Bøger udgivet af Homebound Publications

After enduring a complicated recovery from eating disorders, Winona Heeley is struggling to return to normal life. Her mother recommends a change in scenery and arranges for Winona to stay with friends in rural Japan, at Michikusa House. The centuries' old farmhouse hosts residents who want to learn about growing their own food and cooking with the seasons. Jun Nakashima, an aspiring kaiseki chef, is one such resident. Like Winona, Jun is a recovering addict and college dropout. While the two bond over culinary rituals, they change each other's lives by reconstructing long-held beliefs about shame, identity, and renewal. But after Winona returns to her Midwest hometown, and despite her best efforts to keep in touch, Jun vanishes. Two years pass, and Win is about to drop out of university for a second time, a decision that irreparably fractures her relationship with her partner of nearly a decade. Refusing to accept permanent failure and disappointment, Winona once again seeks revival through gardening. Much to the chagrin of her parents, she accepts a job as a groundskeeper at a local cemetery and begins searching for Jun Nakashima once more.

"If something is something, it cannot be its opposite-or so it might seem. Not so with God, because God is...beyond opposites." In Thomas Keating's signature wise and whimsical style, this little book invites us to think big. ?Think of God in a very big way. And if you do, that is too small.? Transcribed from a 2012 keynote address, God Is All in All introduces some mighty themes?including nature as revelation, mystical teachings on interdependence, new cosmologies of religion and science, and evolutionary understandings of what it means to be human?in a much-needed update to theologies Keating describes as ?out of date.? Outlining a three-part spiritual journey from recognizing a divine Other, to becoming the Other, to the realizing there is no other, Keating boldly states ?Religion is not the only path to God.? Thoroughly Christian and fully interspiritual, this much-beloved outlier Trappist monk offers a message of ?compassion, not condemnation? in a contemplative embrace of the cross as a symbol of humility, inviting those who would become co-redeemers of the world to join him in the kind of meditation and contemplative prayer that allows the transcendent self to emerge. ?Be still and you will know, not by the knowledge of the mindbut by the knowledge of the heart, who God is and who you are.?

Gunilla Norris has written a book that spans decades of her life. She invites us to wonder what calls us into recollection. It is always a mystery when an inner voice asks for attention. In a long life, that call can be insistent and want a welcome for a vast array of experiences. Gunilla likens this to the calling of farm animals back to the barn after foraging all day which she witnessed in northern Sweden as a child.Meaningful experiences, be they losses, loves, queries or epiphanies, want sanctuary. If the doors of the heart are open, the recollections can enter again, come back home so to speak and be recognized as the poems of a life."Called home, called to love, called to grieve, called to live-calling takes many forms in this stunning collection by Gunilla Norris, whose clarity of voice calls us to a deep listening. Hers is a voice by turns spare, elegant, raw, contemplative, and unfailingly honest. Hers are poems that know we are most urgently called to be human and to live our humanity fully." -Margaret Gibson, Poet Laureate of the State of Connecticut

Andrew Jarvis' Landslide commits now and ever to a future where ruins-the human predicament-might squish in bogs until waterways bear melons and dead seabirds revive sacredness, the bottom and top of the same landscape and slide, without distraction of cliché. Landslide is a wonderful read-lyrical as the miracle of waking up alive every morning.Finalist in the 2017 Foreword Review Book of the Year AwardsWinner of the 2017 Nautilus Silver Medal for Poetry

In the not-so-distant future, two sisters must navigate a world that is unraveling due to climate change. Wildfires blot out the sky, coastlines are being washed away by rising seas, and the Great Pacific Garbage Patch has been geo-engineered into an actual island called Blue Mar. When Laurel and Paloma visit their Great-Aunt in El Salvador, they find that things are far worse than in the U.S., so bad that many people are moving to Blue Mar to start a new life. As they search for their identity and their place in the world, Laurel and Paloma must decide whether to go to Blue Mar themselves, or whether to stay, reconnect with their culture, and fight to save the land of their ancestors.

Slouching Toward Radiance is a collection of nature poetry, meditations, gentle advice, and nudges toward reflection. It’s the sort of poetry that anyone can read, even people who don’t like poetry—a book that can be picked up and paged through to whatever sections fit for the day or season of life. Heidi Barr's words are worthy companions on the way toward living a life steeped in integrity and compassion for one’s fellow beings—from the human down the street to a deer in the forest. It’s a walk through a metaphorical day, from dawn to dusk, noticing the holy ordinary even through storms, by way of solitude and community.  It’s an invitation to start where you are, to find beauty and healing in the everyday stuff of life, and to make the choices that lead to fully living in the ways that work best.Part invitation, part musing, part blessing, Slouching Toward Radiance is a call to fully show up to life, and to take ownership of what you find when you do. You may just find it’s possible to find renewal in the ordinary dance of living.

When the heart is touched it wants to sing songs of recognized experience. Call it poetry for then image, cadence, and word melt together as one. This book of poems is about such experiences. That depth of feeling encompasses both desolation and consolation and so brings the reader close to the pulse of life, to joy, the thinnest layer.

