​
I’m fascinated by the intersection of emptiness and metta.

This month I received a birthday gift that I did not want - a flare up of chronic SI joint and gluteal muscle pain. Still there was significant appreciation for emptiness teachings.

I wasn’t a victim of a single cause or condition. Nor was I an expert on perfect management in extinguishing the burning sensations of pain. Perceptions of pain were determined by my relationship to it. When it took center stage, the attention shrunk, and there wasn’t much space for anything else.

Seeing and sensing through the eyes of the Brahmaviharas, the areas of pain transformed into an island of discomfort in a sea of healing modalities and support. The attention stretched to include ice, Advil, supportive family members, joy for my partner getting back in shape, a compassionate physical therapist, concerned patients expressing empathy, an image in supine meditation posture of the heart space pumping a champagne like bubbly substance to the rest of the body that softened, soothed, and allowed experience to be as it was, even held in celebration.

What if time is empty - past, present future - all empty of a single cause or condition that made me? What if this pain is not mine, and belongs to a divine intelligence?

The universal song is composed of both high and low notes. When dukkha arises, may I remember that others experience this, too. When sukkha arises, may others experience this, too.

“When self, time, separation, and even suffering are seen as empty, a devotion to the endless commitment of love is felt without burden.” (Seeing that Frees, Pg 327)

As I sit in meditation, there is eagerness to interpret the dream, to make meaning of it.

SMD whispers, “Not yet my love. Stay close to yourself. Do you have your energy body? Emotional body?”

Trusting this voice, I become meek, cultivating patience and reverence for the process by systematically sensing earth, space, the flow of metta, fire for image.

The dream is strange. I see many fish enclosed in a large space by a fence or cage. At first they are all still, but then they are flapping around. One by one they pop out of the cage and become young children dancing a melancholy dance.

“May I be free,” one child sings.

I feel the child within inspired to voice her own desires.
“May I be seen and heard.”
“May I love and be loved.”

I think of all the undocumented immigrants, the students protesting in the US who are being deported.

The heart center becomes a gray, swirling storm, aching for the light of the Brahmaviharas to shine through.

*****

Hiking in the rain, I imagine the rain as Kwan Yin’s tears. The pitter-pattering sound against my raincoat becomes the sound of thousands of hearts beating fervently in prayer.

“May there be more sanctuaries of love than sanctuaries of hate.”

*****

“And what would that give you?” the voice asks. Is it the voice of SMD, Kwan Yin, Mother Earth? Does it matter?

Then I would trust in a universal benevolence, more powerful than greed, hatred, and delusion. I would trust citta as a meaningful extension of it.

*****

Down by the lake, its surface generously receives the raindrops, the tears, the prayers, swallows them whole into its murky beyonds.

The eye of a weak sun peaks through the gray above. Someone is watching, eternally watching.

And my bones know, there is more than this.

Heart Nebula by G. Parker

The image begins as a dream, one where the main character feels embarrassed at her vulnerabilities being exposed. She is also claustrophobic, overwhelmed by the number of people occupying her personal space. Who are they, and how can she escape?

Is the dream mine, or does it belong to someone else? My mother-in-law is stuck in a nursing facility in India, wanting nothing more than to return to her home and live out her last days with space and ease.

Space and ease. Something about these words carry a significant resonance, like bells at the end of a religious ceremony when the priest is chanting an ancient Sanskrit prayer. The words are not only invoked in present time, but from the accumulated karma of past lives, the possibility of seeing and sensing with more sacredness in the future.

Carrying the dream and it’s multiple interpretations like a warm shawl to morning meditating, I allow space and ease to fill the body with meaningful intention. The mind is eager to apply teachings of Soulmaking and emptiness to the experience, to think its way to a profound insight as a candle of sandalwood and jasmine is lit to invoke a meditative trance.

But the bodies memories are ancient, slowing the mind down to feel the elements that have shaped it – rivers carving canyons, heat and wind molding earth, the stardust of all life being exchanged through cycles of respiration, porous skin, a beating heart influenced by the rhythms around it. Humbled, the mind yields to its wise ancestor, the body, and waits.

Space and ease. The energetic body begins to relax. The emotional body becomes a sanctuary – a temple, a church, a synagogue, a mosque, open natural space to receive the vulnerabilities of others and mirror back their beauty, strength, and resilience.

The heart becomes a doorway to boundless compassion, not only for a body sitting here, but for a mother-in-law in India, a partner there trying to honor his mother’s last wishes, patients recently encountered who felt complex because of ‘extra’ needs, a politician who appears narcissistic and aggressive, and so many other countless beings I have overlooked from contraction and dis-ease.

May this artful insight, empty of a single person, place, practice, or state of citta, filled with love from multiple beings, places, practices, and states of citta, be for the benefit of all.

