Book Review: American Dharma by Ann Gleig

Book Cover American dharma by Ann GliegJust when I thought I had caught up with the winding path Buddhism took from Siddhartha to Asoka to Buddhist Modernism via McMahan and Braun, American Dharma adds another step in the evolution of Buddhism in the West. Author and scholar Ann Gleig brings an incisive and insightful examination of Buddhism’s adaptation, shapeshifting, and co-creation by Western perspectives of its root philosophy. In fact, Gleig’s reading of this path (as with McMahan and Braun) questions whether there was ever a root philosophy. And that takes us directly to the anxiety-provoking thought: Is Buddhism only what we decide it is?

Here, I need to disclose that Gleig includes our work in confronting the misconceptions of the psychologized form of Buddhism called Mindfulness. More specifically, my colleagues and I have attempted to address the self-identification of Mindfulness-Based Interventions/Programs (MBIs) with Buddhism/not Buddhism. (I will forebear jokes about self/not-self.) Gleig is generous in covering our concerns that MBIs while attempting valiantly to siphon in Buddhist concepts and practice, fall short of what is required to be Buddhist teachings in spirit if not exactly in design. I’ll have more to say about that further down.

For now, let’s take an overview of Gleig’s incisive thoughts about Buddhism and the shapes it took in Western culture. Drawing from McMahan’s and Braun’s extensive work, Gleig carefully describes the cultural (and political) imperative that shaped Buddhism from the time of Ledi Sayadaw which placed meditation at the heart of Buddhist practice. The passing on of the torch is traced further from U Ba Khin, Mahasi Sayadaw and their own students, with the most influential being Goenka who (aling with Thai Forest monks) eventually influenced the American phalanx of Buddhism: Jack Kornfield, Joseph Goldstein, Sharon Salzberg, Sylvia Boorstein and the founding of the East and West Coast Insight Meditation Societies.

Gleig explores, with a remarkably balanced perspective, the explosion of Buddhist-based practices with Chapter Two: From the Mindfulness Revolution to the Mindfulness Wars. This is a particularly important chapter because it lays out the reality that it doesn’t matter whether we have subverted Buddhism to support our Western consumer-mind. If we have yet to address issues of disadvantage that are misogyny, racialization, and abuse, Buddhism qua mindfulness is only a mirror of our corrupted values. And, it becomes a weaponized approach to maintaining the status quo. This topic of disenfranchisement is powerfully explored in Chapter Five: The Dukkha of Racism, Gleig unmasks the attempts to change “racial rearticulation” which is

the acquisition of the beliefs and practices of another’s religious tradition and infusing them with new meaning derived from one’s own culture in ways that preserve the prevailing system of racial hegemony (From Cheah quoted in Chapter One).

Chapter Five is sad to read yet from the undertones of disappointment in our limitations to understand how we hurt each other through erasure, there is some hope that with pain comes insight into the suffering caused. Personally, I deeply resonate with “The Empty Seat” (that painful space left on either side of me when I sit at any table – meeting, gathering, socializing) and felt seen by the reading of it.

But back to Chapter Two where Gleig addresses the surge of mindfulness in its multitudinous forms of psychological programs, wellness movements, and “woo-vending”, a fantastic term coined by Philip Theofanos in his article here. The central criticism of mindfulness as a secularized and psychologized process (not practice) is repeatedly that “ethics are stripped” from its content. I’m stepping out of the container of this review by inserting my ongoing stance to this criticism: ethics are both implicit and explicit in the teachings of mindfulness. Dare I say in teaching anything. As such, the battle lines of ethics-protectors (ethics must be included in MBIs) and ethics-dismissives (ethics are implicit in MBIs or would be oppressive to teach) are missing the point. It’s impossible to teach any concept without immediately hoisting the flag of one’s inclinations as well as value-ridden approaches, and that requires full transparency (see Gunther Brown’s chapter in this linked page) as well as self-awareness. However, there is much gold to mine in the hills of conflict, even if generating that conflict is somewhat in conflict itself with the essence of Buddhist thought. And that essence is living a life that is congruent in its intention to do no harm and to test one’s actions against its consequences.

