The theory is really simple.
The only problem is that theory alone will not help us to be content with our practice.
Although practice of the buddha way is supposed to be the easiest thing in the world, I think it is a fact that we are never quite content with our practice.
Why?
– Though unattributed in the source, this very Soto teaching apparently comes from Muhō Nölke, former abbot of Antaiji.
(Photo courtesy of Antoine Taveneaux and Wikimedia Commons.)
"If you meet the Buddha in the road, kill him."
This well-worn Chàn koan, attributed to Linji Yixuan, has the sting befitting the ancestor of Rinzai. (Which word is just "Linji" pronounced badly.) Down the generations, this single sentence has attracted a wealth of commentary in the Great Sangha, and has to some extent even become familiar to the world beyond it.
Shunryu Suzuki – Soto priest, founder of San Francisco Zen Centre, prominent ancestor of Western Zen – inflected it in at least two directions: “Kill the Buddha if the Buddha exists somewhere else" (an invocation of things as they are), and "Kill the Buddha, because you should resume your own Buddha nature,” a timely reminder that you're the only one who can save you.
Others rush to insist that the Buddha in this directive isn't the actual Buddha, i.e., the man Gautama (though I believe he is, but more on that in a second). In this reading, it's really a warning against mistaken Buddhas: inferior teachers, your own delusions, received wisdom.
Perfectly sound, but a bit churchy for my taste.
So I've been turning this commandment in the light for about twenty years now. To me it does in fact refer to the historical Buddha. Because he's much more likely to hurt you than anyone else.
Some huckster in a plaid sport coat could con a minority of seekers with his pious salvation scams, but most of us will walk past that. No, to screw the majority, you need the real thing. That'll get us all worshipping when we should be practicing.
'Fore you know it, robes and gongs and incense will be all that's left of Buddhism. We'll be anointing statues, chanting names, venerating relics. At last some clever-dick will bust out the sutras and start telling us the Buddha said this and the Buddha said that, all in defence of this massive religious folk dance we will all have to complete before we're allowed to seek enlightenment.
Hell, with a little luck, we might even get the Buddha to straight-up end all Buddhism on Earth.
Which is why you want to kill that mofo good.
One good whop with your monk stick.
Because the fact is, Gautama left us 2500 years ago. He spoke his piece, left his treasures, and sensibly died.
Don't let a zombie eat your brain.
(Photo of an arrestingly Buddhic road in Uzbekistan courtesy of Arina Pan and Wikimedia Commons.)
Which is why I recently read Ben Connelly's Inside the Grass Hut: Living Shitou's Classic Zen Poem. The work it explores – Song of the Grass-Roof Hermitage – is a largely overlooked classic of Zenlit, and another title in a peculiar hermit genre: the boy is my house awesome essay.
To structure his examination, Connelly simply lingers on each verse in turn, elaborating on its broader meanings. Soto priest at Minnesota Zen Meditation Center, he's a talented teacher working from a Taigen Dan Leighton translation, and his meditations on Shitou's pithy, economical dissertation on hermit practice are worthy companionship for others who aspire to it.
Connelly's own observations are couched in a classic Western Zen voice, upgraded with a deferential tingle of irony that fends off the piety that sometimes weakens similar efforts. His willingness to join the rest of us, and his gentle sense of humour, drive his philosophical points home in such a way that they highlight the inherent truth of the source material and invite the reader to delve along with him.
Witness this reading of a Zen moment from American pop culture:
In the movie I Heart Huckabees, an "existential detective" asks her new client, "Have you ever transcended space and time?" The client, bewildered, answers, "Yes. No. Uh, time, not space. No, I don't know what you're talking about." From a Zen perspective, all his answers are good, none of them are true, and the last one is likely the best."
(In fact, the client's whole response, if delivered while looking his opponent in the eye, would be an awesome dharma combat parry.)
This tone pervades Connelly's thoughts on all 32 lines of the poem; at two to three pages apiece, a rhythm that keeps things flowing and maintains momentum. As such it's a good example of what I call a "bathroom book" – a work you can digest in short, self-contained chunks at a regular pace, unhurriedly building an ecosystem from the images it contains. It's an ideal structure for conceptual musing. The text is light enough to be accessible to those unaccustomed to Zen thought – in fact, a great introduction to our intellectual tradition – yet meaty enough (if I may be forgiven the reference) to illuminate experienced seekers. In short, it has "instant classic" written all over it.
