The Marginalian
The Marginalian

How the Great Zen Master and Peace Activist Thich Nhat Hanh Found Himself and Lost His Self in a Library Epiphany

By Maria Popova

How the Great Zen Master and Peace Activist Thich Nhat Hanh Found Himself and Lost His Self in a Library Epiphany

“The self, the place where we live, is a place of illusion. Goodness is connected with the attempt to see the unself… to pierce the veil of selfish consciousness and join the world as it really is,” Iris Murdoch wrote in a 1970 masterpiece — a radical idea in her era and in her culture, counter to the notions of individualism and self-actualization so foundational to Western philosophy. Today, practices like metta meditation and mindfulness — practices anchored in the dissolution of the self, which remains the most challenging of human tasks even for the most devoted meditators among us, offering only transient glimpses of reality as it really is — flood the global mainstream, drawn from the groundwater of ancient Eastern philosophy and carried across the cultural gulf by a handful of pioneers in the 1960s and 1970s.

Chief among them was the great Zen Master and peace activist Thich Nhat Hanh (October 11, 1926–January 22, 2022), who arrived in America in 1961 to study the history of Vietnamese Buddhism at the Princeton Theological Seminary, bringing what he learned back to his native Vietnam two years later and devoting himself to the project of peace, for which the South Vietnamese government punished him with a four-decade exile. Half a lifetime later — having been nominated by Martin Luther King, Jr. for the Nobel Peace Prize, having founded the fount of civilizational optimism that is Plum Village in France, having survived a stroke that left him unable to speak or walk — he was finally allowed to return to his motherland, leaving the West that celebrated him as the father of mindfulness.

Thich Nhat Hanh. (Photograph courtesy of Plum Village.)

The journal Thich Nhat Hanh began keeping upon his arrival in America as a young man was published half a century later as Fragrant Palm Leaves: Journals 1962–1966 (public library). These remain his most intimate writings — a rare record of his unselfing, which made him himself: the monk who brought mindfulness to the world.

In an extraordinary diary entry penned ten days before his thirty-sixth birthday — the age at which Walt Whitman opened his Leaves of Grass with the declamation “One’s-Self I sing, a simple separate person” — Thich Nhat Hanh contemplates the illusory and interdependent nature of the self as he faces his own multitudes, pitted in the universal inner conflict that comes with being a person in the world, a private cosmos in a public sphere:

It’s funny how much our surroundings influence our emotions. Our joys and sorrows, likes and dislikes are colored by our environment so much that often we just let our surroundings dictate our course. We go along with “public” feelings until we no longer even know our own true aspirations. We become a stranger to ourselves, molded entirely by society… Sometimes I feel caught between two opposing selves — the “false self” imposed by society and what I would call my “true self.” How often we confuse the two and assume society’s mold to be our true self. Battles between our two selves rarely result in a peaceful reconciliation. Our mind becomes a battlefield on which the Five Aggregates — the form, feelings, perceptions, mental formations, and consciousness of our being — are strewn about like debris in a hurricane. Trees topple, branches snap, houses crash.

Two centuries after Coleridge considered the storm as a lens on the soul, and a century after Van Gogh extolled the clarifying force of storms in nature and human nature, Thich Nhat Hanh adds:

These are our loneliest moments. Yet every time we survive such a storm, we grow a little. Without storms like these, I would not be who I am today. But I rarely hear such a storm coming until it is already upon me. It seems to appear without warning, as though treading silently on silk slippers. I know it must have been brewing a long time, simmering in my own thoughts and mental formations, but when such a frenzied hurricane strikes, nothing outside can help. I am battered and torn apart, and I am also saved.

Art by Akiko Miyakoshi from The Storm

In consonance with Alain de Botton’s insight into the importance of breakdowns, he looks back on what the most formative storm of his life taught him:

I saw that the entity I had taken to be “me” was really a fabrication. My true nature, I realized, was much more real, both uglier and more beautiful than I could have imagined.