One interview mentioned in Gleig’s impressive references is between Edo Shonin and Jon Kabat-Zinn. Although Gleig uses it to support the view that secular/psychologized mindfulness has value, the interview points directly to the many reasons the discussion of MBIs are so confusing. Kabat-Zinn, both in this interview and innumerable other sources continually dances between “it’s Buddhist” and “it’s not-Buddhist” – I would add there is a hint of “it’s not-not-Buddhist” too. However, this chapter is worthy of a careful read if we hope to understand the convulsive route secular mindfulness has taken to ensure it doesn’t offend anyone.

Of course, the most reliable evidence we have that ethics-in or ethics-out requires more than posturing is this evidence of sexual predators within Buddhist communities. Chapter Three: Sex, Scandal and the Shadow of the Roshi is an excellent dissection of yet another way Buddhists fail to see their dismissal of secular/psychologized mindfulness because of its “stripping away of ethics” begs the question. Further, the connection Gleig makes between Buddhist Romanticism and Buddhist Modernism is crucial to understanding the reasons Western Buddhism has taken on the allure of self-help and the mantel of psychology. This is also covered in Chapter Four: Meditation and Awakening in the American Vipassana Network where we meet the varied branchings out of the vipassana practices into addiction, pragmatism, emotional and relational health, and so on.

In Chapter Seven, aptly titled From Boomers to Gen X, Gleig sets the stage for future generations. Noting the heavy lay slant in the Gen X cohort of young teachers, I wonder about the possible loss of historical memory of what Buddhism is and how Buddhism is to become (though they just need this book to ensure fidelity to the path). However, despite its efforts to rise above the previous generation’s missteps, it was noted in the first gathering of Boomer/Gen X teachers that Gen X may be creating its own blindspot of a “progressive America”. Time will tell.

In all, Gleig has dug deep and carved thick slices of understanding the historical evolution and societal forces that created Buddhism.America. It’s a powerful and unstinting gaze leveled at our misunderstanding of how Buddhism came to be in the West and what it represents in American culture (I can include Canadian culture to some degree because so much of where we train and what we learn comes from south of the 49th parallel). This is a book for the person who wants to strip away the illusion that is currently Buddhism so that they can discern whether it’s self-improvement, awakening, or therapy that they seek.

For the academics of MBI trainers, the look on your students’ and trainees’ faces is worth gold when you talk about the long and winding road that is Western Buddhism! I’ve already made it required reading for my University of Toronto course on Buddhist Mindfulness approaches to Mental Health!

Book Review: Grass Flute Master Yokoyama & the fragrance that spread a thousand ri

I saw zazen as a posture bestowed upon me by the Buddha
Sodo Yokoyama

The Grass Flute Zen Master: Sodo Yokoyama is a long-awaited work by American author and translator, Arthur Braverman. Epitomizing the essentialist philosophy of Zen, Yokoyama is known for his ascetic life, living in a bamboo grove of Kaikoen Park in Komoro City, Japan, writing calligraphic teachings for any passerby who wanted to receive them. Braverman wrote of his connection to Yokoyama in 2005 and the undertones of his longing to pass on the ineffable beauty of Yokoyama’s life are compelling.

“I sit here every day with the exception of three, when I go to Antaiji in Kyoto for my teacher’s memorial ceremony,” he told me when I visited him at the park some thirty years ago, and he added, “It’s an easy life.” I never forgot that “It’s an easy life.” His zazen was “easy” because he left everything to the posture. He said, “Zazen is an ordinary person as he always is, becoming a buddha.” (Lion’s Roar, July 1, 2005)

Later Braverman’s interview with Yokoyama’s only student Jôkô Shibata offered further insight into his diligent if austere practice.

