(This article appeared in the Anderson Valley Advertiser May 2012)

“When we express our true nature, we are human beings. When we do not, we do not know what we are.” Shunryu Suzuki

Planting sugar snap pea seeds yesterday, I was thrilled to find the raised bed rife with earthworms, young and old. We garden in soil known hereabouts as pygmy, which left to it’s own devices will not grow vegetables or much of anything except bonsai pines and huckleberries and the nefarious Scotch Broom. Thus we have eight raised beds in boxes and four beds in the ground, all requiring manure and compost in addition to the local soil to give us a decent harvest.

This past fall I scored a truckload of rabbit manure and I surmise it is this precious poop that has proven such an elixir to the worms. When I moved here six and a half years ago and set up my above-ground composting bin (and before the bears demolished that flimsy plastic thing) I was dismayed to find nary a worm coming up out of the ground and through the slots in the floor of the bin to gobble the tasty leftovers and give birth to myriad wormlets. In Berkeley where I gardened a small plot for eleven years, my composting bin (a gift from the city to encourage us to do the rot thing), produced gazillions of worms in collaboration with the local ground. But in pure pygmy soil, earthworms are as scarce as pumas, and it took a good three years of feeding massive amounts of worm food to the soil before any sort of worm population took hold.

This rabbit poop is apparently some sort of earthworm Viagra, for now when I turn the soil, the good earth literally dances with hundreds of little wigglers. May they grow large and happy, and may our vegetables and flowers and herbs thrive on their castings.

“Once you are in the midst of delusion, there is no end to delusion.” Shunryu Suzuki 

One sunny day in my Berkeley garden, about ten years ago, I was enjoying eavesdropping on the conversation raging among three teenaged boys and one seventeen-year-old girl gathered around a table on the deck that jutted out from our house and looked down on my garden, the girl being my de facto daughter Ginger, a beautiful and sociable young woman who attracted males as catnip attracts cats and pineapple sage attracts hummingbirds. As a consequence of Ginger’s charms and sociability, our house was frequently overrun by young men, many of them from good Berkeley homes and heading for college, if they were not already in college. Of these three on the deck that day, one was bound for Harvard, one for Stanford, and the third had recently matriculated at the Berklee College of Music in Boston.

When Ginger sashayed into the house to fetch drinks for the thirsty lads, two of them came to the railing of the deck and peered down at me as I thinned carrot seedlings in ground next to my verdant broccoli.

“Is that…” began Jeremy, the Harvard-bound Physics major, “…um…hey, excuse me. Is that like broccoli in those little bushes?”

“Yes, it is,” I said, smiling up at him.

“Oh my God,” he said, his jaw dropping. “Jason, you gotta come see this. Broccoli is like growing on a little bush right in their garden.”

Soon to be studying politics at Stanford pursuant to becoming a lawyer, Jason joined Jeremy and Raul at the railing. “Where?” he said, looking down on the mass of greenery. “I don’t see anything.”

“There,” said Jeremy, pointing emphatically at a head of broccoli. “Right fucking there, man. I never knew it grew like that.”

“Me neither,” said Jason, shaking his head. “Jesus. Look at all that food. Is that like lettuce?”

“Indeed,” I replied, wondering if perhaps they were spoofing me. “Would you like a garden tour?”

“I would,” said Jeremy, skipping down the stairs, “but those guys are like totally fixated on you-know-who.”

So I gave Jeremy a ten-minute tour of my patch of vegetables and herbs. He pulled a carrot for the first time in his life, washed it in the hose while watering the parsley, took a bite and declared, “God, that is so sweet I never would have known it was a carrot.” Then he smiled beatifically. “I’m blown away. I never knew how any of this stuff got here. What a trip.” Then he frowned and shook his head. “Hey, not to change the subject, but we were just arguing about the Vietnam War. Jason said it was kind of an extension of World War II and was about trying to get their resources, and Raul said, ‘Like what resources?’ and I thought it was like to stop the communists. But was it the Russians or the Chinese we were trying to stop? Or…like…do they have oil in Vietnam? I mean, if they had oil wouldn’t they be like rich today?”

