Bøger udgivet af Mudborn Press

Christina Rossetti's Goblin Market is a fable of two sisters who encounter the goblin merchants, who offer tempting fruits with beguiling voices, begging them to try, to taste, to touch. A friend had succumbed to their alluring charm before, and then, having tasted, gradually wasted away to death. One sister heeds the warning signs and begs the other sister to follow her home and ignore the beckoning calls of the insistent, persistent goblins who promise so much. But the second sister lingers to know more, and, even when admitting that she has no money, they accept just a lock of her golden hair for payment. She tastes of the fruits and is delighted. Not only is it delicious, but she wants more and more. When finally she is satisfied, she returns home, perfectly safe -- so she thought. But day by day, the yearning after more of the marvelous fruit sets in, but she doesn't hear the siren voices of the goblins ever again. Her sister, however, who was cautious, does hear the voices, and recognizes that she will have to do something or she will lose her sister as they lost their friend. She emboldens herself to go to the goblins, tosses them a coin, but does not bite the fruit. She is assaulted, wheedled, poked, argued with -- but she is stubborn. Returning, she is able to save her sister from the consequences of the temptation. Although she was "right," she put herself in danger in order to reclaim her sister. Christina and her brother, Dante Gabriel Rossetti, were members of the Pre-Rafaelite movement, in the course of which, D.G. translated a number of Italian poets who were friends or acquaintances of the young Dante Alighieri, and published their work, primarily love poems, as Dante and His Circle (www.createspace.com/4024060) -- somewhat resembling the artistic kinship of the Pre-Rafaelites.

French for Food Lovers is a wordbook for French terms of cooking, food, and especially French cuisine. Think of it as a starter kit - or maybe you've already started experimenting with French techniques. This does not show you how to cook, but it does help with the terminology. French is not the easiest language to learn, and one should avoid making assumptions about what a French word means. "Prune," for example, means "plum" - just one of the faux amis that can mislead you. A basic pronunciation guide is included, to help with hearing or saying the French terms. But don't worry, no grammar is included.

Poetry from the Seventies to 2000. One hundred selected short poems ranging from emotional to experimental, relationships to soul-searching. A bit of foul language can be found in a few poems. An avowed "non-poet," Newborn has published two novels, The Basement (www.createspace.com/4176600), a Novel of the Sixties, and The Martian Testament (www.createspace.com/4300682), a sci-fi novel of the settlement of Mars in the near future. Newborn's anthology First Person Intense, has been used in college classes for years. A new litmag, TimeWell (www.timewellsp.net) continues Newborn's editorial efforts.

Among the last of her poetic career, The Babylonian Captivity is an allegory describing the conditions of the Ukrainians under Russian influence at the end of the Nineteenth Century-which is not unlike the pressures Ukraine is under in 2014. This text is modernized from an earlier translation. Lesya Ukrainka is a pseudonym of Larisa Petrivna Kosach-Kvitka, perhaps made necessary in the beginning because the Ukrainian language was not permitted in publications at the time. The story is of Jews, not all of the same persuasion, in exile in Babylon, in woeful conditions. The main character is Eleazar, a singer and harpist, who is challenged by the others of his community for serving the Babylonian masters with his songs. He defends his activities and helps to redefine the situation they are all in. The "play" is designed for reading rather than staging in a theater, and is in looser format than strictly poetic lines, although Eleazar does perform a few songs in measured lines. The reason for publishing it now is to provide for a wider audience a historical dimension to current affairs in one part of the world rarely portrayed in European fiction.

Charles Dickens' classic tale of the Xmas spirit even in the most recalcitrant soul. With visions of his former partner, and the three Xmas spirits: Past, Present, and Future, Ebenezer Scrooge emerges from himself. In my family, the reading of this story was shared every Xmas and remains in my memory.

