Pages
- Obstacles & Resistance - Ezra Bayda
- Hard Times, Simple Times - Norman Fischer
- Don't Waste Time - Lee Register
- "You Are Buddha" - Norm Randolph
- Genjo Koan
- Sacred texts - Zen Poems
- Fukanzazengi
- Other Fun Stuff
- Ken Jones - A Primer
- Good Talks
- Chapters from Karen Maizen MIller
- Rain and the Rhinoceros - Thomas Merton
- True Happiness - Thich Nhat Hanh
- Am i not among the early risers? Mary Oliver
- Maintaining A Steady Practice - Pat Enkyo O'Hara
- Just Sitting, Going Nowhere - Lewis Richmond
Sunday, July 12, 2026
Pain and the Second Arrow
Sunday, April 12, 2026
5 Remembrances - translation by Thich Nhat Hanh
https://www.upaya.org/wp-content/uploads/2021/08/Five-Remembrances.pdf
I am of the nature to grow old.
There is no way to escape growing old.
I am of the nature to have ill health.
There is no way to escape ill health.
I am of the nature to die.
There is no way to escape death.
All that is dear to me and everyone I love are of the nature to change. There is no
way to escape being separated from them.
My actions are my only true belongings.
I cannot escape the consequences of my actions.
My actions are the ground upon which I stand.
- Anguttara Nikaya 5.57 - Translation by Thich Nhat Hanh
Monday, January 19, 2026
Allowing & accomodating
I'd like to return to Thich Nhat Hanh's language of allowing, and just ask you to please summarize and even continue exploring that with me. I kind of like what, I'd like to go forward with what he says, as well as perhaps other offerings from the Dhammapada on this topic of well pain. And I like what you said about the Dhammapada actually being sort of effort heavy, even moralistic. And I guess I do like how Thich Nhat Hanh translates these instructions, the Dhammapada instructions into softer, more relational idiom, as you said. Perhaps a poem from the Tang dynasty or from the Song dynasty, Qing'an comes to mind. or Qing'an, no, Su Dongpo, Su Dongpo from the Song dynasty, was a very, very helpful poet in my previous explorations. And then, of course, Qing'an from the 19th century would be interesting. Robert Creeley, I'm curious what he might say about this topic of pain and second arrows, that kind of thing.
Yes—let’s stay with Thích Nhất Hạnh’s language of allowing, and let it soften the terrain around pain without denying its reality. I’ll weave together four strands, as you asked:
Thích Nhất Hạnh’s relational idiom of allowing
The Dhammapada on pain, effort, and the “second arrow” (implicitly)
Classical Chinese poetry (Su Dongpo, Tang/Song sensibility)
A brief, careful nod to Robert Creeley’s modern, stripped-down attention
Throughout, I’ll keep the emphasis on pain as something to be met, not managed.
1. Thích Nhất Hạnh: Allowing as Relationship, Not Technique
Thích Nhất Hạnh rarely frames practice as control. His language is deliberately interpersonal, even when speaking to bodily sensations.
Instead of:
“observe pain”
“investigate suffering”
he says things like (paraphrased closely):
“Hello, my pain. I know you are there.”
“I allow you to be here.”
“Breathing in, I am aware of the pain in my body.”
This matters. Pain is not an object under surveillance.
It is a visitor, a child, a messenger.
Allowing means:
not pushing away,
not explaining,
not demanding transformation.
Awareness itself becomes care.
This is where Thích Nhất Hạnh gently dismantles the second arrow:
the added suffering of “this shouldn’t be happening”.
2. The Dhammapada: Clear, Bracing, and Effort-Heavy
You’re right: the Dhammapada often sounds austere, even moralistic.
It repeatedly emphasizes:
vigilance,
restraint,
purification,
guarding the mind.
For example (very loosely rendered):
Pain is unavoidable;
suffering comes from the untrained mind.
There is little overt tenderness here. The emphasis is on discipline.
Thích Nhất Hạnh does something crucial:
he keeps the insight,
but changes the tone.
Where the Dhammapada says, “Guard the mind,”
Thích Nhất Hạnh says, “Take care of the mind.”
Same wisdom.
Different emotional climate.
3. Pain Without Drama: A Tang–Song Resonance
This softer allowing is deeply resonant with classical Chinese poetry, especially the Chan-influenced poets.
Su Dongpo (Su Shi, Song dynasty)
Su Dongpo knew exile, illness, political failure—and wrote with remarkable spaciousness.