“Buddha was more concerned about how he himself existed in this moment. That was his point. Bread is made from flour. How flour becomes bread when put in the oven was for Buddha the most important thing.” Shunryu Suzuki

I just returned from the farmers’ market in Mendocino with two vibrant young tomato plants, Sun Golds, orange cherry tomatoes with delicious flavor; cherry tomatoes being the only kind of tomato we can grow in our cool clime without the sheltering warmth of a greenhouse. Buying Sun Golds at the Mendocino farmers’ market has become a tradition for me, five years running now, and though I could easily start my own Sun Golds from seed, I prefer to buy my starts from a grower at the market. I suppose if I had a greenhouse, I would be more likely to start my own tomato plants from seed, but maybe not. I like the tradition of going to market to get plants, and I look forward to hunting for the most promising ones, speaking to the growers as I search, maybe sharing a tomato growing story or two. All of which begs the question: why don’t I have a greenhouse, even just a little one, to enhance my gardening experience?

I have now been a renter for eighteen years following fifteen years as a homeowner following ten years as a renter, and for all twenty-eight years of my life as a renter some part of me expected to become a homeowner any day now. When I rented my house in Berkeley for eleven years, I did not plant a lemon tree for the first five years because I was convinced that if I were destined to live in Berkeley for more than a few years, surely I would find a way to buy a place and plant a lemon tree there. And now I have lived for six years in this wonderful house we rent on a piece of paradise a few miles from the village of Mendocino, and though my rational mind knows we may never own a house in this kingdom of expensive houses, I have yet to plant blueberries or grapes or fruit trees, or to build a small greenhouse because of that same expectation of possibly owning a home one day. Of course, what makes my reluctance to build a greenhouse entirely silly is that I could easily build the greenhouse to use in our garden now and take the blessed thing with us should we ever fulfill our dream of owning our own place.

“When we become truly ourselves, we just become a swinging door, and we are purely independent of, and at the same time, dependent upon everything. Without air, we cannot breathe. Each one of us is in the midst of myriads of worlds. We are in the center of the world always, moment after moment. So we are completely dependent and independent.” Shunryu Suzuki

I vow to be more consciously a swinging door, to do the things I want to do now and with much less care for what may or may not happen in the future. I vow to plant a lemon tree if a place in the ground calls out to me and says, “Hey you with the arms and legs and shovel. We could use a lemon tree right here, whether you stick around after you plant it or not.” I vow to live in this house we rent as if we may never leave here until we die. The moment, as Shunryu Suzuki would say, is what we’ve got. The rest is illusion.

I’ve been here before and made similar vows, which I am just now remembering. Five years ago I was quite ill and wondering if I would be around in this body much longer. I had long been planning to publish my book of short stories Buddha In A Teacup, and I kept saying to Marcia, “I will, I will…after I’m completely well.”

Marcia was wonderfully patient with me through my long ordeal, but one evening she said, “By waiting until you think you are completely well, might you be suggesting to your body and the universe that you don’t entirely believe you will get well? Why not go ahead and publish your book and trust that in doing so you will speed the process of your healing?”

So with great trepidation, I followed her counsel and published my book, and in the process of bringing forth Buddha In A Teacup my health improved and life became rosy again, rosy and suffused with the energy of no longer waiting around for some other moment than this one. And because everything is connected, I have since received a good many letters from people who read Buddha In A Teacup and wanted to thank me for reminding them that when we live in the past or dwell in the future, we aren’t really here; and what fun is that?