Antaiji, a small temple in the northeast corner of Kyoto, was under the charge of Uchiyama Kôshô Roshi, a long time disciple and dharma heir of Sawaki Roshi, when Jôkô joined the practice there. He had read Uchiyama’s first book and decided to become a monk and study under the master. Yokoyama Roshi had lived together with his younger brother disciple Uchiyama Roshi at Antaiji for eight years and then in 1957 moved to Komoro. He visited Antaiji once a year from then on for the memorial celebration for Sawaki Roshi. It was during one of these visits that Jôkô met his future teacher for the first time. ‘I saw my teacher in zazen posture,’ he said, ‘and made up my mind immediately to study under him.’ (from: Hey Bro! Can You Spare Some Change)

Yokoyama appears to have this effect as both Braverman and Shibata feel drawn to him because of the utter simplicity of his life. I wrote about this attraction in a review of The Zen Teaching of Homeless Kôdô by Kosho Uchiyama and Shokaku Okumura (Wisdom Publications).

Yokoyama and (his teacher) Sawaki Kôdô lived very different lives. Who is to say which is better or which had more impact. What is more relevant is our attraction to one or the other. Or neither. Experiencing that moving towards, pulling away is the essence of Buddhadharma, the kindling point of our transformation. Not because we land on one or the other’s way of life – that way lies guru adoration and the cult of personality. To experience that desire for homelessness, for simplicity, for a life struck through with offering is also to experience our desires, motivations, and intentions in all its fallibility and unexpected mercies. (108 Zen Books, June 17, 2015)

Braverman’s book begins his arranged meeting with Shibata in Komoro City and in good zen style, he begins with the waiting. Waiting for his order of noodles as he waits for Jôkô. Waiting for the memories to flow in their typical unordered way, waiting for pockets of sensibility to fall into. Waiting for a teacher is the underlying theme, running parallel with the searching and the longing. In Braverman’s words there is a longing to understand – how was Yokoyama influenced by his own teachers, by artists and poets of his time – and to understand only that the wanting is neither sufficient nor satisfactory. However, the side trips to the poet Toson and the various people who populate the surroundings of Kaikoen Park give life to the container in which Yokoyama lived his practice, literally outside in the park and outside of the institutions of Zen. In that, Yokoyama is not different from his teacher, “Homeless” Kodo Sawaki and other lineage teachers Hakuin and Bankei. For them, the marrow of practice is the only requirement for living. Braverman writes:

Truly creative teachers can do nothing else. So it was with other great teachers like Hakuin and Bankei, to name two from the other major Zen sect in Japan. What eventually happens, once institutions are formed to follow the ways of these masters, is a slow decline of the original spirit and a dependence on forms and dogmas that water down the true teaching of the founders (p. 39).

The Grass Flute Zen Master is a slowly winding journey through Braverman’s connections and memories of Yokoyama, interspersed with his views of Zen. However, the heart of the book is in his reproductions and exploration of Yokoyama’s waka.

Years ago
meditating in the mountains
a pheasant appeared
and stared
at my zazen.
p. 83

Braverman notes that “my”, being assumed in the Japanese version, is an insertion for (Western) clarity. I wondered if that is the subtle cause of the myriad problems Western Buddhism has.

Yokoyama also brushed poems for his dharma brother, Kosho Uchiyama, a poignant humbling of what he may have felt were his shortcomings

Mother and Father
Brothers and Sisters 
Forgive me
A child without a home

More than mother
More than father
More than brothers and sisters
I love the mountains and rivers
How pitiful!
p. 85-86

Still, the question Braverman takes us to, the question that hangs over all our heads as we sit zazen in all our postures, is perhaps the heart of practice: Why bother? What does a homeless monk, an itinerant teacher in a park, a wandering mendicant contribute? It is reassuring to see the answer is no different from Bodhidharma’s to the Emperor: No merit.

And yet… there is a fragrance that spreads a thousand ri – everywhere.

Zazen is becoming a Buddha while you are a deluded person.
Sodo Yokoyama