Bøger af David Lindley

"PERCEPTION IS A MIRROR, NOT A FACT, AND WHAT I LOOK ON IS MY STATE OF MIND REFLECTED OUTWARD."A Course in MiraclesAN ILLEGAL LOVE STORY"A city of contradictions. Violent as a switchblade, tranquil as a siesta. There's an electricity here, an air of intrigue, danger, madness and yet a place of constant music, laughter and joy. God I love a border town." TIMELY THEN - TIMELY NOW"As long as they make ladders, ropes, pogo sticks, and shovels, a wall is just another challenge to those who want to get over, around or through. And as long as the people on one side of that wall are pigging out at a lavish banquet and the people on the other side are eating dirt and drinking pond water they will find a way." A MOVIE WAITING TO BE MADE"Four Stars, two thumbs up and a big orange drink"from the folks at the Chit-Chat Cafe! "Highly Entertaining!" East Tincup Telegraph

In The Development of Personality, C. G. Jung wrote, "In every adult there lurks a child—an eternal child, something that is always becoming, is never completed, and calls for unceasing care, attention, and education. That is the part of the human personality that wants to develop and become whole." In this reflection on life’s journey, Daniel Lindley applies the insights gleaned from many years of study of literature and psychoanalysis to show how we are always becoming—and always obligated to care for that archetypal child. Drawing upon psychological truths expressed by Shakespeare, Wordsworth, Eliot, and others, Lindley illuminates the process of individuation through personal experience, art, and archetype. From birth to old age, he shows that, even in our separateness, we share an archetypal ground. According to the author, at any point in our lives, the path we walk is not unknown but has purpose and direction. We live out stories, which existed long before we did and will continue long after we are gone.

How to Write a Haiku provides a concise introduction to the art of the haiku and takes the beginner through the process of capturing the fleeting moment or a high point of experience. This practical guide gives examples of haiku newly translated from the Japanese, as well as original haiku in English, and illustrates how the raw material of experience and recollection can be shaped into both formal and informal versions of the traditional haiku.  

The Song of Myself, whose title takes its cue from Walt Whitman's celebration of the self, Song of Myself, is a modern, free-flowing verse rendition of the classic Sanskrit text, The Bhagavad Gita. It provides a fresh reading of a much translated work that has become overlaid with both Eastern and Western ideas of spirituality which have obscured, and sometimes distorted, the central teaching: to know what the self is, what action is and what non-action is. In this new translation the author has sought to make those ideas clear through a readable verse translation that does not sacrifice literal accuracy, and with notes and commentary that will help the reader separate the complementary strands of this important syncretic work that has contributed to our understanding of the self and its delusions.

We do not know how we came to be here and our lives, in a manner of speaking, are lived for us. We accept life because we are unable to refuse it. We suffer a given condition, and we ourselves are inescapably material elements of that given condition. All our anxieties about it, and all our attempts to redeem our condition by some solving word or idea never take us beyond the stuff of thinking, where questions and answers share the same uncertain and fictitious qualities. No answers come from a voice emanating from the external, objective condition, from the world into which we have been born (unable, as we are, to will anything different). Only our subjective experience of the world as an aesthetic phenomenon, and ourselves as its creator, can rescue us from the confines of the objective and the given, from arbitrary existence.

A collection of poems tracking the changing weather of love and the seasons through a single year.

The first major poetry collection from David Lindley, bringing together published and unpublished poems of three decades. Most of the poems are short. 'A long poem tends to wander off from experience and doesn't leave you with that taste of being that I think is all that a poem can give.' The collection also includes a number of translations and versions from the Japanese and Chinese.

Aphorisms, reflections and essays on order and meaning, and on the principle of aesthetic sufficiency as the only valid form of mental judgment.

"For more than a century physicists have hoped that they were closing in on the Holy Grail of modern science: a unified theory that would make sense of the entire physical world, from the subnuclear re"

David Lindley re-examines the murder trials of Frances Howard and the historical representations of her as 'wife, a witch, a murderess and a whore', challenging the assumptions that have constructed her as a model of female villainy.

"Few revolutions in science have been more far-reaching--but less understood--than the quantum revolution in physics. Everyday experience cannot prepare us for the sub-atomic world, where quantum effects"