Shots in the Dark Quotes

“Being able to take apart things we thought were real, and, conversely, seeing real Japanese culture in things that were thrust aside as fake—this kind of flexible thinking is important.”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West

“A lot of things we consider to be traditional culture unique to Japan are in reality social systems created quite recently.”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West

“Just exactly how many magic mirrors do we have? What kind of an image must a mirror reflect for us to love it?”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West

“Prior to the beginning of the Shōwa period (1926–1989), few people visited the rock garden at Ryōanji, and within Japan itself, aside from a few professionals, there were not very many people who said it was particularly beautiful. Moreover, praise from foreigners did not come to be dominant until after the Zen boom in Europe and the United States started in the 1950s. As a Japanese, it is somewhat gratifying to know that Japan has a garden that foreigners praise and travel all the way across the ocean to visit. But this, again, is just a magic mirror that reflects a beautiful image of me.”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West

“Zen in the Art of Archery was translated into more than five languages and became a worldwide bestseller. The Japanese version was published in 1946. Hand in hand with the Zen and New Age booms in Europe and the United States, it was very fashionable as a trendy kind of "wisdom" from the 1950s through the 1970s. There is a surprisingly large number of foreigners who have said they formed their image not only of Japanese archery, but of Japanese culture itself, from reading Zen in the Art of Archery.

The book became a widely discussed topic among the Japanese cultural elite as well. It is no exaggeration to say that it was accepted as a central text in the discussion of "Japaneseness" which took place form the 1960s through the 1970s. Proclaiming that the book presented the ideal image of Japanese culture and believing in Herrigel's writings 100 percent, countless numbers of people took it as the starting point for the development of their theories of Japaneseness. I do not know of any other document on the theory of Japaneseness that has been accepted this uncritically. Zen in the Art of Archery was a magic mirror that, for Japanese people, reflected the ideal image they had of themselves.”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West

“Everyone knows this fairy tale:

"Mirror, mirror on the wall, who is the fairest of them all?"
"Why, you are, of course."

In the corner of their hearts, everyone is looking for a magic mirror. If there was a mirror that would reflect the image of them as they fervently wished to be, surely everyone would treasure such a mirror for as long as they lived.

On the other hand, there are mirrors that don't do that, such as concave mirrors and convex mirrors. For a long time there have been two full-length fun-house mirrors on the observation deck of the Tsūtenkaku tower in Osaka. For people from other parts of Japan who are not familiar with Osaka's fun-loving and idiosyncratic culture, why such things are in that particular place is a complete mystery; but in any case, it is amusing to play with them.

When you stand in front of the concave mirror, you appear stretched out as though you are being pulled up and down by your head and your toes—as though you have been transformed into a toothpick. In front of the convex mirror it is the reverse: you look short and fat as though you have been squashed in a mechanical press. Unsightly and with short legs, you look like a comic book character. Tourists look at their distorted appearances and laugh. But how can they laugh at such warped reflections? Is it because they can relax knowing that they could not possibly look like the twisted images in the mirror? People do not believe they really look like the grossly distorted images in fun-house mirrors, so they laugh them off. However, when a magic mirror reflects an image distorted in a beautiful way, people want to think: yes indeed, this is how I really look.

All of you astute readers should understand by now. The image reflected in the mirror that I am talking about in this book is the image of Japan drawn by foreigners. However, this brings up a question. What kind of a distorted image would a Japanese accept as being him or herself? What sort of a distorted image would he or she laugh off? Where exactly is the boundary between the two?”
― Shoji Yamada, Shots in the Dark: Japan, Zen, and the West