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?

    Pacific Fleet. Six months later, in a sea fight north of the tiny atoll of Midway, four Japanese aircraft carriers were sent into the abyss, a blow that destroyed the offensive power of their fleet. Pacific Crucible—through a dramatic narrative relying predominantly on primary sources and eyewitness accounts of heroism and sacrifice from both navies—tells the epic tale of these first searing months of the Pacific war, when the U.S. Navy shook off the worst defeat in American military history to seize the strategic initiative.

    His accomplishments and work cemented in place the system of governance and way of life that have become forever linked with traditional Japan.Shogun, A. L. Sadler's classic biography of this Japanese legend, has been completely re-typeset and designed—and is still the best available. It is dramatic in its narration of the rise of Tokugawa Ieyasu and the measures he took to win the Shogunate and insure that power would remain in his family's hands. It also features a new foreword by bestselling author and samurai expert Stephen Turnbull.

    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.

    He not only survived working on the notorious Bridge on the River Kwai , but he was subsequently taken on one of the Japanese ‘hellships’ which was torpedoed. Nearly everyone else on board died and Urquhart spent 5 days alone on a raft in the South China Sea before being rescued by a whaling ship. He was taken to Japan and then forced to work in a mine near Nagasaki. Two months later a nuclear bomb dropped just ten miles away . . .This is the extraordinary story of a young man, conscripted at nineteen and whose father was a Somme Veteran, who survived not just one, but three very close separate encounters with death - encounters which killed nearly all his comrades.

    There he wrote five scrolls describing the "true principles" required for victory in the martial arts and on the battlefield. Instead of relying on religion or theory, Musashi based his writings on his own experience, observation, and reason.

    All of these conflicts, including the hostilities between Arabs and Israelis that have flared yet again, come down, in a sense, to the extent to which the Middle East will continue to live with its political inheritance: the arrangements, unities, and divisions imposed upon the region by the Allies after the First World War.In A Peace to End All Peace, David Fromkin reveals how and why the Allies came to remake the geography and politics of the Middle East, drawing lines on an empty map that eventually became the new countries of Iraq, Israel, Jordan, and Lebanon. Focusing on the formative years of 1914 to 1922, when all-even an alliance between Arab nationalism and Zionism-seemed possible he raises questions about what might have been done differently, and answers questions about why things were done as they were. The current battle for a Palestinian homeland has its roots in these events of 85 years ago.

    Needless to say, the critics were wrong, and to date more than 60,000 copies of the book have been sold. Hart believed that in the intervening years the influence of some of his original selections had grown or lessened and that new names loomed large on the world stage. Thus, the publications of this revised and updated edition of The 100.As before, Hart's yardstick is influence: not the greatest people, but the most influential, the people who swayed the destinies of millions of human beings, determined the rise and fall of civilizations, changed the course of history. With incisive biographies, Hart describes their careers and contributions. Explaining his ratings, he presents a new perspective on history, gathering together the vital facts about the world's greatest religious and political leaders, inventors, writers, philosophers, explorers, artists, and innovators--from Asoka to Zoroaster. Most of the biographies are accompanied by photographs or sketches. Hart's selections may be surprising to some. Neither Jesus nor Marx, but Muhammad, is designated as the most influential person in human history. The writer's arguments may challenge and perhaps convince readers, but whether or not they agree with him, his manner of ranking is both informative and entertaining. The 100, revised and updated, is truly a monumental work. It promises to be just as controversial, just as thought-provoking, and just as successful as its predecessor--a perfect addition to any history or philosophy reference section.

    The unthinkable had happened, a major urban transit system had become the target of a terrorist attack. In an attempt to discover why, Haruki Murakami, internationally acclaimed author of The Wind-Up Bird Chronicle and arguably Japan’s most important contemporary novelist, talked to the people who lived through the catastrophe—from a Subway Authority employee with survivor guilt, to a fashion salesman with more venom for the media than for the perpetrators, to a young cult member who vehemently condemns the attack though he has not quit Aum. Through these and many other voices, Murakami exposes intriguing aspects of the Japanese psyche. And as he discerns the fundamental issues leading to the attack, we achieve a clear vision of an event that could occur anytime, anywhere. Hauntingly compelling and inescapably important, Underground is a powerful work of journalistic literature from one of the world’s most perceptive writers.

    Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions. Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, "The Tale of Genji," fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, "The Pillow Book" is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization.

    Fills a long-present gap in the literature of Indo-European studies.Designed for use in courses, with exercises and suggestions for further reading included in each chapter.Discusses linguistic and cultural developments for each branch of the Indo-European language family.Provides an overview of Proto-Indo-European culture, society, and language.

    We have been constrained by unwritten rules not to do so, by the robes of tradition and by the sanctity of our exclusive calling...But I feel it is time to speak out."Celebrated as the most successful geisha of her generation, Mineko Iwasaki was only five years old when she left her parents' home for the world of the geisha. For the next twenty-five years, she would live a life filled with extraordinary professional demands and rich rewards. She would learn the formal customs and language of the geisha, and study the ancient arts of Japanese dance and music. She would enchant kings and princes, captains of industry, and titans of the entertainment world, some of whom would become her dearest friends. Through great pride and determination, she would be hailed as one of the most prized geishas in Japan's history, and one of the last great practitioners of this now fading art form.In Geisha, a Life, Mineko Iwasaki tells her story, from her warm early childhood, to her intense yet privileged upbringing in the Iwasaki okiya (household), to her years as a renowned geisha, and finally, to her decision at the age of twenty-nine to retire and marry, a move that would mirror the demise of geisha culture. Mineko brings to life the beauty and wonder of Gion Kobu, a place that "existed in a world apart, a special realm whose mission and identity depended on preserving the time-honored traditions of the past." She illustrates how it coexisted within post-World War II Japan at a time when the country was undergoing its radical transformation from a post-feudal society to a modern one."There is much mystery and misunderstanding about what it means to be a geisha. I hope this story will help explain what it is really like and also serve as a record of this unique component of Japan's cultural history," writes Mineko Iwasaki. Geisha, a Life is the first of its kind, as it delicately unfolds the fabric of a geisha's development. Told with great wisdom and sensitivity, it is a true story of beauty and heroism, and of a time and culture rarely revealed to the Western world.

    The Way of the Warrior presents a remarkably faithful mirror of many of the characteristics and habits of modern Japanese civilization, as it represents a tradition that enjoyed great power and prestige for centuries. This work was written to provide practical and moral instruction for warriors, and to outline the parameters of personal, social, and professional conduct characteristic of Bushido, or Way of the Warrior, the Japanese chivalric tradition.Personal responsibilities, family relationships, public duties, education, finances and ethics are treated in this text from the perspective of the spirit of Japanese gentlemen. Even the forms of political incompetence and corruption that Japan currently struggles with are accurately described in this more than 400-year-old book; So deep did the feudal and military modes of government that generated them take their roots in Japanese society. This manual is therefore an essential resource for anyone who wishes to understand Japan and the Japanese people in a realistic way.

    By 1947, after two centuries of British rule, it had decreased six-fold. Beyond conquest and deception, the Empire blew rebels from cannons, massacred unarmed protesters, entrenched institutionalized racism, and caused millions to die from starvation. British imperialism justified itself as enlightened despotism for the benefit of the governed, but Shashi Tharoor takes on and demolishes this position, demonstrating how every supposed imperial "gift" - from the railways to the rule of law - was designed in Britain's interests alone. He goes on to show how Britain's Industrial Revolution was founded on India's deindustrialization and the destruction of its textile industry. In this bold and incisive reassessment of colonialism, Tharoor exposes to devastating effect the inglorious reality of Britain's stained Indian legacy.

    In this sumptuously illustrated single-volume history, noted historian Patricia Ebrey traces the origins of Chinese culture from prehistoric times to the present. She follows its development from the rise of Confucianism, Buddhism, and the great imperial dynasties to the Mongol, Manchu, and Western intrusions and the modern communist state. Her scope is phenomenal--embracing Chinese arts, culture, economics, society and its treatment of women, foreign policy, emigration, and politics, including the key uprisings of 1919 and 1989 in Tiananmen Square. Both a comprehensive introduction to an extraordinary civilization, and an expert exploration of the continuities and disjunctures of Chinese history, Professor Ebrey's book has become an indispensable guide to China past and present. Patricia Ebrey is Professor of East Asian Studies and History and the author of Chinese Civilization: A Sourcebook (1993).