Remarkable for its wit and frankness, the book is a moving record of a woman's survival on the margins of Japanese society -- in the words of the translator, "the superbly told tale of a woman whom fortune never favored yet never defeated."

    A recognized classic of cultural anthropology, this book explores the political, religious, and economic life of Japan from the seventh century through the mid-twentieth, as well as personal family life.

    Bix offers the first complete, unvarnished look at the enigmatic leader whose sixty-three-year reign ushered Japan into the modern world. Never before has the full life of this controversial figure been revealed with such clarity and vividness. Bix shows what it was like to be trained from birth for a lone position at the apex of the nation's political hierarchy and as a revered symbol of divine status. Influenced by an unusual combination of the Japanese imperial tradition and a modern scientific worldview, the young emperor gradually evolves into his preeminent role, aligning himself with the growing ultranationalist movement, perpetuating a cult of religious emperor worship, resisting attempts to curb his power, and all the while burnishing his image as a reluctant, passive monarch. Here we see Hirohito as he truly was: a man of strong will and real authority.Supported by a vast array of previously untapped primary documents, Hirohito and the Making of Modern Japan is perhaps most illuminating in lifting the veil on the mythology surrounding the emperor's impact on the world stage. Focusing closely on Hirohito's interactions with his advisers and successive Japanese governments, Bix sheds new light on the causes of the China War in 1937 and the start of the Asia-Pacific War in 1941. And while conventional wisdom has had it that the nation's increasing foreign aggression was driven and maintained not by the emperor but by an elite group of Japanese militarists, the reality, as witnessed here, is quite different. Bix documents in detail the strong, decisive role Hirohito played in wartime operations, from the takeover of Manchuria in 1931 through the attack on Pearl Harbor and ultimately the fateful decision in 1945 to accede to an unconditional surrender. In fact, the emperor stubbornly prolonged the war effort and then used the horrifying bombings of Hiroshima and Nagasaki, together with the Soviet entrance into the war, as his exit strategy from a no-win situation. From the moment of capitulation, we see how American and Japanese leaders moved to justify the retention of Hirohito as emperor by whitewashing his wartime role and reshaping the historical consciousness of the Japanese people. The key to this strategy was Hirohito's alliance with General MacArthur, who helped him maintain his stature and shed his militaristic image, while MacArthur used the emperor as a figurehead to assist him in converting Japan into a peaceful nation. Their partnership ensured that the emperor's image would loom large over the postwar years and later decades, as Japan began to make its way in the modern age and struggled -- as it still does -- to come to terms with its past.Until the very end of a career that embodied the conflicting aims of Japan's development as a nation, Hirohito remained preoccupied with politics and with his place in history. Hirohito and the Making of Modern Japan provides the definitive account of his rich life and legacy. Meticulously researched and utterly engaging, this book is proof that the history of twentieth-century Japan cannot be understood apart from the life of its most remarkable and enduring leader.

    Readers of this book will gain a clear understanding of what really makes the Japanese, and their society, tick. Among the topics explored: aimai (ambiguity), amae (dependence upon others' benevolence), amakudari (the nation's descent from heaven), chinmoku (silence in communication), gambari (perseverence), giri (social obligation), haragei (literally, "belly art"; implicit, unspoken communication), kenkyo (the appearance of modesty), sempai-kohai (seniority), wabi-sabi (simplicity and elegance), and zoto (gift giving), as well as discussions of childrearing, personal space, and the roles of women in Japanese society. Includes discussion topics and questions after each chapter.

    He ponders the doomed library of Alexandria and personal libraries of Charles Dickens, Jorge Luis Borges, and others. He recounts stories of people who have struggled against tyranny to preserve freedom of thought—the Polish librarian who smuggled books to safety as the Nazis began their destruction of Jewish libraries; the Afghani bookseller who kept his store open through decades of unrest. Oral “memory libraries” kept alive by prisoners, libraries of banned books, the imaginary library of Count Dracula, a library of books never written.