Late in his life, the intrepid traveler and translator Richard Francis Burton, distilled his understanding of story as it applied to live performance into this book, How to See a Play. The title implies that most people watch plays, but don't really perceive the structure of the storytelling, and that they would benefit from his experience with how, and why, the theatrical experience has been so powerful. Here is his preface: This book is aimed squarely at the theater-goer. It hopes to offer a concise general treatment upon the use of the theater, so that the person in the seat may get the most for his money; may choose his entertainment wisely, avoid that which is not worth while, and appreciate the values artistic and intellectual of what he is seeing and hearing. This purpose should be borne in mind, in reading he book, for while I trust the critic and the playwright may find the discussion not without interest and sane in principle, the desire is primarily to put into the hands of the many who attend the playhouse a manual that will prove helpful and, so far as it goes, be an influence oward creating in this country that body of alert theater auditors without which good drama will not flourish. The obligation of the theater-goer to insist on sound plays is one too long overlooked; and just in so far as he does insist in ever-growing numbers upon drama that has technical skill, literary quality and interpretive insight into life, will that better theater come which must be the hope of all who realize the great social and educative powers of the playhouse. The words of that veteran actor-manager and playwright of the past, Colley Cibber, are apposite here: "It is not to the actor therefore, but to the vitiated and low taste of the spectator, that the corruptions of the stage (of what kind soever) have been owing. If the public, by whom they must live, had spirit enough to discountenance and declare against all the trash and fopperies they have been so frequently fond of, both the actors and the authors, to the best of their power, must naturally have served their daily table with sound and wholesome diet." And again he remarks: "For as their hearers are, so will actors be; worse or better, as the false or true taste applauds or discommends them. Hence only can our theaters improve, or must degenerate." Not for a moment is it implied that this book, or any book of the kind, can make playwrights. Playwrights as well as actors are born, not made-at least, in the sense that seeing life dramatically and having a feeling for situation and climax is a gift and nothing else. The wise Cibber may be heard also upon this. "To excel in either art," he declares, "is a self-born happiness, which something more than good sense must be mother of." But this may be granted, while it is maintained stoutly that there remains to the dramatist a technique to be acquired, and that practice therein and reflection upon it makes perfect. The would-be playwright can learn his trade, even as another, and must, to succeed. And the spectator (our main point of attack, as was said), the necessary coadjutor with player and playwright in theater success, can also become an adept in his part of this cooperative result. This book is written to assist him in such cooperation.

The legends of Ossian, as reported by James MacPherson, became a popular sensation at the time of publication. The epic stories of battle and love, love and battle and death appealed to the burgeoning Romantic sentiment of the time. Although controversy arose as to the authenticity of MacPherson's claims, this work of Ossian stands as a unique and original poetic form. How much of this is MacPherson and how much is Ossian is, in this editor's opinion, beside the point. This edition simply presents the poetry for the reader. Also available on Amazon (http: //www.amazon.com/Ossian-Legends-James-MacPherson/dp/093001250X/ref=sr_1_1_title_0_main?s=books&ie=UTF8&qid=1412357105&sr=1-1&keywords=Ossian+legends)

First Person Intense is a collection of first-person writing in a variety of styles - although "style" may be the wrong word for the integrity of the writing. First person writing means that someone is speaking directly to you, not crafting a story for your entertainment. And that's the power of first-person "intense," a face-out manner of writing that abandons much of the traditional structure of fiction (the arc of the narrative, omniscient viewpoint, dialogue, character development, denouement, beginning, middle, and end) and nonfiction (which often seems to be written by nobody or a committee, carefully refraining from bias or personal opinion). This anthology was originally published in 1978, and was popular with creative writing classes as well as the general market, as a study in writing with honesty, authentic voices speaking without the mask of characterization. This second printing retains most of the original pieces, including a Vietnam vet's powerful stories, a voyage across America in search of meaning, a prison letter, an excerpt from an as yet unpublished Charles Bukowski novel (by permission of the publisher), the admission by Fielding Dawson of first ambitions to be a writer (a young man wishing to be complicated). A few additions include a schizophrenic, a Peace Corps teacher, a story from junior high. None of these are perfect - perfection is not sought in real first-person writing - but all give plenty of taste of personality, vulnerability, openness. If you like, you can call this a "school of writing." First Person Intense was originally assigned an ISBN number by Mudborn Press. After the dissolution of that partnership in 1981, one of the partners, Sasha Newborn, established a new publishing operation, Bandanna Books. Although the original ISBN number is retained for the reprint of FPI, this book is now available only from Bandanna Books. A publication akin in spirit to FPI is Berlin (www.createspace.com/4329110), a bilingual anthology, guest edited by Mitch Cohen, who lived in the divided city of Berlin in the 1970s and 80s, gathering stories and poems from East Berlin and West Berlin. An inside look at a place of high art and high tension. A new chapter in publishing direct works has opened with TimeWell, an online litmag that mixes up contemporaries with classics. Subscribe at www.timewellsp.net, or submit stories or poems.

