Based on Japanese verse form, American haiku contains three lines with a five/seven/five syllable structure. While haiku is so much associated with the land of its birth, it was a favorite of Kerouac and the Beat poets, who popularized the verse standard in America and used it to express their wanderlust and melancholy. Poets since have used it in a much more lighthearted way. If there was one musician who comes close to the style of the Beats, it's Bob Dylan. The prolific singer and songwriter looms large over the music scene to this day. His songs can tell a whole story, and they often have many verses. Surprisingly, sometimes the best way to convey the complexity of his work is with the greatest simplicity. Writer and Bob Dylan fan Robert MacMillan is the first to make this connection. He celebrates Dylan's legacy (and verbosity) by condensing Dylan's many songs into haiku. Each beautiful (and sometimes cheeky) haiku is accompanied by background about the associated song, with an examination of its lyrics and meaning. Music interpretation becomes an art form itself in this new poetry collection.

Dr. Mathur’s Echoes From Deep Within ardently captures human emotions in the rhyme and rhythm of Haiku poetry. Whether it talks about the depths of love or the heights of ego, it emotes the journey of life influenced by anything from family and friends to love and politics through very simple three lines of Haiku. So embark on this poetic exploration and start listening to the Echoes From Deep Within! “Poetry nectar of my life God talks to me in heavenly whispers I simply ink on paper” - Dr. Manoj Mathur Written in Traditional Japanese Haiku style poems (5+7+5) Three simple emotional lines Three lines, deep enough to fathom the soul Poetry that covers Life, Philosophy, Nature, Love and Passion Poems that portray experiences, lessons and feelings in this journey called Life Three lines that would bring out both suffering and blessings This is – Echoes From Deep Withtin I always thought that haiku were made of bamboo, that their rigid form of three lines and seventeen sounds forced our thoughts on fleeting life and changing seasons into a vessel that demanded that we measure the weight and value of what we wrote… – Robert MacMillan Full credit to Dr. Manoj Mathur for helping me see the world from the other end of the telescope, as well as for his affirmation that the form of this old Japanese poem can be stretched in many directions, as can its use… In Dr. Mathur’s collection you will find haiku that fit the traditional definition of what one should be: a meditation on time passing and life-changing and fading, filtered through the metaphor of some kind of meditation on the seasons or a scene in nature… (Full text inside) – Robert MacMillan (Journalist & Writer, New York) Author of “Haiku 61 Revisited: The songs of Bob Dylan, interpreted as haiku.” (Bob Dylan is the Nobel Prize winner in Literature, 2016)

The young man from Hibbing released Highway 61 Revisited in 1965, and the rest, as they say, is history. Or is it? From his roots in Hibbing, to his rise as a cultural icon in New York, to his prominence on the worldwide stage, Colleen J. Sheehy and Thomas Swiss bring together the most eminent Dylan scholars at work today--as well as people from such farreaching fields as labor history, African American studies, and Japanese studies--to assess Dylan's career, influences, and his global impact on music and culture.

'A must have for Dylan enthusiasts, lovers of London, and anyone with even a passing interest in the history of music. I devoured it in two sittings - and I loved it!' Conor McPherson, playwright, Girl from the North Country This is both a guide and history on the impact of London on Dylan, and the lasting legacy of Bob Dylan on the London music scene. Bob Dylan in London celebrates this journey, and allows readers to experience his London and follow in his footsteps to places such as the King and Queen pub (the first venue that Dylan performed at in London), the Savoy hotel and Camden Town. This book explores the key London places and times that helped to create one of the greatest of all popular musicians, Bob Dylan.

Offering essays from some of the leading academic writers and younger scholars in the field of American studies from both the United States and Europe, this volume constitutes a rich and varied reconsideration of Modernist American poetry. Its contributions fall into two general categories: new and original discussions of many of the principal figures of the movement (Frost, Pound, Eliot, Williams, Cummings and Stevens) and reflections on the phenomenon of Modernism within a broader cultural context (the influence of Haiku, parallels and connections with Surrealism, responses to the Modernist accomplishment by later American poets). Because of its mixture of European and American perspectives, Modernism Revisited will be of vital interest to students and scholars of American literature and Modernism in general and of twentieth-century comparative literature and art.

While poetry often uses precise phrases and carefully constructed stanzas to create a kind of written music, author Geza Tatrallyay ups the emotional and structural ante through literary translation. The result is Cello’s Tears, a testament to universal truths that is unhindered by the constraints of a single language. A multilingual world traveler, Tatrallyay wrote his debut poetry collection over many years and in many locales, as evidenced by the poems’ myriad forms and origins—including original haikus, tankas, and translations from German, French, and Hungarian. Beyond their varying origins, the poems playfully push the boundaries of meaning through the use of unconventional words and phrases. Many verses, inspired by the deeply emotive quality of great music, evoke a similar sentimental response in the reader. And in a final ode to the musical quality of the poet’s work, Tatrallyay arranges the verses in four parts, just as a composer arranges a symphony. Emotion, form, and musically influenced symbolism deliver a compulsively readable collection that will delight lovers of contemporary poetry.

Mr. Lipton’s book is the first complete and unbiased survey of the beat generation and its role in our society. Here are the intimate facts about these people and their attitudes toward sex, dope, jazz, art, religion, parents, landlords, employers, politicians, draft boards, the law and, most important, toward the “square”. The author presents a picture of their way of life, their individual backgrounds, the language they have appropriated, in terms made clear for the first time to those of us who have been confused and puzzled about them. He also provides a balanced discussion of their literature, art and music, of what they produce and fail to produce in the arts they practice.—Print Ed.