Photo by Garth Hagerman

(This article appeared in the Anderson Valley Advertiser December 2011)

“To study music, we must learn the rules. To create music, we must break them.” Nadia Boulanger

During the four years in the early 1990’s when I ran the Creative Writing program for the California State Summer School for the Arts, I oversaw the work of two hundred teenaged writers and worked intimately with fifty of those talented scribblers. Three of the two hundred were, in my estimation, brilliant and original and highly accomplished writers; yet these three were so deeply introverted I predicted they would never succeed as professional writers. Sadly, so far, my prediction has proved true. In the publishing world of today, ambition entirely trumps talent, and believe it or not, ambitious imitators rule the narrow roost of your favorite bookstore, independent or otherwise.

We recently watched the first two-thirds of Robert Altman’s excruciatingly painful film Vincent and Theo about Vincent Van Gogh and his brother Theo—two-thirds of the movie being all we could bear, and even at that I was an emotional wreck. Whether or not the film is an accurate portrayal of the real Van Gogh, the movie conveys the very real suffering that many visionary artists feel in the absence of lasting emotional connections to other people and society, emotional connections these artists desperately want to make through their art. Yet because society is largely a manifestation of well-established perceptions and carefully regulated protocols for the presentation of those perceptions, most creative introverts are doomed to commercial failure unless they are rescued through the intervention of a sympathetic agent (catalyst) in the body of a functional extrovert.

The few moderate successes of my own writing career occurred because of the divine efforts of an extraordinary literary agent named Dorothy Pittman, the likes of which no longer exist, for she was wholly concerned with quality and originality, while caring not a whit about commerciality or the emotional idiosyncrasies of her clients. When Dorothy died, I was left to my own devices, which, for the most part, proved unacceptable to corporate operatives who care not a whit for quality and originality, and care only about their bottom lines showing large profits.

We want to think those elegant hardbacks awaiting us on the New Arrivals table at our favorite bookstore are the cream of a diverse cultural crop, the work of artists and original thinkers, but this is rarely true, for the source of nearly all of these books is corporate fascism, the antithesis of everything we wish our culture to be. Thus the most original of our writers and musicians and artists survive on the fringes of our cultural mix and remain largely unknown to you or to me or to anyone, save for a few friends, if they are fortunate to have friends.

This systemic isolation of original artists has probably existed since the dawn of urban life, when for the first time in human evolution large numbers of people came to live together in relatively small geographical areas. Certainly without the untiring efforts of Theo, Vincent Van Gogh’s brother and agent and only friend, we never would have received the enduring gift of Van Gogh’s genius. And because in the course of my life I have been fortunate to read the unpublished work of a handful of contemporary geniuses that few others will ever read, I assume there are thousands of such writers and artists toiling away in anonymity; which assumption brings to mind the cultivation of carrots and how of the several hundred seedlings that sprout in the carrot patch only a lucky few will survive the seemingly random act of thinning so they may attain full carrotness, with only the rarest of carrots attaining carrot magnificence.

“Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.” Frederic Chopin

Having published ten books with nine different gargantuan publishing houses, eight works of fiction and two works of non-fiction, and having had essentially the same dreadful experience with each of these corporate behemoths, I, the former Executive Oddball of the International Order of Barely Functional Introverts, finally decided to embark on the path of a self-publisher. Succeed or not, I would at least have some small control over my creations (if only to be in charge of hiding them); and best of all I would never again have to watch as my years and years of toil were relegated to the trash heap with the wave of some moron’s hand, before or shortly after what should have been publication days of joy and celebration.

Though it may seem incredible, even unbelievable, to those unfamiliar with mainstream American publishing, the entire system has, for over forty years, been based on the buying and publishing of thousands of books every fiscal quarter with the foreknowledge that most of these books will be intentionally killed before or shortly after their official dates of publication. How could such a bizarre system have taken hold in a field that most people still think of as a creative part of our cultural framework? A thorough explanation of how this self-annihilating practice came to be would fill a fat volume, but I will use the brief tale of one of my own books as an example of how the system operates.