This novel tells the story of the re-entry of a Peace Corps Volunteer, who has served in Tanzania, returning to the United States in the middle of the Sixties, an entirely different country than the one he left. How does he cope, what choices are there to make, whose side is he on (if any)? The story is about finding one's footing in a rapidly changing world, in a rapidly changing body and relationships (or not) with women. The setting is in a college town, a basement rent-free, with plenty of beer and college girls. Meanwhile the narrator's mind goes back to the radically different culture and values of Africa, the assumptions before going, and the political tensions rising in even the simplest actions. The story is illustrated by the author, with scenes and people, to give a sense of place to the episodes. Though the novel is based on reality, part of the story is that reality itself was coming undone, in flux. The theme is, if anything, coping - coping with possibilities, exigencies, sexuality, in a time when it seemed that all options were on the table. The future was to be written in personal lives. One might call it a "coming of age of a late bloomer." Or "a piece of recent history from the underbelly of society." A sci-fi novel by the same author, The Martian Testament, explores the settlement, and unsettling conditions, on Mars twenty years or so from now. The book is at www.createspace.com/4300682.

The Deadword Dictionary was first written more than twenty years ago. I'm making some changes, based on further refinement of the concept, and also including an "Iffy" section. Here are the rules for the selection of Deadwords: Orphans, words used in only a single common expression, with no flexibility, such as "yore" as in "days of yore." Faux amis, words borrowed from another language but misunderstood or misapplied (à la mode) Obsolete words or phrases Iffy words-you decide whether they still have weight in today's language. You might call this the rearview mirror perspective, with a "huh" under one's breath. Yeah? They really said that? The English language is like a kitchen sponge: it picks up all the tiny pieces of we-don't-know-what but we need a word, so we'll just use this stray one from we-don't-care-where. But when did you last see a "doublet" or "spitoon" or use "whilom"-why keep them around? A little housecleaning is in order here. Got your favorite overworked obsolete nugget? Send it in to bandanna@cox.net.

Rarely do we find an honest account of incest in the news. Though it has long been taboo in almost every culture, and for sound biological reasons, the occurrences of incest continue in many families and communities. Having a rational conversation about it, however, is difficult to achieve. Do not expect lurid accounts of threats and torture and kinky S&M from this book. This story is told with names changed, from the point of view of the girl-a straightforward account of the relationship of father and daughter over nearly twenty years. As she grew into young adulthood, the father became protective, but not possessive. And the girl-becoming-woman began to understand her strengths, and to test them-eventually to break free, marry and have a productive life of her own. For most of the time, the relationship was a secret from the rest of the family, and certainly from the rest of the world. Eleanore Hill has chosen to stand up and proclaim herself a whole person of her own, and to share her experience publicly. Few have had the courage to do so, which makes this narrative especially valuable. In fact, when the book first came out in 1985, it garnered the Rhodora Prize, and was picked up by one of the major publishers, at a time when incest was scarcely talked about. These days, with digital publishing, many more writers have committed their stories to print, emboldened by Eleanore Hill's forthrightness with the "secret." Some publishers simply aim to titillate with the topic, hoping to benefit from prurient curiosity. For them, there will always be an audience. For the more serious-minded, this three-dimensional account of the topic brings it alive in a real sense, not as a cautionary tale or a scold, but to see, as it were, behind the headlines, as a human story that needs to be told, and told with integrity.