One representative attitude (paraphrased):
The river flows as it does.
The body ages as it must.
Why argue with spring or autumn?
Pain is not denied, but it is de-centered.
There is no project to overcome it.
This is aimlessness in poetic form:
no urgency,
no self-judgment,
no demand for purity.
A Tang Dynasty sensibility (Wang Wei–like)
Think of lines where:
a monk sits,
rain passes,
moss grows,
nothing improves.
Suffering is not corrected—it is held inside a larger stillness.
This mirrors Thích Nhất Hạnh’s insistence:
Awareness does not need to fix what it loves.
4. Robert Creeley: Attention Without Consolation
Creeley is not a Buddhist teacher—but his poetics often refuse the second arrow.
His voice is:
spare,
unsentimental,
unornamented.
In poems about the body or emotional strain, he often:
names what is present,
refuses explanation,
stops short of commentary.
A Creeley-like stance would be:
This hurts.
I am here.
Nothing else needs saying.
That restraint itself is compassion.
No story layered on top of sensation.
No philosophy used as anesthesia.
5. What All These Share
Across these traditions—Theravāda verse, Vietnamese Zen, Chinese poetry, modern American minimalism—we see a shared movement:
From fixing → to allowing
From explanation → to presence
From effort → to intimacy
Pain remains pain.
But suffering no longer needs to multiply.
6. A Gentle Summary
The Dhammapada gives clarity and backbone.
Thích Nhất Hạnh gives warmth and relational trust.
Su Dongpo shows how this looks in an ordinary human life.
Creeley reminds us not to over-say, over-think, or over-spiritualize.
Allowing does not mean passivity.
It means not abandoning the moment.
Or, in Thích Nhất Hạnh’s spirit:
This moment is already asking for your friendship,
not your improvement plan.
If you’d like, next we could:
linger with one Su Dongpo poem line by line,
look more closely at regret as pain that asks for allowing,
or explore how allowing differs subtly from resignation.
Just tell me where you’d like to rest next.
Thank you for highlighting that line. Let’s stay very close to it and unpack it carefully, in a way that is faithful to Thích Nhất Hạnh’s spirit, not just the words.
“Awareness does not need to fix what it loves.”
This sentence is almost a summary koan of his teaching.
1. What “awareness” means here (crucial)
For Thích Nhất Hạnh, awareness (mindfulness) is not neutral observation and not analytical scrutiny. It has three inseparable qualities:
Presence – being genuinely here
Recognition – “I know you are there”
Tenderness – non-violence toward what is present
So awareness is already relational. It is closer to listening than to monitoring.
When he says awareness, he does not mean:
self-surveillance,
self-improvement,
or diagnostic scanning.
2. Why the impulse to “fix” arises
The urge to fix usually comes from fear, not wisdom.
Fear that pain will overwhelm us
Fear that if we allow something, it will grow worse
Fear that a “good practitioner” should not feel this way
So fixing is often an attempt to escape vulnerability.
Thích Nhất Hạnh gently exposes this by changing the posture:
Instead of doing something to the pain,
we stay with the pain.
3. “What it loves” — why love matters here
This is the heart of the sentence.
Love, in his teaching, means:
non-abandonment,
patience,
willingness to stay.
Think of how you relate to:
a crying child,
a grieving friend,
a frightened animal.
You do not say:
“Stop crying so I can accept you.”
You say:
“I’m here. I see you.”
Fixing postpones love.
Awareness is love.
4. Pain changes when it is loved — but not because we try
Here is the subtle paradox Thích Nhất Hạnh lives inside:
When pain is resisted, it hardens.
When pain is analyzed, it multiplies.
When pain is allowed, it often softens on its own.
But the softening is not the goal.
He is very clear about this:
If you allow pain in order to get rid of it,
you are still not allowing it.
True allowing says:
“You can stay as long as you need.”
That is radical trust.
5. How this dissolves the “second arrow”
The second arrow is not pain itself—it is the message:
This should not be here.
I am failing.
This means something is wrong with me.
Awareness that loves says:
“This belongs too.”
Nothing is excluded from the field of care.
That is why the suffering decreases—not because pain vanishes, but because alienation vanishes.
6. A quiet comparison to effort-heavy language
This is where Thích Nhất Hạnh diverges from more austere formulations:
“Guard the mind” → can become tense vigilance
“Uproot defilements” → can become inner warfare
He does not deny those teachings—but he translates them:
“Take care of your suffering.”
