life's ups and downs, someone who as a layperson practiced Buddhist meditation and fine-tuned his spirit thereby but who was far from adverse from inspiring himself with spirits of a more liquid nature. Indeed, the poems give every impression that this poet would've been a great guy to hang out with, perched somewhere on the ridge of some mountain temple, looking out over the landscape, sharing a few bottles of wine and a good laugh. In a way, the poems themselves travel over the centuries and give the reader just such an experience.

SELECTED POEMS OF SU TUNG-P'O : Translated from the Chinese by Burton Watson. 148 pp. Port Townsend, WA : Copper Canyon Press, 1994. ISBN 1-55659-064-4 (pbk.)

Burton Watson has always struck me as an eminently civilized scholar and as a fine translator. Unlike certain others, he wears his scholarship lightly, and doesn't overburden the text with extraneous matter. His many translations from Chinese and Japanese Literature are of uniformly high quality, and are well worth having as they are books one often wants to returns to.

The present book, after a typically brief but interesting and informative introduction which provides all we really need before diving into the poems, gives us translations of 105 of Su Tung-p'o's poems, lightly annotated and beautifully printed on spacious pages.

Su Tung-p'o is one of China's greatest poets, and Watson has outdone himself here. The wrapper includes a highly laudatory appreciation by Gary Snyder, and it's easy to see why. Watson has always been a brilliant translator, and a true artist with words, but in this book he has lifted himself into the ranks of the very best, and has produced translations indistinguishable in quality from those of Snyder himself.

Here, as an example of his marvelous control of tone, thought, feeling, image, rhythm, and sound, are the opening lines of poem 52 (with my obliques added to indicate line breaks) - 'Reading the Poetry of Meng Chiao' :

"Night : reading Meng Chiao's poems, / characters fine as cow's hair. / By the cold lamp, my eyes blur and swim. / Good passages I rarely find - / lone flowers poking up from the mud - / But more hard words than the Odes or Li Sao - / jumbled rocks clogging the clear stream, / making rapids too swift for poling. / My first impression is of eating little fishes. . . . " (p.70).

What we find here is what Burton Watson, in his 'Columbia Book of Chinese Poetry' (1984), has described as "a freshness and immediacy that is often quite miraculous" (p.3).

Not poems about airy notions and exalted abstractions, then, but poems describing events from daily life, poems recording the scenes of a journey, poems expressing grief, joy, boredom, or irritation as here, poems both serious and funny and by someone who is in many ways like ourselves.

Su Tung-p'o's is a wholesome poetry, a poetry that cleanses and refreshes the sensibility, and that translates us from the technoid madness of our own chaotic world to something more human and hence more nourishing. There's real food for the spirit in these poems. Watson has done them full justice. Sensitive readers would be unwise to pass them by.

The amazing thing about Su Tung-p'o is how modern he feels. Part of this is the translation by Burton Watson, but most of it is a reminder that the human condition has not changed a lot in 1000 years. We still miss our friends, marvel at the beauty of nature, feel the bittersweet loneliness of travel, and live in special moments. An excellent collection.

This book was very intersting because it showed that not all of the Japanese people were in favor of the war against the US nor were they in favor of the kamakazi suicide missions.

Although the project was supposed to last only a few months, Asahi shimbun were absolutely deluged with responses and they eventually printed 1,000 out of 4,000 letters received. Not only does the book give the reader a personal glimpse of what it was like to be a foot soldier, housewife, high school teacher, etc.,it is also organized in a way that details the events of the war from the first settlements in Manchuria to the occupation and even how people feel about their role today. It's a great way to get the full chronology of events as well as all the personal depictions.

I was shocked at how the footsoldiers were treated by the officers and was surprised to read tales of killing superiors in battle, much like "fragging" occurrences in the Vietnam war. Throughout the book there are gut-wrenching stories of combat, but there is also an underlying thread of humanity; officers finding ways to keep their soldiers alive, a vacationing zero pilot who convinces a group of admiring boys not to join the military, a young soldier who secretly puts some of the bones and ashes of other soldiers into the empty boxes so the families have something to pray to.

I sat down to read the first chapter at 6 pm but I couldn't put it down. I finished it at 2 am. My best friend teaches high school history and I'm going to copy off a few of the best stories for him to use in class. This is a must read... for anyone.

