Why Arizona’s Undocumented Person’s law will fail — Actual Empirical Evidence — Part I Reply


As everyone is well aware, Arizona recently passed a law making it illegal for undocumented immigrants to be present in the state. What you may not know is that similar experiments have taken place and failed. I have first hand experience with one of those experiments.

About three years ago, my wife and I decided to ban Dora the Explorer from our house. It was a particularly difficult decision. In fact, we were quite aware of the irony that we ourselves invited Dora into our house. Frankly, the decision made allot of sense to invite her over. In Dora, we got all of the benefits of a babysitter, at approximately 1/1016 of the market rate. (If we paid $12.00 per hour for a babysitter in thirty minute blocks for twice a day for thirty days, the financial decision makes complete sense — and yes, Dora did work for us seven days a week).

To be honest, we knew that Dora came with some complications. For instance, we had to decide whether Dora would have her own television to broadcast from or whether she would have to share the community television at the times that were available. We elected the later, though we recognized that it would have been more fair for Dora to have her own access to a unique broadcast opportunity.

We also knew that Dora would come with friends. We were willing to accept that Dora’s friends Map, Boots, Tico, Benny, Swiper, and Izza. Frankly, we did not mind too much. Dora’s friends often provided added value without additional expenditure of resources. wpid-images3.jpeg

But what sent us down the road towards expelling Dora from the house was that Dora began co-opting additional resources. Not only was there the Television program once, but twice, and then three times. There were the videos. There were the books. And then there was the dora Castles, blanket, and ugly pajamas that she wanted to wear everywhere. We could not get away from Dora!

Then more started coming around. Dora’s cousin Diego began hanging around. After observing Diego we became convinced that he was involved in the illicit drug trade — I mean what nine year old has a submarine.wpid-1____images3.jpeg

We were also certain that the baby Jaguar that he kept was being trained for pit bull fighting at a later date. Investing resources in Dora was one thing. But investing in Diego — a certain drug pusher and pit bull orchestrator — could not be tolerated. And it did not stop with Diego.

Soon this new gang, which we heard came from the same places that Diego and Dora came from (the Republic of Nickelodeon) started hanging around. This gang, called the Backyardigans are a bunch of idle ne’re do wells that we believed were affiliated with the infamous M-16 gang. For instance, they are always, always, hinting that they want more food. (Always talking about getting a snack).

Their ringleader Pablo seems to be insistent that wearing a bowtie makes him respectable.

The problem is that non-white people wearing bow-ties and leading gangs leads to violence every time. Really, it makes the whole wearing bow-ties business look seedy. Just think for a moment — when have white people wearing bow ties caused the types of crises that non-white people have caused?


Well obviously what started with an innocent attempt to save money created an irrepressible circumstance. Something had to be done

Random Thoughts while Driving Through Arizona and New Mexico Reply


  1. Interstate 40 in Arizona is better than Interstate 40 in California.
  2. Northern Arizona is greener than I would have thought. However, its not as pretty as New Mexico.
  3. DON’T SPEED THROUGH THE NAVAJO NATION. Spotted twelve (yes 12) cops lined up ready to catch speeders.
  4. Finding a hotel in Albuquerque that takes dogs is difficult. I still can’t believe the Residence Inn wants to charge $100 non-refundable pet deposit.
  5. New Mexico does not know how to move traffic through construction. One hour to move five miles!
  6. At what point during a twelve hour drive do you defer to Christmas music to stay awake — apparently at the 10:30 mark. We’ll see if that changes since there will be another twelve hour day.
  7. I started the day listening to the Brothers Karamazov. Heard a line that I did not recall reading — Habitual Liberal Irony. I’ll have to think about that one — perhaps a post later.

Ok — That’s all for my random thoughts.

Islam & Poetry: Addendum 1


In the final introductory post on Islam and Poetry (Part 3), I wrote in response to several lines from Sanā’ī’s Hadiqa al-haqīqa (Enclosed Garden of the Truth) that what Sanā’ī “lack[ed] in aesthetic unity [he] makes up for in rather proud religious purpose.” My original and somewhat sarcastic response to the quoted passage is akin to the manner in which others have reacted to the following final verses from Farīd al-Din ‘Attar’s celebrated mystical epic, the Mantiq al-tayr  (The Conference of the Birds):

This book is the adornment of time, offering a portion to both elite and common.

