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This is an outstanding compilation, by Zen scholar Soiku Shigematsu, of japanese tanka (five lines), haiku (three)and dodoitsu (four) mostly from the Zenrin Segoshu, a handbook compiled in japanese by Zen masters to meet the demands of those Zen students that found the Zenrin Kushu difficult to read, because it was written in Chinese. It must be remembered that the classical study of koan in the Renzai Zen monasteries required students to dwell in jakugo or capping phrase exercises. Once the first phase of the koan analysis is over, the student must pick a capping phrase from thousands of poems in a special anthology (the only book allowed in the meditation hall), that best expresses the mental and physical state reached by him through meditation. This exercise
of course leads to the study of all the poems in the anthology and therefore expands the students knowledge and understanding of the Zen culture and classic texts.
In order to give an idea of the poems that this book contains and to promote a new printing of it, here are some of the jewels from this paper box:
There seems,
But there's never:
Moon in the water.
-------------
"There is", someone says,
And we stick to that "there is."
See there's nothing-
Only the sound
Of the pine wind from the beach.
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Since legendary times,
Nothing has changed:
Running water and the love
Between woman and man.
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In the dark
I lost sight of
My shadow;
I've found it again
By the fire I lit.
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Little clear streams rustle
Down through the mountain rocks
And finally let the battleship
Float on the sea.
THIS BOOK MUST BE REPRINTED FOR THE DELIGHT OF COMMON FOLKS AND POETRY FANS.
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For students of Native American Literature puzzled by Gerald Vizenor, perhaps the most important--but often the most difficult--Native writer, Blaeser's book is long-awaited and highly recommended.
Blaeser shows how Vizenor's prose, oftentimes cryptic and fraught with neologisms, parallels influences that come from his interest in Chippewa oral tradition and haiku. She explains how Vizenor's concept of "word cinemas," for example, stimulates the reader into active thought. Vizenor's prose leaves a great deal unsaid and unfinished, and it is up to the reader to participate in the production of ideas Vizenor introduces.
Finally, Blaeser shows how Vizenor's prose is most effective in dismantling stereotypes regarding Native identity; by creating an active relationship with the reader, the reader's conception of "Indianness" becomes a dynamic, continually changing process, never static.
For a critical study of this type, Blaeser's book is well-written and not difficult reading. This study is highly recommended, and readers who are interested in Gerald Vizenor and Native American Literature and culture will find this book essential