In No Beginning, No End, Zen master Jakusho Kwong-roshi shows us how to treasure the ordinary activities of our daily lives through an understanding of simple Buddhist practices and ideas. The author’s spontaneous, poetic, and pragmatic teachings—so reminiscent of his spiritual predecessor Shunryu Suzuki (Zen Mind, Beginner’s Mind)—transport us on an exciting journey into the very heart of Zen and its meaningful traditions. Because Kwong-roshi can transmit the most intimate thing in the most accessible way, we learn how to ignite our own vitality, wisdom, and compassion and awaken a feeling of intimacy with the world. It is like having a conversation with our deepest and wisest self. Jakusho Kwong-roshi was originally inspired to study Zen because of zenga, the ancient art of Zen calligraphy. Throughout this book he combines examples of his own unique style of calligraphy, with less-known stories from the Zen tradition, personal anecdotes—including moving and humorous stories of his training with Suzuki-roshi—and his own lucid and inspiring teachings. All of this comes together to create an intimate expression of the enlightening world of Zen.

This volume gives voice to Sami views on Sami culture and colonial experiences. It brings together a series of conversations between a Sami and a non-Sami scholar and selected Sami cultural practitioners who discuss a wide range of issues—from Sami knowledge systems and cultural expression, yoiking, reindeer herding, arts and crafts, and feminism, to shamanism, postmodernism, post-colonialism, epistemic violence, colonialism, racism, and specific concrete issues such as cultural appropriation.

Describes the latest events and trends in terrorism against the United States.

"A ... chronicle of the reasons behind Iraq's descent into guerrilla war, warlord rule, criminality, and anarchy ... It features candid interviews with high-ranking officials ... as well as Iraqi civilians, American soldiers, intelligence officers, and prominent analysts... Together, these voices reveal the principal errors of U.S. policy -- using insufficient troop levels, allowing the looting of Baghdad, purging professionals from the Iraq government, and disbanding the Iraqi military -- errors that largely created the insurgency and chaos that engulf Iraq today. The book brings the movie up-to-date by evaluating the military's recent 'surge' tactic as well as current administration policy. It concludes with a wide-ranging debate on the crucial question: what do we do now?"--P. [4] of cover.

No End in Sight offers a critical analysis of Polish cinema and literature during the transformative late Socialist period of the 1970s and 1980s. Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly-charged era. Despite being controlled by an authoritarian state and the doctrine of socialism, artists were able to portray the unsettled nature of the political and psychological climate of the period, and an undetermined future. In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki’s literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology.