The Dharma Forum has been asked to review Buddhaland Brooklyn by Richard Morais. We welcome this opportunity and have created a page in our menu for our past reviews. Enjoy reading! And we hope to make this a feature of the future where we can preview Buddhist related books and films. There are two reviews here, the first by AndyDharma and the second by DharmaForum.
Buddhaland Brooklyn, the new novel by Richard C. Morais is a cracking good read, enjoyable from first to last. But, being a novel about Buddhists from East and West trying to get their act together to create a Buddhism that works in the modern world, it presses all the right hot-button issues without ever, to my mind, satisfactorily resolving them, although they are so resolved for the main character of the novel, Seido Oda. But then, having been a Buddhist for over 20 years myself and having seen close-up many of the shenanigans Western Buddhists can get up to in the internal – sometimes infernal – politics of trying to get a Buddhist tradition established in the West, I am deeply sceptical of happy endings such as the charming one this novel has. Mind you, I wouldn’t mind being in a group such as the fictional Headwater Sect that Seido Oda belongs to, a mish-mash of Japanese Zen, Nichiren and Pure Land traditions. Theirs is a simple, cut-down form of Buddhism that relies upon deep faith – especially faith in the Lotus Sutra – and an application of that faith in a willing engagement with others in the apparently mundane affairs of everyday life. Seido Oda, the narrator of the novel, is a priest in the Headwater Sect, and grows up in the Japanese temple his parents put him in as a child before being posted by the Sect to New York to help build and open a new temple built there by the American ‘Believers’. He takes the affairs of everyday life quite literally indeed, having a passionate affair with the young American lady who is his closest assistant in the New York temple project. But the Headwater Sect, like Japanese priests in general, appear to have a laid-back attitude to sex, not seeing strict celibacy as necessary in the priesthood, so no scandal or serious complications follow from this affair. In reality, in the West, scandalous, damaging sexual affairs between Buddhist monks and their disciples is fairly common, especially in the more puritanical of the Tibetan Buddhist traditions, partly the result of unrealistic expectations on the part of Western Buddhists about ordination and partly due to the misunderstanding of the cultural norms and psychological dynamics of Western disciples on the part of Eastern priests/lamas/monks. Indeed, in the novel, Seido Oda’s affair helps him to grow up and to loosen up, and leads to him being able to better connect with, and understand, himself and his denial of his own past traumas and emotional needs, as well as helping him better understand his students and the cultural context of his surroundings in Brooklyn. But the novel is not really about sex. It is about the inevitable cultural clash that occurs when Eastern Buddhism comes to the West and the many difficulties of adjustment that follow. What emerges is, as always, something which is neither wholly East nor West, but an unexpected amalgam of the two. Whether you end up with a ‘pure’ Buddhism, however you want to define it, is another question entirely. Seido Oda thinks he has, but I’m not so sure. But then I’m just an incorrigible sceptic.
More to the point, Seido Oda has a passion for Japanese haiku and any novel that skilfully blends the immortal haiku of Basho and Issa into the narrative gets my vote anytime. Perhaps the perfection of haiku as a vehicle for truly great poetry is the greatest contribution of Japanese Buddhism to Buddhism in general, if not to world art. Anyway, Morais’ own writing style gets pleasantly poetic at times, especially in his descriptions of the natural environment of Japan that Oda grows up in and which helps to deepen his spirituality:
“The Buddha’s Elbow Waterfall stood in the forest, a white-water thrashing of stones that forced involuntary sighs, gulps and gurgles from the river. Sake-coloured froth turned at the water’s surface and sent a drunken spray into the air, moistening nearby mats of green moss. The river eventually settled and the exposed rocks in the lower pool jutted up, round and pert, like stone breasts” (p.30).
Indeed, Morais’ description of the surrounding, whether it be in Japan or Brooklyn, seem to be stronger and more effective than his characterisations of people, some of whom hover perilously near to comic stereotyping. But his understanding of psychological dynamics helps to make the plot of the novel believable overall and those dynamics play out neatly towards the charming ending, where a contented Oda sits in Brooklyn watching the world go by and sees that enlightenment is “the ability to suffer what there is to suffer; it is the ability to enjoy what there is to enjoy” (p.276). Is it that simple? I don’t know, but I hope so. At least I had the ability to enjoy this enjoyable novel; that will do for me.
