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Poetry Reading with Norman Fischer and John High

Norman Fischer reads from his new book “Men in Suits,” a long-form poem, and John High reads from his forthcoming “Scrolls of a Temple Sweeper,” a book of poetry in the form of a novel.

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Suffering and Gratitude

At a Spirit Rock retreat on “Training in Compassion,” Norman Fischer gives a talk on Suffering and Gratitude on January 28, 2015.

Suffering and Gratitude Jan 2015

Zoketsu Norman Fischer

Transcribed and edited by Barbara Byrum and Cynthia Schrager

When you take the time to think seriously about the preciousness of this human life, the absolute certainty of death, the indelibility of all our actions and the inescapability of suffering, it dawns on you that there is nothing more important than your spiritual and ethical life. Nothing is more important than this. A life of just going along could not possibly be enough for you: trying to enjoy yourself the best you can, avoiding trouble, and seeking security. You realize that spiritual life isn’t just a matter of meditation or of having different spiritual thoughts and feelings. It is actually about relationships, starting with the relationship you have to yourself and moving out from there. Spiritual practice is about our connection to everything in our lives, especially others. Think about this.

All of the religions that we know about disagree about what life is and how it should be lived. The one thing they all agree on is love and compassion. Love and compassion is the centerpiece of a spiritual life. But in order to love and connect to others deeply, you cannot avoid facing pain. If you just love somebody when everything is pleasant and nice and going along well, then as soon as there is trouble, you stop loving them. Nobody would seriously take this as anything more than a pleasant infatuation. It couldn’t be love. Love requires some courage, some pain, because there are going to be troubles in any life. There is no way to love and avoid pain and suffering. Everybody wants to love. Everybody thinks it is the most wonderful thing, to be in love and to love and to be loved. But we tend to forget the part that it is going to bring suffering.

This means that compassion always goes along with love, because compassion is the capacity to receive the pain of another. Not to avoid it, deny it, try to fix it, paper it over – just receive it. This is what we need from one another, isn’t it? This is what we want from one another. We want to be seen, to be heard. We want to know that our life, including our pain, can be freely received by another person, whose eyes are open.

You can’t be compassionate with others if you are not first compassionate with yourself. The two always have to go together, because actually they are not two different things. I am “I,” but oddly you are also “I,” and I am the “you” to your “I.” Didyou ever notice that? To me, this is one of the strangest things that I have ever experienced. We all say “I,” the same word, when we are speaking of ourselves. But we are all “you” to one another. So our language already knows what our heart does not yet understand, that “I” and “you” are interchangeable positions. They don’t refer to actual people. They are changeable, temporary positions. In fact, in linguistics, they call these words “shifters,” because they are shifting position from person to person all the time.

So we are all temporarily distinct from one another, but at a deeper level, at a more real level, at the level of awareness itself, we are actually sharing the truest and most real part of our lives together. One life is passing through all of us, moving through us our whole life – beautiful and bright.

So, compassion is not such a big stretch, not a big thing. It is the most natural impulse of the human heart. If I am walking down the path and step on a nail, and the nail goes through my shoe into my foot, my brain is going to automatically tell my hand to pull the nail out, and my hand is immediately going to do this, without debate, without questioning. Foot and hand and brain are just different expressions of one body. There is no big discussion about whether the hand has something more important to deal with at that moment than the thorn in the foot, or whether the brain at that moment is thinking of universal compassion and can’t be bothered with the thorn in the foot. The brain doesn’t say, Why didn’t the foot pay more attention or look where it was going? How come the eye didn’t tell the brain to mention to the foot that there was a dangerous nail right in the path? You are laughing, because it is completely ridiculous. Nothing could be more obvious, more natural, than that all parts of the body take care of the body. And compassion is naturally, automatically just the same. We all know to take care of one another, because we are each other’s hands and feet and eyes and brain.

In a famous Zen story, Yunyang asks his dharma brother, Daowu, “Why does the bodhisattva of compassion have so many hands and eyes?” Daowu says, “It is just like reaching back for your pillow in the dark.” That is what compassion is like. It is as simple and natural as reaching back for your pillow at night. You just reach back and do it. Compassion is that simple and natural.

In the story of the four heavenly messengers, we usually emphasize that the Buddha realized that he had to get serious about his life because of the inescapability of sickness, old age, and death. He saw that the suffering of others was not just the suffering of others. He really felt that the suffering of others was his own suffering. He was compelled to take the suffering of others absolutely personally as his own and to change his life and do something about it.

From the beginning, Buddha was practicing for and with others. From the very beginning, Buddha knew that self and others are not two distinct things. In the Zen version of the Buddha’s awakening story, at the moment of the Buddha’s awakening, he exclaims, “How wonderful! How wonderful! In this moment I and all beings are awakened. My suffering and the suffering of all beings in this moment comes to an end.”

This is the second point that we have been studying, training in compassion. Absolute compassion is the practice of resting in awareness itself, returning to the breath, returning to the present moment, returning to the bottom line feeling of simply being alive. Just that. Returning to the breath and feeling how your life is held in safety and love, in the wide space of endless awareness.

Relative compassion, based on absolute compassion, is the practice of being willing to take in the suffering, to feel it, to be willing for your heart to be broken, to be willing to go out of your way to work on the behalf of others. To give of yourself, to practice kindness, to be interested in and moved by others, and to meet everyone, always taking into account the suffering we share as human beings. I feel like none of us have come to the end of these practices.

Today we are studying the third point of the seven points [of mind training]: to transform bad circumstances into the path. This has happened a million times: somebody begins to practice, and they seem really intent on it; they come to retreats; they come to seminars. I can see that they are interested and motivated. Then, all of a sudden, I don’t see them anymore. Time goes by, maybe a long time. They come back, and I see them again. I say, Where have you been? We’ve missed you! Then they say, Well, some really hard things came up in my life. It took all my time and energy. I had nothing left for practice. I just stopped practicing.

But this is the backward way to look at it. Practice isn’t for the good times, when things are pretty peaceful and everything is more or less under control. Practice is not a recreational activity. Practice is a whole life. It is for the good times and especially for the bad times. When things are really tough, that is when it is essential that you practice. There is a Zen saying, “Practice as if your hair is on fire.” In other words, with great urgency, especially when you are in dire straits.

When I was young, I had times of tremendous anguish. During those times I practiced a lot. It wasn’t easy. In fact, it was painful to practice. In a way, practicing when my hair was on fire made things more difficult. It seemed that it made my pain worse. But I have no doubt that it was really good for me to practice then. It helped me get through that hard time, and it strengthened my life.

I think this is true for everybody. So when you are having a hard time, and you don’t have time to practice, remind yourself that that is the time when it really matters to practice, even though it may not be so easy.

There is another Zen saying, “The whole world is upside down.” In other words, the way the world looks from an ordinary point of view is pretty much the opposite of the way the world actually is. There is a story that illustrates this. Once upon a time, there was a Zen master called Bird’s Nest Roshi. He was called that because he meditated in an eagle’s nest at the top of a tree. This was a dangerous thing to do. One false move, one gust of wind, one moment of falling asleep, and he would be finished. He did this persistently over time, and he became quite well known. Once, a government official from the Song dynasty stood on the ground, looking up at Bird’s Nest Roshi. He said, “Why in the world would you do this? This is so dangerous.” Bird’s Nest Roshi said, “You think this is dangerous? What you are doing is way more dangerous.” That is, living normally in the world, ignoring death, impermanence, loss, and suffering. This is what we all routinely do, as if this was a normal and reasonable and safe way to live. This is actually much more dangerous than going out on a limb to meditate.

While trying to avoid difficulty may be natural and understandable, the fact of the matter is that it doesn’t work. We think that it makes sense to protect ourselves from pain, but the self-protection ends up causing way more pain. We think we should be holding on to what we have, but often the very holding on causes us to lose what we have. We are attached to what we like, and we try to avoid what we don’t like, but the attractive object never stays the same, and it turns out that you can never avoid the unwanted object.

So even though it is counterintuitive, it really is true that avoiding life’s difficulties is not the path of least resistance. It is actually a dangerous way to live. When your eyes are open, you see that. If you want to have a safe and happy life, in good times and bad times, you just have to get used to the idea that facing misfortunes squarely is better than trying to escape from them.

