But unlike his two renowned colleagues, Ryokan was a societal dropout, living mostly as a hermit and a beggar. He was never head of a monastery or temple. He liked playing with children. He had no dharma heir. Even so, people recognized the depth of his realization, and he was sought out by people of all walks of life for the teaching to be experienced in just being around him. His poetry and art were wildly popular even in his lifetime. He is now regarded as one of the greatest poets of the Edo Period, along with Basho, Buson, and Issa. He was also a master artist-calligrapher with a very distinctive style, due mostly to his unique and irrepressible spirit, but also because he was so poor he didn’t usually have materials: his distinctive thin line was due to the fact that he often used twigs rather than the brushes he couldn’t afford. He was said to practice his brushwork with his fingers in the air when he didn’t have any paper. There are hilarious stories about how people tried to trick him into doing art for them, and about how he frustrated their attempts. As an old man, he fell in love with a young Zen nun who also became his student. His affection for her colors the mature poems of his late period. This collection contains more than 140 of Ryokan’s poems, with selections of his art, and of the very funny anecdotes about him.

    Krishnamurti's spiritual teaching--even though the great teacher was famous for urging students to seek truth outside organized religion. This record of a historic encounter between Krishnamurti and a group of Buddhist scholars provides a unique opportunity to see what the great teacher had to say himself about Buddhist teachings. The conversations, which took place in London in the late 1970s, focused on human consciousness and its potential for transformation. Participants include Walpola Rahula, the renowned Sri Lankan Buddhist monk and scholar, author of the classic introductory text What the Buddha Taught.

    They also produced much of the country's best literature. Three of these amazing ladies wrote these diaries, among them the highly skilled writer Murasaki Shikibu (ca. 973-1025 a.d.). A lady-in-waiting to the Japanese Empress, she became very adept at observing the daily activities and attitudes of the upper classes. Her diary is a remarkable record of events staged with rare and exquisite taste. The Sarashina Diary, filled with an appreciation of nature, begins with a nine-year-old girl's dreams and ends with the grown woman's account of her husband's funeral (1009-1059 a.d.). Izumi Shikibu's diary is a delicately written work, with poetic thoughts characteristic of the lady's shy reserve. Brimming with poetry and understated social observations, all three provide an extraordinary glimpse of court life in old Japan. Unabridged republication of the edition originally published by Houghton Mifflin Company, Boston and New York, 1920. 2 color illustrations. 12 black-and-white illustrations. Appendix.

    It is so interlaced with Japanese cultural values and practices that scholarly studies usually focus on only one of its dimensions: Shinto as a nature religion, an imperial state religion, a primal religion, or a folk amalgam of practices and beliefs. Thomas Kasulis' fresh approach to Shinto explains with clarity and economy how these different aspects interrelate.As a philosopher of religion, he first analyzes the experiential aspect of Shinto spirituality underlying its various ideas and practices. Second, as a historian of Japanese thought, he sketches several major developments in Shinto doctrines and institutions from prehistory to the present, showing how its interactions with Buddhism, Confucianism, and nationalism influenced its expression in different times and contexts. In Shinto's idiosyncratic history, Kasulis finds the explicit interplay between two forms of spirituality: the existential and the essentialist. Although the dynamic between the two is particularly striking and accessible in the study of Shinto, he concludes that a similar dynamic may be found in the history of other religions as well.Two decades ago, Kasulis' Zen Action/Zen Person brought an innovative understanding to the ideas and practices of Zen Buddhism, an understanding influential in the ensuing decades of philosophical Zen studies. Shinto: The Way Home promises to do the same for future Shinto studies.

    Relatively unknown among the religions of the world, Shinto: The Kami Way provides an enlightening window into this Japanese faith.In its general aspects Shinto is more than a religious faith. It is an amalgam of attitudes, ideas, and ways of doing things that through two millennia and more have become an integral part of the way of the Japanese people. Shinto is both a personal faith in the kami—objects of worship in Shinto and an honorific for noble, sacred spirits—and a communal way of life according to the mind of the kami. This introduction unveils Shinto's spiritual characteristics and discusses the architecture and function of Shinto shrines. Further examination of Shinto's lively festivals, worship, music, and sacred regalia illustrates Shinto's influence on all levels of Japanese life.Fifteen photographs, numerous drawings and Dr. Ono's text introduce the reader to two millennia of indigenous Japanese belief in the kami and in communal life.Chapters include:The Kami WayShrinesWorship and FestivalsPolitical and Social CharacteristicsSome Spiritual Characteristics

    Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.

    Some are "Momotaro, "The Son of a Peach", "The Jellyfish and the Monkey", "The Mirror of Matsuyama", "The Bamboo Cutter and the Moon Child", "The Stones of Five Colors and the Empress Jokwa."

    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.