In 1995, having gone nearly a decade since publishing my fourth novel, I sold my fifth, Ruby & Spear, to Bantam for a 25,000 dollar advance. A rousing contemporary myth, Ruby & Spear is about an impetuous white sports writer, Vic, and his adventures with a fabulous black basketball player named Spear, a sexy feminist named Greta, and Spear’s tough old mystical grandmother Ruby. When they purchased Ruby & Spear, Bantam was owned by Random House, which in turn had been swallowed by a massive multinational corporation that now owns most of the previously freestanding publishing houses in America. In truth, there are only three gigantic publishers left in America, each masquerading as several publishing houses, each in reality a tiny division of a multinational behemoth.

Why did Bantam buy Ruby & Spear? I would like to say it was because their editors and sales people were eager to bring forth an entertaining literary gem; but that would be untrue. Bantam bought Ruby & Spear because they were guessing (gambling) that the movie rights to the book would be optioned for the movies before the book was published, which optioning would result in thousands of dollars of free publicity for the book; and if, indeed, a movie of Ruby & Spear was made there would be millions of dollars of free publicity. Bantam hoped the book might be sold to the movies because another of my novels, Forgotten Impulses, was on the verge of being made into a major motion movie, and because my first novel Inside Moves had been made into a film during the Pleistocene, which film caused many copies of that book to be sold.

But when Forgotten Impulses was ignominiously dropped by the movie people, and that dropping coincided with a few stupid studio execs complaining that Ruby & Spear was strangely void of violence and chock full of strong complex women and atypical men (and it wasn’t set in either New York or Los Angeles, but in Oakland, for godsake!) Bantam decided not to bring out a hardback version (ending hope of widespread reviews); and then they decided to kill the paperback edition on publication day.

To kill a book, a publisher declares the tome out-of-print and ceases distribution before that book has a chance to live. This is the fate of the vast majority of books published by large publishers, and is especially the fate of literary fiction, a rare kind of writing that does not fit into any obvious target genre such as murder mystery, sci-fi, teen vampire, adult vampire, teen wizard, or bodice-ripping historical romance. 25,000 dollars, to a corporation making most of its billions from strip mining and manufacturing cell phones and buying and selling governments, is not much of a gamble, so….

So here I am, an introverted self-publisher, my first two self-published books winners of multiple independent publishing awards, yet almost no bookstores in America carry my books, and that includes those revered independent bookstores. Why? Simple. Many people who buy books have seen and heard myriad advertisements for the latest bodice-ripping historical vampire fantasy, and many of these same people enjoyed the previous seven volumes in that marvelous series, so they very much want to read the latest regurgitation; and they have not heard of Buddha In A Teacup or Under the Table Books, nor have the bookstore people heard of my unclassifiable tomes, neither of which contains a single vampire, though both volumes are mysteriously sensual. Thus we live with the painful irony that independent bookstores generally carry only the most popular mainstream gunk because they don’t have the shelf space for (or the knowledge of) less popular books.

“It is important to practice at the speed of no mistakes.” Lucinda Mackworth-Young

Long ago I had supper with one of the most powerful publishers in America who happened to be married at the time (ever so briefly) to the editor of one of those novels I published in the Pleistocene. And when this famous publisher was nicely lit after downing a few goblets of breathtakingly expensive wine, she raised her glass and proclaimed, “Every book that really deserves to be published eventually does get published.”

And though from a career-building point of view I should have raised my glass and cried, “Hear, hear!” instead I retorted, “Methinks you are rationalizing the actions of unscrupulous corporations,” which only made her hostile. Oops. Silly me.

“Art is the only way to run away without leaving home.” Twyla Tharp

Gazing back thirty-five years through the telescope of hindsight, I realize that my editor’s wife, a great and powerful publisher (who was just a person, after all) was giving voice to what we all fervently want to believe, which is that great new creations will eventually find their ways into the lives of more than a few lucky people. And I think we harbor this belief in the inevitable ascendancy of excellent original art (which hasn’t been the case for thousands of years) because for most of human evolution, when our kind were much fewer and farther between, when we lived in bands and tribes and everyone knew everyone else, that when a good new creation came along, that song or story or painting or dance or myth or spear or drum or flute stood out like the only black horse in a herd of white horses, or vice-versa, so there was no way the glorious thing could be overlooked.

