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Hanshi Kaufman Featured on America’s Iron Dragons Magazine

Credentials Bespeak Themselves

This is the cover for the premier issue of America’s Iron Dragons magazine that I share with other important international masters. Special thanks to Anthony ‘Sha Poe Ryu’ Elam for this significant honor.
To learn more about Hanshi Stephen Kaufman, visit www.hanshi.com
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Excerpt from My New Novel, Silent Moon

Have you read the first few chapters of Silent Moon yet?

Here it is, and get ready for a blast!

     He knew the man was dead. He felt the sword bite, though it might take a moment before it would register on him and the slain man would fall. The incessant din of mortar and bombardment deafened his ears to the surreal burlesque of screaming men as Tadayama Michizawa looked away from the man he had just killed and walked in a daze toward the perimeter where more U.S. Marines continued to charge bunkers built in anticipation of just such an action. He wiped the marine’s blood from the blade and sheathed the weapon. Anyone knowing of the resheathing technique would have recognized the motion as masterly. Fastening the retaining clip in the only way a tachi could be carried, with the cutting edge down to keep it from falling out of its scabbard, he reached for a Browning Automatic lying on the ground in front of him and checked to see if there was any ammunition left in the clip.

The din continued to be deafening as he watched flame-throwers incinerating the area around him, the screams of men creating more surreal visions adding, yet, more and more to the dream-like scenario. Tadayama Michizawa randomly pointed the gun and fired off three rounds, killing two of the enemy and wounding another. Time and space had ceased to exist for him, with the activity appearing as slow motion in his mind even though the rapidity of the combat was faster than a jumping rooster trying to escape an ax man’s blade. The stench and putrefaction of battle had completely violated his senses as well as his bowels, but nothing interfered with his consciousness about the situation. He moved from one scene of battle to another without thinking: not of the lineage of his Samurai family, not about his wife, not about honoring his parents—nothing. He acted in accordance with only what he knew as commitment to the act of attacking and winning in any confrontation. In this manner Captain Tadayama Michizawa of Izo Prefecture died at the Battle for Shuri Castle on Okinawa, never feeling the shell that blew him into unrecognizable bits.

In the eerie silence and aftermath of the battle, Lance Corporal John Claremont walked around the area of engagement, trying to keep his mind off the piles of dead bodies from both armies that lined a benjo ditch. His pencil ran furiously filling his little notebook with scribbles about the battle. His buddies always chided him about taking notes, asking him if he was going to publish his memoirs of the Battle of Okinawa when he got home, if he got home, and in one piece at that.

“Hey, Dickbrain!” one of them shouted, “are you gonna just walk around looking at this shit, or are you gonna look for souvenirs?”

The men surrounding the heckler laughed and muttered obscenities about the gooks they had just wiped out while others just sat there in morbid silence while yet others quietly wept. Straight-faced and emotionally numb, John Claremont started to reply as his eye caught a long curved object appearing out from under two mangled bodies covered with the detritus of battle. He felt like throwing up, but having become inured to the tragedy of war, his desire resulted in only a slight dry heave. He reached for the object and changed his mind, instead, taking dog tags from a dead marine and placing them in clear sight by driving them into the space between the corpse’s two front teeth. The bodies were left to the charge of the body bag squad as the mortuary people were called. The standing order was that all personal effects of the dead were to be collected so they could be returned to the families.

With disgust, he looked at the object that he knew was a sword. Picking it up, his first thought was to break it in half, but, for some unexplainable reason, he didn’t. Holding it in his hands, he felt an odd sensation, almost as if it was vibrating. Cautiously, he opened the snap that held the blade in the scabbard. Even more cautiously, he began to slide the weapon out of the scabbard and was astonished by the blade’s incredible gleam. Pulling it out further, he saw the remainder and color of blood, with bits of flesh and gristle still adhered to the cutting edge. Now he did puke. Sons of bitches, he thought, still think they’re in the fucking middle ages. He lifted the sword above his head and was about to snap it over his knee when the same heckler approached and told him that he could probably get something for it when it was sent home if he turned it over to Ordnance when they got back to camp. Shrugging, he put the sword through his webbed utility belt and walked away.

