Good Sitting, Bad Sitting

After the evening sitting, we stow the zafus and return the zendo to its pristine state. William regrets not being able to meditate properly tonight. His head is filled with thoughts of the upcoming Thanksgiving holiday — the family he has not seen for ages, the tasks remaining to be done. Matthew sympathizes with him. His sitting didn’t go so well either. He is consumed by impotent rage about the conflict in Gaza. He wants to knock heads together to bring about peace. I am the grizzled Zen veteran in this conversation. I tell William to lighten up, that getting lost and returning is the very heart of Zen practice. I tell Matthew that his passionate anger is understandable, but can he sit with it and see what it is doing inside of him? Can he breathe and observe without feeding it, without denigrating it? Can it be transmuted into skillful and compassionate action? The world is, at times, a violent and terrible place, and we are only one drop of water in this storm-tossed sea. Can we see what’s possible for us to accomplish as this one drop — committed, firm and resolute — but without grandiose aspirations to omnipotently control the ocean? Show up, pay attention, do what’s needed — and then let go?

William and Matthew are at the start of their Zen journey. They’re beginning to learn that sitting isn’t about perfect concentration and bliss, but about seeing the mind as it is — a mirror that reflects everything — including the energies of holidays and far-off conflicts. Thoughts about these ongoing events rise and stir the emotions. The goal is not the elimination of these thoughts and emotions, but developing our capacity to observe them in a kind and interested way. If all that we can observe is how helplessly caught up we are in them — how our minds have a mind of their own — then that, in and of itself, is the beginning of wisdom. We are not the masters of our own house, and learning to work skillfully with the energies at play is the work of a lifetime.

We tend to label our experience — good sitting, bad sitting. Zen is about dropping labels. Every sitting reveals the mind as it manifests in this moment. If we haven’t slept, the mind is drowsy. If we had an argument, the mind is agitated. Everything is the result of “causes and conditions.”  Our minds too. That’s the way it is.

If we try to stay with being with things as they are, if we try to stay present and aware, sometimes the mind calms down. Sometimes it doesn’t. Sometimes the energies that are roiling the mind are too intense to be conquered by our weak intention to be present. That’s how this moment is. The next moment may be different.

Can we see that and let it be — without judgment?

Sitting is a strange process. In the beginning, it’s hard to grasp what it’s all about. Later on, it doesn’t get much easier. The only thing that’s clear is “just do it.” Whether the sitting is “good” or “bad,” just do it. You never get any better at it. Not really. But this whole idea of “getting better” is part of the problem, the endless self-improvement and self-manipulation game.

We don’t sit to get better. We sit to be with life as it is.

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The Dharma According to Ella

Listening to Ella singing Summertime takes my breath away.

 

It’s not her voice. Her mature voice is no match for the ethereal sweetness of her younger one.

It’s not her interpretation either, good as it is.

What gets me is the way she pays attention to every note and syllable. Every note is just as important as the one that precedes it and the one that follows. Every note retains its importance from the moment it starts until the moment it ends. You can literally hear her concentration. She’s in no hurry to get anywhere.

Other singers have their “money note” — the note they hit out of the ballpark that sells a million copies — the note you anticipate hearing from the moment the song begins. Not Ella. With Ella, every note is special.

Listening to Ella reminds us to slow down and avoid shortcuts.

Shortcuts are our attempts to cheat life.

We take shortcuts when we’re in a hurry to get somewhere, when getting somewhere is more important than being where we are right now. We want to skip the boring parts and cut to the chase.

Ella teaches us that there are no boring parts. Every step along the way counts.

When there’s a wall to paint, we don’t look forward to the prep work — all that washing, spackling, and taping. We want to get right out there and roll on the paint.

A patient walks into a therapist’s office. Within minutes the therapist diagnoses his problem and understands what’s needed. The therapist thinks, “Just tell him what to do. Why drag therapy out?”

That’s painting before spackling. Before a patient can listen, he needs to feel listened to. Before he’s willing to follow the therapist’s suggestions, he needs to develop trust in the therapist’s intentions and expertise. Building the therapeutic alliance is step one. It’s the prep work before the first coat of paint. A good therapist lets therapy unfold at its own pace. He doesn’t skip any steps.

Can we wash the dishes with the same care we devote to preparing meals for our guests? Sitting on the cushion, can we be equally at home with “boredom” and “bliss?” Can we live our lives fully without hoping to fast-forward to the “good” parts? That’s the challenge of Zen.

Zen reminds us that foreplay, orgasm, and post-coital repose are all bright jewels on the necklace of time.  Departure, journey, and arrival are all one.

In Zen there is no fly-over country.