This book does a great service in helping us see the Japanese in WW2 as more than mindless fanatics.It is an compilation of letters written to the editors of one of Japans largest newspapers, the Asahi ("Morning Sun")Shimbun during the 50th anniversary commemorations of the end of World War 2.The stories are primarily from military participants or family members of military personnel and most are very frank and gut wrenching. I got the sense that many of the ex military men were trying to come to grips as to why they were fighting- and the answers are not what this American reader has come to expect. I have always thought that the Japanese were brain washed sub-human fanatics when it came to fighting, but many of the stories reveal compassion,caring and a full awareness of the situation they were in. They speak of heartless, cruel and inhuman superior officers who thought nothing of leading entire battalions to death in their quest for glory, but they also realize that these officers were just the products of a military system where cruel treatment of recruits was a tool to instill blind obedience to superior officers. I still don't think that this is a good excuse for the many atrocities that were committed by Japanese forces during the war, but it goes alot farther in helping me to understand how such atrocities,e.g., Rape of Nanking, Bataan death march, arose. The letters from family members are particularly poignant as they recall fathers, brothers, uncles and sons who were never seen again.I was very moved by several letters from family members who had childhood memories of the deceased soldiers that really drove the point home that war is such a terrible waste(hate to sound like a cliche). The Japanese lost more than 2 million people during the war, and it would be hard not to find a family that didn't face tragedy. I gave this book to several friends who said it completely opened up their minds about what they thought about the Japanese during World War 2.While we all agree that Japan was not right for its war of aggression and the pain and suffering it caused to millions of Asians, Americans, British,Dutch and Australians, we can now hear for the first time the voices of the Japanese participants and learn that they too cried and suffered and felt deep guilt for what they did.

The first shocking chapters of this book give us a picture of a military culture whose sadistic norms were so out of control that it's almost incomprehensible. Sometimes I wonder if the allies did Japanese soldiers a favor by killing them so they could escape an army with an absolutely sick sense of discipline. One soldier wonders how many trainees committed suicide to escape punishment: just for breaking a firepin on a rifle! On Japan's surrender, an army nurse recalls soldiers turning on and beating officers who were screaming, "Forgive me, forgive me". Another soldier remembers suffering trainees whispering, "Bullets come from behind in a battlefield". I grew up hearing Korean stories about Japanese abuse that I never thought to be true until now.

It's certainly not surprising that such an army of the walking dead would commit atrocities as a norm rather than as an exception. One story recalls using prisoners as targets for new recruits who were so scared that their bayonets were shaking. He recounts how they drew a red circle around the prisoners' heart, not as a target, but as the one place you were NOT allowed to stab so the prisoners would suffer as long as possible. Many of the tales of wartime heroism are simply acts of decency in defiance of unspeakably cruel punishment.

Was such ferocious sadism unique to Japan, or does this teach us about other great cultures as well? Many admire the samurai, the Zulu, the Spartans and other great warriors reknown for superhuman conduct. Perhaps this sadism is the cost of such greatness - the natural reaction of humans being held to an inhuman standard?

Nevertheless, as the war drags on and unrealistic notions of superiority fade, the stories inevitably become more human and share much more in common with the horrible sufferings of all people from war. It was a war where both the innocent and guilty suffered from the fanaticism of the strong.

The editors reveal that they did not publish articles that were simply long nationalistic rants. Interestingly enough, this coincides with the fact that almost no articles were written by or defended those who perpertrated this plague of barbarism. It may very well be that the anti-war bias of the editors has robbed us of a look into the psychology that gives birth to atrocity.

For anyone who has lived in Japan, there are way way too many books that attempt to explain away what we witnessed as severe problems via complex cultural blah-blah about the "Japanese exception."

The great value of this book is to explain the corruption and autocratic impulses as the product of a rather straightforward politican machine - there is nothing exceptional that offers anything of intrinsic value beyond understanding it for what it was: just a moment in time that a corrupt leader, Tanaka, was able to create a seat for himself at the center of power. As Schlesinger argues, with all that power, the great failure of Tanaka was that he did so little with it in terms of serving the public interest: instead, it just served him and his cronies. As such, now that the machine has been watered down, many needed reforms are far more difficult to implement (and the need for remedies, after decades of neglect, is worse than ever).

