Monday, December 24, 2012

Some Warm-up Zen[ish] Poems


Just as the concept of forgiveness obviously isn’t unique to Christianity, many of the concepts and basic philosophies embodied by Zen aren’t necessarily found only in Zen.  That means that we can deepen our understanding of the core philosophy even when examining works composed by those who might not necessarily officially affiliate themselves with Zen as a religion/philosophy.  With that in mind, I’ve put together a batch of poems that (to me, at least) embody the inexplicable “ah ha!” moment often seen in Zen koans—that strange blend of simplicity and profundity that seems both to solicit and to evade our stereotypically “western” attempts at rational analysis.  Let’s use these as a springboard for class discussion.

Early in the Morning
by Li-Young Lee

While the long grain is softening
in the water, gurgling
over a low stove flame, before
the salted Winter Vegetable is sliced
for breakfast, before the birds,
my mother glides an ivory comb
through her hair, heavy
and black as calligrapher's ink.

She sits at the foot of the bed.
My father watches, listens for
the music of comb
against hair.

My mother combs,
pulls her hair back
tight, rolls it
around two fingers, pins it
in a bun to the back of her head.
For half a hundred years she has done this.
My father likes to see it like this.
He says it is kempt.

But I know
it is because of the way
my mother's hair falls
when he pulls the pins out.
Easily, like the curtains
when they untie them in the evening.



The Meaning of Life
by Nancy Fitzgerald

There is a moment just before
a dog vomits when its stomach
heaves dry, pumping what's deep
inside the belly to the mouth.
If you are fast you can grab
her by the collar and shove her
out the door, avoid the slimy bile,
hunks of half chewed food
from landing on the floor.
You must be quick, decisive,
controlled, and if you miss
the cue and the dog erupts
en route, you must forgive
her quickly and give yourself
to scrubbing up the mess.

Most of what I have learned
in life leads back to this.


Fixation
by Ron Padgett

It's not that hard to climb up
on a cross and have nails driven
into your hands and feet.
Of course it would hurt, but
if your mind were strong enough
you wouldn't notice. You
would notice how much farther
you can see up here, how
there's even a breeze
that cools your leaking blood.
The hills with olive groves fold in
to other hills with roads and huts,
flocks of sheep on a distant rise.



Dear Humpback Whale
by Sherman Alexie   
   
You are a barnacled planet afloat
In the sea, but your ancestors had legs
And walked upon the earth,
Which gives me—a smaller mammal—the hope
That my descendants will someday grow wings
And become strange birds.




To Rosie, Not Yet Three
by David Nielsen

Funny thing
asking—
Are you poopy?

—and meaning it
so sincerely, no sarcasm

or mockery,
just earnest desire

to know
if there’s a load

in your shorts.
And you, crouched

beneath the baby grand,
telling me, no,

when the stink
is as thick as this August air,

lying to my face,
as sweet

as an elevator love song.



After Work
by Gary Snyder
 
The shack and a few trees
float in the blowing fog
 
I pull out your blouse,
warm my cold hands
     on your breasts.
you laugh and shudder
peeling garlic by the 
     hot iron stove.
bring in the axe, the rake,
the wood
 
we'll lean on the wall
against each other
stew simmering on the fire
as it grows dark
            drinking wine.
 
               
 
Hiking in the Totsugawa Gorge
by Gary Snyder
 
 
           pissing
 
           watching
 
           a waterfall
 
 
Her Soul
by Ryan Croken

Gave
To God
Her soul,
God
said: “Ok
I don't need
This
But Ok.”
 
 
Garage Sale
by Dorothy Doyle Mienko

I wouldn't buy the
gaudy green dishes
or anyone else's
melancholy clothes

I bought, instead, the
antique ivory handkerchief
with two rows of
gathered lace

it was the way
the lady said
once, it was
her mother's.



Hiking the Medicine Bow
by Robert King

Sitting in the mountain meadow,
under clouds, I decide it's time
for an orange, a Valencia Sunkist
#4014s, to be exact.

As I cut it open and eat,
the sun erupts brightly
over the whole world.
When I finish, the sky grays over.

If I had another orange
I could make the sun come out again.
I do not have another orange.
The sun comes out again.


Sky Divers
by Robert Cording

Now, near day's end, they enter our view, at ease
in their wishbones of rope, their red nets of silk

ballooning above, tracing the summer's liquid breeze
while they fall earthward, unconcerned, their skywalk

like something we had forgotten for a long time
but now, remembering, turn naturally toward,

and we pause, cars idling at the edge of Route 169,
each of us, for one reason or another, looking upward,

alert, hushed, taken up completely by the slow descent
of our opposites who float above us like an idea

that mocks us and fills us with happiness, such content-
ment impossible and yet finding form in us here

as we watch them, who are so familiar and so foreign to us,
until, in the dry fields, they send up footfalls of dust.



The Red Wheelbarrow
by William Carlos Williams

so much depends
upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens.