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The Sky Above, the Mud Below

We all possess behavioral potentials that are consonant with our sense of self — and  potentials that are buried, rejected, submerged, or disowned.  The energy of those submerged or disowned potentials is cut off and unavailable to our personality.  The more potentials we disown, the more narrow our range of adaptation and the more enervated and weakened we become.  The more we attempt to perfect ourselves and live according to some idealized image, the more cut off and depleted we become due to the loss of rejected potentials that fail to fit the image.  Attempting to live up to some sort of Buddhist ideal of perfection —  serene, non-grasping, imperturbable, endlessly compassionate — is one way to choke off our sources of vitality.  We cut ourselves off from a wide range of human potentials — ferocity, passion, lust, and ambition, just to name a few.   An inherent tension exists between Buddhist teachings of perfecting ourselves by striving to live up to a Bodhisattva or Arhat ideal and the contemporary Western Zen notion of being present for all of life.

When we examine the ideal of non-grasping serenity, the first thing we notice is how far we are from it.  Most of our thoughts are centered on ourselves and the things we want or don’t want, and selfish thoughts and impulses vastly outnumber generous ones.  Ambition, greed, desire, jealousy, resentment, irritation, and anger are frequent companions.  The Pali Canon says if we follow the eight-fold path we can reach a state where all of that simply ceases — where desire, aversion, and delusion stop arising — the original meaning of the word “nirvana”.  When we observe the gap between the way we are and this imagined end-state, we’re as far from that end-state as we can possibly be.  We may also wonder just how desirable that imagined end-state actually is.  Do we really want to be that seemingly bloodless, endlessly calm, desire-less being?  Or do we just want to be more human, vulnerable, open, and alive?

Compare the Nirvana ideal to the life Jelaluddin Rumi (1207-1273) recommends in his poem “The Guest House”:

This being human is a guest house.

Every morning a new arrival.

A joy, a depression, a meanness,

Some momentary awareness comes

As an unexpected visitor.

 

Welcome and entertain them all!

Even if they’re a crowd of sorrows,

who violently sweep your house

empty of its furniture,

Still, treat each guest honorably.

He may be clearing you out for a new delight.

 

The dark thought, the shame, the malice,

meet them at the door laughing,

and invite them in.

Be grateful for whoever comes,

Because each has been sent

As a guide from beyond.

(Translation by Coleman Barks)

Rumi’s Guest House metaphor offers a Sufi parallel to the contemporary Western Zen ideal of Zen as a continual opening, widening, and acceptance of life as it is.  As we sit we create a space for our full human being –  no cutting off, suppression, or delusion about who or what we are in this moment.

How does the Zen ideal of fullness of being square with the aspirational aspects of Buddhism — the Bodhisattva vows — the widening of compassion, lovingkindness, and equanimity?   Because a part of us would truly like to be more compassionate and kind — to the extent this cruel and capricious life allows us to be.  Buddhism contains a variety of techniques like Theravada lovingkindness meditations and Tibetan tonglen meditations to help us develop our capacity for compassion and lovingkindness.   Can one widen one’s capacity for care for others without choking off the sources of one’s vitality?

We can if we stop pretending to live up to an ideal.

One can water the seeds of compassion without pretending to be more compassionate than one actually is.  One can hope over time that compassion will grow without denying that ambitious, competitive, and aggressive parts of ourselves exist and are an important part of who we are right now.  We can also do more than ruefully accept their continued existence, but develop a friendly ongoing relationship with them.  We are not trying to eliminate them, but to integrate them in with the other parts of ourselves — to, in essence, tame them and harness their energy for higher purposes — much like the fierce Tibetan protective deities were tamed by Padmasambhava and enlisted to serve the Dharma.  We have this idea in the West as well — Freud called it “sublimation,”  Jung called it “individuation,” and Perls called it “being whole.”

On one of my early ten-day meditation retreats, I had the following experience:  The more calm, serene, and peaceful I became during the day, the more violent my dreams became at night.  Not only were the dreams violent, but I was the perpetrator and I was enjoying it.  It was if a part of me was reminding me “I’m still here, don’t forget me.”  On yet another meditation retreat I became paranoid about a fellow yogi — fearful he was a serial killer and I was his next intended victim.  I’ve written elsewhere about how I overcame that fear, but it occurs to me now that this was another message about how I was disowning a part of myself  –  this other yogi was the container for my own projected aggressive capacity.  Two retreats, the same message.

American Buddhist teachers have a name for aspiring to be “spiritual” without really working through and integrating all of oneself to achieve a genuine reorganization of the personality at a higher level.  They call it “spiritual bypassing” — the attempt to take a short cut on the Enlightenment Superhighway.   It’s a good word.  We live in a world with the sky above and the mud below.  While we may reach for the stars, we’re grounded in the earth.  Like Prospero in Shakespeare’s Tempest, our inner world contains both Ariel and Caliban — the airy sprite and the chthonic mooncalf.  We move forward by integrating opposites, not by embodying one while denying the other.  We must honor not only the Sky God, but the Earth Mother as well.

