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About the Author


Patrick McCarthy, 9th dan is a well-known historical researcher, instructor, and former tournament champion, McCarthy has written several books, including Tuttle’s best-selling Bible of Karate: Bubishi [Manual of Combat]. His writing has appeared in The Journal of Asian Martial Arts, Inside Kung Fu, Black Belt, Karate International, Australasian Martial Arts, Fighting Arts International, Bugeisha and Budo Dojo.


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Tanpenshu
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This is an eclectic book about Gichen Funakoshi, who many consider to be the father of Japanese karate. But this is not a book of commentary about this master. Instead, the man, his background and early karate history are intimately portrayed through his own early writings, his portraits, many photos and other related materials.

While not aimed at the martial arts beginner or casual reader, the book would be enjoyed by historians, researchers, Shotokan karate practitioners or anyone interested in the development of karate in the early 20th century.Although some of this information has been printed elsewhere, the book does provide new translations, while also revealing the sources of the information.

Central to the collection are new translations of five early writings by Funakoshi dating back to 1914 that touch on a wide variety of subjects: His thoughts on the origin of karate, other former martial artists, styles of karate, kumite, points of practice and fighting, the relationship between karate and academic study, his personal prospective of the introduction of karate into Japan, his recollections about his teacher Azato Ankoh as well as the contrast of stillness and action (yin & yang) and how it relates to karate practice.

The publication is enhanced with nearly 40 pages of rare and historical photos, portraits, sequences of technique and translated calligraphy. Among them are the controversial 925 King Magazine illustrations that depict the story of Choku Motobu defeating a foreign boxer in a challenge match, but rather than Motobu being shown the drawings are of Funakoshi.

Also of interest to many Shotokan practitioners and many historians is an informal chronology of Funakoshi as well as a bibliography and a fairly comprehensive index.

Watashi no Karate-jutsu
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At long last we are pleased to announce that the 1932 Motobu Choki publication, "Watashi no Karate-jutsu," is finally completed thanks only to the assistance and co-operation of many kind people. The publication is approximately 120 pages in the same size and format as our Funakoshi Gichin publication, Tanpenshu.  

 

Here, in this small but provocative publication, lies yet another milestone in the legacy of Karate. “Watashi no Karate-jutsu” (“My Art of Karate”), introduces comprehensive insights into a fighting tradition as known and taught by one of its early Okinawan innovators, Motobu Choki (1870-1944). One of only two books he ever published on the art it is not widely known in modern karate circles or outside the spectrum of those who research its history. Straightforward in its approach, this modest work outlines those unique methods that made Motobu Choki, pound for pound, possibly the greatest technician and karate fighter of his generation.

 

One mistake the modern karateka often makes, when trying to grasp the technical ambiguities surrounding the application of early karate practices, is to depend on contemporary assumptions. This small but powerful book provides a window through which the reader is better able to perceive the cultural landscape and mind-set of those people who shaped its practice.

 

What could possibly improve a reader’s overall understanding of the art more than walking in the footsteps of those people most responsible for pioneering it? Great people should never be forgotten, if only to remind us of the potential latent in ourselves. By studying the anthropology of this tradition it becomes evident that many of the early pioneers established a symbiosis with karate so that their lives became as much a product of the art as was the art a product of their lives.

 

Researched and translated by Patrick & Yuriko McCarthy