Recollections

Recalling Nancy Tilden, Teacher…

and the certainty in the light in her eyes

of permissions

to sing

in the light in her eyes come from so deep

no room was left for breath

other than that—

for the beauty of the branch to last

those eyes said it’s the roots

that reach the source

that sustains true song

**

In Japan once, along the China Sea,

looking out at the shadow of Sado Island,

as so many others have done,

poets and brothers and teachers,

I looked out and felt that chasm

of exile, that distance of singular decision

and the empathy that traverses that misted vision

that connects

all the world over

such solitary shores.

Mountain poems, July 2010

After a sleepless night

at Islands Lake in Desolation Wilderness,

the near-full moon goes down

around four-thirty

leaving the sky to the stars

before the slow turn of light

calls the lake

from the dark, and the fish

for that careful

touch of lips

**

The sun runs luminous

through the highest puffs of clouds

but leaves the lower to float,

faceless shadows

passing over surrounding peaks

whose west facing slopes

remain still, untouched and cooled.

Standing at the edge of the lake too,

I think to chant,

but demur—what have I to add

to all of this?

Then, encouraged by the flutter of wings

from flowered brush to either side,

in lowered tones I speak

the Buddha’s name,

and watch the wind drop to the water

in whispered silver ripples

that spread to the shore

beneath my feet,

quietly lapping light.

Receiving Refuge

To take refuge is to play

in the quiet of the 10,000 things.

Among the falling raindrops,

small, white-crested birds, fly!

Jerry Bolick, July 2, 2010

Canggu, Bali, Indonesia

In his book, Zen Wave, a study of haiku poet, Basho, Robert Aitken Roshi writes: “NamuAmidaButsu…is the cord that will draw the dying person to ease of heart.” I like the image he presents here, particularly the phrase ease of heart, because it emphasizes the assurance given in traditional Pure Land teachings, assurance of the future, assurance of lasting peace after death, but does so with a telling image of movement in the present.

We are assured that the future holds the transition from human life into the embrace of the eternal, from turmoil into lasting peace, which is to say, we are assured that it will all be OK, then.

But these teachings are not just about death, but also about life. Assurance is something we experience here and now. The NamuAmidaButsu that is pulling us to ease of heart is pulling us now. Given to us by Buddha, by eternal, timeless reality, NamuAmidaButsu emerges into time on our lips; on our lips, the movement of the eternal, continually assuring us, continually drawing us closer to fuller realization, in the present moment.

And neither is the unburdened heart restricted to those on their deathbed, because as living beings, we are all, by definition, dying. When I see clearly that I am, not that I will be, but that I am the dying person, then I see Buddha’s message is directed to me, Buddha’s assurances are for my benefit. Then I begin to hear the teaching in a different way.

Within the life of NamuAmidaButsu, the anxieties we experience due to the myriad changes that occur as we live and age, the fears, small and large, of what the future holds, our resistance to the inevitable, all become infused with the assuring movement of eternal care and concern, extended to us in and through NamuAmidaButsu. And in this we can know the ease of heart that is the content of our liberation and the certainty of eternal refuge—it will be OK then, and it is all OK now.

These last few days, in June...

Praying with open eyes…

the shaman, taking everything in, anything

left out, the diminishment

of sacredness—

or the roshi who meditates because

he doesn’t want to miss

anything—

or the poet’s singular motivation

to clarity,

words as true as bird song—

**

Humid air’s a stranger here,

an unexpected skin

no one’s able to name.

**

Through screened windows,

morning’s stillness,

marked by dove calls.

Downstairs, the tenant

moves around the kitchen.

**

Early evening fog gathers along the ridge line,

cooled drifts pushing

toward newly opened windows.

looking toward the coming weeks

These quiet hours, the first

in the days of this season long in light,

broken only by the occasional cloud,

accompanied always in bird song,

softest undulations rising and receding

within that most intimate presence

we know so clearly

as silence.

These, the quiet hours.