In a recollection that makes my own bibliophiliac soul tremble with the tenderness of recognition, he goes on to detail what occasioned the storm of his unselfing — his version of the garden epiphany that revealed to Virginia Woolf her life’s purpose:

The feeling began shortly before eleven o’clock at night on October first. I was browsing on the eleventh floor of Butler Library. I knew the library was about to close, and I saw a book that concerned the area of my research. I slid it off the shelf and held it in my two hands. It was large and heavy. I read that it had been published in 1892, and it was donated to the Columbia Library the same year. On the back cover was a slip of paper that recorded the names of borrowers and the dates they took it out of the library. The first time it had been borrowed was in 1915, the second time was in 1932. I would be the third. Can you imagine? I was only the third borrower, on October 1, 1962. For seventy years, only two other people had stood in the same spot I now stood, pulled the book from the shelf, and decided to check it out. I was overcome with the wish to meet those two people. I don’t know why, but I wanted to hug them. But they had vanished, and I, too, will soon disappear. Two points on the same straight line will never meet. I was able to encounter two people in space, but not in time.

Suddenly, all lines dissolved into a boundless field of awareness, without space or time or self:

I feel as though I’ve lived a long time and have seen so much of life. I’m almost thirty-six, which is not young. But that night, while standing amidst the stacks at Butler Library, I saw that I am neither young nor old, existent nor nonexistent. My friends know I can be as playful and mischievous as a child. I love to kid around and enter fully into the game of life. I also know what it is to get angry. And I know the pleasure of being praised. I am often on the verge of tears or laughter. But beneath all of these emotions, what else is there? How can I touch it? If there isn’t anything, why would I be so certain that there is?

Still holding the book, I felt a glimmer of insight. I understood that I am empty of ideals, hopes, viewpoints, or allegiances. I have no promises to keep with others. In that moment, the sense of myself as an entity among other entities disappeared. I knew that this insight did not arise from disappointment, despair, fear, desire, or ignorance. A veil silently lifted effortlessly. That is all. If you beat me, stone me, or even shoot me, everything that is considered to be “me” will disintegrate. Then, what is actually there will reveal itself — faint as smoke, elusive as emptiness, and yet neither smoke nor emptiness, ugly, nor not ugly, beautiful, yet not beautiful. It is like a shadow on a screen.

London’s Holland House library, home to thousands of historic and rare books, destroyed after the 1940 blitz. (Available as a print.)

But from this feeling of losing the self, from this utter demolition of identity, arose a deep sense of having arrived at himself, at an elemental oneness of his being with all being:

At that moment, I had the deep feeling that I had returned. My clothes, my shoes, even the essence of my being had vanished, and I was carefree as a grasshopper pausing on a blade of grass… When a grasshopper sits on a blade of grass, he has no thought of separation, resistance, or blame… The green grasshopper blends completely with the green grass… It neither retreats nor beckons. It knows nothing of philosophy or ideals. It is simply grateful for its ordinary life. Dash across the meadow, my dear friend, and greet yesterday’s child. When you can’t see me, you yourself will return. Even when your heart is filled with despair, you will find the same grasshopper on the same blade of grass… Some life dilemmas cannot be solved by study or rational thought. We just live with them, struggle with them, and become one with them… To live, we must die every instant. We must perish again and again in the storms that make life possible.

Thich Nhat Hanh in the south-west of France during his exile, 1980s. (Photograph courtesy of Plum Village.)

Complement this fragment of Fragrant Palm Leaves — a superb read in its totality — with the poetic physician Lewis Thomas, writing in the same era, on how a sea slug and a jellyfish illuminate the permeable boundary of the self, then revisit Thich Nhat Hanh on the art of deep listening, the four Buddhist mantras of turning fear into love, and his timelessly transformative teachings on love as the art of “interbeing.”