The sword lay tagged with his service number in a pile with countless others: some sheathed, some not, some whole, some broken, some gleaming, some already beginning to rust, and all of them sharper than razors. Just touching them had already seriously cut too many people, and so it was decided to lift them en masse with a forklift, dumping them into a truck for cartage to the supply depot, where they would be properly counted and then disposed. Most of the swords that had been unsheathed and not broken, now were.

Everyday more and more weapons were added to the pile until the sword that John Claremont found was buried and could not be seen under the mass of tagged blades and scabbards being separated into four groups: sheathed, unsheathed, sheathes alone, and broken. And so it lay there, Tadayama Michizawa’s blade, along with all the others, waiting for the order to remove the handles and scabbards before putting all of the metal parts into a smelter unless they were tagged by marines to be sent home as souvenirs.

However, not everyone saw the piles of steel and leather scabbards as simply piles of steel and leather. Lance Corporal John Claremont recognized certain parts lying around as not just copper and brass, but of precious metals. Noticing this, he kept it to himself and immediately began gathering up the metal spacers that fit between the blade and the handle. These, he later learned, were called habaki, the wedge-like collar that held the blade in the scabbard, and the seppa, metal washers that kept the handle tightly in place to keep the blade from shaking loose. He tried to take the handles off some of them to make things easier, but there was a wooden peg holding the handle to the blade. Curious, he thought. Why would they hold something together with only a little piece of wood? He took his mess kit fork, and, using a tine, began to push the pegs out, amassing quite a nice bundle of silver and gold fittings. With his K-bar combat knife, he slit the silk bindings off the handles and removed the adornments. Many of these parts were also of quality metal, some gold, some platinum.

Then the idea hit him that instead of taking apart the swords that were still intact, he would keep what looked to be the best and shiniest and send them home as souvenirs. When he asked, the supply sergeant had no problem with him doing that, figuring it would make his own job easier. While John Claremont went through the pile picking out what he thought were the best of the lot, the OIC posted a notice saying that anyone could take some swords if they wanted them, but they had to be in the mail before the end of the week, and no one could take more than twelve.

And that is how sword #6397 along with eleven others and a nice pile of precious metal found its way to Meridian, Idaho, where it would lay in an attic for almost seventy years, intact, because it was the shiniest of the lot and, in time, might fetch a few dollars.


Prostrated on the ground in front of his shrine, the old man offered the gods his nusa, a string of paper pendants symbolic of his earnest desire to construct a blade of excellence. Though he was in his late sixties and a recognized master swordsmith, Fujisama Atabe still felt obliged to offer his soul to the gods, in the fervent hope that they would bless his hands and mind. He prayed with humility and earnestness, and, finally, after long meditation, he was ready to begin.

His mind was occupied with crafting a blade filled with every conceivable aspect of perfection and auspiciousness. In a flash of personal awakening, Fujisama Atabe knew this coming blade would be treasured as sacred and meritorious. In his heart, he knew the work would be governed by the ideals of loyalty and self-sacrifice to his craft, reverence to the gods, and benevolence of the sword’s virtue. It would also be a splendid fighting weapon for the warrior who had commissioned it.

It had to be practical and functional, well balanced and sharp. Sharp! It had to be flexible so it would not break in battle and rigid so it could keep its profound sharpness. If it met all of his incredibly demanding requirements, he would chisel his signature into the tang. This, too, had to be an example of perfection, but only if it passed the cutting tests to the ultimate degree. Only then! It would have to be a sanpogiri, a blade capable of cutting through three men in accordance with the instructions of the samurai who had ordered it. To cut through one man would make it ordinary. Two men would mean that exceptional craftsmanship went into its creation. But, a three man blade? Heaven could only grant that, and if it passed the final cutting tests, the emperor would have to know about it, and the reward would be recognition of Atabe’s skill and devotion to the gods more than it would mean an increase in the prices he could charge.

