Discusses Blake, Joyce, Pasternak, Faulkner, Styron, O'Connor, Camus, symbolism, creativity, alienation, contemplation, and freedom.

This paperbook collection of his prose writings reveals the extent to which Thomas Merton moved from the other-worldly devotion of his earlier work to a direct, deeply engaged, often militant concern with the critical situation of man in the world.

Poet, Trappist monk, religious philosopher, translator, social critic: the late Thomas Merton was all these things. This classic selection from his great body of poetry affords a comprehensive view of his varied and progressively innovative work. Selected by Mark Van Doren and James Laughlin, this slim volume is now available again as a wonderful showcase of Thomas Merton's splendid poetry.

When Thomas Merton entered a Trappist monastery in December 1941, he turned his back on secular life—including a very promising literary career. He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again. It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot—one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it. He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life. Merton’s thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O’Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.

Now in paperback, revised and redesigned: This is Thomas Merton's last book, in which he draws on both Eastern and Western traditions to explore the hot topic of contemplation/meditation in depth and to show how we can practice true contemplation in everyday life. Never before published except as a series of articles (one per chapter) in an academic journal, this book on contemplation was revised by Merton shortly before his untimely death. The material bridges Merton's early work on Catholic monasticism, mysticism, and contemplation with his later writing on Eastern, especially Buddhist, traditions of meditation and spirituality. This book thus provides a comprehensive understanding of contemplation that draws on the best of Western and Eastern traditions. Merton was still tinkering with this book when he died; it was the book he struggled with most during his career as a writer. But now the Merton Legacy Trust and experts have determined that the book makes such a valuable contribution as his major comprehensive presentation of contemplation that they have allowed its publication.

Thomas Merton's final testament as a poet is his most ambitious long work and a remarkable poetic achievement.

"With the [publication of this book], an ever-wider audience may more fully appreciate the ... range of the poet's technique, the scope of his concerns, and the humaneness of his vision"--Back cover.

A great introduction to the religions of the East by a monk from the West. Merton’s biographer, George Woodcock, once wrote that “almost from the beginning of his monastic career, Thomas Merton tentatively began to discover the great Asian religions of Buddhism and Taoism.” Merton, a longtime social justice advocate, first approached Eastern theology as an admirer of Gandhi’s beliefs on non-violence. Through Gandhi, Merton came to know the great Hindu text the Bhagavad Gita and in time came to have dialogues with the Dalai Lama and Taoist leader D. T. Suzuki. Merton then became deeply interested in Chuang Tzu and Zen thought. On Eastern Meditation, edited by Bonnie Thurston (author of Merton and Buddhism), gathers the best of his Eastern theological writings into a gorgeously designed gift book edition.

Merton, one of the rare Western thinkers able to feel at home in the philosophies of the East, made the wisdom of Asia available to Westerners. "Zen enriches no one," Thomas Merton provocatively writes in his opening statement to Zen and the Birds of Appetite—one of the last books to be published before his death in 1968. "There is no body to be found. The birds may come and circle for a while... but they soon go elsewhere. When they are gone, the 'nothing,' the 'no-body' that was there, suddenly appears. That is Zen. It was there all the time but the scavengers missed it, because it was not their kind of prey." This gets at the humor, paradox, and joy that one feels in Merton's discoveries of Zen during the last years of his life, a joy very much present in this collection of essays. Exploring the relationship between Christianity and Zen, especially through his dialogue with the great Zen teacher D.T. Suzuki, the book makes an excellent introduction to a comparative study of these two traditions, as well as giving the reader a strong taste of the mature Merton. Never does one feel him losing his own faith in these pages; rather one feels that faith getting deeply clarified and affirmed. Just as the body of "Zen" cannot be found by the scavengers, so too, Merton suggests, with the eternal truth of Christ.

Of the full-length prose works that Thomas Merton wrote before he entered the Cistercian Order in 1941, only My Argument with the Gestapo has survived--perhaps in part because it was a book that Merton never ceased wanting to see in print.