    Japan, meanwhile, was trying to reinvent itself as a more cosmopolitan, modern state, ultimately transforming itself, in the course of twenty-five years, from a feudal backwater to an international power. This great wave of historical and cultural reciprocity between the two young nations, which intensified during the late 1800s, brought with it some larger-than-life personalities, as the lure of unknown foreign cultures prompted pilgrimages back and forth across the Pacific.In The Great Wave, Benfey tells the story of the tightly knit group of nineteenth-century travelers—connoisseurs, collectors, and scientists—who dedicated themselves to exploring and preserving Old Japan. As Benfey writes, “A sense of urgency impelled them, for they were convinced—Darwinians that they were—that their quarry was on the verge of extinction.”These travelers include Herman Melville, whose Pequod is “shadowed by hostile and mysterious Japan”; the historian Henry Adams and the artist John La Farge, who go to Japan on an art-collecting trip and find exotic adventures; Lafcadio Hearn, who marries a samurai’s daughter and becomes Japan’s preeminent spokesman in the West; Mabel Loomis Todd, the first woman to climb Mt. Fuji; Edward Sylvester Morse, who becomes the world’s leading expert on both Japanese marine life and Japanese architecture; the astronomer Percival Lowell, who spends ten years in the East and writes seminal works on Japanese culture before turning his restless attention to life on Mars; and President (and judo enthusiast) Theodore Roosevelt. As well, we learn of famous Easterners come West, including Kakuzo Okakura, whose The Book of Tea became a cult favorite, and Shuzo Kuki, a leading philosopher of his time, who studied with Heidegger and tutored Sartre.Finally, as Benfey writes, his meditation on cultural identity “seeks to capture a shared mood in both the Gilded Age and the Meiji Era, amid superficial promise and prosperity, of an overmastering sense of precariousness and impending peril.”

    It is the first anthology of Chinese philosophy to cover its entire historical development. It provides substantial selections from all the great thinkers and schools in every period--ancient, medieval, modern, and contemporary--and includes in their entirety some of the most important classical texts. It deals with the fundamental and technical as well as the more general aspects of Chinese thought. With its new translation of source materials (some translated for the first time), its explanatory aids where necessary, its thoroughgoing scholarly documentation, this volume will be an indispensable guide for scholars, for college students, for serious readers interested in knowing the real China.

    Instead, he lived a traveling, "homeless" life, going from temple to temple, student to student, teaching and instructing and never allowing himself to stray from his chosen path. He is responsible for making Soto Zen available to the common people outside of monasteries. His teachings are short, sharp, and powerful. Always clear, often funny, and sometimes uncomfortably close to home, they jolt us into awakening. Kosho Uchiyama expands and explains his teacher's wisdom with his commentary. Trained in Western philosophy, he draws parallels between Zen teachings and the Bible, Descartes, and Pascal. Shohaku Okumura has also added his own commentary, grounding his teachers' power and sagacity for the contemporary, Western practitioner. Experience the timeless, practical wisdom of three generations of Zen masters.

    First published in 1937, Genzaburō Yoshino’s How Do You Live? has long been acknowledged in Japan as a crossover classic for young readers. Academy Award–winning animator Hayao Miyazaki (Spirited Away, My Neighbor Totoro, Howl’s Moving Castle) has called it his favorite childhood book and announced plans to emerge from retirement to make it the basis of a final film. How Do You Live? is narrated in two voices. The first belongs to Copper, fifteen, who after the death of his father must confront inevitable and enormous change, including his own betrayal of his best friend. In between episodes of Copper’s emerging story, his uncle writes to him in a journal, sharing knowledge and offering advice on life’s big questions as Copper begins to encounter them. Over the course of the story, Copper, like his namesake Copernicus, looks to the stars, and uses his discoveries about the heavens, earth, and human nature to answer the question of how he will live. This first-ever English-language translation of a Japanese classic about finding one’s place in a world both infinitely large and unimaginably small is perfect for readers of philosophical fiction like The Alchemist and The Little Prince, as well as Miyazaki fans eager to understand one of his most important influences.

    Winner of every major Japanese literary prize, his work translated around the globe, Shusaku Endo (1923-1996) is a great and unique figure in the literature of the twentient century. "Irrevocably enmeshed in Japanese culture, he is by virtue of his religion [Endo was Roman Catholic] irrevocably alienated from it" (Geoffrey O'Brian, Village Voice). It is this aspect that has made Endo so particularly intriguing to his readership at home and abroad. Now gathered in a New Directions Bibelot edition are five of Endo's supreme short stories exemplifying his style and his interests, presenting, as it were, Endo in a nutshell. "Unzen," the opening story, touches on the subject of Silence Endo's most famous novel -- that is the torture and martyrdom of Christians in seventeenth-century Japan. Next comes "A Fifty-year-old Man" in which Mr. Chiba takes up ballroom dancing and faces the imminent death of his brother and his dog Whitey. In "Japanese in Warsaw" a business man has a strange encounter; in "The Box," an old photo album and a few postcards have a tale to reveal. Finally included is "The Case of Isobe," the opening chapter of Endo's novel Deep River in which Isobe, a member of a tour group, hopes to find in India the reincarnation of the wife he took so much for granted.

    It's the last thing he feels like doing. What he wants to do instead is tell his friend everything he never said, to explain Zen and what he does for a living and why he spends his time "Sitting. Sitting. Sitting. Meditating my life away as it all passes by. Lighting candles and incense. Bowing to nothing." So, as he continues his teaching tour through Europe, he writes to his friend all the things he wishes he had said. Simply and humorously, he reflects on why Zen provided him a lifeline in a difficult world. He explores grief, attachment, and the afterlife. He writes to Marky, "I'm not all that interested in Buddhism. I'm much more interested in what is true," and then proceeds to poke and prod at that truth. The result for readers is a singular and winning meditation on Zen -- and a unique tribute to both a life lost and the one Warner has found.

    Sad Toys is a collection of 194 Tanka, the traditional 31-syllable poems that evoke Japan's misty past.