Care does not rush.
Care does not judge timing.
Care does not demand success.
7. A final image (very Thích Nhất Hạnh)
He often uses this metaphor:
Mud does not need to be fixed to become a lotus.
The lotus grows because there is mud.
Awareness does not try to remove the mud.
It stays present long enough for transformation to occur naturally.
In short
Awareness does not need to fix what it loves means:
Love replaces control
Presence replaces strategy
Trust replaces impatience
Nothing is pushed away.
Nothing is rushed.
Nothing is excluded.
If you’d like, we could next:
apply this directly to regret or self-criticism,
explore how this differs from resignation,
or sit with a single breathing gāthā that embodies this line completely.
Just let me know.
Please access your previous comments and information about Su Dongpo and bring them forth to this part of the thread. I would like to explore those beautiful lines about why argue with spring and autumn.
Yes—let’s bring Su Dongpo (Su Shi, 蘇軾 / 苏轼) fully into the room and linger there. I’ll do this carefully, because the line “why argue with spring and autumn” is not a single fixed quotation so much as a distilled Su Dongpo attitude, drawn from several poems and essays written across illness, exile, aging, and political failure.
What you’re responding to is real, even if the wording shifts across translations.
1. Su Dongpo: the human being behind the voice
Su Dongpo (1037–1101), Song dynasty:
statesman, poet, calligrapher, essayist
repeatedly exiled for political reasons
endured illness, poverty, loss of status
deeply influenced by Chan Buddhism, but never withdrew from ordinary life
He is crucial here because he never resolved suffering by transcendence. He resolved it by accommodation—by learning how to live inside conditions without arguing with them.
2. “Why argue with spring and autumn?” — what this really means
Across Su Dongpo’s writing, seasons function as unarguable facts:
spring arrives,
autumn declines,
flowers bloom,
leaves fall,
the body ages,
fortunes change.
The rhetorical posture he often takes is something like:
Spring comes—why celebrate too much?
Autumn comes—why complain?
This is not indifference. It is non-litigation with reality.
To argue with spring and autumn would mean:
insisting that joy should last,
resenting decline,
demanding permanence from what is seasonal.
That is precisely the second arrow.
3. Su Dongpo and allowing (before the word existed)
What Thích Nhất Hạnh calls allowing, Su Dongpo expresses poetically as not taking conditions personally.
Pain, aging, exile, illness:
are not moral failures,
not cosmic mistakes,
not signs of spiritual inadequacy.
They are weather.
One of Su Dongpo’s recurring gestures is to step back and say, in effect:
This, too, belongs to the pattern.
That is aimlessness without passivity:
no project to defeat impermanence,
no resentment toward loss,
no demand that life justify itself.
4. Resonance with “awareness does not need to fix what it loves”
This is where Su Dongpo and Thích Nhất Hạnh meet beautifully.
Su Dongpo does not try to:
correct sadness,
moralize pain,
spiritualize hardship.
He includes them in the poem.
In this sense, his poetry loves experience by giving it space to be exactly what it is.
Awareness, for him, looks like:
sitting with wine and moonlight,
noticing the river still flowing during exile,
laughing gently at his own ambitions.
No fixing.
No argument.
No improvement plan.
5. Spring, autumn, and the body
Su Dongpo often links seasons directly to the body:
spring = vitality, success, youth
autumn = illness, failure, aging
To argue with autumn is to argue with the body itself.
This is deeply Buddhist without being doctrinal:
the body declines,
sensations arise and pass,
pain belongs to the same order as blossoms.
Here, allowing becomes embodied wisdom, not philosophical insight.
6. A Chan-inflected stillness (without withdrawal)
Unlike some Chan poets, Su Dongpo does not retreat to a hermitage permanently. His practice is in the middle of life.
This matters for your exploration.
He shows:
how to allow disappointment without renouncing engagement,
how to accept pain without glorifying it,
how to rest in aimlessness without abandoning responsibility.
Spring and autumn still arrive.
You still show up.
You just stop arguing.
7. Why this feels so consoling (and not hollow)
Su Dongpo does not tell you:
“everything is fine,”
“pain is an illusion,”
“just let go.”
He says, implicitly:
This is how it is.
And this, too, can be lived.
That is why his voice continues to feel trustworthy.
8. A closing reflection (in Su Dongpo’s spirit)
Not a quotation, but faithful to his tone:
When the season changes,
nothing has gone wrong.
