One-Legged Meditation

Though this seems at first glance avant-garde sculpture, in real life it's the famous one-legged torii of Nagasaki.

You can fill in its backstory yourself.

This Shinto devotional object was just another spirit gate, like thousands of others in Japan, until retrofitted for the Atomic Age by the US Air Force. The survivors took its still standing, despite the instant destruction of their entire city and the amputation of over half the monument, as an icon of hope. While rebuilding their home, they carefully preserved this gate, unmoved and unrestored, in front of the shrine that no longer existed behind it. (Though it soon would again.)

Today both are close-pressed by modern urban development, quite unlike the quiet neighbourhood in which they started, though neither has travelled so much as a yard since the day they were built.

And though all of this is as Shinto as it comes, I can't help but find commanding Zen significance in it, too.

To me, that war-veteran torii's silhouette – gates being a foundational metaphor for us, too – speaks to the nature of enlightenment practice. You practice where you are, how you are. If you lose a leg, you practice on the other.

And if an atomic bomb annihilates everything you know, you practice in the remains.

Nothing to do with machismo; it's just that you have no alternative.

I'm particularly touched by the Little Apocalypse – the tidal wave of concrete that drowned shrine and spirit gate in a matter of decades. Because while I struggle to imagine their Great Apocalypse – it's just more horror than my mind can honestly grasp – I've lived, and continue to live, the little one over and over.

Thus the sight of that silent, single-minded symbol of trust and true nature, standing up to its chin in a mindless race to oblivion, has special relevance for me. In that sense, notwithstanding religious distinctions or the brutality it's survived, we're comrade monks.

It's simply the most succinct expression of Things As They Are that I have found.

Today humanity is flirting with holocaust at least as hot as WWII. Given the geo-engineering challenges we choose to ignore; our growing embrace of political ideologies long proven suicidal; and the diplomatic tools we beta'd at Nagasaki, this could reasonably be the end.

It's difficult for me as a historian, a Zenner, and a decent guy, to remain in harness in the midst of our extinction.

So, what to do?

Well…

Sit down.

I'll also be keeping a photo of the one-legged torii of Nagasaki somewhere in the house, where I can see it.

(All photos courtesy of Wikimedia Commons. Contemporary view also courtesy of Frank Gualtieri. View of torii after blast from bottom of stairs also courtesy of U.S. Strategic Bombing Survey, 1945; Committee for Research of Photographs and Materials of the Atomic Bombing; Nagasaki Foundation for Promotion of Peace; and the Nagasaki Atomic Bomb Museum. Torii's eye view of the devastated city also courtesy of 林重男 [Hayashi Shigeo].)

Good Movie: An American Christmas Carol

"Life is cause and effect. And you certainly are no stranger to the cause."

So says the Ghost of Christmas Yet To Come, aka the Quartermaster of Karma, in 1979's An American Christmas Carol.

As a Dickens scholar, this made-for-television movie – currently available "free with ads" from YouTube, as well as on DVD – puts me in an awkward position. It's from the 70s. It's American (more or less; we'll come to that). It's inspired by, though not entirely based on, a Dickens story that was already fine to begin with.

And it's also better than the source material in several important ways.

That's right, I said it.

From the top, let's put away one common fallacy: AACC is not a version, adaptation, or update of Dickens' A Christmas Carol. It's written as if the writers had never heard the Dickens story, were handed a one-paragraph synopsis of the plot, and told "Go!'. And everything about it works, from the concept, to the casting, to the wintry grey Canadian locations.

In it, Henry Winkler is one Benedict Slade, American boy, grown up through a harsh if unexplicated late 19th century childhood into wealth and bitterness. And now he's floating in the sea of suffering known as the Great Depression, and hogging the lifeboat all to himself. And damned sure he has every right.

The plot's rural New Hampshire setting is brilliant; a small town works much better for this than London, which may come off like a small town in Dickens, but it's not. A provincial miser is not only more conspicuous than an urban one, he's also in a stronger position to influence outcomes, for good or ill. And as a stage for rationalised selfishness in the face of full-spectrum need, the Dirty Thirties are a no-brainer.

Even more gratifying is the way the film's writers have amended certain shortcomings of the Dickens story. Slade quotes economic theory as if it were God's (or even science's) word. And after conversion he remains gruff, laconic, socially awkward, and highly competent, rather than becoming a loony old fool. Finally, the changes he makes are much more realistic and uplifting.

For our Mr. Slade doesn't wait for the new year, or even Boxing Day, to pitch in to the possible. He's out there in the piercing Christmas morning cold, rousting Thatcher, his much-abused clerk, out of his own heartbroken home and forcing him back to work.

Yet somehow Thatcher – whom Slade promises a tidy overtime – doesn't seem to mind, as he drives his employer, Grinch-fashion, from house to blighted house across a bleak landscape, returning and refinancing repossessions. One of which includes a family's freakin' woodstove!

In the midst of a New England winter!

In sum, Benedict Slade is simply much more interesting, and more believable, than Ebenezer Scrooge. (Sorry, Chuck!)

The cast, all but three of whom are Canadian with accents intact, is brilliant. The other two Yanks – David Wayne and Dorian Harwood – are particularly solid in their respective pivotal dual roles. In the Canadian box we have R.H. Thomson's sensitive turn as Thatcher (who apparently has no first name), Friday the 13th's Chris Wiggins as the man who saves young Benedict from an even grimmer future, and, in a rare early appearance… Luba Goy! Look for her in the bonfire scene at about the 1:14:30 mark. Fifteen seconds later she will shout "Eighty-five!"

