"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).

Thursday, March 31, 2011

Kamaitachi elegy for Japan - March 2011





With what lens, what eyes, may we view our own chaos?  There’s a trickster in each of us, with the power to instigate change.  



His generative nature laying fertile beneath the surface, beyond age, gender, and experience.



Much of the time hidden in the shadows of the mind.



Sometimes hiding in plain sight between heaven and earth.



And sometimes appearing to us when we least expect it, subtly altering our perceptions.



He knows change is inevitable, and his every action begs the question, What will grant you the power to adapt?



Even in the gloaming, after much is said and done, the creature lurks, ever present.



Even in places and feelings we’ve abandoned to the past.



Even then, pattering along, does he search for victims or guard the community’s source of sustenance?



Abducting the fruits of the community’s labor for his own purposes, or preserving its legacy’s potential?



In a gathering storm, he is at home where the past is washed away and destroyed and where the future is born.



A glimpse at his passing, dashing uncontrollably across the landscape, transforming from one form to another in every second. The oval of light shaped by the moment of the eyelid raising, making the surrounding darkness a reflection of the viewer’s interior. Or is it a mushroom cloud, with the flash of 10,000 suns, tearing the air asunder, the only thing that makes him visible; the moment of ultimate disaster and chaos the only instant we see his, or our, true nature?



Dancing, leaping in place, his head and face up against the edge, the border between light and darkness. A dance of death? Reaching for the stars? Or simply feeling at home in an instant of pure liminality, when matter and antimatter exist in both opposition and balance?



We may be anxious about what he has wrought. Is it dusk or dawn? Is this his, or our, last dance, first steps, or both?



After the waters have receded, a harvest of pain, but without guilt or shame.



The light of the sun reflected by the full moon, which his body reflects upon the dry, sallow land, regenerating its fertility for an even greater future harvest.



Even shorn of traditional implements, memory is yet held and translated. Mourning the dead or revivification?




Hibernating, communing with, and rejuvenating humanity’s fertile potential.



Back in his lair, the shadow of the mind, floating, waiting, transcendent...


(Photos by Hosoe Eikoh; featuring Hijikata Tatsumi; from the series, "Kamaitachi")