Monday, December 24, 2012

Opening Lesson



Honors 390
Meyerhofer

And now, here’s some background info congenially but somewhat haphazardly transmitted from my brain to the page (or computer screen) in front of you…

 
There are almost as many divergent branches of Buddhism (if not more) as there are branches of Christianity, Judaism, and Islam.  However, scholars generally divide Buddhism into three distinct traditions: Theravada (“The School of the Elders,” the oldest tradition, originally found in India, widely practiced in Sri Lanka and parts of Southeast Asia), Mahayana (“The Great Vehicle,” the second oldest tradition, practiced in East Asia), and Vajrayana (“The Diamond Vehicle,” the newest tradition, often called Tantric Buddhism, associated with the Dalai Lama and mainly found in Tibet). 

These three branches share a great deal of similarity; they also exhibit some profound differences in terms of ritual, practice, and belief.  For instance, while all three emphasize the Dharma (the teachings) and the Sangha (the community of fellow enlightenment-seekers), plus the Four Noble Truths and the Eightfold Path (more on those later), there is a great deal of often-contentious debate over which school proposes the proper methods for meditation and achieving enlightenment, with adherents of the different schools obviously posing strong arguments on the issue (just as you might imagine a heated debate between devout Catholics and Protestants).  This debate is further complicated by the literally thousands upon thousands of pages of text that the different schools  adhere to (much longer than the Judeo-Christian Bible used throughout much of Europe and the Americas).  There are also subdivisions within each of the tree branches; for instance, Mahayana Buddhism also contains Zen and Pure Land Buddhism, with some scholars associating Tantric Buddhism with Mahayana (while others separate it into Vajrayana). 

I encourage everyone to spend some time familiarizing her/himself with the basics of these different schools/philosophies.  For the purposes of this class, though, we will primarily focus on Zen Buddhism, or simply, Zen.  Our primary vehicle for approaching Zen will not be historical and scriptural study, but reading, discussion, and (eventually) emulation of Zen mindfulness through the lens of poetry.

Full disclosure: I am by no means presenting myself as an expert on Buddhist doctrine.  I speak neither Pali (the original language of Buddhism) nor Sanskrit.  Particularly as it relates to Zen, I don’t speak Chinese, and I don’t know more than a handful of Japanese words used as poetic terminology.  In fact, my knowledge of Zen stems almost entirely from translations of Chinese and Japanese poetry, as well as the Zen-based concepts and insights provided by “western” authors, philosophers, and filmmakers.  I am not seeking to present anything close to an authoritative sermon in this course; I am simply offering this course as a modern, creatively/artistically based meditation on the nature of Zen—what is it, how do we get it, how do we keep it, and how will it help us if we do?

Also, as one who generally views the world through the lens of poetry, I want to offer this course as an opportunity to cultivate a deeper, more enriched appreciation of the world through the lens of Zen-inspired poetry, with no particular requirements or exclusions based on religious of philosophical differences of opinion.

Put another way… 

My interest in Zen began long before I knew what Zen was, before I had even heard the word.  I was raised in a rather dogmatic Roman Catholic community; while there were some very positive aspects to the teachings (including compassion and humility, which are also key tenets of Zen), there were also some things (like the belief in Original Sin and the necessity of praying to an outside deity for help) that did not mesh with what I would probably call my own innate spiritualism.   

During my awkward adolescence, I happened upon some translated haiku by Basho, the great Japanese haiku master, as well as the “Zen-influenced” work of American fiction writer, J.D. Salinger (most famous for The Cather in the Rye).  Both showed devotion to imagery at the smallest detail, filled not only with sadness and humor but the suggestion that a higher state of being can be attained simply by living more deliberately… that to at least figuratively or partially understand the universe, you don’t need seven PhDs and a dozen lifetimes; you simply need to appreciate the true nature and beauty of what’s right in front of you.

Who was the Buddha?

It’s difficult to separate fact from myth but the Buddha (or “Awakened One”) is the name given to Siddhartha Gautama, born around 400 B.C.E.  Generally, the story goes that he was a prince whose father so insulated him from the world that Siddhartha had no knowledge of suffering in the world.  Siddhartha married and lived out his youth in a state of pure, ignorant bliss; then, at the age of 29, he went out to meet his subjects.  Despite efforts to prevent this, Siddhartha saw and learned about sickness, aging, and death.  This filled him with despair, as well as a burning need to figure out why human beings suffer and, if possible, find a way out.

Many religions at the time spoke of reincarnation, as well as karma (the belief that what we do affects what happens to us and/or how we are reborn).  The thought was that by abstaining from earthly indulgences and practicing a strict and punishing life, one might cultivate good karma and free oneself of the same earthly desires that were preventing true happiness.  Reincarnation enters into this because the prevailing notion was that human beings are born again and again into a painful, suffering, ultimately unsatisfying world and that these unhappy rebirths will continue forever unless we can find a way to break the cycle. 

With that in mind, Siddhartha left the palace and went out into the wilderness to find his answers.  He tried studying under various gurus, meditating, and starving himself; nothing worked.  Although he recognized the merits of temperance and meditation, he eventually realized that extreme deprivation was not the answer.  Thus, he formulated what Buddhists call the Middle Way, or the Middle Path (a gentler philosophy that avoids extremes).   

The Four Noble Truths and the Eightfold Path…

1.  Siddhartha preached that the world is full of suffering (“dukkha”).  Birth, aging, illness, death, sorrow, and separation are all examples of this suffering. 