BP

Legendary Artist Sheila Hicks, at 92, on the Secret to Creative Vitality

By Maria Popova

Art, Georgia O’Keeffe believed, springs from “the desire to make the unknown known… and keeping the unknown always beyond you.” We seem to have drifted lightyears away from that motive force, the majority of our epoch’s cultural production aiming to render the market maximally known — its profitably proven preferences, its self-interests, its moral fashions — in order to cater the creation to it, to virtue-signal enough to go viral.

In every era, there are those who do what they do from a place of exuberant creative vitality unconcerned with validation, those who refuse to mistake the conditions of their culture for givens and choose to make what they want to see exist — the singular, the untested, the unexampled — for the world to take or leave. The price is often profound loneliness, the reward profound peace.

Art from Sheila Hicks: Seize, Weave Space, Nasher Sculpture Center.

Sheila Hicks is a living emblem of that defiant, wildly countercultural courage to create rather than cater.

For the better part of a century — since before the splitting of the atom, before the signing of the Civil Rights Act, before the invention of laser and duct-tape and the Internet — she has been making koans out of fiber, material poems that reach something beyond meaning, something that, like nature’s needless beauty, simply is. Although her work has been exhibited in every major museum and she has been profiled by every major magazine, the recognition hover like an afterthought, agreeable and irrelevant as a stranger’s perfume, over her tactile universe of feeling.

Sheila Hicks: Fugue, 1969-1970 (silk, flax, cotton)

At ninety-two, Hicks opens the door to her life and work — which are so clearly one — in a feisty Time Sensitive conversation, in which she keeps pushing back against being classified as an artist. With an eye to how labels and categories invariably commodify what they contain, reducing process to product, she reflects:

I don’t even think about art. People want to pull me into the art thing all the time… Is this art or isn’t this art… What is art? I think people do what they feel like doing, and not authenticating things. These podcasts and these interviews and this reportage and these exhibitions, a lot of it has to do with trying to authenticate things, validate things. Here in Paris, we have a hundred exhibitions opening every week. What are we validating? And if you’re not validated and if you’re not being exhibited, what are you doing? Are you wasting your time or are you just simply doing what you feel like doing and that you like doing?

It is a sentiment not dissimilar to what legendary cellist Pablo Casals, at ninety-three, articulated about the secret of creative vitality and what Rachel Carson advised an spiring writer: “If you write what you yourself sincerely think and feel and are interested in, the chances are very high that you will interest other people as well.”

Holding up a large baton completely covered in an intricate pattern of colorful fabric and thread, Hicks adds:

When I made this, I didn’t make it with any intention that it’s supposed to be craft or art or design or decoration. Or what is it? It just is. Take it or leave it.

Sheila Hicks at her home in Paris. (Photograph: Agathe Karsenti for The Slowdown.)

Complement with some abiding advice on being an artist from Bowie, Beethoven, and M.C. Richards, then revisit Virginia Woolf’s classic existential epiphany about what it means to create.

For of Hicks, watch her singular spirit come abloom in this tender short film:

BP

How to Be a Tree: Notes on the Resilience of Letting Go

By Maria Popova

This essay and poem are part of the Universe in Verse book.

Trees grant us some of the richest metaphors for our own lives — a polished lens on the quality of attention we pay the world. “The tree which moves some to tears of joy is in the eyes of others only a green thing which stands in the way,” wrote William Blake. Walt Whitman considered them our greatest teachers in living with authenticity. For Hermann Hesse, the key to existential joy was in learning how to listen to the trees.

But far beyond the realm of human-wrested metaphor, trees are sovereign marvels of nature, dazzling in the native poetics of their biological and ecological reality. Their photosynthesis is nature’s way of making life from light. Chlorophyll — which shares a chemical kinship with the hemoglobin in our blood — allows a tree to capture photons, extracting a portion of their energy to make the sugars that make it a tree — the raw material for leaves and bark and roots and branches — then releasing the photons at lower wavelengths back into the atmosphere. A tree is a light-catcher that grows life from air — an enormous eye tuned to the light of the universe.

