Monday, September 30, 2013

Envelopes & Cards



When I was a child I believed that when you died you arrived at the foyer of Heaven and were presented with a stack of white envelopes.  In these envelopes were all your harmful actions, on glossy paper, comprehensively described and depicted, or, as salesmen say, lavishly illustrated

The first thing you must do when you die is go through all these envelopes.  (Although it is not generally known, all people when they die are given a letter-opener.)

For some people the envelopes and their contents are a simple operation, just tidying up, like going through the mail after a long day at work.  Others receive such a deluge of envelopes that they must spend much of eternity opening them.  In these envelopes, you see, not one nuance can be overlooked and not one detail missed.  Eternity’s post may not be skimmed.  You have no choice but to see everything.

I think now of these white envelopes, as I look around to find that I have surrounded myself with white note cards, on which I endlessly compose, although to no clear purpose.  These stammering cards now fill half the house in their weird profusion. 

As I sit here, it seems that I can almost see a mountain of white envelopes, the envelopes which are all the time arriving in the other world, like the senseless ceaseless proliferation of white note cards in this one.

I think it is not unreasonable of me to fear that there may be some correlation.



Tuesday, September 24, 2013

Guttersnipe Bookshelf: Spiritual Ecology

Spiritual Ecology, The Cry of the Earth
Edited by Llewellyn Vaughan-Lee
The Golden Sufi Center, 2013

If you arrive suddenly in a foreign city, a city where you do not know the landmarks and do not speak the language, you may find yourself urgently in need a city guide.  In the same way, this book is vitally necessary, now that we find ourselves in a changed and unfamiliar world.  If we wish to survive as a civilization, we need to find new paths – and we need to find them quickly.  You would do well to call in sick to work – and stay home to read this.

A few of the texts here I’d found previously, including one that blew open my mind when I read it aged 19: Joanna Macy’s “Greening of the Self”.  It is even more amazing than I remember.  Thich Nhat Hanh is here as well and just because he’s a beloved Zen master who knows the right way to eat an orange doesn’t mean he pulls his punches: “In my mind I see a group of chickens in a cage disputing over a few seeds of grain, unaware that in a few hours they will all be killed.”  He knows we may not make it.  Even acknowledging we may not survive, there is a way forward, a way to take action and not be paralyzed by helplessness.

Of the thinkers I discovered for the first time while reading this book, the most helpful and inspiring was Sister Miriam MacGillis.  The interview here with Sister Miriam, a contemplative inspired by Thomas Berry, was stunning – perhaps the most profound example of skillful means united with a vast perspective that I have ever come across.  Her understanding is so vast – and she brings it to bear on the farm that is in her stewardship.  I read it three times in a row.  It is magnificent.

I loved, too, Susan Murphy’s essay, “The Koan of the Earth”.  Susan Murphy is a Zen teacher in Australia and her gaze is stark and clear.  When the situation is as serious as this one, it is best to have a physician who does not mince words.  In order to survive, we will need vast compassion, and it is compassion like this, tough as nails.  (After reading this essay, I wanted very much to read ‘Minding the Earth, Mending the World’, Murphy’s book on this subject, but it appears to be unavailable.  Somebody please bring this book back to print!)

 I was particularly grateful to Geneen Marie Haugen and the essay “Imagining Earth”.  Haugen writes about how the imagination can be used to reacquaint ourselves with the sacred in the land and how this practice, which involves some “make-believe”, might turn out to be essential for our survival. 

Haugen helped me a lot to understand my own experience.  As a boy in New Hampshire, I experienced my family’s farm as a place vastly alive and full of spirits.  Certain places had certain powers; there was even an area I believed to be “the heart of the farm”.  I grew up, thought myself foolish, and it was years before I was able recognize how correct I’d been as a child!  This essay is a beautiful guide to this practice.  She helped me understand, too, why I find the unfortunate fate of my family’s farm (and life in Tokyo) so wrenching.  Haugen writes, “A practice of attending an animate world may have a cumulative effect of rearranging our own consciousness in a way that we cannot later withdraw from without pain”(166).  Yes, indeed.

