Keeping Time

Dear Friends,

The farming season is officially over! Whew! I haven’t written a blog for months. Not because I didn’t have time, but because the swirling activity was all geared towards outside, external, farm business, and necessary haste. I’ve written newsletters for Old Frog Pond Farm, but they promote the farm and encourage visitors. For blog writing, I like to travel on back roads, interior paths, to keep my finger on the pause button, to listen for thoughts that arrive in quiet moments and wend my way. A little like how I sometimes begin a sculpture. This morning I stayed in bed with my eyes closed and let the dreaming continue until seven! Instead of the darkness I was greeted with this view.

Sunrise Colors in the Pond

 I share this poem by the great 13th century Chinese Zen Master Wumen, the compiler of The Gateless Gate koan collection.

Ten thousand flowers in spring, the moon in autumn,
a cool breeze in summer, snow in winter.
If your mind isn’t clouded by unnecessary things,
this is the best season of your life.

The great Zen master, Dogen Zenji, a 14th century philosopher, linguist, and poet, wrote in the fascicle, Uji, “The Time-Being.”

Since there is nothing but just this moment, the time-being is all the time there is. . . . Each moment is all being, is the entire world. Reflect now whether any being or any world is left out of the present moment.

 Translated by Dan Welch and Kazuaki Tanahashi from The Moon in a Dewdrop, writings of Zen Master Dogen

Dogen’s Uji text is only a few pages long, but he completely twists and turns and challenges our view of time. As a teacher he wants us to realize the wonder and completeness of each moment and not be caught by the conventional view of time as a continuum. These and other writings about time are inspiring a new sculpture, The Keepers of Time, though the title is always provisional until it is complete.

It begins with a wheel, one of two old cart wheels leaning against the chicken coop. This wheel has eighteen spokes, six more than hours on a clock. The Timekeepers are women who will inhabit the wheel. I envision them placing the numerals for the clock in position around the perimeter of the wheel.

I'm not sure if the Timekeepers recognize that time is not an abstraction, but something they are creating. Do they know there is no time apart from their creating time? How will they each play with their hours, days, and weeks ahead?

How do I have more time to read and write? This thought arrived in my mind this morning? I held it as if it was lightly filled with helium. It had form. But as I stayed with my attention on this thought, it squirmed away. For a moment I couldn’t find it. Then as if it could slither like a ghost under a door, it appeared again. It wasn’t a shape any longer. It was detaching, losing meaning.

In mid-November I gave a Dharma talk, Time Present, at Zen Mountain Monastery. Writing this talk is what started me on this investigation of Time. If you’d like to listen click here.                                             

Another new project is Two Chairs—Conversations with my friend, Lyedie Geer. Posted on the farm’s youtube channel are the first two videos of this new collaboration. In the winter of 2022, inspired by a purple velvet chair I inherited from my mother, and Lyedie’s blue chair, we decided to get together for conversation. We didn’t know where or what we were doing, but it was a treat to be together in person and talk as the pandemic was losing its grip First, I went to Putney, Vermont, with my mother’s chair in tow, then Lyedie traveled down to the farm and we sat in two chairs outside my studio near the pond.

In the first Two Chairs—Conversations, we explore Pruning—daring to make those difficult cuts—in the orchard and in one’s own life. In the second, Splash, we dig into the creative process as we talk about one of my new sculptures. We’re grateful to be working with David Shapiro, who also made our farm’s video.

Finally, I want to let you know Lyedie is an amazing coach of creative women. Until December 21st, she is accepting applications for the Bluebird award! I suggest if you have any desire to be encouraged and inspired in your creative life, click here to learn about the three-month pro-bono coaching program she is offering.

That’s it for now!

With love, Linda

This Apple-Shaped Earth

The apple-shaped earth and we upon it, surely the drift of them
is something grand,

I do not know what it is except that it is grand, and that it is
happiness . . . .

