On Our 2023 Winter Noble Silence Meditation Retreat Weekend

On Our 2023 Winter Noble Silence Meditation Retreat Weekend

We’ve taken a short pause in our Vietnamese programming to plug back in and review our first successful retreat of the 2023 season. When I read the Bùi Giáng post below to my Teacher John Ashbrook, who’ll return soon in May for our next Comprehensive Spiritual Development Retreat Weekend, his comment was, “Cool. A little bit of esoteric is always good!” Then I woke up Thursday morning to the steady gaze of a local Barred Owl, our nocturnal, feathered friend also known as The Higher Haven’s mascot, often heard but never before seen. Known informally as the classic Hoot Owl or Eight-Hooter Owl, its also called the Striped Owl, its banded streaks clearly seen here. As John is fond of reminding me, everything in this life is a reflection of some greater spiritual significance. And drawing on my experiences with my Lakota Heyoka Teacher, I’m a healer who is still learning how to see in the darkness, always watching for and heeding those subtle signs, as they turn one’s attention inward. The Barred Owl points to our intuitive knowing, realizing the Spirits are calling, and although subtle and quiet, like the soft feathered beat of its wings in the forested night, we listen for and learn to trust that gentle voice of our inner intuition.

We had a great, hard working little group here at the start of March, and considering our Noble Silence Meditation Retreat (NMSR) Weekends are offered quarterly, we’ll be gathering together again for our Spring NMSR the weekend of June 9th — June 11th. Here’s new student but also experienced meditator Sue, who I affectionately dubbed Sioux, on the benefits of her wonderful Winter weekend visit:

“The Winter Noble Silence Meditation Retreat Weekend that I attended in March 2023 was everything I thought it could be and so much more.  I had never attended a silent retreat with a group and wasn't sure what to expect.  Paul and his team took great care to ensure that each of us had all we needed to get the most out of the weekend.  I felt comfortable and safe the entire time, which is of utmost importance.  The lodging was warm, comfortable and the food was clean and filling - perfect for a weekend of self-reflection and extended meditations.  The land, which we spent many hours strolling about during our meditation walks, was pristine and quiet.  The perfect setting for relaxation and peace.   I was especially affected by my ability to meditate comfortably for long periods of time thanks to the care Paul took to structure our agenda. We had plenty of breaks and also plenty of ‘work’ which we were gently eased into without any pressure. 

Being a regular practitioner of meditation, I not only learned more about myself through the process of being silent at this retreat, but I learned so much more about this beautiful process along with new techniques and philosophies. I found Paul to be a noble, warm and genuine person with a deep and abiding commitment to the work and all of mankind.  It was a true honor spending time with him and each guest.  Although we did not verbally communicate much, I connected with each person on the soul level and will be forever grateful for our time together. I recommend this program for anyone - be it a new meditator or a seasoned one.  Everyone can become transformed through this experience.  I know that I was." ~ Sioux 3/23

On Flowers and Grass and the great Vietnamese Poet Bùi Giáng

On Flowers and Grass and the great Vietnamese Poet Bùi Giáng

We’re back now, after our 2,023 mile drive from our home away from home in Cave Creek, Arizona, as well as our 23-hour flight time from our home away from home away from home, the otherworldly land of Việt Nam. Hoping to bring a bit of VN’s pháp thuật (magic) back with us, I picked up this quirky woody piece on the streets of Hoi An, drawn to its happy countenance, but not thinking much more of it, other than it’d look cool on one of The Higher Haven’s wooded walkways. Not surprising, there’s more depth to the câu chuyện (story).

“Is this picture taken at your place Brother?” asked the great Nguyen Ba Phuc. “You should use a stick of wood instead of the nail to hang the spirit. Use the nail to make a bigger hole and put a stick of wood into it” (note: always respect, respect, respect when it comes to the sensitive world of the spirit). Then, a short time later: “Do you know who is the bamboo root statue that you have there? That is the famous Vietnamese poet Bùi Giáng’.” Tuyet Voi ~ Wonderfu! I was delighted this figurehead was actually an artistic nod to a prolific Viet poet.

Soon after his long distance, mini text interrogation, Phuc sent over a link to Flowers and Grass: poet Bùi Giáng. Me: “Cam on (thank you) Brother. What does Mia Nguôn mean in translation?” Phuc: “Mua = Rain. Nguõn = Source, origin, or root, Nguõn here understood as the source of a river. All rivers originate from streams in the mountains or highlands and run to a delta before being absorbed by the sea. Mua Nguõn then is rain at the source of the river, making a strong flow of water to the delta. So Mua Nguõn is understood as a powerful stream of Bùi Giáng poems that flow into and uplift Vietnamese culture.”

