Stony Brook University English 373.

01-J: Literature in English from Non-Western Cultures Buddhism and Poetry: Meditation, Perception, and the Work of Translation Fall 2013 ____________________________________________________________________________________ Dr. Jesse Curran jesseleecurran@gmail.com Class Hours: Mon/Wed. 8:30-9:50 Class Location: Frey Hall 222 Office Hours: Monday 10:00 am 1:00 pm Office Location: Humanities 1101

I expressed that through my experience with Buddhism, which says that all sentient beings have Buddha nature; but in my way of thinking, Buddha nature is in itself poetic. The great masters of Zen meditation are all in some sense poetsmaybe poets who write only a small amount, but they have a high degree of talent and vision. Human nature itself is poetic. I was thinking along those lines when I said that. Ko Un All this time I pray to Buddha I keep on killing mosquitoes. -Issa (trans. Hass) Action is measured by inaction, inaction informs actionthe Tao of zazen. Zen discipline comes down to thisattentiveness; doing and not doing; being. As with poetry, insights attainable though the practice of zazen arise out of attention to detail, to daily moment-to-moment attention to detail. -Sam Hamill In this course we will read the work of a selection of Buddhist poets and translators: W.S. Merwins translation of Muso Soseki, Gary Snyders translation of Han Shan, Jane Hirshfields work with Komachi and Shikibu, Kazuaki Tanahashis translations of Ryokan, and Sam Hamills renditions of Basho and Issa. We will also study the poetry and prose of Thich Nhat Hanh, one of the most popular contemporary voices in global Buddhism, as well as selections from Ko Un and Miyazawa Kenji, two profound and important voices from the twentieth century. Reading primarily in the Zen tradition (with poets from China, Japan, and Korea), we will address key Buddhist practices and philosophies as they emerge in the poems. The poems in turn will also offer us opportunity to learn more about the craft and history of East Asian poetry. We will discuss traditional forms (gatha, tanka, haibun, haiku, etc.) and the use of poetic devices (deep image, parallelism, metaphor, paradox, etc.). We will also discuss poetic practice in relation to relevant topics such as meditation, ecological awareness, garden aesthetics, and ethical being. And because thinking like a Buddhist and/or a poet is strengthened through first hand experience, students will have opportunities both inside and outside class to experiment with meditation, yoga, creative writing, etc. As this course fulfills the J-decor the The World Beyond European Traditions requirement, we will take time to reflect on both points of convergence and divergence between the European mind and expressions of Buddhist thought as expressed through our East Asian examples.

Required Texts (Available at the Campus Bookstore) Kazuaki Tanahashi. Sky Above, Great Wind: The Life and Poetry of Zen Master Ryokan. Shambhala. 1590309820. Gary Snyder. Riprap and Cold Mountain Poems. Counterpoint, 2010. 1582436363 Jane Hirshfield. The Ink Dark Moon. Vintage, 1990. 0679729585 Thich Nhat Hanh. Being Peace. Parallex. 2005. 188837540X W.S. Merwin. East Window. Copper Canyon, 1998. 1556590911 Sam Hamill. Narrow Road to the Interior. Shambhala, 2000. 1570627169 Sam Hamill. The Spring of my Life and Selected Haiku of Kobayashi Issa. Shambhala, 1997. 1570621446 Sam Hamill. Dumb Luck: Poems. BOA Editions, 2002. Readings Available on Blackboard Ko Un. Selections from Ten Thousand Lives. Green Integer, 2005 (I have an extra copy in my office). Robert Hass. A Note on Haikai, Hokku, and Haiku/A Note on Translation Robert Hass. Ko Un and Korean Poetry Patricia Donegan. Human Nature Itself is Poetic: An Interview with Ko Un W.S. Merwin. Selected Poems Jane Hirshfield, Selected Poems and Poetry, Zazen, and the Net of Connection Gary Snyder. A Single Breath Grade Distribution Paper 1 (4 pages) Paper 2 (7 pages) Presentation/Presentation Response Paper Participation/Quizzes Midterm Exam Final Exam

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Exams The exams are designed to reward students who keep up with the reading and attend class regularly throughout the semester. They will primarily consist of identifications, short answers, and a short essay. If you come to all class sessions and complete the readings, you should have no issue doing well on the exams. There will be no make-up exams. Papers You will be required to write two literary analysis papers this semester. Formal assignment sheets will accompany each assignment and you will have ample time to draft and revise this work. *All papers must be written in 12-point Times New Roman font, be double-spaced, with 1-inch margins. Failure to adhere to these guidelines (as well as poorly proof-read writing) will result in a lowered letter grade (from B+ to B, etc.). I do not accept emailed papers. It is your responsibility to have a clean, printed copy of your paper ready to hand in on the day it is due (this means printing it the night before to make sure there are no last-minute issues). Presentation/Presentation Response Paper Ko Uns Ten Thousand Lives is one of the most compelling pieces of literature from the twentieth century; sadly, it is out of print in this country and I was unable to order the text for us. However, we will still have opportunities to experience the depth and range of Ko Uns work through presentation groups. In the first week of class we will break into groups. Presenters will be responsible for selecting one poem from my copy of Ten Thousand Lives and photocopying it for the class. Each presenter will read the poem