If a frozen piece of ice saw this book, it would happily emerge from the veil like the sun.

My poetry has a marvelous property, since it gives more results every time.

If it’s easy for you to read a lot, it will certainly be sweeter for you every time.

This veiled bride in a teasing mood only gradually lets the veil fall open.

Till the resurrection, no one as selfless as I will ever write verse with pen on paper.

I am casting forth pearls from the ocean of reality. My words are finished and this is the sign.

If I praise myself a lot, how can that praise please anyone else?

But the expert himself knows my value, because the light of my moon is not hidden.

These lines are in fact missing from the well-known English translation of the epic poem by Afkham Darbandi and Dick Davis (1984). In the Introduction, Davis notes that they have translated the entire poem “with the exception of the invocation and the epilogue. The invocation, a traditional prelude to long narrative poems in Persian, consists of praise of God, of the Prophet [Muhammad] and of the founders of Islam. [….] The epilogue, again a traditional feature of such poems, consists largely of self-praise and is a distinct anticlimax after a poem devoted to the notion of passing beyond the Self.” One wonders if that is sufficient justification for omitting the end of the poem (and the invocation for that matter!).

In his essay, “On Losing One’s Head: Hallājian Motifs and Authorial Identity in Poems Ascribed to ‘Attār,”* Carl Ernst well captures the puzzlement that inevitably follows reflection on such lines from renowned Sufi poets like Sanā’ī and ‘Attār. Discussing the aforementioned epilogue from the Mantiq al-tayr, Ernst writes that

“This passage is remarkable for the boast it contains in which ‘Attār claims that no one has ever annihilated his ego as successfully as he. Conjoined as it is with a bold advertisement of the quality of ‘Attār’s literary works, this paradoxical boast of ego-annihilation raises a difficult question regarding the nature of authorship of Sufi writings. If the goal of the Sufi is the annihilation of the self, what sort of self may be ascribed to the authors of the central writings of Sufism? As ‘Attār himself remarked in comparing Hallāj’s utterances with Moses’ encounter with the burning bush on Sinai, it was not the bush that spoke, but God. ‘Attār’s declaration is a specimen of the rhetoric of sainthood which permitted the spiritual elite to engage in a boasting contest (mufākhara) to demonstrate the extent of God’s favours to them.”

Familiarity with this “boasting” rhetoric of sainthood should temper if not eliminate the reaction I had to the lines from Sanā’ī’s Hadiqa al-haqīqa as well as help one appreciate why the omission of the epilogue from the Mantiq al-tayr might be troubling. With Ernst, we need to consider the extent to which the Sufi tradition incorporated the pre-Islamic Arabic tradition of mufākhara into “its earliest dialogical pronouncements,” a fact “explicitly recognized in early Sufi manuals of conduct,” and thus “what is distinctive about the Sufi rhetoric of sainthood is that unabashed boasting is permitted and even encouraged as a means of indicating one’s direct contact with God” (From Ernst’s Ruzbihan Baqli: Mysticism and the Rhetoric of Sainthood in Persian Sufism, 1996: 45 and 146 respectively). Thus what at first glance appears as grandiose self-praise, the very antithesis of selflessness, turns out to be a refrain from the traditional rhetoric of sainthood, one in which it could be said that we witness “the flickering of the authorial ego in the storm of divinity.”

Finally, yet another perspective is provided by the following lines from ‘Attār’s Mantiq al-tayr, reminiscent of the disparaging comments Rūmī came to write about his own poetry:

With his dying breath that sage of faith [Sanā’ī] said,

‘If only I knew long before this

How more honorable is listening to speaking,

When would I have wasted my life with words?’

If words were as fine as gold,

Still, they would be inferior to unuttered words!

Doing it is the lot of true men!

Alas, my fate was just talking about it.

Such sentiment, held in common by both the “practical” man and the true mystic, arguably contains an implicit critique of the limitations of reason, in particular of the, in the end, spiritual constraints of both theology and philosophy (especially a rationalist metaphysics), when viewed in the supernal light of Divine silence. Put differently, words, or reason, can only “point” or indirectly refer to that kind of mystical experience which has, I think, been properly characterized as a “pure consciousness event”  (i.e., consciousness without an object), involving a non- or para-cognitive form of “knowing” or awareness said to encompass one’s entire being and thus beyond the realm of subject-object duality.

