Many faithful Christians go weekly to church, hear the word, and read it for themselves. Yet, few realize the truths that go unnoticed just below the surface. No, I am not speaking of Bible codes. The Bible has been described as a chest filled with treasures. Some are old and comfortable while others are new and challenging. Are you a seeker of truth? Then, dig into The Great Reflection.

In a pioneering study, David Shaner uses the resources of phenomenology to penetrate Buddhist philosophy in terms of Kūkai and Dōgen. In addition to this original and rigorous methodology, his work offers insights into some fundamental difficulties intrinsic to comparative studies. The problem of the relation between body and mind is a prime example. Shaner's observations shed a brilliant light on these traditional antinomies as they may be resolved or, more accurately, dissolved when seen in their appropriate contexts. In addressing these issues, the study also contributes to the understanding of common features that underlie the various doctrines of Japanese Buddhism. This work will appeal to both East and West phenomenologists, philosophers interested in the mind-body problem, scholars of comparative philosophy, and students of Japanese philosophy and religion.

Return Your Mind to its Upright Position is the fourth in a series of photographic books published by Nathan Lyons. It consistes of a sequence of 140 images paced as diptychs in chapters. Assuming a variety of roles, resembling sociologist, ethnographer, anthropologist, observer, commentator, poet, essayist, and historian, Nathan Lyons shows us overt and hidden dimensions of material culture and belief systems. The photographs and the books of photographs offer his views of the social world surrounding us in ever closer, intimately tighter encircling realities. Lyons' photographic sequences are a turning point in the possibilities for visual literature. They demonstrate--achieve--an evolution in visual thinking and its expression that attains a density and complexity of allusion. Respect, sometimes admiration, for the dignity and ambiguity of individual voices inscribed on the surface of our world tells us about our world and helps shape our conception of how things are. Previous titles include Notations in Passing (1974), Riding First Class on the Titanic (1999), After 9/11 (2003)

Zen Master's Dance makes some of Zen’s subtlest teaching deeply personal and freshly accessible. Eihei Dogen—the thirteenth-century Japanese Zen Master of peerless depth and subtlety—heard the music of the universe that sounds as all events and places, people, things, and spaces. He experienced reality as a great dance moving through time, coming to life in the thoughts and acts of all beings. It is a most special dance, the dance that the whole of reality is dancing, with nothing left out. All beings are dancing, and reality is dancing as all beings. In The Zen Master’s Dance, Jundo Cohen takes us deep into the mind of Master Dogen—and shows us how to join in the great and intimate dance of the universe. Through fresh translations and sparkling teaching, Cohen opens up for us a new way to read one of Buddhism’s most remarkable spiritual geniuses.

Chu Hsi (1130-1200), the renowned Chinese philosopher, lived during what is sometimes referred to as a "renaissance" in Chinese historyóa time of commercial expansion and intellectual innovation. Available for the first time in English, Chu Hsi's Sequel to Reflections on Things at Hand (Su chin-ssu-lu) is a collection of his sayings and writings, including personal letters, complete with commentaries and biographical notes. Wittenborn's Introduction provides a historical context for Chu Hsi's work and Neo-Confucianism. Contents: Introduction; The Background of Chu Hsi's Philosophy; The Metaphysical Dimension of Chu Hsi's Philosophy; The Psychological Dimension of Chu Hsi's Philosophy; The Su chin-ssu-lu.

Two of Dogen's most esteemed translators provide key chapters from his Zen masterpiece, the Shobogenzo, in English with annotations to guide the reader.