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However, discussion about mitigation techniques for harmonics is not apparently present in the book.
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Anyone who enjoys this book will also like Jared Diamond's Guns, germs and steel.
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The photos are lovely (my favorites are the "created scenery" on pp. 30, 33, and 47), and one can hardly but envy those wealthy enough to have the space, let alone the wherewithal, to have a separate building devoted to the "zen" of bathing. Unfortunately I live in a town house, and I rather doubt that the association would appreciate my extending my bathroom into the commons-I could be wrong, but I sincerely doubt it; they're not terribly open minded! I suspect I am not alone in my lack of space for major remodeling.
Taking the above quote from page 13 as a starting point, what I did gain from the book was a realization that in our fast paced Western lives we can still find moments of relaxation and relief from stress by creating small environments in our homes conducive to the Eastern concept of "centering." It needn't be hours long and one needn't even be consciously aware of the effect to derive a benefit from the experience. While The Japanese Bath provided some information useful to the average person for creating a bathing room (it does discuss tubs and wood for making them), there was little of the nitty gritty of how to apply the philosophy to the smaller homes most of us live in these days.
The information one gleans from The Japanese Bath has to be more indirect. The notes on the Japanese "palette," for instance, suggest the use of darker, less vivid colors to create a quieter, more restful room. Certainly this idea above all gave me a starting point that finally helped me pull some of my other ideas more smoothly into place. I'd been struggling with loosely associated "great" ideas for over a year. The notion that brighter isn't necessarily better also gave me plans for less direct lighting-after all one isn't always shaving or putting on makeup. Integrating something of nature into the bathroom-table top fountains, plants, an aquarium, etc.-while it seems a bit '70s, certainly isn't a bad one; furthermore it's affordable and not terribly space intensive.
Still while it's nice to see how the other half lives-or at least the other 5%- the book really is more of a coffee table display than a practical book for the average home owner to make design plans.
Paragraphs on how to build a Japanese bath from scratch are absent, but a great emphasis is placed on the points that make the Japanese bath so unique: lighting, depth, materials. The book provides abundant inspiration for creating your own design, without providing actual builders plans.
If your wish is to incorporate a Japanese bath into your home, or simply to visit one, the resources guide in the back of the book will prove very useful. Most suppliers and spas are on the West Coast, but many have web addresses where they can be reached. One of the finest, Ki Arts, boasts "the flexibility to work anywhere in the world" since they utilize the traditional Japanese joinery system for their projects.
All in all, "The Japanese Bath" gives truth to the adage that great things can come in small packages. It is a diminutive, but excellent volume for those interested in the topic.
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2. Because of the dirt. So much hydroponic poetry out there nowadays--poems subsisting proudly on nothing but water and air. Smith's poems have their roots where they should.
3. Because of the work, the politics, the pleasure, the real places & dreamed release, and all the other people outside and inside the "I."
Here's a piece of a poem with a title taken from Roethke, "I'll Make a Broken Music, or I'll Die": "If the four boiled men on my block / had speech beyond the wet kiss / from the imperfect embouchure / of their lips on the bottles of the shamrock- / emblazoned Tokay, and if this / emptied oil drum fueled by jilted furniture / could be their mouth, then they could sing / of the passing into darkness / with the perfect pitch and modulation / of silence and how it feels being / what's collected in the winds / and not the song. / / Of the almost-songs we are, this / voiceless one is the loudest."
4. Because these are the fierce and beautiful "almost-songs" of the other lover, the one who loves (hurt or be hurt) whatever might be left out of the voice, riding over it, sliding under it, "a shadow boxer, a small / class struggle, a mad and fearful girl, a plural."
5. Because these poems are hungry and so are you.
6. Because Emily Dickinson and Walt Whitman never slept here, and you won't sleep either.
7. Because, come on, you're curious about what makes a book a finalist for BOTH the National Book Award and the Pulitzer Prize.
8. Because of the music.