Poems in Interreligious Dialogue: Searching for God in the Poetry of Ku Sang and Thomas Merton

<p>Twentieth-century poets Ku Sang and Thomas Merton, two Catholic poets from Korea and America, respectively, were both aware of a space between themselves and God. Their poetry reveals attempts to go and find him. Because their searches for God entailed an interreligious nexus, insofar as their poetry blended Buddhist and Christian religious imagery, I utilise a comparative method, drawn from the field of Comparative Theology, which juxtaposes religious texts from differing faith traditions; I place Zen Buddhist kōans side-by-side with the Christian poems, each poem understood as representing a way to seek God. Moreover, I provide close readings of each poem and kōan, with critical commentary on the poems and interpretation of any new meaning revealed by the juxtaposition of texts. As a result of my examination, I propose that exploration of how these poets expressed their own understanding of God’s whereabouts, achieved by contact with poetic experience at the naked level of the poem, yields insight both into the two men’s unique contributions to broader knowledge of poets searching for God and how they were transformed for the sake of searching at all.</p>

Poems in Interreligious Dialogue: Searching for God in the Poetry of Ku Sang and Thomas Merton

<p>Twentieth-century poets Ku Sang and Thomas Merton, two Catholic poets from Korea and America, respectively, were both aware of a space between themselves and God. Their poetry reveals attempts to go and find him. Because their searches for God entailed an interreligious nexus, insofar as their poetry blended Buddhist and Christian religious imagery, I utilise a comparative method, drawn from the field of Comparative Theology, which juxtaposes religious texts from differing faith traditions; I place Zen Buddhist kōans side-by-side with the Christian poems, each poem understood as representing a way to seek God. Moreover, I provide close readings of each poem and kōan, with critical commentary on the poems and interpretation of any new meaning revealed by the juxtaposition of texts. As a result of my examination, I propose that exploration of how these poets expressed their own understanding of God’s whereabouts, achieved by contact with poetic experience at the naked level of the poem, yields insight both into the two men’s unique contributions to broader knowledge of poets searching for God and how they were transformed for the sake of searching at all.</p>

Zen and the Body: A Postmodern Ascetic? Bodily Awakening in the Zen Memoirs of Shozan Jack Haubner

In this article, I examine two memoirs by the American Zen Buddhist author Shozan Jack Haubner. Within the contemporary genre of American Zen autobiographical literature, Haubner’s books are special in that they explore Zen awakening as driven by the body. Penetration, pregnancy and sickness are the main figures Haubner uses to show how his autobiographical protagonist accesses the Buddhist truth of no-self. Though these books can thus be said to map an ascetic quest for the erasure of individuality, this quest proceeds not through the imposition of will onto the body, but the body imposing its will on the self. Because this is somewhat different from how the ascetic self is usually theorized, I propose to call Haubner’s main character a “postmodern ascetic”.

On the Road

Chapter One explores Robert Crumb’s discovery of Beat literature and the ways the emerging American counterculture became a primary influence on his own artistic and intellectual development. Crumb’s friend Marty Pahls was significant in turning Crumb on to the Beat writers. Crumb created portraits of Ginsberg, Burroughs, and Kerouac. Crumb also became fascinated by Buddhism and Hinduism. The Beats’ spiritual quest reflected Crumb’s own desire to find alternatives to Western monotheistic religion. His character Mr. Natural bears several similarities to a Zen teacher, and Zen Buddhist themes will reappear throughout Crumb’s career, for example in his The Zen Teachings of Huang Po. The chapter concludes with a discussion of another author Crumb also greatly admired who is sometimes associated with the Beat movement, Charles Bukowski. Crumb contributed his drawings to several Bukowski books, bringing out themes of alienation which Crumb experienced frequently in his own life.

Just Sitting and Just Saying: The Hermeneutics of Dōgen’s Realization-Based View of Language

This paper explicates the complex relationship between contemplative practice and enlightened activity conducted both on and off the meditative cushion as demonstrated in the approach of the Sōtō Zen Buddhist founder Dōgen (1200–1253). I examine Dōgen’s intricate views regarding how language, or what I refer to as just saying, can and should be used in creative yet often puzzling and perplexing ways to express the experience of self-realization by reflecting the state of non-thinking that is attained through unremitting seated meditation or just sitting (shikan taza). In light of the sometimes-forbidding obscurity of his writing, as well as his occasional admonitions against a preoccupation with literary pursuits, I show based on a close reading of primary sources that Dōgen’s basic hermeneutic standpoint seeks to overcome conventional sets of binary oppositions involving uses of language. These polarities typically separate the respective roles of teacher and learner by distinguishing sharply between delusion and insight, truth and untruth, right and wrong, or speech and silence, and thereby reinforce a hierarchical, instrumental, and finite view of discourse. Instead, Dōgen inventively develops expressions that emphasize the non-hierarchical, realization–based, and eminently flexible functions of self-extricating rhetoric such that, according to his paradoxical teaching, “entangled vines are disentangled by using nothing other than entwined creepers,” or as a deceptively straightforward example, “the eyes are horizontal, and the nose is vertical.”