2. Suffering is caused by cravings, lusts, and desires that can never be wholly satisfied.  

3. To eliminate suffering, you have to eliminate cravings (or unhealthy attachments).  

4. The way (or, at least, one way) to achieve freedom from cravings is by following the Eightfold Path: that is, to practice proper intention, speech, view, action, livelihood, effort, mindfulness, and concentration.
The Origins of Zen

Many Zen practitioners trace Zen back to what is commonly known as the Flower Sermon.  One day, the Buddha appeared before his students but instead of offering a lecture, he simply held up a flower.  Everyone stared, confused.  Then one monk, Maha Kashyapa, smiled.  Seeing this, the Buddha said something along the lines of, “I possess a deeper understanding of the universe, which I have just passed on to Kashyapa.”


More specifically, Zen was founded by Bodhidharma, a Buddhist monk who lived in the 5th and 6th centuries, C.E.  Little is known about him; like the Buddha, much of what we read is probably more myth than fact, though Bodhidharma is credited with bringing Buddhism to China.



Syllabus



Honors 390
East Meets West: Cultivating and Maintaining a Zen-like
Perspective in 21st Century, America

Professor Michael Meyerhofer
Class Meeting Time: 3 to 3:50 PM in RB 105.
Office Hours: MW, noon to 2 PM in RB 246

Zen is a way of liberation, concerned not with discovering what is good or bad or advantageous, but what is. -Alan Watts

Course Description:  Just as certain Zen sayings (called koans) are designed to short-circuit our analytical brains and hopefully jar us out of our everyday complacency, so too with poetry and fiction (both "eastern" and "western" alike). But in our modern day culture of constant commercials, reality TV, and near-rabid consumerism, how significant is the sound a frog makes as it jumps in the water (a famous haiku by Basho) or a bag blowing in the wind (a famous scene from "American Beauty")? What is "significance," anyway? That's where we'll begin—and quite possibly, where we'll end. This course will incorporate careful readings and discussions of Zen as viewed through the lens of poetry, fiction, film, and philosophy (but most especially, poetry). Later in the semester, we will also write and workshop creative, Zen-inspired pieces of our own.

Required Reading:
Bring Me the Rhinoceros by John Tarrant
Zen Confidential: Confessions of a Wayward Monk by Shozan Jack Haubner
One Hundred Poems from the Chinese by Kenneth Rexroth
Essential Haiku by Robert Hass
Folly by Norman Minnick
Haiku Anthology by Cor van den Heuvel
Sailing Alone Around the Room by Billy Collins

Suggested Additional Reading: Nine Stories by J.D. Salinger. Also, The Blue Cliff Record, The Book of Serenity, The Gateless Gate, and The True Dharma Eye (these are ancient, original collections of Zen koans, widely available in print and online)




Grading:  This is a hybrid discussion/workshop class, not a traditional lecture course, so a significant percentage of your overall points depend on active and positive participation in class discussions (including workshops).  However, I also expect regular journal responses, which is an additional opportunity for you to interact critically with the assigned texts.

*Reading Responses (a two full page reading response to each of the required texts).  I will accept these responses in printed form or over email in doc or docx format.  30%

*A portfolio of your own Zen-inspired poems, workshopped in class and revised by the end of the semester. Tentatively, I’m requiring five pieces. 30%

*Active and Productive Class Participation (not synonymous with attendance). 30%

*An individual project elucidating or expanding upon some aspect of Zen literature (especially Zen poetry) and/or the history of Zen.  This can either be a creative project (such as a multi-media or art piece), a class presentation, or a more traditional research paper of 4-5 pages. 10%

Absences: You can miss up to three classes without penalty. If you miss four to five classes, your final grade will be reduced by one letter grade. If you miss six to seven classes, your final grade will be reduced by two letter grades. If you miss eight or more classes, you fail for the semester.  However, attendance isn’t just a matter of being there on time; it’s a matter of good participation.  I reserve the right to mark as absent any student who disrupts class or fails to be respectful to others.

Conferences: At least once during the semester, we will meet one-on-one in my office to discuss your writing. Although these meetings are informal, attendance is mandatory and is counted into your participation grade. Also, failure to attend conferences will result in unexcused absences.

Reading Responses: As I said, I expect you to turn in a journal (two full, double spaced pages, typed) for each of the assigned texts.  Don’t just say “I like this” or “I hate this.”  Give me specific lines, images, ideas, or techniques that caught your attention.  You certainly don’t have to like all the pieces I assign, let alone all the poems or passages in a given book.  In fact, I welcome disagreements!  Let’s get some good discussions/debates going so basically, look at these responses as prep for class discussion. 

Class Participation: The way we improve as writers and critics is by practice and participation.    Think of this class as a Sangha (more on that later), or if you prefer, as a community of fellow scholars and writers who each bring something different to the table, who may not always agree but can assist each other through good-natured, constructive dialog.  In terms of your final grade, strong class participation will help you greatly, especially if your grade is borderline. So don’t be afraid to speak up, and to speak your mind, but do it with consideration for the opinions and feelings of your classmates.  Going along with this, you are expected to behave respectfully in class.  That means please don’t chat, interrupt, play with cell phones or laptops, start juggling without permission, etc. 

About Your Instructor: I've published three books and five chapbooks of poetry and have won quite a few national prizes. I also have a literary fantasy novel forthcoming in April (the first in a series). Feel free to swing by www.troublewithhammers.com and check out some of my work, if you’re bored. This is my sixth year as an Assistant Professor at Ball State University. Before this, I taught composition and creative writing at Southern Illinois University for four years. I’m the Poetry Editor for Atticus Review and I’ve also been a tutor, worked in a rehab center, flipped burgers, and built refrigerators in a factory (worst job ever). I am also an unapologetic history, science, and politics nerd so be prepared to have random facts thrown at you (and, sometimes, candy).  As my prior students can attest to, I believe very strongly in helping my students. So if you have questions or concerns, let me know!