This is the product of a truly intelligent and thoughtful journalist. I knew him briefly in Japan, and was always impressed with his clear sightedness and willingness to question anything, in addition to his humor. It is a great pleasure to read this book and recognise the original mind that I knew.

Warmly recommended.

Concise and well written, it opens up postwar Japanese politics. Incredulous happenings! Maybe we should send some of our congressmen to Japan to check this out.-- Short shrift is given, however, to the all-pervading involvement with, and use of, the criminal organisations where the police seem powerless. Also, it should have photographs of the main actors to make it more three-dimensional.

This is a far better book than the more theoretical approach by Karel van Wolferen in 'The Enigma of Japanese Power'.
After reading this book there is no enigma anymore.

Jacob M. Schlesinger reveals extremely clearly how the Japanese system worked and who pulled the strings. He shows that Japanese politics in the last half of the 20th century was firmly controlled by four men, with Kakuei Tanaka as the most predominant tycoon.

Tanaka's tactics were very simple: use his home base as a platform for his political career by lavishy spending state money in his election district and by buying votes; use his financial clout to control the Japanese majority party; become still richer by corrupting the state bureaucracy, bid-rigging (200 % and more margin) and briberies (by private companies).

In fact, the author shows clearly that the whole system was controlled by a corrupt oligachy.
The men in power were not afraid of racket type interventions. One example: the ruling government proposed stiff taxes on automobiles. After the automobile industry paid heavy contributions to the party in charge, the bill was watered down.

This book is an exemplary analysis of a corrupt political system. Not to be missed.

Why has Japan changed its prime ministers with such frequency through much of the post-war period? Why did those prime ministers seem powerless to affect real change to the political system? "Shadow Shoguns" answers these questions by way of a brilliantly told story of the Liberal Democratic Party's most powerful political faction called the "gundan".

The story of the "gundan" - which means "army corps" -- is primarily the story of the man who created and ruled over it for much of the 70s and 80s, Kakuei Tanaka. Jacob Schlesinger spends more than half of "Shadow Shoguns" examining Tanaka's life, including his roots in the construction business, his entry into politics, how he made money work for him in consolidating political power, and finally, his fall from power.

Tanaka was a fascinating figure. In many ways he was a combination of LBJ and Boss Tweed. His appetite for power and money was huge, and his experience in the construction industry gave him the ability to amass both. Coming from one of the poorest prefectures in Japan, he fought hard to bring huge pork barrel construction projects back to his constituents, and they in turn gave him unflinching support even when he was charged with crimes and became a national symbol of corruption.

A scandal removed Tanaka from the prime minister's seat in 1974, but due to his constituents' support, it did not remove him from the parliament. From then until the mid-80s, Tanaka would be the power behind the throne, using money from construction projects to strengthen his faction, and his faction to strengthen his hold over national politics.

What finally removed Tanaka from his position as leader over Japan's most powerful faction was not angry voters, other factions or their political leaders, but his own underlings. Tanaka had attracted some of the most talented politicians in Japan to his faction, and handling those egos was a full-time job. After a stroke in 1985, Tanaka was unable to reassert his power, and three of his protégés (Shin Kanemaru, Noburu Takeshita, and Ichiro Ozawa) wrenched the faction away from him.

The final third of the book focuses on those protégés, their strengthening of the faction, and finally the fall of their machine as Japan's economy began to flounder. As Schlesinger tells it, the success of the faction was always predicated on continued strong economic growth. When the Japanese economy faltered throughout the early 1990s, so did the mechanism by which the "gundan" governed Japan.

This is a book that gives vivid life to a political system and to politicians many people find boring. Schlesinger shows that because Japan's most capable and interesting politicians operated out of the limelight for much of the last three decades, their story is a compelling one as well as the key to understanding the history of the modern Japanese political system.

Prior to this book, I didn't know much about the Jews who fled to China during WWII. This was an interesting and eye opening book. The story line follows a young girl and her family as they flee Austria and move to Shanghai, China. When the Japanese take over Shanghai, Jews are forced to live in an isolated part of the city guarded by soldiers. The living conditions are horrid. Many die. I highly recommend this book to anyone, young and old, studying the Holocaust.