The river still flows.
The heart can rest here too.
This is aimlessness as seasonal wisdom.
If you’d like, next we could:
take one specific Su Dongpo poem and read it slowly through this lens,
place him directly beside Thích Nhất Hạnh’s teachings on the body and pain,
or explore how this seasonal non-argument helps with regret and self-blame.
Just tell me where you’d like to continue.
I’ll work with one specific poem that is widely regarded as the Su Dongpo poem of non-argument, acceptance, and aimlessness.
Su Dongpo (Su Shi, 蘇軾)
Calming the Waves (定風波)
Written during exile, after being caught in a sudden storm
I’ll give:
the original Chinese
a clear, faithful English rendering
slow commentary through the lens of allowing
The Poem
原文 (Chinese)
莫聽穿林打葉聲,
何妨吟嘯且徐行。竹杖芒鞋輕勝馬,
誰怕?
一蓑煙雨任平生。料峭春風吹酒醒,
微冷,
山頭斜照卻相迎。回首向來蕭瑟處,
歸去,
也無風雨也無晴。
A careful English rendering
Do not listen to the rain striking the forest leaves.
Why not walk slowly, chanting softly?A bamboo staff and straw sandals—lighter than a horse.
Who is afraid?
Wrapped in a raincoat, I let mist and rain accompany my life.A sharp spring wind sobers the wine—
slightly cold—
but slanting sunlight greets me from the hilltop.Turning back to where the storm once raged,
I return—
there is neither rain nor sunshine anymore.
Reading the Poem Slowly Through the Lens of Allowing
Let’s stay very close to the body and experience.
1. “Do not listen to the rain striking the forest leaves”
This does not mean denial.
The rain is there.
The noise is there.
The storm is real.
What he is refusing is mental amplification.
This is the same move Thích Nhất Hạnh makes when he says:
“Pain is there, but suffering need not be.”
Su Dongpo does not argue with the rain.
He simply does not dramatize it.
2. “Why not walk slowly, chanting softly?”
This is astonishingly close to walking meditation.
Not fleeing the storm
Not cursing it
Not waiting for it to end
Just:
walking,
breathing,
letting the body move as it can.
This is aimlessness embodied.
Thích Nhất Hạnh would say:
“I arrive in every step.”
Su Dongpo says the same thing poetically.
3. “A bamboo staff and straw sandals—lighter than a horse”
This is simplicity as freedom.
He has:
no entourage,
no protection from discomfort,
no illusion of control.
And yet—lighter.
This echoes Thích Nhất Hạnh’s teaching that:
the body suffers more when we resist than when we allow.
The lighter you travel, the less there is to defend.
4. “Who is afraid?”
This is not bravado.
It is curiosity.
Fear has lost its narrative.
Thích Nhất Hạnh often says:
“When mindfulness is there, fear is not.”
Not because danger vanishes—but because presence replaces projection.
5. “I let mist and rain accompany my life”
This is one of the most important lines.
He does not say:
“I endure the rain”
“I overcome the rain”
“I escape the rain”
He lets it accompany him.
This is exactly Thích Nhất Hạnh’s language of befriending pain.
Pain is no longer an enemy.
It becomes part of the walk.
6. “A sharp spring wind sobers the wine—slightly cold”
Notice the precision:
sharp
sobering
slightly cold
No complaint.
No romance.
No rejection.
This is bare awareness of sensation.
Thích Nhất Hạnh teaches:
“Breathing in, I am aware of discomfort.”
Not:
“This shouldn’t be happening.”
7. “Slanting sunlight greets me from the hilltop”
This is not optimism.
It is not hope.
It is simply noticing what is also here.
Pain and warmth coexist.
This is very important:
allowing does not exclude relief,
but relief is not demanded.
8. “Turning back to where the storm once raged”
Here comes the deepest teaching.
He looks back.
Memory arises.
The story could restart.
But—
9. “There is neither rain nor sunshine anymore”
This is non-argument taken all the way.
He does not say:
“The storm was good”
“The storm was bad”
“I learned something”
He releases the whole framework.
This is aimlessness in its purest form.
Placing Su Dongpo Beside Thích Nhất Hạnh
Now, very simply:
| Su Dongpo | Thích Nhất Hạnh |
|---|---|
| Walk slowly through the storm | Walk mindfully with the breath |
| Let rain accompany life | Hold pain with tenderness |
| No argument with seasons | No second arrow |
| No fixing, no conclusion | Awareness does not need to fix |
Both say:
Presence is already enough.
