Tag Archives: Zen

My Zen Teacher

Me, taking my Zen vows (2005)

20 years ago, I took my Zen Boddhisattva vows with my teacher, William Nyogen Yeo Roshi. I found out a few months back, that he had passed away. Known simply as Nyogen Roshi, he was a successor of Maezumi Roshi, who brought Japanese Zen to the United States in 1956 and was widely considered the foremost Zen master of the 20th century. Nyogen Roshi was the last of 12 students authorized by Maezumi Roshi to succeed him as a teacher, and was thus given the title “Roshi.”

My teacher was a true teacher. He cared nothing about accolades or recognition. He was compassionate and simple. He also had a good sense of humor. Most of all, he cared about the Dharma and about preserving it well. In this light, I thought that the most beautiful way to remember him would be to share one of his teachings. This Zen lesson, which I have named with an acronym DER, came from a Dharma talk at the temple where we, the Sangha (community), used to gather on Saturday mornings for meditation, Dharma talk and lunch. To my knowledge, this teaching was never written down, except in my
own book, Buddha in the Classroom; Zen Wisdom to Inspire Teachers (2011). This passage is adapted from chapter 5, in which I am sharing my frustration with my students’ tardiness…
~ ~ ~
In his Dharma talks, my Zen teacher often repeats a three-part teaching: Don’t deceive yourself; Don’t make excuses; and, Take responsibility. Each time he transmits this message to us, he is keeping alive the flame of a living tradition, as did his own teacher, Maezumi Roshi, when he carried the very same lessons forth from his native Japan. The teachings are so pertinent that I remember them as an acronym, DER, for easy retrieval. I always find it appealing that the teachings start with the self, putting us face-to-face with the connection between our own states of mind and our subsequent treatment of others. But looking inward at our own state of mind requires courage. Don’t deceive yourself. 

How often do we mask dishonesty? It takes courage to lay the armor of the ego down and to concede—even to ourselves—our true motives and agendas. This internal candidness transforms us, and in turn, everyone and everything else we come into contact with, either directly or indirectly, which is infinite in scale over the course of a lifetime. We go to great lengths to try to fool ourselves. I remember when I took some change from my father’s dresser as a kid. I told myself that if he had just given it to me in the first place, then I wouldn’t have had to take it. So, it was his fault. Psychologists call it rationalizing.

A couple of years ago, my son bought a vehicle that wasn’t as described in the ad. It was the first time he had handled a transaction of this magnitude on his own. He gave the seller the money and drove away with it, even though all the signs were there—no tags, an odometer reading that was higher than described, and other small peculiarities that were indications of a shady deal. Well, someone could have just stolen the tags, he said, and maybe the guy misread the mileage. He knew he had been bamboozled, and deep down he also knew he had participated in his own deception, telling himself that it was the perfect truck—that it was a good deal, and there was no other like it. He was spellbound, and ended up with undisclosed tickets and back fees on the vehicle. A good lesson, to be sure; but as adults, we’re just as willing to deceive ourselves, and we get ourselves into similar situations. We do it every time we spend money we shouldn’t under the guise of necessity and urgency, because the sale ends tomorrow, or because they might run out—only to look back and see we’ve participated in increasing our own debt. And when we’re truly honest, we can see that it was for things we didn’t really need.

I used to tell my students: If I had to sum up Buddhism in just one statement, I would call it the discipline of letting go. Letting go of what? The ego. The self. The idea of self, and the cloak of separateness the ego-self wears. Every time we deceive ourselves, we drive our ego’s agenda, and we reaffirm that abiding sense of separateness. The ego is normally associated with arrogance, but that narrow definition leaves out its many other masks—such as the one it pokes through every time we refuse to budge from that avowed agenda; every time we find ourselves so rigidly attached to our own idea that we will push it at any expense—even if it means deceiving ourselves.

Student tardiness conflicts with my agenda, so my ego goes to work to control it. But as the disagreeable situation continues, the ego simmers, and the frustrated desire for control and order intensifies. I am a pressure cooker. A look, a word, or a wrong gesture opens the valve and the pressurized steam floods the room. In my head, I blame them, the culture, and the world, and it shows in my demeanor. I deceive myself by thinking I play no role in it at all, and all the while, I exhaust my energy waiting for the world to change. When you blame, you open up a world of excuses, because as long as you’re looking outside, you miss the opportunity to look inside, and you continue to suffer. 

Even as you employ different strategies for controlling the problem, there will always be the students that continue to trickle in late, every semester, for as long as you teach, forever. The idea of confronting yourself first, in the face of something so disrespectful, sounds ironic. Coming in late is clearly wrong, you may be thinking. It’s their fault, and they need to get their act together. Yes, but you don’t want to suffer until they do. You want to be liberated and at peace, able to smile as you deal with these everyday annoyances. The true irony is that when you flip the whole thing over in this way, the annoyances will probably stop being annoying. Pointing outward rather than inward prevents you from considering your own need to control, as well as your own sensitivity to minor provocations. To continue in the context of my teacher’s caveat, DER, it is thus a refusal to take responsibility, and to take your own foibles to task.

Some of my colleagues won’t admit students into the room after fifteen minutes. It’s a reasonable cutoff. One of my son’s teachers locks the door just one minute after the scheduled start time of his aviation class for aspiring pilots and air traffic controllers. One minute might strike you as downright unreasonable, until you hear his compelling and amusing analogy: If this was an airplane, the doors would be locked, and even if you were only one minute late, you would have missed your plane. Ask yourself: Where is your own balance point between “anything goes” and rigid intolerance? Curbing the compulsion to drive our agendas at any expense is part of finding that balance. And how expensive is it? 

Does your inner disturbance ruffle the peace more than the tardies do? If so, that is a quite a tab. Zen’s answer is a compromise, which Buddha called the Middle Path. Just watch them without controlling them, Zen says. There’s an opening of the heart that occurs when you pull back for a moment, into the stillness—when you simply watch. In that space, there is room to turn the light inward and ask honestly, “Why does this bother me so much?” Ask, is this person doing something bad to me personally? The point is not laxity, but inner peace, which has to come first. You have to be peaceful before looking to external solutions.

Like those kaleidoscopes we all had as kids, consider the new shapes and colors that emerge with just a small adjustment. Yes, tardiness seems intolerable, and as convinced as I am that it’s a symptom of undisciplined youth, I can also laugh at myself because I’m starting to sound like the older generations who have always said the same thing. Anyway—and this is the real point—our own spinning minds that toss judgments around like batting machines are even more intolerable than the tardies. That incessant spinning ruins everything, so which is worse? They both cause suffering all around, especially to ourselves.

