This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    Budo Secrets contains the essential teachings of budo's greatest masters of Kendo, Karate, Judo, Aikido, and other disciplines. Timely and instructive, these writings are not just for martial artists—they're for anyone who wants to live life more courageously, with a greater sense of personal confidence and self-control, and with a deeper understanding of others. John Stevens has gathered an eclectic and historically rich collection of teachings that include principles and practice guidelines from training manuals and transmission scrolls, excerpts of texts on budo philosophy, and instructional tales gathered from a number of sources. Since many of the martial arts masters were also fine painters and calligraphers and used brush and ink as a teaching medium, Stevens has included their artwork throughout with explanation and commentary.

    Afternoon tea is the english meal-time institution, a social as well as a culinary event.It is precisely this atmosphere which is embodied in the Palm Court Tearoom at the Ritz in London, which for many years has been one of the most delightful and traditional places to take tea.The London Ritz Book of Afternoon Tea captures the essence of this traditional British occasion and provides the reader with all the Ritz expertize in the ceremony as well as over 50 recipes, illustrated with passages from Dickens to Oscar Wilde and charming drawings.

    SteamDrunks: 101 Steampunk Cocktails and Mixed Drinks gently escorts you through the treacherous waters of 19th century mixology.You'll find authentic Victorian punch recipes that could be confused for farmer's cheese, tea recipes which will knock you out rather than wake you up, and downright chewable eggy cream curdles.Along the way, you'll also find some shockingly tasty 19th century recipes made from all natural ingredients you already have at home.Whether you're looking for a delicate cocktail to impress a fine corset clad lady or industrial quantities of affordable Victorian punch to serve the entire crew of your airship, you'll find the perfect Steampunk themed drink inside the pages of SteamDrunks.__Brought to you by the author of the Unofficial True Blood Drinking Guide.

    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.

    Important elements of early Japanese history persist in present-day Japan more tenaciously than is sometimes realized. Hane traces the key developments of Japanese history in the premodern period, including the establishment of the imperial dynasty, early influences from China and Korea, the rise of the samurai class and the establishment of feudalism, the culture and society of the long Tokugawa period, the rise of Confucianism and Shinto nationalism, and, finally, the end of Tokugawa rule.Although the book is structured around major political developments, Hane also carefully integrates the social, economic, cultural, and intellectual aspects of Japanese history. His revisions incorporate important recent scholarship on this formative period of Japan's history.

    Ibuse began serializing Black Rain in the magazine Shincho in January 1965. The novel is based on historical records of the devastation caused by the atomic bombing of Hiroshima.

    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?

    "A first rate book and a joy to read...It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book...Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."—Variety"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."—Washington Post Book World

    His artistic faith journey overlaps with Endo's as he uncovers deep layers of meaning in Japanese history and literature, expressed in art both past and present. He finds connections to how faith is lived in contemporary contexts of trauma and glimpses of how the gospel is conveyed in Christ-hidden cultures. In this world of pain and suffering, God often seems silent. Fujimura's reflections show that light is yet present in darkness, and that silence speaks with hidden beauty and truth.

    This circle of artists, writers and intellectuals, who met for discussion in London in the early twentieth century, challenged Victorian conventions and presented new models of behaviour. They recorded one another continually in both words and images, and Frances Spalding explores these portraits against a background of biographies, including Virginia and Leonard Woolf, Vanessa and Clive Bell, Duncan Grant and Dora Carrington.

    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.

    Whether down-home delights like Blueberry Muffins and Glossy Fudge Brownies or supermarket mainstays such as Vanilla Wafers and Chocolate Chip Cookie Dough Ice Cream, your favorites are all here. These meticulously tested recipes bring an award-winning pastry chef’s expertise into your kitchen, along with advice on how to “mix it up” with over 200 customizable variations—in short, exactly what you’d expect from a cookbook penned by a senior editor at Serious Eats. Yet BraveTart is much more than a cookbook, as Stella Parks delves into the surprising stories of how our favorite desserts came to be, from chocolate chip cookies that predate the Tollhouse Inn to the prohibition-era origins of ice cream sodas and floats. With a foreword by The Food Lab’s J. Kenji López-Alt, vintage advertisements for these historical desserts, and breathtaking photography from Penny De Los Santos, BraveTart is sure to become an American classic.

    Donald Richie looks at how perceptual values in Japan were drawn from raw nature and then modified by elegant expressions of class and taste. He explains aesthetic concepts like wabi, sabi, aware, and yugen, and ponders their relevance in art and cinema today.Donald Richie is the foremost explorer of Japanese culture in English, and this work is the culmination of sixty years of observing and writing from his home in Tokyo.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.