And, gosh Henry Winkler is outstanding! Young actor, playing a character aging through multiple eras, giving as nuanced a performance as you'll see anywhere. I particularly like his take on Slade's soul. The complex old codger is neither stupid nor ultimately a coward; even in petulance you see a glimmer of irony in his eyes. He knows he's running a scam. On himself as much as the others.

For all this, AACC suffers surprisingly in some corners of the Reviloverse, usually at the hands of people who know little or nothing about Dickens or the original they claim to prefer. Some are offended that the lead appeared in a sitcom. Should any of them stumble in here, perhaps they might meditate on the difference between an actor and his character. As a Zenner might put it, "Whose name is in the credits?"

Not that there aren't some bona fide holes, of course. Of these the worst is the protagonist's age. As we learn, Slade was in his 30s during the Great War, so he couldn't be much more than 55 in the Depression. Yet Winkler's made up twenty years older than that.

And that's a shame, because a Slade just starting to anticipate the last act of his life would have been a richer premise.

There are smaller humbugs. The writers didn't grok inflation. The sum raised at a war bond drive is breathtakingly high in-world, to say nothing of the bids offered at a Depression auction. And for this country boy, the sight of workmen wrestling a hot iron stove – still smoking! – out the door in their leather gloves was not only surrealistic, it amounted to another missed opportunity. How much more dramatic to use 2X4s – the way that's really done – to carry a family's warm literal hearth away over Ontario's frozen December snowfields.

But none of that depreciates the work. I'm astonished to hear commentators sneer down this truly worthwhile experiment as "the dumbest Dickens adaptation ever".

First of all, it's not; I could write a book about the total crap passing for Dickens out there.

And second, it's not. As in not Dickens. It's a little different, and a little better.

So this holiday season, give An American Christmas Carol a stream. Unless you're as bitter as Benedict Slade, you'll be glad you did.

WW: County fair triumph

(This sweet potato sprouted in a cupboard last Christmas. Instead of throwing it out, I stood it up in a flower pot. Spool forward seven months, and not only does it take the blue ribbon in its class at the county fair, but also the Growers' Choice award.)
#Zen

Suicide: The Cause

(See also Suicide: The Cure.)

A former student of mine recently committed suicide. He was a truly exceptional young man, still in his college years, with a powerful soul that blazed a phosphorescent trail through his community and left a persistent retinal impression.

When I was a teacher there was much talk about suicide and how to prevent it. But I was amazed at the utter lack of insight into the core causes of suicide, and truly alarmed at the rank incompetence of official responses. Virtually all anti-suicide programmes for young people can be summed up by a poster I saw in a middle school counselling centre: a big yellow sun with a smiling cartoon character beneath, and the caption: "Life is beautiful! Don't throw it away!"

I wonder how many kids that poster killed.

For the record, people don't commit suicide because life sucks. They do it because people deny that life sucks. They're in pain, and everything they see and hear defines that as failure. Suicide is not an act of sadness or disillusionment; it's an act of loneliness and alienation.

The fact is, even concentrated individual treatment of suicidal persons is often embarrassingly nugatory. Know why? Because when it's over, we dump these unfashionably-perceptive people back into the same abusive, self-satisfied population that almost killed them in the first place.

So take a deep breath, brothers and sisters, because things are gonna get real.

It's not suicidal people who need treatment. It's you.

Your eternal War on Humans makes this life an unendurable hell. The practice of identifying humanity itself as weakness, and advancing shallow, half-baked ideologies, political, social, and religious, over decency, is deadly to human life.

When you brand someone a "felon" for life and deny her a job, a place to live, the vote, you fill this fishbowl with mustard gas. And it kills, liberally and indiscriminately. Because that's what mustard gas does.

When you meet poverty, sickness, and injustice with pat excuses, employ dehumanising rhetoric to smear their victims, preach and screech about this group and that group, value trophies over solutions and money over morality, you burn up all the oxygen in this Mason jar.

When you make an individual anathema, on any grounds, hold him up to ridicule, mock, bait, and blacklist him, you kill legions of faceless bystanders, though they be far removed from your victim-du-jour.

The suicide epidemic can't be addressed with the simplistic one-to-one arithmetic our plodding culture calls data. But whether or not the link can be easily demonstrated, every time you withhold basic dignity, respect, and forgiveness, you chop up the ties that connect us all. Fear and resentment and hopelessness drive the most human of us out of the herd, where they perish. And sometimes, every so often, what goes around comes home, and someone you love dies.

As for me, I wrote this world off a long time ago, and dedicated the remainder of my time here to transcending it. So today I am commemorating my brilliant young brother's life and death in accordance with my vows, by sitting sesshin on a small uninhabited island. In the course of this day I will perform acts of atonement, renew my commitment to the Dharma, and sit metta meditation for us all.

I'm inviting you personally to join me, by whatever path you walk. Please undertake the struggle to change your heart, and so change your species. Please find the courage to remain calm. Please abandon the wisdom of this world. Please cleave to truth.

And please stop being a mass-murderer.

So here's to you, brave Uncle Francis
When the snowflakes fall, I will sing the blues
And when I think on how you left this world
I will remember how the world left you

Michael Marra

Street Level Zen: The Importance of the Possible

"Almost anything you do will be insignificant, but it is very important that you do it."

Mahatma Gandhi







(Photo courtesy of Vantha Thang and Pexels.com.)