This does not mean that when we can prevent difficult things we don’t do that. Of course we do. When we can prevent difficult things and fix something that is broken, we roll up our sleeves and do that. So we pay our taxes and have home and car insurance. We drive safely, do maintenance and take care of things, including our body and mind and heart. Turning difficulties into the path does not mean that we don’t do that. Instead, it means addressing the underlying attitude of anxiety, fear and narrow-mindedness that is so pervasive in our lives that we don’t even notice that it is there.

The third point of transforming bad circumstances into the path is the practice of patience. Patience is my all-time favorite spiritual quality. Patience is one of the six Paramitas in Mahayana Buddhism, six qualities to be developed by the practitioner. Patience is the capacity to welcome difficulty when it comes, with a spirit of strength, endurance, forbearance and dignity, rather than with fear, anxiety and avoidance. Nobody likes to be oppressed, in pain, defeated. Yet, if we can endure with patience, if we can bear defeat, oppression, and pain with strength without whining, we are ennobled by that. The very thing that hurts us ennobles us, when we can practice patience with it and meet it with strength.

Still, in our world, patience is not very sexy. People don’t really prize that quality. When we come to spiritual practice, we are not coming to develop more patience. We want to develop love, compassion, insight, enlightenment, but not patience. But when tough times come, and our love frays into annoyance, our compassion is overwhelmed by our fear, and our brilliant dharma insight evaporates instantly into thin air, patience looks good. Patience makes sense. That’s why I love patience. I think that it is the best of all spiritual qualities – the most serviceable, the most reliable. Without patience, without this ability to face difficulty with courage, every other spiritual quality is on shaky ground. It lasts only as long as things go well.

The practice of patience is very simple. When something tough arises, you notice all the ways you try to avoid it. That is the practice of patience. You notice the things you think, the things you say, the things you do, and you notice that all of this is somehow in the service of getting around this difficulty. We are so clever and sneaky. We have the most devious ways of tricking ourselves and justifying ourselves. When you practice patience, you notice the whole thing. You see how it works. You are present with your mind and body and all the things that you are foolishly doing, and instead of buying it all, you just notice it. You take a breath, you return to awareness of the body, and you don’t let yourself react and flail around, like you would normally do. You see the impulse to do that. It is very clear, but you observe the impulse patiently without acting on it. You pay attention to the body; you pay attention to the mind; you pay attention to the breath. When possible, give yourself some good teachings about the virtue of being with this anguish, rather than trying to run away from the feeling in the moment. This is the practice of patience.

In the face of suffering, we can also practice gratitude. Gratefulness is a profound, deep thought. It is wonderful and beautiful, and it makes you happy. The practice of gratefulness is not as much about feeling a certain emotion as it is about understanding who you really are and understanding what your life really is.

My wife and I were all excited about the birth of our first grandson, as you can imagine. We went to see him when he was about six weeks old. He was a mess; he couldn’t do anything. He couldn’t even hold up his head, much less feed himself. If he were in dire straits, he couldn’t ask for help. If he all of a sudden found his hand in his mouth, and he started chewing on his hand, he didn’t know what was going on. If he was chewing on his hand, and he liked chewing on his hand, and he found it really agreeable, but then his hand fell out of his mouth, he had no idea how to get it back in. [Laughter] In fact, he had no idea about anything in this whole world, even though he clearly had likes and dislikes. He had strong likes and dislikes, but he was 100% powerless to do anything about them. All he could do was experience the world as it changed moment by moment, and often it did not change to his advantage. He was completely dependent on his mother’s care and constant attention. She fed him, she cuddled him, she tried to understand and anticipate his needs and took care of everything, even down to his peeing and pooping.

Well, you were once in exactly that situation, precisely that situation, not long ago. Somebody must have cared for you in exactly this way. Everybody sitting in this room, at one time, had 100% total care and attention from one or more other human beings. If not, you would not be here now.

That is a start on the practice of gratitude. Our dependence on other people does not end there. We think we grew up, and we became independent. Now we can all hold up our heads, we can cook dinner, we can wipe our own butts, we don’t need our mother or father to take care of us anymore. We are autonomous individuals. We do not necessarily need other people to support our lives.

Really? Did you grow the food that maintains your life every day? Did you till the soil or milk the cow? Did you make your own car? Do you sew your own clothes? Did you build your house? Really, how do you live? You need others, every single moment of your life. It is thanks to others and their effort and their presence that we all have the things we need to continue our lives every day. Not to mention friendship, love, and meaningfulness. Without others you have nothing.

Then somebody comes along and says, Well, that’s really an exaggeration, because I make a lot of money, and I pay for all this stuff. I didn’t do it myself, but I paid for it. So all these people aren’t taking care of me; it’s my money that is taking care of me. Even the highways. I pay taxes. Where do you think that money comes from?

People say that, but let’s suppose you have a gigantic stack of money—this whole room full of thousand dollar bill denominations. However, there is no other human being in the world but you. The only thing that exists is you and this gigantic stack of money. You have a lot of money, but how are you going to survive? Can you eat the money? Can you hollow out a little fort and live in there? The only reason that money has any value is that other people exist. If other people don’t exist, money has no value. Money makes no sense without others. Its value exists because others exist.

Our dependence on others runs deeper than that. Where does the person we take ourselves to be come from in the first place? Apart from our parents’ genes and their support and care and society, there’s the whole network of conditions and circumstances that intimately makes us what we are. We think that nothing could be more personal, more our own and less dependent on others, than our very thoughts and feelings. Right? But where do our thoughts and feelings come from? Without words to think with, we don’t think. We don’t have anything like the sense of self, as we understand it, and we don’t have the emotions and feelings that are shaped and defined by our words, which are the product of untold numbers of speakers, over untold numbers of generations. Without the myriad circumstances that provided us the opportunities for education, speech, knowledge, we wouldn’t be the person that we think we are. Without all the people in our lives, whom we know, and who know us and love us and create complications for us, we would have nothing to think about! We would be very bored—and worse than bored.

It is literally unimaginable to think of oneself without others. Without others, consciousness would be shattered by loneliness. It is literally the case that there could not be what we call a person without other people. There’s no such thing as a person, as if it were a separate, autonomous thing. It doesn’t exist! There is only a shifting of persons, popping up here and there, co-creating each other over the long history of humanity. The idea of an independent, isolated atomized, lonely person is absolutely impossible, even though we think it is possible. This is not just the way we meet each other practically. I am talking about our inmost sense of human identity. Consciousness itself cannot be independent of others.

That’s what emptiness, non-self, means in Buddhist thought. There is no such thing as an isolated individual. We can say such a thing; we might think that there is such a thing. Many of our thoughts and motivations seem to be based on this idea – which is why we are suffering so much – but it is not a true idea. Literally every thought in our minds, every emotion that we feel, every word that comes out of our mouths, the material sustenance that we need to get through the day, comes through the kindness of and the interaction with others. Not only other people, but non-humans too: the whole of the earth, the soil, the sky, the air we breathe, the water we drink. We are more than dependent on all of that. We are all of that. And all of that is us.

This is not a theory or a poetic reflection. It is simply the bald fact of the matter. That’s why we are grateful, because we are everything, and everything is us. We can’t do without one another. Being is gratefulness. Living is gratefulness.

So we are training in the actual fact of who we are, cultivating every day the sense of gratefulness, which is the happiest of all attitudes. You cannot feel gratitude and unhappiness in the same moment. If you feel grateful, you feel happy. You feel grateful for what is possible for you in this moment, no matter what your challenges are. You feel grateful that you are alive at all, grateful that you can think, that you can feel, stand up, sit down, walk, talk. These are miracles.

The other day, our third grandchild, a little girl, stood up. Everybody was so excited. She stood up! It’s a miracle, and you do it all the time. You can stand and walk and think, all at the same time. You are brilliant! You have so much to be grateful for, and you really appreciate it after a time when you can’t stand up or walk or sit.

Gratitude practice comes under the category of the third point of mind training: turn difficulties into the path. This is the Buddha’s most profound teaching, I think, that life and death is one phenomenon. Suffering and joy is one phenomenon. As soon as life arises, there is tremendous beauty, and in the same moment, there is going to be trouble. Trouble is already the beauty, and the beauty is already the trouble.

There are things that happen in our lives, and in the lives of others, that are absolutely terrible. Yet, in the end, after much effort and many, many tears, and lots of sleepless nights – maybe stretching into months and years – we come to accept that this terrible thing really did happen, and now it’s part of our lives. What happened broke our heart. It sliced our hearts wide open. It was really, really hard, but, in the end, it was a good thing, because of our pain. We have way more love. We have way more tenderness. Because of our pain, we really understand other people. We are really sympathetic to them. Because of our pain, our lives are so much richer.