As night began to fall, he began to stoke his forge, careful not to get the charcoal too hot but at the same time creating a heat of about 1200 degrees. The perfect combination of carbon infused into the iron that would form the blade was something he had learned at the side of his father and grandfather so many years before. His intuition had taught him to recognize the proper heat by looking at the color of the coals, which in turn would translate into the steel as a form of poetry. “The blade must be heated until it is the color of the moon in August or February. And you will know the proper temperature of the water when it is time to quench it.” Ah, to know these things, he thought, and that the blade would know them as well.

He turned to his apprentice and nodded at him to maintain the coals while Atabe prepared the ore for smelting, a soft low-carbon inner core, and one of high-carbon for the cutting edge. There was never a need for words once the smithing had begun. Complete concentration was necessary. At the temperature they were working, a cinder could easily burn through a hand from one side to the other, crippling the smith and ending his career. The apprentice fondled the charcoal, keeping it at a proper temperature, waiting for the night to blacken, when the only light would be from the color of the charcoal that illuminated the shop.

Fujisama Atabe slowly shaped the blocks of ore into flat sheets no more than a quarter of an inch thick. He then doused them in water before breaking them up into the smaller wafers that would be chosen for the outer jacket of the blade. Adding block after block, he finally arrived at the proper conditions needed before the forging could begin. He hammered and folded the material without stop until the steel was viscous and so smooth that any additional folding would not produce any creases or bends.

Sweat poured from the old man’s brow as he continued to shape the blade, applying the exact amount of tension to form the kissaki, tip point; the nakago, tang, and the ha, the cutting edge. Some hours later, the blank was formed. Now would begin the grinding and filing. As the master sat on his stool resting and praying, his apprentice kept watch over the forge, slightly stoking it to keep the heat at the proper temperature for the next phase. Atabe rocked back and forth on his stool in a state of deep meditation. He would stay in that frame of mind until the blade was finished and ready for the polisher. Now began the challenging part, creating the dividing line between the cutting edge, the ha, and the body of the blade called the hamon, the distinctive part of the blade with which the master’s work became identifiable.

He prepared a mixture of clay, charcoal powder and sandstone, adding water to keep it thin. Then, another batch, a bit thicker for the upper part of the blade that would prevent it from cooling too rapidly when it was quenched in the bath. This would define the hamon. When he was done, he put the blade to the side to cool while he prayed for a divine hand from Heaven to help him form the perfectly hardened surface of the cutting edge. Stoking the forge with one hand and shifting the position of the blade with his other, he worked as a man possessed to get it to a point beyond his own comprehension. The result brought tears to his eyes.

The apprentice looked with stunned disbelief at the pattern. The blade’s curvature was perfect from the back to the point. The master’s work was done, and the decorative grooves of the horimono could be burnished and prepared for the rough polishing that would take two days to finish. The blade would then be sent for polishing, and then to the suimonogiri, blade tester, by the otameshi, body cutter, whose specialty was dismembering prisoners.

When the sword came back, it was gorgeous. The apprentice was astounded at an exquisiteness that could not be described. As the old man chiseled his name into the tang, he called it “Silent Moon.” On a night with a full moon in August, Fujisama Atabe sat looking at his work, and, thanking all of the gods for his most splendid masterpiece, died.



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Napoleon Means Business Book

For more info on the author and to purchase books, visit www.hanshi.com

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Cherry Blossoms for Children – Life Lessons to Grow By

The Music Lesson

Mokubei, the wise man, was known to be a graceful and wonderful flute player. Sometimes he would sit outside of his hut and play his flute while looking at the moon for no other reason than the pleasure it gave him. People would come from far and near just to sit and listen. Sometimes they would bring him something to eat, and sometimes they would give him a coin for charity to the poor and needy.

Mokubei never thought anything about it. He just enjoyed playing his flute, and when folks wanted to learn something about playing, he would gladly teach them. This evening, Tomo-san was learning new notes and Mokubei was showing him certain musical scales.

