100 books like Hojoki

This book, Whiting’s first, appeared around 1976/7 and went through several editions. The title was a subtle parody of anthropologist Ruth Benedict’s 1946 classic, The Chrysanthemum and the Sword: Patterns of Japanese culture. I read it around the time I was writing my first book, Manga! Manga! The World of Japanese comics, and it was a great inspiration. It did with baseball what I was trying to do with Japanese comics—show how Japanese were interpreting something with which North Americans were very familiar (baseball and comics) in very different ways.

In my case, manga provided an entertaining, non-didactic way to look not only at Japanese use of comics but at some broader cultural issues. Conversely, it could even be seen as a way to look at American comics and culture.

This very short book came out in 1979, and it had quite an impact on me. It showed how writing about Japanese history and culture could not only be entertaining and fascinating, but extremely useful. The book focuses on how guns were imported into Japan in 1543 and spread widely, but were then largely abandoned. At a time during the Cold War, when nuclear weapons seemed to be proliferating endlessly, it also hinted at a different future, where what seemed so inevitable, might not be so.  

At the start of the 1990s, I discovered a dusty, original edition of this book at my local library. Published in 1923 and reprinted in 1990, it tells the story of Ranald MacDonald (1824-1894)—a half Chinook and half Scot from today’s Astoria, Oregon—who may be the first North American to go to Japan alone, of his own volition. Heavily edited and annotated from his original manuscript, it is a complex story, partly because many of his words were posthumously re-written by a friend. This created a twelve-year obsession for me—to research and untangle the true story as it relates to Japan. MacDonald became my hero. In 1993, I dedicated one book (America and the Four Japans: Friend, Foe, Model, Mirror) to him. In 2003, I finally finished my own book about him: Native American in the Land of the Shogun: Ranald MacDonald and the Opening of… show more.

In Japan, Osamu Tezuka is often referred to as the “God of Manga.” And Phoenix may be his greatest manga series of all. He created twelve volumes between 1954 and his death in 1989. Around 1971, a friend in Tokyo lent me the first five and I became hooked on manga and their potential as a medium of expression. The story converges on the present from the past and the future and deals with reincarnation and the quest for eternal life. My favorite volume is Karma, which has a strong Buddhist theme, and spectacular page layouts. With a group called Dadakai, I translated the first five volumes around 1977/78. After collecting dust for nearly twenty-five years, Jared Cook and I translated the remaining volumes, and the whole series was then finally published by Viz Communications between 2002 and 2008. This work changed my life.

Zen and Japanese Culture, the twentieth century's leading work on Zen Buddhism, completely changed my life when I read it at sixteen. This classic text, a profoundly simple introduction to Japanese art and philosophy, held the key to my young compulsion toward the transcendent aesthetic perfection of Japan and began to prepare me for understanding the world of the Geisha. It awakened the need within me to move to Japan to study Zen Buddhism in an authentic Zen Temple. Which I did. 

As quoted by Axel Vervoordt his philosophy “is a belief that a home should be a personal expression of your soul. It should represent the way you want to live, the ideas that define your tastes, perspectives, and connections to the world. The spaces where people share private experiences with family and friends should restore and give energy. ”
Vervoordt is a master of Interiors and this quote sums up my belief towards my own Interiors. This book is outstanding. It has been a big influence in my life and as a photographer. He incorporates the Japanese philosophy of Wabi Sabi - acceptance of transience and imperfection - and I see this in many aspects of what we have tried to create in our own home. 

Who cannot love a serious but accessible book that obsesses about things like Pokémon, the Mighty Morphin Power Rangers, and Tamagotchi (those annoying and addictive “digital pets” that were a millennial fad)?

Anne Allison’s volume was a real eye-opener for me on the place of monsters in youth culture, as a form of play, and how monsters have been commercialized and globalized over the past half century. It is incredible that, in the early twenty-first century, American kids were more likely to embrace Pikachu and Godzilla than the archetypal monsters of Western culture like Dracula and Frankenstein. Allison helped me understand why Japanese monsters are now conquering the globe.

This was the first book I read twice. It was groundbreaking back in the ’80s. A mixture of cultures, assassins, adventure, thrills, love, sex, and passion. A huge bestseller at the time. His detail of Japanese philosophy, fighting styles, honor, and code in a modern-day world is beyond captivating.

While he went on to a huge success with dozens of bestsellers, nothing topped this. It was a lifetime of daydreaming and research that he poured out onto the page.

I read it in two days on the beach under the sun and stars. Five days later, I read it again. I couldn’t get the story out of my head.

Iyer’s prose is beautiful, and he’s best known for his travel writing. In this book, he stays put, living in Japan and immersing himself in Zen and the pleasures of traditional life in Kyoto. He also meets his wife, and the combination of cultural study and personal memoir makes for an absolutely lovely read. 

I love that this book uses clear language to explain how design principles in Japanese gardens are transmitted from master to apprentice, the effect those principles have on the way we see and experience a garden, and the connection of the gardens to cultural values. The final section is a translation of a classical garden manual, and the descriptions of “reading” and placing rocks is fascinating – you will never see a rock in the same way again!