I found Inside the Grass Hut valuable support for hermit practice, and expect to reread, quote, and recommend it in future. If you're looking for an insightful Zen read that meets you where you are and continues giving as your practice matures, this book will set you up.
If you'd like to explore a rich source of provocative, not overly-technical Zen reads, check out Sotozen.com. Among its many offerings is an attractive compendium of Zen stories, presented with penetrating opening commentary. A good start might be this favourite example, starring the decidedly un-Soto Ikkyu.
As you'll see, the infamous Rinzai master strongly recalls Nasrudin – an old friend who figures on this blog – and also Alan Watts.
In any case, the Ikkyu story provides another meditative exposition of conventional authority: sometimes they kick you out and sometimes they lock you in, but in all cases you must be where they tell you to be.
And while you're up, enjoy a good surf around Sotozen.com. It's a valuable resource for our lot.
(Shiba Zojoji, by Kobayashi Mango, courtesy of Aichi Prefectural Museum of Art and Wikimedia Commons.)
As non-Vajrayana Western converts to Buddhism will tell you, we have a slightly awkward relationship with Tibet. Not that we have any real bone to pick with our Tantric brothers and sisters. It's mostly just a difference of style. Practice models in the three other common convert denominations – Zen, Vipassana, Theravada – are pretty stripped-down, with Zen probably being the most "gorgeous" of the very Puritan lot. Tibetan forms, meanwhile, are downright High Church.
More prosaic is the simple fact that the Dalai Lama is the only Buddhist most Westerners can name, and since our media regularly imply that he's the "boss of Buddhism", we're all generally believed to owe him fealty. Thus, non-Buddhists are often surprised to learn that I don't really follow the guy's news – he's fine as far as august spiritual figures go, but carries no greater weight with me than the Pope or other sincere religious celebrities.
Similarly, Tibetan Buddhist stereotypes often pass for Buddhist, full stop. Yet I rarely chant "om"; I don't own a copy of the Tibetan Book of the Dead; my Zen teaching embraces transmigration (which I don't necessarily buy, either) rather than reincarnation; and therefore we don't believe past masters can inhabit children.
All of which to say, non-Tantric Neo-Buddhists tend to know fairly little about that tradition or its teachings.
So I was grateful when a fellow Mastodonian shared a particularly provocative passage from Tilopa, an Indian sage whose wisdom looms large in Tibet. Upon further exploration I learned that the posted lines are actually the heart statement of the great Tantra master's programme.
The interpretation presented can be traced to Alan Watts, and reads as follows:
No thought, no reflection, no analysis,
No cultivation, no intention;
Let it settle itself.
Certainly a Zen-friendly sentiment, in that we-say-these-things-a-lot-but-never-do-them kind of way. And other translations found elsewhere enrich the context:
Don’t recall.
Don’t imagine.
Don’t think.
Don’t examine.
Don’t control.
Rest.
A bit more Soto in flavour than Watts' Rinzai-esque lines, perhaps, consisting of nuts and bolts exhortations ("act this way") rather than a self-absent explication of phenomena. But taken together – as is usually the case with these two schools of Japanese Zen – they bring greater insight.
And finally, this fraternal take:
Let go of what has passed.
Let go of what may come.
Let go of what is happening now.
Don’t try to figure anything out.
Don’t try to make anything happen.
Relax, right now, and rest.
(Both of the non-Watts translations quoted here are the work of Tibetan Buddhism teacher Ken Mcleod.)
So I'm paying this forward, as a particularly valuable meditation for Zenners, regardless of source.
Because it's not just good stuff, it's Zen stuff. And also good Zen stuff.
(Tableau of Tilopa courtesy of Wikimedia Commons and a generous photographer.)
So another visit to the annals of early Buddhism has yielded a further bit of provocative trivia: subitism is very old. Possibly as old as the religion itself.
This contentious point of Buddhist teaching, whose name draws on the French « subite » – "sudden" – asserts that enlightenment is a discrete event that occurs all at once in a blinding flash that explodes in your brain, changing both it and you forever. (The Christian adjective for this notion is "catastrophic", as in catastrophic conversion, the Evangelical ideal.)
