From the Afterword by Franklin S. Odo: The most important feature of Milton Murayama's brilliant All I Asking for Is My Body is the quality of the storytelling. It deserves thorough discussion and criticism among literary professionals and students. The work has a further genius, however, in its evocation of several major topics in modern Hawaiian history, specifically during the 1930s, the decade before United States involvement in World War II. I suggest that Murayama’s novel provides us with valuable insights into the worlds of language, sugar plantation history, and the second-generation Japanese Americans, the nisei. . . . Critic Rob Wilson noted: “Part of the accomplishment of the novel is that the language ranges from the vernacular to the literate and standard, and so reflects the cultural and linguistic diversity of Hawaii.” In the novel, Murayama uses standard English and pidgin. In real life, the narrator Kiyo explains, “we spoke four languages: good English in school, pidgin English among ourselves, good or pidgin Japanese to our parents and the other old folks.” The wonder is that Murayama emerged using any one of the languages well. For most, that experience proved to be an insuperable barrier to good creative writing. . . . All I Asking for Is My Body is the most compelling work done on the Hawaii nisei experience. Murayama understood his theme to be “the Japanese family system vs. individualism, the plantation system vs. individualism. And so the environments of the family and the plantation are inseparable from the theme.” Fortunately for us as readers, however, he understood that the story was the key ingredient; that anything less would simply add to the sociological study of the plantation and the Japanese family in Hawaii.

No other writer has attempted such a broad view of the nisei experience in Hawai‘i as Milton Murayama. In Plantation Boy, the third novel in a planned tetralogy that includes the highly popular All I Asking for Is My Body and Five Years on a Rock, eldest son Toshio narrates the continuing story of the Oyama family. Outspoken, proud, determined, passionate: Tosh is the voice of the rebel that authority seeks to silence; he is the proverbial "protruding nail" that Japanese tradition seeks to flatten. His fight is against not only his family’s poverty and the environment that keeps them oppressed, but also his own plantation-boy mentality. His struggles are set against the cataclysmic events of World War II—the bombing of Pearl Harbor, the internment of Japanese Americans, the heroism of the 100th and 442nd in Europe, the atrocities committed by the Japanese army in Asia—and the social and political upheavals in Hawai‘i. Here is a powerful work about Japanese in Hawai‘i that shows us more than stereotypes. By illuminating Tosh’s life, Murayama evokes a family and a community and, brilliantly, a critical vision of culture, of language, and of history itself.

Milton Murayama returns to the places and people of his earlier fiction - to the sugar plantation company towns and sleepy villages of Maui, and to the resilient Oyama family. Five Years on a Rock is the story of Sawa Oyama, the mother who plays a major role in All I Asking for Is My Body. In a spirited voice full of courage and wit, Sawa tells of her arrival in Hawaii in 1915 as a seventeen-year-old picture bride. But her hope of returning to Japan after "five years on a rock" wanes as the five years stretch to twenty, during which six children are born, her husband's fishing business succeeds then fails, and the family debt grows. Overworked and sick with worry, Sawa loses all her teeth and falls deathly ill, the victim, she believes, of someone else's bachi (divine retribution). She recovers, however, when an aunt dies in her stead, and she returns to her family with renewed vigor and a new set of teeth.

Named a Best Book of the Year by NPR and LitHub Winner of the 2021 Science in Society Journalism Book Prize A fascinating and provocative new way of looking at the things we use and the spaces we inhabit, and a call to imagine a better-designed world for us all. Furniture and tools, kitchens and campuses and city streets—nearly everything human beings make and use is assistive technology, meant to bridge the gap between body and world. Yet unless, or until, a misfit between our own body and the world is acute enough to be understood as disability, we may never stop to consider—or reconsider—the hidden assumptions on which our everyday environment is built. In a series of vivid stories drawn from the lived experience of disability and the ideas and innovations that have emerged from it—from cyborg arms to customizable cardboard chairs to deaf architecture—Sara Hendren invites us to rethink the things and settings we live with. What might assistance based on the body’s stunning capacity for adaptation—rather than a rigid insistence on “normalcy”—look like? Can we foster interdependent, not just independent, living? How do we creatively engineer public spaces that allow us all to navigate our common terrain? By rendering familiar objects and environments newly strange and wondrous, What Can a Body Do? helps us imagine a future that will better meet the extraordinary range of our collective needs and desires.