I think that after a lot of trials and tribulations, we are grateful, truly and really grateful. It’s a lot of work, but there is no other way. We can be broken by what happens to us, forever and ever. The only way we cannot be broken is when we finally come to the place where we say, I would never choose such a thing, but, yes, finally, I am grateful.

We want at the end of our lives to be able to say to ourselves – maybe only to ourselves: Yes, this is my life, and I am grateful for all of it. I made a lot of mistakes. Bad things were done to me. I suffered a lot. Maybe I made others suffer. But that is what happened. That’s the way it was. And I healed my wounds. Because of all these things that happened to me, I was finally able to love. It took a long time, but that made it even more beautiful, that it took so long and that it was so hard. Now, it is enough, and I can let go. The whole past was beautiful, and it was hard. This moment is beautiful, and the future, whatever it will bring, is also beautiful.

Wouldn’t we want, all of us, to be able to feel that way at the end?


two new poems

two new poems by Norman Fischer, published by Talisman Magazine

Lets do some philosophy now to music
OK the first thing is to consider to reconsider
the obvious, say, love, or no, say the flat
of the palm of my hand that it is
plain or that there’s a plain plane
on which it rests, that is, the one whose
hand it is or by now was, the flat

of the palm of it

the palm of it

the plan of the plane or the plain palm of it

there’s a poem on this written somewhere
online I know there is why write it again when I
can simply google it, copy and paste it in here which might be
more trouble than just recreating it now
like Pierre Renard and Don Quixote
Striking with pure tone the correct high notes
And the subsequent problem of not enough energy
To push along the pencil stubs of scorn, the
Flattened pen nibs of vituperation
Necessary to configure a string of curses emphatic enough
To express my dismay (panic even)
At the basic ordinary state of things
That we all endure on a daily basis

As if it were normal.

Well it’s not!

I do not accept, refuse to define,
And that is my right as a poet temporarily

As for you, dear reader, I leave you to your
Musings,
even supposing you are reading this poem
What do you know of me? Whatever it is
It is of necessity completely your own sorry problem

Thus we remain
Philosophically isolated
A typical a priori type of disaster
According to any theory you want to employ
Yet at the same time straining toward
Illusory satisfactory closure
We can only find supposedly

in words

the problem in trying to communicate
with another person by means of words

even admitting the use of grunts, cries, and other gestures
is that it’s all misleading, even misguided
since what anyone needs anyone to mean
By what anyone says isn’t what the

Sayer can say

the sayer can say

and so

with so much saying
and so much more saying
that’s like little puffy clouds
above their heads
as they hurl their heads to the floor
hoping for better results than they will get
they say then this and that vehemently, desperately
and the resultant umbrage taken
Is big enough to drive a Mack truck through

yet a truck

when dressed with the right spices

The proper spices

Is a marvelous thing …

A truck is a marvelous thing

The Last Thing to Go

I woke with the sound of waves
Some persistent hissing as if it were
The sound of waves which, on waking,
(Though not entirely) I identified as
The sound of waves. I was wearing
My heart on my sleeves. There was
Neither rhyme nor reason to it. That I
Woke (though not entirely) seemed to be the chief
And only point, it had me trembling
So that now, as I write to you about this,
I am still trembling though I don’t know why.
My brain was pounding – and here was I
A person who studies the brain
Being studied by my own brain!
It was too much. I woke and fixed
Myself
Something
To drink.
I then paced the floor
Or what I took to be the floor
For several hours. The dragon whose traces
I’d been tracing all this time then
Stuck its head through the study window
And it was all I could do to get out of the way
Of the wave that inundated my copy of
Interpretation of Dreamswith its many revealed secrets.
Some kind of blossoms. My dear friend
Had previously written to me of her death
By airplane and said what was most
Difficult – if not impossible – to give up
Was her vagina. This struck me as both
Physiologically and psychologically apt.
Down the beach came a tiny gray dog
Its paws and legs the size of matchsticks
But with attitude, oh what attitude!
A sailboat sailed by so beautifully
I stopped, for once, paying attention to the words.
I agreed or disagreed, it did not matter,
And I stopped selling everyone short.
It seemed no less true to do so
And this way I could preserve the last
Shred of dignity left me. Because
When you collapse you collapse.
And that’s the end of the story.

***

Virtually anyone can whisper
but how many can shout
virtually no one can whimper
In the fact or face of virulent necessities
But how many can dissemble or disassemble
Their functionary parts which means
how adjudicate the past about festivals —
All the flowers in the world it takes
To simply fall all around them (I
mean at their feet) to speak
To them again in their own voices
Saying , “Oh boy I can see you I
mean me seeing you over there
possibly doing that.” Heart’s all
head all over again, all over the
head that’s growing weak the longer
Water drips on it, weeds grow, vines creep
Even the various trees (I do not
mean the actual trees out there
I refer to the poetic trees or
the word “trees” here in my head
not yet typed, oh, now typed now
appearing on page!) How attentive
can one be to being attentive
or is it, that is, everything, always
a matter of memory, remembering to
experience anything, such as this
the mythic moment of crossing a street
Two going east to west
Three going north to south
At intersection
Where there are large sacks of grain piled
full of peas, beans, rice, wheat, barley, spelt
Slit them open grain slumps out, mounds,
You sort them into their various categories
one of the first things anyone learns:
“one of these things doesn’t belong here”
And it turns out to be
one’s self!

****

The sun keeps following me wherever I go
That, and the yellow grasses, like hair upon a noble head,
Wind combing the hillsides,
Amounts merely to another sort of language
And talk is cheap
I mean boxes within boxes within
Boxes within boxes
This accounts for my immorality or immortality
Not much distinguishes
One from another
Anyone from any other one
These are the ties that bind
Rocks are scattered carelessly hereabouts
And dark green trees, like moles upon a back;
The physical seems more weighty than it is:
Thought, like a baby, never lies

****

Grains of sand or grain, a micro world,
Then you are here, at this scale, deciding on your choices
Next the air’s scattered all about, a suite of it
Not very carefully and if full of water it’s fog
Making everything again indistinct
This easing of the burden’s not presumptive
One or two of them can count on it, wax and wane
I don’t know why my trousers never fit
Organize a bevy of them and you’ve got a class
Or a klatch, a species or a nation, a whole
Cast of trousers covering up your legs
Look then at the shape of this mountain
Or that twelve square mile cloud
And tell me about what you think
Makes me tick

****

The trees exude
Long shadows
As athletes steam
With sweat
Then the hills’ curves stretch out
Like cats
All the tips of trembling tree-limbs
Hunched against the ocean’s edges
Seem to lurch lengthwise
When I shake my head yes or no
Or roll my eyes
From side to side
In astonishment
Indicating nemesis or paralysis,
The normal inability to speak
Anything other than my mind
The guy at the turnstile counting patrons
Has never been more wrong

****

Oh art – like those little pathways through the hills
Meandering here and there,
Going somewhere, never nowhere,
But always circling back,
Always connecting up
“Our time’s the best time” “the worst time”
So they say but it’s different now
Different,
And there are reasons for this
So much art, so much time, so important,
So not, high and low, low and high,
All flat, all endlessly reproduced
I can’t think straight without it yet with it
Can’t ever be
Without it or with it without me
Life and art used to be opposites
Opposites used to be mutually exclusive
Exclusion used to exclude
Those were the days
So are these

two new poems

Two new poems by Norman Fischer, published in Talisman Magazine

Lets do some philosophy now to music
OK the first thing is to consider to reconsider
the obvious, say, love, or no, say the flat
of the palm of my hand that it is
plain or that there’s a plain plane
on which it rests, that is, the one whose
hand it is or by now was, the flat

of the palm of it

the palm of it

the plan of the plane or the plain palm of it

there’s a poem on this written somewhere
online I know there is why write it again when I
can simply google it, copy and paste it in here which might be
more trouble than just recreating it now
like Pierre Renard and Don Quixote
Striking with pure tone the correct high notes
And the subsequent problem of not enough energy
To push along the pencil stubs of scorn, the
Flattened pen nibs of vituperation
Necessary to configure a string of curses emphatic enough
To express my dismay (panic even)
At the basic ordinary state of things
That we all endure on a daily basis

As if it were normal.

Well it’s not!