On the Zen Koan: The Tiger and the Strawberry

What Is a Koan?—

When I was a young Zen student, my teacher gave me a Koan to meditate on. A Koan may be thought of as a puzzling story meant to jar us out of our addiction to solution. They are often described as spiritual lessons, and are used to invite inquiry into the nature of the human condition. Historically, they have also been used to exemplify the meaning of Buddha’s teachings, by way of parable.

One of the most popular Koans is that of the man eating a strawberry on the edge of a cliff. The source of this story is thought to be the Pali Canon, which is the collection of texts in which Buddha’s doctrinal principles were first recorded.

The Koan—

A traveler runs into a tiger. The tiger chases him until he comes to a precipice. Holding on to the root of a wild vine, he swings over the edge. Looking down, the man sees another tiger far below, waiting to eat him. The vine is the only thing that is tethering him to life. But his problem does not end there. Two mice, one white and one black, are gnawing at the vine. Right at that moment, the man sees a delicious strawberry growing on a bush, within reach. Grasping the vine with one hand, the man plucks the strawberry with the other hand. How sweet it tastes!

My Commentary—

This Koan is an invitation to seize the moment. We tend to live as if “waiting for the other shoe to drop.” We worry about things we have no control over and we agonize over that which is inevitable, like death. 

The ability to totally give ourselves over to the present moment is more easily said than done, as we’ve been conditioned to plan for the future so as to stave off danger. And although the dangers are no longer in the form of tigers, the inner anxiety and fear is the same. 

We are reminded daily of all the things that we need to worry about, from our retirement plans, to our to our job security. We’re told to make sure we’ve slept enough, stepped enough, consumed enough protein, and made enough money. 

Sure, there’s good sense in planning, but at some point, good-planning turns into over-planning.  I remember a day in the Zen temple, when our teacher, the “Roshi,” was answering questions. He had been talking about things like this, and someone asked “But, isn’t planning important… what if you’re trying to get into Law School or something?” And he simply said, “Then fill out the application.” 

What he was saying is that while there’s certainly a proper place for planning and preparing, it often becomes obsessive, especially when “mapping out our future” takes the place of living our lives. Fill out the application and then go on with your life. The extra worry is like “wearing two heads,” as we say in Zen.

We are that guy hanging from the vine! Our fears and obsessions are the tigers. Our minds are on call, all the time, for potential emergency. 

Watching our thoughts, in meditation, we are amused to find ourselves vacillating between disaster preparedness and dreams of excitement to come. But then we slip into the past, repeating scenarios from days gone by. In the course of a moment or two, we’ve skipped over the timeline of our lives, jumping from past to future until we can’t recall how we got onto the current train of thought. We catch ourselves playing out fantasies of what did happen, how it might’ve happened, if it will happen and how to prevent it from happening.

We want to be ready for “when it happens,” but if and when it does, we continue to look ahead toward the next “what if.” Because our minds are habituated to reaching and striving.

We become obsessive “problem solvers.” As if that was the point of existence. But in Buddhist teachings, the ups and downs aren’t something to be solved. They’re just part of life’s ceaseless movement. Like the tides, problems come and go. And inner peace is only found when we allow these natural shifts to occur of their own accord, in their own time… and when we allow for all of it—the the joy, as well as the grief.

The most important activity in authentic Zen practice is no activity at all… ”just sitting,” with no goal, no expectations, and no judgments. Just sitting is called Zazen. The only job to do is to watch your thoughts. Just be fully present without trying to achieve anything. Not even enlightenment.

There will be certain fleeting moments… a flash perhaps, where you will catch yourself enjoying the here and now… which is to say, delighting in the strawberry without being distracted by anything else… without worrying about all the tigers hiding in the past and in the future, waiting to get you.

To put it simply, the Koan asks us: Can you be totally surrendered? Can you live in a state of acceptance? Can you let go of control? Can you enjoy the fruit, even though disaster could strike at any second?

Pema Chödrön used to have a sign on her wall that read: 

Only to the extent that we expose ourselves over and over to annihilation can that which is indestructible be found in us.

That guy on the cliff is on the precipice of the unknown, totally exposed to this possibility of annihilation. The point is that all of us are, as well, but we choose to run from it. We’re lost in our stories. We’re distracted… we’re busy.

But when we stop and confront this moment, exactly as it is, our fully surrendered state opens us up like a flower to the sun. No longer tethered to our stories, our fears or even our fantasies, we are vulnerable. And something new is born from this erasure. 

In this way, as we say in Zen, we are born and we die every day… every moment. Birth and death, birth and death, continually. 

This is why we are encouraged by our teachers to “sit with the fear.” Because if we’re courageous enough to sit and not run, something beautiful will reveal itself. But don’t go looking for it!

Of course there are things to do and plenty to worry about. And when it’s time to do it, we will do it. This way of living requires having faith in yourself. When it’s time to eat, we eat. When it’s time to sleep, we sleep. And when it’s time to march… we’ll march! 

But, apart from that, worry will only destroy the present moment. And this moment, like every passing moment, is a gift that we will never get back again. This strawberry might be the last strawberry we’ll ever eat.

*This was originally posted on Awaken.com.

Meditation On Silence

All of humanity’s problems stem from man’s inability to sit quietly in a room alone.”
~Blaise Pascal


About Silence—

Silence is defined as the absence of sound. I think of it as a tool for personal healing and reparation.
It is the way to maintain sanity.

Silence is also where creativity thrives. By this, I don’t just mean making art, but also, solving problems without force… because in the silence, is a field of endless possibilities, where solutions just pop up, like daffodils in the spring.

Silence enables you to regulate your emotions, also without force.

But, silence is all the more rare, as the world is increasingly saturated with noise.

Thus, true silence is a luxury.

That’s why it’s important to make the time to find a quiet place and just sit. It won’t find you. And if it did, you would likely fill it up with something, anything, to avoid confronting the void.

We all do this, unless we make the conscious decision to sink into it and explore its infinite curiosities.

Like anything of true value, it’s a discipline… a decision to make it a priority and honor the commitment to sit in silence for a chosen amount of time.

Silence is a place to reconnect with your own self… with your own internal world.

The time might be found early in the morning, before everyone else gets up… Or perhaps, if you’re a natural night person, it might be found late at night, after all the early birds have retired.

Some people think that silence is a time to reflect, and to clarify… to think.

But really, it’s a time NOT to think.

You see, thinking is part of the noise. It’s the noise on the inside.

You Can Call it A Meditation, If You Want—

Just watch your thoughts. Take five. But, if you’re too busy, take 10!

I wanted to say, “It doesn’t matter how you sit,” but that’s not true.

It matters. Because when you sit, and not slouch, it communicates an important message to your psyche… that this time is important. Essential. Vital… It’s a part of my mental health regime… a necessary part of my daily ritual, and of no lesser value that other indispensable daily rituals, like going to the bathroom, or brushing my teeth.

The act of sitting says, “This is my time.”

