I bought this book after reading about it in my yoga magazine thinking I could really use a good book of poems to ponder and this book is terrific. The poems really will quiet your mind. I love that such a wide array of authors are represented - from Rumi to Dogen to Emily Dickenson to Walt Whitman. A great collection. Glad I bought it.

One of the most inspiring collections or sacred poetry ever compiled. The translations are perfect. The sensual/spiritual quality of the words can transport you into altered states. Beautiful. Al Link - 4 Freedoms Tantra

Much like Mitchell's Tao Te Ching this selection of poerty from various spiritual traditions is a joy to read and a nice tool for reflection and meditation. Zazen On The Mountain by Li Po has become my favorite poem and this work has been helpful to me in many ways. The Enlightened Heart is a lovely book and a great companion to his Tao Te Ching. Thumbs up for Mitchell's work as editor.

Karen's poems has opened the door to more understanding of each I Ching hexagram for me. Each poem stands on its own and I often read them to my students. She gives powerful images and emotions to the meaning of each hexagram. I have consulted the I Ching since I was 16 years old (over 30 years now) and her book sings to me. One of her poems will be in my upcoming book: I Ching For Teens (Fall 2001, Inner Traditons & Bear and Co.,). Her book could accompany any I Ching consultation.
This book of poems shows that there are many ways to convey, read and translate the I Ching while still holding on to its message of hope, compassion, personal integrity and cosmic truth.
Thank you Karen for adding to the meaning of the I Ching with your poetry...

My first contact with Karen Holden was through seeing her visual art. Upon first seeing those paintings, I was struck by the intensity of feeling that she could express with brush and canvas. Wanting to live with some of her artwork, I arranged to meet with her. My first few meetings with her were as artist and client. Over time we became friends, and through that friendship, I came to realize how much Karen put her soul into her art.

In her BOOK OF CHANGES, I can see that same deep personal interaction between Karen and her poetry as I saw between Karen and her art. Poetry, in all its forms, is, arguably, the most personal way of expression possible. When a poet shares his or her poetry with us, he or she is sharing something of the self. This is certainly true here.

In Karen's introduction she quotes Lao Tzu as follows: "A good artist lets his intuition lead him wherever he wants." She goes on to state: This is my goal -- to be led into this work and be enriched by it." I think that she has not only enriched herself, she has enriched all of us.

Each verse of Karen's poetry is paired with one of the sixty-four hexagrams of the "I Ching." The "I Ching" can be read as a philosophical text, or one can consult it much as the ancient Greeks consulted the Oracle. Karen's poems have sprung from her years of interaction with the "I Ching" and, in their own way, have added another dimension. I think that we can see this from the following short poem from the book:

I CHING #55: FENG: "Abundance" -- "If Clarity is within, and Movement without, one has greatness and abundance."

Karen's poetic pairing with #55"

"IS ENOUGH"

"birds sit on the tree -----outside my window

like the last persimmons ----- of winter ----- beautiful fruit"

Quoting one poem (and one of the shortest at that) out of sixty-four is, of course, unfair to the book. After all, things taken out of context lose something that can be achieved only by putting them back into context. To do this one must read the entire book, including the Introduction. Read, contemplate, and meditate if you want the full impact.

Karen Holden's poetry is a treasure of insight and courage. Her imagery lingers in the mind, and every page makes life seem richer.

This book outlines a rather novel approach to the quest for a career in Hollywood. My opinion is that it can be successfully applied with very little modification here in the UK.
Additionally, the acting technique described in this book is brilliant and I've found an immediate improvement in my own acting talents as a result of having studied it. This is not an admission I make lightly!
I highly recommend it to those seeking a career in front of the camera.

This book is the best acting class I've ever had!

After reading this book,I now understand why my acting "career" never took off. The authors have explained things in such a way as to make me feel absolutely stupid for not having seen things more clearly when I was taking my shot at the silver screen. Sadly, my time for that has passed me by, but my daughter is reading the book so I doubt she'll make the mistakes I did. As to the technique, it is nothing short of revolutionary and should send shock waves through the fraternity of acting coaches. The added benefit to my wife and I is that my daughter needn't be leaving home just to get things going in Hollywood.