Anthologies like this one aim to reach many people by providing many styles and approaches.  I admit there were a few essays here that seemed to me “keynote addresses” – general statements aimed at an audience already convinced.  I hope that this book will serve as a sort of general introduction for a series of books on this subject.

Hopefully these essays will serve to fuel discussion.  Admittedly, I did not agree with all the approaches found here.  A few, like the essay by Sandra Ingerman, seemed to be examples of cheesy, old-style New Age thinking that is too busy being airy and optimistic to actually be useful.  This sort of thing was good enough for 1987 (when “The Aquarian Conspiracy” was going to save us all) but – we’re going to need to think a lot harder now.

In a book of excellent essays, there was one essay that dismayed and even offended me:  Satish Kumar’s “3 Dimensions of Ecology: Soil, Soul, Society.”  As a keen student of Hinduism and Buddhism, I think the ecological perspectives of these traditions are both fascinating and urgently necessary.  This essay, however, is an embarrassing concoction of platitudes, generalities and sentimentality.  This is not 1893, Mr. Kumar is not Swami Vivekananda, and we do not need dumbed-down, platitude-ridden, soft-serve presentations of Hinduism anymore.  Pardon me for being rude, but I think this is an argument worth having! 

Kumar translates yagna, tapas and dana as soil, soul and society.  I’m sorry, but that’s not what those words mean.  If he wishes to give a creative translation or reinterpretation, that’s great, but he should give the traditional meanings and the reasons for his reinterpretation – not just assume that we are ignorant and cannot handle the actual definitions of words.  It is no longer necessary to gloss over what is complicated in these faiths -- we can handle the complexity of the real tradition.  For a brilliant discussion of how Hindus see the divine as manifest in the land around them, please read Diana Eck’s marvelous book India: A Sacred Geography, a book that is as necessary for ecologists as it is for students of religion.


I am grateful to this wonderful collection of essays for giving me so much to investigate and ponder – as well as a few things to argue about!  May there be more books like this one – and fast!  May the conversation continue deep into the night.            

Sunday, September 22, 2013

Forthcoming: Outside In

My essay "News of My Triumphant Return to India" is forthcoming in October's Outside In Literary & Travel Magazine.  Come wander Paharganj, New Delhi with me -- but watch out for the cycle rickshaws!

A Few Words About Madame Aster


I’d like to take this opportunity to say a few words regarding Madame Bhagavati Aster.  Although I have not met her and doubtless never will (I am most certainly not a millionaire) I have come to know a few things about her life prior to fame and fortune which, though not far-removed in time, are not commonly known.

Now, of course, Madame Aster has become one of the wealthiest and most sought-after women in the world, as well as perhaps the most famous psychic of all time.  The world has grown enamored of her bright red bouffant, of her sweeping rainbow-swathed pigeon-toed gait, of her close-set blue eyes so keenly penetrating. (Only the envious say beady.)  

Master Aster is known to all, though few indeed will ever have the privilege of an audience with her: the chance to be subject to her all-seeing vision and her curious methods.  For Madame Aster looks not into the eyes, but into the ears, and what she sees are not visions of the future, but your very most hidden desires. 

Personally speaking, I admit that to me this just seems unnerving.  If I was the person delivering her green tea soy latte and gluten-free macaroons I might well show up wearing earmuffs.  Yet nowadays people will do almost anything for the chance to spend fifteen minutes with Madame Aster.  Nowadays if you ask people what they want most in the world, they won’t even hazard a guess.  They only say that what they want most is for Madame Bhagavati Aster to look into their ears.

Those who have been present at an audience say that Madame Aster really peers in, with a gaze like a Q-tip.  She gazes in as though she were peering down a hole a mile deep.  For a minute or two she stares, then nods her head.  That’s it.  You can get her to bless you if you want (that’s optional) and she does it by tapping her long sparkling silver-blue acrylic nails on your head.  Then you go back to the receptionist.