And in that time… and space… you simply sit. Thoughts will bombard you. But that doesn’t mean you’re
thinking. Thinking is when you engage with the thoughts. But, you’re not… you’re just watching them… and also ignoring them. You’re watching them, in the same way I watch the birds gather around the feeder, in the morning… from a distance, through the window, and with love. I stay out of the way and let them do their thing.

They come and they go… the big ones and the little ones. And sometimes they don’t come at all.

A Worthwhile Challenge—

Everyone is looking for “action,” and running from silence. Action means “fun.” Or so we’re conditioned to believe. We ask each other, “What did you DO last night?” And, “What are you DOING this weekend?”

And after a while, we develop a complex… We better DO something!

So, we get busy and make some plans.

We never articulate it in this way, but we resist silence.

We bathe in a world of hyper-stimulation… social media… notifications.

So, part of your silence-discipline might be to Turn Off Notifications on your phone for a designated period of time. Put your phone on the charger with the sounds off for a while. And then sit.

We are like our phones… we need to recharge, too.

Like our phones, we are ON all the time… running… always running, from one activity to the other…

There’s never enough time. The TO-DO list is endless.

But time is relative. There IS time.

The perceived lack of time is all the more reason to STOP. Because then… time stops. You suddenly have more time than you thought, like magic. The lack of time was all an illusion. That “busy-ness”… he’s a trickster!

Taking time brings more time. And space, too… because time and space are ONE.

12 Houses of Suffering—Revised Edition!

Intro by Author—

I am happy to present to you the new edition of my “10 Houses of Suffering” collection, which is now the “12 Houses of Suffering.” This revision includes two extra houses! 

I originally wrote these stories, some 20 years ago, as a way of introducing Buddhism to my college students. These short stories illustrate the many ways that ordinary people, living seemingly ordinary lives, make themselves suffer. 

The kind of suffering illustrated here may be called mental angst—which is exactly the kind of suffering Buddha was interested in. He called it Duhkha, and it forms the foundation for the Four Noble Truths, which starts by simply saying that Life Is Suffering. Indeed. 

As you will quickly see in these stories, the angst arises because of our unwillingness to come to acceptance with the inevitable twists and turns and changes of life. These people are all of us. We are them. Although we have our own unique versions of these stories… we all create our own hell within, often with just a single thought. like, “I’m not good enough.” This is the madness of the human situation, namely, the inability to accept the inevitable. And so, the pain we cause ourselves comes from persisting to look everywhere else but within, for our peace of mind. 

In other words, we are waiting for the world to be the way we want it to be and for others to be the way we want them to be.

To put it differently, we get “hooked” on our own agenda. And when life doesn’t go that way, it’s hard to accept. We ache for things to be as we think they should.

The good news is, though, is that there is a way out! That’s where Buddha’s Four Noble Truths direct us. If our attachment to all the “should be’s” is at the root of the problem, then letting go… or, accepting, is our ticket to freedom. 

Lead-in: Imagine a row of ten houses facing a creek. Each one is big and beautiful, except the last one – the tenth one, which is smaller and needs some fixing up.

1st House—

Inside the first house is a man who suspects his wife is sleeping with somebody else. He spends every minute of every day, in a state of paranoid suspicion. Right now, as he tries to listen to her phone conversation, he’s tiptoeing along in the corridor, hoping the floor doesn’t creek with his sneaky footsteps, giving him him away, and revealing his jealousy.

2nd House—

Inside the second house is a 25-year-old woman with an eating disorder. At least five days of every week are spent alternately binging and purging, and taking no pleasure from the compulsive acts. Her throat, her teeth, and her stomach are destroyed, and she lives with the fact that she is killing herself, and can’t stop. The other two days are spent in isolation, hunger, and vile self hatred.

3rd House—

Inside the third house is a mother too afraid to answer the phone, yet simultaneously too afraid to stray too far from the house because her son has received death threats while serving as a frontline journalist in the middle east, and news of her only son’s status might be delivered at any moment.

4th House—

Inside the fourth house is a 33-year-old aging cover model, losing jobs to 18-year-olds. She curses at her face in the mirror, and has lost her will to get out of bed in the morning. She is now 50,000 dollars in debt from lost pay, yet just accepted one more credit card offer to schedule plastic surgery on her neck and eyes, in the hope that it will restore her youthful appearance, and make her love herself again.

5th House—

Inside the fifth house is a meth addict. He is missing out on his children’s young years, but he can’t stop. Making it worse, is his wife, who calls him a loser, taunting him daily for his weakness. Every time he tries to give it up for good, he ends up giving in to the urge to light up again, even though he knows it is only a temporary thrill. It’s gotten to the point where he stands to lose his job, his wife, and the house. He no longer enjoys being straight because of the agonizing shame that eats him alive.

6th House—

Inside the sixth house is a 60-year-old woman who has just been diagnosed with incurable cancer. She knows her body will soon start to break down, and that she will have to face her death. She will have to come to grips with the fact that she will never see her grandchildren, or her husband, or her dogs, again.

7th House—

Inside the seventh house is an 85-year-old woman who lost her husband five years ago. Having lost her will to live, she lies in bed all day long, surrounded by the dusty antique knick-knacks she spent her life collecting. Her social security checks go entirely to the caretakers, who are paid to help her with housekeeping and other daily chores. She refuses to leave her home and she also refuses go to an elderly home, where she might take part in various activities, like swimming, painting or Tai Chi.

8th House—

Inside the eighth house is a 19-year-old boy with agoraphobia. Stepping outside the house is like hanging off a bridge, with sweaty fingers slipping, and no one there to catch you. So, instead of venturing outside, he takes his Xanax, and sits in front of his computer, wearing the mask of his artificial identity… chatting in forums, acting witty and sarcastic on screen, but hating himself all the while because he’s lonely and bored, and it never goes away.

9th House—

Inside the ninth house is a 30-year-old ambitious office worker, who just missed out on a promotion due to the fact that his scheming, and overly ambitious female colleague in the next cubicle, claimed his idea as her own, taking all the credit and accolades. He takes his seething hatred out on other women, in the form of abusive relationships that leave him feeling more empty and worthless, rather than potent, and valued.

10th House—

Inside the tenth house – the smallest house on the block – is a newlywed couple who bought this fixer-upper because it was the only house they could afford, given their loan qualifications. Because their house is at the end of the street, they are forced to drive past the other more glorious houses every day, as they go about their business. He imagines his neighbors’ luxurious lives, and all the pricey tools he must have; and she is filled with increasing bitterness toward him, for promising a new kitchen, a jacuzzi, and renovated bathrooms that she can decorate in coordinated colors, like in the magazines. Yet the months go by, and still her husband has done nothing to improve their house. Their relationship is quickly turning bitter.

