On initial examination one might ask "why sushi?"  Well, it is not only because of its great taste or its innate beauty, though those were certainly contributing factors, it is because sushi is at a cultural crossroads right now, and what goes here can also be applied to many other dishes, and indeed cuisines around the world.  In addition, sushi is at the extremes of tradition and innovation, making it possibly the most interesting example of this phenomena.

Intro
    Today, sushi is nearly ubiquitous in the culinary vocabulary of America.  It is sold everywhere, and is available in myriad types and styles.  But what you may not realize when you visit one of the 9,000 plus Japanese restaurants in America is what exactly sushi is, and what that means to those who create it, the sushi chefs (JETRO).  Today, sushi is moving in two distinct directions.  This separation that ties it closely to Japan, while at the same time expands it to contain influences from a lever widening area.  But then, what exactly is sushi, how does this reflect those that make it for a living, and, finally, how do the traditionalists view the innovators and vice verse?  Overall, this could be simplified as "What defines sushi?"  It is this question that drove my investigation of this subject.  This book, will attempt to address that question by examining the components of sushi and its preparation.  
     To truly investigate this, it is best to start at the beginning.  More specifically, the Muromachi period of feudal Japan.  At this point, the Japanese had been eating the earliest known ancestor to modern sushi, narezushi, for about 400 years.  Narezushi bore little resemblance to the nigiri and maki we know today, it was basically fish fermented in decomposing rice, and was not eaten until the rice was fully decomposed.  During this time period, people began eating the fish when the rice was only slightly sour, and it became known as namanare.   Then, during the early Edo period (1603-1868), the sushi was assembled so rice and fish could be eaten as one unit, and it was called hayazushi.  Modern examples of this include chiribashi, and maki-zushi.  Finally, midway through the Edo period, nigiri-zushi was created (Tanabe). Since its creation, sushi has become a major Japanese culinary export, and has been enjoyed by people around the world.  When sushi came to the United States, it started to undergo the Americanization that inevitably occurs to any cultural import to this country.  But, unlike similar examples such as Chinese Food, sushi still remains largely as it was when it came over from Japan.  Now, this is not to say that there is not still innovation in sushi, just that it is still possible to find sushi in a traditional Japanese form.
     As to the organization of this book, first the question of "what is sushi?" will be taken up, which will try to explain what makes sushi, sushi.  Next, insights by creators of both traditional and avant-garde sushi will be examined, and finally take a look at the similarities between the two.  I encourage you to look at this book, and think about the culinary culture of America, and then well, get something to eat.  Thinking makes me hungry.

Tradition

Ato, saisho no sannen kan wa e osushi no kari desu ne.  Ano gohan sushimeshi o                       takukoto dake to jyu to yatte imasu.  Sorekara, dan dan, sutepu upu shite itte.  Ano, sakana o ryoshitari, katto shitari, e, makimono, rooru, gasu ne mo tskuttari su ryouri ni narimasu.  Daitai nagai junen jikan arimasu (Junichi Fujiya).

    [Well, the first three years, I was only allowed to cook sushi rice. Then, little by little, I advanced to the next steps.  I started cooking fish, cutting fish, rolling sushi, etc.  It took around 10 years altogether.]

Toradishianaru no osushi to iyu no wa, ano, nigiri style.  Ano, fish on top.  Sashimi to ato wa.  Seaweed always outside.  That’s traditional.  And then also we have saikozushi.  You know the saikozushi?  Um, make like a flower.  Saikozushi to iu no wa mukashi kara arimashite sore was etto Nihon no omatsuri.  Omatsuri odonaku ni, so shite resutoran janakute (Junichi Fujiya).

    [Traditional Sushi is nigiri style, with the fish on top.  The seaweed is always on the outside.  That's traditional.  And then also we have saiko-zushi.  You know the saiko-zushi?  Um, make like a flower.  Saiko-zushi, like a flower, is for festivals in Japan and existed in Japan for a long time. It is not from a restaurant.]

I got a degree in public relations, and at the time I worked for Rodgers and Cowen, which is one of the largest publicity firms in the world.  And I was into music, so I was doing publicity for the Grammys and Soultrain awards and found out that I didn't like it, so I kind of thought about what I like to do and what made me happy in life and it was cooking.  And I thought I could make a living cooking and pleasing people, making people happy through food (Royce Mori).

American sushi?  Dragon roll, rainbow roll, I never seen that kind sushi before I came here.  That taste is very good.  Dragon roll ya rainbow roll, American sushi wa looks so good and tastes also good.  Bikkuri shimashita. [I was amazed] - Junichi Fujiya

Are there any dishes on the menu that are purely traditional... there aren't, there aren't any dishes on our menu that are just straight classic Japanese, classic Chinese or Korean or Vietnamese dishes.  But those classic dishes are what inspire me to create the contemporary dishes that you do see on our menu. - Royce Mori

    Both sushi traditionalists and sushi innovators regard the other as having their own place, and respects them for what they do.  Fujiya sees new non-traditional types of sushi (such as the California roll) as delicious and a worthy part of the culinary landscape, even if not strictly "Japanese".  Royce views traditional foods and techniques as the essential basis for his own unique interpretations.  Both enjoy tradition and innovation equally, and it is this that provides sushi with its unique culture of respect.