The year is 1850. The Revolutionary War has long since come to an end and the industrial revolution is beginning to build steam, overturning the old ways of home and hearth as it gains momentum. In a desperate hour, in the back alleys of Boston, a group of twelve castoff children come together to care for each other. Plagued by the unanswered questions surrounding their past and grief for loved ones lost, the children attempt to come to terms with the bitter truths that have defined their life thus far. Feeling forsaken, faced with prejudice, hostile gangs and in the hardest winter on record, the children find themselves on the ragged edge. Until a series of mysterious events begin taking place, making them feel that they are not as alone and helpless as they might have thought.Separated from his friends during a week of successive blizzards, Joseph-the fourteen-year-old boy at the head of this family of outcasts-becomes snowbound in a condemned building while searching for one missing among their number. It is during his days beset in the basement of this building that Joseph-starved and feverish-experiences a vision of another life lived upon a rolling green land, spurring him to do something he has not done in a long time: believe that life can be more than mere survival. These surreal events culminating in the arrival of a good-hearted stranger who, while wounded himself by injustice and loss, brings renewed hope to these children who have dreamed of being loved.

"Richards writes skillfully and soulfully about the most pressing issues of our times, and the deeper crisis out of which they have emerged. Drawing from a vast trove of knowledge about the world's religious, mystical, and philosophical traditions, he extracts the most valuable gems, polishes them with the revolutionary insights of modern science, and forges a radiant, new cosmosophy-a universal wisdom that honors the wisdom of the universe. The beauty of this mythos is that it, like the cosmos, is not static but dynamic, inviting our active participation and imaginative engagement.This book succeeds in instilling reverence for a living universe and hope for a dying planet. May Cosmosophia blossom and flourish in the hearts of all beings!" -Darrin Drda, author of The Four Global Truths

Wolf Tree is an ecopsychological memoir-in-essays exploring one woman's relationships with landscapes, animals, and human animals, following threads of self-awareness, consciousness, solitude vs. escapism, ecophysiology, mental health, and the difficulties and rewards of connecting with all those outside our own skins.

Here at the end of the Cenozoic Era with the life systems withering away, a surprising creativity appears, a kind of mystical balancing act. The world's spiritual traditions are entering into deeply engaged conversations through which the riches of each are ignited in new ways. With The Salmon in the Spring, Jason Kirkey has boldly carved out his place in this exciting work with his original interpretations of the concepts and stories of ancient Ireland . . . Kirkey's vision speaks directly to our present ecological challenge. Rejecting those nature-??denying forms of spirituality that have been used too easily to justify our domestication of the planet, The Salmon in the Spring announces its thrilling spiritual foundation: 'Our wild nature is our soul.' -Brian Swimme, California Institute of Integral Studies

Letters to Michelangelo from Wyoming is a collection of epistolary or letter poems to the Masters of the Italian Renaissance: Michelangelo, Caravaggio, Leonardo DaVinci and others. These letter poems were inspired from the poet Burt Bradley's journey to Italy with the celebrated Wyoming painter John Giarrizzo. They collaborated on drawings and poems as they visited Rome, Florence, and Milan. Not as tourists, but to see Italy through the eyes of their respective art. Their visit was a pilgrimage, particularly to "meet" the Old Masters "up close and personal" through their paintings and sculpture.Returning to Wyoming, Bradley found himself not ready to sever the rich connection with the Masters and began to see Wyoming's beauty through their eyes. The poet drew inspiration from the letter poems of Richard Hugo, David Citino, and Jim Harrison's Letters to Yesenin, as well as Mark Twain's Diaries of Adam and Eve and Letters from the Earth.Accompanying the poetic letters are Bradley's Italian poems that, along with Giarrizzo's drawings, reflect upon the masterpieces of sculpture and painting: Michelangelo's David, Bernini's Fountain of the Four Rivers, and Caravaggio's The Calling of St. Mathew, among others. The rich descriptions of these poems complement the "Letters" that narrate Bradley's own art of living in the rough-hewn beauty and weather-challenged landscape of Wyoming.

"The Mystery Still Drives Us is a prismatic, mysterious read that will thoroughly envelop you and usher you along on a poetic journey that will leave an undeniable, indelible mark. These billowing, prayerful reflections of longing will open you to the mystery."-Frank LaRue Owen, author of award-winning The School of Soft-Attention"One part beautifully illuminated love story, one part elongated human heartbreak, and a third part warning signs for a broken and beautiful world. McDowell photographs the curves of the earth and the sharpness of desire with the deep clarity only a poet can reveal, while somehow offering up a balm for all of us, poet and pedestrian alike."-Thomas Qualls, author of the award-winning novel The Painted Oxen"This is poetry for the soul and for the body, sensuous and textured-alive. Its rhythms and themes are familiar, but still fresh, at once quotidian and accessible, but still mysterious. You'll want to sit with The Mystery Still Drives Us under a tree, carry it around with you and read and re-read; for it offers, in some small way, in its subtle and slow depth, an antidote to the superficiality and busy-ness of our world."-Theodore Richards, award-winning author of Cosmosophia

