Primarily a writing exercise, this dream journal-inspired blog is a quiet introspective sojourn into the process that we traverse in going from private dream to public art. I see our dreaming as an internalized mythmaking. As I philosophize and expressively exhibit dreams, both private and public, I encourage and delight in creative language as a way to practice experiential metaphors through a “public dreaming." Writing Theory: Creative Dream Fiction

Wednesday, 1 August 2012

To Dream Is To Conceive An Other

"I had a dream also before you were conceived which was quite interesting, there was a being there standing in the corner, it was a male, and said to me in the dream, said, 'please will you give me a place in your body.'" - Mother of Tulku, from the film by Gesar Mukpo

I have a friend whose named their first son a Tibetan name after she reportedly had seen the child himself appear in full bodily form prior to conception, asking if he could be born through her. Is he a Tulku? What does this say about the mother? Do you have any similar experiences, first-hand or otherwise? 

As a reclusive student of Buddhism, who became delightfully initiated into Green Tara devotions with a Rinpoche Geshe Lobsang Tsetan at a chance meeting, and in that series of meditational initiations befriended a forest hermit who's been a lifelong supporter of my work ever since, I will add my opinion on tulkuhood (please see my Green Tara Post for more). 

In my reading and meditation, I see Buddhism as an enlightened practice of seeing, in the way that Joseph Campbell saw myth as creative perception, and the way that Terrence McKenna saw shamanistic hallucination as an archaic mode of seeing through the phenomenal nature of human subjectivity.

In other words, I see tulkuhood as a universal expression of a natural phenomenon that is experienced every day, in every moment, by every one always. That easily said, without having redacted with much scholarship on the matter, I can humbly reflect on the notion that a Tulku is simply the ancient wisdom of indiscriminate practice, which resides in all social and personal forms, within all sentient beings. 
We met in bars, malls, cafes, and sidewalk parks. The entire time, it was as though we met in the privacy of his home, even more, in the secrecy of his mind. He had let me into his imagination of himself. The way he was so sweet, surreal. Figments of smiles and laughter lit up our shared space as from a shared brain. He spoke with a borrowed voice.

The duplex works well for me, a single man on one side, my best friend and his family on the other. One day, they show me their leaking roof, a madhouse of water and anxiety. Unable to help, we attend a nearby gathering, an awe-inspiring array of human diversity, as an earmarked page in an unassuming book. A busker presents his CD release. On a new accordion, he plays the delight of all, while my best friend retreats back into our house, ready to subsume the difficulties of an entrenched domestic struggle. I continue on through the peopled havoc, stirring blindly with blissful listening and warm-hearted aspirations, to embrace the heart of our local culture and be drawn into its imperfect cultivation.

This is the last day, he said. No visitation, no indrawn temptation, not a flicker of need. What happened? I decided to see for myself, the state of this new loving presence, his shape-shifting personality beckoned me, although I had not seen another side, I knew his face does change.

Entering his house, no one welcomes me. Walking up the austere mahogany stairway, the banister is buffed and shining with inestimable taste. The doorway to a study is slightly open. A deep, unwavering silence overtakes my curiosity, I am driven through with the pain of loss, a reality I had known all along, though served so politely, mind-to-mind by the loving acquaintance. He sits at a high leather chair, bearded as not before with elder white beard, square-faced and unmoving. His countenance, exposed in the antiquated sepia light, is only recognizable as an acrid tinge of sentiment and memory, subtly issuing as from within, between our speechless minds. The instant is nigh, as he looks at me, stone-faced, an unseen floodgate opens from his untamed eyes. Then it fades and I leave, pained with eternal mystery of who.
"To dream of age, portends failures in any kind of undertaking." (iDream)

When I read the dream above, I immediately think of McKenna's statement, "you become unrecognizable to yourself
donating beautiful soundless hearts
through world music motion

our one universal language emotion
& the commonly evolved ground broken through violent social awareness

meant to survive generations
with the traumatic blessing of the great earthly groan

MA, virgin, temptress,

my Kuan Yin

- excerpt from "I drank in the stupor"

On another poetic note: check out my latest publication, a very buddhistic haiku posted today on Marco Polo Arts Mag

1 comment:

  1. You always pack so much into every posting, and it all seems to fit together in a way the mind thankfully can't fully grasp.

    Now there's a particularly archetypal dream, an unveiling how the illusion of separation is there to serve us.

    I have to share my favorite tulka story, about the time some monumental (I don't know the name) Rinpoche visited the Hollywood Buddhists. The ceremony was about what one would expect from such a gathering, the illusions were real flowers and the reality was dangerously unspoken. At one point Richard Gere, the leader of the gathering, asked if there would be a possibility in the next 100 lifetimes of a tulka appearing among them or their kind. The Rinpoche said yes in fact, there was already such a tulka, and his name was Steven Segall. They should all, he continued, bow in homage to him. The great comic actor was not present at these proceedings of course, being universally reviled as the biggest asshole in Hollywood, but something of his unncanny smile came out as the light momentarily left the eyes of Mr. Gere.