The only comprehensive study that examines all areas of Basho's work, including haibun, renku and critical commentaries.

    Haiku are practiced by poets, lovers, and schoolchildren, by “political haiku” twitterers, by anyone who has the desire to pin preception and experience into a few quick phrases. This essay offers readers unparalleled insight into the living heart of haiku—how haiku work and what they hold, and how to read through and into their images to find a full expression of human life and perceptions, sometimes profound, sometimes playful.

    Its structure has become popular in other languages and today it is probably the best know form of poetry worldwide.There are few rules to haiku, but they are strict: 17 phonetic sounds, a sense of cutting images or ideas, and a reference to a season. From those restrictions, poets have written about many things, from the year’s first blossom to aging, from mosquitoes humming to insects singing, from catching one’s shadow to crossing a stream in the summer.Haiku features 90 classic poems from four poets: Matsuo Bashō, Yosa Buson, Kobayashi Issa and Masaoka Shiki which range across more than 200 years of Japanese poetry.In Haiku, each poem is presented in Japanese script, along with romanized Japanese (romaji) and an English translation. Beautifully produced in traditional Chinese binding and with a timeless design, Haiku is an expert introduction and celebration of one of the most beautiful and accessible forms of poetry in the world.

    A keepsake enjoyed by tea lovers for over a hundred years, The Book of Tea Classic Edition will enhance your enjoyment and understanding of the seemingly simple act of making and drinking tea.In 1906 in turn-of-the-century Boston, a small, esoteric book about tea was written with the intention of being read aloud in the famous salon of Isabella Gardner, Boston's most notorious socialite. It was authored by Okakura Kakuzo, a Japanese philosopher, art expert, and curator. Little known at the time, Kakuzo would emerge as one of the great thinkers of the early 20th century, a genius who was insightful, witty—and greatly responsible for bridging Western and Eastern cultures. Okakura had been taught at a young age to speak English and was more than capable of expressing to Westerners the nuances of tea and the Japanese Tea Ceremony.In The Book of Tea Classic Edition, he discusses such topics as Zen and Taoism, but also the secular aspects of tea and Japanese life. The book emphasizes how Teaism taught the Japanese many things; most importantly, simplicity. Kakuzo argues that tea-induced simplicity affected the culture, art and architecture of Japan.Nearly a century later, Kakuzo's The Book of Tea Classic Edition is still beloved the world over, making it an essential part of any tea enthusiast's collection. Interwoven with a rich history of Japanese tea and its place in Japanese society is a poignant commentary on Asian culture and our ongoing fascination with it, as well as illuminating essays on art, spirituality, poetry, and more. The Book of Tea Classic Edition is a delightful cup of enlightenment from a man far ahead of his time.

    He not only helped give new vitality and direction to the old conventions of court poetry, but created works that, because of their depth of feeling, continue to attract readers to the present day.

    Miyazawa Kenji: Selections collects a wide range of his poetry and provides an excellent introduction to his life and work. Miyazawa was a teacher of agriculture by profession and largely unknown as a poet until after his death. Since then his work has increasingly attracted a devoted following, especially among ecologists, Buddhists, and the literary avant-garde. This volume includes poems translated by Gary Snyder, who was the first to translate a substantial body of Miyazawa’s work into English. Hiroaki Sato’s own superb translations, many never before published, demonstrate his deep familiarity with Miyazawa’s poetry. His remarkable introduction considers the poet’s significance and suggests ways for contemporary readers to approach his work. It further places developments in Japanese poetry into a global context during the first decades of the twentieth century. In addition the book features a Foreword by the poet Geoffrey O’Brien and essays by Tanikawa Shuntaro, Yoshimasu Gozo, and Michael O’Brien.

    This popular art form is the poetic expression of Zen Buddhism. Traditionally, a haiku poem is just 17 syllables long, which requires the poet, like the follower of Zen, to cut through surface appearances to the heart of an experience. In this collection, translator Jonathan Clements seeks to capture the elusive spirituality that enabled the Japanese poets to preserve their experience of the moment in a mere three lines.

