Medium terrible. He injured his back just a couple days ago. He can sit. There's a number of doctors in the house. Ah, good, good. Pain builds character going in. There's a number of doctors in the house. Pain builds character going in. We're separated by a translator and joined by a translator. See no evil, hear no evil. We're just great apes, you know. I was just at a conference on meeting, kind of gathering and discussing evolution.

[01:04]

This woman who studies cetaceans, whales and dolphins. Cetaceans, dolphins and whales. Porpoises. And she's quite interested in how the dolphin and whale brain developed through cows and hippopotamuses, and how ours developed through monkeys. The structure of the brain is quite different, but the functions are very similar. We both recognize ourselves in mirrors, for instance. And she kept saying, by all biological evidence, we're just great apes. But these are three monkeys or three great apes who like poetry.

[02:07]

Well, Norman is a very old friend of mine, and we practiced together for many years as well. And some years after I was abbot of Zen Center in San Francisco, he was the abbot. And I've tried to figure out how to continue this practice. you know, as a lay practice. And for me it includes trying to like this Johanneshof place and Creston. And perhaps Norman is trying in a more pure way to really practice with people in the circumstances of their life and their Western culture as well.

[03:49]

everyday life and also in their culture. Yeah, and I formed an organization, as you know, called the Dharma Sangha. And he formed something, an organization called Everyday Zen, is that right? Everyday Zen. Maybe you could say something about it. Hmm. I'm sitting here trying to get acquainted with my new body. Just before leaving on this journey I made a sudden movement and something went wrong in my back. So I can almost not walk and there's a lot of pain.

[05:13]

Sciatic pain, you know, up and down that goes up the leg and into the lower back. So this is the first time I'm sitting in zazen since this happened. So I'm kind of getting acquainted with this feeling in the body sitting in zazen. It would be better if we got you a chair? No, actually this is very good. It speaks well for Zazen. First, I will say just a little bit about everyday Zen. But before I do that, I want to say how delighted I am to be here with you.

[06:42]

And also with Baker Roshi. I have been to Crestone several times and this is my first time to Johanneshof. And Bekiroshi has said from his point of view about our old friendship and many years of practicing together. But from my point of view, I would say much more. His enormous importance in my life and my amount of gratitude, the amount of gratitude that I have for him and his practice and all that he has done.

[08:05]

I only came to Zen Center temporarily in order to become enlightened and leave quickly. I demonstrated what a slow person is. I don't really like groups that much. And I don't like religion that much. And I really did not like the idea of spiritual teachers at all. So I only wanted to quickly get the job done and move on. But truly it's thanks to Bekiroshi that I'm still working on it.

[09:39]

So, I could say, and would like to say, much, much more, but let's leave it at that, just to express to him and to you in his presence my enormous gratitude. Because of that, that's why I'm really so happy to be here with you, sharing his life and your life together. It is why I am so happy to be here with you and with him and to share this life together. So Everyday Zen is an organization that by coincidence fits the needs of Dharma and also my personal needs.

[10:49]

Every Day Zen is an organization that coincidentally fulfills the needs of the Dharma and my own. What a coincidence! Its mission is to share the Zen practice and Zen teaching in as wide a way as possible. the Zen teaching and practice as widely as possible. So I practice with people in traditional, very traditional ways and also non-traditional ways.

[11:56]

And I have a lot of friends and so I collaborate with my friends to practice in different ways. For instance, I have a very close friend who is a rabbi. So together he and I opened a center for Jewish meditation. So in that center, even though we do Zen, we usually don't even mention Buddhism. I have another friend who has for many years worked with the dying. Ich habe einen anderen Freund, der über viele Jahre hinweg mit Sterbenden gearbeitet hat. Mit ihm haben wir ein Ausbildungsprogramm begonnen, um Leute auszubilden, damit sie mit Sterbenden arbeiten können.

[13:07]

So in this way, I do many different ways of doing Zen. In this way, doing different... Those are two examples of different ways. And after so many years at Zen Center, maybe almost... close to 30 years at Zen Center I didn't want to have any more buildings. Because then you have to do fundraising and fixing buildings. So we say everyday Zen is a people-centered community.

