Rumi is one of the greatest poetical geniuses and spiritual masters in human history. His name stands for Love and ecstatic flight into the infinite. Today, Rumi is one of the most widely read poets in the west and has been described to be on par with Beethoven, Shakespeare and Mozart. During a 25 year period, Rumi composed over 70,000 verses of poetry focusing on diverse and varied topics. Rumi’s influence goes beyond nationalities and ethnicities with his work having been translated in numerous languages around the world. His work is mystical and intensely philosophical, with poems of fiery soulful expression, to passionate love verses filled with yearning and desire. Rumi describes the life of mystics as a “gathering of lovers, where there is no high or low, smart or ignorant, no proper schooling required.” He believed in a life journey following a love-based principle free of guilt, fear and shame. The bringing together of a wealthy nobleman and a poor wanderer serve as a reminder to us all that inspiration can come from anywhere and anyone can aid us in advancing our growth.

    These quotes are a source of inspiration and motivation.Read these quotes to meditate and think about all the wisdom they contain.

    "Merwin writes, " J.D. McClatchy has said in THE NEW YORKER, "with one of the most distinctive and original voices in American poetry."

    Seeing Trees celebrates seldom seen but easily observable tree traits and invites you to watch trees with the same care and sensitivity that birdwatchers watch birds. Many people, for example, are surprised to learn that oaks and maples have flowers, much less flowers that are astonishingly beautiful when viewed up close. Focusing on widely grown trees, this captivating book describes the rewards of careful and regular tree viewing, outlines strategies for improving your observations, and describes some of the most visually interesting tree structures, including leaves, flowers, buds, leaf scars, twigs, and bark. In-depth profiles of ten familiar species—including such beloved trees as white oak, southern magnolia, white pine, and tulip poplar—show you how to recognize and understand many of their most compelling (but usually overlooked) physical features.

    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.

    To a smaller yet no less passionate audience, Fowles is also known for having written The Tree, one of his few works of nonfiction. First published a generation ago, it is a provocative meditation on the connection between the natural world and human creativity, and a powerful argument against taming the wild. In it, Fowles recounts his own childhood in England and describes how he rebelled against his Edwardian father’s obsession with the “quantifiable yield” of well-pruned fruit trees and came to prize instead the messy, purposeless beauty of nature left to its wildest. The Tree is an inspiring, even life-changing book, like Lewis Hyde’s The Gift, one that reaffirms our connection to nature and reminds us of the pleasure of getting lost, the merits of having no plan, and the wisdom of following one’s nose wherever it may lead—in life as much as in art.

    Diane Ackerman draws from sources as diverse as meteorology, world religion, etymology, art history, and poetry in order to celebrate that moment in which the deepest arcades of life and matter become visible. From spring in Ithaca, New York, to winter in Palm Beach, Florida, Dawn Light is an impassioned call to revel in our numbered days on a turning earth.

    Modeled loosely after a medieval bestiary, these witty, playful, whipsmart essays traverse history, myth, science, and more, bringing each beast vibrantly to life.

    African American Studies. "The publication of Amiri Baraka's SOMEBODY BLEW UP AMERICA & OTHER POEMS makes one more mark in the development in modern Black radical & revolutionary cultural reconstruction... Readers of course will want as quick as possible to read for them-self the now controversial title poem..., but check-out, among the others, "In Town"--pure-pure dark post-Plantation molasses..."--Kamau Brathwaite.

    It is also a reminder of how unpredictable climate change is as it interacts with the messy lattice of life.

    This entirely new diary is composed in a similar style to the Country Diary, with Edith Holden's thoughts, anecdotes, and writings interspersed with poetry, mottoes, and her exquisite watercolor paintings of flowers, plants, birds, butterflies and landscape scenes.

    Lightning Print On Demand Title

    Molecatching is a traditional skill that has given me a good life but I am old now and tired of hunting and it has taught me what I needed to learn. Although common, moles are mysterious: their habits are inscrutable, they are anatomically bizarre, and they live completely alone. Marc Hamer has come closer to them than most, both through his long working life out in the Welsh countryside, and his experiences of rural homelessness as a boy, sleeping in hedgerows.Over the years, Marc has learned a great deal about these small, velvet creatures who live in the dark beneath us, and the myths that surround them, and his work has also led him to a wise and uplifting acceptance of the inevitable changes that we all face. In this beautiful and meditative book, Marc tells his story and explores what moles, and a life in nature, can tell us about our own humanity and our search for contentment.How to Catch a Mole is a gem of nature writing, beautifully illustrated by Joe McLaren, which celebrates living peacefully and finding wonder in the world around us.

    How the vision met reality – and how the two came to shape each other – places Voyage of the Cormorant in the great American tradition of tales of life at sea, and what it has to teach us.

    B.