This book deals with Chinese and Japanese inscriptions (8th century AD) about the footprints of Buddha. The language of the Japanese inscription reflects the contemporary dialect of Nara. Its writing system presents a special interest being practically monophonic.

The Gem-Glistening Cup is the second volume of Edwin Cranston's monumental Waka Anthology which carries the story of waka, the classical tradition of Japanese poetry, from its beginnings in ancient song to the sixteenth century. The present volume, which contains almost 1,600 songs and poems, covers the period from the earliest times to 784, and includes many of the finest works in the literatures as well as providing evocative glimpses of the spirit and folkways of early Japanese civilization. The texts drawn upon for the poems are the ancient chronicles Kojiki, Nihonshoki, and Shoku Nihongi; the fudoki, a set of eighth-century local gazetteers; Man'yoshu, the massive eighth-century compendium of early poetry (about one fourth of that work is included); and the Bussokuseki poems carved on a stone tablet at a temple in Nara. All poems are presented in facing romanization and translation.

This volume contains all of Sanghrakshita's poems and six short stories. It is prefaced by a foreword and two essays introducing the poems in different ways. It also includes edited versions of two talks Sangharakshita gave about specific poems, and a sequence of conversations about his poetry that were recorded towards the end of his life.

About ninety miles north of Bangkok lies Wat Phra Phut-thabaht or Temple of the Buddha's Footprint. In February 1807, four days before the Magha Puja holy day, and in a tradition stretching back almost two centuries to the Temple's founding, members of Bangkok's royal courts set out on pilgrimage to the Footprint. These are poems of longing, worry, hope, in the form of a nirat, a Thai form in which Sunthorn Phu was a master.

THE THICH NHAT HANH POETRY COLLECTION: Over 50 inspiring poems from the world-renowned Zen monk, peace activist, and author of The Miracle of Mindfulness. “ . . . the antidote to our modern pain and sorrows. His books help me be more human, more me than I was before.” —Ocean Vuong, author of On Earth We’re Briefly Gorgeous Though he is best known for his groundbreaking and accessible works on applying mindfulness to everyday life, Thich Nhat Hanh is also a distinguished poet and Nobel Peace Prize nominee. This stunning poetry collection explores these lesser-known facets of Nhat Hanh’s life, revealing not only his path to becoming a Zen meditation teacher but his skill as a poet, his achievements as a peace activist, and his experiences as a young refugee. Through more than 50 poems spanning several decades, Nhat Hanh reveals the stories of his past—from his childhood in war-torn Vietnam to the beginnings of his own spiritual journey—and shares his ideas on how we can come together to create a more peaceful, compassionate world. Uplifting, insightful, and profound, Call Me By My True Names is at once an exquisite work of poetry and a portrait of one of the world’s greatest Zen masters and peacemakers.

The appreciation of Zen philosophy and art has become universal, and Zen poetry, with its simple expression of direct, intuitive insight and sudden enlightenment, appeals to lovers of poetry, spirituality, and beauty everywhere. This collection of translations of the classical Zen poets of China, Japan, and Korea includes the work of Zen practitioners and monks as well as scholars, artists, travelers, and recluses, ranging from Wang Wei, Hanshan, and Yang Wanli, to Shinkei, Basho, and Ryokan.

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This new translation, the lifework of the author, is fully academically oriented. Given that it is the largest Japanese poetic anthology and thus the most important compendium of Japanese culture of the Asuka period (AD 592–710) and most of the Nara period (AD 710–784), it is very much more than a work of literature, which has been the single focus of previous translations by Pierson and Suga.Thus, in this translation the author has sought to present the Man’yōshῡ to the reader preserving as far as possible the flavour, sounds and semantics of the original poems. The result is a more literate but true translation. In addition, because the realia of the Man’yōshῡ are mostly alien to both Westerners and modern Japanese, the text contains appropriate commentaries that illuminate the context. Also unique to this new version is the appearance of the original text, kana transliterations, romanization and glossing with morphemic analysis for the benefit of specialists and students of Old Japanese. The entire translation will consist of 20 volumes, paralleling the original twenty books. The first to be published is volume 15 (announced here) one of six books written mostly in phonographic script. The author argues that the importance of book 15 lies in the fact that it contains a large number of Western Old Japanese grammatical forms and constructions that are not attested in any other Western Old Japanese text, but are extremely important in understanding this language, thereby providing a valuable foundation for all the other Man’yōshῡ texts, including those written in semantographic text. The publication sequence and anticipated dates of the remaining volumes will be announced at a future date.