Everfresh in the Changing

Category: Poetry

Dying to Contrived Personal Continuity

Dry up the remains of your past and have nothing for your future. If you do not cling to the present then you can go from place to place in peace. Verse 1099, The Sutta-Nipata: A New Translation from the Pali Canon; translated by Saddhatissa.

The speaker is the Budddha of the Sutta-Nipata. The Sutta-Nipata is a text which has been considered for a long time the oldest stratum of the Buddhist teachings.

I was with some friends today, and while with them I experienced several moments in my practice which, it seems to me, relate to this verse. I would like to tease out the meaning of the experiences; especially because, at first glance, the verse seems impractical. What can it mean, to let your past wither? To not go to a future?

I am with my friends. I have said something in the group. I can feel an ego-momentum, a thrusting onward build up in me, especially if I am clinging to what I said. Maybe I want someone to admire me. Maybe I want life to accord to my ideas, as I am representing them to my friends? Maybe it would frighten me, if life weren’t like I think it is? Right there, can my next moment not be carried forward by the clinging in/to the last event? By my concepts, including my self-images?

If there is a next moment, can it just be itself, free of my management? If there is a carrying-forward, can it be the implicit momentum of a level of ‘time’ which, while it personally experienceable, carries us all forward – that doesn’t belong to any of us?

I pause, come home to this breathing body, and someone else takes up the flow, and goes on in what I have said, just as I went on in what was occurring before I spoke. I didn’t have to explicitly remember what came before, to go on in it. If I am willing to go on in someone else’s offering, the flow emerges, and we are, all of us together, versioning a poetry sharing. It’s a dance, now. Dancers go on in each other’s going on in.

O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

– William Butler Yeats, Among School Children

The memory of the last moment needn’t determine the present; that moment dissolves so that I can say this thing that I’m saying now, in the group. And the past is in this present; it is saying. (And, that goes for this writing. Try Nathalie Goldberg’s writing exercises, as a demonstration of this principle.)

If don’t drag a contrived version of the past forward with me. It’s not the poet, the fighter, the father, the teacher who is speaking. It’s oneself as and in an interdependent process. They are just concepts, those roles. If I am not identified with those roles, I can let the last thing said wither and dissolve, like writing on water. The ripples belong to the water, now. (There’ more to it, of course – for instance, I have to be willing to let the old concepts of serial time dissolve, also.)

At one point, I got a little attached to an interpretation, and I could feel myself leaning in. You know, we even lean forward, don’t we? It started to be a ‘pushing a barrow’ thing. That’s a great sign. I’m contriving a future for myself, right here in the flow of a community versioning. Right in that moment of clinging is where my contemplative practice can help, if I find a way to remind myself of the big life process. (Re-minding is mindfulness.) I pause. I breathe. For me, today, it was a moment to remember to rest into Suchness.

‘Such’ is a great word. If I’m not dragging a self-image forward, and if I’m not contriving an imagined future, then in the middle, what is there? Suchness, including one who is such. With suchness comes calm. It’s a peaceful space. That very freedom from being imagineable is peace. It doesn’t sound promising, but the peace is exactly because there is no contriving a past, a present, or a future – no contriving an image to possess a craved continuity.

‘Such’ is a word that has various uses, but the Buddhists use it to indicate an experiential quality of being intrinsically ‘just so’; that one ‘just is.’ There’s no comparison when there is suchness. One is oneself, without any clue as to what that is ultimately.

It brings to mind a Marina Tsvetaeva poem, which I read to a meditation group close to ANZAC Day, this year. It was written in 1915. The poem is full of suchness, among its other wonderful qualities. She says, I know the truth.

I know the truth – forget all other truths!
No need for anyone on earth to struggle.
Look – it is evening, look, it is nearly night:
what will you say, poets, lovers, generals?
The wind is level now, the earth is wet with dew,
the storm of stars in the sky will turn to quiet.
And soon all of us will sleep beneath the earth, we
who never let each other sleep above it.

– Marina Tsvetaeva (1915). Translation by Elaine Feinstein.

Throw away your images, poets, lovers, generals. We all of us die, here. Appreciate the wheeling of the Milky Way tonight. It and you are such. This such exceeds life and death.

