THE SINGING KNIVES, originally published in 1971 by Broughton's Mill Mountain Press, is Frank Sanford's first collection of poetry. Reprinted by his own press, Lost Roads Publisher, after his death, THE SINGING KNIVES, debuts the work of a twenty-something year old boy way ahead of his time and in a state of unrest, capturing "poetry's more primal and mysterious possibilities"-David Clewell. "It is astonishing to me that I was not even aware of this superbly accomplished and moving poet. There is a great deal of pain in the poems, but it is a pain that makes sense, a tragic pain whose meaning rises from the way the poems are so firmly molded and formed from within"- James Wright.

    Three of these she translated into English for us in The Voice ofthe Silence, which we know as the “Three Fragments.” One cansurmise that she studied these treatises under the tutelage ofher Adept teachers during her stay in Little Tibet and Tibetproper which she makes reference to in her writings.

    Ten years after it was first published, this is still the leading resource and reference for all those interested in cross-cultural and current forms of shamanism: now with a new introduction and a list of current shamanic resources.

    . . . According to tradition and the testimony of Sufi mystics, The Prayer--or Salat--was first taught by the angels, who themselves practiced it in celestial adoration. The Prayer is God's gift to all humankind, and in this gorgeously illustrated volume, its simple, archetypal practice unfolds like a fragrant, many-petaled flower, joining words and movements into a single luminous event that engages our entire being. These ancient rituals are presented here as a gift for anyone with a heartfelt desire to set aside for a moment the concerns of every day and enter a sacred time and space in which to explore the beckonings of the spirit. The authors take us through the words, movements, and hidden meanings of the Call to Prayer, the Ablutions, The Prayer itself, and the Peaceful Embrace afterwards. Faithful practice lends a sacred rhythm to each day and creates a psychological force that helps us nurture and express a profound inner harmony. This first, marvelously accessible interpretation of The Prayer also offers a compelling introductin to the wisdom and teachings of the beloved contemporary Sufi master Bawa Muhaiyaddeen, who brought new life to this mystical tradition by opening a passage to its deepest, universal realities. It is the loving handiwork of two of Bawa's best-known students, Coleman Barks and Michael Green, who also created The Illuminated Rumi. Like a jewel given extra brilliance by its setting, The Prayer is surrounded by the wisdom and understanding of the thirteenth-century Sufi master Rumi, whose generous poetry has become an essential canon for modern-day seekers in the West. The final gift is the Primeval Kalima, the core practice and most profound teaching of the Sufi, the "open secret" that leads to Divine Luminous Wisdom.

    Hirshfield is unsurpassed in her ability to sink into a moment’s essence and exchange something of herself with its finite music—and then, in seemingly simple, inevitable words, to deliver that exchange to us in poems that vibrate with form and expression perfectly united. Hirshfield’s poems of discovery, acknowledgment of the difficult, and praise turn always toward deepening comprehension. Here we encounter the stealth of feeling’s arrival (“as some strings, untouched, / sound when a near one is speaking. / So it was when love slipped inside us”), an anatomy of solitude (“wrong solitude vinegars the soul, / right solitude oils it”), a reflection on perishability and the sweetness its acceptance invites into our midst (“How suddenly then / the strange happiness took me, / like a man with strong hands and strong mouth”), and a muscular, unblindfolded awareness of our shared political and planetary fate. To read these startlingly true poems is to find our own feelings eloquently ensnared. Whether delving into intimately familiar moments or bringing forward some experience until now outside words, Hirshfield finds for each face of our lives its metamorphosing portrait, its particular, memorable, singing and singular name. Love in AugustWhite mothsagainst the screenin August darkness.Some clamor in envy.Some spread largeas two handsof a thiefwho wants to put back in your cupboardthe long-taken silver.

    . . One wonders how the world might be different if works in The Best American Nonrequired Reading were indeed required.” —USA Today Sarah Vowell, author of Lafayette in the Somewhat United States and other best-selling titles "gilded with snark, buoyant on charm" (NPR), worked with the students of  the 826 Valencia writing lab to edit this year's anthology. They compiled new fiction, nonfiction, poetry, comics, and the category-defying gems that have become one of the hallmarks of this lively collection.

    It is a collection of religious and philosophic texts gathered and translated into Coptic by fourth-century Gnostic Christians and translated into English by dozens of highly reputable experts. First published in 1978, this is the revised 1988 edition supported by illuminating introductions to each document. The library itself is a diverse collection of texts that the Gnostics considered to be related to their heretical philosophy in some way. There are 45 separate titles, including a Coptic translation from the Greek of two well-known works: the Gospel of Thomas, attributed to Jesus' brother Judas, and Plato's Republic. The word gnosis is defined as "the immediate knowledge of spiritual truth." This doomed radical sect believed in being here now--withdrawing from the contamination of society and materiality--and that heaven is an internal state, not some place above the clouds. That this collection has resurfaced at this historical juncture is more than likely no coincidence.--P. Randall Cohan

    Written anonymously and published posthumously, as was the author's wish, the intention of this work is for the reader to find a relationship with the author in the spiritual dimensions of existence. The author wanted not to be thought of as a personality who lived from 1900 to 1973, but as a friend who is communicating with us from beyond the boundaries of ordinary life.