I do not accept, refuse to define,
And that is my right as a poet temporarily

As for you, dear reader, I leave you to your
Musings,
even supposing you are reading this poem
What do you know of me? Whatever it is
It is of necessity completely your own sorry problem

Thus we remain
Philosophically isolated
A typical a priori type of disaster
According to any theory you want to employ
Yet at the same time straining toward
Illusory satisfactory closure
We can only find supposedly

in words

the problem in trying to communicate
with another person by means of words

even admitting the use of grunts, cries, and other gestures
is that it’s all misleading, even misguided
since what anyone needs anyone to mean
By what anyone says isn’t what the

Sayer can say

the sayer can say

and so

with so much saying
and so much more saying
that’s like little puffy clouds
above their heads
as they hurl their heads to the floor
hoping for better results than they will get
they say then this and that vehemently, desperately
and the resultant umbrage taken
Is big enough to drive a Mack truck through

yet a truck

when dressed with the right spices

The proper spices

Is a marvelous thing …

A truck is a marvelous thing

The Last Thing to Go

I woke with the sound of waves
Some persistent hissing as if it were
The sound of waves which, on waking,
(Though not entirely) I identified as
The sound of waves. I was wearing
My heart on my sleeves. There was
Neither rhyme nor reason to it. That I
Woke (though not entirely) seemed to be the chief
And only point, it had me trembling
So that now, as I write to you about this,
I am still trembling though I don’t know why.
My brain was pounding – and here was I
A person who studies the brain
Being studied by my own brain!
It was too much. I woke and fixed
Myself
Something
To drink.
I then paced the floor
Or what I took to be the floor
For several hours. The dragon whose traces
I’d been tracing all this time then
Stuck its head through the study window
And it was all I could do to get out of the way
Of the wave that inundated my copy of
Interpretation of Dreamswith its many revealed secrets.
Some kind of blossoms. My dear friend
Had previously written to me of her death
By airplane and said what was most
Difficult – if not impossible – to give up
Was her vagina. This struck me as both
Physiologically and psychologically apt.
Down the beach came a tiny gray dog
Its paws and legs the size of matchsticks
But with attitude, oh what attitude!
A sailboat sailed by so beautifully
I stopped, for once, paying attention to the words.
I agreed or disagreed, it did not matter,
And I stopped selling everyone short.
It seemed no less true to do so
And this way I could preserve the last
Shred of dignity left me. Because
When you collapse you collapse.
And that’s the end of the story.

***

Virtually anyone can whisper
but how many can shout
virtually no one can whimper
In the fact or face of virulent necessities
But how many can dissemble or disassemble
Their functionary parts which means
how adjudicate the past about festivals —
All the flowers in the world it takes
To simply fall all around them (I
mean at their feet) to speak
To them again in their own voices
Saying , “Oh boy I can see you I
mean me seeing you over there
possibly doing that.” Heart’s all
head all over again, all over the
head that’s growing weak the longer
Water drips on it, weeds grow, vines creep
Even the various trees (I do not
mean the actual trees out there
I refer to the poetic trees or
the word “trees” here in my head
not yet typed, oh, now typed now
appearing on page!) How attentive
can one be to being attentive
or is it, that is, everything, always
a matter of memory, remembering to
experience anything, such as this
the mythic moment of crossing a street
Two going east to west
Three going north to south
At intersection
Where there are large sacks of grain piled
full of peas, beans, rice, wheat, barley, spelt
Slit them open grain slumps out, mounds,
You sort them into their various categories
one of the first things anyone learns:
“one of these things doesn’t belong here”
And it turns out to be
one’s self!

****

The sun keeps following me wherever I go
That, and the yellow grasses, like hair upon a noble head,
Wind combing the hillsides,
Amounts merely to another sort of language
And talk is cheap
I mean boxes within boxes within
Boxes within boxes
This accounts for my immorality or immortality
Not much distinguishes
One from another
Anyone from any other one
These are the ties that bind
Rocks are scattered carelessly hereabouts
And dark green trees, like moles upon a back;
The physical seems more weighty than it is:
Thought, like a baby, never lies

****

Grains of sand or grain, a micro world,
Then you are here, at this scale, deciding on your choices
Next the air’s scattered all about, a suite of it
Not very carefully and if full of water it’s fog
Making everything again indistinct
This easing of the burden’s not presumptive
One or two of them can count on it, wax and wane
I don’t know why my trousers never fit
Organize a bevy of them and you’ve got a class
Or a klatch, a species or a nation, a whole
Cast of trousers covering up your legs
Look then at the shape of this mountain
Or that twelve square mile cloud
And tell me about what you think
Makes me tick

****

The trees exude
Long shadows
As athletes steam
With sweat
Then the hills’ curves stretch out
Like cats
All the tips of trembling tree-limbs
Hunched against the ocean’s edges
Seem to lurch lengthwise
When I shake my head yes or no
Or roll my eyes
From side to side
In astonishment
Indicating nemesis or paralysis,
The normal inability to speak
Anything other than my mind
The guy at the turnstile counting patrons
Has never been more wrong

****

Oh art – like those little pathways through the hills
Meandering here and there,
Going somewhere, never nowhere,
But always circling back,
Always connecting up
“Our time’s the best time” “the worst time”
So they say but it’s different now
Different,
And there are reasons for this
So much art, so much time, so important,
So not, high and low, low and high,
All flat, all endlessly reproduced
I can’t think straight without it yet with it
Can’t ever be
Without it or with it without me
Life and art used to be opposites
Opposites used to be mutually exclusive
Exclusion used to exclude
Those were the days
So are these

The Place Where Your Heart Is Kept

Mitsu Suzuki, widow of Shunryu Suzuki Roshi, celebrated her hundredth birthday this year. Norman Fischer tells the story of how this Japanese schoolteacher made a home for herself in American Zen.

Okusan, as we had been used to calling her, arrived at the temple with a burst of energy. She bustled straight past us into the Buddha Hall, where she immediately made prostrations and said quiet, concentrated prayers, her head bowed, her prayer beads in her hand. She then got up without assistance and, beaming, said loudly in English, “Welcome home!” We were touched by this, thinking she referred to us—that, as students inspired by Suzuki Roshi, his temple was in some way our real home. But later we realized she was saying this to herself—”Welcome home, Mitsu, to the place where your heart is kept.”

This essay is from the Winter 2014 issue of Buddhadharma Magazine. Please click this link to download a PDF of the article.

The Poet as Radio: The Strugglers

Norman reads from his book, The Strugglers, and discusses the poems and his writing process.

On POET AS RADIO, Norman reads from his collection, The Strugglers, and discusses the poems and his process of writing.

From the POET AS RADIO website:

Poet, essayist, writer, and Zen Buddhist priest Norman Fischer joined us live in the studio this past Sunday and read from/discussed his collection,The Strugglers(Singing Horse Press, 2013).

Norman opened the show reading six poems (13-18) from the first section ofThe Strugglersentitled “Sixty Five,” one of two memorial poems featured in the book. “Sixty Five” was composed after the death of close friend Rabbi Alan Lew, who died “suddenly at age 65.” The 65 “passages” were written not only in Rabbi Lew’s memory, but as a “direct communication” to him.

Next, we looked at the overall structure ofThe Strugglersdiscussing the individual character of each section: Sixty Five, The Strugglers, Mandelstam/Stone or The Russian Mall Poems, Personal, A Young Girl, A Hierophant, and Recognition. Each of the six sections celebrates a different tone, voice, and form (ranging from prosier long lines which demand page-space to shorter stanzas demanding lyric clarity). The collection’s title poem, “The Strugglers,” is a memorial poem written for/in conversation (in song) with Leslie Scalapino. Scalapino’s final prose work,The Diehedrons Gazelle-Dihedrals Zoom, served as the source text for Norman’s 28-poem (each subtitled) series; he chose key words in passages and then composed his own poem of disasters that were appearing in the news at the time of writing: war, violence, tsunamis, earthquakes.

Topping our hour, Norman shared his history with Zen Buddhism and how it has influenced his writing. Early on it was something that he would “try to avoid,” not wanting any one ideology to take over the work. Whereas today, Norman shared, he feels it’s inevitably present in the work–evident possibly in the practice of using formal constraints. Structurally, each section of the book seems to organically find or sing out its own unique form. Citing Kay Larson’s book,Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists, Norman commented on how art and poetry have moved from a 20th century Modernist I/ego centered expression to a destabilizing Postmodern expression that’s concerned with de-centering the self. For Norman, the one rule in poetry has become “no rules,” and that’s “good news” where the “self is a character”–everyIin the poem is a distinct voice. His interest in the phenomena of human subjectivity informed the poem “Personal,” and Norman next read from this 5-poem series (each titled, “Personal”) that ultimately questions: what is a person?