11th House—

Inside the eleventh house is a thirty-something actress who won the academy award for best supporting actress two years ago. Despite the attention that followed that movie, she hasn’t gotten any exemplary roles since then and feels angry and rejected. The worst part of it is that her jealousy toward other upcoming actors and actresses is all-consuming, to the point where she is incapable of feeling happy for anyone else. She feels insecure and inferior to others, who she imagines must be much better than she is. Because of this bitterness, and because she talks bad about her peers, no one can stand being around her.

12th House—

Inside the twelfth house is a man whose son is gay. He had hopes that his son would follow in his own footsteps and become a football star. He also envisioned his boy as a ladies’ man, who would eventually settle down with a gorgeous wife, and kids, as he had done. He used to tell him to “play the field” and now feels disgusted when he sees his son with his boyfriend. He also can’t stand that his son is an interior designer, a profession he says is a “woman’s job.” He refuses to sit with them when they come to visit, and quickly disappears into the other room to watch sports when they come… leaving his wife, who is more tolerant, to do the hosting. 

I would love to know how you are using this article as an introduction to Buddhism!
Yours Truly,
~Donna Quesada

What Makes Art… Art?

Aesthetics has always asked, What does all good art have in common? Is there some common denominator? What is art, anyway? What is beauty? There may be more than one answer to those questions. Sometimes art does different things and serves different purposes. Andy Warhol’s Brillo Boxes stood as art (and not Brillo Boxes) because of what they were “saying” about consumer culture. I spoke of that here.

As Immanuel Kant said, art invokes within us, a sense of awe and deep pleasure. Like nature, it takes us where words cannot. 

This helps us understand what art does, but still feels inconclusive, as far as what art has. Or is.

Yet, after taking great interest in aesthetics as a philosophy student, through my 20s, I still couldn’t answer, at least to my own satisfaction, the question, What does all good art have in common? Even if there are multiple answers…or none at all. (Maybe it’s like asking what religions is… there is no common denominator. Only what scholars have termed “family resemblances.”) 

Nonetheless, it is only now, through direct experience, after 30 years of painting in watercolor, and writing poetry… writing in general, have I started to get a glimpse of what I feel to be a truthful response.

But first, indulge a memory with me… I promise, it’ll bring us back to the question of art!

The Storm Rolling In—

I remember running to the classroom window, pushing aside those heavy beige, vinyl drapes, to see the sky turning dark… and the sudden burst of light that illuminated the asphalt outside. Then the rumble. And the anticipation it brought on… how loud will it get? How close will it come?

It wasn’t merely because we rarely get ferocious storms in Southern California. My excitement, which I still feel when storms approach, reveals more than that. Alluding to Kant again, who recognized that nature most powerfully elicits that sense of awe, that all art is but a kind of exemplar of the sublimity we find in nature. And so, we can find the clue here as to what that thing is, that makes both art and nature riveting. And, the storms outside of LA were all the more so. 

It was in the Midwest somewhere… we heard it coming. Like a high speed train roaring. Getting closer. As we ran to open the door, the wind pushed it against the wall. Yet, we couldn’t resist and so we charged into the flurry and out into the middle of the street and it felt like the world was coming to an end. We stood and watched with wild hair and our arms outstretched against the electric jet stream of warm air. We were buzzing. Suddenly turned the heavens poured out a river and in 20 minutes, it was gone. 

Jason Bonham’s Led Zeppelin Experience—

I felt that frenzied excitement when I saw John Bonham’s son and his Led Zeppelin Experience last year. My own reaction was totally unexpected. But that’s the whole point, as I’ll explain below. A genuine reaction to art is, and has to be, totally uncontrived. And to do that, the art will possess some element that is wild, like the storms above. More on that in a moment. When those first notes of Immigrant Song exploded, I was at that moment, like a teenager… I remember jumping up out of my seat, straining on my tiptoes to see… at any cost and discomfort… perhaps managing to blurt out Oh My God a few times because I couldn’t say anything else. Because I couldn’t believe what I was seeing… hearing. Because teenagers do crazy things. Because teenagers have energy (except for when they can’t get out of bed). 

Presence (The location of Beginner’s Mind)—

More to the point, their sense of physical presence exceeds their mental ruminations. And since thinking is draining, the result is vitality… and there has always been an inverse relationship between presence and the degree to which you are in your head. Meaning, the more you are in your head, in the world of thoughts, the less present you are. It starts when we become adults. When we become rational. Teenagers haven’t gotten there yet… So, they are still a little bit wild.

That’s why we adults have so much fun at events like that, we don’t just act like teenagers for that moment in time. We become as kids again. Because we are in our bodies… not in our heads. The music (and all art… and nature) is a conduit for feeling. We are feeling the music, and leaving the world of thought behind for that moment. And thus, we have no sense of “should be’s.” We act naturally, in all our exuberance. In Zen, this is what it means to have a “Beginner’s Mind.” To be blissfully ignorant of the world’s ideas and judgments. And so, free to express oneself authentically.

Crazy… It’s The Same Criterion for Both The Artist and The “Feeler”—

It’s… not holding back. When a singer moves us it’s because she’s not holding back. She’s willing to sing at the edge, right at the place where her voice might crack. But she’s not concerned with that. She’s not playing it safe. She’s not tightened or constricted or self conscious. It’s what good writers do. It’s what good actors do. She’s doing in her art form, what we wish we could do in life. She’s purging emotions as we wish we could. And thus, there is a purification process in the art exchange, for both artist and viewer, through the feeling of release. 

And so, we’ve come around to what I feel answers the question… What does all good art have in common?

It could be said this way: It’s the element of crazy. Something wild and crazy has to happen in that painting, in the dance, in the routine, in the song, in the performance.

Why? Because art unleashes something that has been laid to rest in the depths of our soul… Ultimately, it’s fear. At the very least, it reveals what we wouldn’t do in “real life.” In that sense, it is therapeutic. It is revelatory. It reveals the capacity to let go and to abandon ourselves. It reveals possibilities we thought weren’t for us… to be whimsical, carefree and unguarded. To be fearless.

Which Ultimately means… To be FREE.

When asked, “what does freedom mean to you?“ the iconic singer Nina Simone simply said, “to be fearless.”

But we don’t dare, in our everyday lives. We were taught to be rational. We’re careful. We’re measured. We’re prudent. We’re tight. We don’t dare take a chance!

The Wild Stuff Makes it Special—

It’s the big, bold tree stroke in the foreground of a painting. The stroke that makes you think, as an artist, or someone watching from behind as you’re about to do it, “Oh no!… You’re going to ruin it!“ because the background was done so carefully. Reason will dictate… Leave well enough alone.

That’s where art steps in. Art messes it all up, like crazy hair. Like that sky that turned black before it opened up and flooded the streets for those 20 minutes.

