Friday, April 29, 2011

Van Morrison: In the Bambuddhism Garden

The fields are always wet with rain
After a summer shower
When I saw you standin'
Standin' in the Garden
In the Garden

Wet with rain

You wiped the teardrops from your eye in sorrow
And we watched the petals fall down to the ground
And as I sat beside you I felt the
Great sadness that day

In the Garden

And then one day you came back home
You were a creature all in rapture
You had the key to your soul
And you did open
That day you came back

To the Garden

The olden summer breeze was blowin' gainst your face

Alright

The light of God was shinin' on your countenance divine
And you were a violet colour as you
Sat beside your father and your mother

In the Garden

The summer breeze was blowin' on your face
Within your violet you treasure your summery words
And as the shiver from my neck down to my spine
Ignited me in daylight and nature in the Garden

And you went into a trance
Your childlike vision became so fine
And we heard the bells within the church
We loved so much
And felt the presence of the youth of eternal summers
In the Garden

Alright

And as it touched your cheeks so lightly
Born again you were and blushed
And we touched each other lightly
And we felt the presence of the Christ within our hearts

In the Garden

And I turned to you and I said:

No Guru, No Method, No Teacher
Just you and I and Nature
And the Father in the Garden

Listen:

No Guru, No Method, No Teacher
Just you and I and Nature
And the Father and the Son and the Holy Ghost
In the Garden

Wet with rain

No Guru, No Method, No Teacher
Just you and I and Nature
And the Father and the Son and the Holy Ghost
In that Garden, in the Garden, wet with rain

Yeah. Alright.

No Guru, No Method, No Teacher
Just you and I and Nature
And the father
In the Garden.


Van Morrison

Monday, April 25, 2011

Constitution Making in Nepal

Nepal is going through one of the most important phases in its modern history -- that of making a new constitution. For many Nepalis, public consultation and inclusion will be critical factors leading to the legitimacy of the Constituent Assembly process and the credibility of the final constitution.

'Voices from Below: Constitution Making in Nepal' is a six minute preview of a longer documentary (released in April 2011) that was made for the general public. The short film seeks to convey the spirit and seriousness of the constitution-making process in Nepal. The film showcases people's voices from across Nepal, including local community leaders, villagers and CA members. It especially incorporates their hopes and dreams for the new constitution and the future of Nepal.

An initiative of the UNDP Support to Participatory Constitution Building in Nepal (SPCBN) Project and the Centre for Constitutional Dialogue (CCD), the documentary stresses the importance of ensuring a truely participatory people's Constitution. The film documents the process of the SPCBN Democracy Dialogues that were held during 2010 in all 3,915 VDCs and 58 municipalities, as well as the Federalism Dialogues in the provinces proposed by the CA State Restructuring Committee.

The documentary, 'Voices from Below: Constitution-Making in Nepal' is written and directed by the renowned and award-winning Nepali film director Tsering Rhitar. In 2000, Tsering Rhitar made "Mukundo" (Mask of Desire) which was Nepal's Official Entry for the Academy Awards Best Foreign Language Film Section.

http://www.youtube.com/watch?v=jiQdhKdrGQw

Sunday, April 24, 2011

Bamboo Buddhism in Nepal

I'm asked, on occasion, "Why 'Bambuddhism'?"

It's a pun, naturally, on the immense interest about Buddhism by the western world, as well as a more intimate reflection on my own personal journey to Nepal.

For we western-types, coming from our Judeo-Christian cultures on the other side of the world, Buddhism (and, to a certain degree, its Hindu origins...) continues to be one of the most fascinating, intriguing and lasting attractions of life in Nepal.

I remember a photo of Scott and me at Amherst when we were studying Buddhism w/ the young (we were all young then...) Bob Thurman. We were dressed in white kurta and beads, long hair, devoutedly sitting in a full lotus asana with our hands in a meditative mudra. Although, the ironic, playful smiles on our faces had more to say about our pyschic state than the posture -- for sure!

No doubt, part of my own youthful journey outside the US in the late 70s, after a stint on Capitol Hill, was not only for some much-desired cultural fresh air and perspective, but also the desire to learn more in situ of these great Asian religious traditions, as well.

I'd started college w/ a keen interest in politics and political change. I even left Amherst after a month, convinced/seduced by Allard Lowenstein (LBJ's nemisis...) to come to Brooklyn to work on his election campaign. The politics of the 60s was in my blood from 1968 when Robert Kennedy ran for president against Lyndon Johnson and the Vietnam War. Then I'd worked on McGovern's campaign in Upstate NY in 1972 the year I went off to college so full of such political idealism and naivite.

When I met Scott that first week in James 410 son/grandson of Presbytarian missionaries to China, Berkeley-raised, my world shifted a few degrees off my earlier center. The books for his religion courses looked more interesting than the political theory courses that I'd enrolled in. Quickly, I shifted my studies from political science to religion, philosophy and literature, the humanities.

