For centuries confined to a small literary elite in Japan, the writing of haiku is now practiced all over the world by those who are fascinated by its combination of technical challenge, expressive means, and extreme concentration.This anthology brings together hundreds of haiku by the Japanese masters-Basho, Issa, Buson, Shiki-with superb examples from nineteenth- and twentieth-century writers. The pioneering translator R. H. Blyth believed that the spirit of haiku is present in all great poetry; inspired by him, the editor of this volume has included lines from such poets as Wordsworth, Keats, Tennyson, Thoreau, and Hopkins, presented here in haiku form. Following them are haiku and haiku-influenced poems of the twentieth century-from Ezra Pound's "In a Station of the Metro" to William Carlos Williams's "Prelude to Winter," and from the irreverence of Jack Kerouac to the lyricism of Langston Hughes. The result is a collection as compact, dynamic, and scintillating as the form itself.

    Arguably the central genre of Japanese literature, the 31-syllable lyric made up the great majority of Japanese poetry from the ninth to the nineteenth century and was the inspiration for such poetry as haiku and renga. Tanka has begun to attract considerable attention in North America in recent years. Modern Japanese Tanka is the first comprehensive collection available in English.Tanka retains the aesthetic sensibilities that circumscribe Japanese culture, but just as Japan has changed during this tumultuous century, tanka has undergone equally radical shifts. Responding to artistic and social movements of the West, tanka has incorporated influences ranging from Marxism to Avant-Garde.Modern Japanese Tanka includes four hundred poems by twenty of Japan's most renowned poets who have made major contributions to the hisotry of tanka in the late nineteenth and early twentieth centuries. With his graceful, eloquent translations, Makoto Ueda captures the distinct voices of these individual poets, providing biographical sketches of each as well as transliterating Japanese text below each poem. His introduction gives an excellent overview of the development of tanka in the last one hundred years.Tracing the contemporary tanka tradition from Yosana Tekkan in the late nineteenth century to the late twentieth-century poetry of such writers as Taware Machi, Modern Japanese Tankselegantly conveys an authentic sense of Japanese lyric to a Western audience.