This is an aspiration to a wholeness in which nothing is left out.  We move forward in the world with all our capacities, all of our energy, all of our engagement, and all of our complexities and contradictions.

As we practice Buddhism, let’s take care.  Let’s not put ourselves on a Procrustean bed.  We don’t need to kill our egos or deny our true being.  We don’t need to magically become the epitome of an imagined perfect Buddhist — calm, selfless, inhuman.  We bring our whole selves to practice. It’s our gift to the Dharma.  It’s the way we transform ourselves by becoming who we more truly are — only a better, deeper, more whole version of that self we imagine ourselves to be.

 

 

 

 

 

 

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The Constant Gardener

Have I mentioned that we have a beautiful garden?  Right now the irises, roses, poppies, clematis, and peonies are in full flower.  The wisteria, lilac, daffodil and tulip  blooms of the spring still linger in loving memory.  Along with these beautiful flowers, our arch enemy, bishop’s weed, aegopodium podagraria (also known as gout weed, ground elder, goat’s foot, and Jack Jumpabout) has made its nefarious return.  Bishop’s weed is a formidable foe.  It defies almost every method of eradication, and the more countless hours my wife and I spend rooting it out, the more vigorously it returns.

Aegopodium Podagraria

The other night, in his teisho, Sensei Paul Seiko Schubert discussed how meditation was like gardening.  It seemed a fitting metaphor.  After all, the Pali word for meditation is bhavana, which literally means “cultivation,” a word with clear horticultural roots.   Professor Glen Wallis has written:

“I imagine that when Gotama, the Buddha, chose this word to talk about meditation, he had in mind the ubiquitous farms and fields of his native India. Unlike our words ‘meditation’ or ‘contemplation,’ Gotama’s term is musty, rich, and verdant. It smells of the earth. The commonness of his chosen term suggests naturalness, everydayness, ordinariness. The term also suggests hope: no matter how fallow it has become, or damaged it may be, a field can always be cultivated — endlessly enhanced, enriched, developed — to produce a favorable and nourishing harvest.”

Buddhism also employs another horticultural metaphor — the metaphor of “seeds” (bija) to describe how past thoughts and actions lay down karmic traces in the unconscious which affect our future thoughts and actions.

But Sensei had a different horticultural metaphor in mind.  He was pointing out that in gardening, no matter how hard one works at it, the weeds always return.  Weeding is a constant practice, whether in gardening or meditation.

Of course there are many different kinds of mind-weeds — a practically infinite variety of desires, fears, concerns, and aversions in never-ending succession.  Sensei had one particular sort in mind, however: one that relates specifically to Buddhist practice.  These are the perennial questions of “what next?” and “what else?”

I had brought these very questions to Sensei in dokusan that evening. “I’m wondering if I should be doing anything more with my practice?” I asked.

“What did you have in mind?” Sensei replied.  I confessed I wasn’t sure, and Sensei responded with “Just sit.”   “If there’s something else you need to do,” he added, “it will emerge from your sitting — no one else can tell you what your practice needs.”

Sensei was pointing out that in both beginning and mature practice the same questions  arise, but the answer is always the same: just return to awareness, sit quietly with the question, and allow what’s needed to emerge.  In Zen there is no beginning practice and no advanced practice.  There is just returning to awareness.  Nothing is missing.  Nothing needs to be added.  There is no “next” or “else.”

I heard a charming gardening fable when I was interning at the Center for Mindfulness, Medicine, and Society in 1996.  It’s one that’s made the rounds over the years in various forms.  Marsha Linehan incorporated one version into her Dialectical Behavioral Therapy workbook for patients.  The fable tells of a gardener who’s tried everything to rid his garden of weeds.  In exasperation, he contacts a famous expert who inquires whether he’s attempted a variety of remedies.  When the gardner replies he’s tried all of them, the expert pauses and reflects, and finally replies “all I can suggest is that you learn to love the weeds.”

We shouldn’t be distressed or disturbed when mind weeds that we thought we uprooted long ago return once again.  We should treat them like old friends.  It’s not that we are doing our practice wrong.  It’s just the nature of things.  The weeds come back.  We must be constant gardeners.  The path of practice is unending.  We return to it again and again.

Be diligent and light of heart.

Apologies to John le Carré for appropriating his title for this post!

 

 

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On Hakuin, Hotei, and Mice

Zen Master Hakuin Ekaku (1685-1768) took up brush painting in the last decades of his life.  He was a prolific artist producing over 1,000 brushwork scrolls.  His painting and calligraphy were more than a creative pastime, however:  they were an expression of his enlightenment and a new way of teaching the Dharma to the lay community. His art transcended the boundaries between high and low, sacred and profane, serious and playful, and verbal and visual.  They are the very essence of “no separation.”  His rough, simple brushstrokes were also a natural expression of Zen spontaneity and Japanese aesthetics.