Sometimes fiction is truer than memoir. In reading a memoir, the reader is outside the story, looking in; but in good fiction, the reader enters the story and experiences it almost as if there. With her newest book: Shanghai Shadows, Lois Ruby conjures up the magic of "being there." The setting of the book may be Shanghai, but the real story is human nature.
Ilse, her older brother Erich, and their mother and father have come to the awful realization that Austria is no place for a Jewish family. It is time to get out, but to where? There is only one possible place, Japanese occupied China--or Shanghai. At first, conditions are tolerable. As the political situation deteriorates and the United States enters the war, the immigrant population is imprisoned in a ghetto where the inhabitants have to deal with near starvation and an odious, cruel, but eccentric keeper of the gate. But it is the relationship that develops between Ilse and the little Chinese street-boy, Liu that make this refuge story so outstanding. Filled with daring resistance activities in which she and her brother participate, and inhabited by wonderfully drawn characters like Ilse's parents-- once proud and proper upper class Viennese Jews who evolve realistically as their fortunes change--this book is highly recommended.
Ages 11-14.
Reviewed by Rachel Kamin

Shanghai Shadows is another great read from Lois Ruby. The plot and setting are novel as well as well-researched. The main character Ilse is complex--at times not too admirable but always honest.

Recommended for mature readers--too old for most young children.

For suspense and surprises, twists and turns, no one invents plots like Lois Ruby. Shanghai Shadows covers six years in the life of Ilse Shpann, her brother, Erich, and their parents - six years as "stateless refugees" in Shanghai, to which they have fled from Nazi-occuped Vienna. Amidst intensely realistic evocations of the sights, sounds, smells, and diverse population of the city, Ilse matures from a willful child to a courageous, self-sacrificing (but still willful) young woman. Her acerbic sense of humor and love of adventure sustain her as conditions of life for Jews and everyone else go from bad to worse. Ilse and Erich both work for a resistance group; their father, an unemployed violinist, grows apathetic; their proper mother is the iron will that keeps together and alive until a secret from Mrs. Shpann's past shatters the family. So eventful a plot is held together by sparkling dialogue and superb characterization, with major and minor characters all interacting believably as well as coherently. The grimness of the Shpann's six years in Shanghai never overwhelms the story because it is mitigated by flashes of humor, humanity, and Ilse's indomitable spirit. Ruby is the author of Swindletop and The Moxie Kid among other books. The talent that was glimpsed in those reaches fulfillment here, in a historical novel that should not be missed! Highly recommended for grades 6 - 9.
Reviewed by Linda R. Silver
Association of Jewish Libraries Newsletter, Sept./Oct. 2007

I'd been aware of Shunga, also known as "Images of Spring", an ancient Japanese euphemism for erotic art, for many years. It wasn't until I actually began collecting Shunga engravings that I could recognize which books were the better sources for information about the art. This finely printed volume includes many of the rarer, lesser known, and often shocking, by western standards, classic Japanese artworks. Like many people I began collecting this art form because it was beautiful, erotic, always over a century old, and relatively inexpensive because nobody actually knows how many examples of these pillow-book engravings still survive. World War II and the American Occupation led to many of the works being destroyed either by actual bombings and firestorms or by the imposition of Puritan values on the traditional Japanese culture. Although highly erotic in nature, a few of these Shunga engravings are among the most famous images in art history. Some, like "The Dream of the Fisherman's Wife" by Katsushika Hokusai are credited with introducing a whole new sexual language to the non-Japanese world. If a person only has time to examine a single book on the subject, this would be one of the better choices among many good volumes on the art form. Shunga art was done by the same master artists of the more well-known Japanese scenic woodblock prints.

Shunga are literally "images of spring." That is the time of recreation and procreation, the time that inspires man and woman to couple, as if anyone needed an excuse. Shunga appeared prominently in the works of Hokusai, Utamaro, and many other revered woodcut artists. This lovely book summarizes that honored tradition.

It starts with the early shunga of Settei (1710-1780) and Jihei (active 1680), and works up to the dawn of the 20th century (1899). The presentation, sequenced by time, creates an order that the originators could never have seen. The less important order has to do with drawing and coloring.