The opposite view is gradualism, in which enlightenment slowly accrues over time through diligent practice, and only in turning back does one realise it has, at some point, been attained. (And Western Buddhism often implies that it may remain occult even to death.)
This is the main doctrinal difference between Rinzai and Soto, the two extant schools of Japanese Zen. (Seon, Korea's Chàn-descended tradition, also embraces sudden insight, but interestingly, has divided into parties over whether further practice afterward is required to "ripen" it, versus insistence that the bang itself is comprehensive; you're done.)
Rinzai students meditate to precipitate the long-awaited thunderbolt that strikes off the shackles of delusion – weakened beforehand by the crowbar of koanic logic – leaving a mind gleaming in perfect clarity.
Soto types sit for insight – a post-cognitive grasp of the koanic nature of existence, which, over a period of years or lives, eventually calibrates our minds to the universal frequency – though we may not apprehend for some time that our minds have inexplicably taken to gleaming in perfect clarity.
I'd always assumed subitism developed within Zen itself, and was surprised to learn that it actually came from the Southern School of Chàn, having been planted there by none other than 8th century founder and Huineng successor, Shenhui. Further study reveals that the two perspectives were already current in Bodhidharma's India, and may have touched off the first great theoretical debate in Buddhism
The topic isn't pedantic; it strikes at the very nature of enlightenment, and therefore Buddhism. Are we a religion, as subitism suggests, leading faithful practitioners to concrete, certifiable metaphysical transformation; or a philosophy, as gradualism would have it, shifting the adherent's perception by subtle and cumulative means?
History tends rather to support the first, though test cases are often ambiguous. Exhibit A would be the Buddha himself, said to attain enlightenment at an exact moment – upon seeing the morning star after eight days of intensive practice. The softness in that argument comes from his description of the phenomenon, devoid of fireworks, euphoria, or choirs of angels. He just… woke up. (The title we know him by translates as "The One Who Awakened".)
The legend of Bodhidharma also implies a sudden change – we're told he sat before a wall for nine years and "became enlightened", though we have even fewer particulars about the mechanism of that. To the best of my knowledge he never described it, or specified a time, date, or even season. Did he "become enlightened" in a flash, or did he just notice that it had happened, and get up?
And somewhat strangely, Dogen – founder of Soto – by his own detailed admission also received catastrophic illumination. According to the man himself, he was meditating up a storm when the jikijitsu suddenly whacked his dozing seatmate with the kyôsaku. At the crack of the cane, Dogen awakened as well.
Yet this is also the guy who told us enlightenment is gradual.
So clearly the distinction isn't simple. There are many Soto stories of enlightenment events like Dogen's – moments where the dam broke to the fall of a final raindrop, and nothing was the same again. What's common to both teachings is that getting to that point, whether it arrives with chirping birds or marching bands, is intricate, esoteric practice, demanding much zazen and maintenance of one's perceptual instrument.
And that makes the query a bit beside the point, though it does remain intellectually stimulating.
Rather a koan in its own right, really.
(Photo courtesy of Felix Mittermeier and Wikimedia Commons.)/span>
Non-Buddhists may be astonished to learn we lack one of those. Instead, we maintain a libraryful of sutras – pamphlet-sized documents that more or less quote the Buddha – along with three or four additional libraries of epistolary commentary. And we Zenners tend to bust even that down to the Heart Sutra (a short summary of the Buddha's insights), four koan anthologies, and, in Soto, Dogen's Shobogenzo. (Other schools swap that last out for their own founders' teachings.)
But for my money, Heart satisfies the hunger for a source of record, something to tell us in no uncertain terms what we're supposed to be doing here. Heart was the book that made me a monk, and the one I return to in moments of despair and confusion. And it never lets me down, though each time I find I've never read it before.
Among insights gained this time is TNH's reference to "Source Buddhism", one of three streams he sorts modern Buddhism into, by way of understanding the differing perspectives. The other two are Many-Schools Buddhism, notable for its didactic nature, and the Mahayana, which emphasises the responsibility of practitioners to their species and world (the famous "bodhisattva principle").