Art is where convention is, ipso facto, irrelevant, since creativity is by its very definition, the birthing or the configuration of something new. And this process often looks weird or wild or simply… crazy. To be clear, this doesn’t and shouldn’t mean harmful. Nor necessarily loud. But it does mean bold… but in any number of myriad ways. Think John Cage in his silent symphony. Think Marina Abromovic, in her meditative, interactive art. Think Cindy Sherman in her performance pieces, which feature herself as objet d’art, in different guises. All pushed boundaries and convention in their own weird and wonderful way. In a more prosaic example, I remember seeing footage of Joe Cocker singing at Woodstock, as a girl… I asked my mom what was wrong with him… why was he shaking? Yet I couldn’t take my eyes off of him. 

Beginner’s Mind—

It’s that element of crazy, again. It feels like freedom—the most basic human requirement. It’s the quality of being uncontrived. The Zen masters call naturalness. And it springs forth from the “Beginners Mind,” which is a mind that is free of concepts. In plain terms, it is a mind that is free of the “should be’s”. Free from fear of failure. Free from the corruption of other people’s judgments and opinions. Free from the rules of convention that we spoke of. Totally spontaneous and totally yourself. Joe Cocker let the spirit move through him. Cindy Sherman had to disappear, in a sense, in order to become the characters she became. 

A Strange and Perfect Pairing of Chutzpah and Selflessness—

It’s chutzpah. It’s bold. It’s brave. It breaks the rules. It can’t be tamed. It’s why every new genre has to break from the past. It’s rock and roll. And by rock and roll, I don’t only mean rock and roll as we think of it today. Using it loosely at this moment, I mean that which possesses that quality of boldness that I have been speaking of… Vivaldi, by this standard, was as rock and roll as it gets, with his reputed flamboyance and innovative spirit. He just couldn’t “plug in.” He was wild, like all rockers, who do whatever the hell they want to do. They scream and yell and kick and move their hips, like Elvis. They growl like Gregg Allman and Leon Russell… just growl on tune! 

But, in some measure of paradox, the artist has to lose himself, through the boldness. Or, said differently, the boldness must not come from ego, lest it be contrived, which is the antithesis of beginner’s mind. And the same is true for the viewer. And together, the journey is taken into abandon. And this is freedom.

It’s what good acting does… The actor loses himself. He lets go of control, for that moment. He  becomes the character, as effort gives way to effortlessness. It’s why Joshua Bell, the violinist, once said that at the moment of performance, all practicing is let go of. He has to trust at that moment that it’s in his bones.

The Enzo Brings it Back Around—

The Japanese Enzo displays this element of naturalness and spontaneity. Which is wild and irrational in its appearance of not-caring. And… free. Like all good calligraphy, you would never “go back over it.” Because perfection has nothing to do with it. Because perfection is in the head! The question is rather, is it “felt?” Not, “did you think it through?” Were you inspired at that moment? Was it free? Was it confident (and thus, bold)? Was it authentic? 

Like me, at that concert… when we act naturally, out of beginner’s mind, there is no limiting or constraining sense of “should be”… there’s no sense of embarrassment. There’s no sense of “not good enough.” 

For a plant or a stone to be natural is no problem. But for us there is some problem, indeed a big problem… The true practice of zazen is to sit as if drinking water when you are thirsty. Then you have naturalness. ~Zen Mind, Beginner’s Mind (Shunryo Suzuki)

In this way, art conveys what we wish we could be in “real life.” We long for that spirit of abandon. It’s why we love road trips; it’s why we love falling in love (“we are not in our right mind”… it’s been called a kind of temporary insanity, but we love it). That’s why we miss being children.

Five Life Lessons Through Watercolor

My first watercolor of 2021

I remember the first time I water colored. My best friend came over one night, with some tubes of paint and a couple sheets of huge, cardboard-like paper. It was part of a college project, she said, and invited me to have a go. I had no idea what I was doing, but I remember being transfixed by the way the colors mixed and swirled together with the addition of water. That was over 30 years ago and through those years, I have not only found water coloring to be a wonderful healer, but a holder of great wisdom, which I have distilled into bite sized entries, below.

1. Know When to Stop—

In watercolor… if you mess with it too much, the colors get over-blended and the whole thing becomes “muddied.” A suggestion is often more than enough. No need to fuss and overwork your point. A light touch has a kind of magic about it. Get in and get out.

Like in life, it’s so easy to overdo things. As a philosopher and teacher, I have seen this in my own tendency toward thorough and detailed answers to questions, not only in the classroom, but in day to day life. It hit home when one of my spiritual teachers said to a small group of Yoga teachers once, in a masterclass, “you don’t need to over explain.”

Sometimes… for example, in a courtroom, we need complete and protracted presentations and arguments, but in life, simple is often the most elegant approach. Know when you’ve said enough and leave it alone. Just as the colors blend themselves most beautifully once they’re already on the paper, ideas and words spoken are best digested and reflected on by the listener, with time… in the space of their own silence… without us hammering the point. The Tao Te Ching takes this approach with its poetic entries that continue to ripen with meaning with every re-read.

The point is, we really don’t need to work so hard!

2. Let go of control—

In watercolor… you can never create the same thing twice. That’s because you never have complete control over the way water moves. Or over a dozen other factors, like the humidity in the room, which will affect the way your painting settles and dries.

Like in life, mostly all we really have at our disposal, is our experience. Which gives us deftness and good judgment… We can take a better guess; I know what will happen if the paper is too wet or too dry, etc.

In every situation, you do what you can, and leave the rest to the universe. Because anything else is a lie. We think we control more than we actually do. I remember someone asking my Zen teacher about this letting go business… “but what if you want to go to law school?” he asked, expecting the Roshi to validate the need for excessive poking and prodding. The Roshi’s response was to the point: “fill out the form.” The assumption is that you do your best; with proper effort, you’ve gotten yourself to this point, and now it’s out of your hands.

What’s left? This moment. And the process of creating. Enjoy it, and let’s see how it turns out!

3. It’s (More Than) Okay to Screw Up—

In watercolor, you can’t dip a rag in linseed oil and wipe away a bad painting. Yes, you can scratch off little things with a scraper brush or find a way to creatively camouflage a little mistake. But, with watercolor, those fixes reach their limit quickly. I have “wasted” many pieces of expensive watercolor paper.

But I have come to see it differently. It is not “wasted.” It’s “putting in your time.” It’s “paying your dues.” After all, how much would you spend on lessons? Consider the throw-aways the price of experience. There is really no other way to get here, without trudging through the swampland of growth.

Think of “bad relationships.” Rather than seeing them as failures, recognize that through them you came to know your own needs better. It’s wonderful. It’s as Esther Hicks says about those Step One moments (the act of noticing the unwanted things in your life)… you have to know what you don’t want in order to know better what you do want. For a more specific example, through that relationship with the narcissist, you learned that you require more thoughtfulness from a partner.