                                  —Walt Whitman

This Apple-Shaped Earth, bronze, Linda Hoffman, 2022

Do you remember as a kid thinking people on the other side of the world were standing upside?

My new bronze sculpture, This Apple-Shaped Earth is installed in Brookline, Massachusetts part of Studios without Walls exhibit along the Muddy River near the Longmont “T” stop. The theme is The Earth We Walk, and I made this piece especially for the exhibit. I wanted to highlight that this earth is all we have—there is nowhere else to go. We need to take care of it. This wonderful outdoor exhibit features thirteen artists. Put it on your summer to-do list! It will be up through September 5, 2022.

I also have a sculpture at The Edith Wharton’s Estate in Lenox, Massachusetts, part of the SculptureNow at the Mount 2022, featuring large-scale work of thirty artists. My favorite piece in the exhibit is the majestic dragon, Cecilia, by sculptor Robin Toast. It took three years to cut and stitch pieces of sheet metal to make the quilted dragon’s skin. It’s definitely worth a visit! The exhibit runs through October 19.

Cecilia, stitched sheet metal, Robin Toast, 2022

And a third outdoor exhibit that I recommend is the 2022 Outdoor Arts Biennial: Passages in Jamestown, Rhode Island. Take a stroll through this delightful village and you will find thirteen sculptures elegantly installed throughout the community. Refuge, my giraffe riding on a turtle’s back is installed near the library and playground. I’m hoping to see the giraffe and turtle’s noses rubbed smooth from young fingers discovering it.

Refuge, Linda Hoffman, Installed in Jamestown, Rhode Island. Photo: Molly Dickinson

And later today, Sunday June 19th, I will be giving a Dharma talk at the Fire Lotus Temple in Brooklyn, New York. It is part of the regular Sunday Service which begins at 9:30 with liturgy, followed by two periods of sitting meditation, and then the talk. I’ll be talking about Pruning, Juneteenth, and the Seven Factors of Awakening. The talk will be up on Zen Mountain Monastery’s podcast page sometime this week,

Happy Father’s Day!

Happy Juneteenth Day!

Happy Summer Solstice!

 Love, Linda

The Artist and the Orchard: A Memoir

I now hold the book in my hands. I’m surprised by its slight weight, it’s smooth surface. The cover painting is a detail from a watercolor of the orchard and inside are the rows of trees: training in the Noh Theater in Kyoto, raising my children in the old Baptist church in Groton, Massachusetts, moving to Old Frog Pond Farm in nearby Harvard, restoring an abandoned orchard, Zen Buddhist training, and the important personal relationships that have shaped my life.

The book leaning against the wall sculpture, Repetition of Days, from “The Agricultural Tool Series.”

Like a sapling, this writing has taken years to bear fruit. I have written mostly in winter. However, soon after settling into a writing schedule, the first warmth fills the air and the farming season begins. The doing takes over—the weeding, the planting, the tending. I’ve had to learn patience. While the apple trees have had to withstand a freak October ice storm, vole attacks, and the confusion of spring coming far too early, I’ve also lived through challenging events. The hope, of course, is that I am a little stronger. After all, like the trees, we can learn to be resilient and generous despite the inevitable setbacks the wild beasts leave at our door.

Now the published book is here and I hope many of you will celebrate with me on Saturday, October  30th at 2 pm. We’ll meet at Sanctuary, a recently restored large church in the center of Maynard, Massachusetts. In keeping with the community of individuals of who have contributed to the becoming of the book, a few musicians and poets will share the stage with me. Seating will be around small tables and make it possible to maintain social distances. We’ll wear masks and vaccination certificates will be checked at the door (or a PCR test within three days.)

Copies of The Artist the Orchard: A Memoir will be for sale. If you have already bought one, come anyway and I’ll sign your book. If you live far away, the memoir is now available from the publisher, Loom Press, local bookstores as well as at bookstore.org and other online sites.

Enjoy the new season, and I look forward to sharing this event with you.

