Kyoto Journal Issue 36
¥500
(US$4.50 ex shipping)
New Roads to the Old Gods
Siva and Hermes
A Bridge for Kyoto’s Kamo River
Spiritual Opiates Overlooked in the War on Drugs
Visual Haiku: The Photography of Paul Takeuchi
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The tea-masters of the fifteenth and sixteenth centuries, mostly lay adepts of Zen, were the ultimate artists in the use of water for its sound, form and haptic effects. Their intentions were naturally aesthetic ones, but often went beyond those — they did not only cater to the sensory delights of their visitors, but tried to sharpen their consciousness, too. Sen no Rikyu is quoted in the Nanporoku as saying: “The tea ceremony of the small room is above all a matter of practising and realising the way in accord with the Buddha’s teachings.” – Gunter Nitschke, The Soundsilence of Water
One day, across from the road from the taxi stand on the Tobu side of Ikebukuro Station, the cardboard boxes began appearing. I think there were five at first. Quite plain run-of-the-mill boxes delivered, as I later found out, by disgraced presidents and executive managers in soundtrucks blasting out their crimes and how much the convicted had swindled. The boxes piled up. –
Contents:
The Naming of a Crow –
Conjuring Tibet: A Novel, by Charlotte Painter — Leza Lowitz
Confronting Silence: Selected Writings, by Toru Takemitsu — David Cozy
Broken Silence: Voices of Japanese Feminism, by Sandra Buckley — Andrew DeWitt
Straitjacket Society, by Masao Miyamoto — William Corr
Mr. China’s Son: A Villager’s Life, by He Liye with Claire Annie Chik — William Corr (including an account of meeting the author in Dali, Yunnan)
Basho’s Narrow Road: Spring and Autumn Passages, Narrow Road to the Deep Interior, and the renga sequence A Farewell Gift to Sora, Two works by Matsuo Basho, trans. with annotations by Hiroake Sato — Preston L. Houser
Cover Image by Mark Likgalter
82pp
published December 12, 1997