Colors, since the 1700s could well have faded. Even the best-preserved prints may have retreated into shades of orange and black, if those were the stablest dyes. Some, like p.29, simply omit color altogether, with no loss. Later prints, from the 1820s and on, show rich blues and greens. Some historians attribute these colors, at least some times, to imports of synthetic dyes. Other prints from the era use mica for a glistening effect, or use "blind" impressions of un-inked blocks to create depth. A print fan may only regret the loss of information regarding technical issues of image creation.

The rest of us, however, take the greatest pleasure in the egagement of the sexes, epitomized in a sumo fight of man vs. woman (p.57). Most of the prints show basic couplings of man and woman, complicated only by their improbable angles and their exaggerated organs. Others show man and woman at play with each other's genitals (p. 135, 156), or sometimes a woman at play by herself (p.112, 127, 139, 164, etc). At least one (p.56) displays man engaged with man, showing very different social gender even for the same physical sex. Some pictures demand three- or more-way couplings (p.31, 46-7), others suggest that tied partners sometimes enhanced an ecounter (p.76-7, 137). Still others, like Hokusai's octopus (p.115), invoke a uniquely Japanese mythology, leaving an image that a Western eye can only see in very strange ways. Others (p.118) express a humor that works wherever men and women exist together.

As the years advanced, I found the images sucessively more enticing because of the increasing nvolvement of the female characters. Early on, up to the mid-1700s, the woman was entirely passive, a receptacle (however grand) for the male advance (however grand). Koryusai and Shigemasa display women with needs and interests of their own. Toyokuni and Hokusai promote women to center stage, with fondlings, genital kisses, and other activities that focus wholly on the ladies' fulfillment, sometimes at their own hands (p.112, 127, 168).

This is a lovely book. I admit, I have given short shrift to its text, even though I found it interesting and informative in those few places I stopped to read. This book is about its pictures, carefully organized and captioned, and in historical order.

It is beautiful. I truly hope that you can see it for the cultural sample that it is, and also for the expression of physical happiness that it is.

//wiredweird

The print quality is almost as good as original
Japanese books.And if you want to know what I mean
you better go to Tokyo.

Marco Fagioli's "Shunga:The Erotic Art of Japan" is an incredible collection of prints and histories. He provides the reader with approx. 22 pages on the (well researched) history of Shunga, that include key names, dates and translations. The pieces shown in the book, give a wonderful overview/representation of the different schools within Shunga. All of the pieces are reproduced with great care, all in vivid color and clear detail. 90 percent of the pieces include a thoughtful caption about the artist, the piece itself, it's relationship to the period and to shunga as a whole. Some of the captions include translations of any text within the piece as well. Marco Fagioli has done a spectacular job of choosing and displaying these pieces so that both, a first time viewer and a great lover of Shunga, can see the intamacy, skill and grace that it has offer. This book is wonderful for a coffee table, home library, or as a late night picture book for lovers. It is not the best for research material, aside from the wonderful prints, but it can definately serve as a spring-board for further studies. I highly reccomend this book to any with even the slightest interest in Shunga or the art of Japan.

This book has got all that you need to avoid reinventing the wheel. A must for Sikh history researchers.

This book is specialy interesting and instructive to be read by the sikhs
and those who have allready some knowledge of Sikhism.

I bought this book expecting to read articles with a bigoted, mis-informed view of the Sikh culture and people from an anti-Sikh western viewpoint, or worse, pure ignorance. I was pleasantly surprised by the detailed and fascinating detail on the circumstances of Sikh people and life during the periods covered. I appreciate that there are gaps in coverage, but that adds to the authencity of the accounts and helps you formulate a view in your mind how the Sikh's could've changed from a small band of warriors under Bhanda Singh to the organised armies under Ranjit Singh. What I liked were the commentaries by the narrators who put the writer's circumstances into context before putting the writer's actual account before the reader. This helps the reader appreciate the limitations of the writer's perspective, and appreciate the actual gems of insight where they are to be found. The book also gives a glimpse into the past when it wasn't necessary to be 'man with turban' to be sikh, but there were other ways to be spiritually sikh without donning the appearance of a Khalsa sikh.