[14:27]

So there's no temple that people come to. The temple is in every person's life and in the relationship between the people. There is no temple, but the temple is in the love of the people and in the relationships. What that really means is that there is no building and we don't have to raise money. It is one of the unbelievable talents of Baker Roshi to create beautiful places to practice in. I camped the Anishinaabe and immediately I find it a wonderful physical location to practice in.

[15:32]

But somehow I was not surprised at all by this. Zen Center today has the most marvelous facilities in San Francisco and Tassajara and so on. Zen Center has today the most beautiful buildings in the city and in Tassajara. And this is because of Bekhoroshi. I have no such talent for this. So Everyday Zen has no facilities at all. And no staff.

[16:49]

The international headquarters of Everyday Zen. It's a small room that I rent in a friend's apartment. I have many wonderful people who volunteer much work because it's complicated to keep it running, but they all have jobs and do other things. Ich habe viele wunderbare Leute, die freiwillig Arbeiten übernehmen, denn es ist kompliziert, das am Laufen zu halten, aber sie haben alle ihre Berufe und so weiter. And this leaves me much time to write poetry and study and read and be quiet.

[17:51]

Und das lässt mir viel Zeit, um zu dichten und zu lesen und in Ruhe zu sein. And this suits me well. So I have different groups, Zen groups in different parts of the United States and Mexico. So I travel and also teach at home. So I'm used to speaking and someone is translating in Spanish. So this is a new experience for me having German translation. So that's anyway, that's a little bit about Everyday Zen. Maybe more than you wanted to know. Something. So that's a little bit about Everyday Zen. Maybe more than you wanted to know. But saying it all has enabled me to adjust my body in such a way that I feel much better.

[19:04]

Say something about translation. This is pretty difficult, what Christian is doing. See how it works. If you fade, we'll try to find help. I didn't understand this at all. That's because the idea is impossible. I said, if you fail, we'll try to find help. So, when you fail, really, is this ohnmöchtig? Yeah. Oh, when you're ohnmöchtig, then... There is some discussion. Yeah. This also happens in Mexico. The translator doesn't know what to say and everybody in the audience tells the translator what to say. Fade. Fade. Fade. Not fail. Fade. In business, you change translators about every half hour, actually.

[20:33]

And you never would translate two people. Because you have to build some kind of rapport in the field for it to shift to two people. It's not... And I know that when I've taught in Belgium and France quite often, And I know that when I taught quite often in France and Belgium. I had to speak in quite different English units than in German for the translator to translate. But so Norman has to shift from the habit of speaking to be translated into Spanish now to German.

[21:40]

But like all our seminars, this is something of an experiment to see how we can do this together. And how we can enter the realm of poetry, which is already, you know, a new kind of problem than just translating in the usual speaking. But I think with your help we'll probably manage, okay. And as many, most of you know, I have a, I use poems a lot and teach them. And koans are really largely a kind of yogic poetry.

[22:52]

The whole of the koan moves in the kind of territory which poems, the landscape which poems open up. But I, you know, I have an interest in poetry, but Norman had an interest in poetry too, but he became a poet. And, you know, I went across the country once by car with Brother David Steindl Rufft. Some of you probably know him because not only is he Austrian, but he has been on German television quite a lot.

[24:17]

But he lives in America and is a friend of mine. So anyway, we drove across the country, and every night we stayed in a different monastery. Even though I knew of the Catholic interest in Zen, there's always been a very little Protestant interest in Zen, I would say, but a great Catholic interest in Zen. Although I knew of the great interest of Catholicism in Zen, there is a great Catholic and not so much a Protestant interest in Zen. There have been many Catholic Zen teachers and the most prominent in Europe is Father Villegas. Though he has a center near us.

[25:18]

But I hear the Catholic Church has told him he has to stop teaching or something like that. But even knowing this, I was surprised to see that every monastery and convent we attended, we were at, except one cloistered convent. Cloistered country. They can't leave at all. Had... some monks or nuns doing Zen meditation. Every one. And I'd go past these cells and in some of them I'd see Sukhiroshi's picture up on the wall.

[26:35]

So I, you know, I enjoyed my trip, enjoyed staying in the monks, and there's some kind of Thomas Merton is right when he says, maybe you translate that nicely. I enjoyed my trip with Jim and being in the monasteries. And I think Thomas Merton is right when he said that somehow Catholic monastic life and Zen meditation produces a similar kind of person. And so, but every morning I joined the services, the chanting in these monasteries.