This is a book you will read over, and over. I could not put it down. This book shows the westerner the humor, warmth and insight that can be gain by reading and understanding the Tao Te Ching.

The books illustrations go complement the translation. They are beautiful and inspiring. Sargent did a great job on the water colors. Just as Legge did on the translation.

This book is is very readable and its lessons about life are truelly fantastic. They are wriiten in a wounderful sage like style. I think that you will find that this book does one of the best jobs of tranlatting Lao Tzu's insights on the true working of the universe in a manner that is very clear to us in the west.

A must have book.

I am a long-time reader of Stephen Mitchell's books and have this title on his tape set. This book is a beautiful companion to his wonderful vocal rendition.

The Tao is a manual for life. Not a religion mind you, but a philosophy. As you read the Tao you will realize that you already knew the truths spoken of but overlooked them because they were so obvious. A must read for our age. By the way, it's not lite reading. Read only a few passages at a time and then reflect on them. This is one of the few books you can read over and over and still get something ne out of it. Also, I've read many versions of the Tao Te Ching. Many were not translated in to real world terms. Others were....well.... Dumbed down! Of all of these translation this version is by far the best. Real world language while allowing you to draw your own conclusions.
Enjoy!

Job has a sudden change of fortune, he losses his health, wealth, family, and status. He addresses the question "Why?" Four human counselors --Eliphaz, Bildad, Zophar-- (Elihu is not present in this translation) are unable to provide the insight Job desperately needs. It remains to Jehovah to address Job and let him know that he must trust in the goodness and power of God in adversity by enlarging his concept of God. Job is perhaps the earliest book of the Bible, author unknown. Set in the period of the patriarchs, the main character is a Gentile. Oddly enough, he has been personified as the virtue of patience, contrary to the Biblical Job who is angry to the point of blasphemy, and rightly demands justice.

This beautiful translation into English, directly from Hebrew, is to be praised for its sound, strong, energetic poetry and more so for its scholarly introduction. Mitchell's interpretation of the book of Job is not one of spiritual acquiescence, of capitulation to an unjust, superior force, but of a great poem of moral outrage, a Nietzchean protest. In it, Job embodies Everyman and grieves for all human misery, and acquiescence at the end of the poem is a result of spiritual transformation, a surrender into the light, the acceptance of a reality that transcends human understanding.

. . . even though I'd like to deduct a star for its omissions.

As with so much of Stephen Mitchell's work, it's easy to pick on him for what he's decided to leave out. Here, his translation of Job omits the hymn in praise of Wisdom and the speech (in fact the entire presence) of the young man Elihu. I tend to disagree with his reasons for skipping them. But having read his translation for nearly a decade now, I have to admit we don't miss them much.

His work has been described as "muscular," and that's a very apt term. Not only in Job's own language (from his "God damn the day I was born" to his closing near-silence after his experience of God) but in the voices of all the characters -- and most especially in the speech of the Voice from the Whirlwind -- Mitchell's meaty, pounding, pulse-quickening poetry just cries out to be read aloud.

And as always, I have nothing but praise for Mitchell's gift of "listening" his way into a text and saying what it "wants" to say. In particular, his translation of the final lines has a wee surprise in store for anyone who hasn't already read it. (He disagrees with the usual repent-in-dust-and-ashes version and offers a denouement more fitting to the cosmic scope of Job's subject matter.)

Moreover, all this and much else is discussed in a fine introduction that -- in my opinion as a longtime reader of Mitchell -- may well be his finest published commentary to date.

Essentially, he deals with the so-called "problem of evil" by simply dissolving it. The God of Mitchell and of Mitchell's Job is not a feckless little half-deity who shares his cosmic powers with a demonic arch-enemy and sometimes loses; this God, like the God of the Torah itself (and incidentally of Calvinist Christianity, at which Mitchell takes a couple of not-altogether-responsible swipes), is the only Power there is. Ultimately God just _does_ everything that happens, because what's the alternative? "Don't you know that there _is_ nobody else in here?"