Spring Training at a Zen Monastery

Before spring slides into summer, I wanted to share about the last three months which will also explain why there have been so few blog posts. I’ve been on an intense retreat—some of it quarantined in my studio, some of it at Zen Mountain Monastery in the New York Catskills, and some of it, following the spring Old Frog Pond Farm schedule.

I was asked by my Zen teacher to serve as Shuso, or Chief Disciple for the three-month training period, we call Ango. The training period, Ango, dates back to the time of the Buddha. In his time, the year was broken down into three-month periods much like our four seasons. There were two seasons of intensified practice when the community of monks, the Sangha, gathered and practiced together. These periods coincided with the monsoon rains, when it would have been dangerous and difficult for the monks to be wandering the countryside. Instead, they gathered in groves and set up temporary living huts, practicing together and living near their teacher. These intensified three-month periods, called Ango, alternated with the seasons when the Sangha would disperse, going off in the own directions, to beg for food, find shelter, and spend the time in solitary practice.

At Zen Mountain Monastery we practice Ango in the spring and the fall. The Shuso, or chief disciple is chosen by their teacher, and they can be either a lay person or a monk. Their role is to inspire the Sangha with their devotion and commitment to practice. The training period ends with a ceremony where the chief disciple gives their first talk on koan and is then challenged by the Sangha with live questions.

At the end of May, my time as Shuso ended with a talk on the koan, “Dongshan’s Essential Way.” Dongshan was a 9th century Chinese Zen master. The koan is a brief teaching dialogue between a student and their teacher. This koan begins with the student saying, “I cannot see the essential path; I still can’t become free of discriminating consciousness.”

What is this essential path? The student can’t see her way. Is it hidden? Who is hiding it? What is hiding it? And why is this student asking the question right now. Today?

I gave my talk on the last Sunday in May. It was followed by questions from other students, and then congratulatory poems. The ceremony marked the completion of my transition to become a senior student in the order, and the opportunity to now take on a more important role within the Sangha.

Many of you know how much I love Zen practice and specifically, training at Zen Mountain Monastery. A full matrix of activities shape our training: zazen (meditation), liturgy, body practice, art practice, work practice, study of the teachings, and face-to-face encounters with our teacher. Most importantly, it is following the rigorous monastic schedule, putting aside one’s own desires, and joining the community. It is said that being in community is like being in a rock tumbler. We need each other to bump up against, to be polished. However, to put it most simply, Zen training is the study of reality as it really is when we are not confused, when our mind is not obscured by attachments and clinging to that which is not real. We aspire through our practice to move among grasses of this world with equanimity and compassion, to be fully present, to do good and not cause harm.

I haven’t felt that I could write about this rite of passage until it was over. There were moments when I knew for certain my teacher had made a grave mistake. I could not do this. But I also knew there was no way out. Of course I was going to do what I was asked to do. I was going to give it everything I could. And the Sangha was there with their love and their support.

Now that I’ve a little time back home, and have hung up my new white robe and am wearing jeans, t-shirt and work boots, I wanted to share with those of you are curious a little about this rite of passage in the Zen training world. And here is a podcast posted where you can listen to the ceremony or find it on the Zen Mountain Monastery website. If any of you want to talk to me about my experience or about Zen Mountain Monastery, I love talking about it. And if you’d like to join us for morning meditation at the farm, drop me an email and I’ll let you know the details.

I look forward to reconnecting with many of you in person. We’re preparing the grounds for our 15th Annual Outdoor Sculpture Exhibit opening on August 1 with twenty-five sculptors bringing new work on the theme of “Emergence.” We’ve scheduled storytelling events with Fugitive Productions, and Plein Air Poetry returns also on the theme of “Emergence.” The fruit is ripening. It looks like mother nature is providing a bountiful and beautiful crop, and our farmers are working hard to encourage its health and growth.

The verse that accompanied the koan is on the verse board below:

Wet with morning dew
The tips of the ten thousand grasses
All contain the light of day.

Enjoy these last days of spring!

Group Photo after the Ceremony