Bøger af Gary Snyder

Ny Jord – Tidsskrift for naturkritik er et multidisciplinært tidsskrift, der orienterer sig på tværs af århundreder og landegrænser og bringer videnskab, litteratur og kunst side om side i ønsket om at bidrage til en kvalificeret samtale om naturen i en tid, hvor vores forestillinger og idéer om den ændres markant.

"This present momentThat lives onTo becomeLong ago."For his first collection of new poems since his celebrated Danger on Peaks, published in 2004, Gary Snyder finds himself ranging over the planet. Journeys to the Dolomites, to the north shore of Lake Tahoe, from Paris and Tuscany to the shrine at Delphi, from Santa Fe to Sella Pass, Snyder lays out these poems as a map of the last decade. Placed side–by–side, they become a path and a trail of complexity and lyrical regard, a sort of riprap of the poet's eighth decade. And in the mix are some of the most beautiful domestic poems of his great career, poems about his work as a homesteader and householder, as a father and husband, as a friend and neighbor. A centerpiece in this collection is a long poem about the death of his beloved, Carole Koda, a rich poem of grief and sorrow, rare in its steady resolved focus on a dying wife, of a power unequaled in American poetry.As a friend is quoted in one of these new poems:"I met the other lately in the far back of a bar,musicians playing near the window and hesweetly told me "listen to that music.The self we hold so dear will soon be gone.""Gary Snyder is one of the greatest American poets of the last century, and This Present Moment shows his command, his broad range, and his remarkable courage.

"e;This is an important book for anyone interested in the ethical interrelationships of things, places, and people, and it is a book that is not just read but taken in."e; -Library JournalFeaturing a new introduction by Robert Hass, the nine captivatingly meditative essays in The Practice of the Wild display the deep understanding and wide erudition of Gary Snyder in the ways of Buddhist belief, wildness, wildlife, and the world. These essays, first published in 1990, stand as the mature centerpiece of Snyder's work and thought, and this profound collection is widely accepted as one of the central texts on wilderness and the interaction of nature and culture.

Two beautifully paired essays, "Tawny Grammar" and "Good, Wild, Sacred," serve to offer an autobiographical framework for Snyder's long work as a poet, an environmentalist, and a leader of the Buddhist community in America.

These Pulitzer Prize-winning poems and essays by the author of No Nature range from the lucid, lyrical, and mystical to the political. All, however, share a common vision: a rediscovery of North America and the ways by which we might become true natives of the land for the first time.

"As a poet," Snyder tells us, "I hold the most archaic values on earth. They go back to the late Paleolithic; the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying intuition and rebirth; the love and ecstasy of the dance, the common work of the tribe." He develops, as replacement for shattered social structures. a concept of tribal tradition which could lead to "growth and enlightenment in self-disciplined freedom. Whatever it is or ever was in any other culture can be reconstructed from the unconscious through meditation...the coming revolution will close the circle and link us in many ways with the most creative aspects of our archaic past."

For the full course of his remarkable career, Gary Snyder has continued his study of Eastern culture and philosophies. From the Ainu to the Mongols, from Hokkaido to Kyoto, from the landscapes of China to the backcountry of contemporary Japan, from the temples of Daitokoji to the Yellow River Valley, it is now clear how this work has influenced his poetry, his stance as an environmental and political activist, and his long practice of Zen. Growing up in the Pacific Northwest, Asia became a vocation for Snyder. While most American writers looked to the capitals of Europe for their inspiration, Sndyer looked East. American letters is profoundly indebted to this geographical choice.Long rumored to exist, The Great Clod collects more than a dozen chapters, several published in The Coevolution Quarterly almost forty years ago when Snyder briefly described this work as "The China Book," and several others, the majority, never before published in any form. "Summer in Hokkaido," "Wild in China," "Ink and Charcoal, " "Stories to Save the World," "Walking the Great Ridge," these essays turn from being memoirs of travel to prolonged considerations of art, culture, natural history and religion. Filled with Snyder's remarkable insights and briskly beautiful descriptions, this collection adds enormously to the major corpus of his work, certain to delight and instruct his readers now and forever.

This short work is part of Applewood's "American Roots" series, tactile mementos of American passions by some of America's most famous writers.

Describing the title of his collection of poetry and occasional prose pieces, Gary Snyder writes in his introductory note that Turtle Island is "the old / new name for the continent, based on many creation myths of the people who have been here for millennia, and reapplied by some of them to 'North America' in recent years." The nearly five dozen poems in the book range from the lucid, lyrical, almost mystical to the mytho-biotic, while a few are frankly political. All, however, share a common vision: a rediscovery of this land and the ways by which we might become natives of the place, ceasing to think and act (after all these centuries) as newcomers and invaders.Of particular interest is the full text of the ever more relevant "Four Changes," Snyder's seminal manifesto for environmental awareness.

