Helen

Baba Center / South Carolina / digital / 2012

"Back in 1951 , when I prepared to leave the Ryutaku-ji monastery, Soen Roshi gave me a pottery tea bowl, one of a set of three of differing forms but similar glaze and pattern, made by the Tokyo potter Guro.  

The Roshi had already given one of the bowls to G. Ray Jordan during his first visit to the United States in 1949.  Whenever two of us meet, we bring our bowls and have ceremonial tea with them, as an expression of our brotherhood: the three bowls are known as the Brother Bowls.  

Only once in the over twenty-five years since the bowls were dispersed have all three brothers met together for such a ceremony, at the Ojai sesshin in 1968.  At that time, the three of us exchanged the bowls, so now I have a renewed symbol of our little sangha."

- Robert Aitken in A Zen Wave, circa 1978

 

 

As It Flows

spring in WNC / digital

Zen is not a belief system. 

It’s not a ritual, or a set of rules.

It’s a way of living, simple, natural, awake.

It means showing up for life exactly as it is, 

with all its beauty and brokenness, 

its stillness and storms.

Living Zen is Living Life totally, intimately, 

as it flows.

- Roberto Borrebach Klaui

(FB Post May 2026)

 

Two Arrows Zen

(social media post June2026)

“Outside the window, the bright red of ripe persimmons was bathed in the evening sun.  It seemed to send out a red glow even to the bamboo of the pothook over the hearth.”  -  Snow Country, Yasunari Kawabata

~

On June 14, 1899, Yasunari Kawabata was born in Osaka, Japan.

Today, Kawabata is remembered as one of the most important literary figures of the twentieth century and as the first Japanese author to receive the Nobel Prize in Literature, awarded in 1968. His achievement marked a significant moment in the global recognition of Japanese literature and culture.

Although not a Zen teacher or Buddhist scholar, Kawabata’s work is often associated with qualities that have long been linked to Japanese Buddhist aesthetics: simplicity, impermanence, restraint, attentiveness, and an appreciation for the subtle beauty of ordinary experience.

His novels emerged from a cultural landscape shaped by centuries of Buddhist thought, classical poetry, tea ceremony, landscape painting, and contemplative practice. Rather than presenting philosophical arguments, Kawabata explored themes of transience, memory, solitude, and beauty through carefully observed moments and spare, evocative prose.

In his Nobel Prize lecture, Japan, the Beautiful and Myself, Kawabata reflected extensively on the influence of Zen monks, Buddhist poetry, and traditional Japanese arts. The address remains one of the most important statements by a modern Japanese writer on the relationship between culture, spirituality, and artistic expression.

Works such as Snow Country, Thousand Cranes, and The Old Capital introduced generations of Western readers to a sensibility in which beauty is often inseparable from impermanence. The changing seasons, a fleeting encounter, a tea bowl, a snowfall, or a passing glance become occasions for reflection on the ephemeral nature of human experience.

Kawabata’s contribution to the transmission of Asian contemplative traditions is therefore subtle but significant. Alongside figures such as D.T. Suzuki, who introduced Zen through scholarship and translation, Kawabata helped acquaint Western audiences with the aesthetic and cultural world from which many Buddhist traditions emerged.

More than a century after his birth, his work continues to remind readers that attention itself can become a form of contemplation, and that the ordinary moments of life often reveal their deepest significance precisely because they do not last.

In this sense, Kawabata’s literature remains a quiet invitation to encounter impermanence not as a problem to be solved, but as one of the conditions that makes beauty possible.

~