*In Leonard Lewisohn and Christopher Shackle, eds., Attar and the Persian Sufi Tradition: The Art of Spiritual Flight (London: I.B. Tauris in association with The Institute of Ismaili Studies, 2006: 330-343). This essay is also found online here.

The (original) image is here.

For an illuminating analysis of Habīballāh’s painting (the image above) as a “complete visual rendition of ‘Attār’s entire cosmology,” please see Michael Barry’s essay, “Illustrating ‘Attār: A Pictorial Meditation by Master Habīballāh of Mashhad in the Tradition of Master Bihzād of Herat,” in Lewisohn and Shackle, eds., pp. 135-164.

Brief biographies of both Sanā’ī and ‘Attār (the former penned by yours truly) can be found in Oliver Leaman, ed., The Biographical Encyclopedia of Islamic Philosophy, 2 Vols. (A-I and J-Z) (London: Thoemmes Continuum, 2006).

Nathaniel Hawthorne’s Roger Malvin’s Burial and the Question of Conduct 2


Nathaniel Hawthorne’s short story Roger Malvin’s Burial (1832) is set following Lovewell’s fight in the French and Indian Wars. Besides Roger Malvin’s Burial, Lovewell’s fight has been mentioned in a ballad of Lovewell’s fight, which was written anonymously after the 1725 fight as well as the painting Chamberlain and Paugus at Lovewell’s Fight, 1725.

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Roger Malvin’s Burial is a story about conduct and the guilt that flows from one’s conduct. It follows two soldiers returning from Lovewell’s fight, both wounded. At a certain point, one soldier, Roger Malvin, decides that he cannot go further. He pleads with his companion Reuben Bourne to leave him and return to the settlement. After telling Roger Malvin that he would not leave him, Reuben finally agrees. Before leaving on his own, Roger asks Reuben to promise one thing — return to bury him.

When Reuben Bourne makes it back to the settlement, his wounds have overcome him, leaving him unconscious for several days. When he does recover, Reuben is treated as a brave man and Reuben is not given to tell Roger’s daughter Dorcas that he left Roger to die in the woods alone. Reuben ultimately marries Dorcas and accedes to Roger Malvin’s farm. They also have a child named Cyrus. And Reuben never returns to bury Roger Malvin. Over the next several years things fell apart for Reuben. The farm fails, his community begins to question his integrity, and eventually Reuben, Dorcas, and Cyrus leave the community.

Cyrus is, by all accounts the embodiment of Cyrus of Persia, both in his ethic and his treatment of others. Recall that Cyrus of Persia in the Biblical text is responsible for rebuilding the Jewish Temple in Jerusalem (Book of Ezra and Nehemiah). He is hailed by the Prophet Isaiah as “the Lord’s anointed,” despite the fact that he himself is not an Israelite. (Isaiah 45:1-8) Reuben on the other hand in the biblical account is filled with complexity and contradiction. He is intimate with his mother Rachel’s handmaid (like his father before him), leading early biblical scholars to suggest that Reuben engaged in incest (Genesis 35:22). Reuben is also the model of indecision, who at first saves Joseph’s life, but then merely comes up an alternative to death by throwing Joseph into a well and selling Joseph into slavery. (Genesis 37:21 et seq.). Later, when famine strikes Israel, its Reuben that recognizes the connection between the action of the brother’s and the state of the land (Genesis 42:22). In short, like the Biblical Reuben, Hawthorne’s Reuben was a deeply conflicted character who recognized his faults without being entirely clear about how to resolve them.

As Reuben and Cyrus are hunting for food, in the same woods where Roger Malvin died (Hawthorne loves irony), Reuben shoots his musket at a deer. He then discovers that he has actually shot and killed Cyrus, on the very spot where Roger Malvin was left unburied to die (Hawthorne really loves irony)! Several questions arise in reading Roger Malvin’s Burial in the context of the law — principally, should Reuben have left Roger Malvin? Whatever our answer, as the story goes forward we get a picture that Reuben would not be held out of esteem by the community even by leaving Roger Malvin. Nevertheless, Reuben can’t bring himself to tell the truth about leaving Roger Malvin alone to die.