In this way, the call of the world outside had more to do w/ the nature of culture, history and reflections on our human patterns on this precious world -- than political change.

Maybe, as well, that teenage idealism couldn't quite last through the 60s and 70s in America. The assassinations, the election of Richard Nixon, the seemingly endless trauma of the Vietnam War, the doubts about how one could change a country as large, powerful and vested as the States led me to thoughts both more philosophical and spiritual.

For, as we know, those years were also the first public, open engagement of the modern Western world with the diversity, cultures and religions of Asia. Somewhere on the distant horizon, past the suburbs of America, was another world that flickered in our consciousness. It appeared in the evening news, in the war-obsessed reporting from Vietnam, in sacred writings we studied and a youthful longing to have some first-hand experience of that ancient world.

Youth, of course, as we learn, turns slowly, ineluctably, yet steadily into new challenges, new opportunities, new choices, life decisions and professional experiences. Those thoughts that animated us when we were younger never quite disappear (hopefully...), but they become enlarged or enriched by the daily path that we traverse in creating our own place in the world.

Thus, finally reaching Nepal and India in the autumn of 1979, after a year and half of travels, while reading 'dharma' in Dharamsala (Macleod Ganj) overlooking the Dalai Lama's residence-in-exile, then later in the Mairut Khmer refugee camp, along the Thai-Cambodian border, through my work with Save the Children building a 'wat' (temple) where the Theravada monks could serve the refugees, all the while reflecting on the depth and beauty of those rich and diverse teachings, I made my own parabolic personal relationship w/ Buddhism.

As much as I was profoundly moved by the deep wisdom of the Hindu-Buddhist scriptures and commentaries, the elaborate spiritual architecture created by those Indian savants a thousand years ago, the lack of a confused diety in the teachings of the Buddhists, the central emphasis on compassion as the guide to living and the non-violence which drew from ancient Indic values, the awe-inspiring devotion these teachings inspired in common folk throughout South Asia... there was a spiritual river I could not cross.

Not the Jordan, but possibly the Indus.

Maybe that historic, tribal crossing of the Jordan river a couple thousand years ago had sunk it's engraving so deeply in my childhood identity that I was unable to be reborn yet again in the emblematic white kurta that I'd so blithely and playfully worn during college.

[Curious that it's Easter today, Christ's resurrection, when I find myself speaking of my own unrebirth in another religion...]

Even with the spiritual riches that define Buddhism, for me, there was still the uncritical devotion to the guru, the expensive maintenance of the numerous monasteries, the materialism of many rimpoches, the Baroque Catholicism of the sacred rituals, the lack of commitment to social justice, the uber-emphasis on the individual and, most importantly, truly, my own reluctance.

For me, this is the parabola effect...

You come closer and closer to your goal, stretching, reaching and pursuing... closer and closer.. til the object of your desire is in sight, just within reach...

When you are near enough to feel the truth of your search...

You suddenly and, possibly, unexpectedly feel a resistence -- not externally, but internally. That urge that animated you until that moment suddenly subides and you feel a related but quite different feeling. Related -- but oddly opposite. A new truth, more personal, more honest, more stable reveals itself. Again, unexpectedly, you feel your heart, your mind, even at times your body begin to move albeit imperceptably in a new direction, a new idea, a revised, alternative self-definition away from the object of one's earlier passionate desire...

Such is life, no? These momentary awakenings and revelations. As meaningful to each of us in our own personal karmic lives as the searching stories of the great teachers: Moses on Mount Sinai, Christ in Gesthemene, Mohammad in the desert, Ram in the forest or Gautum Buddha under his Bodhi tree.

In our own lives, we each have our personal revelations, redefinitions and resurrections. The moments or decisions of life that establish our individuality and mark our journey across time and space.

That, too, may be another reason I turned back toward my Self and not further into the wealth of Buddhist teachings and iconography. There is a part of me that steps sideway when given the choice of prostrating before another, be it a teaching, a temple or a testament.

As much as I am embellished and cherish these High Tradtions and Great Religions, my true heart is more aligned with the Dickensian, Hugoian or (earlier) Tolstoyan view of the world. If I can lump those literary geniuses together, their undeterred humanity beckons my soul more than robes, religion or righteousness.

Thus, my own whimsical, personal, searching Bambuddhism blog...

The 'Bambuddhism in Nepal' title combines my sincere affection for the compassionate teachings of the holy dharmic spirit that animates our lives, our souls, with the simple truths of an individual's life. Not Buddhism, the historical tradition, but Bambuddhism, the personal story of awakening, self-realization.

Of course, for those who know me, there is the additional inspiration of the bamboo that I equally love. What I perceive as the truth of nature in our lives. The sacred gift of the natural world in which all is revealed and returned. From dust to dust. Or, from earth to earth. The world around us that we too often tend to neglect and forget. The damage we have done to the riches of the world around us. The garden from which we were exiled. Yet, the source of so much of our peacefulness, well-being and contentment.

