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The Journey to the West

Though we journey to the West We pray to the East More or less that's the way Each day begins and ends It’s a tale everyone ...

Friday, September 22, 2017

With Autumn's Arrival a New Sheaf of Poems

With the first day of autumn I have finally gotten around to making the final changes to the manuscript of my new book a Sutra for the Creek.  It's a collection of poems that describes the ebbs and flows of life along Weesuck Creek over the course of a year.  Here's one of the poems from the collection appropriately enough entitled ...



Autumn’s Arrival


Come autumn
Every last crow
Seems to know
At least one of
The four Noble Truths
Each caw being a call
Of attachment  
To the pungent scent
Of the past prime earth
And crickets too
In their threnody
Evidence plenty of will
To hold September's
Fading warmth
For all that it’s worth

But a mind settled
Well on the mat
Heeds neither
Chirp nor caw as it
Welcomes autumn's arrival
Serenely consigned  

To the harvest of bounties
That accompanies
 Summer’s demise





Many thanks to Peter Rippon for providing twenty or more beautiful drawings, including the one above, that help bring the book to life.  And many thanks to Jane Schiowitz for her great contributions in layout and design.

Next week I plan to send the manuscript off the printer and will order a first box of books.  As for marketing, distribution and sales, I've adopted an entirely new strategy, shaped by the painful experience of past experiments in self-publishing.  I have decided to forego any effort to promote or sell the book, at least for the time being.  This first printing is more or less a private affair between me and the Creek.  The rest of you will just have to wait for the tide to change course, as surely it will.    

After Many a Long Hot Summer Whither the Icebergs

“We float in language like icebergs – four-fifths under the surface and only one-fifth of us projecting into the open air of immediate, non-linguistic experience.” 
                                               
                                     ― Aldous Huxley, After Many a Summer Dies the Swan

I love this quote from Huxley, which I offer up to share with you on this, the first day of autumn. No matter how gifted a writer may be (and Huxley certainly was one of the great ones of the 20th century) she or he must always bear in mind the limitations of language.  Say or write as much as we like the better part of our intended meaning remains not only unexpressed but inexpressible.
At the risk of quibbling with genius, I offer Aldous the following suggested emendation, based on the growing realization that it is a medium other than language which provides for our collective buoyancy:

We float in life like icebergs – four-fifths under the surface and only one-fifth of us projecting into the open air of shared linguistic experience. 

After another long, hot summer, the iceberg still hasn’t melted. And yet in the present day and age, even as we head into autumn, with the western mountains ablaze, we intuit that the icebergs will not last forever.  So it is I wish a bountiful autumn to everyone.


Wednesday, September 20, 2017

Reflections on a Rainy Season

The jazz of
Late night streets and all these people
Springs from the same love
And cool eyes now
as then.

Granite sierras, shelves of books,
Holy teachings, scatter
Aimlessly tumbling through
Years and countries

from The Rainy Season by Gary Snyder

At a certain point, intertextuality is no longer a matter of choice. Whitman, Han Shan, Akhamatova - it's the same vein of precious metal that runs through all their poems. No one owns the words of truth nor the spirit that fills them to the point of breaking. After the first Poet there can be no other; the rest of us are merely translators of a far more compelling work.

Monday, September 18, 2017

In the Moment and Beyond

This morning I faced up to one of the challenges that I have been avoiding for a long while – I finally translated Qing Ping Melody, which is one of Li Bai’s most famous poems.  There are a number of legends surrounding this poem. It was written in tribute to Yang Guifei who was the chief consort of the Emperor Xuanzong and regarded as the paragon of beauty during the Tang Dynasty, much as Helen was among the ancient Greeks.  Supposedly Li Bai wrote the poem on the spur of the moment, upon being roused from a drunken slumber by the Emperor's messenger, who came to request a new poem about his favorite mistress.  Composed in the moment, the poem thus epitomizes an important part of the Tang aesthetic, being a prime example of what I like to describe as spontaneous verse.