This story of two decades of a marriage documents a catalog of changes accepted and changes refused, between two people who grew up in the Forties and Fifties. By the Seventies, the world had changed and so had they. And so had the marriage. The uncommon word each-other is the main topic of this book-the relationship of two people in which every action or thought, whether expressed or not, affects the partner. Eachother is precious when it works, treacherous when both feel trapped with the other. The Last American Housewife is the second volume in the Marty Series, following The Family Secret. The third volume will be Period Pieces, the post-marriage years.

A vocabulary of Yiddish terms, common expressions, and proverbs. Many Yiddish terms have entered the English language, describing character or emotion (usually displeasure) that have no ready equivalent, such as klutz, kvetch, shmoose, or kibbitz. Yiddish as a language grew out of Medieval German and Hebrew, and spread through Eastern Europe among Ashkenazi Jews. With the worldwide spread of Jewry in many countries, Yiddish plays two roles: as a language unto itself, and as a "lending" language for terms and attitudes about business, sexuality, or human relations.

You can read this book as intimate history, or as poetry, or simply as a tool for learning another language. Many of these writers have had long and successful careers as writers, editors, film producers. It will broaden and deepen your understanding of the world. Although Berlin is no longer a divided city, the unique situation of two centers of creative activity side by side stitched life and art together intensely. Everyday activities became political; ideology clashed with economics-and love. The stories and poems in this book-poems are bilingual German and English-give glimpses of this frontier of two progressive visions of the future, as both sides start afresh, to build a new Germany. The divided city of Berlin offered a rare opportunity for two strong ideologies to exist side by side without being at war or simply opposing the "other." Mitch Cohen, the enterprising editor, as an American, discovered that he was able to pass unrestricted through the Brandenburg Gate, both ways, a privilege not accorded to Germans on either side. This allowed him to personally meet and talk with the contributors to this unique anthology. He noted that both East Berlin and West Berlin continued to draw the talented, the ambitious-and to be the cultural centers for both Germanies, in a creative ferment heightened by real world situations confronting Berliners in their daily lives. Over half the writers in this book were born after the end of World War II, which had wrought utter devastation throughout Germany. The recovery, even with the Marshall Plan, required a new outlook on what it meant to be German. And in the middle of that national psychic shock, they were thrust into the global ideological struggle between the Western powers and the Soviet Union, dubbed "The Cold War." These circumstances made a divided Berlin a very interesting time and place in which to live. Fiction may be a very useful tool for us to learn better how to live our human lives, by presenting situations that we can visit in our minds. An anthology like Berlin, however, adds an ingredient of immediacy, because these poems, these stories, have a sharper edge, the edge of reality. You don't have to live there to feel the heightened emotion; these writers create a portrait of a city that was like no other. What a treasure that is! For a glimpse at American writers of the same period, take a look at First Person Intense, with writers such as Charles Bukowski, Richard Peabody, Fielding Dawson, and 20 others exploring first-person writing.

This third book in the Marty Series brings Marty into her own, after the divorce, yet with her ex-husband living next door. She is now free to discover her own needs and desires. Her old father is sheltered in her house, and she even briefly remarries Alex, who had suffered a brain tumor and a personality change.

"To become a landlady, it usually takes going through hard times. Most landladies I know are either divorced or widowed. They are not the women who have money to invest in property and do so with the idea of renting out that spare room. No one would be a landlady if they could avoid it. Down through history, women opened their homes to boarders to get by financially after their husband left or died. Becoming a landlady is a process, never planned, and not a choice a woman would make if she could help it. It's not fun. You can make the best of it if you have a sense of humor. The making of a landlady requires that you have a house with an extra room. This is the basic landlady position...."