And though my own tradition – Zen – sits squarely in that last camp, I find I'm a bit of a Sourcer.
Quite a Sourcer, really.
Source Buddhists insist on the primacy of the Buddha's teaching over all other authorities. What he said, is Buddhism. Anything else… might not be.
I think this is an important fixation, because humans compulsively pile everything they like under the rubrics they've already adopted. If they're pacifists, they define even their most bellicose conduct as perfect pacifism. If they're conservatives, each innovation they make becomes the soul of conservatism. If they're feminists, their every impulse reflects pure disgust for sexism – highest of all, their purely sexist ones.
Nowhere is this fatal flaw more evident than in religion.
And in no religion is it more evident than in Zen.
So it's comforting to know that in my instinctive sourcery, I'm paddling an Original Stream – perhaps the original stream – of Buddhism.
Because the path of the Buddha isn't always the smoothest, but I do believe it's the most effectual.
And in case you're wondering: yes. My own meandering improvisations thereupon do constitute "original Buddhic teaching".
Seriously; have you ever met a human?
(Photo of the 6th century Teaching Buddha in Ajanta Cave 16 courtesy of Wikimedia Commons and a generous photographer.)
My brother Fletcher – formerly an ordained Zen monk, now an ongoing seeker after insight on another path – recently described to me his initiation as a novice at Tassajara. (That would be the largest Soto monastery in the States – possibly largest in the whole West – and a dependent house of San Francisco Zen Center.)
His story was typical: the ranking monks shut him in a room with other boots and made them meditate for five days straight. Is that OK? Maybe. Maybe not. Feel free to undertake the koan.
But the part of Fletcher's tale that most seized me was his coping strategy: he began chanting "99 Bottles of Beer on the Wall" in his head, and continued doing so throughout the ordeal. In fact, he says, "99 Bottles of Beer on the Wall" remained a go-to mantra through the course of his considerable monastic career.
I like this on several levels. First, as juvenile as its lyrics may sound, "99 Bottles of Beer on the Wall" is basically what the Ancestors instructed us to do when we sit. My technique is theirs: I count my breaths from 1 to 10, then start again, until I'm done. All Fletcher changed was the number of reps.
His approach is also refreshingly free of twee chinoiserie. You know what else is free of twee chinoiserie? Zen. Or it was, until it acquired "Ancestors". Once upon a time we were famous – scorned, actually – for our coarse working-class pragmatism, and also our impatience with Confucian obsequium. "Get it done," Bodhidharma said (more or less).
And Fletcher did. By his account, the old summer camp ditty (was this ever a real drinking song? don't drinking songs end every so often so the singers can drink?) got the job done: it kept his discursive mind occupied so it couldn't stuff every silence with worry, regret, and drama, and it afforded the rest of his consciousness an opening to engage the Great Matter.
Sounds like enlightenment practice to me.
(Photograph of Tassajara Zen Mountain Center courtesy of Wikimedia Commons and a generous photographer.)
San Francisco is the capital of Western Zen. The sangha there – the Western one; Asian residents were already practicing for over a century – is one of the oldest in the world, founded by Shunryu Suzuki in 1961. Today, most Zen teachers in this hemisphere have some connection with it, whether formal or incidental. (That's Soto teachers; Western Rinzai is less centralised, Korean Zen is bipolar – it has two power centres – and Thich Nhat Hanh's Vietnamese lineage is anchored in France.)
Today's SFZC is a freakin' 900-pound gorilla among spider monkeys, with three houses, an expansive endowment, and a giant sangha consisting largely of priests and priests-in-training. We hermits like to sneer about "enlightenment factories", but this-here really is.
On the other hand, it's nice to have a secure, established hub you know will be there tomorrow: reassuringly conservative, largely unchanging, eschewing relevance and doctrinal debate, and grinding out priests like a latter-day Ireland, who in turn produce reams of teachings for world consumption. In sum, SFZC – its history, its current role, the nature and limits of its authority – is a big topic among Zenners. Few of us exercise don't-know-mind in its regard.
But I'm not going to weigh in. Instead I'm going to direct you to their Dharma Talks podcast; for my money, one of Rome on the Bay's most valuable products. (To begin with, I don't have any money, and all of the teishos in SZFC's bottomless digital databank are free.)