Buddhaland Brooklyn is fiction and that’s a shame. We enjoy the characters and the land so much that we want them to be true. The Headwater Sect is based on the Nichiren Shoshu, or another similar group of Buddhists from Japan. This is because their sole practice is reciting the Lotus Sutra. Interestingly, this leads their monk, Seido, and all the others characters in the monastery to feel free to engage in whatever activity that appeals to them, whilst remaining monks. Not surprisingly they hide some of their excesses, such as drinking sake, from the local community, but the Lotus Sutra has freed them into a consideration that the Buddha Nature is free, and so are all activities. He quotes (p.152):
“No affairs of life or work are in any way different from the ultimate reality.” Lotus Sutra
This is a very advanced view and requires the student to see emptiness before engaging in this way of life; before freeing themselves from the karmic restraints of controlled behaviour. As Padmasambhava said, “until you have realised emptiness directly you must maintain all your vows and behaviour utterly.”
The book is good and apart from the above slight criticisms, which are more wishful thinking than telling off, I thoroughly recommend this book for bedtime reading.
Here is an extract to judge the timeless quality of life in rural Japan conjured so effortlessly.
“I am reminded of the ancient poem by Iio Sõgi.”
“I cannot recall it.”
“However low one may be,
It is in holding oneself in sway
That is imperative.”
Senior Acolyte Fukuyama sighed in appreciation. “But still,” he finally said, “I prefer a bit of humour. Kobayashi Issa:
Tub to Tub
The whole journey –
Reverend Kawaguchi smiled. “Yes. This poem is very fine.”
In that moment – sitting under the cypress, the breeze sweeping yellow pollen across the river’s pooled surface, the air laced with the priests’ poetic murmurs – a belief within me took hold with such force that I involuntarily shivered. I was just a boy, true, but in the hellish aftermath of my family’s destruction I was visited by a conviction that a clearing filled with Tranquil Light was waiting for me somewhere, and that one day I would find my way to this clearing, this safe haven patiently awaiting my arrival. (p.31-32)
Seido’s struggles in Brooklyn are more difficult. He has been sent to New York to open their New Temple, a kindness to his teacher that he cannot refuse. Seido craves only the peace of Japan, but temple politics will not permit it and his karma must be fulfilled.
The children’s voices in Sant’ Andrea Park beckoned like birds in the forest around the Temple of Everlasting Prayer. An old man and woman rested on a park bench with their parcels, wheezing jokes as they watched the shoppers passing back and forth the intimate, earthy poetry of Brooklyn.
The tired woman finally dropped her white head on the shoulder of her husband’s peacoat. “Come on”, he said, squeezing her thigh. “Let’s get this stuff home. You’re tired.” It was good advice, and I decided to return home, too, in order to give thanks to the Buddha. But as I moved to leave the park, as I breathed in the air, the reality of where I stood finally hit me.
It was the Buddhaland. (p.262)
Gendun Chöpel was brilliant. As a student he beat all his teachers at debating points of dharma. In his first monastery he specialised in taking positions that could not be won in traditional dharma debates – and winning them. His greatest was to take the non-Buddhist view of the Jains, who contrary to Buddhists believe that plants have consciousness, and leave his fellow students unable to gainsay him!
As a result he was kicked out.
Alas! After I had gone elsewhere,
Some lamas who can explain nothing,
Said that Nechung, king of deeds,
Did not permit me to stay due to my excessive pride.
Arriving at the famous Drepung Monastery in Lhasa, one of the three important Gelug monasteries, he signed on with a tutor famous for his defense of Tsongkhapa. The two did not get on! Often they were heard having shouting matches with each other over dharma points.
Chöpel went to India for twelve years where he learnt the arts of love, and like the sixth Dalai Lama became known for his poetry. He regretted his countrymen’s use of Sanskrit texts as amulets rather than translating them into their own language. When he returned he tried to teach them the ideas from outside their land, such as the world not being flat.
I have written facts,
Unheard of in the Land of Snows.
Because of my poor and ragged appearance,
No one is there to heed my words.
At one point he was put in prison and all his writings taken.
Today you can read some of these works as well as his life story.
Source: Gendun Chophel
Film: Angry Monk
Life Story: The Madman’s Middle Way