Overall, a gr8 read. Now onto Patwant Singh's book...

Well done to the authors and all who supported them in this long overdue project.

Amandeep and Paramjeet have attempted to write this book in an unbiased fashion, and I must say, have succeeded. This is a rare acheivement for authors of history and historians, as the biased historical accounts of the early Europeans in India show.

The accounts (some apparently eye witness) of Banda Bahadur are particulary informative as to the culture, opinions, attitudes and politics of the rulers and the Sikhs in the early eighteenth century.

It's a shame that there is still a gap in mid eighteenth century Sikh history, although there are accounts of this, they are still very limited in content and historians rely heavily on the hearsay of the time.

Maybe a project on the Sikh Misls could be a possibilty, using all known sources!! There is a lot of misinformation about this period and the Sardaars. A comprehensive and historical records based study is much needed!

There is some very interesting information as to the practices of Sikhs which I never knew of before e.g. stirring amrit with a boars tooth, which is very believable if looked at in the context of the problems faced by the Sikhs of the time.

Unsuprisingly, there are comprehensive reports of Ranjit Singhs darbaar.

In all, this is an eye opening, inspiring and educational book.

Harcharan

Got to me in a decent enough time and nothing was wrong with the book so i would say overall pretty good.

This is the book I wish I had written. I have traveled in most of these countries and studied their history and culture. I was so thrilled to see the information pulled together and the follow-through to show the outcomes of movements and trade goods. Fascinating. Loved it!!

This book is a fantastic cultural adventure and should be read by anyone interested in cross-cultural relationships. More than a topographical description of the silk road, it is a gallop though history explaining paths taken by silk to get to Europe. It starts in prehistoric china and ends with the Karakorum highway, synthetizing in twenty chapters the reasons for the often difficult diffusion of luxury products from the Far East. The author, that evidently knows well chinese history and mentality, takes us by hand into the ancient cinese political issues as to foreign commerce, the fundamental role played by Iranians, byzantines and arabs during the Middle Ages up to the wary reciprocal opening of European and Cinese worlds due to brave and curious travelers. So we meet princesses, monks and merchants and get to know their fascinanting stories. One point of force of the book is the meticulous and modern analysis of these travel tales, so we have a critical perspective of what has come down in history and makes up our cultural background. Marco Polo get's revisited and also less well known ancient and modern travelers are cited.
Boulnois loves silk (her detailed description of materials of the old world and how they were made is enlightening)and its history, so she brings us to her country, France, and to the evolution of the silk industry in the XIX and XX century. And this somehow closes the circle of the story of this precious tissue that reached its apogeum in the last century.
The book however is much more than this and carries a great amount of information. It could be described actually as a textbook on the history of silk. It is well written even if not too easy to read, and sometimes it is a little repetitive.
I enjoyed it very much and feel enriched by its reading.

This is a fascinating coverage of a area, region call it what you may. The Silk Road has been part of the adventure stories that we have come across over many years, not knowing much about it; but we have thought that one day we might just get there ourselves.

Purchased with the idea that if I am going to visit this area, and I will in the not too distant future, this is the ideal book to read, savior and be intrigued with the Monks Warriors & Merchants that have gone before us.

If only I could pronounce the names - but then that is another book, another read.

This book is a delight to read. Thai culture comes alive with the Marsden's adept descriptions of daily life in a small village. Full to the brim with beautifully described characters, the book is worth savoring.

Marsden succeeds again with her second novel, Silk Umbrellas. It gently transports us to the world of a rural Thai girl whose artistic sensibilities are emerging even as she struggles with her family's survival issues. The descriptions of how she forms images in her mind, paints the umbrellas, and gains confidence as an artist are sure to appeal to young artists worldwide. The compelling story and details of present-day, rural life in Thailand make this story worthy of classroom study. It would be a cultural eye opener for many American children and is sure to spark discussion. Parents will want the book for home use, too-kids will treasure this inspiring read.

Silk Umbrellas is a revealing commentary on our changing world, for these changes are happening everywhere, not only in Thailand. It is also a tender story of a young girl, glimpsing a future with eyes learning to see reality. I read it in preparation for an upcoming trip to Thailand, and am enriched by it. Only one question for the author: where does the family get the umbrellas? Now I want a sequel: The Umbrella-Makers.