Does this mean that there is no personal quality to one’s being? Not at all. This courageous woman says, “I know the truth.” The Buddha of the Kalakarama Sutta says, “I know many things.” But you won’t mistake an image for what you are – pure process. Then, then you can go from place to place in peace. There, as my friends enjoyed each other’s company, there was no need to struggle. How happy – what good hap – is that?

Life’s Red Wine

I’d like to share some reasons why I’m writing this blog, after reading an article today in the newspaper, by a palliative care person.  The writer encouraged families to talk about death. It was good to see a mainstream newspaper asking people to talk about their death and their dying arrangements. The writer was saying how good it is that dying and death can now be talked about – which is true. And, at the same time, I was struck with the contrast between the Buddhist approach to dying, and that presented in the article, which seems to me to be about having the happiness of sensory pleasure, in the last hours of one’s life. She talked about playing the Rolling Stones in one’s last hours; or, dying with a veal pie in your hand.

I know she was trying to be light-hearted, and I certainly don’t want to be overly-earnest. I think it’s so beautiful that palliative care people are dedicated to people’s happiness at the end of life. And, of course, the pleasurable death and the mindful death needn’t be two things. However, the kind of consciousness which we cultivate for that occasion, depends on how you see the opportunity that dying and death can be. Anyhow, I thought it a good moment to reflect on why I’m writing this, and the benefits of ‘A Year to Live’ practice.

I remember the time when I discovered that I had unconsciously been aiming at a pleasurable death. I was shocked. At the time, I was doing the ‘Dissolution of the Elements’ practice – and this was several years after beginning Buddhist death and dying practice. On this occasion, during the process I suddenly realised that I was attached to a pleasurable death. However, death may not be easy. There are no guarantees. I can’t know. The process needn’t be pain-free, even if you have done all your meditations for years on end. Your body shutting down its biological systems will not necessarily be a joy ride.

So, seeing directly that I had this hankering, my motivation shifted to simply accepting whatever is presenting; and remaining peaceful in my attitude, while not necessarily peaceful in the body. Right there, I realised that being conscious during death means accepting anything that happens, and it means a big mind of not-knowing. (Such an approach was helped by the fact that I never have a body free of pain, anyway; so such acceptance is helpful now.) So, I write to appreciate my ‘Don’t know’ mind.

I suppose that a lot of people, if they think about death at all, are more likely to prefer the veal-pie approach. The mindful death isn’t for everyone. Probably just for the few. I remember a friend saying to me, decades ago, that she’d rather not know what her mind was doing, so she wasn’t interested in mindfulness. I guess that a lot of people approach death like that – they’d rather not know what is going on in the mind, when death comes. So, I write these reflections, as a way to keep my own mind on the topic, yes; but also to get to know my own mind. I write to support those who have a like motivation.

I began this blog, too, as a response to the practice of a local Buddhist ‘A Year to Live’ group. They are people who want to bring dying and death into their path of spiritual inquiry.

But, even saying that, there are many aspects to spiritual life: for instance, living better now, and dying well, when the time comes. And there is: realising the luminous nature of mind – both now, and at the moment of death. As for the first part, the relationship is two-way. We lean and learn forward, toward death; but, the learning leans back, into enriching our living now. So, living well means we die well; and, bringing death to consciousness means we live well. That’s one of my themes.

Then there’s this other. I’ve seen something about consciousness, which is not ordinarily discussed. Indeed, in Australia it’s generally discounted. It is in the difficult-to-talk-about territory of the luminous, boundless awareness – and of a ‘deathless’ element. A few of my readers will find an interest in fathoming the very nature of what the Zen Buddhists call the ‘great matter.’ (How interesting that the verb ‘fathom’ means both to use a line to measure the deep, and also it means to embrace something with both arms. I think both of those meanings apply here.)

This, too, has its benefits in the present living, and its benefits at death. However, I also want that process of surrendering into the ground to contribute to the benefit of all beings, which I’m convinced it exactly the nature of mind. And, the ground state is also just to be tasted, exactly because it has no benefit. It’s just so. Personally, I want to be awake and aware of the changes during death, and taste the beauty of the pure ground state – just because it is what it is. In this sense, death is a sacrament.

Before us great Death stands
Our fate held close within his quiet hands.
When with proud joy we lift Life’s red wine
To drink deep of the mystic shining cup
And ecstasy through all our being leaps —
Death bows his head and weeps.