Somewhere along the line, suprising me as much as those who know me, I fell head over heals in adoration of bamboo as the penultimate expression of nature in our lives. The tactile beauty of this behemoth of a grass, bending, arching, flowing, growing, spreading, rising to the heavens while swaying, swinging, waving, whispering to our souls as the great wind animates our lives.

In our petite 'Giardinetti Licchavi' up here in Budhanilkantha, we have planted some forty species of bamboo (from the grand 25 m variety to the short grasses that run wildly). Each spring, like now, these bamboo send up new shoots, new life, new awareness, new awakening, new birth, a natural resurrection to endow our lives, and give us pause for reflection.

Thus, again, Bamboo-dhism, combining the rarified teachings of compassion and annica (non-attachment) with the earthy beauty of these bamboo shoots, tall, tender, defiant, powerful, colorful, vulnerable, independent, ambitious, quiet, in perpetual stillness.

Maybe more Bamboo-dhism than Bam-buddhism, if you see what I mean. More nature than sacred ideology. More pliant than formal. More natural than man-evolved. More garden than monastic. More green than maroon. More individual than authority. More free than structured.

Or, not really 'more' anything or 'than' anything...

Just being, as we used to say...

A hieroglyph of natural and human wisdom as perceived by another member of our inter-connected human tribe, another soul lost in space, struggling to keep it all together, learning how to lead a good and noble life.

Simply put, as the Thais say, 'tam di, die de' -- 'Do Good, Be Good'.

Another of the species passing temporarily through this wondrous world trying to combine the sacred with the mundane, the righteous with the riches, the familial with the professional, the sound with the fury, the sceptical with the trusting, the humble with the dignified, the earthy with the transcendent, and the giving with the receiving of life.

In this drama, this 'Bambuddhism' blog is my escape, my sanctuary, my monastery, my sacred garden...

My effort to reflect, to think aloud, to observe and perceive, to write...

Or, to'Only connect.' (as Forster said...)

To be ever slightly more alive.

While alive...

Saturday, April 23, 2011

'As You Like It', Act 5, Scene 1

The fool doth think he is wise but, the wise man knows himself to be a fool.

Wednesday, April 20, 2011

Mr. Tambourine Man (in that jingle jangle morning... I'll come following you...)

Mr. Tambourine Man

Hey! Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come followin’ you

Though I know that evenin’s empire has returned into sand
Vanished from my hand
Left me blindly here to stand but still not sleeping
My weariness amazes me, I’m branded on my feet
I have no one to meet
And the ancient empty street’s too dead for dreaming

Hey! Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come followin’ you

Take me on a trip upon your magic swirlin’ ship
My senses have been stripped, my hands can’t feel to grip
My toes too numb to step
Wait only for my boot heels to be wanderin’
I’m ready to go anywhere, I’m ready for to fade
Into my own parade, cast your dancing spell my way
I promise to go under it

Hey! Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come followin’ you

Though you might hear laughin’, spinnin’, swingin’ madly across the sun
It’s not aimed at anyone, it’s just escapin’ on the run
And but for the sky there are no fences facin’
And if you hear vague traces of skippin’ reels of rhyme
To your tambourine in time, it’s just a ragged clown behind
I wouldn’t pay it any mind
It’s just a shadow you’re seein’ that he’s chasing

Hey! Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come followin’ you

Then take me disappearin’ through the smoke rings of my mind
Down the foggy ruins of time, far past the frozen leaves
The haunted, frightened trees, out to the windy beach
Far from the twisted reach of crazy sorrow
Yes, to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea, circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow

Hey! Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey! Mr. Tambourine Man, play a song for me
In the jingle jangle morning I’ll come followin’ you.


Copyright © 1964, 1965 by Warner Bros. Inc.; renewed 1992, 1993 by Special
Rider Music

Thursday, April 14, 2011

Death Comes too Early, Again...

I heard yesterday by email that the daughter of a friend from our distant and more innocent high school years had been murdered by her ex-boyfriend in her apartment in NYC this past weekend.

There are, of course, no words to describe such a tragedy, nor can I imagine the mental and emotional demands on L. and his family at this time.

I can merely recall another death in the family when the younger brother of a dear friend from Amherst was murdered more than a decade ago w/ his girlfriend in their car by her violent and and confused ex-husband, who then killed himself in his own utter remorse and loss.

Such crimes of passion are at the core of our human fraility and loneliness. They happen every day (today a mother drove three of children w/ her into the Hudson river...), but, thank g-d, usually not to us or people we know.

We merely read in the news or watch on TV the pain and agony of others who, thankfully, are more than six degrees of seperation from us in this world...

But we still see the anguish in the parents' faces, the wailing of the women, the bitterness of the men and the fear in the eyes of the children. We see these every day in our modern world of instant communication and gratification.

