His writing is sophisticated and engaged, filled with memorable imagery and insight drawn from decades of study, reflection, and meditation on Buddhist teachings. Seasoned Buddhist readers and anyone interested in the intellectual heart of Buddhism will find this collection of fascinating essays rewarding.

    This is the revised edition of Kosho Uchiyama's singularly incisive classic. This new edition contains even more useful material: new prefaces, an index, and extended endnotes, in addition to a revised glossary. As Jisho Warner writes in her preface, Opening the Hand of Thought "goes directly to the heart of Zen practice... showing how Zen Buddhism can be a deep and life-sustaining activity." She goes on to say, "Uchiyama looks at what a person is, what a self is, how to develop a true self not separate from all things, one that can settle in peace in the midst of life." By turns humorous, philosophical, and personal, Opening the Hand of Thought is above all a great book for the Buddhist practitioner. It's a perfect follow-up for the reader who has read Zen Meditation in Plain English and is especially useful for those who have not yet encountered a Zen teacher.

    In Zen Is Right Here, his teachings are brought to life powerfully and directly through stories told about him by his students. These living encounters with Zen are poignant, direct, humorous, paradoxical, and enlightening; and their setting in real-life contexts makes them wonderfully accessible.Like the Buddha himself, Suzuki Roshi gave profound teachings that were skilfully expressed for each moment, person, and situation he encountered. He emphasized that while the ungraspable essence of Buddhism is constant, the expression of that essence is always changing. Each of the stories presented here is an example of this versatile and timeless quality, showing that the potential for attaining enlightenment exists right here, right now, in this very moment.

    Suzuki knew he was dying at the time of the lectures, which gives his thoughts an urgency and focus even sharper than in the earlier book.In Not Always So Suzuki once again voices Zen in everyday language with the vigour, sensitivity, and buoyancy of a true friend. Here is support and nourishment. Here is a mother and father lending a hand, but letting you find your own way. Here is guidance which empowers your freedom (or way–seeking mind), rather than pinning you down to directions and techniques. Here is teaching which encourages you to touch and know your true heart and to express yourself fully, teaching which is not teaching from outside, but a voice arising in your own being.

    It is not a book of philosophy as most would understand the word: it is a collection of thoughts and sayings recorded over a period of seven years, and as such covers a wide variety of subjects, often in no particular sequence. The work represents an attitude far removed from our modern pragmatism and materialism, and possesses an intuitive rather than rational appeal in its assertion that Bushido is a Way of Dying, and that only a samurai retainer prepared and willing to die at any moment can be totally true to his lord. While Hagakure was for many years a secret text known only to the warrior vassals of the Hizen fief to which the author belonged, it later came to be recognized as a classic exposition of samurai thought and came to influence many subsequent generations, including Yukio Mishima. This translation offers 300 selections that constitute the core texts of the 1,300 present in the original. Hagakure was featured prominently in the film Ghost Dog, by Jim Jarmusch.

    Each step of the path is believed to cultivate wisdom through mental training, and includes an enlightened and peaceful middle path that avoids extremes. The theoretical as well as practical angles of each of the paths—right view, right intention, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration—are illustrated through examples from contemporary life. The work's final chapter addresses the Buddhist path and its culmination in enlightenment.

    The respected Trappist monk Thomas Merton spent several years reading and reflecting upon four different translations of the Chinese classic that bears Chuang Tzu's name. The result is this collection of poetic renderings of the great sage's work that conveys its spirit in a way no other translation has and that was Merton's personal favorite among his more than fifty books. Both prose and verse are included here, as well as a short section from Merton discussing the most salient themes of Chuang Tzu's teachings.

    These inspiring messages, little doodles, and feel-good sayings can help you get in-tune while you meditate or inspire you toward mindfulness.

    As he travels among Islamists and the emerging Hindu Muslim class in India, Pakistan, and Afghanistan, Mishra explores the myths and places of the Buddha's life, the West's "discovery" of Buddhism, and the impact of Buddhist ideas on such modern politicians as Gandhi and Nelson Mandela. Mishra ultimately reaches an enlightenment of his own by discovering the living meaning of the Buddha's teaching, in this "unusually discerning, beautifully written, and deeply affecting reflection on Buddhism" (Booklist).

    Along the way he encounters Ram Dass and Richard Gere, and dialogues with leading rabbis and Jewish thinkers, including Zalman Schacter, Yitz and Blue Greenberg, and a host of religious and disaffected Jews and Jewish Buddhists. This amazing journey through Tibetan Buddhism and Judaism leads Kamenetz to a renewed appreciation of his living Jewish roots.

    Blended with contemporary examples and pragmatic "how to" instructions that anyone can try, Focused and Fearless provides a wealth of tools to cultivate non-distracted attention in daily life and on retreat. Shaila Catherine has a friendly, wise approach to the meditative states (jhanas) that lead to liberating insight. Focused and Fearless is about much more than merely meditation or concentration. It offers a complete path towards bliss, fearlessness, and true awakening.

    Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the poems of longing of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.

    N. Goenka, poems, theoretical expositions, a question-and-answer section, and compelling essays by or about meditators confronting the end of life. With humility, tenderness, and often a smile, they learn to accept their own impermanence, suffering, and nonself. Much of this material was collected from the archives of the International Vipassana Newsletter.

    Essays, poems, photographs, and letters explore the link between Buddhism and the Beats--with previously unpublished material from several beat writers, including Jack Kerouac, Allen Ginsberg, Lawrence Ferlinghetti, Gary Snyder, and Diane diPrima.

    But unlike his two renowned colleagues, Ryokan was a societal dropout, living mostly as a hermit and a beggar. He was never head of a monastery or temple. He liked playing with children. He had no dharma heir. Even so, people recognized the depth of his realization, and he was sought out by people of all walks of life for the teaching to be experienced in just being around him. His poetry and art were wildly popular even in his lifetime. He is now regarded as one of the greatest poets of the Edo Period, along with Basho, Buson, and Issa. He was also a master artist-calligrapher with a very distinctive style, due mostly to his unique and irrepressible spirit, but also because he was so poor he didn’t usually have materials: his distinctive thin line was due to the fact that he often used twigs rather than the brushes he couldn’t afford. He was said to practice his brushwork with his fingers in the air when he didn’t have any paper. There are hilarious stories about how people tried to trick him into doing art for them, and about how he frustrated their attempts. As an old man, he fell in love with a young Zen nun who also became his student. His affection for her colors the mature poems of his late period. This collection contains more than 140 of Ryokan’s poems, with selections of his art, and of the very funny anecdotes about him.