The Mayan symbol Hunab Ku represents movement and energy—the principle of life itself—in a spiraling design reminiscent of the Eastern yin-yang symbol. As an embodiment of harmony and balance, Hunab Ku invites us into the age of consciousness, which is predicted to begin on December 21, 2012.HUNAB KU prepares us for this cosmic awakening by presenting 77 sacred symbols that create an interactive system for learning, healing, and meditation. Beautifully illustrated and exhaustively researched, this virtual pilgrimage invites us to explore artifacts, earthworks, numerological patterns, and archetypes from diverse traditions the world over: ancient Greece, the Americas, Africa, the British Isles, Babylon, India, and beyond. Hunab Ku waits for you at the book’s center, the threshold between our present age and the coming age of enlightenment. Like runes, tarot, and other pathworking systems, the archetypes herein open doors, create bridges, and shed light on our past and our future. These spiritual signposts are all around us and within, waiting to be interpreted. Let HUNAB KU be your guide. A richly illustrated book that draws on cross-cultural ancient symbols, numerology, archetypes, and earthworks, and the chakras. Includes 77 vivid full-color illustrations placed within the framework and palette of the seven chakras. Builds on the growing popularity of José Arguelles’sThe Mayan Factorand Carl Johan Calleman’sThe Mayan Calendar and the Transformation of Consciousness.

A screaming streak in the night - a cloud of billowing steam - and the climax of Hawk Carse's spectacular "Affair of the Brains" is over. Anthony Gilmore truly amazes with this awesome and inspiring futuristic science fiction tale!

In this book, the first of a series, Robin D. Gill, author of the highly acclaimed Rise, Ye Sea Slugs! and Cherry Blossom Epiphany, the largest single-theme anthologies of poetry ever published, explores the traditional Japanese New Year through 2,000 translated haiku (mostly 17-20c). "The New Year," R.H. Blyth once wrote, "is a season by itself." That was nowhere so plain as in the world of haiku, where saijiki, large collections called of ku illustrating hundreds, if not thousands of briefly explained seasonal themes, generally comprised five volumes, one for each season. Yet, the great doyen of haiku gave this fifth season, considered the first season when it came at the head of the Spring rather than in mid-winter, only a tenth of the pages he gave to each of the other four seasons (20 vs. 200). Was Blyth, Zen enthusiast, not enamored with ritual? Or, was he loath to translate the New Year with its many cultural idiosyncrasies (most common to the Sinosphere but not to the West), because he did not want to have to explain the haiku? It is hard to say, but, with these poems for the re-creation of the world, Robin D. Gill, aka "keigu" (respect foolishness, or respect-fool), rushes in where even Blyth feared to tread to give this supernatural or cosmological season - one that combines aspects of the Solstice, Christmas, New Year's, Easter, July 4th and the Once Upon a Time of Fairy Tales - the attention it deserves. With G.K. Chesterton's words, evoking the mind of the haiku poets of old, the author-publisher leaves further description of the content to his reader-reviewers. "The man standing in his own kitchen-garden with the fairyland opening at the gate, is the man with large ideas. His mind creates distance; the motor-car stupidly destroys it." (G.K. Chesterton: Heretics 1905)