As I suggested, there are a handful of half-hearted jabs at traditional (usually Christian) religion, but for the most part it should be possible for a theologically conservative reader simply to read around them. (This is a nice contrast with Mitchell's Jesus book, which -- to the mind of this non-Christian reviewer -- seems to be brimming with anti-Christian "spiritual oneupmanship.")

So it's not only a fine translation that properly recognizes Job's central theme of spiritual transformation, but a universally valuable commentary into the bargain. If you haven't read any of Mitchell's other work, this is a great place to start. And if you _have_ read some of Mitchell's other work, do get around to this one. It's probably his best.

I first read the Book of Job in the New King James translation. That was a truly amazing event--I felt that somehow I had experienced what Job had, and that I was learned the same painful lessons that Job had. Great poems can do that.

I'm sure if I had read this version, it would have had the same effect.

Job essentially worships an idol. He worships an orderly God who runs an orderly, boring universe where the good get rewarded and the evil get punished. The real God shows him that things are a bit different. The universe is not simple, it is a grand, messy explosion of beauty where frail, innocent humans often get trampled. Is it just in a way that would conform to human standards of justice? God basically says, "Who cares, look at it."

Thus, a translator/poet has a tough job. In a few pages, he or she has to show the reader God's glorious universe. No easy task (except for G.M. Hopkins).

Mitchell gets it done with short "muscular" phrasing, reminscient of the way Lombardo treats the Iliad. I.e., Job ch 3 reads something like "Damn the day I was born/Blot out the sun of that day . . ." Along the way Mitchell eliminates some of the "interpolations" and "corruptions" that scholars have found were not part of the original text. And I don't think this detracts from either the beauty or the meaning of the poem.

I would have added a more detailed introduction however. If I may recommend a book, please also take a look at The Bitterness of Job: A Philosophical Reading, by John T. Wilcox. If you read these two together along with an orthodox translation like the JPS (mentioned in another review) or the NRSV, I think you will have a good grasp of this text from a wide variety of viewpoints, secular and religious. You can't get too much Job. As Victor Hugo said, "If I had to save one piece of literature in the world, I'd save Job."

Although Stephen's writing style may make it difficult for the scholar to take him seriously (he sounds more like an Info-Age
geek than a academic), he presents some extrordinary ideas that shouldn't be ignored or overlooked. For example, his list of the new elements and principles of design spawned by Info-Age art
forms is revolutionary. A must read for the Info-Age artist,
art critic, social-critic, or art educator!

I teach a graduate design class, and this book is a great way to let students think about their role in the fast changing world of visual communications. Stephens has a great way of putting things in perspective, and notes that each fundamental change in communication has met with resistance, i.e. we still think of TV as the Boob Tube. When I read it a few years ago, it seemed so new--it's fun to see how his theories are quickly melding into our culture seamlessly. It's been an optional read for my students--now it's time to make it mandatory!

I read Stephen's last summer and I'm now rereading parts of it in preparation for using video in my classroom next Fall. There's no doubt what Stephen says is true. The role of the image can often be even more powerful than the word. For example, Henry Hampton's documentary, Eyes on the Prize, conveys much more emotionally and intellectually than any book on the Civil Rights Movement. Even the most prolific readers out there are moved by powerful motion pictures and documentaries. So far me Stephen's work is only a start in terms of examining what we can be done with visual communication, especially the video.

I bought this book along time ago, but it has remained on my shelf untouched until tonight because I knew that Rilke wrote in German and that I would be reading a translation which I thought my detract from the power and original intention of the poetry. But I decided to open it tonight out of curiosity after reading a few of the letters from Letters to a Young Poet and Rilke immediately became my favorite poet. Even when I don't understand what he is saying his poems carry an immediacy and a power which bring me close to tears. I have not read any other translations of his work so I am not qualified to comment on the quality of this translation, but if you like poetry I would definately suggest getting your hands on some Rilke!