    Taking us into a landscape most of us have never before seen, award-winning journalist Barbara Demick brings to life what it means to be living under the most repressive totalitarian regime today—an Orwellian world that is by choice not connected to the Internet, in which radio and television dials are welded to the one government station, and where displays of affection are punished; a police state where informants are rewarded and where an offhand remark can send a person to the gulag for life. Demick takes us deep inside the country, beyond the reach of government censors. Through meticulous and sensitive reporting, we see her six subjects—average North Korean citizens—fall in love, raise families, nurture ambitions, and struggle for survival. One by one, we experience the moments when they realize that their government has betrayed them.  Nothing to Envy is a groundbreaking addition to the literature of totalitarianism and an eye-opening look at a closed world that is of increasing global importance.

    With a compassionate yet critical eye, William Scott Wilson delves into the workings of Musashi's mind as the iconoclastic samurai wrestled with philosophical and spiritual ideas that are as relevant today as they were in his times. Musashi found peace and spiritual reward in seeking to perfect his chosen Way, and came to realize that perfecting a single Way, no matter the path, could lead to fulfillment. The Lone Samurai is far more than a vivid account of a fascinating slice of feudal Japan. It is the story of one man's quest for answers, perfection, and access to the Way.By age thirteen, Miyamoto Musashi had killed his opponent in what would become the first of many celebrated swordfights. By thirty, he had fought more than sixty matches, losing none. He would live another thirty years but kill no one else. He continued to engage in swordfights but now began to show his skill simply by thwarting his opponents' every attack until they acknowledged Musashi's all-encompassing ability. At the same time, the master swordsman began to expand his horizons, exploring Zen Buddhism and its related arts, particularly ink painting, in a search for a truer Way.Musashi was a legend in his own time. As a swordsman, he preferred the wooden sword and in later years almost never fought with a real weapon. He outfoxed his opponents or turned their own strength against them. At the height of his powers, he began to evolve artistically and spiritually, becoming one of the country's most highly regarded ink painters and calligraphers, while deepening his practice of Zen Buddhism. He funneled his hard-earned insights about the warrior arts into his spiritual goals. Ever the solitary wanderer, Musashi shunned power, riches, and the comforts of a home or fixed position with a feudal lord in favor of a constant search for truth, perfection, and a better Way. Eventually, he came to the realization that perfection in one art, whether peaceful or robust, could offer entry to a deeper, spiritual understanding. His philosophy, along with his warrior strategies, is distilled in his renowned work, The Book of Five Rings, written near the end of his life.Musashi remains a source of fascination for the Japanese, as well as for those of us in the West who have more recently discovered the ideals of the samurai and Zen Buddhism. The Lone Samurai is the first biography ever to appear in English of this richly layered, complex seventeenth-century swordsman and seeker, whose legacy has lived far beyond his own time and place.---------------------------------------------------------------- INTERVIEW WITH WILLIAM SCOTT WILSON ABOUT BUSHIDOQ.: What is Bushido?A.: Bushido might be explained in part by the etymology of the Chinese characters used for the word. Bu comes from two radicals meanings "stop" and "spear." So even though the word now means "martial" or "military affair," it has the sense of stopping aggression. Shi can mean "samurai," but also means "gentleman" or "scholar." Looking at the character, you can see a man with broad shoulders but with his feet squarely on the ground. Do, with the radicals of head and motion, originally depicted a thoughtful way of action. It now means a path, street or way. With this in mind, we can understand Bushido as a Way of life, both ethical and martial, with self-discipline as a fundamental tenet. Self-discipline requires the warrior at once to consider his place in society and