In short, the lost paintings in the bin are just as important as the successful paintings (knowing what doesn’t work is just as important as knowing what does work, in cultivating any skill).

4. Things Always look Different in the Morning

With watercolor, the pigment gets absorbed, right along with the water, as the painting dries, leaving the colors more muted than they appeared to be while wet. In other words, once the painting has dried and settled, it will look lighter in color. The colors will also continue to blend as it dries. So, when you look with fresh eyes in the morning, the painting you thought was a goner may surprise you! It’s like finding something new. (It can go the other way too!)

How often has this happened in life… We get ourselves worked up over something, only to see it differently and with a more understanding perspective under the light of a new day. For example, you realize that what was said, was said out of fear by the other person, and not with the intent to be hurtful. It was about them, not you, at all.

The point is… Don’t be too quick to conclude! See how it looks, with fresh eyes, in the morning.

5. Progress Isn’t Visible Except in Retrospect

In all artistic endeavors, the creative charge comes in surges. Known as “writer’s block,” among writers, it makes us feel as if we’re all dried up! Worse, like we’re inept and can’t perform in our craft. But, then you get a glimpse of your early work, and it dawns on you that your perspective is distorted. You see how far you’ve come when you compare it against your current stuff.

You don’t recognize your progress until you look back. And that is because we are all works in progress, in every way. Do we ever really “master” anything? Medicine is a practice. Spiritual practice is “a practice;” not an “accomplishment.” Take meditation, for example. How can you ever master it, when the mind is the way it is? Some days you’ll be more settled than on other days. So, it’s all a part of it… the good days and the bad days. And then you get to a point where there’s no judgment about it at all. You just practice.

But then at some unexpected moment, say, in traffic, or some other situation which would have ordinarily left you frustrated, you suddenly look at yourself, as if witnessing yourself from outside your body… and you say, with some amusement, “Wow! That woulda pissed me off a couple of years ago!” Must be the meditation, you think. It has yielded fruit in a most surprising and subtle way. You never saw it happening, any more than you saw yourself aging. You only see it in intervals. And especially, when looking back, at old pictures.

It’s also that our expectations are higher as we progress, so we’re less impressed with what so easily impressed us at the beginning. This is when, as the Zen saying goes, Beginner’s Mind serves us well… To be able to dive in without the self-censorship that comes from knowing better. In the beginning, we knew no disappointments in our work… we were just having fun! But as “experts,” we’re constantly getting in our own way, with our hefty expectations and difficult-to-please selves.

So, the take away on this one is… you have improved immensely, you just don’t see it yet! But also, have fun… remember that spirit of abandon that you had in the beginning. Because if you’re not having fun, then why do it?

The Crazy Element that Makes Art… Art

What Does Art Have?—

Aesthetics has always asked, What does all good art have in common? Is there some common denominator? What is art, anyway? What is beauty? There may be more than one answer to those questions. Sometimes art does different things and serves different purposes. Andy Warhol’s Brillo Boxes stood as art (and not Brillo Boxes) because of what they were “saying” about consumer culture. I spoke of that here.

Lessons Unit: Brillo: Is It Art? – The Andy Warhol Museum

As Immanuel Kant said, art invokes within us, a sense of awe and deep pleasure. Like nature, it takes us where words cannot.

This helps us understand what art does, but still feels inconclusive, as far as what art has. Or is.

Yet, after taking great interest in aesthetics as a philosophy student, through my 20s, I still couldn’t answer, at least to my own satisfaction, the question: What does all good art have in common? Even if there are multiple answers, or none at all. (Maybe it’s like asking what religion is… there is no common denominator. Only what scholars have termed “family resemblances.”)

Nonetheless, it is only now, through direct experience, after 30 years of painting in watercolor, and writing poetry… and writing in general, have I started to get a glimpse of what I feel to be a truthful response.

But first, indulge a memory with me… I promise, it’ll bring us back to the question of art!

The Storm Rolling In—

I remember running to the classroom window, pushing aside those heavy beige, vinyl drapes, to see the sky turning dark, and the sudden burst of light that illuminated the asphalt outside. Then the rumble. And the anticipation it brought on… how loud will it get? How close will it come?

It wasn’t merely because we rarely get ferocious storms in Southern California. My excitement, which I still feel when storms approach, reveals more than that. Alluding to Kant again, who recognized that nature most powerfully elicits that sense of awe, that all art is but a kind of exemplar of the sublimity we find in nature, we find our clue as to what makes both art and nature riveting in the same way. And, the storms outside of LA were all the more so.

It was in the Midwest somewhere… we heard it coming. Like a high speed train roaring. Getting closer. As we ran to open the door, the wind pushed it against the wall. Yet, we couldn’t resist and so we charged into the flurry and out into the middle of the street and it felt like the world was coming to an end. We stood and watched with wild hair and our arms outstretched against the electric jet stream of warm air. We were buzzing. Suddenly turned the heavens poured out a river and in 20 minutes, it was gone.

Jason Bonham’s Led Zeppelin Experience—

I felt that frenzied excitement when I saw John Bonham’s son and his Led Zeppelin Experience last year. My own reaction was totally unexpected. But that’s the whole point, as I’ll explain below. A genuine reaction to art is, and has to be, totally uncontrived. And to do that, the art will possess some element that is wild, like the storms above. More on that in a moment. When those first notes of Immigrant Song exploded, I was, at that moment, like a teenager. I remember jumping up out of my seat, straining on my tiptoes to see… at any cost and discomfort… perhaps managing to blurt out Oh My God a few times because I couldn’t say anything else. Because I couldn’t believe what I was seeing or hearing. Because teenagers do crazy things. Because teenagers have energy (except for when they can’t get out of bed).

Presence (The location of Beginner’s Mind)—

More to the point, a youngster’s sense of physical presence exceeds their mental ruminations. And since thinking is draining, the result is vitality… and there has always been an inverse relationship between presence and the degree to which you are in your head. Meaning, the more you are in your head, in the world of thoughts, the less present you are. It starts when we become adults. When we become rational. Teenagers haven’t gotten there yet. So, they are still free.

That’s why we adults have so much fun at events like that, we don’t just act like teenagers for that moment in time. We become as kids again. Because we are in our bodies… not in our heads. The music (and all art… and nature) is a conduit for feeling. We are feeling the music, and leaving the world of thought behind for that moment. And thus, we have no sense of “should be’s.” We act naturally, in all our exuberance. In Zen, this is what it means to have a “Beginner’s Mind.” To be blissfully ignorant of the world’s ideas and judgments. And so, free to express oneself authentically.

