'For twenty- one years I have been shuffling back and forth between classrooms and libraries. Now you tell me what the hell it's got me.' That's how Benjamin Braddock talked when he came down from university. Somehow it didn't seem to be what his father expected from a college education, and everyone was really appalled when Ben raped Mrs Robinson (that was her story anyway) and ran off with her daughter in the middle of her wedding to someone else... a brilliantly sordid tale of a young man's search for identity and a portrayal of the worst-behaved yet most sympathetic anti-hero of the day.

TABLOID HAIKU Is a collection of haiku based on tabloid headlines. The inspiration for composing these haiku came to me one afternoon while standing in a supermarket checkout line listening to a fellow customer read loudly from the Weekly World News. Off the wall and beyond the fringe pulp poetry resonated down the supermarket aisles as the man read through the paper, then folded it neatly and placed it back on the rack. Haiku immediately came to mind, since the utter strangeness of many of these gems gave them an almost koan-like quality.

As far as Benjamin Braddock's parents are concerned, his future is sewn up. Now he has graduated from college, he will go to Yale or Harvard, get a good job and enjoy a life of money, cocktails and pool parties in the suburbs, just like them. For Benjamin, however, this isn't quite enough. When his parents' friend Mrs Robinson, a formidable older woman, strips naked in front of him and they begin an affair, it seems he might have found a way out. That is, until her daughter Elaine comes into the picture, and things get far more complicated.

In the blistering summer of 1911, City stockbroker George Chesshyre moves his family to a new house in south London. George looks forward to a life of domestic bliss but a continuous chain of events conspires against him and his yearned for reverie is repeatedly thwarted and dashed by the arrival of cantankerous and odd relatives, unexpected animals and a merciless drain on his wallet. Not helped by the unceasing, debilitating heat of one of the hottest summers on record, George battles to and from the City each day on the 'Slow Train to Suburbia'. As the year progresses and the autumn leaves fall, a procession of colourful characters adds, by turn, hilarity and heartbreak, culminating in a riotous Christmas Day, a fitting climax to an event-filled year. In 'Slow Train to Suburbia' the author paints a sympathetic and nostalgic picture of life in the suburbs before the First World War. The world is rapidly changing and old certainties are fading fast. The dying embers of the Edwardian age are captured beautifully in the situations, characters and prose, and will leave a deep and lasting impression in the memories and imaginations of everyone who reads and enjoys this unusual novel.

This Is A New Release Of The Original 1835 Edition.

This Is A New Release Of The Original 1836 Edition.

This Is A New Release Of The Original 1832 Edition.

YOU are a bodymind, not a body with a mind or vice versa. You are a verb, not a noun. You are fluid, constantly changing. The static you is a persistent illusion. You... your self, persona, ego...who you are... is a construct that is formed by the interaction of genetics, imprinting, and learning. You have little input into this process until after you have been thoroughly shaped by parents, peers and culture. Now consider that this you that you now seem to be is, actually, very much like a fictitious character that may appear in a novel, play or movie and may be re-written, re-produced and re-performed, using the techniques of those media. One part of your character description that can effectively be re-written, re-produced and re-performed is your functional age, which is defined as a combination and interaction of your chronological, physiological, psychological, and emotional ages. The Cinemorphic techniques discussed in METHOD AGING open the door to this transformation.

There may be no path to follow or method to use to attain realization, enlightenment, waking up, satori...but it is often said that if the fruit is ripened fully it will fall from the tree more readily. Kwatz shakes the tree a bit. What follows is a confrontation...a strange and amusing, encounter...Dharma combat...between two modern masters...one from the Zen tradition, the other an unlikely Taoist...who has decided that this deadly serious "combat" may be a new and amusing way to spend an afternoon. Each answers the other using variations on sayings from other "masters" that they find apropos to the situation. The writers, philosophers, artists, comedians, etc. whom they paraphrase, are not mentioned by name during the combat itself. The "combat" is intended to have multiple effects upon the reader...a possible shaking of the tree - koan like impact via the odd juxtapositions... confusion trying to figure out who... sort of...said what (a list is provided at the end but no pairings are made)...as well as simply allowing an entertaining and weirdly comic ride with these masters as they verbally whack away at each other...and their audience of students...and readers...and YOU...

As The Tao of Aging opens, we encounter a strange old, sage-like Chinese philosopher and raconteur who claims to actually be Zhuangzi (ChuangTzu) - the second most important originator of Taoist thought after Lao Tzu. Zhuangzi now lives in San Francisco and is known simply as "Z." As it turns out, over 2000 years after his exploits in ancient China, "Z" is still rambling about the world - trickster to the bone - tinkering with the way we look at what we call reality. He insists that he is not some mythical Taoist Immortal whose condition is due to an alchemical elixir but rather an ordinary man who pays attention to the Laws of Nature. "I am not the Zhuangzi you have read about in books...wallowing in the mud all day. Stuck in the mud really, if you believe what you read, which you shouldn't. There are those who will say that the ideas I am telling you about now are not those of Zhuangzi - that they are different from Zhuangzi's teachings - contrary even. But if they were not freethinking - even heretical - they would not truly be Zhuangzi's - MY - ideas... ...And so you ask about some Tao of Aging? First, there is no Tao OF anything...just Tao. And Tao is not a noun, Tao is a verb. But even Taoing is not Tao because Tao has no name, even though I have just named it. Then, look for yourself. What you call your body may change in a way you call aging, but do 'you' age? Does your awareness get wet when it rains? Does your awareness turn into wearoutness over 'time'? I think not Just think of yourself as a constantly changing field of energy and potential...swirling and twirling with the Tao..." Is "Z" the real thing? Our conclusion by the end of our encounter with him...MAYBE...

YOU are a bodymind, not a body with a mind or vice versa. You are a verb, not a noun. You are fluid, constantly changing. The static you is a persistent illusion. You... your self, persona, ego...who you are... is a construct that is formed by the interaction of genetics, imprinting, and learning. Now consider that this you that you now seem to be is, actually, very much like a fictitious character that may appear in a novel, play or movie and may be re-written, re-produced and re-performed, using the techniques of those media. One part of your character description that can effectively be re-written, re-produced and re-performed is your functional age, which is defined as a combination and interaction of your chronological, physiological, psychological, and emotional ages. The Cinemorphic techniques discussed in METHOD AGING an the Infinite Game open the door to this transformation.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.