the ethics involved, and to forge himself in the martial arts. Both should eventually lead him to understand that his fundamental opponents are his own ignorance and passions.Q.: How did the code develop and how did it influence Japanese society?A.: The warrior class began to develop as a recognizable entity around the 11th and 12th centuries. The leaders of this class were often descended from the nobility, and so were men of education and breeding. I would say that the code developed when the leaders of the warrior class began to reflect on their position in society and what it meant to be a warrior. They first began to write these thoughts down as yuigon, last words to their descendents, or as kabegaki, literally "wall writings," maxims posted to all their samurai. Samurai itself is an interesting word, coming from the classical saburau, "to serve." So when we understand that a samurai is "one who serves," we see that the implications go much farther than simply being a soldier or fighter.Also, it is important to understand that Confucian scholars had always reflected on what it meant to be true gentleman, and they concluded that such a man would be capable of both the martial and literary. The Japanese inherited this system of thought early on, so certain ideals were already implicitly accepted.The warrior class ruled the country for about 650 years, and their influence-political, philosophical and even artistic-had a long time to percolate throughout Japanese society.Q.: The Samurai were very much renaissance men - they were interested in the arts, tea ceremony, religion, as well as the martial arts. What role did these interests play in the development of Bushido? How did the martial arts fit in?A.: This question goes back to the Confucian ideal of balance that Japanese inherited, probably from the 7th century or so. The word used by both to express this concept, for the "gentleman" by the Chinese and the warrior by Japanese, is (hin), pronounced uruwashii in Japanese, meaning both "balanced" and "beautiful." The character itself is a combination of "literature" (bun) and "martial" (bu). The study of arts like Tea ceremony, calligraphy, the study of poetry or literature, and of course the martial arts of swordsmanship or archery, broadened a man's perspective and understanding of the world and, as mentioned above, provided him with a vehicle for self-discipline. The martial arts naturally were included in the duties of a samurai, but this did not make them any less instructive in becoming a full human being.Q.: What was sword fighting like? Was the swordplay different for different samurai?A.: There were literally hundreds of schools of samurai swordsmanship by the 1800's and, as previously mentioned, each school emphasized differing styles and approaches. Some would have the student to jump and leap, others to keep his feel solidly on the ground; some would emphasize different ways of holding the sword, others one method only. One school stated that technical swordsmanship took second place to sitting meditation. Historically speaking, there were periods when much of the swordfighting was done on horseback, and others when it was done mostly on foot. Also, as the shape and length of the sword varied through different epochs, so did styles of fighting. Then I suppose that a fight between men who were resolved to die would be quite different from a fight between men who were not interested in getting hurt.Q.: How is the code reflected in Japanese society today?A.: When I first came to live in Japan in the 60's, I was impressed how totally dedicated and loyal people were to the companies where they were employed. When I eventually understood the words samurai and saburau, it started to make sense. While these men (women would usually not stay long with a company, giving up work for marriage) did not carry swords of course, they seemed to embody that old samurai sense of service, duty, loyalty and even pride. This may sound strange in our own "me first" culture, but it impressed me that the company had sort of taken the place of a feudal lord, and that the stipend of the samurai had become the salary of the white-collar worker.MThat is on the societal level. On an individual level, I have often felt that Japanese have a strong resolution, perhaps from this cultural background of Bushido, to go through problems rather than around them. Persistence and patience developed from self-discipline?