The eternal struggle to come to terms with tragedy, suffering and loss...

Thus, after another trip to Italia, I wonder why, again, I am so taken w/ the Quattrocento painters with their endless portrayls of Jesus and his suffering, why I am drawn into these magnificent churches with their chapels and in situ religious art and meditations, why I feel like an apostate ready to bend on my knees in such peaceful places of exceptional devotion and creative Renaissance brilliance...

For it is not the Passion of Christ or the resurrection that attracts me. Not the theological framework that St. Paul established for Jesus as the Son of G-d, not the aspiration for my own meager soul on the fearful Judgement Day.

Not these.

No, not any of these...

What awes and impresses me, particularly post-Giotto, when the artist began to be liberated from the rigid constraints of Byzantine formality is how these paintings gain space, atmosphere, nature, shape, personality, dimension and color...

And their humanity.

Stand before a Bellini or Titian or Veronese canvas observing the individuals, some of whom even stare back plaintively at you. See the pureness of their identities and their roles in life. The Marys are no longer a distant diety or remote halo'd figurine. Jesus is not so much Christ as the son of a woman who must lose her son as a young man, full of his idealism, his love for humanity and, possibly, his radical beliefs. A woman who cradles her dead son in her arms, forlorn and abandoned.

We see how Mary holds the baby Jesus, his tender infant feet gently crossed as a foreshadowing of his inevitable early death on the Cross, his fingers cradled around his mother's hand, Mary's maternal facial pain wounded with the intuitive knowledge of her son's early death. There are saints on both sides of the Madonna and Child representing worldly knowledge of the eventual passing of all life offering the possibility of finding Wisdom or Faith or Gnosis by which the soul may rise slightly above the unquenchable sufferings and pains of this myopic world.

For me, Christianity was simply the European mystical, ecclesiastical vehicle for expressing these innate, ineluctable and inevitable truths. Other religions, Judiasm, Islam, Hinduism, Buddhism, all have their own vehicles, methaphors and veils to express these timeless truths.

It's simply thorugh painting, frescoes and sculpture, no civilization expressed such these subtleties more exquisitely visual than those remarkable, creative, civilizing centuries from the 14th through 16th -- especially in Italy.

This sacred art belongs in churches or temples simply because those spaces have been designed to ponder our fraility, lost innocence, pains and helplessness. There we can find some solace that we don't find in other structures made by man.

They are the equivalent of the peace we find in a garden, close to nature, forgetful of our selves and our sufferings...

For, alas, sometimes, the unseen and unpredictable wheel of misfortune lands too close to our lives or of those we love and care for...

Although I haven't seen L. since 1973 in someone's DeWitt, NY suburban backyard, he remains a dear childhood friend in my heart and from our youthful experiences.

When I digitalized my boxes of 1970s slides a year ago, an image popped up of L. with his inimitable enigmatic grin (and Jerry Shapiro, our most tragic high school friend's suicide...), so that image is still quite fresh in my mind.

Yet, at such a moment, I can only send L. my lasting friendship across the years and my prayers for the lasting beauty and spirit of his lost daughter.

As we know, the world can be very, very cruel; sometimes so random and unprotective...

But I have no doubt that the joy and love that L. gave his daughter while she was with him in this elusive, frail, vulnerable and yet ever-human world will live forever in his thoughts and in that empryean of affection that ennobles our world.

I have to believe so....

Sunday, April 10, 2011

We are Back to Giardinella Licchavi outside Kathmandu.

We reached Malpensa airport safe n sound about 7 pm last night after a long afternoon drive from Piazzale Roma, where we picked up a one day Eurocar rental.

Piazzale Roma is the end of the line once you cross the long car/train bridge from the mainland, where and cars come to a stop at the gateway to Venice. Since our escape car wasn't immediately ready, we went across the street where we dropped $300 in an Italian Coop store -- mostly parmesean, other cheeses, olives and proscutto, then driving on the A4 via Lago Garda.

We stopped for about 2 hours at Sirmione, a natural land spit sticking out into the expansively beautiful lake, the largest in Italy, where a medieval castle had been built for us to visit on this gorgeous April day. Hints of summer already in the air with motorboats floating gently on the water. It was Saturday so the Italians were out in forza, as well, lining the stone paved streets and enjoying the remarkable beauty of the location.

Of course the Romans had built their own turn of the first millennium spa resort on the point of the promenade looking out toward the nearby snow-covered Alps and deep blue of the lake, as they must has done in Bellagio on Lago Como, as well. Definitely, those clever Roman proconsuls, governors and the like knew how to live well in their sumptious classical Italian villas, precursors to the new capitalist elite who drive these roads in their sleek BMWs and Ferraris and build multi-million euro vacation homes along the lake.

Altho, the Romans still had to head north at times to fight the uppity Germanic tribes, the Visigoths, Vandals or similarly vagrant types back before Christianity changed the nature of the world and eventually, between Pope and Emperor, finally united the people of these lands under a nearly common religious orientation...