The High Sierra of California is a brilliant tribute to the bold, jagged peaks that have inspired generations of naturalists, artists, and writers. Using traditional Japanese and European woodcut techniques, Killion has created stunning visual images of the Sierra that focus on the backcountry above nine thousand feet, accessible only on foot. Accompanying these riveting images are the journals of Gary Snyder, chronicling more than forty years of travels through the High Sierra backcountry.

The three sequences in the book-"Logging," "Hunting," "Burning"-show the remarkable cohesiveness in Snyder's writings over the years, for we find the poet absorbed, then as now, with Buddhist and Amerindian lore and other interconnections East and West, but above all with the premedical devotion to the land and work.

This collection is made up of four sections: "Far West"-poems of the Western mountain country where, as a young man. Gary Snyder worked as a logger and forest ranger; "Far East"-poems written between 1956 and 1964 in Japan where he studied Zen at the monastery in Kyoto; "Kali"-poems inspired by a visit to India and his reading of Indian religious texts, particularly those of Shivaism and Tibetan Buddhism; and "Back"-poems done on his return to this country in 1964 which look again at our West with the eyes of India and Japan. The book concludes with a group of translations of the Japanese poet Miyazawa Kenji (1896-1933), with whose work Snyder feels a close affinity. The title, The Back Country, has three major associations; wilderness. the "backward" countries, and the "back country" of the mind with its levels of being in the unconscious.

A collection of previously uncollected and unpublished works by a Pulitzer Prize-winning Beat poet Gary Snyder, written during his most productive and important yearsFar from being a simple miscellany of poems, Uncollected Poems, Drafts, Fragments, and Translations contains some of Gary Snyder's best work, written during his most productive and important years. Many of these have been published in magazines or as broadsides, including Spel Against Demons, Dear Mr. President, Hymn to the Goddess San Francisco, Smokey the Bear Sutra, A Curse on the Men in Washington, Pentagon. The collection also includes a great number of translations from Chinese and Japanese poets. Much of this work has been gleaned from journals, manuscripts and correspondence, and never before published in any form.

"The greatest of living nature poets. . . . It helps us to go on, having Gary Snyder in our midst."--Los Angeles Times. Snyder is the author of many volumes of poetry and prose, including The Practice of the Wild and the Pulitzer Prize-winning Turtle Island. Reading tour.

For the full course of his remarkable career, Gary Snyder has continued his study of Eastern culture and philosophies. From the Ainu to the Mongols, from Hokkaido to Kyoto, from the landscapes of China to the backcountry of contemporary Japan, from the temples of Daitokoji to the Yellow River Valley, it is now clear how this work has influenced his poetry, his stance as an environmental and political activist, and his long practice of Zen. Growing up in the Pacific Northwest, Asia became a vocation for Snyder. While most American writers looked to the capitals of Europe for their inspiration, Sndyer looked East. American letters is profoundly indebted to this geographical choice.Long rumored to exist, The Great Clod collects more than a dozen chapters, several published in The Coevolution Quarterly almost forty years ago when Snyder briefly described this work as "The China Book," and several others, the majority, never before published in any form. "Summer in Hokkaido," "Wild in China," "Ink and Charcoal, " "Stories to Save the World," "Walking the Great Ridge," these essays turn from being memoirs of travel to prolonged considerations of art, culture, natural history and religion. Filled with Snyder''s remarkable insights and briskly beautiful descriptions, this collection adds enormously to the major corpus of his work, certain to delight and instruct his readers now and forever.

"The letters are valuable for ecologists, students, and teachers of contemporary American literature and for those of us eager to know how these two distant neighbors networked, negotiated, and remained friends." —San Francisco Chronicle"In Distant Neighbors, both Berry and Snyder come across as honest and open–hearted explorers. There is an overall sense that they possess a deep and questing wisdom, hard earned through land work, travel, writing, and spiritual exploration. There is no rushing, no hectoring, and no grand gestures between these two, just an ever–deepening inquiry into what makes a good life and how to live it, even in the depths of the machine age."—Orion MagazineIn 1969 Gary Snyder returned from a long residence in Japan to northern California, to a homestead in the Sierra foothills where he intended to build a house and settle on the land with his wife and young sons. He had just published his first book of essays, Earth House Hold. A few years before, after a long absence, Wendell Berry left New York City to return to land near his grandfather's farm in Port Royal, Kentucky, where he built a small studio and lived there with his wife as they restored an old house on their newly acquired homestead. In 1969 Berry had just published Long–Legged House. These two founding members of the counterculture and of the new environmental movement had yet to meet, but they knew each other's work, and soon they began a correspondence. Neither man could have imagined the impact their work would have on American political and literary culture, nor could they have appreciated the impact they would have on one another.Snyder had thrown over all vestiges of Christianity in favor of becoming a devoted Buddhist and Zen practitioner, and had lived in Japan for a prolonged period to develop this practice. Berry's discomfort with the Christianity of his native land caused him to become something of a renegade Christian, troubled by the church and organized religion, but grounded in its vocabulary and its narrative. Religion and spirituality seemed like a natural topic for the two men to discuss, and discuss they did. They exchanged more than 240 letters from 1973 to 2013, remarkable letters of insight and argument. The two bring out the best in each other, as they grapple with issues of faith and reason, discuss ideas of home and family, worry over the disintegration of community and commonwealth, and share the details of the lives they've chosen to live with their wives and children. Contemporary American culture is the landscape they reside on. Environmentalism, sustainability, global politics and American involvement, literature, poetry and progressive ideals, these two public intellectuals address issues as broad as are found in any exchange in literature.No one can be unaffected by the complexity of their relationship, the subtlety of their arguments, and the grace of their friendship. This is a book for the ages.