When I have taught torts, I always end the class with this story — largely because this story encapsulates the tension between rights and wrongs as decided by communities versus rights and wrongs as individualized. Torts as a legal matter only enforces those wrongs which we jointly recognize as being remedied by force of law. Yet, its the individual wrong that causes the most lasting consequences — often the inverse of our social legal recognitions. In Roger Malvin’s Burial, the consequence is guilt — and the expiation of that guilt is itself something that one normally feels guilt over — the killing of one’s own son.

There is much more to Roger Malvin’s Burial, including the confusion of Indian and Puritan symbols between Roger Malvin and Rueben Bourne, and Hawthorne as historian presenting his own unique view of New England.

The “Safe” Conference Reply


I am returning from a truly exceptional weekend conference. The conversations were insightful, deep, and very interdisciplinary. The two keynotes were incredibly insightful, and at least one, is a leading authority in his area of expertise. The conference’s size was such that we sat with the keynote for dinner, clinging to his words like groupies at a Beetles tribute concert. So, despite my fondness of this conference, I am not inclined to encourage others to attend. Let me be clear — I am being selfish on this one. If the conference remains a small conference (twenty or so academics from various fields), I would be tickled. That’s because this conference is, for me, a “safe conference. Its a place where I can be relatively anonymous and present a paper that I am beginning to vet without worry that it might sound incomplete, have inarticulate holes, etc…. Its also a place where I can go and feel safe about real discussions in academia. So despite the fact that I truly enjoy this conference that I will return, your not likely to hear a thing about the conference from me, except that I was in some exotic far away place for three days.

Do you attend safe conferences in your field? Are you as possessory about keeping them “safe places?”

Happy May Day! 1


The Chimney Sweeper (from SONGS OF INNOCENCE, 1789)

When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry weep weep weep weep.
So your chimneys I sweep & in soot I sleep.

There’s little Tom Dacre, who cried when his head,
That curl’d llke a lamb’s back. was shav’d: so I said
”Hush. Tom! never mind it, for when your head’s bare
You know that the soot cannot spoil your white hair.”

And so he was quiet & that very night,
As Tom was a-sleeping, he had such a sight,
That thousands of sweepers, Dick, Joe, Ned or Jack.
Were all of them lock’d up in coffins of black.

And by came an Angel who had a bright key,
And he open’d the coffins & set them all free;
Then down a green plain leaping, laughing, they run,
And wash in a river. And shine in the Sun.

Then naked & white, all their bags left behind,
They rise upon clouds and sport in the wind;
And the Angel told Tom, if he’d be a good boy,
He’d have God for his father & never want joy.

 

The Chimney Sweeper (from SONGS OF EXPERIENCE, 1794)

A little black thing among the snow:
Crying weep, weep, in notes of woe!
Where are thy father & mother? Say?
They are both gone up to the church to pray.

Because I was happy upon the heath,
And smil’d among the winters snow:
They clothed me in the clothes of death,
And taught me to sing the notes of woe.

And because I am happy, & dance & sing,
They think they have done me no injury:
And are gone to praise God & his Priest & King
Who make up a heaven of our misery.

─William Blake

For more on May Day, please see here.

Sita Sings the Blues 2


I am at a conference this weekend, and one of the panelists was Nina Paley.  Nina is an illustrator and a very talented film maker.  If you have not seen her film Sita Sings the Blues, I have embedded the first part below.  Its wonderful.  It is one of only a few films to receive a 10 out of 10 from Rotten Tomatoes. Nina is a wonderful proponent of the creative commons and open sharing, which is described on her website.

A Call for a Symblogium — Sort of… Reply


What is the single best text that you use in Law and Literature. I would like to issue a call for suggestions and reasons why that particular text best captures your vision for law and literature. I would like to post these comments as separate entries under Law and Literature Cannons. Send me an email at warren[dot]emerson[at]gmail[dot]com and I will post them to the blog.

Islam & Poetry (Part 3) 1


 

Rābi‘a al-‘Adawīya (c. 95/714—185/801) of Basra was an ascetic and mystic who penned poetry dominated by the themes of ‘suffering in love’ and ‘selfless love’ (of God). Hers was a mystic vision enthralled by the prospect of eventual union with the Divine:

 

O Beloved of hearts, I have none like unto Thee,

Therefore have pity this day on the sinner

who comes to Thee.

