“We tried to live with 120 percent intensity, rather than waiting for death. We read and read, trying to understand why we had to die in our early twenties. We felt the clock ticking away towards our death, every sound of the clock shortening our lives.” So wrote Irokawa Daikichi, one of the many kamikaze pilots, or tokkotai, who faced almost certain death in the futile military operations conducted by Japan at the end of World War II. 

This moving history presents diaries and correspondence left by members of the tokkotai and other Japanese student soldiers who perished during the war. Outside of Japan, these kamikaze pilots were considered unbridled fanatics and chauvinists who willingly sacrificed their lives for the emperor. But the writings explored here by Emiko Ohnuki-Tierney clearly and eloquently speak otherwise. A significant number of the kamikaze were university students who were drafted and forced to volunteer for this desperate military operation. Such young men were the intellectual elite of modern Japan: steeped in the classics and major works of philosophy, they took Descartes’ “I think, therefore I am” as their motto. And in their diaries and correspondence, as Ohnuki-Tierney shows, these student soldiers wrote long and often heartbreaking soliloquies in which they poured out their anguish and fear, expressed profound ambivalence toward the war, and articulated thoughtful opposition to their nation’s imperialism. 

A salutary correction to the many caricatures of the kamikaze, this poignant work will be essential to anyone interested in the history of Japan and World War II.

In Knowing and Seeing, Douglas Cooper reflects on his long career as a muralist in various cities around the world, including in Pittsburgh. The essays are also personal discussing family, memories from his childhood, mentoring from his Carnegie Mellon University professors, and his collaborations. They are also instructive. Murals are not walls but provide the appearance as such and require the artist to have a different skill set that is part architect, part painter, and part builder.

Thomas S. Kuhn’s The Structure of Scientific Revolutions was a watershed event when it was published in 1962, upending the previous understanding of science as a slow, logical accumulation of facts and introducing, with the concept of the “paradigm shift,” social and psychological considerations into the heart of the scientific process. More than fifty years after its publication, Kuhn’s work continues to influence thinkers in a wide range of fields, including scientists, historians, and sociologists. It is clear that The Structure of Scientific Revolutions itself marks no less of a paradigm shift than those it describes.
           
In Kuhn’s “Structure of Scientific Revolutions” at Fifty, leading social scientists and philosophers explore the origins of Kuhn’s masterwork and its legacy fifty years on. These essays exhume important historical context for Kuhn’s work, critically analyzing its foundations in twentieth-century science, politics, and Kuhn’s own intellectual biography: his experiences as a physics graduate student, his close relationship with psychologists before and after the publication of Structure, and the Cold War framework of terms such as “world view” and “paradigm.”