Photo by Marcia Sloane

(This article appeared in the Anderson Valley Advertiser December 2011)

“If we weren’t still hiring great people and pushing ahead at full speed, it would be easy to fall behind and become a mediocre company.” Bill Gates

In 1983, as the trajectory of my writing career, commercially speaking, was turning steeply downward, my third-rate Hollywood agent gave me an ultimatum. “Get an answering machine or find another agent.” Thus I became one of the last people in America to discover the joys of screening my calls.

In the early days of owning an answering machine, I especially enjoyed making long rambling outgoing messages; and people seemed to enjoy hearing those messages a few times, after which they would urge me to change the messages because they never wanted to hear them again. So I got in the habit of making new outgoing messages every couple days; and then people complained I was erasing really good messages before their friends got to hear them. Thus art mirrored life.

Then one day I made an outgoing message that went viral before the phenomenon of something going viral even existed. I’m speaking about a time before the advent of the interweb, which was not very long ago but seems prehistoric. If I still had that particular outgoing message and put it on YouTube today as the soundtrack to beautiful scantily clad women dancing on the beach or swimming in lagoons or sprawling on bearskin rugs or walking through sun-dappled forests, I have no doubt my message would go viral again and I would become famous and wealthy from all the hits and links and apps and downloads from clouds and kindles and everywhere.

Sadly, I only remember the feeling of the message, not the words. The feeling was of being exactly where I was supposed to be and doing exactly what I was supposed to be doing, which was telling an entrancing story or expressing some deeply satisfying feeling or describing a most delicious way of being—something so alluring that the caller was overcome with a full body sensation of life being a lovely adventure, a sexy samba on a warm summer day, and that their calling me and listening to my message was exactly what they were supposed to be doing. Yes! The experience of listening to my message was a holy act, a miraculous give-and-take, a blessing, a multi-dimensional, emotionally, physically, and spiritually fulfilling orgasm free of even the slightest attachment to outcome or length or reason. Hallelujah!

I got hundreds of calls. Telephone calls. Not emails or hits or links. I’m talking about actual human beings calling my number and listening to my message—hundreds of people from all over America and around the world. Friends told friends and their friends told their friends, and so on. A woman called from France and left a message my neighbor translated as, “I am so very much wanting to have the child you are the father.” Another call came from a bunch of people having a party in England, and after hearing my message they applauded and shouted “Bravo!” Calls came from bars and cafés all over America and Canada where the callers held the phones up so everyone in those joints could listen and respond. I felt like I’d won the Pulitzer Prize, minus the prize money.

That message made people happy. Those words, their order and tone and cadence, made people laugh and cry and rejoice. Some people left delightful replies—impromptu poems full of love and hope that brought tears to my eyes. I tell you, that message was an elixir, a salve, and a great big answer to the gigantic question: why are we here?

I kept that globetrotting zinger of a message on my answering machine for months until one day a friend who had heard that psalm too many times said, “Enough already,” and I hit the Erase button. Honestly, I had no idea what I was erasing because I had not listened to the blessed thing since the moment, all those weeks and months before, when I hit the Record button and fell into a reverie from which flowed those now forgotten words.