Art by Ofra Amit for The Universe in Verse.

Trees hungrily absorb red light — the longer wavelengths of the visible spectrum — but the neighboring infrared passes straight through them. Under the canopy, where fierce competition for these wavelengths rages, red light is depleted and infrared dominates. Even though trees cannot absorb infrared, they, unlike humans, can “see” it with chemical photoreceptors called phytochromes. The ratio between the two types of light tells trees how much to grow and in which direction, with phytochromes acting as on-off switches for growth. An abundance of red light under uncrowded skies turns the switch on, signaling to the tree to spread its branches wide into any gaps in the canopy; in the crowded shade where infrared dominates, the switch turns off, reducing the growth of side branches and prompting the tree to grow straight up, reaching for the open sky above.

Ever/After by Maria Popova. (Available as a print, benefitting The Nature Conservancy.)

As summer recedes into autumn, cooling the air and dimming the light, the alchemy of transmuting light into growth becomes too metabolically costly for deciduous trees. Chlorophyll begins to break down, revealing the other pigments that had been there all along — the yellow of xanthophyll, the orange of carotenoids, the reds and purples of anthocyanins, turning the canopy into an aria of color.

Meanwhile, the layer of cells by which the stem holds on to the branch is fraying. Leaves begin to let go — a process known as abscission.

But as they denude the branches, they reveal the subtle nubs of the new buds that had been forming all summer, readying next spring’s growth.

Skeletal and pulmonary, winter trees rise into the leaden sky, their skin a braille poem of resilience.

Winter Moon at Toyamagahara, 1931 — one of Japanese artist Hasui Kawase’s stunning vintage woodblocks of trees. (Available as a print.)

OPTIMISM
by Jane Hirshfield

More and more I have come to admire resilience.
Not the simple resistance of a pillow, whose foam
returns over and over to the same shape, but the sinuous
tenacity of a tree: finding the light newly blocked on one side,
it turns in another. A blind intelligence, true.
But out of such persistence arose turtles, rivers,
mitochondria, figs — all this resinous, unretractable earth.

BP

True Love Will Find You in the End: Kurt Vonnegut on When to Stop Trying and When to Try Again

By Maria Popova

True Love Will Find You in the End: Kurt Vonnegut on When to Stop Trying and When to Try Again

Climbing the Andes one windy January afternoon, watching peak after peek emerge on the horizon like giant mounds of moss, I found myself wondering about the clear line toward the top where the green ends and the reddish-brown of the barren rock begins, wondering how the trees and shrubs know when to stop, how far to keep pushing, where the point is past which the conditions become too inhospitable for growth, for flourishing, for survival.

This may be the hardest equation to balance in all of existence: when to keep trying and when to stop. Nowhere is it more confounding, because nowhere is the calculus of reason more haunted by emotion, than in our intimate relationships. There, all the variables are too charged with feeling to be weighed accurately; there, the most vulnerable part of the ego keeps factoring itself into the arithmetic. Because time is something we can measure and tenderness is not, we keep trying to ward off the singular sense of personal failure that the loss of love can bring by measuring the success of a relationship by quantity of time rather than quality of being, only to find ourselves on barren rock.

Kurt Vonnegut (November 11, 1922–April 11, 2007) was twenty-two and just home from his wartime duty in Europe, where he had been held as a prisoner of war in Dresden and barely survived the Allied bombing of the city, when he married his college classmate Jane Marie Cox — two young people not yet having become themselves, unformed and unhealed, trying to be together.

They loved each other, but as they grew up, they grew apart, grew askance. And yet, dragged by the momentum of culture, they had a son, then a daughter, then another as Vonnegut struggled to make a living as a writer.

Vonnegut at 33 with his family.

