The haiku verse form is a superb means of studying Zen modes of thought and expression, for its seventeen syllables impose a rigorous limitation that confines the poet to vital experience. Here haiku by Bashõ are translated by Robert Aitken, with commentary that provides a new and far deeper understanding of Bashõ’s work than ever before.In presenting themes from the haiku and from Zen literature that open the doors both to the poems and to Zen itself, Aitken has produced the first book about the relationship between Zen and haiku. His readers are certain to find it invaluable for the remarkable revelations it offers.

    The finished product is a document of a year’s worth of moments filled with joy, sorrow and unexpected beauty. The book y creates the sense that present moments do not just disappear and provides a visceral understanding of how these moments fit into the context of the rest of our lives.The short verses in Haiku Year stab and elate. They hint at both the transcendence and mediocrity of everyday life. The power of Michael Stipe’s southern, twilight drenched lyrics from early REM albums is present in the volume. Douglas A. Martin’s sparse yet descriptive prose gleams throughout. The thoughtful storytelling of Grant Lee Phillips is pared down to the simplest words to describe an instance.The Haiku Year is about the appreciation of small moments of beauty, ultimately adding up to the appreciation and respect not only for our individual lives but for all the lives that intersect with ours. The Haiku Year effortlessly urges readers to enjoy details and to let spare moments pierce through the numbness of everyday routine.

    Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Woman in the Dunes, Kangaroo Notebook, the Ruined Map, the Face of Another, Inter Ice Age 4. Source: Wikipedia.

    Haiku are clearly shown to be a means of discovering and recording the miracles of the world, from the humorous to the tragic. This is one of the major themes underlying Writing and Enjoying Haiku-that haiku can provide a way to a better life.After looking at why the reading and writing of haiku is important from a spiritual point of view, the book shows, as has never been done before, the techniques of writing-the when and the where, punctuation and capitalization, choice of words, figures of speech, sharing haiku, and much, much more.Having come this far, having learned to read and write haiku with a discerning mind, the reader will never again look upon the world in quite the same way.

    Brown. Brown is the winner of the Texas Book of The Year Prize, 2013. The New York Times calls his work a rekindling of the faith in the shocking, weird and beautiful power of words. Brown finally sold the ship, The Sea Section, upon which he lived for years in the Long Beach harbor, after which he took to hunting for a city that was affordable and had a bustling writer s community. He landed in Austin, Texas and when the progress of that town got to be intense, he moved to the nearby countryside in Elgin, Texas, and from that pastoral setting came unfurling this new collection of his most personal work to date. Brown has been known as one of the most touring, well travelled living poets in America. He has based his whole writing career on changing peoples minds about poetry and he feels a quality, unforgettable live experience can achieve that. Brown told himself he needed a 10-year hiatus from writing poetry when he felt the well of creativity had dried up. 2 years ago, he wrote a one-hour long poetic play called Strange Light, commissioned by The Noord Nederlands Dans Group in Holland. The piece was performed by 14 dancers and accompanied by a live orchestra using music composed by fellow Americans, Emily Wells and Timmy Straw. While he was working on a new libretto for Wayne State University in Detroit, he was set up in a seemingly pastoral country setting, where, as Brown says, an incredible war broke out inside and out, such bright, massive storms, snakes, guns, howling wind, hard sun: all kinds of poems gushed forth. I gave in to the process and my best work to date was born, this will be my 5th book. Our Poison Horse touches on more autobiography than the romantic and fantastical that was so present in his past work. In Derrick Brown s words: I found a poetry in the real events that shaped or broke me. Every morning, I would quiet down, stare out into the field where we were watching our neighbors horse, a horse that was poisoned with pesticide by some local boys, a horse with massive scars all down its body from it s skin peeling from the poison sprayed upon it maliciously by some bastard kids. I watched the horse heal and finally come to me, and trust me and eat carrots. Something about that horse, Lacey, about it not trusting me and then warming up pulled something out of me that I didn t know I was ready for. There is a theme that in beautiful places, you will"

    This booklet contains the lecture by SGI President Ikeda on Nichiren Daishonin's letter "On Attaining Buddhahood in This Lifetime." This lecture was serialized in Living BuddhismSept–Oct 2006 to Mar–Apr 2007.