You wouldn’t think such a simple service would be worth a million dollars, but people pay it.  Nowadays they pay even more.  The people who paid two million dollars go in front of the people who paid one million.  And still they have to wait for the folks who paid three million.  Three million, plus maybe they threw in a yacht.  People say that they love Madame Aster but, if you ask me, it’s just ordinary desire, which nowadays takes ever-stranger shapes.

Anyway, you go back to the receptionist and she verifies your contact information.  (The payment has already been received.)  Two to four weeks later (eight at the most) you receive a card in the mail.  Naturally people are always in a hurry.  They want a call or an email; they want to hurry right in at once.  But that’s not how it works.  It has to be a card.  You must wait for your card in the mail. 

There is some disagreement about what happens next.  (Is there, anywhere in the world, a group of people more close-lipped than those who have been to see Madame Aster?)  Of the few accounts that have been given, and the fewer still that may be considered reliable, most describe being led, by a very tall and aloof man in white gloves, to a door.  The door is said to be balsam green, of the traditional cross and bible design.  The doorknob is antique white porcelain, perfectly smooth and subtly luminous, like a pearl.

The few accounts we have tend to go on and on about that damned doorknob, about what it’s like to stand there and wait, to try to steady your breath, before –

They say nothing more.  You turn the doorknob, push slightly, and enter at last into your desire, your deepest truest one, which you could not possibly admit to anyone, which you do not even dare to think. 

I don’t know anything about what goes on behind that door.  (Sorry!)  But I do know a little about the life of Madame Aster, before she was the wealthiest and most sought-after woman in the world.  

Hard as it is to imagine now, this was only about three years ago.  Three and a half.  Four at the most.  Back then, Madame Aster wasn’t yet an icon.  She wasn’t famous.  Actually hardly anyone knew her.  She wasn’t the sort of person anyone seemed to notice much, or consider all that important.

A friend of mine knew her during that time.  His name is Stan.  Back then, he was a poet for hire on Pearl Street in Boulder – on the pedestrian mall.  Actually, he’s still there.  For five dollars he’ll write you a poem on any subject.  (You should give more if you can and, frankly, you should.)  He’s a really good poet.  Sometimes he’s downright remarkable.

For awhile Stan seemed to me a romantic and semi-tragic figure.  We’d been roommates twenty years previous.  I worried about him. Worked on the street, lived on the edge, even though neither of us are all that young anymore.  Then it occurred to me that, if Stan makes twenty dollars a day on his poetry – and he’s been given as much as a hundred dollars for a poem – then, statistically speaking he earns more for his poetry than 99.9% of the poets in America.

Enough about Stan.  (If you see him, tell him I said, Hi!)  The point is that he knew Madame Bhagavati Aster.  No doubt it was her, though her hair wasn’t brightly dyed in those days.  (Stan says it was still reddish, and not nearly so tall.)  Of course back then she wasn’t swathed in Hermes scarves and flanked by Scandinavian attendants.

Her name was Deb.  Or Debbie.  Anyway that’s what people called her.  Regardless of what she said her name was.  Please understand. Everyone in Boulder has a name that was given to them on a mountain top during a fire ceremony by a lama, shaman, or countess.  And it was the most beautiful-amazing-spiritual thing ever, and there was a total double rainbow, and they got a new name, which they will translate for you, and you will never be able to pronounce.

If you want to stay sane in Boulder, you must ignore all these names.

I asked Stan if it was evident, even then, that there was something very, very special about Madame Bhagavati Aster.

“No way,” Stan said.  “As psychics go, she was totally Boulder Standard.  Everything wrong in the world is wrong because of Mercury in retrograde and mono sodium glutamate.  You always get the same advice: follow your bliss, buy organic, and take Vitamin C powder till it gives you the shits.”

Please excuse Stan.  Like all interesting poets, he is a complicated mix of courtly sublimity and unabashed earthiness.

I asked, “But wasn’t it obvious that she had second sight?”