When his sister died of cancer two days after her husband was killed in a train accident, he adopted their three young sons. In that way life has of denying us any alternative experimental condition but our lived experience, no one knows what might have become of the couple in an experimental design other than a small house pattered by six hungry children. They fought more and more, until even the most mundane conversation couldn’t but become an argument.

Vonnegut tried to take refuge in writing, but his twin peaks of bills and rejection slips came to tower over his dream. Middle-aged and penniless, he was about to give up when he received an unexpected offer to teach at the prestigious Iowa Writers’ Workshop, procured through the kindness of a single reader touched by the work of this obscure unhappy writer. It was a lifeline both professional and personal. Vonnegut packed his bags and headed to Iowa, knowing in his heart, though he was not yet ready to allow the thought, that this was the end of his life with Jane.

Two years into teaching, as his writing was finally beginning to receive recognition, he was awarded a Guggenheim Fellowship and used the prize money to travel back to Dresden, only to find much of the city still in ruins. I wonder if he thought about love then, how it too is a world that can be left in ruins beyond repair if the warfare is too brutal or too long.

Suddenly catapulted into public success — after five novels and countless short stories, Vonnegut was lauded as an overnight success with Slaughterhouse-Five — he remained lodged in the pit of personal failure. He and Jane had been together for a quarter century, happy for only a fraction of it. Torn between his emotional inability to hold on to the relationship and his cerebral unwillingness to give up, he began drowning his discontent in drink.

In the last year of his forties, he moved out and headed for New York, but couldn’t bring himself to end the marriage. Taking solace in Margaret Mead’s assurance that “a couple which has had children has an irreversible and undissolvable relationship,” he wrote to Jane:

We hurt each other back and forth so much, almost absent-mindedly, that it was common sense for us to separate, if only to break the rhythm.

He shaded in this stark contour in a letter to a friend, painting a haunting portrait of a dead relationship:

I myself am living alone in two rooms and a garden in New York, attempting to draw useful electricity from the millions of milling strangers around me. I am no longer living with Jane for this reason, as nearly as I can tell: We are no longer capable of conducting amiable conversations. When we try to talk, to amuse each other and pass the time, our words are wooden, stilted, queer, distant, and — finally — quietly bitter. That is too bad, and many people regard me as heartless for leaving her. But the hours and days and years dragged so. I am happier now, though far from hilarious and proud. I have achieved a sort of Limbo, which is a distinct improvement over what I had before. I am beginning to write again. That had stopped for a while. I do not wish to marry again. I’m not in love with anybody else.

Kurt Vonnegut at 50.

Writing remained his one oasis of sanity amid the limbo of his Middle Passage. Some part of him — that wise part that lives in each of us, whispering what we don’t want to but need to hear — knew that he had to reimagine his life if he were not to squander it. But he was not ready. So he reimagined his writing, taking the skeleton of a play he had written fifteen years earlier and enfleshing it anew. Happy Birthday, Wanda June ran for five months to mixed reviews, but the world was finally paying attention.

Having documented Martin Luther King, Jr.’s historic speech during the March on Washington and worked as a war photographer in Vietnam, Jill Krementz was unperturbed by the cantankerous writer whose process she was hired to capture for a magazine profile. She immediately felt both Vonnegut’s brilliance and his brokenness, felt the sharp edge on which his own heart was breaking, saw to the roiling core of his wounded tenderness. He immediately decided he didn’t like her. (“There is no terror like that of being known,” Emerson shuddered at the discomposing intimacy that bloomed between him and Margaret Fuller.)

Within months, they were living together.

Just before he moved in with Jill, Vonnegut wrote to his seventeen-year-old daughter Nanette:

Dear old Nanny —

You certainly deserve a letter from me. A hundred letters would be more like it, I love you so.

I will be home from time to time to see you. But I will not stay for long. I still love your mother, but we can’t be together much without fighting. We have tried to do things about this, but nothing helps, and each fight hurts more than the last one.