    With this book, Ellen Cannon Reed a High Priestess of the Isian tradition brings the symbolism of the Qabala into a new light so pagans can see its value and use it to enhance the Great Work.Reed explains the Tree of Life the primary symbol used to represent the universal energies as "revealed" by the Qabala and how its spheres and paths correspond to elements in the pagan tradition. Teachers can use the Qabala to understand the growth of students and their problems, using the Vices and Virtues to recognize stages of growth. Reed also provides exercises, meditations, and encouragement to students who are studying without a teacher. She discusses the Qabala as it appears in everyday life, which spheres of the Tree of Life to use for specific workings, and details two rituals using the Tree: a Dedication to the Journey, and the Rite of mending Love. Reed's command of the material allows teachers and students alike to gain powerful insight into their own search for spirituality. First published in 1983 as Witches Qabala Book 1: The Goddess and the Tree, this revised and updated edition is enhanced with Reed's thirteen additional years of experience.

    Both heartbreaking and haunting, his words will stay with you like that 'forever September morning.'" --Meredith Vieira, NBC's  Today Tom Flynn brings to his subject three invaluable attributes: the eye of a seasoned journalist, the soul of a poet, and his stunning, first-hand experience of that horrific day." --David Friend, Vanity FairFrom Bikeman:The dead from hereare my forever companionsI am their pine box,their marble reliquary,their bronze urn,the living, breathing coffin they never had,their final resting place without a stone.I move on at peace.Modeled on Dante's Inferno, veteran journalist Thomas Flynn's Bikeman chronicles the morning of September 11, 2001 like no other published work. Flynn delivers a personal account of his experiences beginning with the first strike on the World Trade Center when he decided to follow his journalist's instinct and point his bike's handlebars in the direction of the north tower. His story continues as he transitions from reporter to participant hoping to survive the fall of the south tower. Now Flynn, as both journalist and now survivor, must come to terms with the harrowing ordeal and somehow find peace in the very act of surviving.Part journalist's record, part survivor's eulogy, Flynn writes:Survival is the absence of death.It is a subdued, a hushed existence. . .I live to talk about it,to relate the tale as it happens,not only its extremities and cruelty,but also the goodness that flourishes too.

    The author assumes no previous knowledge, only a willingness to explore what magick offers, yet its apparent to anyone with a background in the subject that Alan Chapman is drawing on a wide range of experience, from classical Crowleyean Magick, to eastern metaphysics, and back again to Discordianism and Chaos Magick. Chapmans writing-style is humorous, direct, seductively logical, and his enthusiasm for the benefits of magick is both tangible and infectious. The novice magician will indeed find themselves equipped to commence all sorts of magickal operations: trance work, enchantment, divination, and even some of the higher forms of spiritual development. To experienced magicians, Chapman offers a subtler challenge: he revitalises magick by cutting it free from the extreme relativism Chaos Magick bequeathed, provocatively redefining it as: the art, science and culture of experiencing truth.

    This guide to shamanism--filled with examples of guided journeys, secrets of shamanic divination, visualization techniques, healing practices, spells, rituals, and recipes--provides all one needs to begin dancing in the shadow of the shaman.

    . . And now, dear reader, for your intellectual toilet, here is a little piece of soap. Well handled, we guarantee it will be enough. Let us hold this magic stone."The poet Francis Ponge (1899-1988) occupied a significant and unchallenged place in French letters for over fifty years, attracting the attention and admiration of generations of leading intellectuals, writers, and painters, a notable feat in France, where reputations are periodically reassessed and undone with the arrival of new literary and philosophical schools.Soap occupies a crucial, pivotal position in Ponge's work. Begun during the German occupation when he was in the French Resistance, though completed two decades later, it determined, according to Ponge, the form of almost all his postwar writing. With this work, he began to turn away from the small, perfect poem toward a much more open form, a kind of prose poem which incorporates a laboratory or workshop, recounting its own process of coming into being along with the final result. The outcome is a new form of writing, which one could call "processual poetry." Ponge's later work, from Soap on, is a very important tool in the questioning and rethinking of literary genres, of poetry and prose, of what is literature.There is a blurring of boundaries between Soap and soap (which was hard to come by during the Resistance and is also, of course, metaphorical for a larger social restitution). Soap contains the sum of Ponge's aesthetics and materialist ethics and his belief in the supremacy of language as it becomes the object of the text. In the words of Serge Gavronsky, "this work, perhaps one of the longest running metaphors in literature, slowly unwinds, bubbles in verbal inventions, and finally evaporates, leaving the water slightly troubled, slightly darker, but the hands clean, really clean. . . . Out of murky literary habits, Ponge has devised a way of cleaning his text, and through it, man himself, his vocabulary, and as a consequence, his way of being in the world."

    An exciting handbook for either a beginning or an ardent student of the tarot, it contains a multitude of charts, spreads, illustrations of the Thoth Deck, and other methodology tools for anyone looking for insights into personal and spiritual development.An anthropologist who specializes in cross-cultural myths, Arrien demonstrates how the seventy-eight figures of the tarot are portraitures and archetypes that are prevalent in the collective human experience. The author teaches us to use this realization to look beyond our cultural viewpoint or bias when we approach the tarot, and to rely instead on these more important universal principles, thereby deepening the quality and accuracy of our interpretations and expanding our awareness of the human psyche. A significant and classic piece of tarot literature, The Tarot Handbook is both a required manual for teachers and students of the subject, and an accessible and fascinating exploration of cultural anthropology.

    An intelligent popular history of the magically enchanting early English civilisation on which Tolkien based his world of Lord of the Rings.