But such rough and distant history seems far, far away on such a lovely day with thousands of tourists with us enjoying the pristine skies and la dolce vita, Garda-style.

After a bit of touristic shoping for Gita, Tek and Laxmi in Sirmione, Shaku, Leah and I then drove half way up the western shore of the lake, softly inclined gentle slopes where some of the best northern Italian wines are produced (the Soaves come from the eastern shores).

In this respect, southern Lago Garda is unlike the awe-inspiring Lago Como with its steep mountainous cliffs dropping almost vertically to the lake, and even more remarkable views of nearby snow-covered ridges. It certainly felt like summer was almost in the air...

Then, as planned, we turned away from the luscious Italian landscape that has been such a balm these past two weeks, far from the maddening crowds on Kathmandu's streets, to reach Malpensa by 7:15 pm. So with plenty of time to return the car, get ourselves organized, check-in, stand in line for our boarding passes and order Ms. Leah some chicken nuggets.

We also had time to help the birthday girl select a very grown-up, shiny black Bennetton hard-shell suitcase for her 10th birthday. Although in remarkably good spirits for the whole trip spent w/ three semi-adults (her parents and grandmother), she was a bit blue that her birthday was being spent on an airplane and in airports. Thus, she was/is very thrilled with her special gift, one she had been pondering and discussing since we arrived in Italy. Since she had to accept that we weren't going to be upgradec to B class from Milano to Abu Dhabi, the new suitcase purchased at the exit gate of Italy, was a fun alterntive. Clearly our little Leah is now well on her way to becoming a serious traveller.

In fact, Leah wanted to know why, when I asked if the three of us could go into the Etihad lounge together when we arrived at 6 am, the woman here in Abu Dhabi explained that Shakun will soon become a Silver member when she didn't say anything about Leah's status. "I've flown as many miles as Mommy on Etihad!", she noted rather presumptiously (altho probably correctly...). I told her I'd check when we are back in Kathmandu.

Fortunately, the Filipino Etihad lady checked her computer and said that since I will become a Gold member after my flight to Kathmandu (which didn't make much sense as these were 'free' mileage tixs for Shakun and me...), she could permit Shakun and Leah to join me in their Etihad lounge (where there is food, drinks, space to rest, free computers, a complimentary 15 min. massage and free showers).

I had tried to encourage her by noting that today was Leah's 10th birthday, but that seemed not to hold any charm for her. Even when I leaned over the counter to say that 'Leah's birthday is more important to me than a Gold membership...'. She responded bluntly by saying that the Gold membership was more important. Such is the way of the world, as we know.

At least we were able to relax for those eight hours between flights, especially after no sleep last night on the plane from Milano to Abu Dhabi. However, I did watch two very good European films, one excellent modern Italian ('A Prima Costa Bella') about a reckless, sensual mother in the 50s and the impact of her over-sized personality and life on her children, then one French starring the beautiful Sophie Morceau, who I first saw in a French film in BKK in 1982, about the letters that she wrote to herself at age seven reaching her a few decades later and the impact that earlier innocence has on her today. Splendid and one of the reasons I so enjoy flying Etihad... the variety and quality of their 70+ film selection.

Anyway, we are here now back at home, at last. Our own Giardinella Lichhavi. Maybe not Renaissance or Italian or on the banks of Lago Como -- but it's ours, we have planted almost every plant, tree and bamboo. I'll take it any day over a business class lounge or gold card. It's home, it's quiet, it's tranquil and it is our piece of heaven on earth.

Having seen a thousand years of Italian paintings, frescoes and ceilings trying to depict that sacred image through the values and norms of the Christian faith, moved and touched by those expressions of the suffering, motherhood, devotion and the divine, I still am content to be at home surrounded by nature, g-d's greatest creation and our greatest teacher, bare none.

So, to sleep as my mind is floating a bit from the lack of sleep and deep store of memories from the past two weeks...

Adieu!

Friday, April 8, 2011

Joseph Brodsky, 'Watermark': on Venice

"It is as though space, cognizant here more than anyplace else of its inferiority to time, answers it with the only property time doesn't possess: with beauty.

And that's why water takes this answer, twists it, wallops and shreds it, but ultimately carries it by and large intact off into the Adriatic
."

Joseph Brodsky, 'Watermark'
------------------------------------------------

Water, time and beauty... Brodsky's brief meditation on the influence of Venice on his Baltic imagination captures mine. As he notes, "For this is the city of of the eye, your other faculties play a faint second fiddle."

Mom, Shaku and Leah got off the vaporetto at Accademia, right in front of the museum, a short stroll to our pensione, down one alley, over one modest canal, along the fondamenta on the other side and into the sanctuary of the garden.