A music teacher living in the next village was jealous of the attention that Mokubei received. One day he decided to see if Mokubei could play a certain form of Kabuki music, which is used during performances of classical plays.

As the music teacher approached Mokubei, the wise man was rubbing his flute with oil to give it a more mellow sound. He then put it to his mouth and began to play. The music was sweet and beautiful. Kidu was lying next to Tomo-san with his ears pointed up and was listening, too. If you looked closely, you just might see a little smile on the dog’s face.

The teacher listened for a while, becoming more and more envious of the exquisite sound coming from Mokubei’s flute. He challenged the wise man to a contest to see who the better player was.

“Why don’t you play in the emperor’s scale, which is a sign of respect for His Excellency?” asked the teacher.

“Because,” said Mokubei, “I’m not playing music for the Emperor. I’m playing Kabuki music for myself and the moon.”

“Well then,” said the teacher, “perhaps it is because you do not understand the emperor’s scales that are to be played when looking at the moon.”

“No,” replied Mokubei, slightly annoyed. “I’m not interested in playing emperor’s music. I’m playing Kabuki music. I can play the emperor’s scales later if I want, too.”

“Then maybe you cannot play with the proper technique,” said the teacher smugly.

“Why,” asked Mokubei, “is the moon complaining?”

Molubei placed the flute back to his lips. The bright moon shone in the evening sky.

When someone is enjoying what they are doing, you should not interfere,

as it could cause a quarrel and spoil everyone’s fun.

For more info on the author and to order book, visit www.hanshi.com/books

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The True Nature of Strategy in Music and Other Arts

Excerpt from the Book of Earth Chapter

More than likely, masters in your own world have taught you the manner in which you are to attain enlightenment relative to your chosen discipline. They have shown you the methods of the ancient masters and have told you to study them without let up and to continue studying them, even though you may think you have attained a grasp of what they talked about and how they performed. There is a very good reason that some of the ancients are thought of as masters. It is because they have influenced all those that came after them by first influencing themselves. The wise are wise because they learned and came to understand the wisdom of their predecessors in all areas of their intellect and soul. Using that wisdom, they evolved and became aware of many things and the variations attached. You as well should learn the importance of studying arts other than the music you are professing as your life’s work. You play the harp and you study other stringed instruments; you study flutes and horns, then percussion and voice and other cultural instruments; the list is endless. Though these are all music-based, you must also become aware of other art forms and disciplines: painting, sewing, carpentry, basic business principles, mathematics, mechanics, and technology. This can seem daunting, and you will choose which ones intrigue you, using every means available to you for the development of your divine and earthly right to live in joy and freedom while constantly focusing on your ideal.

To become well rounded, it is necessary to see other forms of discipline and, yes, adopt some of the principles into your own craft. Why? Because you will eventually notice all things are the same except for specific characteristics. Music, though, is something that has absolutely no functional or practical value except for expression of the soul, and that is what separates it from every other art form, without reservation. Because of music’s intrinsic reality, it takes both performer and listener to a completely different dimension that is not easy to explain. To communicate with another without words or physical actions is an expression of your soul.

Learn more: http://musiciansfiverings.weebly.com

Visit www.hanshi.com/books to purchase an autographed copy

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Silent Moon Book Cover Design

Here is a mock-up of the final Silent Moon book cover design.

LAST CHANCE TO ORDER PRE-PRESS AT $16.95 USD w/ free shipping. Book will be $19.95 plus shipping after 8 /1. 344 pages 5.5 x 8.5. For $16.95 deal go to Paypal – hanshi422@earthlink.net.

“Follow the creation and development of a profound masterpiece of the swordsmith’s art through historic turmoil, samurai battles, and contemporary intrigue that follows its ‘life’ from 1550 until the present day.
Loaded with guts, glory, and wisdom, the story holds the reader’s interest throughout the period sequences, with a unique ending that took even the author by surprise!”

