  Buber’s early writings include anthologies, such as The Tales of Rabbi Nachman (1906), The Legend of the Baal Shem Tov (1908), and mystical writings from world religions (Ecstatic Confessions, 1909), lectures on Judaism (On Judaism, 1967b), and an expressionist dialogue on “realization” (Daniel, 1913). His essays on the arts include reflections on the Isenheim Altarpiece, the dance of Nijinsky (Pointing the Way, 1957), Jewish art, and the painter Lesser Ury (The First Buber, 1999a). Common to these early productions is the preoccupation with shape (Gestalt), movement, color, language, and gesture as the means of a “realized” or “perfected” particular human existence that represents life beyond the limits of spatio-temporal duration imposed on us in the manner of a Cartesian grid.