Death, by Rainer Maria Rilke

Lastly, I write this blog, because some of us have had, or are having, a meeting with life-threatening illness. For us, the practice has a little more urgency, perhaps. We were living the trance of good health, without much of a sense of the certainty of death, and then some illness shook us, saying, “Hey! Get real. Don’t dream away your precious life.”

Thanks, Dear Readers, for listening.

Following my Thread

the piercing cold –
in our bedroom stepping
on my dead wife’s comb

– Buson Yosa (quoted in Patrician Donegan’s Haiku Mind)

Regarding my last post: I’m back to try and do the topic some justice. Quite apart from trying to enter that topic of ‘the meaning of life’ too late at night, I admit to being challenged with this one. Over the last… I don’t know, maybe fifteen years… I’ve come to meet a life-long unconscious attitude which could be summed up as: “What’s the point in creating, when you’re going to die?” The whole journey, which I mentioned some days ago, with art, has helped me see this. I also have another state of mind which says: “What is this?” This is said, not always with that beautiful feeling that I have felt often, the feeling of wonder and curiosity. No, this can be more like bewilderment. It’s hard for me to put that out there, but… (as my paternal grandmother used to say…) “There you go.”

I had a pretty rough upbringing. Relentless abuse. That may have been a contributor to the despair, cynicism and pessimism of my drunken teenage years, and to the counter-cultural rebelliousness of my early twenties. With all the violence of my early childhood, and I grew into someone by the age of ten or twelve, who had little reason to feel good about being alive, and seriously weighed up leaving here by the age of twenty. Life did indeed feel like Macbeth said, “a tale told by an idiot full of sound and fury and signifying nothing.” The violence also contibuted to the fact that I swung heavily the other way, when I found the Buddhadharma; because I then stuffed my negativity down with false positivity, and obsessively went after the enlightenment thing. (I understand that this portrait is over-simplifying, but it’s fundamentally faithful to my development.)

That’s some of the story. On the other hand, my fearful tendencies might well have come with me, in my head-centred character. That is to say, I might well have been born with a little tendency to fear and skepticism. Whatever the case, I remember, in the early seventies, identifying with the baby in the womb, portrayed in Jimi Hendrix’ song Belly Button Window (Cry of Love album, 1971):

And I’m looking out my belly button window
And I swear I see nothing but a lot of frowns.
And I’m wondering if they want me around.

Then, at the limits of my depression, in 1969, I discovered the teachings. So, since then, blessed with the chance to put some healthy, skilful means to use, I’ve followed my thread, and not sacrificed my passion to know the answer to “What’s this?” The challenge has been, to see the ‘world of dew’ without the pessimism, without the cynicism. To learn to see it, free of fabrication, as it is. The challenge has been, equally, to not turn away from the reality of the dewdrop world in naïvety, merely clinging to concepts of the Buddhist ‘deathless.’ I am grateful to my teachers for their support in this.

So… meaning of life? I am sure there is a meaningful way of living. That’s not too hard to develop. And, with contemplative skills – in the forms of mindfulness, meditation, constructive concepts, and inquiry – combined with Focusing (develpoed by Gendlin), I have found that a primordial kind of non-verbal meaningfulness informs my cells. I feel it in my bones. I don’t think that I started to use the teachings on death very seriously until about twenty-seven years ago, and my learning is still going on. However, I can now say that I’m grateful, to know how to use dying and death to live realizing dewdrops.

Your shadow
on the page
the poem.

–  Cid Corman

The Bony Fact of Time

THE BONY FACT OF TIME

“What time is it?” he asks again,
shifting his pain in the wheelchair.
I search for an answer, but sense
that clock time isn’t what he means,
his bony feet in my hands. The white wall
sun-splashed. Thirty-three, he looks ninety.
My hands strong; his white sole. “I don’t know.”

(Morning: I breathe, stretch, enjoy
the grass beneath me. Tai-chi:
a firmness of feet, earth support, birdsong.)
“It’s a very spiritual thing,” he says,
“to massage someone’s feet.”  Breathy.
“Scary” he says. “This not knowing…
What’s going to happen, I mean.”

We wonder. The radiant curtain; a breeze.
Then: “What time is it?”, forgetting he asked.

 

– Christopher J. Ash

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