For more info on the author, visit www.hanshi.com


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New Book Forthcoming from Hanshi Stephen Kaufman

Book promo

For more info on the author and his books, visit hanshi.com

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The Musician’s Book of Five Rings – Goals

Post Note: The book page weblink has changed to http://www.musiciansfiverings.weebly.com

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Ch’i and the Creative Power of the Universe

I came across this early this morning as I was looking for some NEW music and was pleasantly surprised to find an article I had written in September, 2012. How it came to be in the Musica de Todo el Mundo Facebook group is interesting and also shows the power of the internet. The teaching still holds water. Your comments appreciated and any question will be gladly and honestly addressed. It is based on my teachings of Self-Revealization Acceptance®.

A student asked the following, and I thought it would be of interest to those of you who think along the same lines.

First, the question:

Hanshi, please explain to us if the power of the dybbuk and the qui are from beyond this Universe. If so, is the source also outside this Universe? Is the source the same for all the galaxies? I assume (hate to “assume” anything) that you are thinking of “ki” and “ch’i,” or perhaps a malevolent spirit.

My response:

Before I address your question, let me begin with a statement. If I am to teach you how the universe works and what the original intention of creation is…not was…acknowledge the answer that I will present as a possibility.

The reason for the creation of the universe is moot in that it is meaningless to try to determine what may be or may have been in the Creative Power of the Universe or as an aspect of it. Note first that I do not mention Creative Power of the Universe’s mind or any restrictive notion that would suggest any compromising consideration that would further suggest any reason behind the concept of creation. This is all irrespective of scientific research and other man-construed reasons for trying to figure out what all of this is about along with the assumption that it has any bearing on anything at all.

It is also curious to me that many sincere masters misconstrue the meaning of Musashi’s Book of Five Rings, by insisting that the Book of the Void be called “ku,” nothing, relative to “mu,” no-thing. This alone causes considerable difficulty in trying to teach the concept of creation, and this is where the thrust of all confusion emanates from. “Ku” is incorrect, because nothing is still something by definition and, therefore, has a presumed identity that is not acceptable to this enlightened mind. If anything is presumed to have an origination ex nihilo (something out of nothing), it is essential that a seeker after such knowledge take into consideration universal enigma and personal ego. How do I know this? I know it, having realized the significance of the concept of no-thing.

It all begins with the misguided notion of control. What do you think you mean by “beyond this universe?” You also talk about galaxies as if they are separate entities that may possibly contain forms beyond our own limited perspectives. Whether this is true or not it remains “hidden” (for lack of a better word) from what we consider to be extensions of our own intellect. This leads to the idea of religion that does nothing to enhance our understanding of anything as it may or may not be.

From the above parameters, it seems that the lack of ability for the human mind to discern origination is the causality of all the confusion and horror that the world experiences, hence, the invention of concepts that intelligent thought explains as the reasons for “things” that may essentially have no reason to exist outside of the common fear of the unknown.

I will not pick out any particular “ism” to poke fun at, or, for that matter, to celebrate as functional. Living a sedentary life is more in line with sanity than the fear that causes us to look for something that may not be there. And if it is, then it would have probably revealed itself by this time. As well, if this profound knowledge has not been revealed to even the most sublime, with the exception of the likes of Buddha, Jesus, Moses, Allah, whomever, perhaps it doesn’t exist, or, even more to the point…there is no point. But, so what! This leads us to the idea of “magic.” Most magic is illusion based on the sensory understanding of things that we assume can or cannot be and then becomes philosophical diversion, or rather distraction, from being at true inner peace with oneself. I have come to not enjoy witchcraft in any form of ritual to pervade my essence. They all presume to open a path to enlightenment that is a complete waste of time to pursue. Self-Revealization Acceptance cuts through the sophomoric hyperbole and demonstrates, for the individual, exact perfection based on thought and desire. You want to be enlightened and be able to do “parlor tricks? POOF! You’re enlightened and can now do “parlor tricks,” such as of walking on fiery coals, breaking sweats in the middle of a frozen pond, putting your hand through ten boards, etc. I am sure you get the idea. The same applies to wanting someone dead and making someone dead: two completely different things. I like to use the life and death paradigm, as it puts things in direct perspective.