To a Poor Old Woman
by William Carlos Williams
 
munching a plum on 
the street a paper bag
of them in her hand
 
They taste good to her
They taste good 
to her. They taste
good to her
 
You can see it by
the way she gives herself
to the one half
sucked out in her hand
 
Comforted
a solace of ripe plums
seeming to fill the air
They taste good to her



Shoveling Snow with Buddha
by Billy Collins

In the usual iconography of the temple or the local Wok
you would never see him doing such a thing,
tossing the dry snow over a mountain
of his bare, round shoulder,
his hair tied in a knot,
a model of concentration.
Sitting is more his speed, if that is the word
for what he does, or does not do.

Even the season is wrong for him.
In all his manifestations, is it not warm or slightly humid?
Is this not implied by his serene expression,
that smile so wide it wraps itself around the waist of the universe?

But here we are, working our way down the driveway,
one shovelful at a time.
We toss the light powder into the clear air.
We feel the cold mist on our faces.
And with every heave we disappear
and become lost to each other
in these sudden clouds of our own making,
these fountain-bursts of snow.

This is so much better than a sermon in church,
I say out loud, but Buddha keeps on shoveling.
This is the true religion, the religion of snow,
and sunlight and winter geese barking in the sky,
I say, but he is too busy to hear me.

He has thrown himself into shoveling snow
as if it were the purpose of existence,
as if the sign of a perfect life were a clear driveway
you could back the car down easily
and drive off into the vanities of the world
with a broken heater fan and a song on the radio.

All morning long we work side by side,
me with my commentary
and he inside his generous pocket of silence,
until the hour is nearly noon
and the snow is piled high all around us;
then, I hear him speak.

After this, he asks,
can we go inside and play cards?

Certainly, I reply, and I will heat some milk
and bring cups of hot chocolate to the table
while you shuffle the deck.
and our boots stand dripping by the door.

Aaah, says the Buddha, lifting his eyes
and leaning for a moment on his shovel
before he drives the thin blade again
deep into the glittering white snow.

 

Daily Schedule


I try to adapt each schedule to a given section’s strengths and weaknesses so this schedule might (and probably will) change a bit as we move throughout the semester. Naturally, I’ll always inform the class of changes but it’s a good idea to check this schedule fairly regularly.  The workshop schedule in particular (starting around Week 9) is especially subject to change, depending on how long it takes us to get through a batch of poems.


Week 1:
Monday, Jan. 6: Introductions, go over the syllabus, read some opening poems (available here on the blog).
Wednesday, Jan. 8: Finish discussing the opening poems.
Friday, Jan. 10: Discuss “Bring Me the Rhinoceros.” Late Registration and Change-of-Course end.

Week 2:
Monday, Jan. 13: Watch The Buddha in class.  (Note: this documentary covers a lot of the basic principles of Buddhism and is a good crash course on the overall philosophy, but for something a bit more explicitly focused on "Zen," you might want to check out this film focusing on the late, famous philosopher, Alan Watts; it's pretty grainy and low budget but still worth your time if you mainly focus on Watts' entertaining and plainspoken lectures.  Here's another lecture worth listening to; this one also covers some of the differences between Theravada and Mahayana Buddhism.)  
Wednesday, Jan. 15: Continue watching The Buddha in class.
Friday, Jan. 17: Finish watching The Buddha, if necessary. Discuss “Bring Me the Rhinoceros.” 

Week 3:
Monday, Jan. 20: Martin Luther King Jr. Day.  No class.
Wednesday, Jan 22: Discuss “Bring Me the Rhinoceros.” Reading Response #1 due in class, either printed or sent via email.
Friday, Jan. 24: Start discussing “One Hundred Poems from the Chinese.” 

Week 4:
Monday, Jan. 27: Discuss “One Hundred Poems from the Chinese.”
Wednesday, Jan 29: Your first poem is due in class.  Bring about 12 copies so you'll have enough for everyone. Finish discussing “One Hundred Poems from the Chinese,” if necessary. Reading Response #2 due in class,  as well, either printed or sent via email. Discuss the Salinger short story, A Perfect Day for Bananafish. No journal due over the Salinger story.
Friday, January 31: Start workshopping Poem #1.  On your own, you should start reading "Zen Confidential."  For this book, I encourage you to keep a meditation journal--that is, keep short but descriptive diary-like records of your thoughts on the book, as you try to apply its lessons to your daily life.

Saturday, Feb. 1: Listen to this lecture by Alan Watts.

Week 5:
Monday, Feb. 3: Continue workshopping Poem #1. 
Wednesday, Feb. 5: Finish workshopping Poem #1, if necessary. Start discussion of “Zen Confidential."
Friday, Feb. 7: Continue discussion of "Zen Confidential." Also, we'll discuss the short story, Bullet in the Brain, by Tobias Wolff. Time permitting, we’ll watch the short film adaptation. On your own, I'd like you to read Cathedral, a famous short story by Raymond Carver.  While neither Carver nor Wolff are officially associated with Zen, the ends of these stories manage to pretty much sum up the entire philosophy.