Practicing with the Five S’s

Space/Splendor - Zoming out of the difficulty to notice space around it and anything pleasant to help balance the difficulty and not go into all-or-none, catastrophic thinking.

Sensations- Rather than trying to doctor the pain into a diagnosis (hard to abstain since it’s my profession), noting the sensations as ‘throbbing’ or ‘burning’ rather than ‘pain’.  It makes it less personal.

Self-compassion - Placing a hand on the hurt place and recognizing that others experience this, too. If I cannot feel the self-compassion, then inviting a figure of love to inspire it.

Not-self - Reflecting  on past inner and outer causes and conditions, present inner and outer causes and conditions contributing to the pain. Empty of a single cause or condition, and full of love.


There is a benevolence 
That softens a tangled mind
Agitated heart and tense body
Till they are all aligned 
To inhabit the moment 
With such intimacy and tenderness 
That a bright yellow center
Attracts bees to make honey
Make sweetness, make love
With all the hurt places-
Blood orange petals radiating
Metta in all directions
​Wishing for all to be free

For the first few days, samadhi is strong. It nurtures contentment on and off the cushion.

Then I wake up one morning with severe foot pain, unable to bear weight on the right foot. The perfect bubble bursts. Papanca proliferates in the mind. The heart is burdened by fear as the body tenses against unwelcome change.

It takes another few days to recognize etch a sketch potential in the breath, erasing tangles in the mind, sensing throbbing, aching in the foot and spaces in the body that are neutral, even pleasant. What is drawn on the mind screen, felt in the body and heart, all depend on my ways of looking.

I am not a ‘good’ practitioner when things go well, or a ‘bad’ one when things are difficult. 

Empty of a single cause or condition, and full of love.

The mantra continues to offer humility, softening blame and deepening compassion.

May these insights be shared with my patients and all beings, who are also subject to sickness, aging, and death.

Samadhi is not a perfect state, but mind, body and heart in alignment, receptive, sensitive, honest, always in communication with what’s needed now. If what’s needed is not apparent, then samadhi is waiting patiently and trusting if will come.

Kisagotami Bikkhuni and Rosemerry Wahtola Trommer, I am listening…


****


KISAGOTAMI ~ SKINNY GOTAMI


A child dead.
And a mad search for a magic seed.


It's a story as old as dust.


Brave up, my sisters.


The day will come
when you run
from house 
to house.


People will meet you at the door, 
look you in the eye, 
and they won't let you in.


I'm sorry, they'll say.
But we can't help you.


Listen.


When everyone you love is gone, 
when everything you have 
has been taken away, 
you'll find the Path
waiting 
underneath 
every rock 
on the 
road.


These are the words of Kisagotami.




*****


Toward Peace  ~  Rosemerry Wahtola Trommer


Perhaps some part of me still believes
peace is a destination,
a place we arrive, ideally together.


I notice how shiny it is, this belief,
like a flower made of crystal,
beautiful, but lifeless,


devoid of the dust and scuff
that come from living a real day.
Meanwhile, there is this invitation


to grow into peace the way real flowers grow--
in the dirt. With blight and drought,
beetles and hail.


Meanwhile this invitation
to live in the tangle of fear and failure,
to be humbled by my own inner wars


and wonder how to find a living peace
right here, the peace that arrives
when we take just one step through the mess


toward compassion and notice
as our foot rises our heart also rises
and in that lifted moment


still scraping along in the dirt,
there is a peace so real we become light,
become the momentum that is the change.

The art class is located inside a studio in a small suburban shopping center next to an Indian grocery store. As Rachel and I walk in, we exchange exuberant facial expressions. Instead of a woman in midlife, I feel like a kindergartener about to fingerpaint. Our eyes widen in excitement as we take in the mosaic tiles and beads neatly separated by colors in small bowls at each workstation. Turkish mosaic lamps and candle holders of various designs are on display throughout the room to inspire our imagination.

“Where should we sit?”, I ask Rachel.

“Let’s sit at the edge of the table so we have more room to move around”, she replies.

“Good idea!”

We place our belongings on two chairs facing each other each other near the studio entrance. Taking our seats, Rachel and I introduce ourselves to a couple sitting next to us. We each begin to use a paper template in front of us to map out design ideas before gluing the mosaic tiles onto the glass globe of our respective lamps.

When our instructors indicate that it’s time to transfer the mosaic tiles and beads onto the glass, I panic. My design is ready, but it doesn’t look or feel like the images I had envisioned for the lamp prior to class. I begin to doubt the colors and shapes I’ve chosen and start to compare my design to those of our neighbors and Rachel.

This is not how this class is supposed to unfold!

To make matters worse, I cannot retain the exact design when I start to glue the mosaic pieces onto the glass. It takes gentle effort and patient precision, two things that are not included in our art supplies as my perception of time begins to contract.

