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.

    Estranged from his family, living alone with only his cat Cabbage for company, he was unprepared for the doctor’s diagnosis that he has only months to live. But before he can set about tackling his bucket list, the Devil appears with a special offer: in exchange for making one thing in the world disappear, he can have one extra day of life. And so begins a very bizarre week . . .Because how do you decide what makes life worth living? How do you separate out what you can do without from what you hold dear? In dealing with the Devil our narrator will take himself – and his beloved cat – to the brink. Genki Kawamura's If Cats Disappeared from the World is a story of loss and reconciliation, of one man’s journey to discover what really matters in modern life.This beautiful tale is translated from the Japanese by Eric Selland, who also translated The Guest Cat by Takashi Hiraide. Fans of The Guest Cat and The Travelling Cat Chronicles will also surely love If Cats Disappeared from the World.

    Feeling unworthy, Albom insists on understanding the man better, which throws him back into a world of faith he'd left years ago. Meanwhile, closer to his current home, Albom becomes involved with a Detroit pastor--a reformed drug dealer and convict--who preaches to the poor and homeless in a decaying church with a hole in its roof. Moving between their worlds, Christian and Jewish, African-American and white, impoverished and well-to-do, Albom observes how these very different men employ faith similarly in fighting for survival: the older, suburban rabbi embracing it as death approaches; the younger, inner-city pastor relying on it to keep himself and his church afloat.As America struggles with hard times and people turn more to their beliefs, Albom and the two men of God explore issues that perplex modern man: how to endure when difficult things happen; what heaven is; intermarriage; forgiveness; doubting God; and the importance of faith in trying times. Although the texts, prayers, and histories are different, Albom begins to recognize a striking unity between the two worlds--and indeed, between beliefs everywhere.In the end, as the rabbi nears death and a harsh winter threatens the pastor's wobbly church, Albom sadly fulfills the rabbi's last request and writes the eulogy. And he finally understands what both men had been teaching all along: the profound comfort of believing in something bigger than yourself.Have a Little Faith is a book about a life's purpose; about losing belief and finding it again; about the divine spark inside us all. It is one man's journey, but it is everyone's story. Ten percent of the profits from this book will go to charity, including The Hole In The Roof Foundation, which helps refurbish places of worship that aid the homeless.

    

    Aya Kitō was diagnosed with a disease called spinocerebellar degeneration when she was 15 years old. The disease causes the person to lose control over their body, but because the person can retain all mental ability the disease acts as a prison. So in the end she cannot eat, walk or talk.Aya keeps a diary of not only what she does but how she feels and the hardships she must endure. Initially, the diary's purpose was for Kitō to chronicle impressions she had about how the disease was affecting her daily life. As the disease progressed, however, the diary became Kitō's outlet for describing the intense personal struggles she underwent in coping, adapting, and ultimately trying to survive her disease. As she notes in one entry, "I write because writing is evidence that I am still alive."Through family, medical examinations and rehabilitations, and finally succumbing to the disease, Aya must cope with the disease and live on with life until her death at the age of 25.

    Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived.While many are familiar with Margaret Atwood’s fiction—including her groundbreaking and bestselling novels The Handmaid’s Tale, The Testaments, Oryx and Crake, among others—she has, from the beginning of her career, been one of our most significant contemporary poets. And she is one of the very few writers equally accomplished in fiction and poetry.  This collection is a stunning achievement that will be appreciated by fans of her novels and poetry readers alike.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    Designed to appeal to the generations of Westerners who grew up on Pokemon, manga and video games, A Geek in Japan reinvents the culture guide for readers in the Internet age.Spotlighting the originality and creativity of the Japanese, debunking myths about them, and answering nagging questions like why they're so fond of robots, author Hector Garcia has created the perfect book for the growing ranks of Japanophiles in this inspired, insightful and highly informative guide.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.

    Supernatural magic is what our ancestors used in order to explain the world before they developed the scientific method. The ancient Egyptians explained the night by suggesting the goddess Nut swallowed the sun. The Vikings believed a rainbow was the gods’ bridge to earth. The Japanese used to explain earthquakes by conjuring a gigantic catfish that carried the world on its back—earthquakes occurred each time it flipped its tail. These are magical, extraordinary tales. But there is another kind of magic, and it lies in the exhilaration of discovering the real answers to these questions. It is the magic of reality—science.Packed with clever thought experiments, dazzling illustrations and jaw-dropping facts, The Magic of Reality explains a stunningly wide range of natural phenomena. What is stuff made of? How old is the universe? Why do the continents look like disconnected pieces of a puzzle? What causes tsunamis? Why are there so many kinds of plants and animals? Who was the first man, or woman? This is a page-turning, graphic detective story that not only mines all the sciences for its clues but primes the reader to think like a scientist as well.Richard Dawkins, the world’s most famous evolutionary biologist and one of science education’s most passionate advocates, has spent his career elucidating the wonders of science for adult readers. But now, in a dramatic departure, he has teamed up with acclaimed artist Dave McKean and used his unrivaled explanatory powers to share the magic of science with readers of all ages. This is a treasure trove for anyone who has ever wondered how the world works. Dawkins and McKean have created an illustrated guide to the secrets of our world—and the universe beyond—that will entertain and inform for years to come.

    It encompasses an account of the Arab Revolt against the Turks during the First World War alongside general Middle Eastern and military history, politics, adventure and drama. It is also a memoir of the soldier known as 'Lawrence of Arabia'.Lawrence is a fascinating and controversial figure and his talent as a vivid and imaginative writer shines through on every page of this, his masterpiece. Seven Pillars of Wisdom provides a unique portrait of this extraordinary man and an insight into the birth of the Arab nation.

    These poems speak of the universal experiences of the heart and are brought to life with Chris's exquisite, intricate artwork.This perfect gift features famous poems, old and new, and a few surprises. Classic verses sit alongside the modern to create the ultimate collection. Includes poems from Neil Gaiman, Nikita Gill, Carol Ann Duffy, E. E. Cummings, Shakespeare, Leonard Cohen, Derek Walcott, Hollie McNish, Kate Tempest, John Betjeman and Roger McGough and many more.

    These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty.In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.

    E. Housman's A Shropshire Lad, first published in 1896. Scholars and critics have seen in these timeless poems an elegance of taste and perfection of form and feeling comparable to the greatest of the classic. Yet their simple language, strong musical cadences and direct emotional appeal have won these works a wide audience among general readers as well.This finely produced volume, reprinted from an authoritative edition of A Shropshire Lad, contains all 63 original poems along with a new Index of First Lines and a brief new section of Notes to the Text. Here are poems that deal poignantly with the changing climate of friendship, the fading of youth, the vanity of dreams — poems that are among the most read, shared, and quoted in our language.

    [captures] the relentless urgency of Lucretius' didacticism, his passionate conviction and proselytizing fervour.' --The Classical Review