“Nope,” Stan said.  “She got it wrong.  Even compared to the other crystal-wearing, patchouli-wafting ladies.  She was even more often than usually wrong.  She was always telling some chick with a buzzcut a prince would come soon for her.  She talked about dogs to people who were very obviously cat people.”

Actually, it is well-known that Madame Aster does not see the future.  She admits as much herself.  What she sees is desire, and she sees it in the ear. 

It is said that she discovered her gift entirely by accident. (I don’t know this for a fact, but I imagine this happening on a bench, in the shade, on the Pearl Street pedestrian mall.)  One day a friend had an earache and asked her if she could see anything.  And Madame Aster found that not only could she see something, she could see everything

Madame Aster is now perhaps the richest and most famous woman in the world.  Certainly she is the most mysterious.  Little is known, either, of the staff which surrounds her and occupies her vast estate, the monumental walled compound which now encompasses nearly seven square kilometers between Swanton, VT and the Canadian border.
It is presumed that the staff  has some role in the enabling, staging, and construction of the fulfillment of desires, as dictated to them by Madame Aster.

Critics assert that Madame Aster has given rise to unbridled licentiousness – as though that blue-eyed red-haired lady is to blame for all she sees.  More than a few assume that it’s an orgy all the time, a frolicking free-for-all on the party grounds of Madame Aster. 

This is the best some wan imaginations can concoct: a sordid procession of identical twins, trained pets and downy pubescents.  That has to be what’s really going on – the reactionaries are convinced – it has got to be a enormous international pedophile sex scheme!       

For these ugly accusations, so oft-repeated, no basis has ever been found.  Not the slightest.  As for allegations of a sexual nature – it is true that the few staff members in public view are exceptionally attractive.  Breath-taking is the word.  I do not contest that they are utterly stunning. 

But then again, you’ve got to figure that they are presumably the best paid office staff on the entire planet.  Their discretion is unrivaled and, thus far, entirely unbroken. 

Those who have been through Madame Aster’s door say nothing.  Most make another appointment at once.  Although it is true that there have been high-profile cases of financial ruin –  can the lady herself fairly be held to blame for that?  Particularly considering that the millionaires reduced to beggary remain cheerful and steadfastly insist it was totally worth it?

Other than that, what can be said?  Who has right to condemn?  No one has complained of mistreatment.  No one at all.  No children have gone missing.  The critics and cynics, naysayers and misanthropes, aggrieved fathers and sleepless mothers, members of the clergy, have nothing whatsoever on which to base their accusations besides the highly predictable fantasies found in the shallows of their own minds.

Who can say what is there behind the door? 

I do not know.  Do you? 

What do you really want?  What is your deepest desire -- most secret, dark and true?  Can you name it?  Could you call its name in the street?  Would you recognize it, if it suddenly showed up at your door?  Would you embrace it, or slam shut the door?  Is your deepest desire the same as mine, or are there many?  What is there, in the depths of our minds?  As D.H. Lawrence wrote, “It takes some diving.” 
 
Those of us who are not millionaires can only dream and guess. 

All right, one more thing from Stan. 

(Full disclosure: this was the deal, between Stan and me.  Stan granted me permission to write this story.  In return he asked that I include the following message, since this article will presumably have an extremely broad audience, which may even come to include Madame Bhagavati Aster herself.) 

Stan asks me to say that, since he’s an old acquaintance of Madame Aster’s (“I’d like her to know that I consider her a friend,” Stan says), since he knew her back when she was Deb, he hopes that he might receive a free, complimentary session.  Better still, he suggests, he could pay with poems.  After all, who but a poet could transmit the experience?  Who but a poet could reveal what’s on the other side of the door? 

Stan mentioned he delivered a tall green tea soy latte to Deb’s folding table on several occasions.  At least once, he’s pretty sure, she never paid him back.  (“Totally cool with me”, says Stan, “True friends don’t keep track.”)  Stan and I agree that there ought to be fair play and evenhandedness for poets, for poets who have given their life to poetry and are even actually good poets.  At least once or twice in human history, there ought to be justice for poets.