They were heading back to the pensione for a late afternoon rest on the last day of our two week journey across northern Italy. A well-deserved break from the miles and miles we have walked along these acutely and poetically named lanes and squares. The Venetians have such lovely language for each of them: fondamenta (along a canal), sotoportico (a covered passage), corte (courtyard), riva (a wide fondamenta along the lagoon), calle (street), rio (canal) and campo (square).

There's a delight in simply listening to the Italians speak, trying to catch the odd verb or description using their hands to enunciate, explain, procrastinate, describe, elucidate, gesticulate, usually with a laugh or smile or a charm as their eyes seek to evoke as much emotion as their words.

Not to mention, as Brodsky notes, that listening to them speak is also simply watching them , their lips, their eyes, their hair as they move through their own charmed city, flamboyant, attractive, flowing in the weaving movement of these narrow lanes.

Moi, of course, couldn't get off the vaporetto.

There isn't enough time in the day to fill the eyes or the memories. After a morning in the San Marco square, even in April full of tourists, staring plaintively at the glittering Byzantine mosaics on the cupola ceilings and walls of the thousand year old basilica, then peering through glass at the astounding jewel-encrusted Pala d'Oro, the alterpiece of 250 minature life-like figures made from enamal and gold filigree orginally from Constantinople itself (like so much that was taken during the 4th Crusade when Catholic Venice sacked Orthodox Constantinople en route to Muslim Palestine), Mom was ready for a rest.

But we still had time left on our 24 hour vaporetto ticket, so I simply took the front seat out in the open air, put my legs on the railing, watched to make sure Mom, Shakun and Leah got safely off the long-bodied water taxi, then put my eyes to work...

As the vaporetto continued up along the Grand Canal in the mid-afternoon sun, as the centuries of marble and stone carved palazzo floated by. A sign on one where Lord Byron lived for two years in the early 19th C., revelers holding their drinks on a portico, refurbished homes next to buildings that hadn't seen a coat of paint in a century (or two...), tourists in gondola sliding up the narrow, side canals, more tourists pouring over the Rialto bridge, gothic windows with thick, damask curtains closed tight in silent rooms, a 20 m. poster advertisting photos of the Hemingway years in the Veneto, the water rocking us gently as we went from side to side at the vaporetto stops, cupolas and campanile rising above the ochre, burgundy, olive, musturd and peach colored buildings lining the Grand Canal.

I was reminded of decades ago when Scott and I rode the ferries up and down the Bosphorus eating fish sandwiches just watching the hills and fortresses along that Asian passage.

In so many ways, Venice is the other side of the Bosphorus, two cities united by uniting East and West...

You feel here so much closer to the Orient, the charms and architecture and art of the eastern Byzantine become Islamic world.

Sailing to Byzantium...

Now that is a poem worth reading again...

Thursday, April 7, 2011

Venice, Out of Time, Out of Place

vehicles. roads. traffic. congestion.

it takes a day or two to realize that we have left such 20th C. concepts behind. not just in time but space. they don't exist here in venice.

gone.

i hadn't really realized it or it hadn't come to consciousness until shakun mentioned at some point today as we were, once again, meandering along the lanes, quays and alleys that make up the urban core of venice.

'it's so lovely to walk w/o any cars.' she said.

then, in a rather sonumulent manner of someone just wakening to the day, lifting the pillow off their own head, i looked around, sideways, in front and behind me and, rather belatedly, realized that there aren't any vehicles, motorcycles, trucks or micros nearby.

you have to live in kathmandu to fully appreciate that revelation.

jesus could have fallen off his crucifix as amazed as i was with this sudden thought.

i'm sure ananda wasn't enlightened hearing the buddha any quicker than my astonishment.

i awoke in the clear light of day to the obvious insight that we had been strolling venice for two days now and i had completely taken it for granted that there wasn't a car engine or motorcycle disturbing the harmony of our feet on marble or brick or stone as we trundled along the by-ways of this unusual city.

the only engines that puttered around this city are on water and no danger to us mere mortals still unable to walk on water.

what peace! what sanctity! what a blessing! what a rarity!

do i have to ever leave?

what a slap in the face of the 20th C. and the assault of modern advertisement for ford, fiat, toyota, jaguar, mercedez, bmw, lexus, chevrolet, vw and the international oil companies that are constantly trying to convince us that they are the concerned public face of the 'mother nature', 'back to earth' and 'green' campaigns for the global environment.,,

we left our rented europcar at the garage at the piazza roma as soon as we crossed the long bridge to venice, carried our many bags onto a private water taxi and for 50 euro were whisked down the grand canal to our lovely pensione in the dorsodura near the accademia bridge.

behind us were the highways and traffic jams of our modern times. back in space and time driving to a different music and tempo than this hoary, dank and romanticitized city of doges, gondolas and 'fondamenta'.

here water is space and time seems to have evaporated in the 17th C. when venice began its fell from grace, power and influence.