Take the following scroll as an example:

The happy fellow on the right is Hotei.  In Chinese folklore he’s an eccentric Zen monk and the epitome of contentment.  His name means “cloth sack,” because he carries all his belongings in a bindle wherever he goes.  He also stuffs the sack with donations of food and clothing from laymen, and candy to give to children — a veritable fat, jolly, Asian Santa Claus.  In this picture, Hotei himself is in his bag — and some have noted  that the bag is a kind of ensō or Zen circle symbolizing Enlightenment, non-duality, and/or emptiness.  Non-Buddhist Westerners often confuse Hotei with the historical Buddha, and the Chinese themselves sometimes refer to him as The Laughing Buddha.  Some believe he is an earthly manifestation of the bodhisattva Maitreya.  Legend has it that when Hotei died, he recited the following verse:

Maitreya, the true Maitreya

Has billions of incarnations.

Often he is shown to people at the time;

Other times they do not recognize him.

Hotei also serves duty as one of the Japanese Seven Gods of Good Fortune — the god of abundance and good health.

That’s a lot of weight for that happy little guy to carry in his bindle!

There’s a Zen story about Hotei.  When asked “What’s the significance of Zen?” he put his sack down on the ground.  When then asked “What’s the actualization of Zen?” he picked his sack back up and walked away.  Clever Hotei!  The very essence of Zen — letting go and dropping off whatever we’re holding.  The very actualization of Zen — drawing water and chopping wood.  Hotei lives life at the crosshairs of the Absolute and the Relative.  A lot like Hakuin himself.

When Hotei was not busy being all these things, he served double duty as Hakuin’s alter-ego and his Everyman.   While Hakuin’s Hotei is a spiritual fellow and sits zazen, he also enjoys the pleasures of secular life.  In painting after painting we see him puffing on a pipe (and what comes out of the pipe is not a smoke ring, but the prostitute Otufuko!), flying up in the air as a kite, playing go, riding a colt, playing kickball, and street juggling.

In the above painting, Hotei is watching mice sumo wrestling.  The colophon on the scroll simply reads “this is where mice do sumo.” [1]  With the rise of the merchant class in 17th century Japan, professional sumo groups were organized to entertain merchants and commoners, and Sumo wrestling moved from the Imperial Court into the public arena.  As a boy growing up in a post station on the well-traveled Tokaido road, Hakuin would have been very familiar with sumo.

The painting shows two mice rikishi (wrestlers) with an officiating mouse gyōgi (referee) holding a traditional gunbai (wooden war fan).

Gunbai from Edo era

Sumo grew out of Shinto ritual and rikishi live very regimented lives.  In Hakuin’s day they were mostly rōnin (itinerant masterless samurai) trying to support themselves.  Today’s rikishi live in communal “stables” called heya where every aspect of their lives is governed by ritual and tradition.  The first rudimentary heya appeared towards the end of Hakuin’s lifetime.  During Hakuin’s era, rikishi took part in ten-day kanjin-zumo tournaments where money was raised for Shinto shrines and Buddhist temples.

Woodblock of an Edo era heya

Hakuin is having fun here, but to what purpose?   All of his other scrolls have a Zen message, but the message in this scroll seems somewhat obscure.

Could Hakuin have been alluding to parallels between the activities of rikishi and monks?  Is Zen training like rikishi training in some way?  Is sumo a metaphor for zazen?  Could Hakuin have been making fun of sumo by turning the huge wrestlers into small mice?  Is Hakuin showing that enlightened beings live with contentment in the world of the ten thousand things?  Do the black and white mice represent yin and yang — two, but not two?   It all seems so far-fetched, and I have to confess, I have no idea. Maybe, dear reader, you know more about this scroll than I do.  I saw it last month at the Japan Society’s exhibit of Hakuin’s painting and calligraphy called The Sound of One Hand. It’s puzzled me ever since.  I’d love to hear your suggestions as to its significance.  In the meantime I’ll just enjoy it.  It makes me smile.

P.S.  I thought these mice bore a certain family resemblance to another group of anthropomorphic mice — the Ashkenazic mice of Art Spiegelman’s Maus.

When I asked Art about any possible family resemblance, he only suggested that Hakuin’s mice must be Israeli mice because of their martial arts prowess — definitely not diaspora mice!

P.P.S.  My brush painting Dharma friend Toinette Lippe sent me some of her own mice just to demonstrate that not all Japanese mice are anthropomorphic.

If you like Toinette’s mice you can see more of her beautiful work here

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  1. [1] Many thanks to Professor Stephen Addiss, co-curator of the recent Japan Society Hakuin exhibition, for translating this colophon for me.