A final shared insight
Pain becomes unbearable when it demands:
explanation,
improvement,
justification.
Both Su Dongpo and Thích Nhất Hạnh remove those demands.
They let the body be the body.
They let sensation be sensation.
They let the moment be complete.
If you like, next time we can:
take another Su Dongpo poem (perhaps illness or exile),
or slowly explore how this exact stance meets regret and self-blame without spiritual bypass.
For now, we can simply let the rain accompany us.
Tuesday, December 28, 2021
Beautiful Snowflakes ... Norman Fischer
Beautiful Snowflakes
BY NORMAN FISCHER|
It can be a long and challenging journey to seeing that nothing is “real” in the way we normally think it is. But, Zen teacher Norman Fischer says, there is joy and freedom in realizing that we and our world are as passing—and beautiful—as falling snowflakes.

Photo by Aaron Burden.
From the first time I encountered the word in English, I liked the sound of it: emptiness. Some would find it chillingly abstract, even scary. But I took to it immediately. I chanted the Heart Sutra (“form is emptiness, emptiness form …”) alone and with sangha every day for years before I ever bothered to find out what the great teachers of the past meant by emptiness. It didn’t matter to me what they meant. I knew what emptiness was.
Of course I had no clue. But intuitively I knew. I remember once, at the beginning of my practice, wandering in the woods during a blizzard, drifting snow piled two feet high, chanting the Heart Sutra over and over again. In the snow, with trees, bushes, and ground covered in white, white, white, and the sky white with whiteness falling down, the sutra’s meaning was perfectly clear. It wasn’t until much later that I plunged into the vast philosophical edifice of Mahayana Buddhism, from the Diamond Sutra and Nagarjuna on, that elucidates this saving and elusive teaching.
The logic of emptiness is wonderfully airtight. Like all simple truths, its clarity is immediately self-evident: we are. And there is no moment in which we are separate and apart: we are always connected—to past, to future, to others, to objects, to air, earth, sky. Every thought, every emotion, every action, every moment of time, has multiple causes and reverberations—tendrils of culture, history, hurt, and joy that stretch out mysteriously and endlessly.
As with us, so with everything: all things influence one another. This is how the world appears, shimmers, and shifts, moment by moment. But if things always associate with and bump up against each other, they must touch one another. If so, they must have parts, for without parts they couldn’t touch (they’d melt into one another, disappearing). But the parts in turn are also things in their own right (a nose, part of a face, is a nose; an airplane wing, part of a plane, is an airplane wing) and so the parts must have parts (nostrils, wingtips), and those parts have parts and so on: an infinite proliferation of parts, smaller and smaller, clouds of them. (This is true of thoughts and feelings as well as physical objects.) If you look closely enough and truly enough at anything, it disappears into a cloud, and the cloud disappears into a cloud. All is void. There is no final substantial something anywhere. The only thing real is connection: void touching void.
This simple but profound teaching is delightful. As a way of thinking and understanding it is peerless, impossible to confute because it proposes nothing and denies nothing. Appearances remain valid as appearances, and there is no reality beyond appearances, other than the emptiness of the very appearances. So there is nothing to argue for or against! In being empty, everything is free of argument. Lighter than air.
But it is the taste of emptiness in the body, spirit, and emotions that has meant the most to me. Knowing that what happens is just what happens. My body, my thoughts, my emotions, my perceptions, desires, hopes, actions, words—this is the stuff that makes up my life and it is never desperate because I feel its cloud-like nature. That cloud is all I am: it is my freedom to soar, my connection to all. I can float in it, and watch it form and reform in the endless sky.
This doesn’t mean I am disconnected from life, living in a Buddhist nirvana of disassociation. Quite the contrary, I know there is no way not to be connected, no person or place that is beyond my concern.
When I practice meditation I rest in emptiness: my breath goes in and out, a breath I share with all who have lived and will live, the great rhythm that began this world of physical reality and will never cease, even when the Earth is gone. It’s nice, in the predawn hours, to sit sharing that widely, knowing that this zero-point underlies all my walking and talking and eating and thinking—all activity—all the day through; in fact, it is it.
