I'm sorry, I'm such a hopeless case. But I am, I, but please listen to me. This hopeless case I believed about. And I find even sitting at the walk as I have, if I don't sit for a while for some reason, it does sink beneath the surface this much. But not only does this blissful mind of deep sleep surface into our living conscious life, But also, Clarity surfaces into our life.

[01:15]

Things just are clear and precise. It takes a while before that happens spontaneously. But everything just looks clear, precise, and in its place. But also a kind of low of intuition surfaces. Lust der Intuition kommt an die fläche. Now, if I try to explain how that works, I don't know, let me do a quick riff on it. I don't expect anyone to particularly follow it, but let me do a quick riff.

[02:16]

Wenn ich das jetzt erkläre, ich weiß nicht, ich werde mal ein schnelles riff probieren. Ich erwarte von niemandem, dass er dem folgen kann. As you know, I would define a mind as something that is homeostatic and unorganizing or self-organizing. Like the mind of sleeping that wants to stay asleep. It's trying to organize itself so it doesn't have to wake up when the alarm rings. But I would say that there is also a quality, and here I am turned to science for an image. Does the quality of it mean collodial suspension?

[03:27]

There is a word. Yeah, well, sorry. That means... Also acoustically. Collodial. Collodial. Collodial. A suspension. And what that is, is one material in which another material is suspended in it. At intervals. Collodial. Collodial. Collodial. How do you pronounce it in German? Okay, so the question here is how, when we're not conscious, do we think? Because I think if you do Zazen regularly, you find when you sit, things appear that you didn't know you were thinking about, but you were thinking about sort of non-consciously.

[04:32]

You have a kind of discontinuous, non-voluntary consciousness. or discontinuous, non-voluntary thinking. Now, what do I mean by that? I mean, I don't know why I'm... I should start a seminar this way. By that, I mean, I don't know why I should start a seminar this way. But you see, Norman inspires me, so I get carried away here.

[05:36]

I'm thinking about the mind of poetry and poems. Yeah, so like, you know, if you're going to practice it's good to study your transitions. One of the most basic is waking up and going to sleep. Now, if you basically entrain your mind with your breath, It's like when two things move together, they're entrained, like the grandfather clocks move the same way.

[07:01]

And not just the generalization of breathing, but each specific inhale and exhale and so forth. A kind of awareness gets just part of the breath. Then you can follow into sleeping, kind of conscious. Because you go to sleep when your breathing becomes involuntary. When you go into a room, you can almost always tell when someone is only pretending to be asleep.

[08:04]

Because you can feel consciousness on their breath. It's very hard to fake it. Everybody, oh, he's just pretending to be asleep. But if you've been trained breath and mind, you can notice when your breath becomes involuntary and you're gone to sleep, the consciousness just goes into the depths. a kind of consciousness. And a kind of thinking occurs, which, and I think Dogen called it non-thinking, which isn't conscious, but proceeds in a kind of involuntary awareness.

[09:33]

I don't have the words. It's almost like there's no longer, as Joyce and others tried to talk about, a stream of consciousness. There is rather consciousness suspended in a larger field of awareness. in which a new kind of thinking occurs. And that thinking surfaces, this new kind of thinking surfaces in your sadhana.

[10:38]

And you can trust it more. And you know, as you know, Lie detectors work quite often. Why do lie detectors work? Fairly often. Because it's very hard to get the body to lie. So the more your mind and breath embody your joint, The more you don't lie to yourself, the more past generates a kind of, we could say, truth body. And you can begin to trust that body, that thinking.

[11:41]

And you feel the recognition of truth, of poetry on everything. You might not have the talent of a painter or a poet. So you don't bring this mind of poetry into a painting or into a poem. But you still have this kind of recognition of of the world as a poem. Entering a painted picture. When is a tree a tree and when is it a poem?

[13:04]

So through zazen even us untalented folks can discover more often the world as a poem. Yeah, and there's, of course, other things I want to carry along with this, but since Norman's coming back two or three times next year... And always with Kathy. Someone asked me if Norman and Kathy are leading the seminar together. And I said, they probably should, but I'm substituting for Cassidy.

[14:08]

And Norman, would you want to read the poem you were thinking of doing? It seems like a good idea to end with a poem. I think it's a good idea to end with a poem. This is another poem by Nelly Sachs. The title of the poem just comes from the first line, which is Line Like. So I'll read the poem in English and then Christian can read it in German. Wine like living hair drawn death night obscured from you to me.

[15:26]

Reigned in, outside, I bend thirstily to kiss the end of all distances. Evening throws the springboard of night over the redness, lengthens your promontory and hesitant I place my foot on the trembling string of my death already begun. But such is love. Linie wie Linie wie lebendiges Haar gezogen Tod Nacht geduckelt, von dir zu mir, gegängelt außerhalb, bin ich hinüber geneigt, durstend, das Ende der Fernen zu küssen.

[16:38]

Der Abend wirft das Sprungbrett, der Nacht über das Rot, verlängert deine Landzone und ich setze meinen Fuß zagend auf die zitternde Seite des schon begonnenen Todes. Aber so ist die Liebe. Linie wie Linie wie lebendiges Haar, gezogen, tot nacht gedunkelt, von dir zu mir. Gegängelt, außerhalb, bin ich hier nügel, geneigt, durstend, das Ende der Fernen zu küssen. Der Abend wirft das Sprungbrett der Nacht über das Rot, verlängert deine Landzunge und ich setze meinen Fuß zart auf die zitternde Seite des schon begonnenen Todes.

[17:49]

Aber so ist die Liebe. That's it for a couple minutes. The kitchen wanted a little more time. Thank you very much. Thank you very much, Cathy and Norman, for coming to Johanneshof and joining our Dharma song practice.

[22:35]

Thank you for letting me join you in this wonderful seminar. And I'm very pleased the way this group self-selected. How this group self-selected. It was good to be here with you these two and a half days. And again, I'm always amazed at how the residents make all this work and do all this work. There is some motivation. It must be a good motivation. Thank you very much.

[23:47]

Thank you. [...] I'm sorry, I'm such a hopeless case. But it pleases me. This hopeless case I'm pleased about. And I find even sitting as long as I have, if I don't sit for a while for some reason, it does sink beneath the surface this much. But not only does this blissful mind of deep sleep surface into our living conscious life,

[24:49]

But also clarity surfaces into our life. Things just are clear and precise. It takes a while before that happens spontaneously. But everything just looks clear, precise and in its place. But also a kind of low of intuition surfaces. If I try to explain how that works, I don't know, let me do a quick riff on it.

[26:18]

I don't expect anyone to particularly follow it, but let me do a quick riff. If I try to explain how that works, I don't know, let me do a quick riff on it. I don't expect anyone to follow it. As you know, I would define a mind as something that is homeostatic and own-organizing or self-organizing. Like the mind of sleeping that wants to stay asleep. It's trying to organize itself so it doesn't have to wake up when the alarm rings. But I would say that there's also a quality, and here I'm turned to science for an image, There's a quality of it being a collodial suspension.

[27:27]

That means a collodial suspension. And what that is, is one material in which another material is suspended in it at intervals. How do you pronounce it in German? Colloidale Flüssigkeit. Ja, das ist also ein Material, ein Stoff, in dem ein anderer Stoff schwebt. Okay, so the question here is how, when we're not conscious, do we think?

[28:23]

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