We concluded with a reading from his most recent collection,Escape This Crazy Life of Tears: Japan 2010(Tinfish Press, 2014), a “travelogue” set in his “Japanese poet persona”–slowed down, smoothed down, and pared down to an essential lyric.

Poems in Anger

“Earthquake, hurricane/
The scurrying,/
Running in place on earth…”

Earthquake, hurricane
The scurrying,
Running in place on earth
Against mudtide and ashes,
Belched volcano fire, wind whip,
Horror torrent of flood pourings
Till the houses groan like defeated whales
Under the onslaught of wild elements
People flung, pummeled, buried, drowned or burned
In the homes they conceived
In dreams, defended and fortressed,
Flicked out of being in seconds:
All this only to be wept at, can’t be helped
But that people in confusion
Willfully as acts of self expression
Emblems of cursed misguided identity
Diminish revile and assassinate one another regularly
As civilizations disassemble lashing
While the eyes of individuals go hollow
As caves in the black damp center of the earth
Hard and bilious acrid and defensive
As trapped animals:
This need not occur
And there’s no other cause of it
Then the endless stupidity of our fathers,
Our own lack of vision and nerve
Locate the distance of self from self
And pry open mind’s encrusted habituation
The soft words release themselves in streams of warm demeanor
Stand firm in the wind of valor deterred

Life is Tough – Six Ways to Deal With It

An ancient set of Buddhist slogans offers us six powerful techniques to transform life’s difficulties into awakening and benefit.

Times are tough. We need a way to cope. Halfway measures probably won’t work. We need to really transform our minds—our hearts, our consciousness, our basic attitudes.

Such transformation has always been the province of spiritual practice, but these days cognitive science also tells us “the brain is plastic.” Our personalities, our default tendencies, our neuroses—they are not as fixed as we once thought they were. We are not the inevitable products of our genetics and childhoods. We can change.

The trick is that we have to work at it. Just as training the body takes more than proper equipment and good intentions—it takes repetitive work over time—training the mind/heart takes patience and practice. Compassion is the goal of such training. Surviving—and thriving—in troubled times requires compassion and the kindness, love, and resilience that it fosters. Caring for and working to benefit others is also the best thing we can do for ourselves. In the twelfth century, the Tibetan sage Geshe Chekawa Yeshe Dorje composed a text on the lojong, or “mind training” practices. Based on the Indian pandita Atisha’s original list of fifty-nine pithy sayings for repetitive practice, this text has been taught extensively ever since, and there are a number of translations and commentaries now available in English. It has become one of the best loved of all Buddhist teachings for generating compassion.

This essay originally appeared in the March 2013 issue of Shambhala Sun Magazine. To download a PDF of the full article, please click this link.

The Strugglers – Poetry Book Reading – Arizona Poetry Center 2/13/13

Zoketsu Norman Fischer:
The Strugglers – Poetry Book Reading – Arizona Poetry Center 2/13/13
Singing Horse Press, 2013 2013
ISBN 0935162496
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Norman gives a book reading on his recent poetry book The Strugglers to the Arizona Poetry Center.

 

The Strugglers

Norman Fischer:
The Strugglers
Singing Horse Press, 2013 2013
ISBN 0935162496
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Norman Fischer’s fourth book of poetry with Singing Horse Press.

Poetry. THE STRUGGLERS is Norman Fischer’s fourth book of poetry with Singing Horse Press. Divided into six poetic sequences, “Norman Fischer’s new poems—including a rhetorically stunning series after Mandelstam—make you stop and think—about everyday life and its sampled commodifications—about global turbulence and local pleasure. These poems create a path for reflection as a means for intensified sensation and transformation. ‘No end to ending, no beginning to beginning, no beginning to ending, no ending to beginning.’ Start here now.”—Charles Bernstein

Training in Compassion: Zen Teachings on the Practice of Lojong

 
Norman Fischer:
Training in Compassion: Zen Teachings on the Practice of Lojong
Shambhala (January 8, 2013)
ISBN 1611800404
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Norman Fischer offers his commentary on the lojong slogans. He applies Zen wisdom to them, showing how well they fit in that related tradition, but he also sets the slogans in the context of resonant practices throughout the spiritual traditions. He shows lojong to be a wonderful method for everyone, including those who aren’t otherwise interested in Buddhism, who don’t have the time or inclination to meditate, or who’d just like to morph into the kind of person who’s focused rather than scattered, generous rather than stingy, and kind rather than thoughtless.

NOTE: Norman has given many workshops on this book – to listen to recorded talks on this book, see this list of Teachings.
 
 
On the Book

Lojong is the Tibetan Buddhist practice that involves working with short phrases (called “slogans”) as a way of generating bodhichitta, the heart and mind of enlightened compassion. Though the practice is more than a millennium old, it has become popular in the West only in the last twenty years or so—and it has become very popular indeed, because it’s a practice that one can fit very well into an ordinary life, and because it works.Through the influence of Pema ChíÂdríÂn, who was one of the first American Buddhist teachers to teach it extensively, the practice has moved out of its Buddhist context to affect the lives of non-Buddhists too.

It’s in this spirit that Norman Fischer offers his commentary on the lojong slogans. He applies Zen wisdom to them, showing how well they fit in that related tradition, but he also sets the slogans in the context of resonant practices throughout the spiritual traditions. He shows lojong to be a wonderful method for everyone, including those who aren’t otherwise interested in Buddhism, who don’t have the time or inclination to meditate, or who’d just like to morph into the kind of person who’s focused rather than scattered, generous rather than stingy, and kind rather than thoughtless.

Reviews

“Zen Master Norman Fischer teaches a fascinatingly powerful Tibetan system of mind training with his characteristic Zen-like simplicity and artful clarity. Norman shows once again why he is one of the most admired Zen teachers in America.”—Chade-Meng Tan, Google’s Jolly Good Fellow, author ofSearch Inside Yourself: The Unexpected Path to Achieving Success, Happiness (and World Peace)

“Norman Fischer brings a fresh perspective to the profound Tibetan Buddhist manual of lojong, or mental training. With down-to-earth clarity, he applies its 59 pithy practices to the challenges of modern life. With repetition, these practices gradually change one from the inside out. His writing is direct, penetrating, and powerful, with the authenticity and impact that comes from a great teacher, as he shows readers how to develop resilience and compassion, strength with heart.”—Rick Hanson, PhD, author ofBuddha’s Brain: The Practical Neuroscience of Happiness, Love, and Wisdom

“Norman Fischer has illuminated Atisha’s lojong slogans with the depth of his own Zen koan practice, infused with his savvy, no-nonsense heart. The result is stunning—a fresh slant on Tibetan compassion teachings, making them universal and now.”—Acharya Judith Simmer-Brown, Naropa University, author ofDakini’s Warm Breath: The Feminine Principle in Tibetan Buddhism

 

 

About the Author

Norman Fischer is Senior Dharma Teacher at San Francisco Zen Center, where he was abbot from 1995 to 2000, and he is currently the director of the Everyday Zen Foundation, which is dedicated to bringing the Zen perspective to the world outside Zen, including to Christian and Jewish religious settings. He is a highly regarded poet and translator, and his numerous books includeOpening to You: Zen-Inspired Translations of the Psalms,Taking Our Places: The Buddhist Path to Truly Growing Up, andSailing Home: Using Homer’s Odyssey to Navigate Life’s Perils and Pitfalls.

San Francisco Zen Center at Fifty

A Forum with Zoketsu Norman Fischer, Zenkei Blanche Hartman, Myogen Steve Stucky and Mary Morgan, with an Introduction by David Chadwick, published in the fall issue of Buddhadharma Magazine. The PDF is available here as a download.

Buddharma: On the occasion of San Francisco Zen Center’s
fiftieth anniversary, we thought it would help to hear how Zen
Center, as one of American Buddhism’s most important and
thoughtful institutions, is addressing the important issues that
all Buddhist communities face as the dharma makes a true
home in the West. The first issue I’d like you to discuss is the
tension—one that of course can be very creative—between
Buddhist tradition, with its Asian roots, and the values and
culture of modern Western society.


