July’s and August’s Book Covers from Favorite Books

Two of my favorite recent reads are books about Japan.

Forms of Japan by Michael Kenna and Yvonne Meyer-Lohr is an oversized book containing 240 of Kenna’s black and white photographs of Japanese landscapes, skies, and cultural icons.  Although Kenna is not Japanese, his photos have a Japanese sensibility — they reflect calmness, serenity, and simplicity and show beauty in stark, fleeting things.

Here is what Kenna says about his work:  “When I photograph, I am irresistibly drawn to subject matter with visual patterns, interesting abstractions and graphic composition.  The essence of an image often involves the basic juxtaposition of our man-made structures with the more fluid and organic elements of the landscape.  I enjoy places that have mystery and atmosphere, perhaps a patina of age, a suggestion rather than a description, a question or two.  I look for memories, traces, the presence of our human interaction with the land.  Often, I try to emulate the calm and solitude I find in the land, to share that with viewers.  At other times, I photograph the more turbulent phenomena of nature.  The resulting images are interpretations, products of intimate conversations with miscellaneous subject matter.”

I appreciated how Kenna’s photographs were curated and organized to bring to life some of the essential “forms” of the Japanese experience.  There are five groupings, or chapters.  “Each subject transports notably its concrete reality, captured in the photographs, but also corresponds to a specific formal subject:

SEA – Forms of Isolation
LAND – Forms of Strength
TREES – Forms of Transformation
SPIRIT – Forms of Entireness
SKY – Forms of Elusiveness”

Almost all of the images are composed in such a way that the white space is an integral and suggestive part of the whole.  I believe it is Meyer-Lohr who writes, “Simplicity and plainness are created by empty space.  They provide the necessary leeway to be able to absorb a wide variety of thoughts and feelings.  It is the same principle that also underlies the world of Japanese myth and communication through emptiness.  This provides space for one’s own imagination, for the grace and beauty of small things, for the unfolding of that which lies in between.”

She continues her thoughts on empty space in art:  “It is considered a symbol of stillness, the precondition for the appearance of the inner vision.  Lack of balance, asymmetry, simplification, abstraction, wabi or sabi and loneliness are just a few of the most important characteristics of Japanese art and culture.”

There is a lot to absorb in the photographs and accompanying quotes and texts of this lovely book.  I hope its influence manifests in my future watercolor paintings and photographs.

The Abundance of Less: Lessons in Simple Living from Rural Japan by Andy Couturier is a newly revised edition of A Different Kind of Luxury, which was written in 2010.  The book profiles ten people who have intentionally chosen to live simple, sustainable lives in rural Japan.  The new edition contains more photographs and updates on the lives of these Japanese artists, farmers, activists and philosophers in the aftermath of the March 2011 meltdown at the Fukushima nuclear power plant.  Two of the original ten had died before the second book came out.

When I first read the earlier edition in 2011, I was so taken with the book that I wrote a blog post about it.  (You can link to my post here.)  I enjoyed rereading the interviews with this new edition, and this time I was struck by how many of the people were influenced in their choices by time spent in India when they were young adults.  While on their sojourns in India, they got into the habit of not needing much, with the surprise benefit of opening their lives to more time.

Gufu Watanabe, potter, botanist, farmer said:  “If you start to accumulate things, you can’t travel, so I lived without.  I figured I could live a whole life without anything, and then I wouldn’t really have to work when I got back to Japan.”

Osamu Nakamura, woodblock printer, also figured out how to exist in Japan largely outside the cash economy:  “To have more time than things to do in that time, that is a very rich kind of feeling.”

Atsuko Watanabe, mother and activist, remarked:  “Most people spend their time relating entirely to things that are made solely for the purpose of keeping the economy spinning, of making money for someone . . . they don’t stop to consider, Why is it that I as a human am alive?”  She observes, “If you are selling your time, no matter how much money you get, you can’t every buy back that time.”  And, “Now, as long as you don’t desire too many things, you can have some time.”

I am inspired by the quality of the lives these Japanese people have made for themselves, how they found meaning in the small-scale, slow, and simple ways of being in the world.

 

 

 

 

May’s Book Covers from Favorite Books

The Adventures of John Carson in Several Quarters of the World by Brian Doyle

One of my favorite reads from May celebrates the art of storytelling. The Adventures of John Carson in Several Quarters of the World by Brian Doyle is a novel told through the voice of Robert Louis Stevenson while he was a struggling writer in San Francisco in 1879-80.  During that time Stevenson was waiting for his betrothed’s divorce to come through so that she would be free to marry him.   Stevenson lived in Mrs. Carson’s boardinghouse at 608 Bush Street. These real-life facts are the starting points for Doyle’s novel.

Doyle heard about a novel that Stevenson contemplated but apparently never wrote, which was to be entitled Adventures of John Carson in Several Quarters of the World:  “. . . ever since I read about this unwritten book of Stevenson’s, many years ago, I have dreamed about writing it for him.”

In Doyle’s novel,  Stevenson takes breaks from long days of writing by relaxing in the companionship of Mrs. Carson’s husband, John.  Stevenson says, “I with great pleasure and mounting amazement pry an endless series of stories from Mrs Carson’s husband John, who has been all over the world in various ships, and has had adventures of every conceivable sort, in dense jungles and remote islands and terrible battlefields, and, he says, in blazing deserts and dripping forests and under the sea . . .”

And Mr. Carson is a gifted storyteller who transports his listeners with his words alone — something quite inspiring to an aspiring writer like Stevenson.  “So it was that I began to marvel not just at Mr Carson’s tumultuous adventures, but at the man himself, and at the subtle currents of his heart; and I began to wonder if he was not very consciously and deliberately choosing particular chapters of his life to tell, in order to tell me other things, perhaps — about the nature and power of stories, about how decisions not only reflect but create character, about how stories actually shape our lives; could it be that the words we choose to have resident in our mouths act as a sort of mysterious food, and soak down into our blood and bones, and form that which we wish to be?”

This is an adventure story (Mr Carson’s tales) and an ode to the joys and power of telling stories.  “. . . I reveled . . . that a man could tell a tale so riveting that time and space fell away altogether, so that when the story paused or ended, the listener — or the reader! — would be snapped awake as if from the most delicious dream, and would have to shake himself or herself for a few minutes, as you shake away the bright fading threads of dreams.”

“There is a story in everything, and every being, and every moment, were we alert to catch it, were we ready with our tender nets; indeed there are a hundred, a thousand stories, uncountable stories, could they only be lured out and appreciated; and more and more now I realize that what I thought was a skill only for authors and pastors and doctors and dream-diviners is the greatest of all human skills, the one that allows us into the heart and soul and deepest layers of our companions on the brief sunlit road between great dark wildernesses.  We are here to witness, to apprehend, to see and hear, to plumb, with patience and humility, the shy stories of others; and in some cases, like mine, then shape and share them; so that they might sometimes, like inky arrows, sink into the depths of other men and women and children, and cause pleasure, or empathy, or a short of delicious pain, as you realize that someone somewhere else, even perhaps a long time ago, felt just as you did.”  The vice of Stevenson goes on to say, “Stories, among their many virtues, are messages from friends you did not know you had; and while you may well never meet the friend, you feel the better, with one more companion by your side, than you thought you knew.”

This book made me want to re-read Stevenson’s classics:  Treasure Island, Kidnapped, Jekyll and Hyde, and A Child’s Garden of Verses.