“Let’s just get this over with”, my mind silently shouts as my heart sinks. The kindergartner come middle aged woman feels like she’s messing up. I try to remain positive, plastering a smile on my face and making polite conversation with Rachel and the couple next to us. Inside I feel tense but continue to diligently glue each piece into place.

The pieces are crooked with spaces between them, and the larger designs are not symmetrically spaced around the glass globe. A part of me remembers the joy of art as process over art as product, but that part is stifled by the need to finish the product in the studio time remaining.

*****

The next day, I remove the glass globe and try to fill in the spaces with the plaster provided in the take home kit. Mixing the powder with too much water, the plaster is too thin to stick to the glass. Frustrated, I proceed to wash off all the excess runny plaster. In the process, some beads fall off the glass globe.

Ugghh! This shouldn’t be happening.

Ah, but it is!

Who said that? The voice does not return till I walk away from the mess I am making.

Perfection assesses whether someone or something is worthy, worthwhile. It sees in black and white. This is either all good or all bad. Perfection thrives on fear, rigid judgments, restlessness until perfection is achieved. It’s fragmented, believing happiness resides in a limited range of experience. It’s a constant uphill climb, and forever exhausting.

Wholeness invites all aspects of a mosaic experience, understanding the picture is incomplete with any piece left out. It’s patient, allowing mental and bodily formations to communicate, as the heart bathes the experience in whatever wholesome factor is needed for unification. Wholeness perceives above below, around any fixed view to see and sense with soul, to cultivate contentment in all circumstances.

Perfection or wholeness? Where do you want to live, Kaveri? Even this dual reflection is a cause for suffering. Know that you are shaped by both, that each influences the other, and bow to the full range of life experience.

*****

I decide to walk away from the art project, reflecting on the process instead of the final product. Art is very similar to the meditation process. If my attention is tense, tight, narrow, and analytical, I will perceive the experience as unpleasant. If my attention is more relaxed, soft, expansive, and observing in nature, the experience can be neutral, maybe even pleasant.

Ideas of perfection, wholeness, process and product all swirl around in the limited space of my cranium. I take them to the meditation cushion and sit. Like pinballs, they keep bumping up against walls until there is no controller trying to save and define them. Fixed, judgmental attention transforms into relaxed, loving awareness as metta permeates through the entire space.

May I be gentle with the process.
May there be confidence in the beauty of awareness.

Just as the bell punctuates the end of the meditation sit, an insight arises. Beauty is not limited to a final work of art or an artist. It is also inherent in wholesome mind states brought to any artistic or meditative process. Viewed this way, nothing is an ugly mistake. No parts are left out.

Feeling more curious and connected to the Turkish mosaic lamp, I hold it with tenderness, patiently gluing each small bead back on one by one with crazy glue. Giving it another 24 hours to dry, I wait for my partner to help me assemble it when he has time.

What’s the rush?

There is a glass heart that vibrates to the storms outside. Hi atop a mountain island locked in a tower, this heart holds the flame of possibility.

Who will understand it? What will free it?

As storms rage on, and waves crash against the shore, the heart fears its own fragility. What will become of the flame if the heart breaks?

Seeing this image in meditation, sensing its meaning to unfathomable beyonds, all the hurt places begin to relax.

The heart wobbles in response to uncertainty. The flame flickers. A crimson drop falls on each wound of vulnerability, anointing it with delicate grace.

Bowing to this image, she senses there is still more to create/discover.
 
*****
 
There are other hearts. Hi atop a mountain island locked in their own towers, these hearts also hold the flame of possibility.

She senses the distance between them. Sometimes the distance feels insurmountable;  sometimes they are so close. Their hearts also quiver to the vulnerability of opening, of breaking, uncertain if their flames can withstand the wind and rain of circumstance.

She gasps in quiet recognition. Perceptions of abandonment can seclude her from a loving, connected world.

As storms rage on, and waves crash against the shore, she takes the exquisite risk of opening, breathing into her own heart to brighten the flame of possibility. Sensing the flame in others, near and far, the exchange of warmth is like a sacred diya connecting all and strengthening divinities within.

be gentle, be loving
patient and proud
of the wind and tears
that carved a goddess
from suffering

Kwan Yin’s kindred spirit
is learning to listen
to the cries of the world
and stay till there is ease
as she listens to her own body

the dance of sensations
ok as she is
a caged heart
trusting her wingspan
to fly beyond the bounds
of fear and unmet expectations

she is still exploring
she is still unfinished

(Listen to audio version here)

(If you would like to listen to the audio version of this talk, click on the link above.)
​
​The picture changes. Have you noticed this? People, places, things I’ve loved and wanted to hold on to are no longer the same. Family pictures that we took when my daughter was a baby are different now. She’s no longer a cute little cherub, but a tall, lanky teenager complete with acne and attitude.

