Writers International Edition

Book review

Omotenashi_The Japanese Art of Thoughtful Care by Dr Jagadish B

Omotenashi: When Care Becomes a Way of Life

Finally, my slipper is broken. It is not just about a footwear. Like many things in my life, I have some sentimental attachment with it. It has been carrying me, protecting my feet for the last five years. Why five years? I could have bought a new slipper anytime. Over the years, I have bought many slippers for my children and other family members, but I never felt the necessity of buying one for myself. The same is true with dresses. The simple T-shirts and trousers I wear have remained with me for years, though I have spent generously for others. The truth is simple. I care deeply for people and things around me. Maybe thoughtful care.

I never thought of this “thoughtful care” as a philosophy until I met Dr. Jagadish, an educator, author, and one of the most beautiful human beings I have encountered in my life, for a discussion on his new book. The conversation became the beginning of another publishing journey for our publishing house with Omotenashi: The Japanese Art of Thoughtful Care. As Dr. Jagadish spoke in detail about the idea behind the book, I realised that this was not merely a work on hospitality or Japanese culture. It was about something the modern world has slowly forgotten while becoming faster, louder, and more efficient. The ability to genuinely notice another human being.

Reading this book felt less like reading a theoretical work and more like walking through moments of quiet humanity. The beauty of the book lies in the fact that it does not romanticise kindness in abstract terms. Instead, it reveals Omotenashi through ordinary incidents that most people overlook. A mother preparing herbal drinks before dawn for her son, a neighbour rushing without hesitation to carry an unconscious elderly man downstairs, a government officer patiently helping a grieving widow complete pension formalities, a bus conductor offering the last vacant seat to a tired traveller, and healthcare workers navigating impossible situations during the pandemic with calm empathy. These are not extraordinary heroes in dramatic circumstances. They are ordinary people responding with sincerity to the needs of others. Dr. Jagadish gently demonstrates that Omotenashi begins precisely there. In the unnoticed corners of life.

What makes the work deeply meaningful is the way it connects this philosophy with both personal and professional life. Many books on leadership today speak about productivity, influence, strategy, or systems. Very few speak about human warmth with seriousness and intellectual clarity. Dr. Jagadish does exactly that. Drawing from his long association with Toyota and Lexus, he explains how anticipatory care and sincere attention become foundational not only in relationships but also in business excellence. The stories from Lexus dealerships, Japanese hospitality practices, airline services, hotels, and global organisations are not presented as management case studies alone. They become lessons in how institutions can remain human even within highly structured systems.

The chapters discussing the roots of Omotenashi in Zen philosophy, Bushidō, tea ceremonies, and Japanese cultural evolution are among the most insightful sections of the book. Yet Dr. Jagadish never allows the work to become academically distant. The language remains accessible, warm, and deeply reflective. One constantly feels that the author is not teaching from a pedestal but sharing something he himself has carefully lived and observed through years of experience.

One of the strongest aspects of the book is its relevance to contemporary life. We live in a time where interactions increasingly become transactional. People respond after being asked. Institutions care after complaints arise. Attention itself has become fragmented. In such a world, Omotenashi arrives almost like a quiet corrective. It reminds us that true care is proactive. It anticipates. It notices silence. It understands discomfort before words emerge. It restores dignity to everyday interaction.

There is another quality in the book that stayed with me long after reading it. The author never presents care as weakness or emotional excess. Instead, he presents it as discipline, awareness, refinement, and character. Omotenashi, in this sense, becomes not merely hospitality but a civilizational value. A way of living where relationships matter more than performance, where intention matters more than display, and where even the smallest gesture can carry immense emotional depth.

As someone associated with literature, publishing, and humanistic thought for many years, I rarely come across books that combine philosophy, lived experience, emotional sincerity, and practical relevance with such balance. Omotenashi: The Japanese Art of Thoughtful Care succeeds because it emerges from authenticity. Dr. Jagadish does not merely write about thoughtful care. One can feel that he has practiced it for decades in his interactions, leadership, and way of living.

What makes this journey even more meaningful for me is the fact that Dr. Jagadish’s Omotenashi is not merely a standalone book. It marks the beginning of the Life Series by Writers International Edition, a publishing initiative envisioned to bring meaningful, life-centred works to readers across the world. In many ways, I feel there could not have been a more appropriate beginning than a book that speaks about sincerity, empathy, mindfulness, and the forgotten beauty of caring for one another. What is even more heartening is that while Omotenashi continues its remarkable journey as one of our best-selling titles, Dr. Jagadish has already moved into his next work, which I believe is nearing completion. Having witnessed the depth of thought and humanity that shaped this book, I quietly feel the next one too will become a work that touches countless lives across the world.