    This collection of translations of the classical Zen poets of China, Japan, and Korea includes the work of Zen practitioners and monks as well as scholars, artists, travelers, and recluses, ranging from Wang Wei, Hanshan, and Yang Wanli, to Shinkei, Basho, and Ryokan.

    Many Japanese know the poems by heart as a result of playing the popular card game version of the anthology. Collecting one poem each from one hundred poets living from the 7th century to the 13th century, the book covers a wide array of themes and personal styles.

    It is new because it combines elements of many existing types of writing, yet in the end fits into none of them.At one level, it may be read as an account of how a puny, bookish boy discovered the importance of his own physical being; the "sun and steel" of the title are themselves symbols respectively of the cult of the open air and the weights used in bodybuilding. At another level, it is a discussion by a major novelist of the relation between action and art, and his own highly polished art in particular. More personally, it is an account of one individual's search for identity and self-integration. Or again, the work could be seen as a demonstration of how an intensely individual preoccupation can be developed into a profound philosophy of life.All these elements are woven together by Mishima's complex yet polished and supple style. The confession and the self-analysis, the philosophy and the poetry combine in the end to create something that is in itself perfect and self-sufficient. It is a piece of literature that is as carefully fashioned as Mishima's novels, and at the same time provides an indispensable key to the understanding of them as art.The road Mishima took to salvation is a highly personal one. Yet here, ultimately, one detects the unmistakable tones of a self transcending the particular and attaining to a poetic vision of the universal. The book is therefore a moving document, and is highly significant as a pointer to the future development of one of the most interesting novelists of modern times.

    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.

    The 1,000 poems (out of a total of more than 4,500) in this famous selection were chosen by a distinguished scholarly committee based on their poetic excellence, their role in revealing the Japanese national spirit and character, and their cultural and historical significance. The acclaimed translations artfully preserve the simplicity and direct quality of the originals, and encompass an enormous range of human emotions and experiences. Text is in English only

    By building a rude home in the forest and eliminating desire, poet and Buddhist priest Chomei believed he would be spared the anguish that had befallen the townspeople. Yet at the end we find the author consumed with self-doubt, questioning his own sanity and the integrity of his purpose. His voice reaches out from the distant past and speaks directly to our hearts, surprisingly modern and intensely human.Author Biography: Yasuhiko Moriguchi and David Jenkins are writers, teachers, and translators living in Kyoto. Stone Bridge Press is a leading English-language publisher of Japanese literature in translation. Our ROCK SPRING COLLECTION OF JAPANESE LITERATURE features absorbing and important translations of classical and contemporary Japanese fiction and poetry. We believe that literature is a window into culture and society, and an expression of what is most peculiarly, and universally, human.

    The texts were written between the ninth and the seventeenth centuries and convey each author's underlying sense of the world and what is to be valued in it. Four Huts presents original translations by Burton Watson—one of the most respected translators of Chinese and Japanese literature. The qualities that emerge from these writings are an awareness of impermanence, love of nature, fondness for poetry and music, and an appreciation of the quiet life. Four Huts features eleven brush paintings by artist Stephen Addiss.

    The result was an autobiographical narrative, a tale of thirty-six years (1271-1306) in the life of Lady Nijo, starting when she became the concubine of a retired emperor in Kyoto at the age of fourteen and ending, several love affairs later, with an account of her new life as a wandering Buddhist nun.Through the vagaries of history, however, the glory of Lady Nijo's story has taken six and half centuries to arrive. The Confessions of Lady Nijo or Towazugatari in Japanese, was not widely circulated after it was written, perhaps because of the dynastic quarrel that soon split the imperial family, or perhaps because of Lady Nijo's intimate portrait of a very human emperor. Whatever the cause, the book was neglected, then forgotten completely, and only a single manuscript survived. This was finally discovered in 1940, but would not be published until after World War II in 1950. This translation and its annotations draw on multiple Japanese editions, but borrow most heavily from the interpretations offered by Tsugita Kasumi.