“Any sufficiently advanced technology is indistinguishable from magic.” Arthur C. Clarke

My wife Marcia and I are both self-employed and have web sites whereon we display our wares and talents in hopes of enticing people to give us money for what we do. Marcia is a cellist, cello teacher, composer, and she runs two chamber music camps each year for adult string players. Her web site is NavarroRiverMusic.com on which she promotes her marvelous camps and sells her CDs and sheet music. Her most successful creation, commercially speaking, is her Cello Drones for Tuning and Improvisation, a CD that has sold three thousand hard copies and is being downloaded at an enviable rate each month, I being the envious one. Music teachers and musicians and meditation practitioners rave about her cello drones, and there seems no end to new customers. She also sells her album of wonderful cello-centric songs Skyward, sheet music of her original compositions, and three CDs she’s made with her husband Todd (that would be moi).

My web site is UnderTheTableBooks.com on which I sell my books, music CDs, story CDs, birthday cards, and cards and posters of my zany paintings. Visitors can listen to stories and chunks of my novels (read by yours truly) for free, and sample tunes from my albums. My most successful creation, commercially speaking, is the lovely little hardbound book (signed by the author) Buddha In A Teacup (just ten bucks!) I am currently most enamored of my solo piano CDs and dream of one day rivaling Marcia’s enviable download business, though for now I’m thrilled when I make .0013 cents from someone in Poughkeepsie taking a listen on Napster.

And, yes, my previous experience with the aforementioned miraculous outgoing answering machine message and a few other game-changing incidents of cosmic largesse keep me believing that one day such transcendental beneficence might befall me again. My new CD Mystery Inventions, piano and bass duets, for instance, might be just the creation that inspires those hits to keep on coming. Or not.

So…from what I’ve just said you might get the impression we’re a fairly techno-savvy household. In truth, Marcia is a computer enthusiast and gets better at cyber software stuff all the time. I, on the other hand, am a technophobe. Even simple procedures involving software are to me as Everest is to one with high blood pressure. After nearly thirty years of owning a personal computer, the contraption remains for me little more than a typewriter with a screen, a way to send and get mail, and a pseudo-television for watching sports highlights and movie previews—all else digital is baffling to me.

“The system of nature, of which man is a part, tends to be self-balancing, self-adjusting, self-cleansing. Not so with technology.” E.F. Schumacher from Small is Beautiful

So yesterday I’m reading the newspaper, the actual paper, not a projection, and I come to an article the likes of which I usually skip, an article about a man who has an app design software company that is growing so fast he just rented another 150,000 square feet of office space in the hottest sector of downtown San Francisco, and he thinks he’ll quadruple that space by year’s end.

I could not understand anything this man said or anything he is reputed to have done. He said that twelve million people have downloaded one of his apps that empowers them to paint on their cell phones, thus “unleashing an avalanche of pent up creativity.” Twelve million people are painting on their cell phones? Are they finger painting? What does a painting made on a tiny screen look like? Then the guy goes on to say that everything he and anyone in the know are doing today is “all about the cloud.” The cloud. I’ve heard about this cloud, some sort of virtually unlimited cyber space computing zone making possible the instantaneous transfer of jillions of bytes of digital information per nanosecond times a jillion squared. This cloud, according to this billionaire cyber wizard, “will unleash the creative potential of humanity.”

And my gut reaction to that is, “I hope so, but I doubt it.”

What a silly idea, competitive meditation. Yet in America all things become competitive and hierarchical as reflections of the dominant operating system. Twenty years ago the notion of competitive yoga would have been just as absurd as competitive meditation, yet today yoga competitions are all the rage with big cash prizes for top asana performers ranked nationally. An asana is a particular yoga pose. Could league play be just around the corner?

The history of Buddhism, with meditation as its foundation, is a fascinating study in what happens to a non-hierarchical, non-competitive, crystal clear philosophy when it comes into contact with different societies, each with entrenched systems of social organization and religious dogma. Because Buddhism in its purest form is not a religion, it is easy to discern how in coming to China, Tibet, Japan, and now the United States, the original tenets of Buddhism have been deformed to fit the pre-existing religious or pseudo-religious structures.

