David Hinton – författare

There is a set-phrase in Chinese referring to the phenomenon of Li Po: “Winds of the immortals, bones of the Tao.” He moved through this world with an unearthly freedom from attachment, and at the same time belonged profoundly to the earth and its process of change. However ethereal in spirit, his poems remain grounded in the everyday experience we all share. He wrote 1200 years ago, half a world away, but in his poems we see our world transformed. Legendary friends in eighth-century T’ang China, Li Po and Tu Fu are traditionally celebrated as the two greatest poets in the Chinese canon. David Hinton’s translation of Li Po’s poems is no less an achievement than his critically acclaimed The Selected Poems of Tu Fu, also published by New Directions. By reflecting the ambiguity and density of the original, Hinton continues to create compelling English poems that alter our conception of Chinese poetry.

Wang Wei (701-761 C.E.) is often spoken of, with his contemporaries Li Po and Tu Fu, as one of the three greatest poets in China's 3,000-year poetic tradition. Of the three, Wang was the consummate master of the short imagistic landscape poem that came to typify classical Chinese poetry. He developed a nature poetry of resounding tranquility wherein deep understanding goes far beyond the words on the page—a poetics that can be traced to his assiduous practice of Ch'an (Zen) Buddhism. But in spite of this philosophical depth, Wang is not a difficult poet. Indeed, he may be the most immediately appealing of China's great poets, and in Hinton's masterful translations he sounds utterly contemporary. Many of his best poems are incredibly concise, composed of only twenty words, and they often turn on the tiniest details: a bird's cry, a splinter of light on moss, an egret's wingbeat. Such imagistic clarity is not surprising since Wang was also one of China's greatest landscape painters. This is a breathtaking poetry, one that in true Zen fashion renders the ten thousand things of this world in such a way that they empty the self even as they shimmer with the clarity of their own self-sufficient identity.

With this groundbreaking collection, translated and edited by the renowned poet and translator David Hinton, a new generation will be introduced to the work that riveted Ezra Pound and transformed modern poetry. The Chinese poetic tradition is the largest and longest continuous tradition in world literature, and this rich and far-reaching anthology of nearly five hundred poems provides a comprehensive account of its first three millennia (1500 BCE-1200 CE), the period during which virtually all of its landmark developments took place. Unlike earlier anthologies of Chinese poetry, Hinton's book focuses on a relatively small number of poets, providing selections that are large enough to recreate each one as a fully realized and unique voice. From the classic, deeply poetic texts of Chinese philosophy to intensely personal lyrics, from love poems to startling and strange perspectives on the natural world, Hinton has collected an entire world of beauty and insight. And in his eye-opening translations, these ancient poems feel remarkably fresh and contemporary.Without ever reaching for anachronistic effects or colloquialisms, Hinton presents a literary tradition both radically new and entirely resonant.

At the Sky's Edge combines in a single bilingual paperback volume two essential works by one of the world's finest contemporary poets. In his first retrospective volume of poetry in English, two of Bei Dao's previous booksForms of Distance (1994) and Landscape Over Zero (1996)are gathered together in one bilingual paperback edition. At The Sky's Edge: Poems 1991-1996 marks a pivotal point in the poet's oeuvre, presenting the increasingly lyrical, meditative poems written in the years following his banishment from China in 1989. Translated into twenty-five languages, Bei Dao's work has long been appreciated internationally, but is just recently gaining a larger audience in the US. At The Sky's Edge becomes Bei Dao's seventh book published by New Directions and is the first time Forms of Distance appears in a paperback edition. The translations of David Hinton, who was awarded the prestigious Harold Morton Landon Translation Award from The Academy of American Poets in 1997, capture both the musicality and density of the original Chinese. Quiet, spare, these are poems of paradox and possibility, of words carefully balanced, of a world on edge.

The earliest and most extensive literary engagement with wilderness in human history, Mountain Home is vital poetry that feels utterly contemporary. China's tradition of "rivers-and-mountains" poetry stretches across millennia. This is a plain-spoken poetry of immediate day-to-day experience, and yet seems most akin to China's grand landscape paintings. Although its wisdom is ancient, rooted in Taoist and Zen thought, the work feels utterly contemporary, especially as rendered here in Hinton's rich and accessible translations. Mountain Home collects poems from 5th- through 13th-century China and includes the poets Li Po, Po Chu-i and Tu Fu. The "rivers-and-mountains" tradition covers a remarkable range of topics: comic domestic scenes, social protest, travel, sage recluses, and mountain landscapes shaped into forms of enlightenment. And within this range, the poems articulate the experience of living as an organic part of the natural world and its processes. In an age of global ecological disruption and mass extinction, this tradition grows more urgently important every day. Mountain Home offers poems that will charm and inform not just readers of poetry, but also the large community of readers who are interested in environmental awareness.

Learning to see with the eyes of the ancient Chinese sages can change your view of the universe, as David Hinton demonstrates. He takes us on a series of walks up Hunger Mountain, a wilderness area near his home in Vermont. What he sees and describes about these outings is informed by the cosmos-view he''s imbibed from his many years of translating Chinese poetry: a way of looking at nature, and our place in it, and a particular way of regarding the relationship between ourselves and the universe. It''s a view that informs all the great Chinese poetry and art. It''s found in Taoism and Chinese expressions of Buddhism, but it predates them by millennia, going back probably to the Paleolithic Age—and it''s found in the structures of the Chinese language itself, and in the evolution of the system of writing. Each chapter takes its name and theme from a character of the Chinese alphabet, whose history and development Hinton examines. They originate as primitive marks, very literally expressing the simplest of ideas, from which they grow and develop through time to express concepts of great subtlety. The poets and artists understood this and kept their focus on the emptiness that gives birth to all things as they used language and images that sprang from that emptiness. We learn about this as David walks up and around Hunger Mountain, making observations about the landscape, his place in it, and the underlying geological reality, telling stories of the great poets as he goes. It''s the profoundest kind of nature writing, and it''s an exceptionally accessible entrée to an ancient Chinese view of the universe.