[27:46]

And they usually chanted the Psalms, among other things. And they were full of statements like, I smote my enemies, and so forth. They were full of statements like, I am destroying my enemies and so on. And then I said to the monks after breakfast, I'd say, how can you chant these things? And they said, well, it's the scripture, you know, that we chant it. That's the tradition. And I said, well, In Zen, I don't know, I wouldn't chant that, I'd change it. Dogen says, don't let the sutras turn you, you turn the sutras.

[28:48]

Don't let the sutras turn you. You turn the sutras. So when I said this, you ought to just change it. I didn't know at some great distance Norman was listening. So he had some similar experience and he decided to change the songs and published a book. He had a similar experience, and he decided to change the Psalms, and he published a book. Maybe, Norman, you could tell us your experience of visiting these similar monasteries. We both visited Thomas Merton's monastery. Maybe you can tell us about your experience, maybe similar experiences. We both visited the monastery of Thomas Merton. In Catholic monasteries, chanting the Psalms is the center of the practice.

[30:17]

It's not like in Zen, where there's Zazen and maybe there's sutra chanting. In Catholic monasteries the chanting of the Psalms is the equivalent of Zazen. It's the main part of the practice. So I was in a big conference in Gethsemane monastery. I was at a big conference in the Getsemane monastery. And just like Bekharoshi experienced, I found it astonishing that this was the main practice that they did. And as Bekharoshi said, I found it surprising that this was the main practice that they performed.

[31:26]

And they chant a cycle of psalms throughout the month and the year and so on. And I just happened to be there when they were chanting Psalm 137. And there are many terrible Psalms, but Psalm 137 is the worst. It ends with the lines, And Lord, please help avenge our troubles by taking their babies and smashing their heads against the rocks and dashing their brains out. Er endet mit den Zeilen und Harry hilft uns, indem du ihre Babys, ihre Kinder...

[32:37]

the babies and then smashing their heads against the rock, dashing their brains out. So in this conference, when it was my turn to read my learned paper, This was a very large conference, many people attending, the press, the Dalai Lama. Anyway, instead of reading my paper, I said, how can this be? How can you chant these things as the main part of your practice? And I didn't mean this to be disrespectful or challenging.

[33:41]

Good luck. No. Because when I see something that seems to me to be very weird, I figure there must be something I'm missing. So this is how I explained it. I said, what am I not seeing here? Please explain this to me. It's hard to imagine how this could be the centerpiece of a religious practice. And I was very impressed with the monks of Gethsemane Abbey and with their practice. So I figured they must have some explanation for this. So when I said this in the conference, it created a tremendous stir. And after this, everyone threw out their learned papers.

[35:17]

And the whole tenor of the conference changed and people began speaking more from the heart about their actual religious experience. And many of the monks stood up with great passion and explained their practice of chanting the Psalms. And some of the explanations that they gave were quite good. But I remain unconvinced. So I thought to myself, I really have to understand this.

[36:29]

So I went and got a Hebrew version of the Psalms. And I can read Hebrew, not so well, but I can read it. And I had also a facing page in a word-by-word translation. And I also had various other English translations. And I put all these books in a little briefcase, and every time I went on a journey traveling, I would take this little Psalms kit with me. So I would kill time in airports and on airplanes by studying the Psalms and then I began writing my own little versions.

[37:30]

So I wasted my time on airports and on the plane, reading and studying the Psalms, and then I started to write down my own versions. because I felt that the words that were usually used in English to translate the Psalms gave the wrong impression. And also, after many hundreds of years of using these same English words with lots of bad theology, and also after hundreds of years in which these English words were used with a bad theology behind them.

[38:45]

Maybe at one time the words gave the right impression but after all this bad theology they built up a kind of film on top of them so that you could no longer hear anything in these words. I missed the beginning. Maybe in the beginning these same words gave the right impression, but after all this time they built up a film of bad theology and misunderstanding. So I began to get a sense after doing this for a while of the actual meaning beneath the words. And I began creating in English my own private vocabulary to translate words that had been translated quite differently.

[39:54]

And in the end I actually became convinced that I wasn't really changing the Psalms. I was actually, I felt, restoring them to their original meanings. So this was a very important project for me. That was a very important project for me. I learned a lot from it.