Blanche Hartman: At Zen Center there is a dynamic tension
between those two things. To me, what is important is that
people continually look at it. There are people who ask why
we chant all these things in Japanese since we’re not Japanese.
We don’t even understand the words. Other people say these


Norman Fischer: The lure of Zen Center was always that
Suzuki Roshi carried this very tension within himself. He was
faithful to Soto tradition—he wore his robes, he transmitted
the rituals very carefully, and when he didn’t know the rituals,
he brought in Japanese experts to help us. He was conservative
in that sense, but at the same time he wanted Zen Center to be
independent of the Japanese Soto establishment. He wanted
Zen Center to find its own way, and he was attentive to the
needs of Western students. This is why, I think, he turned Zen
Center over to an American as his successor. He had Japanese
priests who were very good, whom he could have turned to,
but he chose an American.
So the tension between the traditional and the modern, the
East and the West, was there from the beginning. Zen Center
is very conservative, and yet very open and non-conservative
at the same time.

<to read more, please download the pdf>>

Conflict

 
Norman Fischer:
Conflict
Chax Press (January 31, 2012) 2012
ISBN 0925904724
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Poetry. “The conflict Norman Fischer speaks of in this poem is an inherent component of the universe. He writes of the human dilemma, the struggles of daily life, and the desire to ‘hold the world in place,’ showing us how not to be mired in any one spot. Freedom is won by tirelessly moving forward. The lines breathe: the poet’s breath, and the complexity of his thought, visualized on the page.”—Anne Tardos

The Real Path

Norman Fischer explains why it’s suffering that gives us the incentive, vision, and strength to transform our lives.

This article is available in PDF format, for download.

The most astonishing fact of human life is that most of us
think it’s possible to minimize and even eliminate suffering.
We actually think this, which is one reason why it’s so difficult
for us when we’re suffering. We think, “This shouldn’t be this
way,” or “I’m going to get rid of this somehow.” I think many
of us believe that since suffering is so bad and so unpleasant,
if we were really good and really smart, it wouldn’t arise in
the first place. Somehow suffering is our own fault. If it’s not
our fault, then it’s definitely someone else’s fault. But when
suffering arises, we think we should surely be able to avoid
it. We should be able to set it to one side and not dwell on it.
We should “move on,” as they say, go on to positive things,
do a little Buddhism, meditate, get around the suffering, and
go forward. We shouldn’t allow the suffering to stop us, not
allow it to mess us up. We believe that if only we play our
cards right, we could have a positive life without much suffering.
We constantly come back to that way of thinking…”

(please download the PDF to read the entire article)

BD_F11_07_Fischer.pdf

Make Me One With Everything

A forum on humor, with Bernie Glassman, Carolyn Rose Gimian and Zoketsu Norman Fischer, From the Summer 2011 issue of Buddhadharma: The Practitioner’s Quarterly

Buddhadharma: The central tenet of Buddhism is our need to accept that pain is always present. Where’s the humor in that?


Norman Fischer: We are all in a mess. We’re all miserable and upset and everything is terrible and there’s all this suffering and we’re trying to end suffering— and yet the teachings say in the end everything is fine. That is a big joke. It’s comical. Our human life is comical. Everything that Buddhism asks us to pay attention to—impermanence, suffering, egolessness—which may sound awful and frightening at first, turns out to be good news. Impermanence is permanence, suffering is joy, egolessness is freedom, and the only trouble is that we don’t notice that. Somehow we knew that and we forgot. That’s kind of absurd, laughable, slapstick. The whole proposition of human trouble is serious and not serious at the same time, and that paradox is essentially funny. Our whole world—including our Buddhist world—and how we conduct ourselves always contains an element of humor. When I go to a big ceremony that’s solemn and religious, I always feel I can take a small step back and laugh. It’s so severe and yet so funny at the same time. Don’t you think so?

(please download the complete article in PDF)

Solid Ground

Sylvia Boorstein, Zoketsu Norman Fischer:
Solid Ground
Parallax Press (April 26, 2011) 2011
ISBN 1935209817
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In this lively and personal book, three acclaimed Buddhist teachers from different traditions come together to offer unorthodox wisdom for living well through difficult times.

In this lively and personal book, three acclaimed Buddhist teachers from different traditions come together to offer unorthodox wisdom for living well through difficult times.Sylvia Boorstein, Zoketsu Norman Fischer, andTsoknyi Rinpochedraw on their own experiences with suffering, as well as their many years of practice, to illustrate how we can find serenity and compassion in even the most stressful situations.Solid Groundoffers humor, insight, and practical advice as well as five guided meditations for soothing our thoughts and increasing our capacity for equanimity and joy.

About the Authors

Sylvia Boorstein: Sylvia Boorstein, teaches mindfulness and leads retreats across the United States. She is a co-founding teacher at Spirit Rock Meditation Center in Woodacre, California, and a senior teacher at the Insight Meditation Center in Barre, Massachusetts. Boorstein is also a practicing psychotherapist. Her previous books are It’s Easier Than You Think: The Buddhist Way to Happiness and Don’t Just Do Something, Sit There. She lives with her husband, Seymour Boorstein, a psychiatrist. They have two sons, two daughters, and five grandchildren.
Norman Fischer: Norman Fischer is co-abbot of the San Francisco Zen center, where he has practiced for many years. He was ordained as a Zen priest in 1980, and teaches Zen meditation regularly in Canada and Mexico, as well as the San Francisco Bay Area. He has published six volumes of poetry and two prose books, most recently a Dharma book for and about young people called “Taking Our Places: Mentoring Young People Coming of Age.” Norman is married and the father of grown twin sons. He lives with his wife near Green Gulch farm Zen center at Muir beach.
Tsoknyi Rinpoche: Tsoknyi Rinpoche has been teaching students worldwide about the innermost nature of mind in the Tibetan Buddhist tradition, for over 15 years. He is widely recognized as a brilliant meditation teacher, is the author of two books, Carefree Dignity and Fearless Simplicity, and has a keen interest in the ongoing dialogue between Western research, especially in neuroscience, and Buddhist practitioners and scholars.

 

Going It Alone

An article for Buddhadharma magazine by Norman Fischer, Judy Lief, Barry Magid, Gaylon Ferguson, Sylvia Boorstein, and Lewis Richmond. This article available as a pdf for download only.

Blizzard of Depictions

A talk about the essentially unrepresentable nature of Buddhism, given by Norman at the “Speaking For the Buddha?: Buddhism and the Media” conference at U.C. Berkeley on February 8-9, 2005Speaking for the Buddha? Buddhism and the Media (a conference at U.C. Berkeley). Feb 8,9, 2005.

A week or so ago there was a huge blizzard in the northeast. I was watching reports about it on television. You'd see, in the tiny box of the television, pictures of snow-covered streets and buildings, with snowflakes whirling all around. There would be a reporter standing in the foreground all bundled up in a winter parka, his or her face barely visible, clutching a cold microphone. The reporter would be saying something like "There is really a lot of snow out here!" I watched these reports in Vancouver, British Columbia, where the weather was mild, with a light drizzle.

Wittgenstein famously said, ""Whereof one cannot speak, thereof one must be silent." But he didn't mean by this that what you can't speak about is irrelevant or non existent. In fact, Wittgenstein felt that the unspeakable was the most salient reality. He also said, "The mystical is not how the world is, but that it is."

I suppose that what I am trying to say is that the world of media is not the world that I or probably most committed Buddhist practitioners live in. The world I live in is more or less difficult to talk about or to depict in any way that is broadcastable or otherwise commercially viable. It's a quiet world, an unspeakable world, an intimate world. I am not saying that I don't watch television or go to the movies or read books or pay attention to the current buzz in Washington, or Baghdad. I'm only saying that I pay attention to these things knowing that they are different from the world I live in. (Of course the intimate world I am talking about also exists in Washington and Baghdad- only you do not see it on television). I pay attention to the media because I care about all worlds, not just the ones I happen to inhabit. I also know that "Norman Fischer" exists in several worlds, including the media world. I try to be clear about the difference between the various worlds so as to avoid getting them mixed up.