Are we having fun yet? The idea here is that humans, in their utter lack of ability to come to terms with the tragedy of their own inconsequence, will always make up things in the attempt of thinking that they actually understand anything. This is also based on misunderstanding our own intellects caused by egotistical thinking. Dybbuks, golems, zombies, etal, are simply devices we use to try to explain what does not have to be explained. Ki, c’hi, soul, are devices we use to attain levels of consciousness we believe will empower us to perform amazing feats. Secret codes, mantras, mandalas, butterflies, peppermints, or whatever anyone would presume to be the “answer,” are silly. The reality is that the attitude of living in joy and freedom is overlooked for lack of sensibility and thinking, or worse, believing that someone else knows the answers to the questions that have no answers. As Buddha no doubt said, “Ain’t no thing. Stop playing with your petunias.”

You really want to know where it’s at? Study Self-Revealization Acceptance; it is the key to the universe. You asked…I answered.

Hanshi Stephen F Kaufman



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Correcting Misconceptions of Miyamoto Musashi’s Wisdom

Most people, regardless of their sincerity, miss the point of randomly strewn lessons from the master.

A major example is to “fight as if one is already dead.”

Fighting as if you are already dead is not the same as fighting with everything you have. Acknowledging the finality of all things as death is true; however, someone who does “fight as if they are already dead” does not appreciate the value of living a life filled with joy and compassion and carries a burden of continued frustration and anger.

Fight with the idea that the enemy is dead. By accepting that the enemy is dead, and you having trained accordingly, you are merely dispatching him, her, or it, with dignity and aplomb and not self-destructive egocentrism.

Fighting relates to who has the most determination to win. Musashi teaches fighting as the deliverance of another’s demise, simple and straight forward, and should not be based on who is faster or stronger but who is one with power and quickness, whence comes strength and speed. Think only in terms of destroying the target.

Aside from the above, consider General George Patton’s advice to his soldiers: “I don’t want my boys to die for their country. I want the other sons of bitches to die for theirs.”

©Hanshi Stephen F Kaufman

For more info on the author and to purchase book, visit www.hanshi.com

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Hanshi Kaufman’s Ultimate Guide to Self-Defense: Carjacking Attacks

Carjacking has become a “modus operandi” for many street attacks. This is a very dangerous situation and you must use extreme discretion and “street smarts.” Make the determination as to the worth of your property relative to the worth of your life. In any event, basic precautions would include car keys being in hand as you approach the car, without having to fumble for them in a pocket or purse. Always observe the surrounding area before approaching the vehicle. If it is at night or a dimly lit area, park in a lighted area.

1 – If the door is open, you can use the door itself as a buffer between yourself and one of the attackers. Immediately slam the door into A1, screaming into his face. Turn and swipe the eyes of A2 with the keys. Try to get into the car and lock the doors.

2 – Kick the groin of A2 and follow up with an elbow under the jaw or side of the head. Step away from the car to prevent the door slamming back into you. Spit into A1’s face and instantly thrust fingers into the eyes. Get into the car, shut the door and lock it; start the car and drive away, over them if necessary. Keep your hand on the horn and do not let up until you get away. If you have a cell phone, immediately dial 911 and report an attempted rape or mugging in progress.

Realize that the scenarios you are training with are always subject to variation of any kind that may or may not happen in the manner you are training for. Don’t think in terms of what ifs. If you have a child with you and are approaching your car in a less than adequately lit area, call 911 and tell them you are being stalked or followed; you have a child with you and are frightened. This applies to men as well as women, young and old. Just do it and don’t think about it. A car will be dispatched and you will be escorted to your vehicle and allowed to get away unharmed. Do not consider this a bogus idea. It is valid and real.

It is important to hold keys correctly and that you fire with authority and resolve, striking to the eyes quickly and with authority. The harder you strike, the better it is for your protection.

For more info, visit https://ultimateself-defense.weebly.com/

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Napoleon Means Business

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