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This is also exactly true of Theododre Sturgeon. Sturgeon's greatest works speak directly to the heart, as do the works of Beethoven. And they do so as powerfully, since they almost always speak of love. Human love, not any pale imitation.
For several decades, most people new to Sturgeon had to approach him through his novels, since publishers did not like to print short story collections. This is a shame, since approaching Sturgeon through his novels is very much like approaching Beethoven through his string quartets. Masterpieces they may be, but they're not terribly approachable. If you want to appreciate Beethoven, start with his symphonies. If you want to appreciate Sturgeon, start with his short stories.
And just as Beethoven's best work was done later in his life, so also were Sturgeon's best stories. In the time frame that "The Perfect Host" covers, Sturgeon was just beginning to hit his stride. His greatest work will show up in the volumes to come.
Thank you, Paul Williams, more than I can say, for bringing this collection into print.

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First, the selections included excerpts of almost everything I'd ever heard of: Shang Oracle Bones, the Analects of Confucius and the Confucian classics including the I Ching; Mozi; the Tao Te Ching; Zhuangzi (who famously dreamed that he was a butterfly); Mencius; Xunzi; the Zuozhuan; Sun Tzu's art of war; all kinds of stuff about Chinese schools of Buddhism including the Lotus Sutra and the Flower Garden Sutra and the history of Guanyin and Wutai Shan; Li Po (Li Bo) and Tu Fu (Du Fu); and neo-Confucianism (which was so influential in Korea). In short, this is really, practically the "Eatern Canon" and the selections are deserving of such a label. I was in turns morally and intellectually challenged, uplifted, informed and surprised; but rarely bored and never disappointed.
Second, the introductory essays were exactly what I wanted to know: who might have written it, and when, and who read, and what it meant to them. For all that information, they were still brief and the bibliography was sufficient to help me chase the points that left me curious. An important thing these essays did was to cover the political, historical and social backgrounds (and foregrounds) of the texts, so I learned about Chinese history as well as literature and religion. If that is what you want to do, this book will serve you well.
The binding is excellent, and while the price might look steep I have to say it's a bargain considering what you get.
I didn't read Volume Two, and so I don't know if it is as good. It is certainly a lot smaller!


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On the whole, Sources of Japanese Tradition, Vol. 1 is a reference book on intellectual development in traditional Japan. It is essential for anyone interested in developing a deeper understanding of Japan over a period of time, which means it is not intended as a quick read.
Volume I is mostly an overview of traditional literature, poetry, aesthetics, religion and philosophy from the earliest written works until the end of the Tokugawa Shogunate in the mid nineteenth century. The chapters are chronological and thematic, and each is prefaced with historical context for better understanding. The chapter bodies consist of translations of some of the most representative works from Japan, including excerpts from Japan's most famous novel, "The Tale of Genji" (early 11th century), as well as numerous samples from the spectrum of Japanese Buddhism (not just Zen), and plenty on the philosophy of neo-Confucianism and other Chinese influences on Japan. On the downside, although there is some discussion of Haiku poetry, there is not enough. And unfortunately, Kabuki, Japan's most popular form of theater, and Japanese painting, which has greatly influenced modern artists in the West, are hardly mentioned, and Japanese music is not even addressed. This makes the book somewhat of a companion to political, social and economic history - which is outstanding if that is what you are looking for.
The book represents the yardstick of compilations on Japanese intellectual history and should not be intimidating to readers who have some knowledge of Japan, nor too simplistic for the more informed. Because it is the old standard bearer, there is a definite need for an updated version that includes more for contemporary audiences, such as better discussions of Kabuki, Haiku and scroll painting. However, the volume is organized well enough for readers to concentrate only on sections they have immediate interest, making the book accessible to a variety of readers who seek a broader understanding of traditional Japanese culture and intellectual history.



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Their approach to back treatment is cautious and conservatve. Avoid unnecessary tests, treatments and, especially, surgery.
Their statement that you should think of your back ache as "the tension headache of the back..." was very helpful to me.
Anyone who has struggled with this problem should buy this book immediately!

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I am such a Sturgeon addict that I find it hard to critcize any of his work negatively. Volume 8 give no reason to do so, but this in not to say that every tale is equal in quality. Superlative levels of creation and craftsmanship can be expected of no writer; but I leave your opinions to be drawn by yourself.
For what comes through this volume is Sturgeon's view of humanity, view of fear and evil in the world (and beyond, of course, but we know that his s-f work is metaphorical for the human condition any way), his incredible optimistic hopes for the success of the human spirit. It's what all his work is infected with, even when he is at his darkest.
If you are acquainted with Theodore Sturgeon, go ahead and splurge in time and funds get in touch with an old friend. If you are unacquainted with him, splurge and make a new friend. You'll not be sorry.

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