This is a luminous and remarkable book--it brings Rilke alive with integrity and poetic clarity to those of us who don't know German, and had previously lost what is most magical and fresh about this unusual, raw, Romantic poet. I am a poet and poetry professor at a San Francisco area college, which doesn't suggest I know everything but it hints that I've read a few other poetry books--and this is my very favorite one. Thank you Stephen Mitchell.

I simply cannot imagine not owning this book. For less than the price of a cd, less than the price of a good meal, you can reward yourself with two things: (1) perhaps the finest example of German poetry (the book is bilingual) this side of Schiller, and (2) without a doubt the finest translation of Rilke, or probably any poet, you will ever encounter in English. Those are hefty words, but I can say no less about this magnificent book. I often find myself reading the English more than the German, the translations are so elegant. In its review of the volume, the New York Times Book Review said that "it is easy to feel that, if Rilke had written in English, he would have written in this English." I concur. Mitchell should have won a Pulitzer, or whatever one gets for translations, for this book. I am only a cautious fan of his Tao Te Ching translation, though I know that he says up front that he is interpreting more than translating in that work (and with the TTC you can do that). But this book is superlative. Often, translators of poetry feel that they have to re-write the poem in order to get der Sinn, and Mitchell, himself a poet, could have done that easily and given us a nice book (even bad Rilke by a good translator is better than no Rilke at all). Mitchell did not do that; he very simply gave us Rilke, Rilke's poems, in English. They say what Rilke said, I don't know how else to say that. Mitchell wisely does not try to reproduce Rilke's rhyme schemes, though he does seem to match Rilke's alliterations note for note. This is not a flaw in the translations by any means; complex, artful, infuriating German sentence structure being what it is, I cannot imagine successfully duplicating the rhymes and still making a book as beautiful as the one Mitchell has made. German is a forbidding, precise, and multi-layered language, a daily Sprechstimme that is a far cry from the crude throat noises one often hears from people who wouldn't know German if it bit them (they are probably thinking of French, a terribly gutteral tongue that they likely haven't heard either). But, thankfully, Mitchell is not translating French (much; there are a few sketches included in French), and anyway everyone knows that Merwin is the past master at that. Baudelaire is about the only poet I can stand to read in French, anyway, maybe Rimbaud (Paul Schmidt's Arthur Rimbaud: Complete Works is a masterful translation, the best on the market in English, and Rimbaud is difficult in French).

To conclude, Mitchell's poems in this volume aren't translations of Rilke's poems, so much as they are Rilke's poems. Let me give one example, the first stanza of the first of the Sonnetts to Orpheus,in German then in English:

Da stieg ein Baum. O reine Übersteigung! / O Orpheus singt! O hoher Baum im Ohr! / Und alles schweig. Doch selbst in der Verschweigung / ging neuer Anfang, Wink und Wandlung vor.

Now, the same thing, in English:

A tree ascended there. Oh pure transcendence! / O Orpheus sings! Oh tall tree in the ear! / And all things hushed. Yet even in that silence / a new beginning, beckoning, change appeared.

This is what you want in a translation.

(By the way, if you are a student of any level interested in German poetry, you have to own this book, if just for the vocabulary (in case you are a heathen and cannot buy it for the sake of sheer joy).

I bought this book for my daughter's 8th birthday. I appreciate the valuable lesson it teaches that it is never too late to do the right thing.

I bought this both, for my 2 year old daughter and for me, an avid unicorns lover/collector. If it's about unicorns, I buy it. Didn't care so much of story, just saw a unicorn. After reading though, I was touched by the story. Never since the Last Unicorn have I read such a wonderful unicorn story. Unlike Last Unicorn, this story keeps my daughter's attention as well, till she gets older. Always in unicorn folklore you hear "nobody rides a unicorn". You can attract it, pet it, talk to it, and capture it, but riding was all but impossible in most true unicorn stories. It only seemed natural that a little "nobody" was allowed to ride a magnificent beast. A wonderful story for all ages and most of all, unicorn lovers!

