Bøger udgivet af Cool Grove Publishing INC NY

The Japanese tea ceremony is an attempt to impart meaning to that which would oth- erwise go unnoticed. After all, what is so different about serving, pouring, drinking tea, than the brushing of one's teeth? No-thing. What gives significance to the serving of the tea is the "ceremony" itself-that is, the form. For in the tea ceremony, the form is the content. Now, in comparison to the Western poem, "full of" meaning, allusions, mythologies, history, etc. a haiku may "just" describe a scene in nature: the landscape: a river, a tree, a bird, and not much else. But that is so very much already, Rolando Pérez seems to suggest in Tea Ceremonies for Winter. So very much. "The objects of nature pre- sented in a Basho haiku, for instance, simply are-they exist for themselves," says Pérez. "If they are 'sublime,' they are not so for us," and this is what we must all learn, if we are to save the Earth from complete destruction-the result of our Western greed and rampant narcissism. In this light, Tea Ceremonies for Winter is an invitation-through lan- guage-to let non-human objects be without submitting them to the control, manipu- lation, and exploitation of our Imperial I. Pérez's Tea Ceremonies for Winter is a book that says: "we are all in this together"-but that "we" also includes mountains, rivers, plastic bags, plants, rocks, tea leaves, light bulbs valves, hammers, mice, etc.. Pérez accomplishes this with simplicity and elegance of style

We live on a rapidly urbanizing planet, ever more enmeshed in technological artifacts, electronic communication devices and disembodied "virtual" worlds, far more separated from the natural world than any previous generations of humans. And yet, if we think about it, nearly all of us will realize that even we denizens of the 21st Century have quite a lot of contact with non-human animals, both domesticated and wild, over the course of our lives, and that some of these experiences, especially those that occur when we''re young, can be highly significant, even formative. This collection of anecdotes is about one person''s remembrances of his most significant encounters with animals over the decades, recounted in the context of his personal evolution. It also captures a lot of the colorful flavor of some of the larger cultural transformations of the last half century.

THE BOOK L, LLL''s second full length poetry book fr. Cool Grove consists of journal entries, poems & l essay - for the most part written on Isla Margarita, VE. while on retreat w. NN Rimpoche. Recalling predecessors Joanne Kyger & Philip Whalen (West Coast, USA) it develops themes of impermanence, romance & the dangers of elitism in (so calle) 3rd. world as its author inwardly explores the relation between ''community''( skt -sanga ) & the private communion which is thepoet┬┤s domain. The title is taken fr. the ground breaking work of Dutch Dadaist, Bert Schierbeck (HET BOEK IK) whose Zen Gardens, published in Amsterdam (& translated into English by Charles McGeehan) in the 1960┬┤s was a semnal introduction of Buddhist thought & practice to the Avant Guard. The Book L, 2005 selections of which are available on line at Otoliths & Melancholia┬┤s Tremulous Dreadlocks (see http://the-otolith.blogspot.com/2006/07/louise-landes-levi-nine-sections-from.html & http://mtdmagazine.tripod.com/louiselandeslevi.htm)is followed, in this generous offering of the poet''s work by excerpts fr. HOTEL GAIA a collection of retreat & other poems, written primarily in Toscana, IT.(1985-1995) & dedicated to poet visive Franco Beltrametti ( translator of Han Shan┬┤s COLD MOUNTAIN into Italian - ) & A Spiritual Autobiography, the author''s short autobiographical essay ( W. Palm Beach - NYC 2001). The entire volume will follow in Cool Grove┬┤s tradition of illustrated text, see LLL┬┤s previous GURU PUNK, Cool Grove Pr., 1999 & Sweet On My Lips, The Love Poems of Mira Bai, translated fr. the Medieval Hindi, 1997. Cover Art Barbara Mohr, collage & LLL, fr. postcard series, Isla M., 2006