In her three lectures, Hirshfield examines the roles of hiddenness, uncertainty and surprise as they appear in poetry and other works of literature, in the life and psyche of the writer, and in the broader life of the culture as a whole.

Modern science informs us about the end of the universe: "game over" is the message which lies ahead of our world. Christian theology, on the other hand, sees in the end not the cessation of all life, but rather an invitation to play again, in God's presence. Is there a way to articulate together such vastly different claims? Eschatology is a theological topic which merits being considered from several different angles. This book seeks to do this by gathering contributions from esteemed and fresh voices from the fields of biblical exegesis, history, systematic theology, philosophy, and ethics. How can we make sense, today, of Jesus' (and the New Testament's) eschatological message? How did he, his early disciples, and the Christian tradition, envision the "end" of the world? Is there a way for us to articulate together what modern science tells us about the end of the universe with the biblical and Christian claims about God who judges and who will wipe every tear? Eschatology has been at the heart of Christian theology for 100 years in the West. What should we do with this legacy? Are there ways to move our reflection forward, in our century? Scholars and other interested readers will find here a wealth of insights.

This volume marks the first translation of these prayer-poems into English. Originally written in 1899, Rilke wrote them upon returning to Germany from his first trip to Russia. His experience of the East shaped him profoundly. He found himself entranced by Orthodox churches and monasteries, above all by the icons that seemed to him like flames glowing in dark spaces. He intended these poems as icons of sorts, gestures that could illumine a way for seekers in the darkness. As Rilke here writes, "I love the dark hours of my being, for they deepen my senses." Translated by Mark S. Burrows.

Two volumes of poetry have been combined in this special edition il piccolo publication. "Brian Landis is a master storyteller; Dennis Patrick Slattery a master teacher in the art of writing myth. Both are skillful poets who have teamed to produce this refined volume of poetry. Feathered Ladder speaks brilliantly to me." —From the Foreword by Stephanie Pope, Cultural Mythologer and poet — mythopoetry.com

A dazzling collection of essays on how the best poems work, from the master poet and popular essayist "Poetry," Jane Hirshfield has said, "is language that foments revolutions of being." In ten eloquent and highly original explorations, she unfolds some of the ways this is done--by the inclusion of hiddenness, paradox, and surprise; by a perennial awareness of the place of uncertainty in our lives; by language's own acts of discovery; by the powers of image, statement, music, and feeling to enlarge in every direction. Closely reading poems by Dickinson, Bashō, Szymborska, Cavafy, Heaney, Bishop, and Komunyakaa, among others, Hirshfield reveals how poetry's world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. Ten Windows restores us at every turn to a more precise, sensuous, and deepened experience of our shared humanity and of the seemingly limitless means by which that knowledge is both summoned and forged.

What are the means available to poetry to address crisis and how can both poets and critics meet the conflicts and challenges they face? This collection of essays addresses poetic and critical responses to the various crises encountered by contemporary writers and our society, from the Holocaust to the ecological crisis.

Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm--patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theological conversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.