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slumming in the garden of messy delights

Each year I work away at one more hindrance by setting the intention to let it be.  Whatever “it” is, I leave it to be what it is going to be.  Well, more accurately, I set the intention to leave it to be.  What typically happens is that as “it” becomes more and more its own self, my need to cull, cut, contort, and otherwise connive it to be what I want it be asserts itself.  And nowhere it that more apparent than in my garden.

I’ve defined a new psychological disorder; if delusions are inexhaustible, so too are shrinkolexical categorizations of the impenetrable.  Gardener’s Obsession Circumscribed to Dirt – GOCD.  It is diagnosed by an uncontrollable urge to punctuate clusters of flowering plants with spaces of dirt.  It can be chronic or acute.  Typically, it is a low-level dysfunctionality (sort of like a dysthymia of gardening illusions) but can surge into a full-blown acute case in the months of July and August.  The more serious cases are found in August if one has a case of GOCD – vegetative type.

As you know I’ve spent two years away from my garden during its most formative and needy periods of development.  This might well give rise to another disorder – some sort of parental neglect of blooming potential or something.  Anyway, having left for the wilds of Santa Fe every March and August, I seem to have developed a slight tolerance for letting go of the garden I had planned to have and an acceptance of the one I do have – not unlike being a real parent of a real child.  No longer do I yearn (too much) for a neatly established garden with swathes of dark earth or mulch caressing the growth edges of Ox-Eye Daisies, Campanula, Pasque Flowers, Bleeding Hearts, and Bee Balm.  I am at one with the Azaleas with their twiggy branches and have left the Nishiki to skirmish with the kiwi vine for canopy space.  The Irises seem quite content with the Lupines and the Clematis are holding out against the Sandcherries.   Even the dreaded Peonies have re-asserted themselves quietly in the side beds.

This year, with no travel plans on the near or far horizon, I ironically find myself confronting my GOCD full on.  Where I thought there would be time to edit the garden beds, I find only time to edit out the unnecessary from the narrative of my lifeline.  And the most unnecessary at this moment is the illusion that anything can be picture perfect.  So, I am embracing my garden in its gardenness and slumming in the messy delight of its tangled growth.  Strangely, that messy English Garden I coveted for so many years seems to have manifested.  Perhaps it has only if you tilt your head a smidgen to the right which allows the echinacea to block the view of the weedy grass between the spirea and the honeysuckle.  But it is there.

Deeply embedded in the foliage and flowers, it is there.

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painting the rice cake

Dogen’s Treasury of the True Dharma Eye edited by Kaz Tanahashi: The Moon (tsuki)

The pronunciation means “moon”; the ideograph can mean “entire” (tsu) and “function” (ki) (Glossary, p 1071).  Dogen points out our tendency to get caught in absolutes and to be blind to the 10, 000 dharmas (the moon) contained in the smallest drop of dew.  And we do love our assumptions about how things should be: full moon, half-moon, moon rising, moon setting.

He writes of Nagarjuna who was teaching to an assembly and challenged that “even if (he spoke) of buddha nature, no one (could) see it.”  Nagarjuna responded that in order to see buddha nature, we have to let go of our pride.  He “manifested a body of complete freedom in the shape of a full moon” but no one in the assembly understood what was happening; an understandable reaction when we’re caught in our own translation code of the world.  One among the crowd, Kanadeva, explained that “the samadhi of no-form has taken the shape of a full moon.  Buddha nature is vast, empty, and clear.”

That moon of buddha nature cannot be capture in a single circle.  It cannot be contained in the lines of the brush.  

Know that when you paint the manifestation of a full moon, do it on a dharma seat.

Otherwise it will have no shape of moon, of the moon’s full being or thusness.  Otherwise, “you are not embodying the expression and painting the expounding of dharma, but merely creating a piece of painted rice cake.”

It is only by letting go of our preconceptions of something is, letting go of our pride, that we can truly paint – manifest – reality.

Never paint what cannot be painted.  Paint straightforwardly what needs to be painted.