It includes generous selections from the three poetic alter egos that the Portuguese writer dubbed "heteronyms" - Alberto Caeiro, Ricardo Reis and Alvaro de Campos - and from the vast and varied work he wrote under his own name.

    K. Williams by turns ruminative, stalked by "the conscience-beast, who harries me," and "riven by idiot vigor, voracious as the youth I was for whom everything was going too slowly, too slowly." Poems about animals and rural life are set hard by poems about shrapnel in Iraq and sudden desire on the Paris Métro; grateful invocations of Herbert and Hopkins give way to fierce negotiations with the shades of Coleridge, Dostoevsky, and Celan. What the poems share is their setting in the cool, spacious, spotlit, book-lined place that is Williams's consciousness, a place whose workings he has rendered for fifty years with inimitable candor and style.

    The poet's imagination of romanticism is captured in the vividly described poems. The poems are written in Hindi and the poet not only narrates the poems in the book but has also sung it in tune. The poems are appealing to the young generation and have been read widely by people in India and abroad

    Falling into three categories, the first 40 sayings each have a full, unbroken chain of transmission that goes back to God through the medium of the Prophet Muhammad. The second category are sayings mostly taken from well-known written collections. The final section is drawn from similar books, with Ibn 'Arabi adding one extra hadith, orally transmitted. Comprised of a full introduction explaining the meaning of Hadith, the text stresses the importance of this tradition in Ibn 'Arabi's writing.

    These discourses, like the ones found in some of his other books, would have been transcribed by some of his listener. There are a number of surviving manuscripts of the book. The language of Shaikh 'Abd Al-Qadir's discourses is often permeated by symbolic references, metaphorical images, and poetic expressions. This style, which is characteristic of the Shaikh's discourses, reflects a number of facts. First, the Shaikh often speaks about spiritual matters that are completely unfamiliar to the layperson and which the language is incapable of describing with accuracy. These, in the Shaikh's words, are states, stations, visions, and experiences that "no eye has ever seen, no ear has ever heard, and has never occurred to any human being." Second, the Shaikh's words spring as much from his heart as from his mind, describing feelings as well as thoughts. He is forced to use common words to describe feelings that are known only to those who have had those spiritual experiences. No language is equipped enough to describe these feelings, in the same way that no words can assist in describing color to one born blind because it requires visual experience. Third, the Shaikh often speaks about secret and intimate spiritual issues that he does not want to or cannot fully disclose, thus wrapping his words in metaphors. The words of Shaikh Al-Jilani do not describe one spiritual state and are not targeted at one person. They paint a fascinating picture of a myriad of spiritual states and stations and apply to people of very different beginnings, paths, and ends. The destination is the same, but the routes are different. Also different wayfarers end their journeys at different points. What is good for someone might not good for another, and what is required of two different people might be completely different, even though both have the same goal. This is why understanding the Shaikh's words and their applications is a science in its own right. As Sufis say: "The ways to Allah are as many as the creatures." The words of the Shaikh remain as relevant to the seeker of the truth and nearness to God as they were when he uttered them almost one thousand years ago. For sure, the world has changed a lot, but man's nature has not, and the diseases of his heart remain the same. The Shaikh's words address these diseases and show man the way to salvation. His words lived a thousand years and will live to the day when this transient world is no more and is replaced by the permanent one. Like all beacons of truth, the Shaikh has been the target of attacks of the ignorant, the narrow minded, and the misguided. As happened to others who understood Islam to be about works of the heart not acts of the body, this pious servant, whose life was fully dedicated to serving his Lord, has often been accused of distorting the message of Prophet Muhammad by those who wanted to hijack Islam and turn it into a spiritless, legalistic system to serve their worldly ambitions. But, as history has been confirming everyday, the voice of truth can never be silenced and the words of wisdom will remain inerasable. It is ignorance of this fact, as well as mistaking falsehood for truth, that must have made some misguided individuals to use terrorism against the Shaikh as they bombed his shrine in Baghdad on 28th May 2007, damaging parts of it. These and similar criminals do not realize that what made great masters such as Shaikh 'Abd Al-Qadir live forever is not buildings that commemorate them or books written about them, but the teachings and examples they set that live in people's minds and love for God that they helped them develop in their hearts. This is why almost one thousand years after his departure from this world people still feel immensely honored to serve the Shaikh and his sacred cause, including making his words more accessible to people.

    Dunsany, as the second writer to fully exploit the fantasy and adventure of imaginary lands, which include gods, witches, magic and spirits, The God of Pegana is both an important science fiction work which is both for its ability to be an excellent collection children's fairy tales as well as sophistcated enough to work well at an adult level.

    He tries to use the tools of logic and science to make sense of what he feels, will he be successful or will love forever remain a mystery to him? A rational boy is a collection of poems by Himanshu Goel with illustrations by Arushi Gupta.

    

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    The sketches are written in the "haibun" style--a linking of verse and prose. The title piece, in particular, reveals Basho striving to discover a vision of eternity in the transient world around him and his personal evocation of the mysteries of the universe.

    

    In “Bhagavad Gita for Beginners: The Song of God in Simplified Prose,” author Edward Viljoen uses contemporary, simplified language to bring this inspiring work to life. That which seems to be forcing people to act in selfish--even evil--ways is really the accumulation of desires coming together in a strong, irresistible appetite for self-satisfaction. These desires are rooted in the senses, and sense information can be misleading. More powerful than the senses, though, is the mind. And more powerful than the mind is the will (or intellect), and that which is above it all,--the Real Self, that part of us not deluded by the information of the sense world. The Bhagavad Gita For Beginners: The Song Of God In Simplified Prose will inspire uninitiated readers of the Bhagavad-Gita to delve into the original text, as well as bring a newly-found clarity and perspective to those already familiar with it.

    The three-part format—annotated text, contexts, and criticism—helps students to better understand, analyze, and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.