Some Bodies in the Grief Bed is Rick Benjamin''s latest attempt to find the intersection of the human and the non-human in the context of this earth''s ecology. A poem about migrations butterflies and others make might be followed by another appearing in the life of a family; and this poet is always trying to face down the distinction between them. At the same time, he is deeply interested in every detail of either: giraffe''s eating an Acacia''s topmost leaves and pods; the way the sound of percussive roofs in rain bring up memories a boy might have thought he''d buried. These are offered as equal parts of one book, planets orbiting around the same sun. As the title suggests, Some Bodies in the Grief Bed evolves around loss, but also those moments of ecstasy and joy that are attached to them. As Martín suggests, such grief is also and always just another opportunity to praise everything and everyone we''ve been lucky enough to hold and have in this world without keeping. This book reminds us both to hold each moment and to be more mindful of what it''s made (out) of- the organic, impermanent nature of our "passing love" (Langston Hughes) on this planet.

In Heart Wood poet Mary Logue gives the reader a close examination of the wonderful ordinariness of life in clear and simple language. She asks one to "stand on the earth" and listen, to witness the miracle of a lamb being born, and shows the magic of floating on water. In these poems, she encourages us to live in the heart of this world, realistically to "know how bad it can be and how good." Having homes on both sides of the Mississippi river in Minnesota and Wisconsin, Logue is deeply aware of the natural environment. The landscape of this collection is filled with trees, snow, rivers, flowers, and "wars and weddings." We are presented with the many ways people move through the world as we watch people quilt, stare at a lunar eclipse, or doze with a small dog on their lap. With a warm fire burning while drinking verbena tea the books ends, giving us a deep awareness of all the has happened, at the close of another day. She reminds us it is our duty to "wring every drop of joy" out of this life we have been given, whatever form it takes.

By turns irreverent, playful, and serious, Haltmaier's poems explore the phenomena of daily life with a deft clarity that transforms the ordinary into the extraordinary. Brimming with nuance and surprise, To the Left of the Sun touches on the themes of solitude and union, love and letting go, and the redemptive power of nature. Haltmaier's unflinching eye lays bare the hidden miracles in choosing a head of cabbage at the farmer's market, taking a morning walk, or watching her mother's decline into dementia. The everyday and the heartrending undergo a light-infusing alchemy in her hands. At its heart, To the Left of the Sun is a portal to a world where wonder, humor, and beauty can be found in even the most unlikely places.

It has been said that poetry can be a marker of where a poet has been, or a way for a poet to point to places where we, the reader, can go. Both types of poems appear in The School of Soft-Attention. Not corralled to any one poetic style, the heart-mind-river that forms this flowing collection has been shaped by the author's diverse cross-cultural experiences, spiritual tutelage with a New Mexican wisewoman and wilderness guide, and fueled by such practices as meditation in the Zen tradition, mountain pilgrimages, fasting in the deserts of New Mexico, and intensive dreamwork. At every point along the way, the poems in The School of Soft-Attention invite the reader to turn to a new way of seeing, a new way of paying attention to the life within and around us.

What do we mean by "God" in today's world? Do we even need "God" anymore?How many names for Divinity are there? Do the names for God change as we mature as individuals, evolve as a species, and face a critical "turning time" in human and planetary history?" Too often, notions of God have been used as a means to control and to promote a narrow worldview. In Naming the Unnameable, renowned theologian and author Matthew Fox ignites our imaginations by offering a colorful range of Divine Names gathered from scientists and poets and mystics past and present, inviting us to always begin where true spirituality begins: From experience.Ultimately, no name for God suffices. We are challenged to continue to probe the rich ecology of human spirituality to ask questions, embrace paradox, and listen silently to the deepest of life's mysteries.

The natural world has the power to awaken, restore, and transform us, and nowhere are these capacities more evident than in the thirty-six luminous essays that make up The Ashokan Way. Written in the form of journal entries that take place over the course of a year, the essays explore both the outer landscapes of the awe-inspiring Ashokan Reservoir, a vast open space surrounded by the ancient bluestone peaks of the Catskill Mountain Watershed, and the equally awe-inspiring inner landscapes of our own most personal terrains.Each of the book's evocative entries describes a walk along the ever-changing reservoir, illuminating the natural world as a portal to self-understanding, restoration, and meaning. Some walks take us deep inside to trek the hills and valleys of our aspirations and sorrows, our joys and confusions. Others offer a profound antidote to an interior landscape that has become crowded with distraction and overstimulation. Still others seem to seem usher us into the realm of the mystical.As surely as we would perish without the water and air that the earth provides, we are at risk of perishing without the spiritual sustenance that the natural world provides through its ability to stir and astonish us. In a world that is ever faster, noisier, and busier, The Ashokan Way is a balm, an inspiration, and an invitation to discover greater intimacy with inner and outer landscapes alike.