O my Hope and my Rest and My Delight,

the heart can love none other but Thee. (Qtd. in Smith: 78-79)

While not great poetry, Rābi‘a’s rather austere love mysticism set the tone and temper for much of the Arabic poetry that immediately followed her in the tradition of sober Sufism. The high watermark of mystical love poetry in Arabic is found in the work of ‘Umar ibn al-Fārid (576/1181—632/1235), an Egyptian Sufi fond of solitary life in the deserts of Egypt and the Western Arabian Peninsula. Crowned by Renard as the ‘master of the Arabic mystical ode’ and compared by Homerin to ‘another great poet of mystical love, the Spanish monk John of the Cross (1542—1591),’ Ibn al-Fārid is renowned for his Wine Ode (al-Khamrīya), and the Greater T-Rhyming Ode (at-Tā’īyat al-kubrā), otherwise known as the Ode on Spiritual Sojourning (Nazm as-sulūk), the former relying on the imagery of wine, love and the beloved as metaphors artfully combined with the act of recollection, and served up as an elaborate mystical code operating tantalizingly beneath the surface of a poetic language shorn of any overt mystical (Sufi) references.

Other forms of Islamic verse are unabashedly didactic in function, the best-known genre of which is the mathnawī, exemplified in the Persian poetry of ‘Attar, Rūmī, Mawlāna ‘Abd ar-Rahmān Jāmī (817/1414—898/1492), and Abū’l-Majd Majdūd Sanā’ī (d. 525/1131). Rūmī’s Dīwān-i Shams-i Tabrizī  (Collected Poems of Shams al-Dīn of Tabriz) gathers together all of his lyric poetry (ghazals, tarjī‘āt, and rubā‘īyāt), described ‘as a collection of individual and separate crystallizations and concretizations of spiritual states undergone on the path to God. The overall “feeling” of the Dīwān is one of spiritual intoxication and ecstatic love’ (Chittick: 6). By contrast, Rūmī’s Mathnawī is comparatively sober, addressed to those with a temperament for contemplative reflection upon existential and metaphysical questions, in effect, providing the reader with a rational elaboration of the theoretical and practical dimensions of Sufi spirituality in a palatable because poetic guise. Thus the ever-popular Mathnawī is in part a sophisticated commentary in poetic form on the mystical ‘states’ (hāl/ahwāl) and ‘stations’ (maqam/maqāmāt) unique to Islamic mysticism.

Perhaps the first mystical work in the didactic genre was Sanā’ī’s The Hidden Garden of Ultimate Reality and the Revealed Law of the Path (Hadīqat al-haqīqa), a poem with considerable influence on both ‘Attār and Rūmī. Although Sanā’ī manages to cover a motley of topics and while the organizing narrative principle has been generously described as on the order of a ‘Pilgrim’s Progress,’ the aesthetic whole, in this case, is not greater than the sum of its parts, thereby revealing a risk intrinsic to didactic poetry (religious or not): pedagogic function may trump aesthetic form (Donald Kuspit makes this argument with regard to the ‘post-aesthetic’ art world in which the work of art becomes a ‘bully pulpit’ rather than providing us with an ‘aesthetic and contemplative alternative’ to ‘the ugliness and injustice of the world’ in The End of Art, 2004). And while not equal in poetic excellence to, say, Jāmī’s Yūsuf and Zulaykhā, what he lacks in aesthetic unity Sanā’ī makes up for in rather proud religious purpose:

Of all the poets major and minor

Only I know the words of the Prophet.

My poetry is commentary on the religion and the law,

And that is what the truthful poet does.

Of all the poets, only I

am the Prophet’s, by Almighty God…

I am the slave of the religion, obedient to piety,

A truth telling poet am I, coveting nothing. (Qtd. by Dabashi in Lewisohn: 171) 

In fairness to Sanā’ī, we might consider Schimmel’s assessment that his “poetic skills are much more conspicuous in his lyrics and his panegyrics on the Prophet, a genre which he seems to have introduced into Persian literature,” as well as Mahmood Jamal’s reminder that Sanā’ī “was probably the first poet to use such verse forms as the qasidah, the ghazal and the masnavi to explore Sufi ideas.”

