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The Lyric Self offers a precise and thorough examination of Zen, based on classical and contemporary scholarly works as well as the author’s personal experience. Eight themes that are common to the practice of Zen Buddhism and the poetry of E.E. Cummings are compared and explored, with an emphasis on their respective value to contemporary psychology and education. It is the premise of The Lyric Self that both Zen and Cummings’ poetry are profoundly concerned with individual awareness, and that they both employ an unorthodox use of words to break through the static structures of conventional language and thought.
One hundred and fifty-six poems, grouped by theme, are accompanied by drawings, oils, and watercolors by the poet.
A collection of reviews and essays that traces the critical reputation of Cummings' works.
People worry that computers, robots, interstellar aliens, or Satan himself – brilliant, stealthy, ruthless creatures – may seize control of our world and destroy what’s uniquely valuable about the human race. Cultural Evolution and its Discontents shows that our cultural systems – especially those whose last names are "ism" – are already doing that, and doing it so adeptly that we seldom even notice. Like other parasites, they’ve blindly evolved to exploit us for their own survival. Creative arts and humanistic scholarship are our best tools for diagnosis and cure. The assemblages of ideas that have survived, like the assemblages of biological cells that have survived, are the ones good at protecting and reproducing themselves. They aren’t necessarily the ones that guide us toward our most admirable selves or our healthiest future. Relying so heavily on culture to protect our uniquely open minds from cognitive overload makes us vulnerable to hijacking by the systems that co-evolve with us. Recognizing the selfish Darwinian functions of these systems makes sense of many aspects of history, politics, economics, and popular culture. What drove the Protestant Reformation? Why have the Beatles, The Hunger Games, and paranoid science-fiction thrived, and how was hip-hop co-opted? What alliances helped neoliberalism out-compete Communism, and what alliances might enable environmentalism to overcome consumerism? Why are multiculturalism and university-trained elites provoking working-class nationalist backlash? In a digital age, how can we use numbers without having them use us instead? Anyone who has wondered how our species can be so brilliant and so stupid at the same time may find an answer here: human mentalities are so complex that we crave the simplifications provided by our cultures, but the cultures that thrive are the ones that blind us to any interests that don’t correspond to their own.
Book of Longing is Leonard Cohen's first book of new poetry since Book of Mercy was published two decades ago. It collects Cohen's poetry written between the 1980s and the present, and also includes his wonderfully witty and sensuous illustrations, including numerous playful self-portraits. The illustrations interact with, and complement, the poetry in unexpected and fascinating ways. Book of Longing demonstrates the range and depth of Cohen's work, revealing an extraordinary gift of language and visual art that speak with rare clarity, passion and timelessness.
American Haiku: New Readings explores the history and development of haiku by American writers, examining individual writers. In the late nineteenth century, Japanese poetry influenced through translation the French Symbolist poets, from whom British and American Imagist poets, Amy Lowell, Ezra Pound, T. E. Hulme, and John Gould Fletcher, received stimulus. Since the first English-language hokku (haiku) written by Yone Noguchi in 1903, one of the Imagist poet Ezra Pound’s well-known haiku-like poem, “In A Station of the Metro,” published in 1913, is most influential on other Imagist and later American haiku poets. Since the end of World War II many Americans and Canadians tried their hands at writing haiku. Among them, Richard Wright wrote over four thousand haiku in the final eighteen months of his life in exile in France. His Haiku: This Other World, ed. Yoshinobu Hakutani and Robert L. Tener (1998), is a posthumous collection of 817 haiku Wright himself had selected. Jack Kerouac, a well-known American novelist like Richard Wright, also wrote numerous haiku. Kerouac’s Book of Haikus, ed. Regina Weinreich (Penguin, 2003), collects 667 haiku. In recent decades, many other American writers have written haiku: Lenard Moore, Sonia Sanchez, James A. Emanuel, Burnell Lippy, and Cid Corman. Sonia Sanchez has two collections of haiku: Like the Singing Coming off the Drums (Boston: Beacon Press, 1998) and Morning Haiku (Boston: Beacon Press, 2010). James A. Emanuel’s Jazz from the Haiku King (Broadside Press, 1999) is also a unique collection of haiku. Lenard Moore, author of his haiku collections The Open Eye (1985), has been writing and publishing haiku for over 20 years and became the first African American to be elected as President of the Haiku Society of America. Burnell Lippy’s haiku appears in the major American haiku journals, Where the River Goes: The Nature Tradition in English-Language Haiku (2013).Cid Corman is well-known not only as a haiku poet but a translator of Japanese ancient and modern haiku poets: Santoka, Walking into the Wind (Cadmus Editions, 1994).
Caroline Kennedy has chosen a rich variety of Kennedy family favorite poems to include in this priceless collection. With thoughtful personal introductions written by Caroline herself, and beautiful new original artwork by award-winning artist, Jon J Muth, this collection is sure to become a family favorite for years to come.
Letters written to F.X. Kappus during the years 1903-1908. Chronicle of Rilkes's life for the years 1903-1908 (p. 81-123).
These are unique stories of timeless wisdom and understanding from the Zen Masters. With rich and fascinating tales of swords, tigers, tea, flowers and dogs, the writings of the Masters challenge every perception - and seek to bring all readers closer to enlightenment. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.
"A wonderful introduction the Japanese tradition of jisei, this volume is crammed with exquisite, spontaneous verse and pithy, often hilarious, descriptions of the eccentric and committed monastics who wrote the poems." --Tricycle: The Buddhist Review Although the consciousness of death is, in most cultures, very much a part of life, this is perhaps nowhere more true than in Japan, where the approach of death has given rise to a centuries-old tradition of writing jisei, or the "death poem." Such a poem is often written in the very last moments of the poet's life. Hundreds of Japanese death poems, many with a commentary describing the circumstances of the poet's death, have been translated into English here, the vast majority of them for the first time. Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined--from the longing poems of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.