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I am a comparative urban specialist who came to Japanese urban history through my aspiration to place Russian urban studies within a comparative context.  Several Japanese and Western Japan specialists encouraged me to advance this exploration by examining capitalist industrial urbanization in Japan.  Historians and political scientists -- particularly at Kyoto National University -- provided a platform for me to expand my engagement with Japanese urbanization; relations which have continued for some three decades.  More recently, I included Kabuki in The Muse of Urban Delirium, a collection of essays that seeks answers to the challenges of urban diversity, conflict, and creativity using various performing arts – opera, dance, theater, music – as windows onto urban life.

I am a comparative urban specialist who came to Japanese urban history through my aspiration to place Russian urban studies within a comparative context.  Several Japanese and Western Japan specialists encouraged me to advance this exploration by examining capitalist industrial urbanization in Japan.  Historians and political scientists -- particularly at Kyoto National University -- provided a platform for me to expand my engagement with Japanese urbanization; relations which have continued for some three decades.  More recently, I included Kabuki in The Muse of Urban Delirium, a collection of essays that seeks answers to the challenges of urban diversity, conflict, and creativity using various performing arts – opera, dance, theater, music – as windows onto urban life.

I am a comparative urban specialist who came to Japanese urban history through my aspiration to place Russian urban studies within a comparative context.  Several Japanese and Western Japan specialists encouraged me to advance this exploration by examining capitalist industrial urbanization in Japan.  Historians and political scientists -- particularly at Kyoto National University -- provided a platform for me to expand my engagement with Japanese urbanization; relations which have continued for some three decades.  More recently, I included Kabuki in The Muse of Urban Delirium, a collection of essays that seeks answers to the challenges of urban diversity, conflict, and creativity using various performing arts – opera, dance, theater, music – as windows onto urban life.

I am a comparative urban specialist who came to Japanese urban history through my aspiration to place Russian urban studies within a comparative context.  Several Japanese and Western Japan specialists encouraged me to advance this exploration by examining capitalist industrial urbanization in Japan.  Historians and political scientists -- particularly at Kyoto National University -- provided a platform for me to expand my engagement with Japanese urbanization; relations which have continued for some three decades.  More recently, I included Kabuki in The Muse of Urban Delirium, a collection of essays that seeks answers to the challenges of urban diversity, conflict, and creativity using various performing arts – opera, dance, theater, music – as windows onto urban life.

Although my travels had taken me to Asia numerous times, Japan eluded me until my teen daughter and I spent three weeks there following the country’s re-opening from covid. The trip exceeded all of our expectations, but facing the country’s impenetrable language and complex transportation system felt intimidating. To prepare, I devoured a shelf full of guidebooks. I learned that each has its strengths and weaknesses, but these books and our own adventures greatly informed my decision to write First-Time Japan. I was especially fortunate to collaborate with Japan tour guide Roy Ozaki, who contributed greatly to the book and gave me essential insights into Japan’s people, places, and culture.

I’ve been a journalist for years, and to write my first book, I ended up doing a ton of original research and reporting about photography, fashion, the art world, and the magazine industry in midcentury New York. But certain passages in the twins’ interviews reminded me strongly of many books I’d read growing up, that address the challenges young women face as they confront choices in life. And their story, with its wild and colorful characters, begged to be structured like a novel. It also took place when American society was changing dramatically for women, as it is today. So, I kept books like these in mind while writing.

Growing up, I was introduced to Japanese culture and history through anime. But I decided to dig a little deeper, reading history books and looking up more and more information. I was fascinated by what was presented of “Old Japan,” both the misconceptions that were spread by pop culture and by the surprising details that it gets right that no one would believe. This fascination is one of the most consistent things about me through the years, and the idea of delving into works of my own that merged samurai drama with lesbian relationships has been a recurring desire of mine for years.

As an undergraduate at the University of Leeds in the 1960s the principal influence on my life and thinking was Trevor Ling an Anglican Priest and Buddhist who eventually became a Professor of comparative religion at the University of Manchester. He was the start of my research on Islam and Asia and my peripatetic career having lived in Scotland, Germany, Holland, America, Australia and Singapore. I became a professor of the sociology of religion in the Asia Research Center at the National University of Singapore. I have published two books on Singapore, a handbook of religions in Asia, and several works on the body, medicine, ageing and human vulnerability.

I'm a lawyer (Harvard Law School) who loves to write. My books reflect my eclectic interests. I've written nonfiction books about John Kennedy’s presidency, Supreme Court Justice Louis D. Brandeis, CBS Founder William S. Paley, Don Larsen’s perfect game in the 1956 World Series between the New York Yankees and the Brooklyn Dodgers, and Pearl Harbor. Each of my nonfiction books tries to focus on something with respect to a particular person or event that had not been addressed in detail in any other book. I've also written a thriller (Deadly Risks) which revolves around JFK’s assassination and can be likened to John Grisham’s book, The Pelican Brief.

I have lived in Japan for the last 30 years but my love for manga, anime, and games is much older and dates back to when UFO Robot Grendizer was first shown on Italian TV a fateful summer evening in 1978. Many years later, I was able to turn my passion for all things Japanese into a job and now I regularly write about politics, society, sports, travel, and culture in all its forms. However, I often go back to my first love and combine walking, urban exploration, and my otaku cravings into looking for new stores and visiting manga and anime locations in and around Tokyo.