    With a compassionate yet critical eye, William Scott Wilson delves into the workings of Musashi's mind as the iconoclastic samurai wrestled with philosophical and spiritual ideas that are as relevant today as they were in his times. Musashi found peace and spiritual reward in seeking to perfect his chosen Way, and came to realize that perfecting a single Way, no matter the path, could lead to fulfillment. The Lone Samurai is far more than a vivid account of a fascinating slice of feudal Japan. It is the story of one man's quest for answers, perfection, and access to the Way.By age thirteen, Miyamoto Musashi had killed his opponent in what would become the first of many celebrated swordfights. By thirty, he had fought more than sixty matches, losing none. He would live another thirty years but kill no one else. He continued to engage in swordfights but now began to show his skill simply by thwarting his opponents' every attack until they acknowledged Musashi's all-encompassing ability. At the same time, the master swordsman began to expand his horizons, exploring Zen Buddhism and its related arts, particularly ink painting, in a search for a truer Way.Musashi was a legend in his own time. As a swordsman, he preferred the wooden sword and in later years almost never fought with a real weapon. He outfoxed his opponents or turned their own strength against them. At the height of his powers, he began to evolve artistically and spiritually, becoming one of the country's most highly regarded ink painters and calligraphers, while deepening his practice of Zen Buddhism. He funneled his hard-earned insights about the warrior arts into his spiritual goals. Ever the solitary wanderer, Musashi shunned power, riches, and the comforts of a home or fixed position with a feudal lord in favor of a constant search for truth, perfection, and a better Way. Eventually, he came to the realization that perfection in one art, whether peaceful or robust, could offer entry to a deeper, spiritual understanding. His philosophy, along with his warrior strategies, is distilled in his renowned work, The Book of Five Rings, written near the end of his life.Musashi remains a source of fascination for the Japanese, as well as for those of us in the West who have more recently discovered the ideals of the samurai and Zen Buddhism. The Lone Samurai is the first biography ever to appear in English of this richly layered, complex seventeenth-century swordsman and seeker, whose legacy has lived far beyond his own time and place.---------------------------------------------------------------- INTERVIEW WITH WILLIAM SCOTT WILSON ABOUT BUSHIDOQ.: What is Bushido?A.: Bushido might be explained in part by the etymology of the Chinese characters used for the word. Bu comes from two radicals meanings "stop" and "spear." So even though the word now means "martial" or "military affair," it has the sense of stopping aggression. Shi can mean "samurai," but also means "gentleman" or "scholar." Looking at the character, you can see a man with broad shoulders but with his feet squarely on the ground. Do, with the radicals of head and motion, originally depicted a thoughtful way of action. It now means a path, street or way. With this in mind, we can understand Bushido as a Way of life, both ethical and martial, with self-discipline as a fundamental tenet. Self-discipline requires the warrior at once to consider his place in society and the ethics involved, and to forge himself in the martial arts. Both should eventually lead him to understand that his fundamental opponents are his own ignorance and passions.Q.: How did the code develop and how did it influence Japanese society?A.: The warrior class began to develop as a recognizable entity around the 11th and 12th centuries. The leaders of this class were often descended from the nobility, and so were men of education and breeding. I would say that the code developed when the leaders of the warrior class began to reflect on their position in society and what it meant to be a warrior. They first began to write these thoughts down as yuigon, last words to their descendents, or as kabegaki, literally "wall writings," maxims posted to all their samurai. Samurai itself is an interesting word, coming from the classical saburau, "to serve." So when we understand that a samurai is "one who serves," we see that the implications go much farther than simply being a soldier or fighter.Also, it is important to understand that Confucian scholars had always reflected on what it meant to be true gentleman, and they concluded that such a man would be capable of both the martial and literary. The Japanese inherited this system of thought early on, so certain ideals were already implicitly accepted.The warrior class ruled the country for about 650 years, and their influence-political, philosophical and even artistic-had a long time to percolate throughout Japanese society.Q.: The Samurai were very much renaissance men - they were interested in the arts, tea ceremony, religion, as well as the martial arts. What role did these interests play in the development of Bushido? How did the martial arts fit in?A.: This question goes back to the Confucian ideal of balance that Japanese inherited, probably from the 7th century or so. The word used by both to express this concept, for the "gentleman" by the Chinese and the warrior by Japanese, is (hin), pronounced uruwashii in Japanese, meaning both "balanced" and "beautiful." The character itself is a combination of "literature" (bun) and "martial" (bu). The study of arts like Tea ceremony, calligraphy, the study of poetry or literature, and of course the martial arts of swordsmanship or archery, broadened a man's perspective and understanding of the world and, as mentioned above, provided him with a vehicle for self-discipline. The martial arts naturally were included in the duties of a samurai, but this did not make them any less instructive in becoming a full human being.Q.: What was sword fighting like? Was the swordplay different for different samurai?A.: There were literally hundreds of schools of samurai swordsmanship by the 1800's and, as previously mentioned, each school emphasized differing styles and approaches. Some would have the student to jump and leap, others to keep his feel solidly on the ground; some would emphasize different ways of holding the sword, others one method only. One school stated that technical swordsmanship took second place to sitting meditation. Historically speaking, there were periods when much of the swordfighting was done on horseback, and others when it was done mostly on foot. Also, as the shape and length of the sword varied through different epochs, so did styles of fighting. Then I suppose that a fight between men who were resolved to die would be quite different from a fight between men who were not interested in getting hurt.Q.: How is the code reflected in Japanese society today?A.: When I first came to live in Japan in the 60's, I was impressed how totally dedicated and loyal people were to the companies where they were employed. When I eventually understood the words samurai and saburau, it started to make sense. While these men (women would usually not stay long with a company, giving up work for marriage) did not carry swords of course, they seemed to embody that old samurai sense of service, duty, loyalty and even pride. This may sound strange in our own "me first" culture, but it impressed me that the company had sort of taken the place of a feudal lord, and that the stipend of the samurai had become the salary of the white-collar worker.MThat is on the societal level. On an individual level, I have often felt that Japanese have a strong resolution, perhaps from this cultural background of Bushido, to go through problems rather than around them. Persistence and patience developed from self-discipline?