The picture of who I wanted to be as a mother was so radically different than who I actually was. Instead of having my shit together and nursing my daughter lovingly, I looked like I hadn’t slept for days, felt irritable all the time, blamed anyone and anything in my way (especially myself), and couldn’t breastfeed beyond about 6 weeks.

For those of you who have ever been first time parents, you know it’s challenging. Even if you haven’t been a parent, anything you take on that is new and unfamiliar can be difficult: adopting a pet, starting a new job or school, caring for an aging family member, losing a job, moving to a new place, a new medical or psychological diagnosis in you or a loved one, and so on.

But stress, discomfort, dis-ease, is not just about meeting moments of difficulty in life. We all face challenges. What makes certain ones more stressful than others? 

2600 years ago, the Buddha had a word for stress. In Pali, the language spoken by the Buddha in India at the time, the word is dukkha. Just living this human life, we know that pain is inevitable.  But the added stress is optional. There’s a saying that illustrates this point well: pain x resistance = stress. If pain is inevitable, then what adds to the stress?

It’s our resistance to what’s happening moment to moment. The desire to hold on to the way my body used to be in less discomfort and able to do certain yoga poses, the aversion to burning, searing, aching, throbbing sensations in my left gluteal muscles, sacroiliac joint and right shoulder, the delusion that none of this should be happening, that I should be able to fix it, that this experience of pain is unique to Moi and no one else has ever felt this way.

What are you currently holding on to in your life? What are you pushing away? How are you daydreaming or misunderstanding a current situation? It may help to place a hand on your heart or a part of the body that is hurting, breathing into any discomfort with as much tenderness and compassion as you can muster. If that feels awkward, then imagine a comforting presence here with you now, breathing with you, understanding you, loving you just as you are. 

With our body’s, our circumstances, the people and things in our lives ‘forever’ rotating through like a slideshow, what can we come to rely on that is real, that will provide some measure of robust comfort when the picture is always changing? How can mindful awareness frame the experience in curiosity, kindness, and remain intimately connected regardless of whether we like, dislike, or believe what we are seeing?

There’s a song that I love from high school called ‘Pictures of You’ by an 80’s band called The Cure. The lyrics start out:

I've been looking so long at these pictures of you
That I almost believe that they're real
I've been living so long with my pictures of you
That I almost believe that the pictures
Are all I can feel
 
I realize now that expectations I had of myself as a new mother, as a person with this current body, even of my daughter as they are now, are all rooted in past or future stories of what could have been, what should have been.

This moment, right here, right now can be so exquisite, unburdened by past blame or future worry. For me, The Cure for stress is to identify more with the picture frame, and not the changing picture. Easier said than done, right? It’s hard to believe this when there are constant messages and advertising of the perfect picture, the perfect body, the perfect life on Facebook, Instagram, the media and beyond.

Mindfulness practice trains us to notice when we are lost in a story that isn’t true, when emotions feel like weather systems that will last forever and are actually changing all the time, when sensations define who we are and don’t need to be taken so personally. 

Learning to identify more with the picture frame, the frame of mindful loving awareness rather than the picture of changing circumstances takes time. If you are fairly new to mindfulness practice, you may uncover thought patterns and old habits you haven’t seen before. Things can feel worse before they feel better.

Know that you aren’t crazy or doing anything wrong. This is completely normal. In firefighting, the term backdraft is used to describe the sudden introduction of air into a fire that has depleted most of the available oxygen in a room or building. Similarly, when you bring attention to patterns of desire, aversion, and delusion, they can initially feel more intense.

This is when it’s helpful to practice with the support of others- a trusted teacher or therapists, wise, loving spiritual community. I’ve also found it useful to bring a spirit of creativity, adventure, and play to these practices. Like learning to cook a dish, play an instrument, grasp a new language, ride a bike, or train yourself in any unfamiliar skill, it can feel so cumbersome if approached with rigidity or expectations of immediate results. Yuck! Who wants to do that?

And, it takes a certain amount of gentle discipline, curiosity, kindness, patience, trust, determination, care, compassion, joy, beauty, resilience, and forgivingness to keep practicing, at least in my recipe book. Your healing journey may need similar or different ingredients. You won’t know till you try, keep showing up, adding a little more of this, taking out a little bit of that.

After 15 years of practice, I still identify with the picture, and sometimes forget about the picture frame. What’s changing is the capacity of this heart-mind to notice sooner, rather than later what’s needed to frame every experience in some aspect of love. It doesn’t matter how long it takes me. What matters most is my willingness to try. I’d like to share a poem that I think speaks to this "Cure for It All" by Julia Fehrenbacher.
 
This life isn’t what I expected. This practice isn’t what I expected. And it’s inspired such a radical honesty in me to try and see things as they are. Nothing more. Nothing less.  Anything else just doesn’t make sense.