"Wild nature as the ultimate ground of human affairs"--the beautiful, precarious balance among forces and species forms a unifying theme for the new poems in this collection. The title, Regarding Wave, reflects "a half-buried series of word origins dating back through the Indo-European language: intersections of energy, woman, song and 'Gone Beyond Wisdom.'" Central to the work is a cycle of songs for Snyder's wife, Masa, and their first son, Kai. Probing even further than Snyder's previous collection of poems, The Back Country, this new volume freshly explores "the most archaic values on earth... the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe..."

In 1962 Gary Snyder, with his wife, the poet Joanne Kyger, joined Allen Ginsberg and his companion Peter Orlovsky for a long trip to India and surrounding countries. As always, Snyder kept extensive journals of his travels and, in this particular case, also wrote the whole account in one long letter to his sister. It was an amazing trip, and one that eventually took on legendary status as an iconic Beat Voyage. Complete with slides and photographs, Passage Through India takes us on a journey that transcends time.

A collection of interviews and letters between beloved poet Gary Snyder and South African writer and scholar Julia Martin

“The reading is something like archeology, sifting the layers that have built up over the years to find the source of a familiar voice . . . Left Out in the Rain shows us the footsteps in the wet meadow grass.” —Los Angeles Times“A fascinating case study and verse autobiography of a man who long ago staked his claim as one of America’s finest poets.” —Boston HeraldWhen Gary Snyder was in his twenties working as a forester and logger, one of the old loggers told him, “If you’re gonna work these woods, don’t want nothing that can’t be left out in the rain.”Borrowing the phrase, Left Out in the Rain charts the journeys of the poet from 1947 to 1985. From the mountains and shores of the Pacific Northwest to the city streets of San Francisco, New York, and Kyoto, Snyder’s reflections are as much about the human experience as they are about the environment that encompasses it.Sensual, sardonic, meditative, epigrammatic, formalist—whatever the subject, tone, or structure, these poems all bear the indelible stamp of a master. A villanelle for Finnish folklore, riffs on the neo–formalist poems trendy in the 1950s, a sestina on the philosophical dilemmas of anthropology and linguistics, a transformation of the third century BC Daoist essay “Discourse on Swords” into a satire on contemporary warlike administrations and governments—the experiments in this collection place Snyder among the most diverse of contemporary poets.Left Out in the Rain means to include items carefully chosen to outlast the elements and remain useful for years. In his new preface to this edition, Snyder notes, “This complicated gathering of many poems, tight and loose together is like an understory ecosystem of the Old Growth. It needs rain.”On the wooded coast,eating oystersLooking off towardChina and Japan“If you’re gonnawork these woodsDon’t want nothingThat can’t beleft out in the rain—”

One of the central relationships in the Beat scene was the long–lasting friendship of Allen Ginsberg and Gary Snyder. Ginsberg introduced Snyder to the East Coast Beat writers, including Jack Kerouac, while Snyder himself became the model for the serious poet that Ginsberg so wanted to become. Snyder encouraged Ginsberg to explore the beauty of the West Coast and, even more lastingly, introduced Ginsberg to Buddhism, the subject of so many long letter exchanges between them. Beginning in 1956 and continuing through 1991, the two men exchanged more than 850 letters. Bill Morgan, Ginsberg's biographer and an important editor of his papers, has selected the most significant correspondence from this long friendship. The letters themselves paint the biographical and poetic portraits of two of America's most important—and most fascinating—poets. Robert Hass' insightful introduction discusses the lives of these two major poets and their enriching and moving relationship.

Gary Snyder has been a major cultural force in America for five decades—prize–winning poet, environmental activist, Zen Buddhist, earth–householder, and reluctant counterculture guru. This monumental collection gathers the essays, travel journals, letters, poems, and translations of one of the most influential voices of the twentieth century.

This is a collection of discovery, of insight, and of vision. These poems see the roots of community in the family, and the roots of culture and government in the community. "In making the handle of an axe by cutting wood with an axe the model is indeed near at hand.” In exploring this axiom of Lu Ji's, Gary Snyder continues:I am an axeAnd my son a handle, soonTo be shaping again, modelAnd tool, craft of culture,How we go on.Formally, the 71 poems in Axe Handles range from lyrics to riddles to narratives. The collection is divided into three parts, called "Loops,” "Little Songs for Gaia,” and "Nets,” each containing poems of disciplined clarity. Gary Snyder knows well the great power of silence in a poem, silence that allows the mind space enough to discover the magic of song.