    It will enrich the classes that current teachers are giving and gives the new teacher confidence and pride when providing that very first class. Practitioners will have a greater understanding of how to apply Reiki and what is actually happening during a session. You will never again be afraid or even worried about teaching a Reiki class or giving the attunement. You will be pleased and your students will be grateful for the rich content in your classes. "The Reiki Teacher's Manual" is a precise step-by-step guide to instruct all three levels or degrees of Reiki. This manual and its format provide you with: A concise manual that is user friendly; A quick reference to answer student's questions; Consecutive steps with time approximations to make sure you teach all the information and still have plenty of time for the hands on practice sessions. How to get the most for your students during their hands on practice; How to increase the power of your attunement; How to teach the attunement to others; Goals for different segments of each class; Detailed descriptions and uses for the symbols; 15 handouts that are concise, informative, and can be copied from the book; Complete written explanations for each handout; A list of supplies for each level and suggestions for your classroom environment; Guidelines in opening your own Reiki practice; Information regarding state licensing needs; How to avoid issues with physicians and the medical community.

    This translation was compiled with the Western reader in mind, and includes Koan Yamada's clear and penetrating comments on each case. Yamada played a seminal role in bringing Zen Buddhism to the West from Japan, going on to be the head of the Sanbo Kyodan Zen Community.The Gateless Gate would be invaluable if only for the translation and commentary alone, yet it's loaded with extra material and is a fantastic resource to keep close by:An in-depth Introduction to the History of Zen PracticeLineage chartsJapanese-to-Chinese and Chinese-to-Japanese conversion charts for personal names, place names, and names of writingsPlus front- and back-matter from ancient and modern figures: Mumon, Shuan, Kubota Ji'un, Taizan Maezumi, Hugo Enomiya-Lasalle, and Yamada Roshi's son, Masamichi Yamada.A wonderful inspiration for the koan practitioner, and for those with a general interest in Zen Buddhism.

    Martin Luther King called the "beloved community," a place where we see each other as the neighbors we already are. Healing the Divide urges us, at this fraught political time, to move past the negativity that often fills the airwaves, and to embrace the ordinary moments of kindness and connection that fill our days.

    A couple in their thirties live in a small rented cottage in a quiet part of Tokyo; they work at home, freelance copy-editing; they no longer have very much to say to one another. But one day a cat invites itself into their small kitchen. It leaves, but the next day comes again, and then again and again. Soon they are buying treats for the cat and enjoying talks about the animal and all its little ways. Life suddenly seems to have more promise for the husband and wife — the days have more light and color. The novel brims with new small joys and many moments of staggering poetic beauty, but then something happens….As Kenzaburo Oe has remarked, Takashi Hiraide’s work "really shines." His poetry, which is remarkably cross-hatched with beauty, has been acclaimed here for "its seemingly endless string of shape-shifting objects and experiences,whose splintering effect is enacted via a unique combination of speed and minutiae."

    In each case, the words were "infused" into her by her spirit guide Francine, and of course, by God. Granted, these words are a passive mode of prayer, yet the goal is to recharge your spiritual battery so that you'll be able to go out into the world and do God's work. "Over many years of public work, people have often asked me how to pray. My answer is simple, 'Just talk to God, and make your life a living prayer." "These prayers will lift your soul and let you magnify the Lord. They have done so for me and thousands of others. Many miracles have occurred by the power of prayer, and now I want to share these commanding words with you."