Adrian Mitchell has written a wonderful fairy tale, complete with evil king, beggar girl turned heroine and happily ever after ending. Zoe is "nobody's" child and lives alone on the outskirts of town. Her voice is soft and sweet. When the king wants to capture a unicorn for the magic in its horn, he tricks Zoe into helping him. He sends her into the forest to sing softly and when a beautiful unicorn comes, lies down and puts his head in her lap, the king's men capture it. But Zoe is angry, defies the king and sets the unicorn free. After she is banished from the kingdom, she sets out to find her special friend. Nobody Rides the Unicorn is a lovely, sensitive story, with a message, the whole family will treasure. Children will begin to understand the rewards of doing what is right and listening to their consciences. The story is complimented with beautiful illustrations and the artwork is as special and appealing to youngsters, as the tale itself. As a great bedtime story and a must for all home libraries, this book will be a part of your family for many years to come.

I just thought I would clarify that this collection is more comprehensive than The Selected Poetry of Rainer Maria Rilke, also translated by Stephen Mitchell. Ahead of All Parting includes all poems in the aforementioned book and adds many more.

This is one of the most beautiful books i have ever had the pleasure of reading, especially with Stephen Mitchell's translation. Rilke's "Letters to a Yound Poet" is also translated by Mr. Mitchell, and his translation is as pure as Rilke's own German.

Rilke is a quiet light. I believe, he realizes, in some measure, his oneness with God. His table of quietness absorbed me. Although, i may not know what Rilke was actually experiencing when he wrote, but what I feel is the vastness and inclusiveness of God, the patience of God, the love of God, the "closer than breathing and nearer than hands and feet" of God.

One day, someone, who was familiar with Rilke, saw me reading this book, and mentioned that some of Rilke's books were read at funerals. I laughed; i hadn't heard that before. Yet, i can understand why this would be so. There is a sadness in his writings. But the death of which he speaks is not the kind of death that needs an undertaker; but the kind that says to "die daily" to our claims, suggestions, fixations, and opinions of "this world." It is when we die to universal beliefs that we become the quiet light of which Rilke speaks.

I've read virtually all of the Rilke translations (discovered him browsing in a library in '73 and haven't stopped reading him)and this one truly shines. What is most amazing about Rilke is his ability to make his perceptions your perceptions. Rilke is not easy, especially the later poems, but like all great literature, lanscapes keep opening for more exploration. He really is "the poet's poet." You might start by thumbing to the middle of the book and read the "uncollected poems." I also recommend Rilke's one novel, "The Notebooks of Malte Laurids Brigge," by the same translator (a first person narrative of the life of an impoverised poet in turn of the century Paris) --surreal, intensely psychological, artful.

Books from a successful Broadway or off-Broadway show are typically pretty silly, or at least pandering about how fabulous it is. This is a decidedly curious marketing tool, since it comes out after the show has lost its steam in New York, before the movie is made, and while the show is sort of on tour.

Hedwig and the Angry Inch was a really fabulous off-Broadway show, though I don't think the script on paper will quite capture the experience and power of it. Still, as it is a most worthwhile production, any marketing tool behind it is assuredly for the bet.

For some people, the stage production of Hedwig And The Angry Inch was this greally great Off-Broadway musical. For others it taught them a little bit about themselves, about those around them, and about their lives. John Cameron Mitchell's text laces beautifully with Stephen Trask's lyrics to dish out an emotional beat down that hurts so much you love it.

If you haven't seen it, I'll admit, reading the script isn't going to do it for you, but if you've at least heard of it, go out and get yourself the CD and read along between the songs. There's also some incredible photography to look at, many of which haven't been seen before. You get a semi-decent idea of what's going on on stage, anyway. It's quite a show by some extremely talented people. I will never forget Hedwig or her brain parents as long as I live.

Well, I guess what I really have to say is, "wow!" I've been listening to the Hedwig soundtrack since it came out, but I never got a chance to see the play, and, consequently, I missed out on a GREAT deal. While this book doesn't replace seeing a show, it does contain the entire script. So now I've caught up and know more exactly what all of those fabulous songs are about!! And what a story . . .

Buy the soundtrack, and if you are at all moved, the next logical step is to buy the book. You will not be disapointed.