Books like Wabi, Sabi, Suki — picked by fans

I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.

As a teenager, I worked on cars and motorcycles in my spare time while apprenticing in an architectural millwork shop, paneling the homes of the rich and famous. Thus I discovered the great joys and satisfactions of working with my hands. After a long stint in graduate school, then four years as an editor at Fine Woodworking magazine and for Taunton Press books, I opened a custom design furniture business in 2000. Travel, writing, and reading are aligned passions, and I’ve lived, taught English, and woodworking here and abroad in France, Slovakia, India, and Japan.

Who hasn’t caught themselves staring at a shadow? I certainly have. I have always found shadows fascinating. They are both there and not there, present and absent, and this in-between, fleeting nature keeps me staring. Shadows open a space for contemplation, and the list presented here traces a range of responses to the enigma they represent. Transitory images that exist on a fleeting border between light and darkness, shadows seem to invite me to make sense of their vague and shifting outlines, leading to both the joy of imagination as well as to that unsettling but pleasurable feeling of the uncanny as I struggle to fill in their outlines.

I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.

I never thought I’d be a poetry lover. I got my Bachelor’s Degree in English Literature. During that time, I took quite a few poetry classes, even though I didn’t consider myself a huge poetry fan. Over the course of those classes, I learned that poetry isn’t all about abstract, obscure themes, and academic language. It’s also a way for humans to communicate the feelings and experiences in one heart to another. Once I learned that poetry doesn’t have to be difficult and confusing, I found that I really enjoyed it, and I’d like to help other people discover that poetry can be more accessible and satisfying than what they may have studied in school. 

I’m a philosopher with a voracious appetite for literature. I inhabit a world of abstract ideas but always return to fiction because it vividly portrays the real-world consequences of our beliefs and reminds us that ideas also move us irrationally: they’re comforting or disturbing, audacious or dull, seductive or repellant. I prefer world literature because it plants us in new times and places, helping us, like philosophy, see beyond our blinders. Deprived of the assumptions that prop up our everyday arrogance, we can clear a mental and emotional path to what we’ve ignored or covered up, as well as rediscover and reaffirm shared values, arrived at from new directions. 

Classical music has been one of the great passions of my life, ever since at the age of 6 my father introduced me to the magic of Chopin’s Polonaise héroïque, by improvising the story that the music was telling, creating a magical mosaic of notes and words. I then realized that music tells stories and that musical stories do not only offer pleasure, excitement, and consolation, but also act as sources of insight into the world we inhabit, in all its complexity and drama. I have since made classical music a regular part of my life, Bach, Mozart, Chopin, and Beethoven being intimate friends and acquaintances, not distant historical figures. 

I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.

I discovered my love for story early, growing up on TV and movies. I spent a good chunk of my teen years sitting in the dark watching everything that came out, especially foreign films. It’s safe to say that I learned the basics of storytelling by watching all the greats, from Hitchcock to David Lean to Kubrick. It’s no wonder I became a screenwriter rather than a novelist. But when I realized that story is story, regardless of the story form (book, movie, or TV commercial) a whole other world opened to me and my talent for story blossomed. Over the years, I grew this talent and passion and launched a career in Hollywood. 

I am a professor of history at Sarah Lawrence College and the author of The Plain and Noble Garb of Truth: Nationalism and Impartiality in American Historical Writing, 1784-1860. What has always fascinated me about history is how differently it can be interpreted by different people, even when looking at the exact same subject. While I write and teach on a variety of topics, ranging from the American Revolution to historiography, all of my courses and research deal in some way with the conflicts over how to represent the past that have divided both historians and the general public throughout the long history of history as a subject.