Sesshin at Zen Mountain Monastery

Heading tomorrow to ZMM for sesshin. When I get back next week I want to pick up my discussion of Zen from early in the year, regarding Zen’s relationship to the divine & supernatural from some previous posts.

From Zen Chants, by Kazuaki Tanahashi, a teacher with whom I have studied briefly:

In a common Zen invocation, Vairochana Buddha—the pantheistic divinity regarded as existent in each and every particIe—is addressed. Noting the presence of many buddhas and bodhisattvas in Zen, some of us may see it as polytheistic. Others regard Zen as atheistic, since the central figure on the altar is usually Shakyamuni Buddha—a human being, not a deity. Those who have faith in Amitabha Buddha often refuse to worship other divinities, so their practice may appear to fall into the category of monotheism.

Thus, Buddhists—including Zen practitioners—can be seen as running the gamut from having faith in a single deity to many deities to omnipresent deities to no deity at all. The ambiguity and diversity of this situation do not seem to bother people much. Accordingly, I propose a concept of ambigu-theism to characterize the theological orientation of Buddhism (13).


Disrupted Diction(s)

It’s a truism in the poetry world that the big New York publishers don’t support poetry. The exception is W.W. Norton. I was thinking about this recently when I noticed that three books of poems stacked together on the corner of my desk were all published by Norton. (It’s oddly lovely the way objects collocate into meaningful constellations.) The books on the desk are: Alice Fulton’s Barely Composed, Kimiko Hahn’s The Narrow Road to the Interior1, and my old grad school friend Marilyn Chin’s Hard Love Province. Another collocation: All women. I don’t tend to read books of poems straight through, so I have been leafing & loafing through these three books from Norton, with great pleasure & enthusiasm. Not only is Norton publishing poetry, it is publishing very good poetry indeed.

I only came to know Hahn’s work recently, while looking at everything I could find by contemporary writers having to do with Basho. The book is in the form of a journal, shifting from prose to poetry. Of the three books, Hahn’s presents me with the most problems, formal & emotional. It’s not easy for me to get a purchase on Hahn’s forms–she seems to bend Basho to the breaking point–nor on the emotional tenor of the work: the writer turns Basho’s subtle monochrome into high-chroma abstractions. Where Basho is personal, Hahn is confessional. (The great American “confessional” poets of the mid-twentieth century were very important to me as both reader & writer.) The voice speaking in Hahn’s Narrow Road is ruthlessly honest & difficult. But not likable. Sometimes hectoring, sometimes confessional, it is also, like Basho’s voice, caught between the extremes of home & travel–both poets ill at ease sitting still while understanding, too, that movement from place to place does not solve the problem of how to live.

Marilyn Chin’s poems are more accessible than Hahn’s, at least in terms of syntax & lexicon, both of which are more stripped down in Hard Love Province than in Chin’s earlier work. (We were both students of Donald Justice, whose insistence on precision & surface clarity influenced a generation of students with widely differing styles.) Chin, like Hahn & Fulton, happily mixes high & low diction, the intellectual & the confessional, the confrontational & a capacious & compassionate generosity. In reading through Hard Love Province (right next door to Hard Luck Province?), what I feel most acutely is a wild & sometimes violent series of mood swings–from tender to angry. The tenderness tends to be directed at particular persons, whereas the anger is more general, more “political.”  Continue reading