Milton Murayama’s long-awaited Dying in a Strange Land brings to a close the saga of the Oyama family. Familiar faces from All I Asking For Is My Body, Five Years on a Rock, and Plantation Boy return to advance the story from the years immediately following World War II to the 1980s. After her husband sinks them deep in debt, strong-willed and pragmatic Sawa takes charge of the family. The war ends and her children leave the plantation camp for Honolulu and the Mainland, but Sawa has little time for loneliness or regret. When asked by her neighbors if she misses them, she replies, "They must look for what they want." However, Tosh, the eldest—who has long been saddled with the burden of his family’s failures in addition to his own—is wise to his mother’s "sob stories": "She going hold you to your samurai’s word," he warns his brothers. Even after he becomes an architect, Tosh is quick to blame his problems on "oya-koh-koh" (filial piety). Living on the East Coast and unable to make ends meet as a writer, Kiyo, the third son, takes any job that doesn’t leave him too word-weary or emotionally exhausted to write in his spare time. Chronic fatigue turns him into a minimalist. At 52 he finally finds acclaim when he publishes a novel about issei and nisei in rural Hawai‘i. Not much is expected of Miwa, the fifth child and second daughter. Pregnant at sixteen and forced to leave school, she is rejected by her family and bullied by her in-laws until she finds work as a maid at one of the new hotels in West Maui. A surprise promotion brings Miwa self-esteem and a good income—and respect from her relatives. Just as each generation of the Oyama family struggles to find a way to survive the diaspora from Japan to Hawaii and beyond, so must Sawa, Tosh, Kiyo, and Miwa deal individually with the collision between Japanese and American values, between duty to family and personal freedom.

Rock star, crowdfunding pioneer, and TED speaker Amanda Palmer knows all about asking. Performing as a living statue in a wedding dress, she wordlessly asked thousands of passersby for their dollars. When she became a singer, songwriter, and musician, she was not afraid to ask her audience to support her as she surfed the crowd (and slept on their couches while touring). And when she left her record label to strike out on her own, she asked her fans to support her in making an album, leading to the world's most successful music Kickstarter. Even while Amanda is both celebrated and attacked for her fearlessness in asking for help, she finds that there are important things she cannot ask for-as a musician, as a friend, and as a wife. She learns that she isn't alone in this, that so many people are afraid to ask for help, and it paralyzes their lives and relationships. In this groundbreaking book, she explores these barriers in her own life and in the lives of those around her, and discovers the emotional, philosophical, and practical aspects of The Art of Asking. Part manifesto, part revelation, this is the story of an artist struggling with the new rules of exchange in the twenty-first century, both on and off the Internet. The Art of Asking will inspire readers to rethink their own ideas about asking, giving, art, and love.

Let’s be honest: most people are unhappy with at least some aspect of their physical appearance. Just think of all the money we spend each year trying to improve our looks! But if worrying about your appearance is getting in the way of living, maybe it’s time to start thinking about body image in a completely new way. Based in proven-effective acceptance and commitment therapy (ACT), Living with Your Body and Other Things You Hate offers a unique approach to addressing your struggle with body image. In this book, you will not be told that your self-perceptions are wrong, that your thoughts are irrational, or that your feelings are misguided. Instead, you will learn to live with the reality that these often painful thoughts and beliefs about yourself will arise from time to time, and that what is really important is accepting these distressing thoughts without allowing them to dominate your life. You know what it’s like to constantly be checking the mirror, to avoid certain social situations where your body may be exposed, or to gaze longingly at a fashion model in a magazine and think, “Why can’t I be her?” But what you may not know is that people who struggle with negative body image are at an increased risk for depression, anxiety, eating disorders, and low self-esteem. Body image problems can even lead to major financial issues. By focusing on your appearance and little else, you are hurting yourself in more ways than one. If you are ready to find a purpose in life that is more important than the pain you feel about your appearance, this book provides a truthful, powerful resource.