I realize that the title of this conference is "Speaking for the Buddha, Buddhism and the Media," and I suppose I am saying that it is really doubtful that anyone who can appear as a spokesperson in the media, including "Norman Fischer" or the "Dalai Lama," would actually be speaking for Buddhism. Because I don't think that Buddhism – at least as I understand it – is that sort of thing. I appreciate that in the title as it appears on the website there is a question mark after the phrase "Speaking for the Buddha." I guess that I am also doubtful about the language of the conference description that reads, "The notion of what it means to be Buddhist in America is determined not only, or even primarily, by learned monastics, but also by publishers, film producers, marketers, and entertainers." As far as I am concerned, what it means to be a Buddhist is not determined by any of these.

I wanted to get that thought off my chest so that I could go on. In this panel our specific topic is authority and transmission in Western Buddhism. This is something I know about and I am happy to address it. As a Zen priest and teacher I have been given the authority to transmit the Dharma to worthy disciples, and I have done this several times. One of the things we do in the lengthy process of Dharma transmission is to study together. We study, among other things, texts of Dogen that talk about the ineffable intimacy between teacher and disciple, and between person and world, and about the fact that Zen transmission is essentially undefinable and therefore undepictable, even in the realm of thought. I am not trying to be mysterious here, and Dharma Transmission isn't anything mysterious. It's just a fact of ordinary life. In our tradition there's no test you can give to ascertain whether someone who has received Dharma transmission actually has received it. All you can do it examine the documents of transmission and hear the testimony of the people involved that the process of transmission actually took place. In the tradition, authority in the Dharma is conferred not as a reward for skill or brilliance but mostly I suppose out of a sense of faith and confidence, on both sides, in this ineffable yet quite ordinary intimacy.

Some years ago when I was involved in the formation of an organization called The North American Soto Zen Buddhist Association, a professional organization for Western Soto Zen teachers, we considered how we would choose our members. In other words, how would we ascertain who was and was not a qualified Soto Zen Buddhist teacher. In fact it was quite easy: since we all understood that there cannot be any objective, in other words, media-worthy, way to suss out a Zen teacher, all we had to do was to trust that anyone who had been through the recognized Soto Zen Dharma Transmission ceremony in a recognized lineage was in fact a Zen teacher. Within the small world of Soto Zen Buddhism in the West, which has very little media exposure, this has worked quite well.

A few months ago someone came to me asking, in so many words, for certification as a Zen teacher. This fellow who was not only a bright Zen student with lots of talent and understanding- he was also already a Zen teacher with a thriving Zen group, and several members of his group had previously come to talk to me, telling me of his compassion, wisdom, brilliance, and so on. But I had to tell him that I couldn't give him Dharma Transmission without getting to know him well, practicing side by side with him, and going through the long process that all Soto Zen Buddhist teachers go through. Although the fellow really was in some ways a good Zen teacher, I could easily see the difference (although it would be hard for me to describe it, other than with a dubious phrase like "a particular feeling for life") between how he was practicing and what he understood, and how Soto Zen Buddhist teachers practice and understand.

Even though I couldn't help him out by endorsing his teaching, I had no problem with his going on teaching if that suited him and his group. Why not? If someone has something worthwhile to teach, and if there are people around who want to learn it, and keep on showing up, who's to say that the person can't do this? And if he wants to call what he does Buddhism, or even Soto Zen Buddhism, who's to say that this is a misnomer? "But," you might object, "uncertified Buddhist teachers could be charlatans, and could do serious harm to their unsuspecting and possibly charisma- addicted students." That's true. But certified religious traditions, including Soto Zen Buddhism, are full of instances of serious harm done by certified charismatic or uncharismatic religious leaders. Real religious practice is dangerous stuff; it is hard to tell the difference between the fake and the genuine, and both the fake and the genuine have the potential I am sure to be helpful or harmful to our lives. Students just have to trust themselves and hope for the best I suppose. This is the post-modern West, after all!

The media will always be depicting something about Buddhism, and people will follow those depictions, which will always (when it comes to the Buddhism I am interested in) be incorrect. Despite the great influence of the various media on all of us, I have a lot of faith that the Buddhism I am interested in, the unspeakable, intimate, Buddhism, will persist and will be carried on through the various traditions quietly amidst the snow flurries. I have no evidence for this: I just believe it.

Any religious tradition is and has to be an open system if it going to survive. A religious tradition is constantly being revised, influenced by its surroundings, and usually this revision is not conscious or deliberate. If, as I believe, the various Western Buddhist traditions we have inherited from Asia will go on quietly, outside the media glare, they will not go on unchanged. Each practitioner effects a change in a tradition, as does the weather, the landscape, and yes, the chatter of newspaper, radio, television, internet, movies, and so on. Change is inevitable, necessary. and positive in the long run, I think, so I am not worried. To be honest with you, I feel that the post-modern media-crazed world is a bit off balance and deranged. Nevertheless somehow out of this blizzard what's worthwhile and true will emerge; at least it is cheering to hope so.

Love, Loss, and Anxious Times

Fear and uncertainty mark our lives as we face our own difficulties and those of a troubled world. This article will appear in the Aug-Sept 09 issue of Shambhala Sun magazine. It is also available for download here in pdf format.

The Collected Poems of Philip Whalen

Norman reviews his friend Philip Whalen’s collected work.Review:
The Collected Poems of Philip Whalen
Edited by Michael Rothenberg
Foreword by Gary Snyder
Introduction by Leslie Scalapino
Wesleyan University Press, Middletown, CT

By Norman Fischer

As a cultural phenomenon, Western Buddhism has always been highly self conscious. Issues of translation, of religious renewal and decay, have been part of the discussion from the start. Despite this, Western Buddhist practitioners have been curiously uninterested in culture, preferring instead to see the Dharma as a set of scientific procedures that will produce desired impacts on the psyche.

But the fact is, religion is culture, not science.

In this light, I'm especially delighted to have in my hand the new Collected Poems of Philip Whalen, a founding document of Western Buddhist culture. To be sure, I am prejudiced: a working poet myself, I not only knew and admired Philip Whalen, I was his friend, and I have missed him daily since his death in 2002. Still, his importance as a Western Buddhist poetical pioneer is well enough established that I can be forgiven for emphasizing it again now, as this wonderful, thick, beautiful volume appears.

What is an American Buddhist poetry? It's obviously not enough merely to reference Buddhist terms; for the work to reflect, through and through, Buddhist perspectives, they must be deeply imbedded in what's written, as form, as attitude, as structure and substance. As American Buddhist poets go forth with their projects, they will inevitably be building on Philip's work. He was (more than any of the other "Beat" writers, among whom he is always included) a master of form, a bold (if humble and unself-conscious) innovator. His generational American forebears, Pound and Williams, had already broken with conventional English verse, forging a poetry that was hard-edged and inclusive. But they remained magisterial in tone and spirit. It fell to Philip, influenced by his Zen practice, to let that pretence go, writing instead a poetry that was off-handed, present moment oriented, and that could include anything that came along, not because the poet wanted it to, but because it happened to be there. Philip was the first to recognize that poems are not actually "about" anything, and no one is in charge of them. So the poem's scope could be immense, its form spontaneously arisen in the course of writing. I remember first seeing evidence of this in Phil's work in the late 1960's when I was thunderstruck and suddenly liberated from my literary struggles by the elegance of these lines about not being able to write a poem:

Worry walk, no thought appears
One foot follows rug to wood,
Alternate sun and foggy sky
Bulldozer concrete grinder breeze
The windows open again
Begin
a line may
start:
spring open, like seams of a boat high on the hot sand

(from "The Best of It" 1964)

Philip was, famously, a learned man. After the Second World War (in which he served as a radio operator) he returned home to the GI bill and went to Reed College, where he took up reading and writing in earnest, deciding that he'd devote his life to these pursuits, salary or no. He spent the rest of his life living out this promise to himself, relying on the kindness of strangers, until, after stints as a high country lookout in the Cascades, and as an English teacher in Japan, he returned to America to become one of the earliest ordained Western Zen monks.

Despite his erudition, which appears throughout his poems in the form of doodles, puns, speculations, and idle chatter ("Balzac: "brillant et tres fecond… malgre certaines/imprefections de style et la minutie de qualques de-/scriptions….")/ St. Honore preserve us against black coffee/These Japanese knickknacks & from writing ourselves/To death instead of dope, syphilis, the madhouse, jail/Suicide…) Philip was given to deceptively sophisticated recitations of plain American English. Here is the entire text of a poem called "Whistler's Mother," one of my favorites:

Mother and Ed are out in the car
Wait til I put on some clothes
Ed's in a hurry. He hasn't eaten since this morning
Wait til I put on some clothes.
Mother and Ed are out in the car. Do you have any clothes on yet?
Let me come in.
Wait til I get some clothes on
Ed is impatient. He and mother are waiting. Can I come in?
Wait til I put on some clothes.
Mother and Ed are out in the car
Wait til I get into some clothes
Can't I come in? Aren't you dressed yet?
Wait til I put on some clothes
Mother and Ed are out in the car. Can I come in?
Wait til I get on some clothes.