With thanks to blogs like Hanoi Ink’s old books and dirty fingers, a bit about this poet, scholar, philosopher, literary critic, translator, and essayist, a goat herder who would neither sell nor kill his goats, and a beatnik wanderer. Bùi Giáng was born in Quảng Nam in 1926 and spent his youth in the Central provinces, attending university in Huế to study literature and later serving in the military. In the early 1950s he began to publish criticism on The Tale of Kiều, and relocated to Sài Gòn in 1959. In 1962, he published the volume Rain in the Mountains (Mưa Nguồn), and brought out three more volumes of poetry in the following year. In 1965 his writings were lost when a fire consumed his house, yet he continued to publish essays and translations, focusing particularly on the work of Martin Heidegger and French existentialist authors, including Albert Camus and André Gide.

Beginning in the late 1960s, Bùi Giáng experienced what he characterized to a friend (Thích Nguyên Tạng, who recorded their conversation of 1993) as “brilliant madness” (điên rực rỡ) For several years he wandered in the southern provinces, returning to Sài Gòn in 1971, two years later completing a translation of Antoine de St.-Exupery’s Le Petit Prince, the well-loved story, despite its style as a children’s book, of a young prince who addresses themes of loneliness, friendship, love, loss. and human nature. Poet Linh Dinh notes “After 1975 he slept in a squalid shack next to a turgid pond.” As the author Hai-Dang Phan suggests, Bùi Giáng’s “vagrant life, unconventional poems, and copious translations” might qualify him as “the closest thing Vietnam has ever produced to a beatnik poet.” Bùi Giáng died in HCM in 1998.

Scratching about, I even found the great Vietnamese monk and teacher Thích Nhất Hạnh reference Bùi Giáng, this excerpt from his book Enjoying The Ultimate: “This means there is nothing higher than the path that leads to the silence of nirvāna. Silence does not mean there is no sound, but that there are no ideas of being and non-being, brith and death. The poet Bùi Giáng wrote in a poem: ‘We step across words that have fallen twice’. ‘We step across’ here means we step across the threshold of dualism. Thanks to looking deeply, ideas like being, nonbeing, birth and death fall away and reality appears.” When we do a walking meditation in the steps and spirit of Thích Nhất Hạnh at our Noble Silence Meditation Retreats, we touch that very reality.

Despite Bùi G.’s long sojourn in the city, his poems are primarily, even insistently, works about nature, Mưa Nguồn “evoking nature’s pristine beauty in an idiom that is not just romantic, but mythic.” We’ll leave you with this version of Cỏ Hoa Hồn Du Mục (Nomadic Soul of Flowers and Grass) and with the 2023 retreats and Ceremonies posted, hope you’ll visit soon. Perhaps you’ll catch a lil’ vision for your own happiness as well as catch sight of Bùi Giáng.

Nghe trời đổ lộn nguyên khê
Tiếng vàng rụng rớt gieo về động xanh
Gót chân khơi rộng bóng cành
Nhịp vang đầu núi vọng thành lũy siêu
Thời gian chắc bước bên chiều
Khóc sông bến lạ mưa chiều sớm xuân
Cỏ hoa từ bỏ ruộng đồng
Hồn du mục cũ xa gần hử em

Hear the sky and gushing fenster blend
Golden sounds fall into a verdant void
Heel-dug hollow in the shadow of branches
Reverberating to the peaks, echoing to the ramparts
Time treads firmly in the gloom of ending day
Tears flow at an unfamiliar pier; late rain in early spring
Flowers and grass forsake their meadows
The ancient nomadic spirit is everywhere my love.

Về Vẻ Dẹp Của Sự Không Tồn Tại ~ On The Beauty of Non Existence

Về Vẻ Dẹp Của Sự Không Tồn Tại ~ On The Beauty of Non Existence

I’m taking part in my meditation teacher Shinzen Young’s Home Practice Program this weekend, a chance to take a mini retreat and meditate with people around the world employing extremely effective guided techniques via a telephone conference call. The work we’re doing this weekend brought to mind the double whammy we orchestrated for our Winter Break this year, filling our personal time for renewal and retreat with Shinzen’s year-end, year-beginning retreat, and then only days later leaving for Viet Nam. Talk about generating the energy of some serious after shock, after glow, and widening freedom! Having returned home now to the western USA, I had a chance to review some of the retreat dharma talks and Group Process AMA’s or Ask Me Anything sessions (Shinzen being the Me in AMA), and discovered an interesting link between the trip and retreat.

