Play with me for a moment: if you were to consider the mind a machine, say, a telegraph in service to the heart, then the heart gives the first dictation. The mind then translates vital information in the form of language to the speaker system of voice, which will hopefully transmit the communications as the heart intended, if that is the priority. It is a good time to ask yourself what your priorities of communication are. What is motivating you?A short journey from heart to mind and back down to the throat takes mere seconds, but a mighty many detours are taken en route. This may be because the fear residing in the mind is like a highwayman, waylaying our genuine matters of the heart and causing havoc as it tries to make its simple way out of the human body. There are other desperados who lure the vulnerable traveler off-path: insecurity, anxiety, self-consciousness, the fragile ego-but nearly all are unmasked first cousins to fear when flushed out of the shadows. Some fears are linked to primal traumas which may yet be unearthed. These deserve special attention when working with voice.I think the greatest of all distractions between heart and throat might be faithlessness, because reigning religious institutions have effectively redirected the focus from faith to matters of righteousness, wrongness and "policies". Faith in love, and what it can do, has taken a particularly destructive back seat to the priorities of massive organizations with other things in mind than loving kindness, peaceful communication, fair resolutions, wellness and the expressive voices of living, breathing people.For today's spiritually traumatized, broken-hearted and soul-wounded, the process of revealing what rests on the heart can be a paralyzing challenge. To clear the path of negative imprint, one must declare the intention to speak to what matters most and set about the task of discerning what that is. One can make a choice now to stand up to the fears that mangle the truth into expressions more palatable for others, cause explosions of rage, freezing up, or cut-and-run behavior.To love the truth more than anything else is a tall order.

    While their love was arranged by their families, this couple had much to be grateful for. Not only did they come from similar backgrounds - and as such were recognised as a good match - they also had a shared passion in their deep love of ancient Chinese poetry. They went on to have nine children and chose colours portrayed in some of their favourite poems as nicknames for them - Red, Cyan, Orange, Yellow, Green, Ginger, Violet, Blue and Rainbow. Fate, and the sweep of twentieth century history would later divide these children into three groups: three went to America or Hong Kong to protect the family line from the communists; three were married to revolutionaries having come of age as China turned red; while three were met tragically with early deaths.With her trademark wisdom and warmth, Xinran describes the lives and loves of this extraordinary family over four generations. What emerges is not only a moving, beautifully-written and engaging story of four people and their lives, but a crucial portrait of social change in China. Xinran begins with the magic and tragedy of one young couples wedding night in 1950, and goes on to tell personal experiences of loss, grief and hardship through China's extraordinary century. In doing so she tells a bigger story - how traditional Chinese values have been slowly eroded by the tide of modernity and how their outlooks on love, and the choices they've made in life, have been all been affected by the great upheavals of Chinese history. A spell-binding and magical narrative, this is the story of modern China through the people who lived through it, and the story of their love and loss.

    

    Davidson traveled to Japan to teach English at a leading all-women’s university. It was the first of many journeys and the beginning of a deep and abiding fascination. In this extraordinary book, Davidson depicts a series of intimate moments and small epiphanies that together make up a panoramic view of Japan. With wit, candor, and a lover’s keen eye, she tells captivating stories—from that of a Buddhist funeral laden with ritual to an exhilarating evening spent touring the “Floating World,” the sensual demimonde in which salaryman meets geisha and the normal rules are suspended. On a remote island inhabited by one of the last matriarchal societies in the world, a disconcertingly down-to-earth priestess leads her to the heart of a sacred grove. And she spends a few unforgettable weeks in a quasi-Victorian residence called the Practice House, where, until recently, Japanese women were taught American customs so that they would make proper wives for husbands who might be stationed abroad. In an afterword new to this edition, Davidson tells of a poignant trip back to Japan in 2005 to visit friends who had remade their lives after the Great Hanshin Earthquake of 1995, which had devastated the city of Kobe, as well as the small town where Davidson had lived and the university where she taught.36 Views of Mount Fuji not only transforms our image of Japan, it offers a stirring look at the very nature of culture and identity. Often funny, sometimes liltingly sad, it is as intimate and irresistible as a long-awaited letter from a good friend.

    Beginning with a wonderful portrait of tha author's remarkable father, the book follows Dos Passos through Harvard; through World War I as an ambulance driver in France & Italy; through the chaotic postwar Middle East; through the vast reaches of Soviet Russia; the 'Russian Experiment' & through the literary world on both sides of the Atlantic.

    The Seventh Octave features some of this great young poets most revered poems. From "OHM," to "Sha Clack Clack," Saul's words are breathtaking and powerful with every read. The Seventh Octave is a must-have collection for any aspiring poet or seasoned writer. Lyrical and electric, full of brilliant imagery and truth. The Seventh Octave is for lovers of language and the magic poets can create.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    Find yourself in the middle of torrid love affairs, undying devotion, and scandalous betrayal as you uncover long-lost correspondences between lovers.From great Kings to War Heroes to Philosophers, spanning a period of five centuries, this collection illustrates that the human desires of sex and love were as powerful then as they are now.

    Her voice weathered countless shifts in public taste, and new reincarnations of her continue to arrive, most recently in the form of singers like Amy Winehouse and Adele.Most of the writing on Holiday has focused on the tragic details of her life—her prostitution at the age of fourteen, her heroin addiction and alcoholism, her series of abusive relationships—or tried to correct the many fabrications of her autobiography. But now, Billie Holiday stays close to the music, to her performance style, and to the self she created and put into print, on record and on stage.Drawing on a vast amount of new material that has surfaced in the last decade, critically acclaimed jazz writer John Szwed considers how her life inflected her art, her influences, her uncanny voice and rhythmic genius, a number of her signature songs, and her legacy.

    She shares over twelve years of poetic inspiration, from her days as a writer who ?once wrote poems in a basement with no heat," through the tenderness of motherhood and bitterness of loss, to the strength of love itself, which can ?make the impossible a simple act." Radiant with keen perception, wit, and urgency, sometimes erotic, often funny, this inspiring collection sounds the unmistakable voice of a "woman on fire? / and more worthy than stone."

    What became of kids who had been denied meat, exposed to free love, and given nouns for names? In Wild Child, daughters of the hippie generation speak about the legacy of their childhoods. The writers present a rearview mirror to contemporary culture; with an eye on the past they remind us that there is more than one path through the present. Contributors include Lisa Michaels (Split) and Ariel Gore (Hip Mama).

    Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

    Journeying between his native Ulster and his adopted London, he balances ideas of home and flight, the need for belonging and the need to remain outside. Formally deft, rhetorically fresh, these poems never shy from difficult choices, exploring cruelty and vengeance wherever they may be found: in love, in work and against political backdrops. But these are brave, resolute writings that resist despair at all times, affirming instead the need to rebuild and to right oneself, to dust down and carry on.

    With Life Studies, his third book, he found the intense, highly personal voice that made him the foremost American poet of his generation. He held strong, complex and very public political views. His private life was turbulent, marred by manic depression and troubled marriages. But in this superb biography (first published in 1982) the poet Ian Hamilton illuminates both the life and the work of Lowell with sympathetic understanding and consummate narrative skill.'Our one consolation for Ian Hamilton's early death is that his work seems to have lived on with undiminished force... The critical prose, in particular, still sets a standard that nobody else comes near.' Clive James

    Here are reflections on cowboys real and fake, tractor-driving lessons, outhouses, and the uses of baling wire; here are ranch marriages, enduring and not; family legacies; loss and renewal. Westerners will find their friends and neighbors in these pages; others will find a vivid portrait of the women of a region all too often mythologized.