OK, Stan.  I delivered your message.

As for Madame Aster, I have a theory of my own.  And I do not doubt that whatever I can imagine is only the dullest, driest, nth-percentage, namby-pambyish simulacrum of whatever is behind that door, that yearned-for green door with its old-fashioned pearlescent porcelain doorknob. 

My best guess is that joy of Madame Aster’s paradise does not lie in having your fantasy fulfilled.  Not primarily at least.  The rich, after all, can have whatever they want, excepting only freedom from old age, sickness and death.

My best guess is that the joy of Madame Aster’s paradise lies not so much in the fulfillment of desire as it does in not having to ask

On the other side of Madame Aster’s door, it is not necessary to inquire.  You need not request, admit or beg.  The sad soft belly of longing and craving need not be exposed.  You will not be made to feel humiliated.  You will not be held responsible for hungers you never sought and can’t appease.  The depth of famishment need not be spoken of or admitted.  No measurements will be taken: neither of the intensity of voracity, nor of the volume of emptiness.  

Instead you will be comprehensively understood without explanations – a thing which is more commonly known by the name of ‘love’.

Imagine that.  It might well be worth a million dollars.  More.

You may turn the knob and pass through the door without a word.  You don’t have to be afraid.  You don’t have to be ashamed. 

Madame Aster knows what you want.




Saturday, September 14, 2013

Guttersnipe Bookshelf: Thich Nhat Hanh

Thich Nhat Hanh
Love Letter to the Earth
Parallax Press, 2013

Like Joanna Macy’s book Active Hope, this is an essential text for any activist or student of ecology who seeks to find a way to look clearly at the damage we’ve done and the peril we’re in, without giving way to despair.  It seems to me that books like this one may provide an essential balance.  Otherwise we risk being transfixed by disaster, both ongoing and imminent.

If we have a chance of survival -- real survival, as a culture and not just as a few remnants of human scavengers focused on brute survival – we must transform our thinking in the most fundamental ways, clear down to the optical illusion of separateness, the delusion that we are separate from each other and the Earth.  What we must do will simply not be possible if we continue to see the Earth as “our environment”, as something “out there”.  As Thich Nhat Hanh writes, “The Earth is not just the environment we live in.  We are the Earth and we are always carrying her within us.”

I am fed up with the way most spiritual books avert from their eyes from catastrophe.  It seems to me that many so-called spiritual books are primarily interested in pulling the blinds and cranking the air conditioning.  They are like delightful little packets of bubble soap: something in which to soak while awaiting the end of the Earth.

Thich Nhat Hanh “gets it”.  He sees what we’ve done and what we go on doing.  He sees the full extent of the harm and the danger – and he shows that it is possible to see all of this and remain not only able to act, but even able to experience joy.  Peace and happiness remain possible – even in full view of the situation and the possibilities.  That’s stunning.


If you are seeking ways to see and serve the Earth without falling apart, this is a book you’ll be needing.  

Guttersnipe Bookshelf: Erotic Grotesque Nonsense

Three Dimensional Reading:
Stories of Time and Space in Japanese Modernist Fiction, 1911 – 1932

Angela Liu, editor
Sakaguchi Kyohei, illustrator

University of Hawai’i Press, 2013

“Interwar”, it seems to me, has got to be the most depressing adjective of all time.  Yet phenomenally interesting things may seize the chance to be born in times of peace, and the Taisho Era was an extraordinary time.  This is not a book of museum pieces however, but a collection of fabulous strange stories, superbly illustrated. This is ero-guro-nansensu – and “erotic grotesque nonsense” never goes out of style.     

As a non-academic reader and fan of Japanese literature, I want to say that this book is too marvelous to leave to the scholars and their libraries.  I am exceedingly grateful to the University of Hawai’i Press, and to the community of scholars that made this book possible.  But please, don’t let the academic air dissuade you – this is a phenomenal collection of stories.  The scholars can explain why these stories are important – I would only like to add that they are also a fabulously good time. 