Noi's grandmother is an artist who paints beautiful designs on silk umbrellas and sells them at the market near their rural Thai home. Eleven-year-old Noi also longs to be an artist, and when her grandmother lets Noi add small designs to the umbrella, she seems to have natural talent: "The flit of the butterflies moved into her, then out into the brush, so the paint seemed to lay itself down."

When Noi's family falls on hard times, though, and Noi's older sister Ting is sent to work making radios at the factory, Noi fears that she, too, will be sent to work when she finishes school in just a few months. When Noi sees the stifling environment of the factory, she grows even more desperate to avoid this fate and asks her grandmother to help her learn how to paint. In secret, Noi creates dozens of decorated umbrellas, inspired by the flora, fauna and colors of the landscape. When her grandmother grows ill, will Noi be able to paint umbrellas beautiful enough to help support her family?

Set against the background of preparations for the harvest festival of Loy Krathong, SILK UMBRELLAS is not only the story of the birth of an artist, but also a loving portrayal of Thai nature and culture. Careful readers will notice subtle commentaries on the changing economic conditions in Thailand. Electronics factories replace traditional crafts; Noi's father weaves fishing baskets, not for fishermen but for Western tourists.

SILK UMBRELLAS is a slim novel that can nevertheless be read on several levels. Younger readers will enjoy witnessing Noi's artistic development and learning about Thai customs, and older readers will also grasp the larger cultural commentary in Carolyn Marsden's sensitively written novel.

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I love this book! Teaching children, and adults no less, compassion, imagination and creative thinking is of the utmost importance and the combined pleasure of a fantastic ending is a sure winner. The little drawings are not colorful but so detailed and feeling.

A poor old witch and her cat, Toraji, just want to make some yummy miso soup for their meager supper. The bonito flakes are boiling to make stock. But, wait the cranky pair have a change of heart when they look at the peacefully sleeping clams they have bought for the soup. An unexpected tale of friendship and happy, mundane magic. We like it. The Librarians Sisters, Karen and CJ

Singing Shijimi Clams is the tale of a witch, old and without her sparks, who brings home some shijimi clams for her dinner. She's taken aback, right before cooking them, to find find the clams snoring away. "Their shells were opened slightly, and their little bodies moved contentedly." Her cat, Toraji, tries to convince the witch that it's ok to boil up the clams because "(t)hey won't feel anything if you put them in quickly." But she can't do it, and witch and cat end up eating miso soup sans clams.

Eventually, the witch and Toraji start talking with the clams, and the clams cry when they learn that they aren't in the ocean anymore. The witch and Toraji have to undertake a major project to take the clams back to the sea. Along the way, the clams sing! "And every day, as the witch listened to the shijimi clams' sweet voices, she too began to feel happier, and less miserable."

I'm not such a fan of message books, and this one bears a relatively strong vegan message. But Singing Shijimi Clams is a lot of fun. The illustrations are deceptively simple, small black and white sketches rather than full page drawings. They convey the grouchy witch's gradual thawing, as she does something good for the clams. The cat is a riot, starting out callous, but by the end admitting "I will miss them when they go." The drawings of the little clams are priceless, with tiny faces, and lines to show movement and emotion.

This book grew on me. I thought that it was ok on the first read, but by the end of the second read I was quite attached to witch, cat, and clams. Because of the lack of color in the illustrations, and the relatively high text ratio, I think that this book will resonate more with kids on the older end of picture book range.

This book review was originally published on my blog, Jen Robinson's Book Page, on November 12, 2006.

Yes, this tale does have a very strong vegan message. As the witch and her cat learn more about the clams and interact with them, they realize that the clams are living beings, too. More than that, they are fast becoming friends. You don't eat friends.

I loved that the witch (and her cat!) grew throughout the story and opened themselves to love and service to others, and became much happier beings for it.

Message books can be kind of preachy, but I really didn't find this one to be overly so. Nowhere does the author explicitly state that eating meat is bad, or even that you should want to help others in order to be a decent human being. Things just unfold naturally in the storyline.

As a vegetarian venturing into veganism myself, though, I love having this resource to begin to talk with my kids about the ethics of food choices. (My children are six and two.)