[41:11]

I wasn't trying to make it into a book, but after a while I just had many versions and it became a book. Because I really agree with Baker Roshi that Koan literature, and also even more than that, any truly inspired religious literature, is operating in the territory of poetry. which means attempting to use words to say the unsayable. Because what can't be said and can't be thought is the most important thing for human life.

[42:22]

And since human beings are talking apes, they're always trying to talk that which cannot be spoken. And only in words that are poetry can this attempt even come close. Even though in the end it always fails. And so religious language just like with the Psalms begins after a while to take on the force of doctrine.

[43:26]

It takes on force. It begins to solidify into doctrine. And when this happens it becomes useless almost sometimes to the point of poisonous. So I think that each person is translating all the time truths of poetry or religious teaching. You could say each person's life is a new translation of the deepest truths. The deepest truths. So I think this strikes to the heart of Zen practice to begin with.

[44:59]

That we would personally translate for ourselves the truth about life that we find in our own life. and that our translation would be fresh and new and unique and we would cut through doctrine And I think that's probably the subject of our seminar this weekend. And that's why it's good to use poetry as a way of doing that. And that's why it's good to use poetry as a way of doing that. although I feel very sorry for the translator.

[46:14]

Because it's very hard to translate poetry. In fact, you can't do it. But then again, every poem in its original language But then again, every poem in its original language is already a translation. Perhaps if we can capture the feeling of a poem in our own words, you can capture it too. Maybe if we can capture a poem in our own words, then we can capture it too. And I think that Dieter Xeroxed one paragraph from Norman's introduction to his book, Versions of the Psalms.

[47:17]

And I think we have also Xeroxed the first Psalm. I think many of you at least know English well enough to look at what we have, and we can pass it out tonight. And probably tomorrow we can just translate it aloud or we can maybe make a translation. It's fairly short. I made a translation. You made it? Oh, we have it in German already? Yeah. Whoa. Okay, so... We don't have a Xerox, but I have. Okay, so tomorrow we'll have a Xerox. Okay. And... And that paragraph, I think, is quite good to give us a feeling for proceeding tomorrow.

[48:24]

I think we have to wonder together what the territory of poetry is. I always remember, and it's repeated here often, Suzuki Roshi's comment, wind is a tree, a tree, And when is it a poem? What's that? And in the Lakhavatar Sutra it says, the adept, something like, the adept should know the syllable body.

[49:28]

Name body Name body Name body And the sentence or phrase body And the sentence or phrase body And that little section is quite short as well. The Lankavatar Sutra will give you tomorrow as well. Now, what does it mean to know the syllable mind or body and name mind or body and sentence mind or body, phrase mind or body? Can we hear with these three bodies simultaneously?

[50:30]

And this name, body, This relates to the five dharmas we've talked about quite often recently. Of this appearance, what appears. We name it. Then we discriminate about it. It's the three dharmas. And then we can interrupt that process with wisdom or right knowledge and enter suchness.

[51:33]

So what? Sophia, as you all know, most of you, is my current main study. And I've watched her, as many of you know anyway, that I've watched her start using sounds, names for activities. Just to review slightly, first I thought she was naming objects. Crestone, there's a lot of gray jays and blue jays. And they make noises, something like crows.

[52:43]

And that became her name for birds. And at some point when I saw... the shadow of a bird go across the front of our house outside. A completely out-of-sight bird. And Sophia went . I realized she was naming activity, not entities. And watching her name now, activities, I realized that she's really, everything is a name for overlapping activities.

[53:53]

So now she's at the point, or at the point the last couple of months, of those names conflating into words. being words that can eventually be used in sentences. Names are not really part of language there, but words are part of language. Words fit into sentence structures. Sentences predict from the past to the future. And they carry, they're like trains and they carry our train of thought.

[55:09]

So I felt a little bit sorry for Sofia because she's going to get me in this tunnel on language. And then you start identifying yourself with the train. You're stuck on this track that goes from past to future. and the sense of words as these sounds being named for activity turning into words. words that name entities.

[56:23]

How can we participate with not letting this conflation occur completely? To the opposite of inflation. It's absorbed into a smaller universe, reduced. Yeah. I don't know. All right. Anyway... But then, the last few days, she has used some very short transitive sentences. Transitive means it carries an action.