Omotenashi: The Japanese Art of Thoughtful Care is not simply a book to be read and kept aside. It is a book that follows the reader into daily life. Into homes, workplaces, classrooms, hospitals, offices, friendships, and moments of silence. After reading it, one begins to observe life differently. One begins to notice the invisible labour of care surrounding us every day.

Perhaps that is the greatest success of this remarkable work. It does not ask us to become extraordinary people. It simply reminds us to become more human.

Buy ‘Omotenashi: The Japanese Art of Thoughtful Care’

Preeth Padmanabhan Nambiar

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Celestial Melodies: The Poetry of Meenakshi Mohan

Social media, often maligned by many, has been a gateway to a world of wondrous possibilities for me. It has gifted me with precious connections spanning the globe, each one a treasure in its own right. Yet among these countless bonds, a few rare souls shine brighter, nestling close to my heart. Dr. Meenakshi Mohan is one such cherished presence. More than just a chance encounter, she has become family – a sister whose affection wraps around me like a warm embrace, nurturing our bond across the miles.

Though we have collaborated on numerous projects through the Writers Capital International Foundation, nothing could have prepared me for the delightful surprise that arrived in my mailbox one day. Dr. Meenakshi’s book, “Symphonies of Life,” was an unexpected gift that touched my heart deeply. This gesture, so characteristic of her generosity, further cemented the special bond we share. Holding her words in my hands felt like embracing a piece of her soul, bridging the physical distance between us with the power of literature and friendship.

Symphonies of Life: Poems by Meenakshi Mohan is a beautifully crafted collection that delves deeply into the intricate fabric of human experience. Through her poetic lens, Meenakshi Mohan explores themes that resonate on both personal and universal levels, creating a profound impact with her exploration of love, memory, and the quest for meaning.

Meenakshi Mohan’s poetry is distinguished by its thematic richness and emotional depth. She navigates the complexities of familial love, the pain of loss, and the enduring nature of hope with remarkable sensitivity. Her work reflects a deep understanding of the human condition, capturing the nuances of personal experiences while connecting them to broader existential themes. The emotional resonance of her poetry invites readers to engage with their own experiences, finding echoes of their own lives within her verses.

The poet’s use of imagery and symbolism is a key feature of her work, imbuing her poetry with layers of meaning. Meenakshi Mohan employs vivid, often mythological imagery to bring her themes to life. Celestial symbols, such as stars, serve as metaphors for guidance and eternal presence, while natural elements like rainbows and flowers symbolize hope and renewal. These symbols transcend their literal meanings, becoming powerful tools for exploring abstract concepts and emotional states.

Meenakshi Mohan’s reflections blend personal anecdotes with universal insights, creating a bridge between the intimate and the collective. Her ability to draw from her own life experiences while addressing themes that resonate broadly allows readers to see their own stories reflected in her poetry. This interplay between personal and universal experiences enriches the reader’s engagement with her work, fostering a deeper connection to the themes she explores.

The lyrical quality of Meenakshi Mohan’s poetry enhances its thematic and emotional impact. Her use of rhythm and meter imparts a musical quality to her writing, which complements the emotional weight of her themes. The flowing cadence and melodious language draw readers into a reflective and immersive experience, allowing them to fully appreciate the beauty and depth of her poetic expression.

Cultural and mythological references add additional layers of meaning to Meenakshi Mohan’s poems, providing a broader context for her exploration of themes. By weaving in elements from mythology and cultural traditions, Meenakshi Mohan enriches her narratives and connects her personal reflections to larger cultural and spiritual frameworks. These references not only deepen the reader’s understanding of the themes but also situate her personal experiences within a wider cultural narrative.

Needless to say, “Symphonies of Life” brilliantly showcases Meenakshi Mohan’s remarkable poetic prowess. Her gift for distilling complex emotions into crystalline verse is nothing short of extraordinary. With each line, she paints vivid images that resonate in the mind’s eye, while her masterful use of symbolism adds layers of depth to every poem. This collection is a rare gem – at once intensely personal and universally touching. Through her lyrical and contemplative words, Meenakshi invites us on an intimate journey through life’s grand symphony. As we turn the pages, we find ourselves discovering beauty in the everyday and profound meaning in the shared melodies of human experience. Her poetry doesn’t just speak to the heart; it sings to the soul.

I’m deeply grateful to Dr. Meenakshi Mohan for thinking of me and sending this precious gift. Her thoughtfulness in sharing “Symphonies of Life” has enriched my bookshelf . As I turn the final page, I’m filled with admiration for her talent and the depth of her insights. May her pen continue to weave magic, touching hearts and inspiring minds across the world.

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Chronicles: A Historical Monument: Book Review by Sushant Thapa

Too much individualistic behaviour makes you a conformist. Bob Dylan says this in Volume one of his autobiography “Chronicles.” Being a conformist can mean being rigid and always having an aura to win the argument, instead of making proper meaning and holding the truth close. For those of us who are introverted, this saying from Dylan’s book can bring us out of our personal closet and mix with society. This evokes a call for metamorphosis from individuality to commonality, a social need.