'time must have a stop', as aldous huxley once wrote.

was he writing of this city, caught between constantinople and rome, between water and land, between the renaissance and the reformation, between sincerity and simplicity, between arrogance and humility, between -- as the brilliant painters describe, heaven and hell...

water and airless time, those seem to be the elements of this city.

as alien to our time as the alleys on which we stroll...

and stroll...

and stroll...

Tuesday, April 5, 2011

Venice, Chrisitianity and Sacred Art

venezia... as imposing and impressive as she is, she was still hard to find when we drove here on to the island from milano, after a stop in padua.

did i say 'a stop in padua'? let me correct myself, we passed through heaven in padua, as our friend, hugh bareiss, implied when he advised us not to pass by the scrovegni chapel in padua as we were traveling from verona to venice. he said, and i can confirm, that this is one of the most exquisite, refined and enobling spaces made by man.

actually, a man. giotto. a name that has come to mean more to me w- each passing year. at college i found a way to not take any history or art classes, spending my time trying to make my way through a philosophy/religion major's ontologies, theologies, epistomologies and even an occasion teleology... but somehow missed the major opus of western sublimity, her art.

yet through the curiousity of a long-distance traveller w- time on his hands, over the years, with trips back to italy every few years, it was impossible not to come face to fresco with the remarkable, enthralling, radiant work of the man who opened the entrance to the renaissance and the transformation of western art and christian imagery... giotto.

i think i first tripped over the beauty of giotto's work in either florence in the side chapels of santa croce church or the magnificent frescos of st. francis' cathedral in assisi. for those who have been there, the visualization is astounding and unforgetable. the colors, the forms, the exquisite human faces in mourning, loss, suffering and, possibly, liberation challenge our thoughts and tranquility.

the scrovegni chapel in padua, one room, one structure, still stands 805 years after these 36+ frescoes were painted, where you are permitted to observe, pay homage and emotionally genuflect toward the passion of christ and the life story of mary for merely 15 minutes before another group of adoring visitors arrives.

yet that 15 minutes is a lifetime of imagination and reflection.

there is the sense that we felt upon leaving that we had been transported, not just to a different time, when giotto painted these religious scenes of the martyrdom of jesus become christ, but to that timelessness of religious ecstasy, where the heavens actually do open and the human, physical world is left behind, temporarily.

i will never be a christian, a believer of the sacred mythic annunciation and resurrection of christ. it's not in my nature, my genes nor my family lineage. i am of the hebrew faith and identity, carrier of that ancient heritage and mystic monotheism.

yet, as i have often said, when entering st. peter's, i could be a perfect apostate. the wordly nature of christianity's 'power and glory' is not THE power and glory for no reason.

after a week of time in sacred space and time here in italy, in the paintings of the pinoteca of milano w- mantagna's dead christ; the milanese churches i visited w- leah; the sacred art in san zeno maggiore in verona; this transformative scrovegni chapel in padua; the awe-inspriring, almost secular, bellini 1488 madonna and child triptych alterpiece in the franciscan frari church in venice; titian's 'assumption of the virgin' in the same church; and, the tintoretto of christ before pilus pilate washing his hands in the scuola grande di san rocco...

how can i describe my feelings and emotions?

we live in such a secular, materialistic, urbane, sophisticated type of world. charmed and charming but limited in its religious sentiment or regard. monty python's adorable 'life of brian' is probably better known among many than of the painters or paintings i've mentioned.

for many christianity is considered more of a political identity than a religious one. the orders and monasteries that kept this traditional european world alive was cut adrift by napoleon's early 19th C. conquests, followed by socialist and marxist critiques of the distribution of power which led to the modern transformation of our society rather than souls.

we became political, literary and consumer characters instead of religious, mystic or symbolic beings. we have filled our lives with opportunities to transform our immediate worlds instead of preparing for the next one.

perhaps...

or i may be speaking of my own world and reflecting it upon the larger one in which i live...

this is just to say that i find this christian art magnificent. magnificent not just as art but in the life of the spirit and the soul's natural longing for understanding it's coming and going, it's past and future, the before and after, the alpha and omega...

all that religion and religious truths try to convey.

these are the feelings i have when standing in front of giotto's crucifixtion in the scrovegni chapel or the bellini mother and child in santa maria gloriosa dei frari in venezia. not the profound elevation into the christian belief in the resurrection of christ, but the profound humanity of these individuals, these people, these historical figures, people like you and me, people who have known the truth of life, the birth of a child, the sufferings of our human world and the death that is our final mystery...

as i asked dr. harpolani in florida two years ago when my father died. 'dr. harpolani, where is my father now?' i was teasing and i was profoundly serious. dad was dead. where was my father? where was the person, that elusive being, this more real and insubstantive identity? where was the soul, the being that animated the person?

who are we?

this is what i feel as i stand in awe before these paintings in northern italy from the 13th to 16th centuries. the transformation of western christian art from ciambue to giotto to the brilliant artists of the renaissance whose names are known by students and adults alike.

the mere and full humanity of our lives. the phases through which we live. the love of a mother for her child. the pain we must observe in living. the decay of our bodies and the death of those we love. the spirit which animates us and uplifts us. the sacred which calls to us and reaches deeper into our lives than we can understand.

this world so exquisitely recreated in this european christian art moves me...

through these images i pause to reflect...

often.

