Reginald Horace BlythBesprekingen

Mumonkan is a book of some of the most important Zen koans, written by Mumon, a Zen Master in approximately 1100. Mumon presents the koan, and then adds a brief commentary of his own, and closes with a very short single stanza poem about the koan.

A book of haikus about Summer and Autumn.

blyth's first book ain't his best nor his easiest but worth at least one read

the premise is more or less that great literature is zen, and what's not is not. so when wordsworth is good he's also zen, and bad wordsworth is also non-zen.

blyth's personal story is worth googling [it's also recounted in [author: rick fields]' wonderful [book: how the swans came to the lake]

the book came out the same time as [author: aldous huxley]'s [book: perennial philosophy] by the way (context, context)

Simply one of the best books written for those interested in the inner spirit of poetry, literature and the spiritual life inspired by Zen. Blyth wrote it while interred by the Japanese during WWII. The core message is that the soul of Zen is the identical with the core spirit of poetry.

Gold, like all of Blyth's books. I have vols 1-5 but don't want to use up all of my 400 free entries.

One of the more pleasurable books ever written if you are interested in English Literature and Zen.

These 4 volumes of Haiku by Blyth are probably the most unusual of all haiku books. Blyth attempts a tour-de-force of every topic related to haiku. Volume 1, "Eastern Culture" covers Japanese art and religion, haiku technique, haiku philosophy, haiku poets, and various "states of mind" such as selflessness and simplicity. Each topic is reviewed in a reflective essay that is not so much an introduction to the topic as it is a forum for Blyth to grapple with the issue and attempt to persuade the reader of some point of view or another. Volumes 2-4 are seasonally-organized collections of haiku with extensive commentary for each haiku.
It's not completely clear who Blyth intended these books for.

First published in 1949, a slightly outdated world-view peeps through now and then. As a whole, the books are not really a terribly good introduction to haiku, since he seems to presume some vague knowledge of terms and topics before beginning each one. At the same time, the level is simple enough to be a good second book to read after learning some of the basic terminology, and the coverage of all things "haiku" is comprehensive. If anything, the books seem to be aimed at some European-educated literati -- it's as if he's trying to convince some group of the legitimacy of haiku by connecting it to traditional poetic and Christian ideals. Furthermore, while Japanese and Chinese are well-translated, he throws in untranslated German and Italian without a second thought, as if any reader could be assumed to know them (don't worry, the book is still quite readable without knowledge of German or Italian). Blyth demonstrates himself throughout to be quite well-read, but the one thing that especially bugs me is that his constant attempts to relate haiku to European literature seem forced, unconvincing, and entirely unnecessary.

Even with the odd tone, the books make a very good learning experience. The analysis of haiku is well-informed, thoughtful, and generally right on the mark. Blyth is also an excellent translator from my point of view: he makes a straightforward literal translation, but he is quite sensitive to the difficult task of preserving the subtleties and intent of the original Japanese, as well as nicely capturing some of the ambiguities, which are very hard to capture in translation.

These 4 volumes of Haiku from Blyth are probably the most unusual of all haiku books. Blyth attempts a tour-de-force of every topic related to haiku. Volume 1, "Eastern Culture" covers Japanese art and religion, haiku technique, haiku philosophy, haiku poets, and various "states of mind" such as selflessness and simplicity. Each topic is reviewed in a reflective essay that is not so much an introduction to the topic as it is a forum for Blyth to grapple with the issue and attempt to persuade the reader of some point of view or another. Volumes 2-4 are seasonally-organized collections of haiku with extensive commentary for each haiku.

It's not completely clear who Blyth intended these books for. First published in 1949, a slightly outdated world-view peeps through now and then. As a whole, the books are not really a terribly good introduction to haiku, since he seems to presume some vague knowledge of terms and topics before beginning each one. At the same time, the level is simple enough to be a good second book to read after learning some of the basic terminology, and the coverage of all things "haiku" is comprehensive. If anything, the books seem to be aimed at some European-educated literati -- it's as if he's trying to convince some group of the legitimacy of haiku by connecting it to traditional poetic and Christian ideals. Furthermore, while Japanese and Chinese are well-translated, he throws in untranslated German and Italian without a second thought, as if any reader could be assumed to know them (don't worry, the book is still quite readable without knowledge of German or Italian). Blyth demonstrates himself throughout to be quite well-read, but the one thing that especially bugs me is that his constant attempts to relate haiku to European literature seem forced, unconvincing, and entirely unnecessary.

Even with the odd tone, the books make a very good learning experience. The analysis of haiku is well-informed, thoughtful, and generally right on the mark. Blyth is also an excellent translator from my point of view: he makes a straightforward literal translation, but he is quite sensitive to the difficult task of preserving the subtleties and intent of the original Japanese, as well as nicely capturing some of the ambiguities, which are very hard to capture in translation.