“If slurping is zen, that means that loud, ostentatious slurping must be god damn close to enlightenment.” Zen Master Q
When I first sat down with the man after he’d been named head priest, he began a long talk about wood, wind, fire, and water in traditional Chinese medicine. His line of questioning puzzled me. He seemed overly intent on learning where I was on this strange wellness scale and what I should do to right my balance. Over the course of our conversation, I learned that he was almost always cold and had killer headaches, which should have been my clue: he had no idea what he was talking about but hoped it might help him. What this had to do with meditation or zen was beyond me; what this had to do with me was also beyond me unless he was angling for my sympathy. Nonetheless, I hung in for almost an hour. I did observe that I could be assured that when it came to wearing a robe of the proper color for an esoteric ceremony, or at least one that didn’t clash, I would be in good hands, but that I shouldn’t trust him to diagnose Chinese wind malfunction. If I were training myself to ask pertinent questions, I might have tried “Why don’t you shut up?”
I remember one afternoon when I sat down to noodles with Phil Whalen in Chinatown. He was extremely happy. He said that the best way to handle personal frictions in the sangha was to invite the warring parties out for a plate of noodles. This was, in his view, the key to good spiritual leadership--the way they did it in the old country. Not a bowl, not a dish, but a plate, plenty all around, and that slurping was not just OK, but expected. Apparently, after enough slurping together with the smiles that the lovely warm tastes brought to everyone’s lips, disagreements would vanish like the mirage they were, like everything is. Or so he thought. The conflicts raged on. I finally figured out that he loved a plate of noodles and that he loved food.
ramen properly) from the ramen master.
There are hazards for Westerners trying to do Asian religious practice, and I just scratch the surface. We don’t know what the fuck we’re doing. We start by imitating, like a child learning language. Everything new has a name. We point and ask what is that? We do everything our teachers do as precisely as we can. We walk, we dress, we eat, we chant, we sit, we chuckle, we pout, we guffaw, we bow, we prostrate, we suck our lips and fumble our chopsticks, we hush our harsh voices as if that would quite our cavorting western minds, and we at least pretend that we are listening and observing. We stop saying thank you because gassho sounds more holy, more proper. The irony is that in the end, we really only end up being poor imitations of a bit of cultural hanky panky. I had issues with all of it, but I did it nonetheless.
Why could I not learn that slurping is zen? This is what is offered, like the proper scent of aromatic oil with a bony finger pressed on the right acupuncture spot or the stinky smell of burning sagebrush chasing away the bad spirits, helping increase the proficiency of my erections and enhancing sex. I have very little affinity for Japanese cultural artifacts, though I love sushi.
It is not us, or more precisely, not exactly the real me I thought I’d find if I spent years pretending that it might help me be more "the me" of my dreams and fantasies.
Phil would laugh and say that many of his fellow religionists from the old country thought Americans could never really do Zen anyway. But if they “came round” and asked questions, Japanese zennists would do their best to answer, whether or not they had a good answer. They had to. It’s in the job description. It’s also the script: question, answer, response, wash, rinse, repeat. A cultural anthropologist might begin to examine if there is any real learning going on, or perhaps if there were a real Zen master on the horizon, he or she might be able to detect a dud. But I find cultural anthropologists only slightly helpful and have a hard time listening to the Zen master who is doing Chinese medicine to cure headaches while fretting about the color of his robes. Regardless, this is the soup that I landed in. I have to let it cook.
I want to talk a bit about cooking the stew. I need to smell something more than burning sage or Zen aroma oil, more than a mediocre rendition of a Japanese recipe. Smell is universal. It doesn’t need a cultural anthropologist or a skilled linguist to squeeze the meaning. If it’s good there’s an instant response. Sometimes, there is an ingredient that I might have been trained to hate. Thus, I might lie and say, “I’ve developed a taste for Filipino Bagoóng alamáng,” but for the most part, perhaps after some initial hesitation, I can smell something good on the fire or at least be able to discuss my attraction or aversion without putting on a fancy, culturally appropriate uniform.