The Martian Testament peels back the myth of creating a new Earth on Mars. The view from the red planet is startlingly different, and deeper, than anyone imagined. Going to Mars? Throw away the rulebook. Four main characters descend on the red planet for their own reasons: one marooned, another on assignment (so he thought), a third as a lark, and a fourth as an extraordinary power play. As to which is the hero, the reader will have to decide. Much like the Wild West, the "new Martians" write their own rules, even though they need each other to survive the extreme conditions. A journalist makes the long voyage to Mars; his bunkmate is an ambitious politician, with schemes of his own, which unfold in the town, as the journalist discovers one aspect and then another of this amazing planet, capped off by the discovery of the journal of the original "first Martian," who survived years alone on the red planet, ferreting out the secrets of survival, and perhaps the early history of Mars and Astra (which later became the asteroid belt) long before intelligent life began on Earth. Many discoveries, adventures, and revelations. A different kind of novel by Sasha Newborn is also available (www.createspace.com/4176600), The Basement, a Novel of the Sixties -- part memoir of the early Peace Corps in Africa, part a culture clash on returning to an America at war with itself as the narrator also struggles to find himself.

...We are fascinated by the fact that we can actually know what those digits (of pi) are. Computer designers and operators have used this calculation to demonstrate the speed and capability of their machines. Newton once entertained himself during a solitary episode by calculating pi to a number of decimal places that he was too embarrassed to admit. A brief history: Pi is a very old number. We know that the Egyptians and the Babylonians knew about the existence of the constant ratio pi, although they didn't know its value nearly as well as we do today. Both had figured out that pi was a little bigger than 3; the Babylonians had an approximation of 3 1/8 (3.125)... Three sections to How Much Pi Do You Want?: 1. history of the search for pi 2. computer program to generate the non-recurring decimal places of pi to however many digits you may desire. 3. Actual table of the first 500,000 digits of pi (it has been "proved" that pi is an irrational number, so there may be no theoretical limit to the calculation). In other words, "how much pi do you want?"

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.

The I Ching gives advice on how to face any life situation, requiring the seeker to cast yarrowsticks or coins to arrive at an "answer." This edition offers yet another "casting" option, the Button Oracle (online only, at www.bandannabooks.com/iching/button.php); and, if that answer's not enough, use the refresh button. Whether you are a believer or not, the I Ching, perhaps the world's oldest book, stands as a remarkable document of human psychology. However, one translation problem has plagued most Western editions, which typically speak of the "exceptional man" or "he" throughout. To translate assuming that the male pronoun serves for everybody is misleading, however. Why? The language it was written in-Chinese-was, like English, nearly devoid of linguistic gender markers for its pronouns (modern Chinese has added some modifications to clarify gender). While academics tussle over, or ignore, the "correct third-person-singular-of-unspecified-gender pronoun" for the English language, this Mudborn Press/Bandanna Books edition offers eight gendered versions of this text for a modern audience. No, there are not eight genders. But the way that you perceive the human condition may differ from others' views-and your own may change over time. How to choose? Answer these questions to find the version you are most comfortable with: Are you all man (using he, him, his), or all woman (she, her, hers)? Or somewhere in between (s/he, him/her, hers/his)? Do you feel like a split personality arguing with yourself (he or she, him or her, his or hers)? - or you feel plural (they, their, theirs)? Or maybe you don't feel strongly one way or the other (asexual: one, one, one's). Or strongly both, as in the shamanic or two-spirit tradition (he-she, her-him, his-hers). Or just as a human (hu, hum, hus). Try more than one version until you reach your comfort zone; you'll learn about yourself as well as about the I Ching. A REMINDER: This "HE" version uses the traditional or old-fashioned "universal he" pronoun for third-person human reference where sex is not specified, or not known. The I Ching frequently speaks of a hypothetical person, the exceptional or uncommon person; it is used here quite often.