A practical wedding planner for Chinese-, Japanese-, and Korean-Americans, this book is beautifully illustrated and rich with history and traditions. Featuring an eight-page color insert, it is an essential guide for Asian-Americans--one that honors ancient heritage as it inspires the creation of new traditions.

Here's a guide to making the most of the time between today and the wedding by dividing it into manageable components. As you plan, consider things your mother probably hasn't told you, like Jack and Jill parties and registering online. Fill in checklists to help you find your wedding style, whether traditional, ethnic, special theme, your own production (or eloping). Charts and tips help you establish costs and budgeting. Then come planning the ceremony, with common-sense etiquette on whom to invite, selecting the wedding party, and resolving family tensions. Where to honeymoon? Look over the great list of suggestions together. You really can manage the announcements, engagement parties, rehearsal dinner, and the reception. Finally: plan a peaceful, lovely wedding day, hour by hou

Mary Oliver is one of America's best-loved poets, the winner of the Pulitzer Prize and the National Book Award. Her luminous poetry celebrates nature and beauty, love and the spirit, silence and wonder, extending the visionary American tradition of Whitman, Emerson, Frost and Emily Dickinson. Her extraordinary poetry is nourished by her intimate knowledge and minute daily observation of the New England coast, its woods and ponds, its birds and animals, plants and trees.

Korean immigrants and their experiences in the United States from 1903-1941.

The genre of poems that may be read both forward and backward, producing different creations was known as the "flight of wild geese." These poems were often sent so that a distant lover, like the migrating birds, would return. Its greatest practitioner, and the focus of this critical anthology, is Su Hui, a woman who, in the 4th Century, embroidered a silk for her distant husband using a grid of 840 characters that created perhaps 12,000 ways to read this poem. With examples from the 3rd to the 19th centuries, Michele Metail describes reversible poems as "a singular adventure at the edge of meaning, of language, and of writing."

An illustrated introduction to the ancient culture of tea in China and its popularisation around the world.

Known for his meaty seriocomic novels–expansive works that are simultaneously lowbrow and highbrow–Tom Robbins has also published over the years a number of short pieces, predominantly nonfiction. His travel articles, essays, and tributes to actors, musicians, sex kittens, and thinkers have appeared in publications ranging from Esquire to Harper’s, from Playboy to the New York Times, High Times, and Life. A generous sampling, collected here for the first time and including works as diverse as scholarly art criticism and some decidedly untypical country- music lyrics, Wild Ducks Flying Backward offers a rare sweeping overview of the eclectic sensibility of an American original. Whether he is rocking with the Doors, depoliticizing Picasso’s Guernica, lamenting the angst-ridden state of contemporary literature, or drooling over tomato sandwiches and a species of womanhood he calls “the genius waitress,” Robbins’s briefer writings often exhibit the same five traits that perhaps best characterize his novels: an imaginative wit, a cheerfully brash disregard for convention, a sweetly nasty eroticism, a mystical but keenly observant eye, and an irrepressible love of language. Embedded in this primarily journalistic compilation are a couple of short stories, a sheaf of largely unpublished poems, and an off-beat assessment of our divided nation. And wherever we open Wild Ducks Flying Backward, we’re apt to encounter examples of the intently serious playfulness that percolates from the mind of a self-described “romantic Zen hedonist” and “stray dog in the banquet halls of culture.”

In Spectacular Accumulation, Morgan Pitelka investigates the significance of material culture and sociability in late sixteenth-century Japan, focusing in particular on the career and afterlife of Tokugawa Ieyasu (1543–1616), the founder of the Tokugawa shogunate. The story of Ieyasu illustrates the close ties between people, things, and politics and offers us insight into the role of material culture in the shift from medieval to early modern Japan and in shaping our knowledge of history. This innovative and eloquent history of a transitional age in Japan reframes the relationship between culture and politics. Like the collection of meibutsu, or "famous objects," exchanging hostages, collecting heads, and commanding massive armies were part of a strategy Pitelka calls "spectacular accumulation," which profoundly affected the creation and character of Japan's early modern polity. Pitelka uses the notion of spectacular accumulation to contextualize the acquisition of "art" within a larger complex of practices aimed at establishing governmental authority, demonstrating military dominance, reifying hierarchy, and advertising wealth. He avoids the artificial distinction between cultural history and political history, arguing that the famed cultural efflorescence of these years was not subsidiary to the landscape of political conflict, but constitutive of it. Employing a wide range of thoroughly researched visual and material evidence, including letters, diaries, historical chronicles, and art, Pitelka links the increasing violence of civil and international war to the increasing importance of samurai social rituals and cultural practices. Moving from the Ashikaga palaces of Kyoto to the tea utensil collections of Ieyasu, from the exchange of military hostages to the gift-giving rituals of Oda Nobunaga and Toyotomi Hideyoshi, Spectacular Accumulation traces Japanese military rulers' power plays over famous artworks as well as objectified human bodies.

It will come as a very pleasant surprise to Nan Shepherd's growing following that there is a body of her work which has never been published in book form, and indeed will be entirely unknown outside a very small circle. The editor of this volume, Charlotte Peacock, found many of these gems when researching for the Nan Shepherd biography Into the Mountain, published by Galileo in 2017. The pieces that Peacock found include a brilliant and moving 10,000 word short story, "Descent from the Cross"; a series of 'field writings' which were written at the same time, and in the same style as, The Living Mountain; 15 poems, never seen before; a highly entertaining piece on the poetry of Hugh MacDiarmid and, from where the title of this collection arises, a haunting description of "Wild Geese in Glen Callater" a version of which also went into The Living Mountain.

“Take my word for it, James Reece is one rowdy motherf***er. Get ready!”—Chris Pratt, star of the #1 Amazon Prime series The Terminal List “A rare gut-punch writer, full of grit and insight, who we will be happily reading for years to come.” —Gregg Hurwitz, New York Times bestselling author of the Orphan X series? In this third high-octane thriller in the “seriously good” (Lee Child, #1 New York Times bestselling author) Terminal List series, former Navy SEAL James Reece must infiltrate the Russian mafia and turn the hunters into the hunted. Deep in the wilds of Siberia, a woman is on the run, pursued by a man harboring secrets—a man intent on killing her. A traitorous CIA officer has found refuge with the Russian mafia with designs on ensuring a certain former Navy SEAL sniper is put in the ground. Half a world away, James Reece is recovering from brain surgery in the Montana wilderness, slowly putting his life back together with the help of investigative journalist Katie Buranek and his longtime friend and SEAL teammate Raife Hastings. Unbeknownst to them, the Russian mafia has set their sights on Reece in a deadly game of cat and mouse. As Jack Carr’s most visceral and heart-pounding thriller yet, Savage Son explores the darkest instincts of humanity through the eyes of a man who has seen both the best and the worst of it.