Long as I have planned to translate this poem, when I finally got around to tackling it this morning, I tried to work quickly, hoping the translation would stay as true as possible to the spirit (if not the letter) of Li Bai’s original undertaking.  Here’s what I came up with:


 Qing Ping Melody (by Li Bai)
  



1

Clouds recall her clothing
The flowers recall her grace
Spring breeze upon the threshold
Brings a fragrance beyond fresh

If not for the crowd on Jade Mountain
Perhaps you would see her standing
Atop of the jasper platform
In the moonlight bathing

2

A branch laden with gaudy blossoms
Where the nectar’s aroma collects
Clouds and rain shroud Wu Mountain
As the heart strains to the breaking

Go and ask at Han Palace
Is there anyone who compares
Pity the poor swallow flying off
To make herself afresh

3

A flower of renown
A kingdom overthrown
Both take equal delight as
The sovereign lord gazes
With a smile of longing

How to explain
The spring wind
So unbounded with yearning
At Sandalwood Pavilion facing north
Leaning on the railing

*  *  *

清平调词三首
李白

云想衣裳花相容       春风拂槛露华浓
若非群玉山头见       会向瑶台月下逢

一枝秾艳露凝香       云雨巫山枉断肠
借问汉宫谁得似       可怜飞燕倚新妆

名花倾国两相欢       长得君王带笑看
解释春风无限恨       沉香亭北倚阑干



 *  *  *


 One of the reasons I love this poem is the way it illustrates the subtlety and complexity that a poet can achieve from simply being in the moment; the present, as such, ends up being far from a simple thing.  In that sense, it's hard to imagine any greater contrast between the mode and subject of Li Bai's poetic composition – in the rush of being rudely awakened, he nonetheless shows the presence of mind to fully grasp the truth of beauty that is unattainable.  Thus, he seems almost effortlessly able to capture one of the great paradoxes that lies at the heart of the Tang aesthetic, being very much in the moment and yet transported far beyond it at the same time.


A Tang painting of Yang Guifei surrounded by her attendants



Please click here to subscribe to the Tang Spirit Newsletter if you would like to read more of my translations of Chinese poetry.  This fall I'll be starting a new series of essays that explore the central themes that animate Tang poetry, and make it such a vital alternative to our own sometimes woefully inadequate modernist aesthetic.   



Wednesday, September 13, 2017

Poem Written on the Bus

Crazy as it seems
Lately the things I most want
Become what I least need
The craving and attachment
To papery things that
Light up my entire
Sense of being
Like one of those
Midnight lanterns
Ignited into a rapturous flight
Of revelation and destruction

Sunday, August 27, 2017

Home Grown Dharma (part two)

This is part two of an essay inspired by rereading Walden Pond in celebration of the bicentennial of Thoreau's birth.  The gist of my argument is that Thoreau has much to teach us about the successful integration of the spiritual traditions of East and West. Although his first hand exposure to Buddhism may have been quite limited, Thoreau's own thinking and writing evidence a very deep Bodhisattva awareness, almost as if he had independently and spontaneously arrived at the Noble Truths through his direct contemplation of nature. In that way, Thoreau still serves as a model for us today, showing us how to cultivate our Buddha awareness within the framework of our familiar western ways of thinking, pointing us down the path where we can discover our very own home grown dharma.

Yet there is a serious problem with viewing Thoreau in this light. Reading Walden Pond you will not find a single mention of the Buddha. There are a few passing references to Shiva, the Vedas and sanskrit but Buddha himself appears nowhere in Thoreau's contemplation about nature, which admittedly makes it a bit harder to make a case for him as one of the first great Bodhisattvas of North America.

Rick Fields (the brilliant historian of dharma in America) has suggested that the New England Transcendentalists may have been a little confused about the finer points of distinction between Hinduism and Buddhism, which is readily understandable given the paucity of Eastern texts that had been translated into English at such at early point in the 19th century.

But in fact, no matter how limited Thoreau's formal dharma training may have been, he appears to have been preternaturally gifted in his capacity for spiritual insight and growth. Where the Sixth Patriarch was brought to awakening simply by overhearing the Heart Sutra chanted in the street outside his window, it doesn't seem to have taken much more than that to bring awakening to Thoreau. He read a chapter or two of the Lotus Sutra in translation.  It made enough impression on him that he helped publish part of it for the first time in North America in 1845. For the most part, though, Thoreau seems to have figured out the rest of the dharma by himself, through development of a self-styled Yankee practice of his own, as described in copious detail in the pages of Walden Pond.  As Thoreau himself put it: "The Vedas and their Agamas are not nearly so ancient as serene contemplation."

