With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States. The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States. The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

Return to the earth with beautiful photographs and inspirational text. “Morning altars” are colorful mandalas that combine nature, art, and meditation. Incorporating the natural world into the everyday encourages positive well- being, even with the simplest of the earth’s gifts, such as leaves, flowers, berries, feathers, and stones. These stunning pieces of art are a peaceful and creative avenue to express gratitude for nature, to practice mindfulness, and to add meaning to daily life. In this book, Day Schildkret guides readers through the creation of morning altars, a seven- step process that includes wondering and wandering, place meditation, clearing space, creating, gifting, walking away, and sharing his art with others. Since his first morning altar, Schildkret has built hundreds more. His work has been warmly received on social media and he teaches workshops on altar building, all with the intention of sharing the positivity and beauty they have brought to his life.

Books dealing with individual philosophers as well as annotated translations of their works are very much in need in the field of classical Indian philos ophy. Hence the research efforts of modern scholars should increasingly be devoted to this objective. Professor M. Tachikawa has selected a very short elementary treatise of Udayana as well as some portions of a larger work of the same author to supplement the first. His aim is to present to us, in Udayana's own term, how he (Udayana) sees the Nyaya-VaiSe~ika system in a synoptic fashion. I wish to take this opportunity to say a few things about Udayana and the Nyaya-Vaise~ika system. UDAYANA Udayana was a pre-eminent philosopher and an astute logician of the eleventh twelfth century India. He belonged to the Mithila region of the present Bihar 1 state. In the history of the Nyaya-V aise~a, he holds a very crucial position. In fact, two different schools of philosophy, Nyaya and Vaise~a, belonging to ancient India, merged into one in the writings of Udayana. As it has been said, in Udayana, the happy marriage between Nyaya and Vaise~ika was com plete - the Vai{sect}e~ika ontological scheme (padiirthas or system of categories) was in this way combined with the pramiir:za doctrine (logic and a theory of knowledge) of Nyaya to produce what later came to be designated as Navya nyaya.

The phrase "beat generation" -- introduced by Jack Kerouac in 1948 -- characterized the underground, nonconformist youths who gathered in New York City at that time. Together, these writers, artists, and activists created an inimitably American cultural phenomenon that would have a global influence. In their constant search for meaning, the Beats struggled with anxiety, alienation, and their role as the pioneers of the cultural revolution of the 1960s. The Philosophy of the Beats explores the enduring literary, cultural, and philosophical contributions of the Beats in a variety of contexts. Editor Sharin N. Elkholy has gathered leading scholars in Beat studies and philosophy to analyze the cultural, literary, and biographical aspects of the movement, including the drug experience in the works of Kerouac and Allen Ginsberg, feminism and the Beat heroine in Diane Di Prima's writings, Gary Snyder's environmental ethics, and the issue of self in Bob Kaufman's poetry. The Philosophy of the Beats provides a thorough and compelling analysis of the philosophical underpinnings that defined the beat generation and their unique place in modern American culture.

Buddha taught The Great Prajna Paramita Sutra in sixteen assemblies in four locations over twenty-two years. It was recorded posthumously by his disciples in six hundred fascicles of approximately five million words and is regarded as the largest canon in Buddhism. For the last decade, translator Naichen Chen has worked on this sutra, and it is the only complete English translation from the Chinese Da Bo Re Bo Luo Mi Duo Jing rendered from Sanskrit about 1,350 years ago by Xuanzang (Hsüan-tsang). This is the second volume in a multivolume set. The Great Prajna Paramita Sutra is important not only because of its extensive teaching, but because it explains what the great bodhisattva, the great bodhisattva path of cultivation, and the great bodhisattva vehicle are. It depicts, manifests, and provides guidance on how one should learn to become a bodhisattva—and eventually a Buddha—transcending self-interest to reach a state of emptiness, selflessness, and nonattachment. Regardless of where you are on the path to enlightenment, you will be nourished by its parables and dialogues.

In this lovely, meditative exploration of Ikebana -- the Japanese art of flower arranging -- Joan Stamm shows us how her twin paths of Buddhist practice and artistic endeavor converge and indeed become thoroughly intertwined. In reflecting on the fading of a lovely bloom, the author understands impermanence; when she shows us the natural symmetry of a blossom, we find that we too have regained our balance. Stamm's elegant, lush voice weaves childhood memories with meditations on the symbolic importance of nature.