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the novice – a story about steadiness

The Novice by Zen teacher Thich Nhat Hanh opens with a scene reminiscent of many stories in Buddhist lore used to explore that delicate balance between passion and desire.  Kinh Tam is the young novice of the title who, in the initial setting of the novel, sees a young woman standing at the edge of the monastery grounds holding a crying baby.  The implications are at once obvious and terrifying for the novice. 

This template story of monastics being accused of illicit affairs and resulting progeny is a familiar one for students of Buddhism.  There are parables and koans, a similar tale from Hakuin’s life and even the Buddha himself is said to have been accused of fathering a child.  How the perceptions of the world were met by them forms a powerful teaching of the Dharma.  The Eight Worldly Dharmas are inescapable and being thus, they form an intricate lesson of equanimity in meeting praise and blame, pleasure and pain, gain and loss, fame and disgrace.  The young novice joins a long line of worthy ancestors who face the dilemma of protecting ones own reputation or skillfully steping aside and holding true to practice.

But it isn’t just a story of steadiness in the face of false blame.  Kihn Tam’s life is in itself a process challenging the rigid concepts we face in treading a path of service.  The novice is a woman who leaves her emotionally dead marriage after a false accusation and enters a monastery disguised as a young man.  There, she fulfills her passion for living the Dharma while struggling with the moral distress of the fundamental misrepresentation of who she is.  The accusation of fathering a child provides another layer of moral dilemma; the resolution of the accusation is simple but the consequences for continuing in a spiritual life are enormous.  How Kinh Tam makes her choice and the effect on the people around her forms the heart of the novel. 

In the story of the novice’s spiritual conviction and dedication, Thich Nhat Hanh (or Thấy as his students refer to him) continues to show us how we can enter the Dharma through many levels of understanding.  It is a multi-layered story of a young person’s struggle with bearing witness to their own suffering, with cultivating steadiness in the face of not-knowing, and in nurturing skillful action.  It comes as no surprise that Thấy’s teachings through this story are in essence the Three Tenets of the Zen Peacemaker: bearing witness, not knowing and compassionate action.  In fact, the guiding principle and resolution of every inner conflict is no different from that of an external one: compassionate and skillful action.  Through carefully described practices, Thấy moves the central character of the novel towards more and more skillful and compassionate ways of meeting her many challenges.  She chooses over and over again to hold steadfastly to the Dharma rather than take the easy way out.

There are some obvious difficulties in the narrative; some scenarios require a  significant suspension of doubt if not an out-and-out shift of reality.  However, this is not a novel in the tradition of thick plots and twisted rationales.  It is a parable pulling together skeins of Dharma and, when read through that lens, it is a simple teaching on a complex point of relationships.  In a social system where we find ourselves potentially reacting to the perceptions of others and faced with the duality of self and other, this is a timely reminder to be steady, see clearly, and not personalize the perceived attack on what is precious to us.  Ultimately, the story of Kihn Tam is not one of finding personal righteousness in tolerating the slings and arrows of outrageous fortune but of realizing the truth of suffering and making that the call to practice, to be as the earth, water, fire and air which transform all that is given to them.

That being said, it is unfortunate that the story of Kihn Tam is followed by Chân Khong’s semi-autobiographical rendition of the various ills that befell early and more recent followers of Thich Nhat Hanh.  While I don’t diminish the violence the early practitioners suffered during the Vietnam conflict, the latter issue of Prajna Monastery and the eventual evacuation of the young monastics is misplaced in this book.  Not only is the juxaposition of a political issue with a novel-parable distracting to the lessons contained in “The Novice,”  it creates a sense that the novel might have been intended as a justification of the controversial process and resolution of the Prajna affair.

Thấy’s teachings are challenging.  I’ve said this many times in sangha and in the order of lay ordained practitioners: Thấy offers an easy entry to the Dharma.  Most people are attracted to the gentleness and peace of this powerful teacher.  We dive quickly into his words and just as quickly fall into the trap of believing that the mere recitation of Thich Nhat Hanh quotes is sufficient.  The true nature of practice, however, is the real challenge that Thấy offers us and may make it hard for many to stay the course.  Practice and have faith in the practice regardless of the conditions you find yourself in.  This is the heart of the Buddha’s teachings and, I believe, the heart of the story of The Novice.