**

Decent registers of concern come in colors

both varied and unexpected, beauteous unfolding

of life likened to itself, in kind, in shape and inclination

to recognize patterns of sameness

for what they are:

opportunity to converse.

Would that we would

more readily see our dissimilarities

as such.

**

The days begin now to play

toward gravity,

approaching a departure of consequence,

measured moments add to the scale

weightless layers of freely given intent.

Oxalis, free ranging spring poems...

Over and again,

pressed and trampled grasses

pulled back into the sun.

**

This body, healthy

in old age, complaints passing

like yesterday’s gas.

**

true haiku, others

may do—I enjoy the pose,

absent any real work

**

I tire quickly these days,

of formalities

with no obvious center.

Friends inquire, but all I can do

is point to the cloudless sky.

**

The make-shift altar

in the dining hall, they strain

to follow this hakujin,

chanting ancient sounds of joy.

**

Three red cabbages

from winter’s garden; give one

away, one we keep

and the last, too loose,

we add to spring’s efforts.

**

Sounds of spinning wash

from behind the garage door

—morning clouds gather.

**

Heron’s Point, Bear Dance

April 17th

Gulls and geese clearing the sky

of the last of daylight,

raise a collective call to witness

the silence of coming stars

and the waiting drums.

**

This spring afternoon danced

with hailstones,

lingering recollections

of winter

demanding one last look.

**

Borrowing sun tones

from an early sky, the bay

whispers salmon-pink.

**

Light bounces from feet

unrestrained by gravity

—girl cousin-grand daughters.

**

Morning pours blue light,

horizons humming rain free,

full breathed songs of spring.

**

The sun casts light to east facing slopes

cast light through west facing windows

throwing shadows of flowers

on the wall

above the stove.

**

It’s not that each word is pearl pure,

but the source

behind the impetus

is just that.

Prayer resides here,

in the quiet sweep of attention

before words.

March Meditations

The secret life of nembutsu

The plane’s television monitor tells us

we’re passing over northern Canada, toward Calgary,

while outside, below, the white sheet stretches

well beyond what any eye might imagine,

what any words might clearly say.

Buddha’s teaching of nembutsu, the mindfulness

of utterance,

is like this too: no need at all to add anything

—saying itself, deep and whole

in and through the silent expanse of the heart—

only listening will do

Namuamidabutsu,

Namuamidabutsu

**

What do poets do?

Light struggles through tangled shadows.

In waiting branches, dark acacia leaves chill,

still to the windless morning’s entreaty to the new spring

come quietly between grey rain days

that leave the last of that which only they can bring.

Cold Mountain, the poet-monk, tells us

similar scenes appear over and again;

it’s what we do with them

that differs.

**

Certain mysteries

Clear blue, the Saturday sky lifts

from the crisp green hills,

arching invisibly over the roof top,

waiting, watching,

a lingering presence supposed, but not known,

not seen;

perhaps then, lifting

simply lifting…

**

End March

The day unfolds utterly absent uncertainty, each morsel

of air-buoyed water running its inevitable course, specific

to conditions within the collective spread called clouds

that span a breadth of hilltop some three miles in length.

I sit watching this, faltering in a mind a’swirl with ambiguity

at what the weather might bring, what that might mean,

while the day simply continues its quiet way, delivering all

it has to give.

In search of those still practicing, Bill Porter,

once known as Red Pine, roamed near-empty crevices

of modern China, and reports:

every adept he met followed some regimen

of chanting and meditation, morning and evening--our practice,

our teachers say, brings us to nembutsu, song, twice a day,

the straightforward gathering of body sound and sense,

turned in the direction of full completion

of living gratitude.

**

Best friends

Placed in a small black vase

in the corner on the alter

below the framed scroll,

flowers with white petals

and yellow centers

call into the chill and dim light…

Hearing this implies

a world alive,

the resonant pulse of wholeness

linked and woven,

the tiniest thread

a call of fully extending family,

a world of best friends…