Although Phil claimed that he was not a Soto priest, and he said exactly that on more than one occasion, he wore the uniform and carefully performed the rituals. I didn’t really believe him and thought that he might have just had some technical objection or was teaching me to try to look deeper. Perhaps he really believed that only the Japanese could ultimately get zen.
I lived with Phil at Hartford Street Zen Center from 1989 to 1994. I moved in towards the end of October of 88 and Phil moved in in January of 89. He had been living with Britt Pyland for a year after he left Santa Fe and his long tutelage with Dick Baker, but despite his deep friendship with Britt, he wanted to have a real zendo with a formal structure. Over the 5 years we lived together, he was in the zendo every morning at 6 AM and every evening at 6 PM. I don’t think he missed one session. Perhaps I’ve forgotten once or twice that illness kept him in bed.
Conversation with Phil was marvelous. He did love his food and could weave a spell describing the ingredients of the real Chinese menu at Nam Yuen Restaurant in Portsmouth Square that he, Allen, Kerouac, Gary and a host of others went to after anyone published a poem, had an inspiration, got laid, or just came by for lunch. It was a place that didn’t fear the true flavor of taro root. Phil could talk about anything if prompted, but he rarely talked about poetry, and hardly ever his own. (He once lectured on HYMNUS AD PATREM SINENSIS, but prefaced it by saying the Roshi told him to). However he would quote pages and pages of other poet’s work he admired, all the sonnets of Shakespeare, pages of Whitman, stanzas of Wordsworth and Blake, but not much of his contemporaries. No Ginsberg for example, although he might say he remembered one about a guy in a supermarket, go look it up. Once he quoted a fairly long piece by Gary Snyder. The experience of hearing poetry was different than talking about it, or analyzing it. When someone asked about Gerald Manley Hopkins, he answered by reciting carefully each word of the first long stanza of The Wreck of the Deutschland.
He was perhaps the most widely read man I’ve ever met. He was also legally blind in those last years, and we read to him. He had a personal library of maybe a thousand volumes. It was stored in four plain wooden bookcases, pretty simple standard fare. I helped move him in when he arrived at Hartford Street, and moved the library once more when he shifted to small set of rooms with a private bathroom in the basement of a building we took over next door to #57. He was stern and demanding as a work boss. There were a precise number of bank boxes. Each row from each case had an exact order. You couldn’t mix them up because he would never be able to reconstruct the idiosyncratic Whalen system. But when he said “Kid, get that book by old Luk Luk (Charles Luk, Buddhist monk and writer), second case, third row, sixth book on left, open to page 58 and read the line, I think it starts at 6,” I got his logic. The first time he did it, I was flabbergasted. By the 20th time, I thought that he had to have a photographic memory. It was uncanny. But that is how a blind man who has a long standing love relationship with the written word organizes his library, his life and his practice.
People often ask, they wonder how a Westerner might come to a spiritual practice that is so difficult to translate from the culture of Japan. It is not like turning the texts of the sayings of Jesus over to a group of translators well versed in Aramaic, Greek and Hebrew. Bowing and sitting don’t translate except in sore joints and training the attention. The nuance and delicate meanings are not easy even if we understand canonical Japanese. The standard answer is that we are in pain, life is suffering is a core principle that the Buddha taught, and he also pointed to a difficult path that leads to freedom. Abstractly, that is a good answer to an abstract question. But there are several pitfalls to picking up a manual of mental health from an Asian tradition and prescribing a remedy for an unfavorable shift in the wind whose expiration date had passed by several millennia.
So yes, it is almost a universal truth that we approach the Great Way carrying our experience of pain and dissatisfaction. But we also smell something in the air, we hear something in the poetry. We bring all of ourselves, not just our pain. Even if we’re blind, there is a love for words that we can hear. Let freedom ring.