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we are often surprised

We are often surprised that our photographs do not show what we thought we were shooting.

The Practice of Contemplative Photography written by Andy Karr and Michael Wood has just been published by Shambhala Publications.  Karr and Wood’s biography on Facebook is simple but fitting of their teaching philosophy:

Andy Karr is a writer, photographer, longtime meditator, and Buddhist teacher. He is also the author of “Contemplating Reality” published by Shambhala in 2007.

Michael Wood worked as a commercial photographer in Toronto, Canada. After discovering Buddhist meditation, he began to synthesize his meditation experience with a fresh way of looking and seeing in his professional photography. He teaches contemplative photography workshops in North America and Europe.

The book, a testament to their teaching skills, is a manual of practice that is probably one of most lucid and captivating I have read in long while.  They make the medium of photography the cushion from which we can see how our perception can mislead us and how we tend to dismiss the true sources of light and love in our lives.  Karr and Wood are craftsmen, teachers of the craft and cultivaters of contemplation – quintessential dharma teachers using the technology of the camera and the processing of the heart/mind.

As you can see by the opening quote, this is the essence of practice: realizing that the eye and mind see very differently.  In this case, their teachings are the essence of mindfulness or sati – the re-membering, bringing together of eye consciousness and mind-consciousness. Chapter by chapter, Karr and Wood take us deeper and deeper into the heart of contemplation through the medium of  photography.

For us, the most interesting approach to photography emphasizes the experience of seeing.  It is what Henri Cartier-Bresson described as “putting one’s head, one’s eye and one’s heart on the same axis.”

They encourage seeing the extra-ordinary in the ordinary.  And we are invited to do so not to achieve some supramundane awareness but to have that seeing clarify the deep inner vision of the heart.

Just wiping the bathroom after you brush your teeth will remove the stains of resentment and carelessness.

I have to stop here for a moment and share that their exercises (which are discussed below) confronted me with the many subtle stains in my bathroom and kitchen.  So beware.  You may not get through this book because of the frenzied cleaning you need to do before the photography work!

The gentleness in their prose is refreshing.  The insights of the ever-present nature of creativity and the immediacy of contemplation are encouraging, especially for those of us who are, shall we say, driven to get that perfect shot.

Contemplative practice requires a basic shift in allegiance.

We are guided into making this shift with their three stages of

  • connecting with the flash of perception
  • working with visual discernment, and
  • forming the equivalent of what we have seen.

As our vision clears and the eye and heart are (re-)united, we live the contemplative photographer’s motto: Nothing added, nothing missing.

The book continues with a number of assignments – color, texture, form.  The practice chapter I love the most (yes, the preferential mind is present) is on boredom.  As a psychologist and a meditator, I am fascinated by boredom.  I never tire of its presence and likely take tea with it more often than I should.  Karr and Wood point out that boredom is a seduction away from the present, away from what is real to us right now.

We are afraid of our own hearts.. The heart is so sensitive, so ready to resonate with the world, that we keep it covered, fearing we won’t be able to stand being touched.  It might be too intense.  We might be overwhelmed.   We can’t afford to open up, because who knows what we might feel.  It seems safer to armor the heart, even if that shields us from the vitality of life.

Boredom is a sign that your heart is about to be exposed…. Boredom is the forerunner of this distress and a signal that you should seek some diversion to hold your heart at bay.

Karr and Wood have done well to open our hearts -not only by their luscious photography and intense eye but by their generosity in walking us deep into the darkroom of our spirit.

The photographs produced here are from their Facebook and thanks go to Carlos Inada of Dharma/Arte for facilitating this sharing and to Andy Karr and Michael Wood for their gift of dharma.

This is a practice book so over the week I will upload some of my homework assignments from practice with their teachings.

A deep bow to their teachings,

Lynette Genju

Note: Dharma/Arte is a non-profit organization promoting this book; the title link above and on the posts this week is their affiliated link.  Purchasing the book from Shambhala via the link provides Dharma/Arte with a percentage of the proceeds of the book.