The talks cover every Zen topic under the sun, in every style, as SFZC's diverse clerical corps take turns at the mic. A few of these lectures have about saved my life, when it needed saving. Others leave me more or less unchanged, but they're all useful and productive.
Anyway, dig it, brothers and sisters: there are a lot of them.
SFZC's podcast homepage includes links to such automatic delivery options as iTunes and RSS, as well an archive of the podcasts themselves – one per week right back to 2007 – for individual download.
So if you're up for 300-odd ordained-types throwing down some serious Zen, swing on by San Francisco's perpetual Teisho Slam. Whatever you need, you'll find it there.
Most books available in the West on life in Japanese monasteries are written by Westerners. Perhaps that's why they tend to take a star-struck, romantically uncritical view of the exotic practices they encounter. Eat Sleep Sit: My Year At Japan’s Most Rigorous Zen Temple doesn't suffer from this quirk. Its author is Japanese, and that makes all the difference.
In the mid-Nineties, thirty-year-old Nonomura Kaoru entered Eihei-ji, the Vatican of Soto Zen. His motives were credibly vague; discussing them with his girlfriend, he gets out little more than "I'm uneasy". (Which is what drives most of us to monasticism – the Buddha called it "world-weariness".)
His friends react with anything but joy. In Japan, taking orders is considered rash and self-destructive, as radical and potentially suicidal as any forest ango. (Surprise!) One of them points out that cœnobites have a lower life expectancy than those outside the walls. But Nonomura persists, and his record of what ensues is both a powerful account of monastic awakening and an important corrective to misconceptions about Asian practice models.
The only honest term for the training Nonomura endures at Eihei-ji is "military":
Then the door […] abruptly opened. Before our eyes there appeared a monk, on his face a scowl so bitter that he might have been shouldering all the discontent in the world. Following the orders he barked at us, we each shouted out our name in turn, summoning all our strength to yell as loud as possible.
"Can't hear you!" he'd snap in reply. "If that's the best you can do, you'll never make it here! Turn around and go home!" [...] Again and again we raised our voices, yelling with such might that it seemed blood would spurt from our throats. [...] Finally I was left standing alone. With every shout my voice grew hoarser, making it harder and harder to yell. How much longer could this go on, I wondered.
It's all here: the hammer-headed machismo, the abuse masquerading as instruction, the barking-mad superiors. For months on end recruits are humiliated and beaten, forbidden to defend themselves or even cringe, and denied sleep, food, leisure, and hygiene.
Some have to be hospitalised; some never return.
But Eat Sleep isn't just, or even primarily, an indictment. Nonomura – an excellent writer, speaking through a talented translator – also relates the moving beauty, the timeless wisdom (especially of Dogen), and the penetration of his own nature and that of the world, that he finds "inside". It's another gift of Nonomura's nationality, inured to gratuitous authoritarianism, and so able to see past it to great treasures. Even the abuse has a certain purifying effect:
Every time I was pummelled, kicked, or otherwise done over, I felt a sense of relief, like an artificial pearl whose false exterior was being scraped away… Now that it was gone […] I knew that whatever remained, exposed for all to see, was nothing less than my true self. The discovery of my own insignificance brought instant, indescribable relief.
Perhaps Nonomura's greatest strength as a writer is his unflagging respect for his readers, eschewing condescending exposition, certain we'll get it on our own. Unlike Western observers, he never endorses or justifies the terrorism. Nor does he credit it with the insights he eventually gains. He simply relates events and leaves readers to draw their own conclusions. I found this especially useful, as the contrast between ends and means in this system is dramatic. Eihei-ji is ambiguous and contradictory moral ground, and Nonomura is content (and Zen enough) to leave it so.
I have a fantasy that some day, somewhere, a Zen monastery will be founded on the interlocking principles of anatta and humility. Aspirants in this renewed lineage will be required to study with equal zeal ancestral wisdom and the errors that have been committed in its name. Because if you don't have both, you don't have Zen.
As regular readers will have guessed, I'd like the books I review here to be included on that shelf. And teachers in that future Zen Centre could do worse than assign Eat Sleep Sit to each novice on entry, right alongside mu.
"This is gonna be a short movie."