The foregoing is but an introductory ‘taste’ (dhawq) of the role and meaning of poetry in the Islamic tradition, with no mention of the works of such incomparable or inimitable Sufis as Husayn ibn Mansur al-Hallāj (244/857—309/922) (with whom Sufi poetry, according to Schimmel, ‘reached its first climax’) or Muhyī ad-Dīn ibn al-’Arabī (560/1165—638/1240) (whose poetry, in Schimmel’s words, is marked by a ‘theosophical’ or ‘gnostic’ rather than a ‘voluntaristic’ approach ). Nor have we broached the subject of Islamic poetry not of Arabic or Persian provenance: for example, in Turkic dialects, or Urdu, Bengali, Malay, and so forth. Also untouched is modern and contemporary Islamic poetry (or modern ‘secular’ Arabic poetry, for that matter, which is not unrelated to its religious counterpart), such as that produced by the remarkable Indo-Pakistani polymath, Muhammad Iqbāl (1877-1938) (who, one suspects, is insufficiently appreciated outside the Indian subcontinent).

References & Further Reading:

  • Anun-Nasr, Jamil M. Muslim Communities of Grace: The Sufi Brotherhoods in Islamic Religious Life. New York: Columbia University Press, 2007.
  • Adonis (‘Alī Ahmad Sa‘īd) (Catherine Cobham, trans.). An Introduction to Arabic Poetics. Austin, TX: University of Texas Press, 1990.
  • Allen, Roger. The Arabic Literary Heritage: The Development of Its Genres and Criticism. Cambridge, UK: Cambridge University Press, 1998.
  • Attar, Farid ud-Din (Afkham Darbandi, trans.). The Conference of the Birds. London: Penguin Books, 1984.
  • Badawi, M.M. A Critical Introduction to Modern Arabic Poetry. Cambridge, UK: Cambridge University Press, 1976.
  • Banani, Amin, Richard Hovannisian, and Georges Sabagh, eds. Poetry and Mysticism in Islam: The Heritage of Rūmī. Cambridge, UK: Cambridge University Press, 1994.
  • Black, Deborah L. ‘Al-Fārābī,’ in Seyyed Hossein Nasr and Oliver Leaman, eds., History of Islamic Philosophy. New York: Routledge, 1996: 178-197.
  • Browne, E.G. A Literary History of Persia, 4 Vols. Cambridge, UK: Cambridge University Press, 2009.
  • Chittick, William C. The Sufi Path of Love: The Spiritual Teachings of Rumi. Albany, NY: State University of New York Press, 1983.
  • Chittick, William C. The Sufi Path of Knowledge: Ibn al-‘Arabī’s Metaphysics of Imagination. Albany, NY: State University of New York Press, 1989.
  • Dabashi, Hamid. ‘Historical Conditions of Persian Sufism during the Seljuk Period,’ in Leonard Lewisohn, ed., The Heritage of Sufism, Vol. 1: Classical Persian Sufism from its Origins to Rumi (700-1300). Oxford, England: Oneworld, 1999: 137-174.
  • de Bruijn, J.T.P. ‘Comparative Notes on Sanā’ī and ‘Attār,’ in Lewisohn, ed. (above): 361-379.
  • Fideler, David and Sabrineh Fideler, trans. and ed. Love’s Alchemy: Poems from the Sufi Tradition. Novato, CA: New World Library, 2006.
  • Goodman, Lenn E. Islamic Humanism. New York: Oxford University Press, 2003.
  • Homerin, Th. Emil. From Arab Poet to Muslim Saint: Ibn al-Fārid, His Verse, and His Shrine. Cairo: American University in Cairo Press, 2001.
  • Ibn al-Fārid, ‘Umar ibn ‘Alī (Th. Emil Homerin, trans.). ‘Umar Ibn al-Farīd: Sufi Verse, Saintly Life. New York: Paulist Press, 2001.
  • Iqbal, Muhammad (Mustansir Mir, trans.). Tulip in the Desert: A Selection of the Poetry of Muhammad Iqbal. Montreal: McGill-Queens University Press, 1999.
  • Jamal, Mahmood (trans. and ed.). Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi. London: Penguin Classics/Books, 2009.  
  • Jayussi, Salma Khadra, ed. Modern Arabic Poetry: An Anthology. New York: Columbia University Press, 1987. 
  • Leaman, Oliver. Islamic Aesthetics: An Introduction. Notre Dame, IN: University of Notre Dame Press, 2004.