[57:26]

Farmer chops wood, is it? which is basically she got up in the morning and called papa that's no longer a name that's now a word it's essentially a sentence she's expecting something to happen she's calling out to me So it made me aware suddenly that language doesn't have to just get trapped in this sense of past, present, to future continuity. And it doesn't just have to be the way we identify ourselves, the primary way we identify ourselves subjectively.

[58:28]

But as Norman says in this little passage you'll see from his introduction, poetry is a calling out and calling in and calling beyond. And maybe poems are a kind of naming, which is outside of usual language. Maybe it's a kind of calling out in silence or darkness. You've all stood in the dark. I mean, you've all stood out some nights, moonless nights in the dark. We've all stood outside.

[60:02]

You have all stood outside in the night time. In complete darkness. But even in that darkness there's a presence. And that presence is something like emptiness. You can't discern anything, you can't exactly... But there's a feeling of presence. And I would say that is one way to think about or feel about emptiness. But I would say maybe a poem is something like calling out in this darkness or this emptiness.

[61:12]

And not just calling us to light, but calling us also to notice this darkness or this emptiness. To light, like the light of... not only calling us into light or to see light, but calling us to know this darkness, stillness, emptiness. Now, Norman and I may have slightly or some different feeling about, idea about poetry. Or maybe we have very similar, I don't know. But I think we'll find out this weekend.

[62:22]

So anyway, I'm so happy you're all here. And I look forward to our time together until Sunday early afternoon. And there will be Zazen tomorrow morning. I think to wake up is at 5. 5.15? 5.10, okay. And 30 minutes later, 5.40, there will be the first period. And we have two 40-minute periods. The first one is 40 minutes involuntary. The second is 30 minutes. When the Buddhist police there will be watching to see who will come to the voluntary period.

[63:46]

Anyway, we know that you're here for a short time and you've been traveling now, so we make the first period voluntary. And I don't even notice if I'm there or not. So please feel free to come when you want. You should have that feeling as you wish to come. But I hope you can come to the second period. Because it helps the seminar if we sit together. And then we'll start at 9.30 after breakfast. And anything you'd like to add, Norman, now?

[64:50]

No, I really appreciated what you were just saying about languages. It's a very fascinating subject. And even though it sounds abstract, it's something that's really important to all of us. Because the whole climate of our lived experience is created by our language. So it's very important to live within our language, as you were suggesting, in a way that is alive and not dead. So I think this is what we'll be talking about. And not only talking about, but hopefully talking as that experience.

[65:55]

And because we will be sitting together and we will have the reference of zazen practice always as part of our discussion, We have a real chance to see some light shining inside the prison house of language. So I'm looking forward to our time together. Tomorrow morning I suggest during Zazen you notice how much of your thinking is language. And see if you can feel how much of your... the various degrees to which you identify with your thinking as line.

[67:26]

The energy that pulls you into the language, your thinking, or loosens you. All of us that Norman is speaking about and Zen is speaking about is really to start studying ourselves. Finding a means to observe ourselves. But not separated from. Okay, thank you very much. Thank you. Can you get out of the posture now?

[68:52]

We'll see. Maybe I need a hook. Thank you for double duty translation. Cool. Very cool. Again, thank you for joining us today and last night, most of you anyway.

[70:38]

Thank you for the house residents and others for making such good meals already. Since This is the first time we emphasized poetry itself as part of our practice. Poetry is a dimension of the world for all of us.

[71:43]

You know, having lived in Japan for quite a long time, it's interesting to see how practically everyone writes poetry. I guess it's that they see it as an activity and not as a role, like an archetype of being a poet. It's just an activity of language and... being in the world. So the people, when they read poetry they bring the feeling of a poet to reading poetry. Or at least the feeling that poetry is a craft of language. I guess it's more like we don't think we should leave singing to professional singers.

[73:13]

Sorry, we all feel it's okay to sing even if we're not Parvati or Mick Jagger. Even though I didn't get the electricity? Even though we're not an opera singer or Parvati or Mick Jagger. So anyway, poetry is more like that. It's just like we all may... People don't let me sing very often. But you understand what I mean. Yeah. So because it's new for us to emphasize poetry, the main topic of our seminar, I'd like to start with a little, you know, any comments from you or discussion or any comments on last night or what you'd like to say or what interests you.

