Memories, memoirs, meditation—1
Recently I went to a reading and discussion by my friend Joyce Zonana. Joyce is an Egyptian Jew, born in Cairo and brought to this country by her parents in 1951, at the age of 18 months. Though she grew up in Brooklyn, her parents resisted assimilation and kept their home steeped in Middle Eastern culture. So she remained the odd one out among her Eastern European Jewish friends who insisted that anyone who didn’t understand Yiddish or eat gefilte fish couldn’t really be Jewish.
Last year she published a memoir, Dream Homes: From Cairo to Katrina, an Exile’s Journey, about her journey to find a place she felt was home.
At the reading Joyce shared the stage with another Egyptian Jew, Jean Naggar, whose family remained in Egypt until 1956, leaving for England when she was 18. Jean wrote her memoir, Sipping from the Nile: My Exodus from Egypt, for her grandchildren, whose lives were quite different from her own “perfect” childhood in the “lost world” of Egypt before Nasser.
Though their experiences of childhood and immigration differed considerably, what struck me was that for both women the memory of life in Egypt remained a cynosure, a kind of holy world—all the more striking in Joyce’s case, since she has no actual memories of Egypt. The past is the foundation of the present, Jean insisted—it never disappears. They strove to keep alive their connection to the past, making pilgrimages to Egypt as adults. Their audience at the reading was full of other Egyptian Jews, all tightly tied to each other through this common heritage.
A few years ago, I too made a sort of pilgrimage, to the house on Long Island where I grew up, which I hadn’t seen since 1976, when my parents moved out. It’s in a relatively old suburb; by now the skimpy saplings planted by the developer are huge and full, and the ticky-tacky houses have been remodeled so no two are alike. The boring little subdivision I remembered now looked like a fantasy village painted on a plate. And I felt no sense of connection to it or to the house; it didn’t seem as though I’d actually lived there.
It’s been in my mind lately, though, because my brother has been scanning his collection of photos from our childhood in that house and emailing them to me. Some set off a twinge of nostalgia. Then I thought: what’s to be nostalgic about? I wasn’t happy then.
Memoirs are big sellers. But these recent experiences made me wonder: how involved should we be with the past?
In 1996 a New York Times reporter interviewed the Burmese peace activist Daw Aung San Suu Kyi, only recently released from house arrest and living in her parents’ home. She had sold her parents’ furniture to the military junta when she needed money for food. “Did you try to get these items back once you were freed?” the reporter asked. “They had belonged to your parents.”
“My father is dead. My mother is dead,” Suu Kyi answered. “Why should I cling to their furniture?” A very Buddhist response.
“The past is like a dream and the future is ‘the not yet come.’ The only thing of any interest to anyone is now.… there is no moment other than the present one,” says Ayya Khema, a wonderful dharma teacher, in her book Being Nobody, Going Nowhere: Meditations on the Buddhist Path.
So why write a memoir? My thought is that one’s childhood, whether happy or not, banal or dramatic, retains a mythic quality—just like the origin stories of a culture—and that’s the source of our compulsion to revisit, explore, and interpret it. But how much of that is good for us?
More on reflection
I’m still reverberating slightly after a meditation retreat last week. It resonated on several levels, but what’s relevant here is that I developed a better understanding of reflection.
Based on the teacher’s instructions, it seemed that I’d actually been practicing reflection for a long time, before I ever started meditating. I described to her my process of lying on the couch and letting my mind sink, and she confirmed that this was indeed what she’d been talking about.
100-year-old water well in Argentina, lined with hand-laid bricks. Photo: Carlos Ponte
Reflection, at least in this sense, isn’t thinking. It’s like putting a question into your mind and then holding it there while looking down a well to see if anything floats up out of the shaft. The trick is learning to train your attention on the empty space inside the well, without letting your intellect fill
it up with a lot of ideas.
What eventually surfaces can be an image, a word, or a phrase. In the case of this blog entry, it was both. I sat down and reflected in order to decide what to say here, and what came up was the phrase “reflection isn’t thinking.” I starting writing that down, and the well image followed before I had finished.