Crazy… It’s The Same Criterion for Both The Artist and The “Feeler”—

It’s not holding back. When a singer moves us it’s because she’s not holding back. She’s willing to sing at the edge, right at the place where her voice might crack. But she’s not concerned with that. She’s not playing it safe. She’s not tightened or constricted or self conscious. It’s what good writers do. It’s what good actors do. She’s doing, in her art form, what we wish we could do in life. She’s purging emotions as we wish we could. And thus, there is a purification process in the art exchange, for both artist and viewer, through the feeling of release.

And so, we’ve come around to what I feel answers the question… What does all good art have in common?

It could be said this way: It’s the element of crazy. Something wild and crazy has to happen in that painting, in the dance, in the routine, in the song, in the performance.

Why? Because art unleashes something that has been laid to rest in the depths of our soul… Ultimately, it’s fear. At the very least, it reveals what we wouldn’t do in “real life.” In that sense, it is therapeutic. It is revelatory. It reveals the capacity to let go and to abandon ourselves. It reveals possibilities we thought weren’t for us… to be whimsical, carefree and unguarded. To be fearless.

Which ultimately means… To be FREE.

When asked, “what does freedom mean to you?“ the iconic singer Nina Simone simply said, “to be fearless.”

But we don’t dare, in our everyday lives. We were taught to be rational. We’re careful. We’re measured. We’re prudent. We’re tight. We don’t dare take a chance!

The Wild Stuff Makes it Special—

It’s the big, bold tree stroke in the foreground of a painting. The stroke that makes you think, as an artist, or someone watching from behind, as you’re about to do it, “Oh no!… You’re going to ruin it!“ because the background was done so carefully. Reason will dictate… Leave well enough alone.

That’s where art steps in. Art messes it all up, like crazy hair. Like that sky that turned black before it opened up and flooded the streets for those 20 minutes.

Art is where convention is, ipso facto, irrelevant, since creativity is by its very definition, the birthing, or the configuration of something new. And this process often looks weird or wild or simply… crazy. To be clear, this doesn’t and shouldn’t mean harmful. Nor necessarily loud. But it does mean bold… in myriad ways. Think John Cage in his silent symphony. Think Marina Abromovic, in her meditative, interactive art. Think Cindy Sherman in her performance pieces, which feature herself as objet d’art, in different guises. All pushed boundaries and convention in their own weird and wonderful way. Keep in mind, to sit still is bold. To be quiet is bold.

In a more prosaic example, I remember seeing footage of Joe Cocker singing at Woodstock, as a girl… I asked my mom what was wrong with him… why was he shaking? Yet I couldn’t take my eyes off of him.

Nothing new? The row over Marina Abramović's next show | Apollo ...

Beginner’s Mind—

It’s that element of crazy, again. It feels like freedom—the most basic human requirement. It’s the quality of being uncontrived. The Zen masters call naturalness. And it springs forth from the “Beginners Mind,” which is a mind that is free of concepts. In plain terms, it is a mind that is free of the “should be’s”. Free from fear of failure. Free from the corruption of other people’s judgments and opinions. Free from the rules of convention that we spoke of. Totally spontaneous and totally yourself. Joe Cocker let the spirit move through him (and the drugs). Cindy Sherman had to disappear, in a sense, in order to become the characters she became.

A Strange and Perfect Pairing of Chutzpah and Selflessness—

It’s chutzpah. It’s bold. It’s brave. It breaks the rules. It can’t be tamed. It’s why every new genre has to break from the past. It’s rock and roll. And by rock and roll, I don’t only mean rock and roll as we think of it today. Using it loosely at this moment, I mean that which possesses that quality of boldness that I have been speaking of… Vivaldi, by this standard, was as rock and roll as it gets, with his reputed flamboyance and innovative spirit. He just couldn’t “plug in.” He was wild, like all rockers, who do whatever the hell they want to do. They scream and yell and kick and move their hips, like Elvis. They growl like Gregg Allman and Leon Russell… just growl on tune!

But, in some measure of paradox, the artist has to lose himself, through the boldness. Or, said differently, the boldness must not come from ego, lest it be contrived, which is the antithesis of beginner’s mind. And the same is true for the viewer. And together, the journey is taken into abandon. And this is freedom.

It’s what good acting does… The actor loses himself. He lets go of control, for that moment. He becomes the character, as effort gives way to effortlessness. It’s why Joshua Bell, the violinist, once said that at the moment of performance, all practicing is let go of. He has to trust at that moment that it’s in his bones.

The Enzo Brings it Back Around—

enso-zen-circle

The Japanese Enzo displays this element of naturalness and spontaneity. Which is wild and irrational in its appearance of not-caring. And… free. Like all good calligraphy, you would never “go back over it.” Because perfection has nothing to do with it. Because perfection is in the head! The question is rather, is it “felt?” Not, “did you think it through?” Were you inspired at that moment? Was it free? Was it confident (and thus, bold)? Was it authentic?

Like me, at that concert… when we act naturally, out of beginner’s mind, there is no limiting or constraining sense of “should be”… there’s no sense of embarrassment. There’s no sense of “not good enough.” Like the wild storm, you just pummel through and do what you came to do… with no inhibition.

For a plant or a stone to be natural is no problem. But for us there is some problem, indeed a big problem… The true practice of zazen is to sit as if drinking water when you are thirsty. Then you have naturalness. ~Zen Mind, Beginner’s Mind (Shunryo Suzuki)

In this way, art conveys what we wish we could be in “real life.” We long for that spirit of abandon. It’s why we love road trips; it’s why we love falling in love (“we are not in our right mind”… it’s been called a kind of temporary insanity, but we love it). That’s why we miss being children.

The Magic that Happens in Stillness (The Four C’s”)

images.jpg

In stillness… You go beyond the words and the names, behind the labels and the judgments, beneath the doubts and the mental commentary… to the raw experience of now. At this level of awareness, the distinctions between breather and breath, seer and seen, listener and sound, experiencer and experience, past and future… and between self and other… become blurry. There is just Christ consciousness… Om… emptiness… pure presence… samadhi… enlightenment… Source.

Any of the tools of spiritual practice serve as keys for entry. Breath, sound, prayer… or being in nature.

There is an anecdote about Buddha, and how breath is used to get to this place of stillness:

“How do you attain enlightenment?” One disciple asked.

“Simply be aware of your breathing,” he replied.

It’s not that the breath is all that interesting. It’s only a convenient focusing device. I remember my own Zen teacher calling it a “gimmick.” Zen teachers can be cheeky that way. He was driving home the simplicity of it… focusing on your breath gives your mind something to do, other than spin circles around. The Christians use prayer. The dervishes use the spinning motion of the body.

Out of the mind and into the body. And ultimately… into pure presence.

But here’s where it gets interesting. There’s magic and power there!

Not willpower… Because that would be about asserting the ego. That would be a self-righteous, “pushy” kind of power. That would be an agenda-driven, attachment-charged kind of power.

No. This kind of power comes from what Buddhists call the “unstuck mind.“ We’re not only aware of everything; we’re aware with everything.