    Budo Secrets contains the essential teachings of budo's greatest masters of Kendo, Karate, Judo, Aikido, and other disciplines. Timely and instructive, these writings are not just for martial artists—they're for anyone who wants to live life more courageously, with a greater sense of personal confidence and self-control, and with a deeper understanding of others. John Stevens has gathered an eclectic and historically rich collection of teachings that include principles and practice guidelines from training manuals and transmission scrolls, excerpts of texts on budo philosophy, and instructional tales gathered from a number of sources. Since many of the martial arts masters were also fine painters and calligraphers and used brush and ink as a teaching medium, Stevens has included their artwork throughout with explanation and commentary.

    Editor Faubion Bowers provides a foreword and many informative notes to the poems.

    Miyazawa Kenji: Selections collects a wide range of his poetry and provides an excellent introduction to his life and work. Miyazawa was a teacher of agriculture by profession and largely unknown as a poet until after his death. Since then his work has increasingly attracted a devoted following, especially among ecologists, Buddhists, and the literary avant-garde. This volume includes poems translated by Gary Snyder, who was the first to translate a substantial body of Miyazawa’s work into English. Hiroaki Sato’s own superb translations, many never before published, demonstrate his deep familiarity with Miyazawa’s poetry. His remarkable introduction considers the poet’s significance and suggests ways for contemporary readers to approach his work. It further places developments in Japanese poetry into a global context during the first decades of the twentieth century. In addition the book features a Foreword by the poet Geoffrey O’Brien and essays by Tanikawa Shuntaro, Yoshimasu Gozo, and Michael O’Brien.

    Enhancing their work are four seasonally-themed groups of verse, many written by Basho’s students and associates. The translation is thoroughly readable and contemporary, and the images evocative. An enlightening introduction offers biographical information on the featured poets, background on the nature of haiku and its development within the Japanese poetic tradition, and a short account of the Buddhist practice to which most of the writers were connected.

    In this collection, Diane Ackerman, with astonishing candor, lays bare her desires, anger, jealousy, fears, and anxiety, as she probes not only her present emotional landscape but also her past. And what gradually rises to the surface is an understanding of how the poet uses verse to purge her demons, express her delight, or confess secret longing, and through this process come to a better understanding of the self.

    

    The haiku is one of the most popular and widely recognized poetic forms in the world. In just three lines a great haiku presents a crystalline moment of image, emotion, and awareness. This illustrated collection includes haiku by the great masters from the seventeenth to the early twentieth century.

    Here is a volume of poetry approaching Carolyn Forche's The Angel of History as a stark meditation on Blanchot's sense of writing as the "desired, undesired torment which endures everything." Levine engages the traditional resources of lyric poetry in an exploration of historical and cultural landscapes ravaged by imponderable events. Enola Gay's "mission" can seem spiritual, imaginative, and militaristic as the speaker in these poems surveys marshes and fields and a land on the edge of disintegration. Levine sifts the psychological residue that accumulates in the wake of unspeakable acts and so negotiates that terrain between the banality of language and the need to stand witness and to speak. Levine's stunning second book, with its grave cultural implications and its surveillance of a distinctly postmodern malaise, offers multiple readings. Here are compact poems with uncanny power, rhythm, and a strange, formal beauty echoing and renewing the legacy of Wallace Stevens for a new era.

    It presents haiku poets writing in English, Spanish, French, German, and five other languages on an equal footing with Japanese poets. Not only are the four great Japanese masters of the haiku represented (Basho, Buson, Issa, and Shiki) but also several major Western authors not commonly known to have written haiku.