* * * * *

Dipping into Walden Pond it doesn't take long to notice the Buddhistic qualities of Thoreau's ways of thinking and living. Quite striking from the outset is his presentism and mindfulness. In no uncertain terms he proclaims himself dedicated to the here and now, no less so than Baba Ram Das, or any Zen monk sitting in zazen for that matter. For Thoreau, the depth of his attachment to the present also means he trusts more in the truth of his lived experience than in the wisdom received from books, no matter how ancient their origin. In that sense, he seems even more Zen like, priviledging the insights derived from his quiet contemplation over those found in the sutras.

It's also not hard to see how Thoreau's recipe for living is something of a 19th century American variant of Buddhism's Middle Way. It is a path of compromise between extreme asceticism and extreme indulgence, a path dedicated to simplification and relishing the mundane pleasures of daily life. In Thoreau's case it is a Middle Way between the wilderness and civilization, a modest shack on the outskirts of town, close enough to town for regular visiting but remote enough to preserve the tranquility and space for quiet contemplation.

"I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach," as Thoreau summed up his statement of purpose.  "(N)or did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life ...."

To live more deliberately. What better way could there be to sum up Thoreau's practice of bringing a focused awareness to the daily routines of living.  This is surely a far cry from a meditation based practice of sitting cross legged and concentrating on the breath. Thoreau also meditates but in the manner of a Romantic poet, traipsing across the countryside and paddling after the loon on the Pond, letting loose of himself in the natural world.  But his spiritual practice is really not confined to occasional meditation. His practice is fully expressed in the way he goes about daily life. It is inherent in the meticulous way he builds his cabin by hand, plastering (after digging up his own lime) and stone masonry, keeping track of every penny spent in the process of doing so, and providing a detailed written account.  It partakes of the way he plants his bean rows and sounds the depths of Walden Pond. This hyper self-reliance and awareness of the natural world are the essence of Thoreau's method of spiritual cultivation.  In one beautiful passage he describes it as a matter of bringing the parlor as close to the kitchen and workshop as possible, when it comes to building an appropriate habitation for the human spirit. In other words, Thoreau's practice through living deliberately calls for stripping away all the trappings and indirection of civilization so man or woman may assume full and direct responsibility for his or her own material and spiritual well-being. An adz and an awl have taken the place of a begging bowl.

If nothing else, this underscores just how different Thoreau's notion of practice is from what we encounter in the teachings of the dharma masters.  Thoreau strives for an intensification of self-awareness and heightened mastery over his immediate environment instead of a letting go. The Self is his pathway as opposed to an illusion he seeks to overcome. And yet what's most remarkable is that the ultimate goal of Thoreau's is so strikingly similar to that of any great dharma master. "Not till we are lost, in other words," as Thoreau explains it, "not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations."

Whether we proceed through the Self, or over or around it, Indra's Net is waiting to catch us and hold us in its thrall.  Different as Thoreau's notion of practice may be, his home grown dharma begins to sound very much like what you would expect to hear from a Bodhisattva after all.

* * * * *

This is all I have time for right now. Hard to believe that our month in Nova Scotia is coming to a close and it is almost time to turn my attention back to life beyond the meadow. With any luck I will get around to writing the third and likely final part of this essay next week once we settle back into our Long Island routine.

Wednesday, August 23, 2017

A Prose Poem in Tribute to the Intense Fog of the Maritimes

The sea is no more than sound this morning, advancing or retreating, I have no idea, as the fog holds sway from just off the shoreline to a horizon unseen, all despite the sun's deeply discounted glare.

From the interplay of what is seen and inferred, obscurity gives way to occasional clarity, through the compounding mix of fire water and air.


*  *  *  *  *



*  *  *  *  *


Tide, wind and fog are the controlling elements of life in Nova Scotia.  Tide becomes the major player along the upper reaches of the Bay of Fundy, while wind and fog prevail over most of the rest of the coastline.  The fog may be paramount in its influence both in what it conceals and reveals.  Elizabeth Bishop who was native to these parts described it this way:




The world is a mist
And then the world is
Minute and vast and clear 

Hard to say it more perfectly than that.  But (if you'll forgive me for adding) once you surrender to this landscape, don't be surprised if lighthouses soon begin to figure prominently in your dreams.