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Tonight I want to talk about another aspect of the koan about who’s hearing, who am I, what am I. There’s a spectrum I’ve been talking about so far for all of one previous talk. And I wanted to get at it slightly at an angle by going in through dreams, and the idea of is there a difference between what we’re doing and dreams anyway, which is certainly relevant to who we think we are. 

So I’ll take any comments or questions. So how’s it going? How are your demons doing? How are your elephants? What are you noticing in your meditation?

Zenosaurus: Dreams play an essential part in the current of life—while I’m not paying attention, my dreams turn the lumps, details, and meetings of the day into art, giving them depth and a warm amber light.

Zenosaurus Curriculum 8: Most problems come from “knowing” things that might not be true. If we stop insisting on certainty we might feel anxiety at first, but then an exhilarating freedom might arrive.

Zenosaurus Curriculum 5: What’s it like when we don’t enter the worlds that come with the thoughts? Who owns my thoughts? They don’t have to be mine, they could be anyone’s.

There was a teacher called Luopu, a Chinese teacher, and he said this interesting thing. He said, “You have to directly realize the source outside of the teachings.” That’s the whole thing about it. That’s Bodhidharma’s thing, the direct realization outside of scriptures. The scriptures are nice and the teachings are nice, but really, the direct understanding—the direct meeting with life—the direct meeting with awakening is the thing.

You can trust that the thing that you are doing is going to work. It’s underground. There’s a growth happening in the dark. You don’t even have to see it. But, after a while, you start to notice it. It’s kind of a cool thing, actually. You think, “God, even me! Even I have some part in this.”

So, rather than thinking a predicament is something we’ve got to get rid of, it’s just life—and it has its own dynamism. Maybe we have to walk through it, not run the other way. It’s all right to weep about it, or be frustrated and angry. You can’t be someone else, you are who you are. The gateway is yours, not someone else’s.

Addendum for AUDIO: Stinginess & the Storehouse of Treasures. Tess begins the talk with the below quote from Marie-Louise von Franz, underscoring the way holding the bodhisattva vows as koans is not about adhering to the rules but discovering the appropriate response one moment to the next.”

The Heart Sutra in the context of its relationship to koans and what koans are. I want to pursue that line a little bit.  And the first thing to say about – probably the first attitude people have to koans is that they are a sort of tool, a gadget of some kind, and you use them and you concentrate on them, and you use them – a can opener for the mind

The Heart Sutra, like any koan, contains the universe, and so you have to go in somewhere.  I want to go in through the “Mantra of Great Magic.”  Even the word “mantra” is, in a certain way, a reference to magic, a sort of portable access to reality that you can carry around with you. And the word “magic” is also used for the word “mantra,” so where we use “mantra” to produce magic, there’s a transformative quality about the mantra so that, when you repeat it, when you keep company with it, you end up in its world.

Two swords are crossed (like in the movies, which actually I don’t think happens in real life, but it’s very popular in the movies. It was popular in the movies like 1200 years ago.) Two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. Farther, higher, up , further, more. So two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. 

This is from an old Chinese poet, and koans and poems were always, poems, koans, koans, poems, they’re always somewhat intertwined in their history. And so often poems were used as koans and vice versa. This is a series of five poems by an old Chinese teacher called Dongshan, who kind of did a map of the Way in five stages, because everybody knows there are five stages for the Way [laughter].

Everybody probably has a road that would come to mind. I remember getting a bus in Tasmania and driving through the west coast mountains to a mining town where I was going to work, get a job, and how the snow was coming down and the bus would just go around this really narrow road like that, and there are certain parts of the world that have truly alarming narrow mountain roads with truly alarming drivers and very ancient buses.

And so you go out to the cemetery and you find your family vault. It looks a little bit overgrown; you haven’t been there for a long time. But you’ve got a key and you put it in and you pull the big stone door and it opens, just like that. It’s great. So you walk in just to kind of pay your respects; you haven’t been here for ages. And a sudden gust of wind….

“Good morning. This morning I wanted to talk a little bit about the experience of relying on the moment that we’re in to make itself. . . .” July 2013.

“Koans light up a life that may have been dormant in you; they hold out the possibility of transformation even if you are trying to address unclear or apparently insoluble problems.” Originally published in Shambhala Sun Magazine, November 2004.

Eventually you come to a place where you can’t go on and you can’t go back. You have arrived at the base of cliffs; you can’t scale them, you can’t get around them, and there’s no handy tunnel through them. The Japanese teacher Hakuin called this the Silver Cliffs and Iron Mountains. It’s a daunting place—that’s the point of it. And when you arrive here your life and your journey can become your own.