[74:46]

Who's willing to be first? Yeah. Oh, thanks. I would like to know from which spirit or from which spirit do the poems come from? Because I notice in me that it is not my normal spirit, it is the spirit of the brain or is it the spirit of poetry? I would like to know what kind of mind poetry comes from, because in my experience, poetry doesn't come from an ordinary mind.

[75:49]

Is it a Zen mind or a poetry mind? Let's hope it's a Zen mind. Yeah, hoffen wir mal, dass es ein Zen-Geist ist. So anyway, we'll keep that in mind. Someone else? I was very surprised knowing that you started out with very shocking sounds. And I wonder, did you translate that sentence which you yesterday taught us with the children? I was smashed, I couldn't sleep, and I was wandering. But how you, yeah, how you meant, or how you translated, or how you did it?

[76:53]

That's a good question. Because my whole interest in the Psalms began with this particular line. I was most interested to confront this sort of thing in the Psalms. Of course there are many uplifting and positive lines and psalms

[78:00]

And other poets who have taken up the Psalms have emphasized those and kind of left out the other ones. And I don't know if you know, in Germany, of Stephen Mitchell, who's a translator. He's the best translator into English of Rilke. He also did a version of Psalms, and he left out all the difficult parts. And I don't blame him for that.

[79:27]

I think that's, in a way, as Baker Oshie was suggesting last night, maybe that's the best thing to do, is just forget those parts. I don't want to accuse him for that. Maybe it's like Baker Oshie said yesterday, even the best thing, to just forget these parts. But I guess I'm just the type of person who's fascinated with exactly these problems. Because I notice that these same problems are also in me. And human violence, greed and anger are never too far away. So that's why I was interested to try to figure out, you know, what was the Psalms really doing with these difficult parts?

[80:51]

What was it really about? And you can generalize from this even in poetry in general. What is the virtue of poetry that brings up negative or difficult emotions or feelings? negative feelings and negative emotions bring to light?

[81:54]

So, after thinking about this for a long time, I came to a conclusion. that in the Psalms an effort was being made to bring, to evoke the most difficult things in the human heart. and to produce a strong energy and power equal to the negativity. As if it were an important part of human life, to acknowledge the world's strong confusion, confront it directly,

[83:14]

see it as not only outside oneself but also inside oneself and make a strong shout or scream out into the world that we have to do this That it is actually not possible to withdraw and smooth over. So now I get to your question. about this particular passage. One way of looking at it would be to say the author of this passage is someone overcome by negative emotion and desire for vengeance.

[84:47]

And that there is no redeeming feature whatsoever in these lines. But I thought to myself, suppose that this were not the case, then what would these lines really mean? And what I felt was that the speaker of the lines was making this shout or scream into the world that I just mentioned.

[85:50]

And this psalm happens to be one of the Psalms of exile. And the speaker is being humiliated and exiled from his or her place of wholeness. And so the speaker is screaming out into the world in protest of this. Not only for what has happened to him, but identifying with all living things who have been beset by such forces.

[87:08]

And screaming that this should never happen again to any other person, any other living being. And that's where the babies come in. Because what's a baby? It's the ongoing energy of one's activity. You know, your life ends, but the baby's life goes on and on. It's the ongoing activity of someone's energy that changes one's own life and the child goes on.

[88:30]

So the psalmist is saying, I'm expressing a wish that this bad activity and all of its future consequences should be removed. So the psalmist says that But in the end I couldn't bring myself to use the original imagery. This is one of the few times when I changed the imagery.

[89:38]

So I hope this will not be too hard on Christian. But I'm going to translate just the last part of that in the imagery that I used. I'm going to read my translation in English and then he will... I will read this last part in my English translation where I have changed the language. O daughters of Babylon, in your actions are the seeds of your fall. And it will be a relief to see those seeds bear fruit. For what you have done. A relief when your dark sprouts and black flowers are dashed against the rock of faith.

[91:07]

So when negative actions are perpetrated in this world, they don't just disappear. Their energy goes on for a long time, even after the perpetrators have passed out of this world. The energy of the actions continues. The energy of the actions continues. And our usual approach is, oh, now that's over, we can go on to other things and forget about it.

[92:27]

But the psalm is saying, no, that's not the way. It's better to acknowledge and pay attention to all the energy of the actions. To even encourage them to be uncovered. And to meet them head on with the energy of faith. Faith in the inherent goodness of life. But this takes some passion and some effort and power.

[93:45]

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