Week 6:
Monday, Feb. 10: Introductory haiku lesson. Time permitting, do some free-writing.  Finish discussion of "Zen Confidential," if necessary. Reading Response #3 (over "Zen Confidential") due in class, either printed or sent via email.  This response can be a formal analysis of the book or can be a more creative piece incorporating entries from your meditation journal.
Wednesday, Feb. 12: Discuss “Essential Haiku.”
Friday, Feb. 14: Discuss “Essential Haiku.”  Reading Response #4 due in class, either printed or sent via email. 

Week 7:
Monday, Feb. 17: "Bad poetry" activity.  Distribute copies of Poem #2.  Note: Poem #2 should be either a "western" Zen-ish poem of about one full page, or a page of 5-7 "eastern" forms poems. 
Wednesday, Feb. 19: Watch "Chop Wood, Carry Water" in class.  Start workshop, initially taking volunteers.
Friday, Feb. 21: Continue workshopping Poem #2. 

Week 8:
Monday, Feb. 24: Finish workshopping Poem #2, if necessary. In-class invention exercise that you can use for Poem #3.
Wednesday, Feb. 26: No class!  I’ll be out of town for a reading/presentation at the AWP Conference.
Friday, Feb. 28: No class!  I’ll be out of town for a reading/presentation at the AWP Conference.

Week 9:
Monday, March 3: Discuss the first half of “Folly" by Norman Minnick.
Wednesday, March 5: Continue discussing "Folly."  
Friday, March 7: Finish book discussion.  I’m hoping to arrange a class visit, if possible.  Reading Response #5 due in class, either printed or sent via email.  Sign up for conferences to discuss what you'd like to do for the Research Project (and show me a draft, if you like).

Spring Break: No class Monday, March 10, through Friday, March 14

Week 10:
Monday, March 17: Conferences in my office, RB 246!  I’ll want to discuss your plans for the Research Project.  I’ll also look at some of your poems, if you like. Course withdrawal period ends.
Wednesday, March 19: Conferences IN MY OFFICE, RB 246, instead of regular class.
Friday, March 21: Class visit from Norman Minnick. MEET IN RB 361 INSTEAD!  He will be coming at 2 PM, though, so I'd like everyone to be there at 2 PM if possible.  If you have a class or another obligation, that's fine; just let me know in advance, please.

Week 11:
Monday, March 24: Discuss “Haiku Anthology.”
Wednesday, March 26: Discuss “Haiku Anthology.” Reading Response #6 due in class, either printed or sent via email.  
Friday, March 28: Discuss “Sailing Alone Around the Room.”  Time permitting, we’ll watch some Billy Collins poetry videos.  Distribute copies of Poem #3.

Week 12:
Monday, March 31: Finish discussing "Sailing Alone Around the Room."  Reading Response #7 due in class, either printed or sent via email. Start workshopping Poem #3.
Wednesday, April 2: Continue workshopping Poem #3.
Friday, April 4: Continue workshopping Poem #3.

Week 13:
Monday, April 7: Finish workshopping Poem #3, if necessary.  Distribute copies of Poem #4. We'll do these in small groups so you only need to bring 5-6 copies.
Wednesday, April 9: Small group workshops of Poem #4. 
Friday, April 11: INDIVIDUAL RESEARCH PROJECTS DUE!  (Obviously, depending on how many students opt for presentations instead of "traditional" papers, this and next week's schedule will be subject to change.) 

Week 14:
Monday, April 14: Presentations, if necessary.
Wednesday, April 16: Distribute copies of Poem #5.  Start workshop "cold," giving first impressions.
Friday, April 18: Continue workshopping Poem #5.

Week 15:
Monday, April 21: Finish workshopping Poem #5. Time permitting, optional revision workshop.
Wednesday, April 23: Optional revision workshop.
Friday, April 25: Optional revision workshop.

Week 16:
Monday, April 28: Last day of regular class. Shed tears and share much laughter.

Final: YOUR PORTFOLIO IS DUE ON WEDNESDAY, APRIL 30, AT 2:15 IN MY OFFICE, RB 246!




What Should Be in Your Portfolio (which constitutes your Final):

-All FIVE original poems (labeled "original", even if you hand-write it on an old, marked up copy).
-AT LEAST three MAJOR revisions. 

-Additional revisions (labeled "major revision, extra credit" or "minor revision, extra credit" are allowed.
-Please place all revisions either before or after the originals. Portfolios can be turned in via hard copy or submitted electronically.


Ideally, I'd like ALL your poems to be revised in some way but I understand that sometimes, we have pieces that we just don't feel like tinkering with or revisiting.  If you're not sure how to revise, or you'd like additional feedback, let me know ASAP.