(1963)

No one had ever written anything like this before, not even close. What's Buddhist about it? Well, not to put too fine a point on it (and I wouldn't argue with someone who called it unBuddhist), this poem reflects what's right in front of you, with nothing added, no poetical emotion, no projected meaning, not even a striking image to set it off. True, it sounds nothing like a Japanese or Chinese poem, but then this isn't the Chinese or Japanese tradition, it's the American tradition. It builds on, and takes much further, some of Pound's and Williams' use of Ammurrican slang, as well as Stein's mindless repetition. Its about the immediacy of words themselves, taken, fearlessly, to the nth degree. And it was this powerful insight ("guess what, it turns out that writing is words, how they sound, how the look lying there on the page"), essentially Buddhist in character (there's no self or person, just what arises), that influenced poets of my generation, who built on it, as Whalen had built on his predecessors. (Leslie Scalapino, in her important introduction, writes persuasively of this).

A whole other angle on Philip's immediacy in writing has to do with his calligraphic style, his doodling and drawing, that's integral to the poetry, though seldom reproduced (editor Michael Rothenberg is aware of this, and the present volume gives us a much larger sampling of this material than has been generally available before). At Reed, Philip had studied with the great calligraphy master Lloyd Reynolds, and was early on aware of the tradition of graphic poetry that was always part of the Asian tradition. Over the years Philip worked out an analogue for it in Western calligraphy, and his journals are full of drawings, drawn words, and doodles, sometimes colored and sometimes in black and white. Some have argued that a printed poem by Philip is inevitably a translation of the actual poem, which is, as with Asian poems, an original art work.

Beyond all this brilliant formal innovation, Philip is also the first poet to intimately chronicle American Zen sights and sounds. His Tassajara Monastery poems of the late 1970's are down to earth personal documents of what it is like to live a full-on Buddhist life, and his great long poem "Scenes of Life in the Capitol," takes us into the daily life of Kyoto, with its Buddhist shrines and temple bells.

So any educated Western Buddhist needs to know this book. A life's work between two covers, document of a mind in motion, Buddha Nature as screed, it tells the story of all of us who are trying to find a way to be what and as we are, as Buddhists.

Why I Have to Write

Aren’t words and concepts the antithesis of enlightenment? In an essay published in the March 2007 issue of Shambhala Sun, Norman wonders why he is compelled to write, and concludes that all language is a form of prayer.

SHAMBHALA SUN MARCH 2007 23

Though I know writing is a bad habit for a Zen priest, I can't help it. I seem to be writing all the time. I write poems of several varieties in several voices, journal entries, dharma talks, essays, books, notes, lists, stories, e-mails, blogs. In doing all this, I have no special purpose I can discern or explain. Though I hope it does somebody some good, I am not at all sure. It may even do some harm. More likely, it may just be a waste of time. What am I doing when I write? I am not documenting my life for my friends or posterity, nor am I telling anybody something they don't already know or need to hear from me. Why go on? I am compelled to, delighted to. There seems to be something crucial about working with language, something that wakes me up or brings a quality of density or significance to my life, even though I can't say what that significance is more than that it is a feeling or a texture. Besides, writing is a deep pleasure. And besides that, I have always written, seem to be a writer by temperament and impulse, and what writers do is write; they just can't help themselves.

Maybe I should get over this. Maybe there's an adhesive patch I can put on that will block the neural pathways that lead me down to the arteries of language. But if there were, I wouldn't wear it. Whether writing is good or bad, I affirm it like an athlete affirms her sport, a mother her child, or a believer his religion. I have noticed over the years in my conversations with writers that for a writer, writing is a sort of absolute bottom line. "Are you writing?" If the answer is yes, then no matter what else is going on your life- and all of life-is basically OK . You are who you are supposed to be and your existence makes sense. If the answer is no, then you are not doing well, your relationships and basic well-being are in jeopardy, and the rest of the world is dark and problematic.

Where does this need to splash around in language come from? Is it a disease? I'm not sure, but if so I don't think (William Burroughs notwithstanding) we will find the virus. I suppose the need to write comes from the connection between human consciousness and language-making. Language-making isn't incidental or ornamental to human consciousness; it is its center, its essence. No language, no person. And no language, no concept of life, of death, of sorrow or joy. No relationships, no tools. We are what we tell ourselves we are. Meditation practice brings the mind to a profound quiet that comes very close to the bottom of consciousness, and right there is the wellspring where language bubbles up. So does meditation get us beyond language? Is it true, as the old Zen teachers seem to be saying, that language is our whole human problem, the basic mistake we make, the mechanism of our suffering? Is this why it's such a big no-no to write?

Yes. Language is our big problem. Language ruins us and makes us suffer. Language is certainly my big problem. All my dissatisfactions would instantly disappear if I couldn't identify them or talk about them. But so would I. Without language I'd have no experience, no life in the world. To say that language is the problem is to say that life is the problem: it's true, but what are you going to do about it?

Well, you live. And, if you are a writer, you write. But here's the strange part: you write for the writing, you write alone and in silence, and you don't know if it does anyone any good-yet somehow you need a reader. This shouldn't be the case, but it is. Until there is a reader, some reader, any reader, the writing is incomplete. This is not true, for instance, with meditation practice or, say, with working out. You can run or bike or sit watching the breath without anyone ever witnessing it. It makes no difference whether someone witnesses or not. Because nothing comes of your running or sitting; there's nothing to share. But when you write you produce something that can be shared and somehow must be. You can't write without being read. This doesn't have to do with ambition or desire; it is built into the nature of writing.

I have been thinking about this for a thousand years. In the 1980s I sponsored a symposium in New York called Meditation and Poetry, in which I brought together a number of serious poets who meditated. My idea was to try to discover what these two activities have in common. I remember Jackson MacLow, the great avant-garde poet, saying, "I am chary (I particularly remember his use of this word) about mentioning these two in the same breath. They exist in different worlds. Writing is effective and public; meditation is private." Something like that.

But, one could argue, MacLow's writing was utterly private. He worked with chance operations and cut-up words, so that there was no intention or conventional communication in his work. He was never trying to say or describe anything. Still, he published copiously. Why?

A decade later I was involved in a similar symposium at Stanford. On the panel with me were the poets Leslie Scalapino and Michael McClure, both of whom practice meditation. We were asked by someone in the audience, "Whom do you write for?" and we all answered, in different ways, "No one." I remember that one of the professors in attendance (who, as it happened, was a Zen scholar) took serious issue with this. Writing must always be social, he argued. What we meant was not that we were uninterested in readership-we all publish a fair amount-but that in the act of writing we did not consider who the reader is or what he or she is going to make of what we are writing. We write to someone, but that person is essentially Nobody, without a name or social circumstances-we write for God. The Beyond. The Empty Nature of All Phenomena. Buddha Nature. The Mystery. We speak, and however little or much our words communicate, they touch something Out There. And somehow within the mind and within the words, that Out There is already implied. Don't ask me to explain.

Years ago I went to the Wailing Wall in Jerusalem and did what all tourists there do: wrote some words on a scrap of paper that I tucked into a crevice in the wall. When I closed my eyes and touched my head to the warm stone, it came to me: "All language is prayer." This must be so. Who is it we are speaking to when we speak to anyone? To that person, and also past him or her to Out There. If there is language, it means there is the possibility of being heard, being met, being loved. And reaching out to be heard, met, or loved is a holy act. Language is holy.

And so, dear reader, know that at this moment of your reading this text in the pages of the Shambhala Sun, you are also touching the Mystery, the Nobody, at the center of your language-charged silence. I, the supposed author, about whom you may have formed some impression entirely of your own making, am not now talking to you. At the moment of your reading, amazingly enough, although I seem to be present, I am elsewhere, doing something else. I am unaware of who you are, and I don't know that you are reading these words now. And yet, at this moment, the moment when I am composing these words-a moment long past for you but immediate to me now-I am as close to myself, and to you, as it is humanly possible to be. _ If there is language, it means there is the possibility of being heard, being met, and being loved.