Reflection is a powerful tool for me. I use it to solve all sorts of problems, not just writing problems—for example, to figure out what’s really going on when something upsets me, so I can respond effectively, or to make tough decisions. What I understand now is that although this process is related to meditation, there’s a difference, which has to do with intention. Problem-solving reflection is goal oriented. Meditation is not. I was concerned that the one might be contaminating the other. But the teacher gave me some advice that works in either case: don’t let the reflection tip over into obsession. The acid test is falling into repetition: the same thoughts cycle back over and over, and you can’t let them go. The well shaft doesn’t stay empty—it overflows.
The inside of my head
The graphic just below is not a tag cloud but a WORD cloud, generated by a site called Wordle, which is just amazing. Paste in text (or give it the url of your blog, as I did) and it presents you with a randomly formatted cloud of words sized according to their frequency in your text. Then you can redesign your cloud using the many available fonts, layouts, and infinite colors.
It’s like looking into the inside of your own head. You suddenly, literally, have a picture of what’s on your mind. How come I used the word “book” so much? Why is “really” so large? It was a surprise to see that “something” and “everything” appear a lot in these posts. I don’t like abstract words. Was I being lazy? Did I not have a clear idea of what I really meant? (Click the image for a larger, legible size.)
This blog as a Wordle
Though I initially saw Wordle as a mirror of my mind, when I looked through the gallery of clouds other people had posted, I realized that was only one possibility. You can create designs deliberately by manipulating your text, like the person whose “dog breeds” Wordle is dominated by an enormous yellow terrier. Some people make Wordle form whole sentences pointing in different directions. Others send a message, like this advocate for the food democracy movement.
After making my blog Wordle, I tried passages of work I’d done for clients, and saw that my notion of the mind mirror was actually quite limited. I’d been thinking just in terms of concepts. But the Wordle is also a graphic representation of your writing style. Some of my clients like long words, some short; the respective texts create different visual patterns.
Much meditation for me lately is about reflection—nonconceptual reflection, that is, as opposed to thinking. So here’s a completely nonconceptual way to reflect on writing.
The role of pleasure
I spent last weekend at a meditation retreat receiving instruction in a technique that uses the breath to develop concentration. It was more technical than any practice I’d learned before—structured and specific, moving from step 1 to step 4 (as far as we got in two days, though the technique itself goes to step 16). The method (called anapanasati) is designed to develop concentration, the ability to focus the mind on one particular object (in this case, the breath) and keep it there. Concentration is said to make wisdom possible (“wisdom” meaning “perception of the true nature of reality”).
I went because I’d had a brief experience of this technique that had a powerful effect on me, so I thought I should learn more of it. Whether I develop greater powers of concentration and thereby wisdom is still to be seen (and indeed, beside the point, as I explain below); but what’s relevant here is a comment by the teacher that struck me.
Concentration is hard work, he said, but this work of developing a skill is inherently joyful—more so than achieving a finished result. This is literally true, because once you get to step 3, you begin to move energy through the body, developing a physical sensation called piti (classically translated “rapture,” though a more realistic description of my experience would be “pleasure”). In step 4, you develop sukha, an emotional state translated as “contentment” or indeed, “joy.” So it is actually the process that creates the pleasure, not achieving the goal.
So it is with writing. To be totally immersed, with your whole being, in creating a form that expresses the most profound awareness you’re capable of is deeply pleasurable. I once said something like this to a woman I knew from a writing class, adding rhetorically, “What could be more satisfying?”
She responded, “A roll in the hay!”
“But that goes away the next day!” I exclaimed. “The other doesn’t.”
I realized later that she was probably just trying to show off a little. But my instinctive response made me understand my own experience more clearly. In fact, I find even writing that doesn’t emerge from the depths of my being to be highly enjoyable. The next entry will enlarge on that.
The sky of mind: vast like space
Buddhist meditators practice experiencing the mind as a vast, clear sky, through which thoughts, feeings, and all other experiences pass like clouds, appearing and then vanishing in an open space of awareness that’s not limited to the inside of the head. (Meditation teacher Jack Kornfield describes this practice here.)
Kandinsky’s painting Sky Blue combines that image of the mind as vast open sky with an experience I’ve had when writing at a very deep level. Part of the conceptual work for my books about homeless women and about sacrifice was simply discovering what they were actually about. I came across incidents, articles, and books, and generated images from my imagination, that I knew were important, but I didn’t know why, or what exactly they meant. And normal-type thinking about them didn’t help. Read more