Organized religions universally feature a head priest or priests, priest lieutenants, their favored adherents, the less favored, and so on down the steep slope of the pyramid. Trying to fit the fundamental Buddhist notion of the essential emptiness of reality into such a pyramidical structure is akin to building a complicated factory in order to produce nothing. Delusion, greed, arrogance, jealousy, all of which Buddha called enemies of enlightenment, are, ironically, the building blocks of organized Buddhism in America.

One of my favorite stories about Freud, not to change the subject, is that he said to his American cohorts on several occasions before his death, and I paraphrase, “Whatever you do, please don’t make being a medical doctor a prerequisite to being a psychiatrist.” He made this plea because many promising psychotherapists in Europe, among them Erik Erikson, were not medical doctors, and Freud didn’t want to preclude this valuable source of input to the field.

Sadly, the Americans did just what Freud feared they would do, and we suffer the consequences to this day. Why didn’t the Americans heed Freud’s advice? Because greed, arrogance, and most importantly the desire to control who gets into the exclusive club, won the day. People at the top of pyramids will do almost anything to stay there, and since there isn’t much room at the top, the maintenance of the ruling elite requires the ruthless exclusion of anyone or any idea that threatens the status quo.

Indeed, our government and our entire economic system reflect this basic tenet of organizations structured as steep-sided pyramids. Ironically, the collapse of such pyramids is inevitable because without new ideas and original personalities, these systems decay from the top down. This is why Jefferson suggested revolutions at regular intervals were essential to the continuing health of any large organization such as a nation.

The worship of celebrity, not to change the subject, is a hugely important aspect of the American psyche. Americans aspire to be celebrities, to associate with celebrities, and to know all about celebrities. I attribute this particular mania to our collective genetic memory of being subjects of kings and queens for the thousands of years when members of the royalty were the primary celebrities until the Industrial Revolution spawned a middle class. Regardless of how it came about, celebrities rule our psyches, individual and collective, and American Buddhism has become a celebrity-based system, too; a happenstance every bit as absurd as the notion of competitive meditation. Absurdity, however, is another hallmark of American culture along with ignorance, racism, and senseless violence.

The historical Buddha, Gautama, so say the texts, witnessed these hallmarks of American culture as they manifested in India circa 600 B.C. and was so disturbed by the terrible suffering such ignorance and violence caused victims and perpetrators alike that he left behind his princely life and embarked on a journey, both inward and outward, to discover the root causes of pervasive human misery. And the vehicle he rode, as it were, on his quest to discover the source of suffering, was meditation.

Now here is something crucial to remember about Gautama Buddha: no one anointed him, no one taught him, and he did not belong to a lineage of teachers. Through meditation he attained enlightenment and discovered what he believed to be the source of suffering, and he did this…drum roll…all by himself.

Today in America or Japan or Tibet or China or Indochina, one would be extremely hard-pressed to find any “officially recognized” Buddhist master who would dare say that a practitioner can find his or her way without the guidance of an “accredited master”. I am currently reading for the third time Sogyal Rinpoche’s wonderful text The Tibetan Book of Living and Dying in which he repeats ad nauseum that no one can ever hope to understand the true nature of mind or really make much spiritual progress without devotion to, and instruction from, an accredited, official, bona fide Buddhist master, and to think otherwise is dangerous and foolish and wrong. In subtle ways, he contradicts this message throughout the text, yet he seems terrified to overtly suggest otherwise.

Which brings me to The New Testament, not to change the subject. There is now both academic and popular support for the theory that the gospels of The New Testament were selected from a much larger body of Gnostic gospels in order to espouse the view that it is impossible for a regular person to connect with God except through an accredited, official, bona fide priest who somehow or other is linked by direct transmission to Jesus Christ. Any gospel that suggested you and I might connect directly with God through our own efforts without the intervention of officially accredited priests were simply not allowed into the anthology, i.e. The New Testament.