That's what I thought when I bought Zen (禅), a biodrama about Eihei Dogen, founder of the Soto Zen sect. Dogen is a seminal figure, but he's famous, even in Soto, for being completely unmovable. Two hours of watching a stone-faced Japanese guy sit perfectly still, broken only to yell at his students when they fail to do likewise. Fun for the whole family.
Fortunately, director Takahashi Banmei had the sense to scrap the legend and seek the soul. Which, one supposes, Dogen must have had. In fact, Takahashi's Dogen is not just sensitive, he's downright soft. He actually cries, for God's sake! Four times!!!
Takahashi sees Dogen as a crusader, first against the comfortable, corrupt Buddhism of medieval Japan, and by extension, the violent tendencies of Japanese culture. His motivation remains under-explained; as in oral tradition, the boy loses his mother, and vows to find a path out of misery for all humanity. Alright. But peoples' mothers die all the time, and they don’t hike across China to end suffering. Why did he?
Takahashi begs the question; he wants to get to The Story ("Dogen vs. The Volcano"), and his unorthodox grasp of storytelling makes what happens next one of the great cinematic epics.
It also makes it hard to review. See, this is a visual movie. Oh, there's plenty of dialogue. Important dialogue. Powerful dialogue. It's just, like, so not the story. That is in the images, scenes so saturated with meaning that every one, whether a sweeping vista or the monastery kitchen, is a sutta. I've seen it a few times now, and no longer even bother to turn on the subtitles. (And let me assure you, 僕の日本語 外人のめちゃくちゃですね 。)
So how do you describe a movie that seems to bypass your brain, like you're receiving it in the marrow of your bones? Well, for starters, my film reviews usually include three screen-caps. You'll note a few more here. You can't review Zen with three screen-caps. And these are just half the ones I collected for it. (Click on them. See them bigger.)
In short, Zen is a truly Zen experience, and a deeply moving one at that.
Another facet of Takahashi's "outsider" genius (he's most known for dirty, edgy grinders) is his gift for iconoclasm. In this case he gave the lead to a kabuki actor. Yeah, that's what you want to play the Stone Buddha: an opera singer. But as much as the cinematography, Nakamura Kantarou is this movie. He manages to be just human enough, without getting cuddly, and also remarkably supple. He's got that Dogen steel, sure, but he's never macho. This is not Dogen as samurai; this is Dogen as priest.
Irish priest, in fact; this is a very religious movie. And that's weird; Zen itself is highly suspicious of the thing Christians call "praise," and our movies generally reflect this preference for practice over preaching. But Takahashi's Dogen can't shut up about the Buddha. And while the film does heavily emphasise sitting (for once, thank God), we also see Dogen preach. That's right: preach. At the drop of a deep-dish monk hat, my dear. Is it because Takahashi isn't a Zen Buddhist? Or is he trying to tell us something? I don't know. But I like it. It's fresh. I dig this Dogen.
There are other gems here: Dogen's love of China (some of the film's nuance will be lost on those who can't detect his frequent shifts from native Japanese to his second language, and back); his obsession with the moon, now a Zen obsession; the view of medieval Kyoto, Japan's holy city, as one big brothel; Dogen's rejection, no less dramatic today than it was in 1220, of social distinctions and bourgeois values. "We don't care about your past here," he tells a prostitute who wants to take orders.
I could snipe at a few things, but they'd be the same things reviewers always snipe at. ("Too derivative. Too Hollywood. Not enough cowbell.") But from my cushion, the only real problem is the title. This movie is not about Zen. I suspect that's why it remains obscure. (A big-budget studio title, and sold only on Japanese Amazon. At least at the moment.) So people who don't care about Zen won't see it, and those that do, don't either. And that's too bad, because it demands to be seen. So what should Takahashi have called it? Something about the moon, maybe. Nah, that would only net a lot of disappointed middle school girls.
Anyway, here's the bottom line: he's strong, he's sensitive, he's Dogen. See the movie. It's good.
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If you'd like to explore a rich source of provocative, not overly-technical Zen reads, check out Sotozen.com. Among its many offerings is an attractive compendium of Zen stories, presented with penetrating opening commentary. A good start might be this favourite example, starring the decidedly un-Soto Ikkyu.
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