It is an experiential journey, wherein the reader follows a mock client's Awakening Session with the author. These sessions have helped people around the world come to Nondual realization. It's suggested that the reader actively participate in the question and answer sessions which form the bulk of the book. Fred extends the invitation for you to awaken right here, right now. It's Here or nowhere. It's Now or never.

    So succinct are the author's insights that these writings have outlasted the dissolution of the samurai class to come down to the present and be read for guidance and inspiration by the captains of business and industry, as well as those devoted to the practice of the martial arts in their modern form.

    of a classic, sensitive work by a leading intellectual. Includes manuscript ages, 20 color reproductions of Tagore's paintings.

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

    Akiko reshaped the tanka, the most popular form of Japanese poetry for 1,200 years, into a modern poetic form. In this new work, her tanka appear in their original Japanese, in roman transliterations, and English translations along with a new preface and notes. Suitable for literature programs and translation courses.

    

    In Coleman Barks′ delightful and wise renderings, these poems will open your heart and soul to the lover inside and out.′There are lovers content with longing.I′m not one of them.′Rumi is best known for his poems expressing the ecstasies and mysteries of love of all kinds - erotic, divine, friendship -and Coleman Barks collects here the best of those poems, ranging from the ′wholeness′ one experiences with a true lover, to the grief of a lover′s loss, and all the states in between: from the madness of sudden love to the shifting of a romance to deep friendship - these poems cover all ′the magnificent regions of the heart′.

    The best collection of Zen wisdom and wit since "Zen Flesh, Zen Bones": koans, sayings, poems, and stories by Eastern and American Zen teachers and students capture the delightful, challenging, mystifying, mind-stopping, outrageous, and scandalous heart of Zen.

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

    It captures the essence of spiritual inquiry and provides the reader with a real transmission of Presence on every page. It is much more than an exposition about our true nature as infinite Oneness, it offers an experiential exploration of who we really are, not only through the transmission in the words, but through the many thoughtful questions it raises. Nirmala's warm-hearted and accepting presence makes it possible to drop into the space he so eloquently describes, where peace, love, and joy abide. He is a master at helping you fall in love with life and the many expressions of the one Being we all are. From That Is That: "The real treasure in this moment is always to be found in the awareness of this moment, not in the content of our experience. So it’s not that important if something you like is happening or not. Discovering this simple perspective is like discovering you live in a candy store: Everywhere you turn is another goodie! Beyond that, is the recognition that this endless supply of goodies is what you really are. You are not the content of your experience; you are the awareness that brings life and joy to every experience. Talk about not having to worry about what happens! Nothing that happens can change what you are, and what you are is the biggest treasure. It is hidden in plain sight, right in front of you, always in the experience you are having right now."After experiencing a profound spiritual awakening in India in 1998, Nirmala began teaching throughout the Unites States and elsewhere. Nirmala is also the author of Nothing Personal, Living from the Heart, and Gifts with No Giver. Many other writings of his as well as videos are available on his website.

    Sri Nisargadatta Maharaj (1897-1981) lived and taught in a small apartment in the slums of Bombay. A realized master of the Tantric Nath lineage, he supported himself and his family by selling cheap goods in a small booth on the streets outside his tenement for many years. His life exemplified the concept of absolute nonduality of being. In this volume, Maharaj shares the highest truth of nonduality in his own unique way. His teaching style is abrupt, provocative, and immensely profound, cutting to the core and wasting little effort on inessentials. His terse but potent sayings are known for their ability to trigger shifts in consciousness, just by hearing or reading them."The point is that man freed from his fetters is morality personified. Such a man therefore does not need any moralistic injunctions in order to live righteously. Free a man from his bondage and thereafter everything else will take care of itself. On the other hand, man in his unredeemed state cannot possibly live morally, no matter what moral teaching he is given. It is an intrinsic impossibility, for his very foundation is immorality. That is, he lives a lie, a basic contradiction: functioning in all his relationships as the separate entity he believes himself to be, whereas in reality no such separation exists. His every action therefore does violence to other 'selves' and other 'creatures,' which are only manifestations of the unitary consciousness. So Society had to invent some restraints in order to protect itself from its own worst excesses and thereby maintain some kind of status quo. The resulting arbitrary rules, which vary with place and time and therefore are purely relative, it calls 'morality,' and by upholding this man-invented 'idea' as the highest good–oftentimes sanctioned by religious 'revelation' and scriptures–society has provided man with one more excuse to disregard the quest for liberation or relegate it to a fairly low priority in his scheme of things."

    Every genre and style, from the celebrated No plays to the poetry and novels of the seventeenth century, find a place in this book. An introduction by Donald Keene places the selections in their proper historical context, allowing the readers to enjoy the book both as literature and as a guide to the cultural history of Japan. Selections include “Man’yoshu” or “Collection of Ten Thousand Leaves” from the ancient period; “Kokinshu” or “Collection of Ancient and Modern Poetry,” “The Tosa Diary” of Ki No Tsurayuki, “Yugao” from “Tales of Genji” of Murasaki Shikibu, and “The Pillow Book” of Sei Shonagon from the Heian Period; “The Tale of the Heike” from the Kamakura Period; Plan of the No Stage, “Birds of Sorrow” of Seami Motokiyo, and “Three Poets at Minase” from the Muromachi Period; and Sections from Basho, including “The Narrow Road of Oku,” “The Love Suicides at Sonezaki” by Chikamatsu Monzaemon, and Waka and haiku of the Tokugawa Period.

    Yukio Mishima's protagonist is Etsuko, whose philandering husband has died horribly from typhoid. The young widow moves into the household of her father-in-law, where she numbly submits to the old man's advances. But soon Etsuko falls in love with the young servant, Saburo. Tormented by his indifference yet invigorated by her anguish, she makes one last, catastrophic bid for his attention. Stunningly acute in its perceptions, excruciating in its psychological suspense, Thirst for Love is a triumph of eroticism, terror, and compassion.

    Included here are sixteen black-and-white woodblock prints originally published in 1608.

    He began writing it in 1953 as reading notes on Buddhism intended for his friend, poet Allen Ginsberg. As Kerouac's Buddhist study and meditation practice intensified, what had begun as notes evolved into a vast and all-encompassing work of nonfiction into which he poured his life, incorporating poems, haiku, prayers, journal entries, meditations, fragments of letters, ideas about writing, overheard conversations, sketches, blues, and more. The final manuscript, completed in 1956, was as visually complex as the writing: each page was unique, typed in patterns and interlocking shapes. The elaborate form which Kerouac so painstakingly gave the book on his manual typewriter is re-created in this typeset facsimile.