"Excess of sorrow laughs. Excess of joy weeps."(William Blake) A cooly impassioned, and "pathward" adventurous series of poems joining two modes of enlightenment, Buddhist and Sufi, that may in many ways be parallel-from my sitting with saintly Shunryu Suzuki of the San Francisco Zen Center in the early 60s, and my blessed time with Qutb Shaykh ibn al-Habib of Fez in Meknes, Morocco, in the 1970s, may Allah be pleased with both of them. Are the two protagonists of these poems the main characters in Waiting for Godot, now no longer waiting, but there? Exalted humor lightens our spiritual endeavors.

Medina Tenour Whiteman stands at the margins of whiteness and Islam. An Anglo-American born to Sufi converts, she feels perennially out of place--not fully at home in Western or Muslim cultures. In this searingly honest memoir, Whiteman contemplates what it means to be an invisible Muslim, examining the pernicious effects of white Muslim privilege and exploring what Muslim identity can mean the world over--in lands of religious diversity and cultural insularity, from Andalusia, Bosnia and Turkey to Zanzibar, India and Iran. Through her travels, she unearths experiences familiar to both Western Muslims and anyone of mixed heritage: a life-long search for belonging and the joys and crises of inhabiting more than one identity.

This high adventure, in loosely metered heroic couplets, follows Abdallah Jones on his quest to capture the ball of disappearing-dust from the mad Sorcerer and stop the destruction of the world. He has been given the task by his Sufi shaykh, which takes him to the SorcererâÂÂs castle, where he meets Marbug the elf, Neptune, the King of the Jinn, and a collection of sweet and evilly dangerous characters along the way with more cliff-hangers and near-deaths than anyone but Abdallah should have to endure â and finally to Madina, the city of the Prophet Muhammad, peace and blessings of God be upon him, his shaykh and people from the âÂÂUmma of Islam from all over the world, and a marvelous solution to the whole caper. Black and white illustrations throughout by the author illuminate the text.

Poetic inspiration continues to be a mystery to me, but I am its deep advocate, and hold to its irrational and shady acreage like a greedy real estate developer gazing out over the possibilities (a ramshackle hut here, a barn there, a castle with a lake yonder...). Is it angels, djinn, my black cat curled at the bottom of my bed while I'm hot in composition mode? My "unconscious," "God Consciousness?" (my fervent prayer).

THE MUSIC SPACE, written in 2001, is a series of poems most acutely attuned to the sounds of our universe, composed for the most part while traveling back and forth to New York, unexpectedly ending with the world-transforming events of 9/11, completing in an apocalyptic way an unforeseen circle. This is the music space where music is most difficult this place of joy and horror. I think the music of the spheres can be heard in this space. And the original sound is the sound of God alone audible to Himself and we are the humming elements of that sound.

COATTAILS OF THE SAINT - is a collection of poems which chase after the coattails of sanctity, in this world with its "meanings set up as images" (a Sufi definition of what we take around us as reality), and those souls living among us right now and forever who have had bestowed upon them that dimension of sanctity which sets them apart while making them at the same time true human beings. Imagination has given these poems a "saintly" thread, with no particular saint in any traditional pantheon meant, but rather that essence of simple sainthood of which we are all (God willing) capable.

I IMAGINE A LION - Poems in the devotional visionary tradition of Blake, Rumi, Christopher Smart, McClure. Ecstatic recognitions from both within and without our heartfelt common cosmic consciousness. "In the forest of matter so tightly meshed you/can't see the weave/I imagine a lion./Sometimes it's a table, sometmes it's chairs./Lion eyes out of the dark./Lion purrs when silence descends."

LOVE IS A LETTER BURNING IN A HIGH WIND is a chronicle in sequential open field poems of a second visit to Turkey (the first recorded in formal ghazals), and to the glorious atmospheres of Sufi Master Mevlana Rumi and his gnostic teacher, Shams. Included are three extended narrative poems in the thematic style of Rumi's Masnawi, undertaken with no plot or source other than spontaneous inspiration. characterized by talking animals and "decapitated" watermelons. Ecstatic lyricism and sweet apprehension the impulse and goal to glorify and praise this swift life and its Originator and Sustainer: Sometimes I get tired of all this talk about God/ and I just want to go and sit under a tree// but then the tree starts talking to me about God/ and we find ourselves in another conversation

KNOCKING FROM INSIDE, BY TIEL AISHA ANSARI, is the journey of the human soul towards the Divine approached through a number of doorways: sorrow, the natural world, and the listening heart. We travel through both real and illusionary lands to (re)join the Beloved at the end of all paths. "When Tiel says 'God' she means it, in all her various ways and fresh poetic stratagems, in these poems in which there are many strata, and in this book which contains many gems." - Daniel Abdal-Hayy Moore

RAMADAN SONNETS, not always a spiritual meditation, nor often even what should be felt and achieved in the fast (the poems are striving for some reality of feeling and experience), these poems are an imaginatively inspired record of the month, its small epiphanies and grim endurances, heading out from its physical constraints to contemplate a vast panorama, or focusing in on particulars, those embryos of explosive meaning, to evoke the blessed month of Ramadan's intertwining flavors of asceticism and sensual gratitude, its palatable and palpable Light.