This is the story of existence, and it begins with a painting. Join David Hinton, the premier modern translator of the Chinese classics, as he stands before a single landscape painting, discovering in it the wondrous story of existence—and as part of that story, the magical nature of consciousness. What he coaxes from the image is nothing less than a revelation: the dynamic interweaving of mind and Cosmos, and the glorious dance of Absence and Presence that is the secret of that Cosmos.

An exploration of the emerging Western consciousness of how deeply we belong to the wild Cosmos, as seen through the lineage of modern America''s great avant-garde poets --a thrilling journey with today''s premier translator of the Chinese classics.Henry David Thoreau, in The Maine Woods, describes a moment on Mount Ktaadin when all explanations and assumptions fell away for him and he was confronted with the wonderful, inexplicable thusness of things. David Hinton takes that moment as the starting point for his account of a rewilding of consciousness in the West: a dawning awareness of our essential oneness with the world around us. Because there was no Western vocabulary for this perception, it fell to poets to make the first efforts at articulation, and those efforts were largely driven by Taoist and Ch’an (Zen) Buddhist ideas imported from ancient China. Hinton chronicles this rewilding through the lineage of avant-garde poetry in twentieth-century America—from Walt Whitman, Ezra Pound and Robinson Jeffers to Gary Snyder, W. S. Merwin, and beyond—including generous selections of poems that together form a compelling anthology of ecopoetry. In his much-admired translations, Hinton has re-created ancient Chinese rivers-and-mountains poetry as modern American poetry; here, he reenvisions modern American poetry as an extension of that ancient Chinese tradition: an ecopoetry that weaves consciousness into the Cosmos in radical and fundamental ways.

A new translation of one of the great koan collections--by the premier translator of the Chinese classics--that reveals it to be a literary and philosophical masterwork beyond its association with Chan/Zen.A monk asked: “A dog too has Buddha-nature, no?” And with the master’s enigmatic one-word response begins the great No-Gate Gateway (Wu-Men Kuan), ancient China’s classic foray into the inexpressible nature of mind and reality. For nearly eight hundred years, this text (also known by its Japanese name, Mumonkan) has been the most widely used koan collection in Zen Buddhism—and with its comic storytelling and wild poetry, it is also a remarkably compelling literary masterwork. In his radical new translation, David Hinton places this classic for the first time in the philosophical framework of its native China, in doing so revealing a new way of understanding Zen—in which generic “Zen perplexity” is transformed into a more approachable and earthy mystery. With the poetic abilities he has honed in his many translations, Hinton brilliantly conveys the book’s literary power, making it an irresistible reading experience capable of surprising readers into a sudden awakening that is beyond logic and explanation.

A deep and radically original exploration of Taoist and Ch''an (Zen) Buddhist wisdom through the lens of the life and work of Tu Fu, widely considered China''s greatest classical poet.What is consciousness but the Cosmos awakened to itself? This question is fundamental to the Taoist and Ch''an (Zen) Buddhist worldview that shapes classical Chinese poetry. A uniquely conceived biography, Awakened Cosmos illuminates that worldview through the life and work of Tu Fu (712-770 C.E.), China''s greatest classical poet. Tu Fu''s writing traces his life from periods of relative normalcy to years spent as an impoverished refugee amid the devastation of civil war. Exploring key poems to guide the reader through Tu Fu''s dramatic life, Awakened Cosmos reveals Taoist/Ch''an insight deeply lived across the full range of human experience.Each chapter presents a poem in three stages: first, the original Chinese; then, an English translation in Hinton''s masterful style; and finally, a lyrical essay that discusses the untranslatable philosophical dimensions of the poem. The result is nothing short of remarkable: a biography of the Cosmos awakened to itself in the form of a magisterial poet alive in T''ang Dynasty China.Thirty years ago, David Hinton published America''s first full-length translation of Tu Fu''s work. Awakened Cosmos is published simultaneously with a newly translated and substantially expanded version of that landmark translation: The Selected Poems of Tu Fu: Expanded and Newly Translated (New Directions).

This ancient text records the teachings of Mencius (4th c. B.C.E.), the second originary sage in the Confucian tradition which has shaped Chinese civilization for over two thousand years. In a culture that makes no distinction between those realms we call the heart and the mind, Mencius was the great thinker of the heart, and it was he who added the profound inner dimensions to the Confucian vision. Given his emphasis on the heart, it isn''t surprising that his philosophical method is very literary in nature: story and anecdote full of human drama and poetic turns of thought. Indeed, the text is considered a paragon of literary eloquence and style.Mencius'' strikingly contemporary empiricism represented a complete secularization of the spiritualist concepts of governance that had dominated China for over a millenia. He invested the humanist Confucian vision with its inner dimensions by recognizing that the individual is an integral part of a self-generating and harmonious cosmos. He saw all the spiritual depths of that cosmology inside us, and this led to a mystical faith in the inherent nobility of human beings. In his chaotic and war-ravaged times, he was therefore passionate in his defense of the people. Indeed, he advocated a virtual democracy in which a government''s legitimacy depended upon the assent of the people. Such is the enduring magic of the Mencian heart— full of compassionate and practical concern for the human condition, and yet so empty that it contains the ten thousand transformations of the entire cosmos.