and briefly discuss it during the session. The group as a whole will then be responsible for leading the class discussion. The class at large will read a supplementary essay for each session that will further extend our discussions. Each student in the group will be responsible for submitting a two page written reflective response paper on their presentation within a week after the presentation. The paper should address the specific poem; what was done to prepare for the presentation; and the actual experience. What did you learn? What was challenging? What was productive? Class Participation You should come to class prepared to talk about the reading for that day (with your books, etc.). Each class session will be a mixture of informal lecture and discussion; thus, your own questions and comments are essential to the success of the course. Participation involves attentive, respectful, and engaged presence. I am looking for consistent and thoughtful responses to our reading assignments. I am also looking for your sustained effort in making the classroom environment a place of sincere and respectful intellectual discourse. It goes without saying that arriving late, doing other work, and dozing off will adversely influence your participation; I notice these things. Once again, you must want to be here to do well. Coming to office hours and emailing me also works to demonstrate participation. If discussion is lagging, expect quizzes or in-class writing assignments, etc. A Note on Intellectual Excellence To do well in this course, you must want to be here and want to learn. Learning only happens when you are open to receive it and willing to work hard, challenging preconceptions and cultivating patience amidst uncertainty. With this said, I encourage my students to make connections and follow the course material in their own directions. Rather than regurgitating class discussions in your writing, take steps beyond and put pieces together in original ways; make this material matter and mean something. Teach me and teach one another. As Theodore Roethke stated, Those students get the highest grades who take their responsibilities of educating me most seriously. A Note on Attendance In close relation to your participation performance is your attendance; attendance and full participation are required. More than 3 unexcused absences will result in a lower grade for the course. After 6 absences, you will receive an F. Active participation will strengthen your grade. Please email me beforehand if you have a pressing personal issue that forces you to miss class. A Note on Technology in the Classroom I realize that many of you rely on digital texts these days. However, there should be absolutely no phones out in class and if you are using a Kindle or Laptop, you should only have the page open to our reading assignment. We are small group and I can tell if you are doing some other work or are checking football scores, facebook, your email, etc. I may or may not call you out on this, but know that I notice and such distractions will adversely influence your participation grade. Disability Support Statement If you have a physical, psychological, medical or learning disability that may impact your course work, please contact Disability Support Services, 128 ECC Building (631) 632-6748. They will determine with you what accommodations are necessary and appropriate. All information and documentation is confidential. Students who require assistance during emergency evacuation are encouraged to discuss their needs with their professors and Disability Support Services. For procedures and information go to the following web site: http://www.ehs.sunysb.edu and search Fire Safety and Evacuation and Disabilities. Academic Integrity Each student must pursue his or her academic goals honestly and be personally accountable for

all submitted work. Representing another person's work as your own is always wrong. Faculty are required to report any suspected instances of academic dishonesty to the Academic Judiciary. For more comprehensive information on academic integrity, including categories of academic dishonesty, please refer to the academic judiciary website at http://www.stonybrook.edu/uaa/academicjudiciary/ Critical Incident Management Stony Brook University expects students to respect the rights, privileges, and property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students' ability to learn. Course Schedule M Aug 26 Course Introduction Basho, Learn from the Pine (handout) Thich Nhat Hanh. Being Peace. p. 13-50 Break into presentation groups; discuss presentation schedule/format No Class. Labor Day Film: The Buddha. Part 1 Being Peace. p. 51-84 Film: The Buddha. Part 2 Being Peace. p. 85-118 W.S. Merwin. East Window. Introduction to Muso p. 167-183 Muso Soseki. p. 185-222 W.S. Merwin. East Window. Preface on Translation p. 3-14 Muso Soseki. p. 223-264 W.S. Merwin, Selected Poems (BB) In-Class Presentation on Muso Sosekis Gardens Group 1. Ko Un. Ten Thousand Lives. Robert Hass, Ko Un and Korean Poetry (BB) Gary Snyder & Han Shan. Cold Mountain Poems. p. 35-67 Gary Snyder. A Single Breath (BB) Film. Amongst White Clouds. Han Shan. Cold Mountain Poems. Re-read p. 35-67 Gary Snyder. Riprap. p. 1-32. (in particular: Piute Creek, A Stone Garden & Riprap Group 2. Ko Un. Ten Thousand Lives. Patricia Donegan Human Nature Itself is Poetic (BB)

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Hamill/Basho. Narrow Road to the Interior. Selected Haiku. p. 85-168 Essay 1 Due In-Class Hamill/Basho. Narrow Road to the Interior. Translators Introduction p. xi-xxxi and p. 3-81 Robert Hass, A Note on Haikai, Hokku, and Haiku (BB) Basho. Narrow Road continued. Re-read 3-81. Wabi-Sabi Worksheet Sam Hamill. Dumb Luck. Part One and Part Two. Ko Un. Ten Thousand Lives. Group 3 Gary Snyder, Really the Real (BB) Midterm Exam The Ink Dark Moon. Ono no Komachi. p. 3-46 Introduction. p. xi-xxi & On Japanese Poetry and the Process of Translation p. 161-174 The Ink Dark Moon. Izumi Shikibu. p. 47-157 Jane Hirshfield, Poetry, Zazen, and the Net of Connection (BB) Jane Hirshfield, Selected Poems (BB) Wrap up The Ink Dark Moon. Ko Un. Ten Thousand Lives. Group 4. Selected U-Tube Videos (well watch in class/linked through BB) Ryokan. Sky Above, Great Wind. Introduction p. 1-44 and p. 47-132 Ryokan. Sky Above, Great Wind. p. 133-203 Wrap up Ryokan. Sam Hamill, Dumb Luck. Part 3 & Part 4 (especially Plain Dumb Luck, The Orchid Flower, and A Woodsplitters Meditation Ko Un. Ten Thousand Lives. Group 5 Additional reading TBA / Hokusai slide show in class Issa/Hamill. The Spring of My Life. p. 1-95 Translators Introduction, p. ix-xxiii Thanksgiving: No Class Issa/Hamill. The Spring of My Life. Selected Haiku p. 99-170 Miyazawa Kenji. Selected Poems (BB) Paper 2 Due In-Class

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Final Exam: Tuesday December 17. 8:00-10:45 am