I wasn’t stolen away by another woman. I don’t think people can steal other people. I simply went away because the fighting was making everybody so unhappy. I’ve done that several times before. Going to Iowa was an example. Every time I went away I simply went to aloneness. There was never any other woman beckoning me to come.

This time, for instance, I couldn’t make myself come home after the play opened, and I was alone. I hardly knew Jill at all, and I didn’t like her much, and whatever happened between us happened long after I’d decided home was too uncomfortable for me.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print.

Eighteen years his junior but in many ways his spiritual elder, Jill enveloped him in a kindness so entirely new he didn’t know what to do with it, a love he hadn’t thought possible. He tried to fight with her, out of reflex, but she simply loved him, and so he slowly unbraced the oppositional stance that had become his default, slowly stopped self-medicating. He grew healthy, grew happy, grew himself.

Still, it took him six years to meet the emotional truth of his failed marriage with the hard fact of divorce. When he finally decided to do it, he wrote to Nan:

As for the divorce: I will always love your mother, as must have been evident on Sunday. But we could never live together again. Our conversations go so badly. Also: I want to be fair to Jill, who saved me from knocking myself off or turning into an alcoholic. I will not marry Jill, but I will stop asking that she live with a married man. And Jane, who is fond of marriage, should have the chance to marry again. I am not pursuing happiness through divorce. I am permanently damaged by the break-up of marriage. Those wounds will never heal. I am simply trying to make the best of an unpleasant situation. Let me say again, too, that Jill did not break the marriage. It was broken long before that — about the time I went to Iowa. There was no other woman beckoning me to Iowa. Later on, there was no woman beckoning me to New York City. I arrived both places in total solitude, and feeling simply awful.

There will be no acrimonious argle-bargle about divorce this time. We will not make the mistake of hiring two strangers to fight each other on our behalf. Jane and I will arrive at some sort of division of property, and some scheme for my sending her money regularly. She already owns the Cape house and some stocks and a large savings account in cash. I will add to that treasure, so she won’t have much to worry about as long as I’m popular and productive. Then Don Farber will draw up a simple agreement, and that will be that. The legal steps will be brief formalities, without any arguments to be made before a judge.

It took him another two years to formalize his relationship with Jill. By the time they decided to marry, he was fifty-seven and one of the most beloved authors in America. His daughter was the first person he told:

Dearest Nanny —

I want you to be the first person in our family to find this out: That Jill and I have decided to marry each other in November, probably a couple of days after Thanksgiving. Jill will then be three months shy of being forty, and we will have lived together about nine years. The first years of the relationship were tempestuous. Much of the tempest was my fault, surely. I was in a frenzied state of mourning and dismay over the failure of my once good marriage to Jane. Jill had nothing to do with that failure, but she was handy to blame. Be that as it may, Jill and I behave most affectionately and reasonably toward each other now, and unselfishly. We are in love. Our heads are clear. We are working and playing most cheerfully.

I do not endorse serial marriage for anyone. I myself have always wished to be as monogamous as a swan. I was monogamous with your mother until the very end, and will be so with Jill.

After a rough sketch of the wedding (“It will be very private. We don’t want our pictures in the paper.”), he added:

I sympathize fully with the mixed loyalties you and all the rest of my children would feel on such an occasion. So I of course invite you all, and hope you all will come. If the ceremony and party are going to cause you pain, you should not subject yourself to that pain. Your coming or staying away will not be a vote for or against anything.

Mostly, dear Nanny, I want you to know how happy I am just now, and that I have every reason to look forward to some very good years ahead.

Kurt Vonnegut and Jill Krementz a decade into their love. (Photograph: Adam Scull.)

Kurt and Jill remained together until his death, thirty-six years after they met. It was there, in the safety and sweetness of their love, that he discovered the simple secret of happiness.

BP

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