Through his long and distinguished career he managed, like very few others in the teeth of a huge and relentless industry, to elevate each of his films to a distinctive level of art. His Rashomon—one of the best-remembered and most talked-of films in any language—was a revelation when it appeared in 1950 and did much to bring Japanese cinema to the world's attention. Kurosawa's films display an extraordinary breadth and an astonishing strength, from the philosophic and sexual complexity of Rashomon to the moral dedication of Ikiru, from the naked violence of Seven Samurai to the savage comedy of Yojimbo, from the terror-filled feudalism of Throne of Blood to the piercing wit of Sanjuro.

    As the eminent American designer George Nelson writes: “This book is all about a once-common sence of fitness in the relationships between hand, material, use, and shape; above all, a sense of delight in the look and feel of very ordinary, humble things.”Clearly this is a book to inspire designers. In capturing the principles of Japanese design, Hideyuki Oka goes beyond packaging to reveal the urge toward visual harmony that has produced the beauties of Japanese architecture, gardening, sculpture, painting—and the unique charm of the throw-away teapot one still buys for a few pennies on a Japanese railway platform.Aesthetically boxed-in by their mass-produced plastic containers, Americans might ask why love is lavished on the wrappings of expendable goods—five eggs, for example. Mr. Nelson writes: “The existence of a designed, man-made thing demands that it be appropriate, a feast for all the senses, beautiful. Because the things men made are really like the things nature made, a complete man could no more tolerate the sight or touch of a wrongly made thing than could nature.”Japan’s traditional packaging is illustrated here in astonishing variety, and no less varied are the designs, which range from the delicate and graceful to the rustic and bold but are always functional. Remarkable are the ingenious ways in which these packages solve specific problems of design without sacrificing beauty to necessity.Finally the reader is left to ponder a question that comes to mind throughout the book. As the author expresses it: “If the craftsmen and ‘designers’ of old Japan could create beauty with their materials, are we today to accept defeat when faced with ours?”

    The Japan which deported the Europeans a century later was a stable, highly centralised bureaucracy under the firm control of a usurping family which was to continue to rule the country until well into the Victorian age. Europeans living in Japan at the time have not only recorded the events of this fascinating period but also provided a picture of sixteenth- and seventeenth-century Japanese life. Apart from a few lacunae, a remarkably full description of the country in this century—its history, people, traditions, culture, and religion—can be pieced together.They Came to Japan collects and translates excerpts from more than thirty early European accounts of Japan, many previously unpublished and extremely rare. Arranged into thematic chapters on aspects of Japanese society, these commentaries are most interesting not for what they say about the Japan but about the European writers themselves. Their attitude towards the newly discovered country and its inhabitants is clearly reflected in their letters and reports, especially when implicit comparisons are made between Japan and Europe. During the course of their discovery of the East, the Europeans had generally adopted the role of representatives of a superior race. They had taken for granted that Europe was synonymous with the civilised world, and thus the discovery of the highly developed Japanese culture and civilisation, which had grown up quite independently of Europe, came as a salutary shock. Because they could not aggressively assert themselves by force of arms in such a remote place, as was their norm, this was to be the first confrontation between East and West on equal terms.

    Two quotes illustrate this. The 1st is by Larry Collins, 'Richard Sorge's brilliant espionage work saved Stalin & the Soviet Union from defeat in the fall of 1941, probably prevented a Nazi victory in WWII & thereby assured the dimensions of the world we live in today.' The 2nd is by Frederick Forsyth, 'The spies in history who can say from their graves, the information I supplied to my masters, for better or worse, altered the history of our planet, can be counted on the fingers of one hand. Richard Sorge was in that group.' Masquerading as a Nazi journalist, Richard Sorge worked undetected as head of a Red Army spy ring until he was arrested & executed in Japan during the WWII. Such an astonishing story as his is bound to attract attention but not only was this the 1st book to offer an authoritative account, it has, in many ways, not least in the quality of its writing, never been superseded. The authors rejected legend & found facts that were even stranger. They provide an account as reliable as it's enthralling of possibly the most successful spy who ever operated; a man who for eight years transmitted from Japan a continuous stream of valuable information, often derived from the highest quarters, culminating in precise advance information of Hitler's invasion of Russia, of Japan's decision not to attack Russia in '41 & of the near certainty of war against America that October or November instead. Jointly written books sometimes jar, but not this one. The authors had complementary skills, F.W. Deakin being an authority on 20th-century European history & G.R. Storry no less of an authority on 20th-century Japan. Together they do justice to 'the man whom I regard as the most formidable spy in history,'--Ian Fleming (edited)