In this place of alignment (which is always by degree, as long as we’re in human form) we are able to tap into what I have coined, The Four C’s”:

1. CONNECTION… This is the state of oneness that all spiritual traditions describe. This is the basic meaning of Yoga, “to connect.” Because now the divisive shell of ego has melted down.

2. COMFORT… This is the state of calmness, in which we feel that we are part of something bigger than ourselves. It is the place of surrender. It feels like everything is going to be okay. It feels safe. Because now the insecurities and fears of the ego self have subsided.

3. CLARITY… This is the state in which we are in touch with what is right for our soul, rather than the habit momentum of earthly addictions. Because here, the loud and conflicted voice of the ego has quieted.

4. CREATIVITY… This is the state in which we tap into what Law of Attraction calls, “the energy that creates worlds.” Because here, with the conventional routines of ego in the backseat, the flow of Chi is destined to expand.

I Don’t Have to Figure It All Out Right Now

A very simple question:

What’s the big deal about Now?

I remember one of the advanced monks asking this question to Roshi, at a Zen meditation retreat, many years ago. From Ram Dass’ 1971 classic, Be Here Now, to Eckhart Tolle’s contemporary bestseller, The Power of Now, and the ubiquitous self-help emphasis on mindfulness, it warrants the asking. It has become standard among mental health practitioners to champion this most basic of meditation practices, for its proven benefits for those suffering from depression, to PTSD to the more benign, but inescapable varieties of generalized anxiety, all as common as daily bread. And surgeons recommend it for pre-treatment nerves, as well as post-op recovery. Mindfulness is, at its most simple rendering, the ongoing act of bringing your attention to this present moment… here and now.

Sooo…..

What’s the big deal about Now?

First, let’s answer that question with another question…

Because… What if this moment, here and now, is full of pain and misery? (Why would we want to be present with it?)

The answer to this last question, is that this present moment is not full of anything, at all. It is only our heads that are full of commentary, or as my Zen teacher used to say, ruminations. He loved that word. It comes from the Latin word for chewing. Makes sense. We like to chew on stuff. And chew some more. Then, chew some more. Even when — and there usually isn’t, unless you’re solving some mathematical equation — there’s no nutritive value left in whatever it is you’re chewing on.

Why do we do this?

It’s a compulsion. And we all do it. We are all obsessive compulsive. We’re problem solvers. We want to figure out that which can’t be figured out. We want to solve… even when it’s unsolvable. And know the unknowable. We want to have all the answers, ironically… right now. We’re not so good with the idea that there’s more to come, just around the bend… and relaxing with that. It makes us feel nervous and insecure not to be sure… not to be certain about things. Although, as denoted in the Alan Watts book that started it all for me, The Wisdom of Insecurity, there is an unmistakable prudence in simply letting life dance its dance. We don’t obsess about getting to the end of the dance, or rush to get there.

When we can summon up enough faith to do that, we will have enabled within ourselves a different relationship with this moment.

And that is the answer to the first question… it’s not the now, that has so much importance, it’s our relationship to the now. When we’re living easily with what is happening now, then we will be resistance free. And being resistance free is what every spiritual tradition, everywhere, from the beginning of time, has extolled.

And how do we do that?

After 30 years of practice, I still wouldn’t call myself an expert at it. At all. But, that’s why they call it a practice. It’s never really, fully and finally, accomplished. But, I do like the Abraham-Hicks access code:

I don’t have to figure it all out, right now.

This is like a golden key. A doorway into the state of nonresistance… into a more peaceful relationship with whatever this moment holds. Use it like a mantra. Say it to yourself when panic taps its familiar tap. It works because it’s general. If it were more detailed, and applied to some specific problem, the mind would find some argument, and the ruminations would continue. But in generalized form, it dislodges the ruminations.

~~~~

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Be Neutral; Be Knowing; Be Glowing

Yogi Bhajan - in whiteOn occasion, I receive messages from Yogi Bhajan, who I think of as Yogiji because the ji functions as a term of endearment. Sometimes I share these messages and others, I simply tuck away into a journal, to be compiled in a book, one day.

But along with this particular message, was the injunction that it be shared. It came as a response to a personal plea for strength, as I have recently been going through a demanding life-challenge. Here is the message, followed by my interpretations of each of the three parts:

Be Neutral; Be Knowing; Be Glowing

Be Neutral—

Meaning, don’t “emotionalize” as you go about your business; just go about your business.

In other words, refrain from running stories in your head about how wrong the other person is…how out of line the company is…how unjust the situation is, etc., etc. It’s not for us to play the role of judge. And anyway, victim consciousness is the lowest form of consciousness (since nothing that happens is personal—more on this below).

But it also doesn’t mean you sit and do nothing when conflict or wrong has occurred. When you’ve already tried to settle the situation peaceably to no avail, you proceed by going through appropriate channels, but without additional energy wasted on vengeful thoughts. (As Zen says, that would be like wearing two heads!)

In short, don’t “personalize” the situation or the other person’s actions, since, those actions were never about you, anyway, they were always about the other—betraying their own state of consciousness. And on a more metaphysical level, those actions are merely impersonal obstacles, like little mazes meant to navigate, so as to reap the lessons they offer, and to able to then move on, and nothing more.

Be Knowing—

My own teacher, Guru Singh, was one of Yogiji’s first students. This is a line from one of his devotional songs, called “Fortunate:”

To be confident that the infinite will take care of it…

This line best sums up the meaning of the second part of Yogiji’s message. It asks us to know, to really know, in our heart, that the universe is truly supporting us.

You are divinely guided! You really do have angels. And what’s more, you have more inner resources than you ever imagined.

Whatever name we call it by…God, the divine, the supreme infinite...doesn’t matter. It means there’s no reason to worry.

Don’t live in fear—have faith. Surrender. And once you do, you’ll see the beauty all around you, as well as all the signs that your angels (in the form of helpers in your life or in spirit), are carrying you.

Consider that whatever challenge you are facing is akin to what mystics have characteristically referred to as “the dark night of the soul,” which always precedes the light! It is a time of reordering, in which something has to die in order for something more beautiful and infinitely more liberating to be born. And this necessitates a kind of chaos, as all birthing experiences do.

But open your heart to faith throughout the process—outrageous faith…faith in your own mission, which comes in the form of divine instructions and your courage to finally listen and follow these instructions! This is freedom, this is light.

Be Glowing—

This is a reminder that our true power and strength is on the inside and this will supersede any physical situation. Meaning, whatever your situation or challenge is, it is of little consequence to fret about possible outcomes, especially those based on what other people’s experiences have been, based on google searches, or based on hearsay. Your inner glow and light, which radiates outward and is felt by all who come near you, will affect the material context in ways that others are unable to understand. It’s like a secret.

~Donna Quesada