Kabir was an extraordinary oral poet whose works have been sung and recited by millions throughout North India for half a millennium. He may have been illiterate and he preached an abrasive, sometimes shocking, always uncompromising message that exhorted his audience to shed their delusions, pretentions, and empty orthodoxies in favor of an intense, direct, and personal confrontation with the truth. Thousands of poems are popularly attributed to Kabir, but only a few written collections have survived over the centuries. The Bijak is one of the most important, and is the sacred book of those who follow Kabir.

The word Brahm means the Absolute or Ultimate Reality that is the primal cause of the existence of the universe and all beings. Nirupan means the form or nature of that Reality. For simplicity, we can say God. Yet we know that God is beyond forms and attributes that we can ascribe to Him. But we need to use words to communicate, so Kabir explains to his disciple that the Ultimate cannot be described in words, but must be experienced inwardly. He then describes various methods of approaching God, the negative actions to avoid, and the virtuous ones to be cultivated, as one progresses on the spiritual path to enlightenment. Kabir uses several Indian analogies and metaphors to explain the teachings to his earnest disciple.

This book represents the first systematic collection and analysis of the principal legends about Kabir Das, a fifteenth-century poet-saint. It focuses on the ways in which the legends embody and reflect the often changing social and religious needs of those who created and listened to them. Particular attention is paid to the earliest known collection of legends, Ananta-das's Kabir Parachai. This book makes available for the first time an English translation of this text, with detailed notes on its variant readings, as well as a corrected Hindi edition based on a comparison of over a dozen manuscripts. The various historical synchronisms between Kabir and his leading contemporaries, including Ramananda and King Virasimhadev Baghel, are reevaluated, and a solution is proposed to the longstanding debate about Kabir's dates.

"Few major achievements of world literature are as little known to Americans as the great ecstatic poetry of the Hindus and Sufis, as exemplified by the work of the 15th century master, Kabir. Irreverent while being intensely religious, Kabir seems incredibly playful in his taunting of the sacred dogmas of his time--to readers accustomed to the solemnity and ideological fidelity of most Western religious poems. Kabir has been translated into English only once before, by Rabindranath Tagore and Evelyn Underhill. Unfortunately, Tagore's Victorian English was simply not equal to Kabir's directness, spontaneity, and irreverent humor. Working from the Tagore-Underhill translation, Bly has done much more than retranslate into American diction. A noted poet himself, he has breathed new life into the work of a fascinating poet"--From back cover.

Kabir was a great iconoclastic-mystic poet of fifteenth-century North India; his poems were composed orally, written down by others in manuscripts and books, and transmitted through song. Scholars and translators usually attend to written collections, but these present only a partial picture of the Kabir who has remained vibrantly alive through the centuries mostly in oral forms. Entering the worlds of singers and listeners in rural Madhya Pradesh, Bodies of Song combines ethnographic and textual study in exploring how oral transmission and performance shape the content and interpretation of vernacular poetry in North India. The book investigates textual scholars' study of oral-performative traditions in a milieu where texts move simultaneously via oral, written, audio/video-recorded, and electronic pathways. As texts and performances are always socially embedded, Linda Hess brings readers into the lives of those who sing, hear, celebrate, revere, and dispute about Kabir. Bodies of Song is rich in stories of individuals and families, villages and towns, religious and secular organizations, castes and communities. Dialogue between religious/spiritual Kabir and social/political Kabir is a continuous theme throughout the book: ambiguously located between Hindu and Muslim cultures, Kabir rejected religious identities, pretentions, and hypocrisies. But even while satirizing the religious, he composed stunning poetry of religious experience and psychological insight. A weaver by trade, Kabir also criticized caste and other inequalities and today serves as an icon for Dalits and all who strive to remove caste prejudice and oppression.