Gathers poems about travel, nature, daily life, friendship, and exile by the eleventh-century Chinese poet, who wrote under the name Su Tung-p'o.

Gathers poems about travel, nature, daily life, friendship, and exile by the eleventh-century Chinese poet, who wrote under the name Su Tung-p'o.

We find timeless expressions of human experience in the poems of Su Dongpo (1037-1101), translated with grace and power by Lin and Young. We follow Dongpo through his life of political exiles while he ponders the transitory nature of reality with beauty and a sober lightness.

Du Fu (712–777) has been called China's greatest poet, and some call him the greatest nonepic, nondramatic poet whose writings survive in any language. Du Fu excelled in a great variety of poetic forms, showing a richness of language ranging from elegant to colloquial, from allusive to direct. His impressive breadth of subject matter includes intimate personal detail as well as a great deal of historical information—which earned him the epithet "poet-historian." Some 1,400 of Du Fu's poems survive today, his fame resting on about one hundred that have been widely admired over the centuries. Preeminent translator Burton Watson has selected 127 poems, including those for which Du Fu is best remembered and lesser-known works.

Even as a young boy in 11th-century China, it was clear that Su Shih was special. After finding a rare inkstone, he began to write stories and verses expressing his love of the natural world. His words flowed effortlessly, his brush danced across the paper. Su Shih grew up to become a leading scholar and statesman, eventually taking the name Su Dongpo. He promoted justice and condemned corruption - often at his own peril. Su Dongpo's life transcends the ages and is a shining example of dignity, ingenuity, courage and resilience.

Remembered today primarily as a poet, calligrapher, and critic, the protean Su Shi was an outspoken player in the contentious politics and intellectual debates of the Northern Song dynasty. In this comprehensive study, Ronald C. Egan analyzes Su’s literary and artistic work against the background of eleventh-century developments within Buddhist and Confucian thought and Su’s dogged disagreement with the New Policies of Wang Anshi. Egan explicates Su’s views on governance, the classics, and Buddhism; and he describes Su’s social-welfare initiatives, arrest for disloyalty, and exiles. Finding a key to the richness of Su’s artistic activities in his vacillation on the significance of aesthetic pursuits, Egan explores Su’s shi and ci poetry and Su’s promotion of painting and calligraphy, looking specially at the problem of subjectivity. In a concluding chapter, he reconsiders Su’s role as a founder of the wenren (“literati”) and challenges the conventional understanding of both Su and the Northern Song wenren generally.

Opening in 1969 in New England, I KNOW WHERE I AM WHEN I'M FALLING is as rich in relationships as the colours and textures of the time. Ruby Lambert, is the eldest daughter in the eccentric Lambert family who get caught up in the life of Angus Aleshire, a charming, smart and athletic boy who they try to help and who shares Ruby's unconventional bent and love of the piano. Ruby and Angus fall in love but Angus has a dark side. His boyish charms start to wear thin losing him family and friends along the way and when his clever schemes and misbehavior get him in trouble, culminating with an art heist, he tries even Ruby’s love for him. The story spans thirteen years, and poses uncomfortable questions about the blindness of love, nurture versus nature and life through rose tinted glasses. Ruby struggles to square her vision of Angus’s potential with the unsettling and mounting reality.