Zen and Teddy

After our class discussion on Teddy, there was one point that we didn't get to mention: the relationship of Nine Stories epigraph to the rest of the book and Teddy in particular. The epigraph reads, "What is the sound of one hand clapping? -Zen Koan." A koan in Zen Buddhism is an often illogical anecdote or parable that demonstrates some aspect of Zen teaching or tests a student's understanding of Zen. The full koan from which the epigraph is taken can be read at the following link: http://www.ashidakim.com/zenkoans/21thesoundofonehand.html and is an excellent demonstration of the genre's rejection of logic.

In Teddy, we see many themes that relate to the ideas of Zen Buddhism, such as rebirth, enlightenment, prediction and the rejection of logic and materialism, that can be recognized in the context of Zen koans. For example, both Teddy and Seymour's rejection of materialism is seen in koan called "No Attachment to Dust":"Living in the world yet not forming attachments to the dust of the world is the way of a true Zen student."

Another striking example is Teddy's seeming ability to predict his own death, which appears in the koan called "The Last Poem of Hoshin" about a Zen master named Hoshin. The effect of the ending, with its suddenness and absolute lack of explanation, had the same effect upon me as the ending in Teddy. The latter part is reproduced here, but you can read the whole thing at http://www.ashidakim.com/zenkoans/10thelastpoemofhoshin.html.

Hoshin, who related this story, told his disciples: "It is not necessary for a Zen master to predict his passing, but if he really wishes to do so, he can."

"Can you?" someone asked.

"Yes," answered Hoshin. "I will show you what I can do seven days from now."

None of the disciples believed him, and most of them had even forgotten the conversation when Hoshin called them together.

"Seven days ago," he remarked, "I said I was going to leave you. It is customary to write a farewell poem, but I am neither a poet or a calligrapher. Let one of you inscribe my last words."

His followers thought he was joking, but one of them started to write.

"Are you ready?" Hoshin asked.

"Yes sir," replied the writer.

Then Hoshin dictated:

I came from brillancy
And return to brillancy.
What is this?

This line was one line short of the customary four, so the disciple said: "Master, we are one line short." Hoshin, with the roar of a conquering lion, shouted "Kaa!" and was gone.

In another example, Teddy's idea of clearing away all what children are taught, when asked how he would change the educational system, is seen in a Zen koan called "A Cup of Tea" that mirrors Teddy's idea that we have to reject all preconceived notions, even of basic concepts like what we think an arm is, to achieve spirituality:

Nan-in, a Japanese master during the Meiji era (1868-1912), received a university professor who came to inquire about Zen.

Nan-in served tea. He poured his visitor's cup full, and then kept on pouring.

The professor watched the overflow until he no longer could restrain himself. "It is overfull. No more will go in!"

"Like this cup," Nan-in said, "you are full of your own opinions and speculations. How can I show you Zen unless you first empty your cup?"

Although many of Teddy's ideas are similar to Zen's, a final question is Teddy's own relationship to Zen. He often references the capital G God, and also relates his spirituality back to the Christian tradition by discussing Adam in the Garden of Eden as if it were a historical fact. His idea of enlightenment is more the reaching of heaven, and becoming able to spend eternity with God, rather than becoming a greater spiritual being, a Buddha. In this way, Teddy represents an odd mixture of two Eastern and Western spirituality.