I do not think I need to introduce Bob Dylan. He is an American singer-songwriter with a poetic soul who won the Nobel prize in Literature in 2016 for his songs that told stories. He is a folk musician. He defines song in the book as “A song is like a dream, and you try to make it come true.” He also defines what folk music does. He says, “Folk music, if nothing else, makes a believer out of you.”

All of Dylan’s songs depict the world, they are not much abstract and can simply make meanings. They have told human stories with a poetic touch. His songs rhyme and that is also one old conventionality of poetry. I say it is old because modern poets have abandoned rhyme. Dylan however is brutally contemporary. His songs “Everything is Broken” and “Political World” are contemporary. War has devasted the modern world, things lie broken. This is the reality.

I would like to talk more about the song “Everything is broken.” The music of it is also good and it has carefree representation. He talks about how everything like objects is broken. I feel that everything can be in a broken state. It is good to talk about that state of things when things can be underrepresented. Even broken things are valued by Dylan. Like they can be joined. After all, things are made of pieces. The present-day wars and pandemics have created brokenness. People can have broken hearts. Bob says in the autobiography that the critics did not like this song because they did not find it autobiographical.

I did not know that in America slavery and the civil war were related. I did not know that Bertolt Brecht was banned in Germany, in his own country, for being an antifascist German Marxist poet-playwright. I have learned new things from Dylan’s autobiography. I would love to read Volume two of Chronicles too. Dylan’s autobiography is informative. Not only it contains people whom Dylan met during his music career, and songs that he heard, the studios where he recorded his songs in; it is also a historical monument in itself.

Bob Dylan says towards the end of the autobiography that the song that he was leaning towards singing did not exist and he began playing with the form, trying to grasp it- trying to make the kind of song that transcended the information in it, the character and form. I am not sure but it sounds like saying that sometimes similes and metaphors alone make a poem. They are the form that provides some shape to your poem. Going too much out of form does not shape the artwork unless you are doing something groundbreaking.

Sinclair Lewis was the first American to get Nobel Prize in Literature. Author of Elmer Gantry. Master of Absolute Realism. He had invented it. I came to know about him through this autobiography by Dylan.

Dylan says he was not getting influenced by good or bad comments by people on his songs. He says he did not have preconditioned audience. This is what we can learn from the Nobel laureate. Artists and even writers should be able to not be influenced by any comments and the measure of the work lies in the dedication with which they do it. Recognition is the aftermath, it is not the main target. Having no preconditioned audience made Dylan more focused on his songs. He loved Woody Guthrie and his songs. Bob Dylan sang songs by Guthree although he received feedback like “you will never turn into Guthree.” Well, I am sure Dylan made his own image. Dylan liked the diction and repertoire in Guthree’s song. Dylan even went on to change his own musical image. He changed the way his songs sounded from when he started. I appreciate the changes in his singing style. I can listen to that in his songs. He says in the book that he even started singing in a different voice. Bob Dylan has written a blurb in Jack Kerouac’s book “On the Road.” He mentions Jack Kerouac in this autobiography and says that Kerouac had retired and the travelling spirit of “On the Road” has been diminished now. He makes a short critique on the book “On the Road” in this autobiography.

When Bob Dylan says that in New Orleans there is only one day at a time here, then it’s tonight and then there will be tomorrow again. I think here Bob is talking about the slow passage of time and like postponing everything for later attitude of New Orleans. His next sentences in the book are: “Chronic melancholia hanging from the trees. You never get tired of it. After a while, you feel like you start to feel like a ghost from one of the tombs, like you are in a wax museum below crimson cloud.” When Dylan says that you feel like a ghost from one of the tombs, I feel he is talking about getting things done slow attitude. He also says one day at a time. Despite everything he praises New Orleans and says it’s a good place to record music. I am writing about this because I can view America through Dylan’s eyes although I am a foreign man in America.

This has been my experience with the first Volume of Chronicles, an autobiography written by the legendary Bob Dylan. I hope to read Volume two soon and write a review on it. I learned many things and the lesson from this autobiography has brought me close to one of the best-appreciated musicians of the current time who will always have a literary aura around him, no matter the passage of time.

Sushant Thapa
M.A. English, Jawaharlal Nehru University
New Delhi, India

Biography

Sushant Thapa (1993) is from Biratnagar, Nepal. He is an M.A. in English literature from Jawaharlal Nehru University, New Delhi, India. His fourth and upcoming book of poems titled “Love’s Cradle” is going to be published by World Inkers Printing and Publishing, New York, USA. He teaches Business English to undergraduate students in Biratnagar, Nepal.

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RALPH ELLISON’S THE INVISIBLE MAN

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an “invisible man”. People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing.

The boy’s dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison’s first novel, but he has complete control of his story and his style. 

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