(A bit of context. This blog features regular reviews of books, horticultural products, and interesting related items, under this proviso. All items reviewed will be purchased by the reviewer in advance, at full retail price, in order to prevent any conflict of interest. Information about upcoming releases is greatly appreciated, but receipt of advance copies or samples will be announced well in advance and will not influence the final review. The world has enough Jeff Craigs and Maria Salases as it is.)
Keshiki Bonsai: The Edgy, Modern Way to Create Miniature Landscapes by Kenji Koybayashi
Published: Timber Press (OR), 10/01/2012
For anybody who went to school at any university specializing in fine arts, or for anyone like me who just hung out with a lot of burgeoning young artists, one book was the subject of conversation more than any other. It rarely made any appreciable impact upon non-artists, and a lot of artists scoffed when they saw the title in a student’s book-pile. However, for a certain percentage of fine arts students, this was a tome as essential for rumination and digestion as The Boys on the Bus was for journalism majors. That book was 50 Secrets of Magic Craftsmanship by Salvador Dali.
In reality, 50 Secrets carried 51 secrets: it was deliberately obtuse. The first few chapters started with Dali alternating between kissing his own ass and tearing down any contemporary painter within his purview, and most readers give up after 30 pages or so of ridiculous self-aggrandizing. As I said, this was the last secret, hidden in plain sight. Slog and fight through the beginning and Dali’s ego, and you suddenly realize “Hey, I’m learning something.” That continues through the book, as you pick up ever-more-intriguing tips on what made Dali the painter he was, as well as learn that the other secrets weren’t about slavishly following his list. (For instance, it’s rather hard to follow the letter of the law when two of those secrets to being a great painter were “live in Spain” and “be named ‘Salvador Dali’.”) It’s only at the end of the book, literally within the last two paragraphs, that all of the discussion on making pigments and training spiders to make webs in hoops made of branches suddenly makes sense. At the absolute end, everything taught throughout the book finally comes together, in a way that leaves you breathless in its brevity and its force. Only at the end do you realize that there was a method within the madness: it’s one that only really worked for Dali, but one that allows you to follow his lessons and take them in your own directions.
As much as I hate the lazy analogy of making a direct comparison with one modifier, such as the classic “my family life was [fill in the blank] on acid,” Kenji Kobayashi managed to do something quite singular. He managed to write the 50 Secrets of Magic Craftmanship for the horticulture contingent.
Not that he planned to do so with Keshiki Bonsai. Kobayashi, the owner of the bonsai shop Sinajina, understandably became frustrated with bonsai design and bonsai guides, and the seemingly overwhelming material on the hows of bonsai design that neglect the why. Instead of dutifully showing how to wrap and pinch bonsai into forms that may not be final for fifty or a hundred years after he dies, he has much more of an interest in simple designs that can be constructed and maintained by those of us with limited time and even more limited resources. Many of his step-by-step projects aren’t intended as final compositions, such as with a Martha Stewart arrangement. Each of his projects is intended to teach one skill well enough, such as recreating the flow of moss up a hillside, that it’s possible to move on. He doesn’t teach by going one step at a time with one tree: he tries to get the reader to look at bonsai arrangements as installments toward improved skills, and with a final product ready for enjoyment and basic maintenance within a few days. The idea isn’t to reshape a tree into a presumed bonsai in a day, but to consider “exactly how do I convince a viewer that s/he’s looking at a grassy hilltop and not simply an accumulation of potting mix and various seedlings?” That last part is the important part.
For standard bonsai enthusiasts, a lot of the basics in Keshiki Bonsai won’t be anything they don’t already know, and many of Kobayashi’s accents and pots may be overly simplistic or even vulgar. However, for anyone working with miniature gardening, this book shouldn’t be kept on a shelf. It should be kept in a little box right next to your work area, pages full of bookmarks, on hand for when it’s needed. “When it’s needed” is best defined as “every five minutes.” And for terrarium construction advocates? Just be glad this book can’t be downloaded directly to your brain…yet.