A SCHOLARLY BOOK REPOSITORY
Dancing Into Darkness is Sondra Horton Fraleigh's chronological diary of her deepening understanding of and appreciation for this art form, as she moves from a position of aesthetic response as an audience member to that of assimilation as a student. As a student of Zen and butoh, Fraleigh witnesses her own artistic and personal transformation through essays, poems, interviews, and reflections spanning twelve years of study, much of it in Japan. Numerous performance photographs and original calligraphy by Fraleigh's Zen teacher Shodo Akane illuminate her words.
The pieces of Dancing Into Darkness cross boundaries, just as butoh anticipates a growing global amalgamation. "Butoh is not an aesthetic movement grafted onto Western dance, " Fraleigh concludes, "and Western dance may be more Eastern than we have been able to see. "
Raised in a Conservative Jewish family, Fischer embraced the twin practices of Zen Buddhism and innovative poetics in San Francisco in the early 1970s. His work includes original poetry, descriptions of Buddhist practice, translations of the Hebrew psalms, and eclectic writings on a range of topics from Homer to Heidegger to Kabbalah. Both Buddhist priest and participant in avant-garde poetry’s Language movement, Fischer has limned the fertile affinities and creative contradictions between Zen and writing, accumulating four decades of rich insights he shares in Experience.
Fischer’s work has been deeply enriched through his collaborations with leading rabbis, poets, artists, esteemed Zen Buddhist practitioners, Trappist monks, and renowned Buddhist leaders, among them the Dalai Lama. Alone and with others, he has carried on a deep and sustained investigation into the intersection of writing and consciousness as informed by meditation.
The essays in this artfully curated collection range across divers, fascinating topics such as time, the Heart Sutra, God in the Hebrew psalms, the supreme “uselessness” of art making, “late work” as a category of poetic appreciation, and the subtle and dubious notion of “religious experience.” From the theoretical to the revealingly personal, Fischer’s essays, interviews, and notes point toward a dramatic expansion of the sense of religious feeling in writing.
Readers who join Fischer on this path in Experience can discover how language is not a description of experience, but rather an experience itself: shifting, indefinite, and essential.
In Japan today, Zen monastic life is practiced substantially as it was practiced in medieval Japan or Sung dynasty China. More than twenty-one thousand Zen temples are active. This book examines the Zen monastery as a major institution in medieval Japanese society. Focusing on the Five Mountains network of officially sponsored Zen monasteries, it describes the transmission of Rinzai and Soto Zen to Japan, traces the patterns of secular patronage, and discusses in detail the Zen monastic environment, the monastic rule, the community, and the economy.
This is the first detailed study in any Western language of the social and institutional development of Zen Buddhism. Martin Collcutt’s illustrated text should be valuable to those interested in medieval Japanese history as well as students of Zen practice and Zen-related culture.
Highly unorthodox, he courted controversy and was condemned for being a “sex guru.” His Oregon headquarters, Rajneeshpuram, proved to be a short-lived utopia that provoked antagonism and only added to his notoriety. But his ashram in Poona, India, continues to thrive, as do Osho centers in Europe and elsewhere. His adherents number in the thousands. His books have become bestsellers around the globe.
In the years after World War II, Westerners and Japanese alike elevated Zen to the quintessence of spirituality in Japan. Pursuing the sources of Zen as a Japanese ideal, Shoji Yamada uncovers the surprising role of two cultural touchstones: Eugen Herrigel’s Zen in the Art of Archery and the Ryoanji dry-landscape rock garden. Yamada shows how both became facile conduits for exporting and importing Japanese culture.
First published in German in 1948 and translated into Japanese in 1956, Herrigel’s book popularized ideas of Zen both in the West and in Japan. Yamada traces the prewar history of Japanese archery, reveals how Herrigel mistakenly came to understand it as a traditional practice, and explains why the Japanese themselves embraced his interpretation as spiritual discipline. Turning to Ryoanji, Yamada argues that this epitome of Zen in fact bears little relation to Buddhism and is best understood in relation to Chinese myth. For much of its modern history, Ryoanji was a weedy, neglected plot; only after its allegorical role in a 1949 Ozu film was it popularly linked to Zen. Westerners have had a part in redefining Ryoanji, but as in the case of archery, Yamada’s interest is primarily in how the Japanese themselves have invested this cultural site with new value through a spurious association with Zen.
Based on more than fifteen years of fieldwork, interviews, and archival research, Sōjiji: Discipline, Compassion, and Enlightenment at a Japanese Zen Temple immerses the reader in the lives and experiences of the different groups that comprise Sōjiji's contemporary religious community. Through clear and accessible prose, ethnographically-grounded analysis, and emotionally compelling stories, the reader will explore the rich pastiche of daily life and ritual activity at a major Japanese Zen temple in institutional, historical, and social context through the lived practices of its community of clergy, practitioners, parishioners, and visitors.
"…important for anyone who is concerned with inter-religious dialogue and the meaning of… visionary mysticism."
--The Reader's Review
This first complete English translation of two works by Zen scholar D.T. Suzuki introduces Emanuel Swedenborg and compares Swedenborgian thought to Buddhism. The first work stresses Swedenborg's message that true spirituality demands an engagement in this world; the second compares Swedenborg's description of heaven to the paradise of Pure Land Buddhism.
Against this famous figure, however, is a largely unknown or forgotten shape: Suzuki Alan Masaru. Alan was D.T. Suzuki’s adopted son and, though he remained within his father’s shadow, is mostly known as the lyricist of the iconic pop hit “Tokyo Boogie-woogie.” Perhaps due to his frequent scandals and the fraught nature of the relationship, Alan remains unmentioned and unstudied by scholars and historians. Yet by exploring the nature of the relationship between these two, Shoji Yamada digs into the conflicting memories and experiences of these generations in Japan.
In 1962, Reiner Schürmann began studying at the Dominican school of theology Le Saulchoir, outside Paris. That experience radically shaped his life and work, enabling him to begin to develop many of the ideas for which he would later be known: letting be, life without why, ontological anarchy, and the tragic double bind.
Ways of Releasement contains never-before-published material from Schürmann’s early period as well as a report Schürmann wrote about his encounter with Heidegger; a précis of his autobiographical novel, Origins; and translations and new editions of later groundbreaking essays. Ways of Releasement concludes with an extensive afterword setting Schürmann’s writings in the context of his thinking and life.
Lucien Stryk has been a presence in American letters for almost fifty years. Those who know his poetry well will find this collection particularly gratifying. Like journeying again to places visited long ago, Stryk’s writing is both familiar and wonderfully fresh.
For those just becoming acquainted with Stryk’s work, Zen, Poetry, the Art of Lucien Stryk makes an excellent introduction. It includes his early essay, “The American Scene Versus the International Scene,” written shortly after his service in the Pacific during World War II, and “Digging In,” his first published poem, as well as some of his best-known pieces on Zen and Zen poetry. Among the latter are “Beginnings, Ends,” “Poetry and Zen,” “I Fear Nothing: A Note on the Zen Poetry of Death,” and his introduction to the great haiku poets, Issa and Basho. Selections of his most recent work include “The Red Rug: An Introduction to Poetry,” and an imagined conversation among all four leading haiku poets called “Meeting at Hagi-no-Tera.”
Porterfield’s informative collection includes essays about Stryk’s work as well as his own prose and poetry. As the volume makes clear, writing poetry is for Lucien Stryk a sacred act. It is both escape and communion, inseparable from life’s daily activities.
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