A quick visit to Tokyo leaves an impression of speed, density, and efficiency. But years of wandering down its endless streets complicate this vision, offering a more heterogeneous version of place. For Anna Sherman ’92, a resident of Tokyo since 2001, the city can best be understood as a multifaceted timepiece where the digital jostles against the analog, as the bells of the global stock markets ring alongside the rituals of Shinto prayer bells.

在追踪日本衡量时间的各种方式，燃烧香的燃烧，咖啡的慢倾倒，山丹岛铁路线的到来 -旧东京的钟声，Sherman的第一本书，各个愿景，作为所有经验的主观基础。她创造了一个丰富的文化流利的剧情文本，即最终和向后移动，最终不仅为日本季度提供智慧，而且还提供了对人类生活的时间流动的影响。

在Composer Yoshimura Hiroshi的书中的脚步Edo’s Bells of Time,谢尔曼从旅行的前提下，诱惑寻找八个丢失的钟声，曾经围绕着东京，并致力于描绘其邻居。最终结果更加复杂，因为这本书成为一种精神和哲学朝圣，其中一个人在我们当代数字时代徘徊的非标准的文化时间的剩余时刻。

模型之间的时间一定会自然和移动its contemporary mechanic standardization, Sherman displays a talent for combining vast research with embodied experience, blending references to Japanese literature, art, and language with journalistic engagements with both experts and everyday people. She unfolds how the Japanese language offers numerous ways of expressing time, from words for stopwatches and races, to terms that mark instants and moments, seasons and periods, affluences of time and mere particles.

在概念化时期，这不仅仅是渐进的，而在西方，也是更加透明的，无数和复杂的日本人，因为谢尔曼在她的旅程中学习，设想了一段时间生物那made metaphorical in the cyclical stories of the Zodiac, which gives rhythms to both time and space. Thus embodied, Sherman pursues time with a perspective that understands it cannot be fully domesticated or tamed. She tells of her unfolding comprehension as she moves around the ring of Tokyo’s circumference, interspersing slow moments in the intimacy of the now-shuttered but still-legendary Daibo Coffee shop with tales of various city places, experiences, and histories from the Tokugawa shogun prisons to the contemporary clubs of Roppongi. Science, art, and philosophy overlap in evocative ways. In investigating Hisashige Tanaka’s Myriad Year Clock, a masterpiece of Japanese clockmaking from the later Edo period that can show time in seven ways, Sherman reminds us that clocks are more than machines: As philosophies of time, they exceed the numbers they present.

始终旧东京的钟声，Sherman invokes a sense of space and place that is remarkable—alternately photographic, then poetic, scholarly, and human—and she is unafraid to document the occasional moment of cross-cultural incomprehension, or to detail the sense of fear that followed the 2011 earthquake and Fukushima Daiichi nuclear disaster.

For both the expert on Japan and the culturally curious,旧东京的钟声offers an evocative journey, one that illuminates how time, as an abstract category, can be translated into modes of production, methods of imperial rule, means of waging war, or patterns of grief.