They say that wisdom (the faculty that cognizes emptiness) and compassion are like the wings of a great bird. Holding both in balance against the wafting winds allows you to float, enjoying the day. Really, though, the two wings are one wing. Where you can appreciate the flavor of emptiness on the tongue you know immediately (without mediation) that love is the only way, and that everything is love and nothing but love. What a pleasant thing to hold in mind! All problems, all joys, all living, and all dying—it’s love.
Traditionally, emptiness refers to the fact that phenonema have no “intrinsic existence.” This means not that phenomena don’t exist, but that they don’t exist as we think they do, as freestanding, independent, solidly real entities. This is as true of us as it is of the world around us: everything is contingent, not solid, ceasing the moment it arises, moment after moment. Everything is like space, real in its own way, and absolutely necessary, but not something you could put your finger on.
We, of course, don’t know this. We are, according to the emptiness pundits of Buddhism, deeply ignorant of the one thing we should not be ignorant of: the real nature of ourselves and the world we live in. “Ignorance,” unfortunately, doesn’t mean we don’t know. It would be better if we didn’t know. Ignorance means we know something very firmly, but it is the wrong thing: we know that things are solid and independent and intrinsically existent. But they actually are not. So ignorance is not not-knowing; ignorance is a form of knowing, but it is a mis-knowing. And spiritual practice is the process of coming to see our mis-knowledge and letting it go: to begin to experience, accept, and live the truth about how we and the world actually are. When we begin to understand and to live in this way, there is a great decrease in the fear and dread, so common in human experience, caused by the huge gap between our expectations and the way things actually are. With an appreciation of the empty nature of things, there are no more foiled expectations. There is a lot more joy, peace, and love.
The Buddhist literature on emptiness, the Prajnaparamita, is vast. It includes many sutras that run to many thousands of pages. On top of that, the commentarial literature on the sutras is also vast and intricate, as are the scholastic treatises on the subject. So many words to discuss the voidness of all phenomena—and the fact that words do not actually refer to things the way we think they do! Why so much talk about all this? For most of us, who are simply trying to live our lives with less suffering, all this complicated philosophical discourse is really beside the point. The Buddha said, in so many words, I am not a philosopher; I am a doctor, and the purpose of my teaching is not to explain the nature of reality but simply to offer a path that will lead to suffering’s end. Why then did the later Buddhists feel the necessity of producing such vast quantities of metaphysics?
Well, it turns out that it is naive to think that we can treat the human illness without having an accurate view of how things really are. Whether we are aware of it or not, we are all philosophers; we are all living our lives based on philosophical assumptions, however unexamined or even unconscious they may be, and this unconscious mis-knowledge is the root cause of our anguish. This mis-knowledge is not mere doctrinal incorrectness; it really matters to our lives.
In Buddhism, suffering means suffering of the mind, suffering that comes from the way we take things. Physical suffering is not preventable: if there is illness or injury there will be pain, and even the Buddha suffered pain. But pain is not suffering. Mostly what we call suffering is suffering of the mind. Even most of our seemingly physical suffering is mind-caused. It is emotional suffering, suffering due to our complaining and our disappointment and feeling of being cheated and ruined because we are experiencing pain. This suffering is worse than the physical sensation of pain, though we mistakenly think it necessarily goes along with the sensation of pain. Suffering is afflictive emotion—anger, fear, regret, greed, violence, and so on. When we exercise these emotions, no matter how justified they may feel, we cause suffering in ourselves, and that suffering has a way of spreading out all around us. But what’s the root of these afflictive emotions? How do they arise in the first place? They arise out of clinging—clinging to the self and to our opinions and to all that is external to us that we identify with. We take all of this as intrinsically existing, and so are naturally—spontaneously and convincingly—upset when any of it is threatened. But the truth is that nothing can be threatened, because it doesn’t exist in the way we think it does. Free of intrinsic existence, everything is free of all threat. When we really know this, through and through, down to the bottom of our souls, then the afflictive emotions don’t arise. Instead there is peace and there is affection, even in tough situations. There is no sense of fearing or hating or desiring what is intrinsically nonexistent, empty.
That things are empty doesn’t mean, as I have said, that they are unreal or that they don’t exist. Here I think we can trust our common sense: we know that things are, we know that something is going on. We go to the movies, we read or hear stories of various kinds, and these matter to us. They are, in their own way, real, but we know the difference between stories or images and real life. The emptiness teachings are not telling us that things don’t exist or that they are unreal. They are just telling us that things exist in a mode other than the one we think they exist in.