Monday, April 4, 2011

A Week In Italia 2011

just a note from verona before i go upstairs to get ready to go out for a last dinner in the charming and radiant town of verona w- grammy and leah.

shakun and i just came in from a lovely late afternoon visit to the san zeno maggiore church, said to be one of the most beautiful romanesque churches in northern italy.

well, they have our votes, as well!

there was a charming, closed cloiser outside the main 12th C. basilica cathedral. slim double columns surrounding a gentle green garden, like the sanctified medieval monasteries that this, too, once was for centuries... before napoleon or the austro-hungarians, those early 19th C. self-proclaimed 'reformers' shut down catholic monasteries across europe.

the church's nave was open and spacious, like an old roman basilica design w- a towering ship's keel wooden roof, nearly 30 m. above. there were giotto-like frescoes of the life of christ along parts of the walls.

but the piece de resistence were the main doors with 48 bronze panels w-sculptures from the hebrew scriptures on one side and the life of jesus and st. zeno on the other. not as brilliant as the reknown ones on the firenze duomo doors, as these are more naive and rough, but magnificent and awe-inspiring, nonetheless.

after an hour and a half in san zeno maggiore, shaku and i walked back along the quickly flowing adiago river that comes out of the alps and served as a moot for medieval verona. the dominating castelvechhio (old castle) built by the scaligeri family with a 14th C. bridge over the river served as our landmark, we strolled in the early evening light along the river quay.

then we turned down the precious walking streets of verona town, full of charming, casual and elegant italians dressed in their individual style as if for a public party, families, grandfolk, kids all mixed in with the many tourists here for the gentle beauty of this historical n romantic veneto town.

while we were at st. zeno's, grammy n leah came back to the hotel after a full day of sightseeing in the old town visiting romantic juliet's mythic home, the truly charming piazza erbe and the monumental roman arena which still hosts summer concerts n opera.

we met a georgetown couple taking their junior year in firenze: 'the best year of our lives', they said -- if it's not too late, i'm ready for my junior year abroad, as well...

all's been very good among the four of us this past week while meandering among the lakes and milan. lago como was so amazingly relaxing w- our rooms overlooking the lake (literally) and botanical gardens each day to explore and enjoy.

we had one moment of serious tension in milan when we got separated walking to the castle. leah n i were ahead, then we realized that the moms weren't behind us. we went back to where we had seen them last, but they were not there. we tried going left the other main road, but couldn't find them there, either. so we went to the castle, where we were heading, and waited 30 mins. there for them by the large fountain. they never came. then leah thought it best to walk the 30 mins. back to the hotel, where they were not. we waited there for over an hour (while leah enjoyed reading her book...), left them a note with leah's personalized drawings, then went out.

i dragged leah to 4-5 old, charming milanese churches in the afternoon (a spectacular one designed by bramante), but leah was actually quite good, as long as i promised to stop w- her at benetton for some shoppping on the way back. (she has learned already to negotiate wisely, this nearly ten year old...).

well, you can guess... when we got back about 6 pm, both grammy n mom were livid with us, blaming us for losing them, not paying attention, coming back late n the rest. they weren't wrong, but they weren't all right either. this kinda affected the mood before heading out for the evening at the scala, esp. as grammy hadn't eaten all day n the restaurants didn't open until 7:30, too late for our 8 pm tix for the Magic Flute, so we could only get a snack on the way there...

however, moods were better by the time we got to the scala for the epic performance. altho, let's be honest, after 3 hours of opera, leah was squirming in her chair and ready to go on strike if the performance didn't end soon. but we enjoyed and i think she may have even liked parts of the arias (one soprano's voice was absolutely remarkable!). the 21st C. stage and computerized lighted sets were fantastic.

after all, an opera at la scala in milano: another dream to tick off the bucket list...

tomorrow we drive to venezia by way of padua to see the most famous and beautiful giotto frescoes in italy. probably the most magnificent chapel paintings we will have seen since the piero della francesca frescoes in arezzo in tuscany some years ago. those, too, i'll never forget...

then we'll have five more nights in venice, which should be remarkable, unique and beautiful. i can't wait!

we'll take it a bit slow as grammy is, after all, 82 -- as hard as that may be to believe! and even though she's going strong, matching us step for step across the country, it's a long trip w- a lot of walking to churches, through piazza, around art museums, through the daily life of these ancient, atmospheric, inspiring towns.

for me, i could stroll these cities, towns, churches and lakes for months, i'm sure, and never get tired...

how can there be so much radiant beauty in one country, only g-d knows...

ecco homo.