One fascinating aspect of Vietnamese culture is the rich, colorful relationship Vietnamese people share with death, as well as a connection to the family’s or Gai Dinh’s ancestral line. Altars acknowledging life’s spiritual source are ubiquitous — within every business, in every home, even out in the rice fields, with small huts dedicated to the land God, tiny ladders included to assist deities in accessing offerings of fruit and candy. At funerals, grieving family members don white rather than black, hearses morph into ornate dragon mobiles, and the whole procession is often followed up with a Ha Noi marching jazz band, complete with a bugle corps, booming bass drum and higher-stepping, baton-wielding drum major. My guide in the north on this trip Dinh Quang Tuâń enlightened me to a ghastly ritual around burial. After three years entombed in a concrete crypt, a decomposed body is exhumed in preparation for its final resting spot amongst other family graves. Bones are washed clean and then arranged in a certain ceremonial container or smaller casket. Putting gloves and socks on the putrefying corpses’ hands and feet help retrieve hand and foot bones. Pretty hardcore, hands on stuff, as Tuâń admitted it took him days afterward to reacquire an appetite.

Not to shock with esoteric, Vietnamese death rituals, but readers of this blog or Higher Haven visitors know I’m a major fan of conveying how our practices provide real resources in the face of death and the looming reality of impermanence. Death rightly considered can be considered a great renewal, the shaking off of the old and transition into a new state. Per Shinzen’s counsel, “Death isn’t something you solve, death is something you resolve,” informing one’s life’s focus and decisions. As the Lakota people are fond of saying: “We were born to die”. When you have some resolution with the Mother of All Fears, you have a healthier relationship with death, life, and fear in general.

This story has been up for six weeks, posted February 12th, but I’m so happy to make this cool new addition, inspired by my friend Aaron giving it a read and shouting me out this early Sunday morning. Aaron is the not at all ugly American who played a critical role in my first trip to VN in December 2007. “Just read your last two blog posts Lovely,” texted Aaron. “And I have witnessed the exhumation Ceremony in real life once, with a friends’ family, gruesome and touching at the same time.” I was thrilled by this, and so Aaron went on to explain beautifully: “Yes, that Ceremony was amazing. It was a full moon, a bit drizzly and I was observing the family exhume the body, as non-members of the Gai Dinh or family cannot assist. And then the unboxing and the cleaning of the bones, it was all quite amazing and made me feel very organic and human, detached and spiritual. A few days later we carried the little box with the bones, all carefully laid, to the family cemetery, some distance away in the country, the place of final rest.”

Cut to being back now and reviewing some of the retreat materials, I was so moved by the very first question from the AMA or Ask Me Anything sessions. As to those concrete resources in the face of the dying process and our own mortality, it’s here confirmed by a very cool exchange between Shinzen and fellow student Ian on a zoom call.

IAN: “Happy New Year Shinzen. And happy new year to all my fellow travelers in this room. Before I ask my question, I want to say thank you to you Shinzen for all the work you’ve done for us all. And thank you for the way in which you model kindness, generosity and joyful service, as it’s very meaningful to me.” Ian then goes on to ask Shinzen about a particular technique Shinzen employs when teaching children how to meditate that involves interlocking the fingers and lightly touching the thumbs, and to focus on the thumbs. “Every now and then I have a moment of extraordinary stillness, where just that sensation is alive within me. And I’m incredibly alert, but I also feel incredibly small, as I’m just reduced to that tiny perception. And I had the thought the other day, I wonder if this is what it’s like to have a conscious, peaceful death? Curious if this is what it's like being on the brink of death. And so inspired by that thought I wanted to ask you: is that part of what we’re doing here? Are we learning how to shake hands with death? I had the hunch that’s one of the things we’re learning to do.”

Shinzen: “Poetically speaking, we are shaking hands and becoming intimate with the death activity. But we’re also shaking hands with and becoming intimate with the life activity. Both. That’s poetically speaking. Physically speaking, if you’re prepared to experience as T.S. Elliot put it, ”Your greatness flicker” He has a line in Prufrock, one of his poems, something like, you know Death’s coat man? He has this line — “And I have seen the eternal Footman hold my coat, and snicker, and in short, I was afraid” So when we all are well aware that all the great stuff we’re doing, it’s all going to be taken away, it will flicker away and the coach man says, ‘It’s time to go.’

In Prufrock he was afraid, but if you become intimate with the death force, like you say, very small (Shin touches his thumbs together), you also become intimate with the life force, with the forces of expansion, whether you’re aware of it or not, that smallness was informed by an invigorating vastness. And so, in our practice, as we become intimate with life, we are also intimate with death forces, affirmation and negation, call it what you want. To that extent we are well prepared for the physical dying process and the prospect thereof. You can’t predict with certainty, but there’s a high probability it will be a liberating experience. I’m not saying it won’t be challenging, but it will be familiar territory. And you’ll know what to do.”