In Zen practice we are fond of not knowing. The not-knowing mind is the mind that knows that all phenomena, in being empty, are unknowable. Which means that all phenomena are marvelous, connected, magical. To see things in this way is to wake up from the dream of intrinsic reality: to walk out of the darkened movie theater into the light of day. In the dream, in the movie, various solid and menacing separate independent monsters are out to get us. When we walk outside, we see that this was never really true. We have awakened to the connectedness and indescribable meaning that is and has always been our real life.
The emptiness sutras speak of these things in magnificent ways and promise fabulous rewards once we become enlightened to this truth. In Zen practice too there’s an emphasis on the experience of enlightenment, which is, more or less, the immediate experiential recognition of emptiness—seeing emptiness with your own eyes. All the things that are said about this in Zen and other forms of Buddhism are extravagant and idealistic. This extravagant idealism is perhaps helpful: it gives us some faith and enthusiasm. After all, if we stick too much to the so-called real world, to being mired in identity and all our emotional and physical problems, that’s no fun, is it? Although all this is taken for granted as life, in fact it is a kind of narrow-minded and naive metaphysical assertion we could do without. On the other hand, to take literally all this talk about enlightenment and emptiness, about becoming omniscient buddhas (omniscience is a key concept in the emptiness sutras) may be going too far, especially if it causes us to be frustrated with our progress in practice or to imagine that other people have become enlightened and that we should therefore abrogate our personal responsibility and listen to what they tell us about our lives.
Practically speaking, there’s a progression in our appreciation of the emptiness teachings. In Zen practice, we begin with some modest, everyday experience. We sit. We practice zazen. Maybe even one period of sitting is enough. When you sit, something always happens. Maybe you don’t know what, maybe you cannot identify it, or you barely notice it, but something does happen. You can feel that sitting is real, powerful. I travel here and there and sometimes I go into a room in a hotel, or some other institutional setting, maybe with doctors or businesspeople, not faithful sutra-reading Buddhists, and I say, “Breathe and sit up straight and be quiet,” and in a few minutes something happens; something always happens. So there is some experience. What it amounts to is a faint glimmering that the world one has always assumed to be the world, the only world, the whole world and nothing but the world, may not be as it seems. The mind, the self, may not be as it seems. So our appreciation of emptiness begins with something that is really very common. It’s common not so much because sitting is a magical practice but because it really is the nature of the mind to be empty of intrinsicality. So if you give it even a small chance it will sense that, even if only a little bit.
The appreciation of emptiness begins there. Then you sit some more and experience it repeatedly. Possibly you sit long sesshins and retreats, experiencing it more deeply and more frequently. Then you hear teachings and reflect on them, and little by little you become more and more convinced that this is really how it is. You may begin to notice—maybe with some frustration—that you persist in giving rise to afflictive emotions anyway, that you persist in seeing being as intrinsic. But still, you are beginning to know better. You are beginning to see how unsuccessful, how painful, that old knee-jerk way of living is. And so in this way you are beginning to train yourself in emptiness.
Then you might work directly with afflictive emotions, trying to let go of anger and greed and jealousy and so on, to begin to reduce their grip on you. Meanwhile you continue with your sitting and your study of the teachings and the verification of the teachings by your own experience. Someday you may or may not have a powerful experience of seeing directly, immediately, and powerfully that indeed things are empty, that they are like smoke or mist, like space, like the blue sky, like the movie, the dream: free and non-different from yourself. This would be lovely and it is certainly possible. But even if you don’t have an experience like that, you continue to study and learn and experience; you apply the teachings of emptiness, of selflessness, of love and compassion, to your daily experience and to your relationships; and you see the results of this: that there is more peace, more affection, more happiness, more clarity in your life.
You probably still experience confusion and afflictive emotion, but after a while it doesn’t bother you so much. You are not tempted to be caught by it because you know that just leads to suffering and you have gotten over your long-term love affair with suffering. So in this way, little by little, you develop an understanding of and a grounding in emptiness. You don’t need to call it emptiness. In fact, it’s better if you don’t. “Emptiness” is just a word you can repeat to yourself in a blizzard. But you know how things are and you are happy to live in accord with them.
ABOUT NORMAN FISCHER
Norman Fischer is the founder of the Everyday Zen Foundation. His most recent book is The World Could Be Otherwise: Imagination and the Bodhisattva Path.
Thursday, April 6, 2017
Bayda - Practicing with Pain
More than This Body