    The fall of Malaya and Singapore and the bombing of Darwin—what looked like the invasion of Australia—ebb and crash over a man’s long search to find a home and a woman’s determination to keep hers, connected by old memories and new betrayals. It is a thriller and a romance, a story of earth and water, air and metal—an unforgettable ride through the most precarious time in our region's recent history. Garry Disher writes: ‘Past the Headlands came from the same World War 2 research as The Stencil Man. I was struck by the power of two documents. The first was a letter written by a woman alone on a cattle station near Broome in 1942, at the time the Japanese were overrunning Malaya and Singapore and bombing areas of northern Australia. One day she found herself giving shelter to Dutch colonial officers and their families, who were fleeing Sumatra and Java ahead of the Japanese advance (many people like them lost their lives when Japanese planes shot up their waiting seaplanes in Broome Harbour in March, 1942). This woman stuck in my head (the isolation, the danger, the efforts to communicate, her bravery, etc). The second document was a war diary written by an Australian army surgeon who escaped Singapore ahead of the Japanese and was stuck in Sumatra, trying to get out. Here he treated many of the civilians (and Australian Army deserters) fleeing from Singapore. He was captured by the Japanese, but survived the war. But his last few diary entries detail how he and a mate were waiting for a plane or a ship to take them out, then one day he wrote, “Davis [his mate] left last night without telling me”. So much for mateship. I spent years trying to find my way into their stories. At one stage I spent a year writing 40,000 words before realising it wouldn’t work. I put it aside, then realised one subplot didn’t belong, so extracted it and turned it into a separate novel The Divine Wind, which has sold 100,000 copies around the world, won a major award and been published as both a young adult and a general market novel. But cutting it out like that freed me up to write about the woman and the man betrayed by his mate, in Past the Headlands.’

    The co mpanion will interest tourists, students and business travel lers to Japan. '

    

    Although Kathleen Norris’s best-selling Dakota: A Spiritual Geography has brought her to the attention of many thousands of readers, she is first and last a poet.  Like Robert Frost, another poet identified with a particular landscape, she can reveal the miraculous in the ordinary, and she writes with clarity, humor, and deep sympathy for her subjects.

    Describes the principles of wabi-sabi, a Japanese aesthetic associated with Japanese tea ceremonies and based on the belief that true beauty comes from imperfection and incompletion, through text and photographs.

    . . mystical, carnal, reflective, wry.”—San Francisco ReviewThis book-length sequence of ecstatic, visionary lyrics recalls Rumi in its search for the beloved and its passionate belief in the healing qualities of art and beauty.Concerning the Book that is the Body of the Beloved is an incantatory celebration of the “Book,” an imaginary and self-gathering anthology of all the lyrics—both poems and songs—ever written. Each poem highlights a distinct aspect of the human condition, and together the poems explore love, loss, restoration, the beauty of the world, the beauty of the beloved, and the mystery of poetry. The purpose and power of the Book is to help us live by reconnecting us to the world and to our emotional lives.I put the beloved In a wooden coffin. The fire ate his body; The flames devoured her. I put the beloved In a poem or song. Tucked it between Two pages of the Book. How bright the flames. All of me burning, All of me on fire And still whole.There is nothing quite like this book—an “active anthology” in the best sense—where individuals find the poems and songs that will sustain them. Or the poems find them.Gregory Orr is the author of eight books of poetry, four volumes of criticism, and a memoir. He has received numerous awards for his work, most recently the Academy Award in Literature from the American Academy of Arts and Letters. Orr has taught at the University of Virginia since 1975 and was, for many years, the poetry editor of The Virginia Quarterly Review. He lives with his family in Charlottesville, Virginia.

    Most famously, they use natural imagery to make Zen-like observations about reality. However, as this anthology reveals, there’s much more to haiku than cherry blossoms and waning moons: the verse included here is frequently erotic, funny, rude, and mischievous. Adam Kern has travelled throughout Japan to gather the best and most important examples of the genre, and his vivid and engaging translations form the basis of the Penguin Book of Haiku.For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.