I may be stating the Gnostic case in an extreme nutshell, but I think it an accurate description of how a hierarchical system was imposed on the teachings of a Buddha-like being (Jesus Christ) who got His download, so to speak, directly from God, with no accredited anybody officiating. Which brings me back to Buddhism and competitive meditation.

I first became interested in Buddhism when I fell in love with the poetry of Philip Whalen in the late 1960’s. Searching for texts to explain Whalen’s passing references to Buddhism in his poems, I came across a little book, and I mean a tiny paperback of less than a hundred pages, written by Alan Watts entitled The Wisdom of Insecurity. Reading this book was more than a revelation to me; the experience rearranged my synapses. The basic premise of The Wisdom of Insecurity is that if I am thinking about the past and/or thinking about the future, I’m not actually here because our awareness determines our place in time and space; from which followed the popular expression Be Here Now.

The Wisdom of Insecurity was new stuff in America when it was published in 1949 (the year I was born) and it was one of Watts’s many attempts to elucidate the primary purpose of Buddhist practice, which is to bring the mind into communion with the present moment and thereby reveal the past and future to be illusory. Watts, it should be noted, has of late been marginalized by contemporary American Buddhist orthodoxy because he adamantly rejected the idea of official anointment and wasn’t particularly keen on formal modes of meditation. In this way, he was another of those folks who apparently “got it” without being knighted by an official of the hierarchy he helped found.

Inspired by Watts and Whalen, I continued to read Buddhist texts, contemporary and classical, for some years, and I was inspired to write a batch of contemporary short stories springing from various aspects of Buddhist philosophy. For instance, I would read about generosity, meditate with generosity as my starting point, and then write a story that welled up from that meditation. Then I’d send copies of the story to several friends, some versed in Buddhist philosophy, some not, wait for feedback, and then rewrite the story. Over the course of three years, I wrote forty-two such stories that eventually became a manuscript entitled Buddha In A Teacup, the title homage to Yasunari Kawabata’s Palm of the Hand Stories.

I made a photocopy edition of a hundred and fifty copies of Buddha In A Teacup, informed my friends I had done so, and within a few months sold all the copies for twenty-five dollars each, which covered my copying and mailing costs. Many of my readers urged me to try to get the book published, so I sent the manuscript to a half-dozen publishers of Buddhist texts in America and Canada. Reaction was swift and universal; the book was fascinating and fresh, but I, Todd Walton, was no one of even minor note in the galaxy of Buddhist celebrities, so No Thank You. To which I replied, “Is not the goal of our practice to transcend the illusion of ego and embrace the essential truth of our no oneness?”

Only one editor replied to my reply. He reiterated how much he liked the stories, and regretted that his company only published well-known Buddhist teachers armed with rave blurbs from really famous Buddhist teachers.

I eventually self-published a lovely edition of Buddha In A Teacup through Lost Coast Press in Fort Bragg, and though not a single Buddhist publication large or small would deign to review the book, Buddha In A Teacup has now sold over fifteen hundred copies and continues to gain a wider audience. People, those not constrained by the worship of celebrity or constricted by devotion to orthodoxy, love the book, and I think they do because the stories illuminate essential messages of the Buddha; that we are all on the same path, each of us seeking to become less fearful and less judgmental of ourselves and others, each of us aspiring to become more loving and generous.

In the vast Buddhist library there are many versions of what happened at the moment Buddha’s body died and his essence returned to the essential ground of being, an extremely subtle and eternal energy field from which you and I and all things arise and dissolve. My favorite version of this last corporeal moment is a poem by Mary Oliver entitled The Buddha’s Last Instruction in which his only spoken words are, “Make of yourself a light.”

And that is what I suggest you say to anyone who challenges you to a meditation contest. “Make of yourself a light,” and leave the competition to the organized and fully accredited yoga teams.

Copies of Buddha In A Teacup signed by the author are available from Underthetablebooks.com.

(This article first appeared in The Anderson Valley Advertiser in October 2009)

Beginning Practice

Humility

Dying

The Beggar