    But after three divorces, she ran away to make a life for herself in one of the largest cities in the world: Edo.In the book we experience the drama and excitement of Edo just prior to the arrival of American Commodore Perry’s fleet, which transformed Japan. During this pivotal moment in Japanese history, Tsuneno bounces from tenement to tenement, marries a masterless samurai, and eventually enters the service of a famous city magistrate. Tsuneno’s life provides a window into 19th-century Japanese culture—and a rare view of an extraordinary woman who sacrificed her family and her reputation to make a new life for herself, in defiance of social conventions.

    On May 11, 1945, McKinney returned fire on the Japanese attacking his unit, using every available weapon-even his fists-standing alone against wave after wave of dedicated Japanese soldiers. At the end, John McKinney was alive-with over forty Japanese bodies before him. This is the story of an extraordinary man whose courage and fortitude in battle saved many American lives, and whose legacy has been sadly forgotten by all but a few. Here, the proud legacy of John McKinney lives on.

    He has become a martial arts icon, known not just as an undefeated dueler, but also as a master of battlefield strategy. Kenji Tokitsu turns a critical eye on Musashi's life and writings, separating fact from fiction, and giving a clear picture of the man behind the myth. Musashi's best-known work, The Book of Five Rings , provides timeless insight into the nature of conflict. Tokitsu translates and provides extensive commentary on that popular work, as well as three other short texts on strategy that were written before it, and a longer, later work entitled "The Way to Be Followed Alone." Tokitsu is a thoughtful and informed guide, putting the historical and philosophical aspects of the text into context, and illuminating the etymological nuances of particular Japanese words and phrases. As a modern martial artist and a scholar, Tokitsu provides a view of Musashi's life and ideas that is accessible and relevant to today's readers and martial arts students.

    Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the poems of longing of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.

    But the famous and infamous have been thrilling, titillating, and outraging us for much longer than we might realise. Whether it was the scandalous Lord Byron, whose poetry sent female fans into an erotic frenzy; or the cheetah-owning, coffin-sleeping, one-legged French actress Sarah Bernhardt, who launched a violent feud with her former best friend; or Edmund Kean, the dazzling Shakespearean actor whose monstrous ego and terrible alcoholism saw him nearly murdered by his own audience - the list of stars whose careers burned bright before the Age of Television is extensive and thrillingly varied.Celebrities could be heroes or villains; warriors or murderers; brilliant talents, or fraudsters with a flair for fibbing; trendsetters, wilful provocateurs, or tragic victims marketed as freaks of nature. Some craved fame while others had it forced upon them. A few found fame as small children, some had to wait decades to get their break. But uniting them all is the shared origin point: since the early 1700s, celebrity has been one of the most emphatic driving forces in popular culture; it is a lurid cousin to Ancient Greek ideas of glorious and notorious reputation, and its emergence helped to shape public attitudes to ethics, national identity, religious faith, wealth, sexuality, and gender roles.In this ambitious history, that spans the Bronze Age to the coming of Hollywood's Golden Age, Greg Jenner assembles a vibrant cast of over 125 actors, singers, dancers, sportspeople, freaks, demigods, ruffians, and more, in search of celebrity's historical roots. He reveals why celebrity burst into life in the early eighteenth century, how it differs to ancient ideas of fame, the techniques through which it was acquired, how it was maintained, the effect it had on public tastes, and the psychological burden stardom could place on those in the glaring limelight. DEAD FAMOUS is a surprising, funny, and fascinating exploration of both a bygone age and how we came to inhabit our modern, fame obsessed society.

    Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

    This fascination has spawned a wealth of extraordinary fictional creations, from Puccini's Madame Butterfly to Arthur Golden's Memoirs of a Geisha. But as denizens of a world defined by silence and mystery, real geisha are notoriously difficult to meet and even to find. As a result, their history has long been cloaked in secrecy. Lesley Downer, an award-winning writer, Japanese scholar, and consummate storyteller, gained more access to this world than almost any other Westerner, and spent several months living in it. In Women of the Pleasure Quarters, she weaves together intimate portraits of modern geisha with the romantic legends and colorful historical tales that shape their fascinating past. Contrary to popular opinion, geisha are not prostitutes but, literally, "arts people." Accomplished singers, dancers, and musicians, they are, above all, masters of the art of conversation, soothing the worries and stroking the egos of wealthy businessmen who can afford their attentions. Looking into such traditions as mizuage, the ritual deflowering that was once a rite of passage for all geisha, and providing colorful descriptions of their dress, training, and homes, Downer transforms their reality into a captivating narrative, and reveals an enthralling world unlike any other.

    Published in 1963, it gave a pitch-perfect description of “the problem that has no name”: the insidious beliefs and institutions that undermined women’s confidence in their intellectual capabilities and kept them in the home. Writing in a time when the average woman first married in her teens and 60 percent of women students dropped out of college to marry, Betty Friedan captured the frustrations and thwarted ambitions of a generation and showed women how they could reclaim their lives. Part social chronicle, part manifesto, The Feminine Mystique is filled with fascinating anecdotes and interviews as well as insights that continue to inspire. This 50th–anniversary edition features an afterword by best-selling author Anna Quindlen as well as a new introduction by Gail Collins.