Three Dimensional Reading is a collection of strange stories that bend time and space, as well as form and, occasionally, gender.  (Angela Liu, the graceful editor, explains that the title refers to Rittai-ha, the name for Cubism in Japanese.)  Only two of them have been previously translated.  Although I found all the stories engaging and necessary, there were five I especially loved.

Predictably, two of my favorites were by my very favorite Japanese writers: Inagaki Taruho and Kajii Motojiro, neither one of whom has a full length collection available in English – a fact which seems to me unconscionable and which I hope will soon, at last, be remedied.  Kajii Motojiro, who died young of tubercuslosis, wrote stories rooted in his own precarious existence.  He wrote of his depression and illness -- yet somehow his despair, rather than sealing him off from the world, delivered him to it.

I’ve never read anyone like Inagaki Taruho, that exceedingly playful magician.  He is the Ted Berrigan of Japanese literature – everyone wants to read him, yet no publisher will bring him back into print.  Tricia Vita’s lovely translation of 1001 Second Stories was in print for approximately 20 minutes.  Only the rich can afford it now.  Jeffrey Angles’ translations are masterful and brilliantly annotated – yet they remain scattered in academic publications.  Can’t a publisher finally come to the rescue?  “Astomania” alone is worth the price of this book.

Ryutanji Yu has never before been translated into English – he lost a literary battle with Kawabata and retreated to writing about cactuses – but his story here, “Pavement Snapshots”, is as compelling as an old box of photos found buried in the earth.  Reading this story led me to ponder the effects of time on literature.  I imagine this story seemed clever when it was written – and perhaps a little dull fifteen years later.  Now, however, when the world it describes has entirely disappeared, this story is phenomenally interesting.  Its stark style makes it somehow convincing, like an old newsreel.  I hope very much that there is more Ryutanji to translate.

As a fan of Akutagawa, I was surprised that I’d never seen “Wonder Island” before.  A light, inverted and heavily vegetarian version of his famous story “Kappa”, this story is essential.  Like many of the stories in this book, it conveys an extraordinary sense of liberty and freedom.  You can hear the author’s fist on the desk as he declares, Dammit, I’m going to write exactly the way that I choose.  This sense of daredevilry is conveyed by the translators, no small stunt in itself.

The story I loved most of all in this book was Sato Haruo’s "A Record of Nonchalant".  I read it with my mouth open thinking, “He cannot possibly actually get away with this.”  It is a mad story about a civilization where the privileged live in skyscrapers and the dispossessed live underground in the dark.  For one afternoon the downtrodden are allowed to surface – only to be blanketed with flyers asking them to volunteer to be transformed into houseplants for the rich.  The main character promptly agrees and winds up a rosebush. 

OK, forgive me, maybe I’m nuts, but, as far as I’m concerned, this story is about as much fun as it is possible to have in literature.  Seeking a frank opinion, I passed “A Record of Nonchalant” to a 15 year old who assured me, “You’re not just a freak.  That story rocks.”

Overall, the collection is stunningly rich and full of interest.  You will no doubt find your own favorites.  Just as translation is an art, so, too, is the writing of notes and introductory material.  Although some of the translators are masterful in introducing and annotating their work, I occasionally felt that I was being bullied and told what to think.  Thus, I suggest reading the introductory material to each story AFTER the story itself.  Skimming, too, remains a non-punishable offense in all nations.  (That said, the generous notes to Tanizaki’s “A Golden Death” are a complete education and are perhaps slightly more fun than the story itself.)

I hope this rich and delightful book will open the door to more translations of Japanese modernism and “erotic grotesque nonsense”.  While translators as good as these are available, I hope they find more opportunities.  (And, please: can they all be illustrated by Sakaguchi Kyohei?  He deserves some sort of medal for “bravery with a felt tip pen”.  His meticulous and dizzying illustrations are world-class.)   As a fan of daring literature, this book was the most dazzling event in a long time.  I can only hope that another party like this one will soon come along.