"Longya's Thief in an Empty Room" from Eihei Dogen's 300 Koan Shobogenzo

The Main Case - A monastic asked Zen master Judan of Longya (Zhankong), "When do the teachers of old get stuck?" Longya said, "When the thief slips into an empty room."

Capping verse - When the mind is empty, the eyes are finally clear. Shining through detachment and subtlety--the root of creation.


Just to avoid any confusion or misunderstanding between you, the reader, and myself, the writer, I’ll make it clear right off the bat: for me, ideas, concepts, and theory are not methods for acquiring objective knowledge but rather catalysts for subjective experience of life; my life; anyone's life. While I admit I’m not averse to being able to posit a thesis that many can agree on, what’s more important to me is to instigate reflection. Similar to the manner in which a koan operates, activating consciousness of premises, assumptions, and prejudices in a dialectic process leading to the emptiness of knowing, so I hope to illuminate my subjects, not by shedding light on them, but by casting shadows, tracing their forms in darkness, in silhouette relief, to know them only by inference, by what they are not. My tools? Arbitrarily constructed in language and consciously divided for the sake of an intellectual pursuit: my mind (reason and awareness), my body (instinct and corporeality), and my spirit (presence and desire).

Tuesday, November 30, 2010

This is the way it always begins.

This is the way it always begins. I’m no different. A dream from among the first upright moments in life. Grasping the shaky railing of an unstable crib, simultaneously transfixed, fearing, and fascinated by the flood of ghetto bird moonlight tracing across my room from a sky too low for heaven above but still over my head. I didn’t get it, but someone was clearly in control. I distinctly remember wondering then and there if, when the light found me, I would become a suspect, a criminal.

Now, four decades on, guilt a foregone conclusion, I know very well how to find my light, but even better how to recede into the darkness, still on my own, still waiting, contemplating, among the shadows in every possible moment.

Flat-footed, I still maintain that first stance from 40 years ago as an achievement worth repeating, leaning precariously, one at a time, on the outside edge of my feet, an unsure stance entirely assured of its identity. The gravitational clarity of flat feet denied, deferring to a desperate, hopeless plea against Earth’s pull out of respect, infatuation.

Forty years of stepping, one sole at a time scraping the concrete of a city too familiar and meandering. You see their virgin eyes upon arrival (No center! No there there!), but you know better, but you can’t explain. You can only stand (nobody walks), smile, hope for the best, that they can learn to find theirs in the sea of super lowest common flat surfaces and countless identifications lurking beneath, sandtraps of empty form without a mirror.

In such a forest, no one follows your steps. They can’t see a path you've no intention of marking, despite your occasional protestations.* Infrequently, finding your dimmest possible light, you stomp out a clearing, a window to let back out your store of ghetto bird moonlight, a frame betwixt and between through which you invite infinite peering, a canted, cracked mirror held uncertainly askance; a mute plea for sympathy; a distant, firm, loving embrace.


* “If I stop trying to define myself, would I still have something to struggle against?”

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