  • Lewis, Franklin D. Rumi: Past and Present, East and West—The Life, Teachings and Poetry of Jalāl al-Din Rumi. Oxford, UK: Oneworld, 2000.
  • Lewisohn, Leonard and Christopher Shackle, eds. Attar and the Persian Sufi Tradition: The Art of Spiritual Flight. London: I.B. Tauris, in association with The Institute of Ismaili Studies, London, 2006.
  • Massignon, Louis (Herbert Mason, trans.). The Passion of al-Hallaj, Mystic and Martyr of Islam, 4 Vols. Princeton, NJ: Princeton University Press, 1982.
  • Lings, Martin. Sufi Poems: A Mediaeval Anthology. Cambridge, UK: Islamic Texts Society (bilingual ed.), 2005.
  • Mir, Mustansir. Iqbal (Makers of Islamic Civilization). London: I.B. Tauris, in association with the Oxford Centre for Islamic Studies, 2006.
  • Nasr, Seyyed Hossein. The Garden of Truth: The Vision and Promise of Sufism, Islam’s Mystical Tradition. New York: HarperOne, 2007.
  • Nicholson, Reynold A. Studies in Islamic Mysticism. Richmond, Surrey: Curzon Press, 1994 (1921, Cambridge University Press).
  • Renard, John. Seven Doors to Islam: Spirituality and the Religious Life of Muslims. Berkeley, CA: University of California Press, 1996.
  • Rūmī, Jalāl al-Dīn (A.J. Arberry, trans.). Mystical Poems of Rūmī 1: First Selection, Poems 1-200. Chicago, IL: University of Chicago Press, 1968.
  • Rūmī, Jalāl al-Dīn (A.J. Arberry, trans.). Mystical Poems of Rūmī 2:Second Selection, Poems 201-400. Chicago, IL: University of Chicago Press, 1991.
  • Schimmel, Annemarie. Gabriel’s Wing: A Study into the Religious Ideas of Sir Muhammad Iqbal. Leiden: E.J. Brill, 1963.
  • Schimmel, Annemarie. Mystical Dimensions of Islam. Chapel Hill, NC: University of North Carolina Press, 1975.
  • Schimmel, Annemarie. I am Wind, You are Fire: The Life and Work of Rumi. Boston, MA: Shambhala, 1992.
  • Schimmel, Annemarie. The Triumphal Sun: A Study of the Works of Jalāloddin Rumi. Albany, NY: State University of New York Press, 1993 (1978).
  • Schimmel, Annemarie. As Through a Veil: Mystical Poetry in Islam. Oxford, England: Oneworld, 2nd ed., 2001.
  • Singh, Iqbal. The Ardent Pilgrim: An Introduction to the Life and Work of Mohammed Iqbal. Delhi: Oxford University Press, 1997.
  • Smith, Margaret. Muslim Women Mystics: The Life and Work of Rābi‘a and Other Women Mystics in Islam. Oxford, England: Oneworld, 2001 ed. (1928).
  • Trimingham, J. Spencer. The Sufi Orders in Islam. Oxford, UK: Clarendon Press, 1971.
  • Upton, Charles. Doorkeeper of the Heart: Versions of Rabi‘a. New York: PIR Press, 1988.
  • Vitray-Meyerovitch, Eva de (Simone Fattal, trans.). Rūmī and Sufism. Sausalito, CA: Post-Apollo Press, 1987 (1977 in French).

Forthcoming: Poems from the Sufi tradtion of Islam.

I’m Leaving on a Trip Today Reply


I am heading out from where I am, to a new place for a few days. Its not home, though I will see friends and enjoy nice drinks around a different table of sort. Here is a poem that will tell you where I’ll be. I have omitted the title and the author — props to the person that can figure it out.

What hurrying human tides, or day or night!
What passions, winnings, losses, ardors, swim thy waters!
What whirls of evil, bliss and sorrow, stem thee!
What curious questioning glances–glints of love!
Leer, envy, scorn, contempt, hope, aspiration!
Thou portal–thou arena–thou of the myriad long-drawn lines and groups!
(Could but thy flagstones, curbs, facades, tell their inimitable tales;
Thy windows rich, and huge hotels–thy side-walks wide;)
Thou of the endless sliding, mincing, shuffling feet!
Thou, like the parti-colored world itself–like infinite, teeming,
mocking life!
Thou visor’d, vast, unspeakable show and lesson!

Avoid the temptation to use google, if you can! I’ll post the title and props to the first.