When I began work on this book in 1995, I expected to complete it in about a year. I had no idea that it would turn into one of the biggest challenges of my life and, in the end, take over five years to complete, with constant rethinking and revisions. The issues examined in the book are among the most knotty and perplexing in modern Japanese history – and many of them had never been covered systematically It took an enormous amount of research and conceptualization to bring the story into focus, and I could never have done it without the help of my friends and colleagues.

It began with Merit Janow, with whom I first had the idea for the book, and who gave me constant support and advice.

My greatest thanks are reserved for Bodhi Fishman, whom I have credited chiefly with having researched the book but whose contribution was far greater than that. For five years, Bodhi hunted down thousands of clippings, books, interviews, and articles, reflecting the ever-shifting focus of my writing. In addition, he went over the manuscript countless times and sat with me over the years as we talked over and rethought difficult issues. Bodhi was my true collaborator, and I could not have written the book without him.

In addition, I would like to thank my friends and colleagues in Japan, with whom I have spent many hours discussing these subjects and who urged me to keep writing despite the difficulty of the work. The flower master Kawase Toshiro's and the Kabuki actor Bando Tamasaburo's views on traditional culture were guiding lights to me. Architects Shakuta Yoshiki and Kathryn Findlay filled in my knowledge of architecture, zoning, and city planning. The banker Matsuda Masashi gave me information about the banking crisis.

Karel van Wolferen was a fountain of ideas and advice about Japan's economy and its political dimension; R. Taggart Murphy offered me insights into the financial system; Gavan McCormack was a mother lode of information on the «construction state.» Donald Richie heard my analyses of Japan's cultural trauma and offered pithy comments concerning cinema. Mason Florence, guidebook author and my partner in a project to revitalize the remote Iya Valley in Shikoku, was a sounding board for issues about rural life and tourism. Gary DeCoker provided academic resources concerning the Japanese educational system. The painter Allan West shared his experiences as an artist and a cultural adviser. The garden designer Marc Keane counseled me on the ups and downs of Kyoto's preservation movement. David Boggett read the manuscript and made suggestions concerning education. Chris Shannon taught me about the Internet in Japan. The writer Brian Mertens brought a journalist's eye to the process, and was one of my most loyal listeners as well as a source of information on many subjects. The Malaysian artist and cultural manager Zul-kifli Mohamad helped me to think about Japan's issues from a wider, Asian point of view.

Some of my advisers did not live to see the completion of the book: the essayist and art critic Shirasu Masako told me the story of «Dogs and Demons» from which the book takes its titie; the writer and philosopher Shiba Ryotaro showed me how far modern Japan had wandered from its own ideals; William Gilkey, a longtime resident of Japan and China, was the source of many anecdotes of old times; the psychiatrist Miyamoto Masao brought conceptual power and humor to the subject of the Japanese bureaucracy; and Andy Kerr, my father, advised me concerning the book's overall tone.

With respect to the Japanese translation of the book, Kazue Chida, friend and former secretary, did the early work; Kihara Etsuko later translated the manuscript in its entirety. I used Kihara Etsuko's work as the basis for writing my own version in Japanese, which was corrected by Nishino Yoshitaka. Throughout this process-resulting in years of delay-my publishers at Kodansha showed unending patience and support.

Julian Bach, my agent in New York, guided the book from its inception; Alice Quinn at The New Yorker introduced me to Elisabeth Sifton at Hill and Wang, who became my stern but brilliant editor. The book benefited tremendously from her wisdom and professional rigor.

Many others offered advice and help while I was at work on this project: Dui Seid in New York, at whose apartment great stretches of the book were written; my secretary, Tanachanan «Saa» Petchsombat; and my partner Khajorn Khamkong.

As for typing the manuscript, I did that myself. The rest I owe to Bodhi, to my friends and advisers-and to the hundreds of Japanese whom I have never met but who have written or spoken publicly about these issues during the past few years and whose work I consulted. This book belongs to them.