Buddhists From The United States

"In fact, anyone who stands on the edge of the unknown, fully in the present without reference point, experiences groundlessness."

"Fear is a natural reaction to moving closer to the truth."

"We all need to be reminded and encouraged to relax with whatever arises and bring whatever we encounter to the path."

"Meditation is an invitation to notice when we reach our limit and to not get carried away by hope and fear."

"This very moment is the perfect teacher, and, lucky for us, it’s with us wherever we are."

"When anyone asks me how I got involved in Buddhism, I always say it was because I was so angry with my husband... When that marriage fell apart, I tried hard—very, very hard—to go back to some kind of comfort, some kind of security, some kind of familiar resting place... I knew that annihilation of my old dependent, clinging self was the only way to go."

"That's what was so amazing about Mulan. Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is."

"I was a nerd! I was president of my science fiction club. Doesn’t get any nerdier than that. I took Latin — that’s pretty nerdy. And theater. I was a trainer for our football team. I got into the boy’s locker room that way, ha! I loved being in high school. I had a boyfriend all through high school. I was friends with all different kids in different clubs. A floater!"

"Mom takes all the credit for my success. Now Mom says, 'I read your face when you were a baby, and it said you were going to be a star. That's why I named you Ming - because it's all about the sun and the stars and enlightenment.'"

"The whole reason why we’re in this business is to please our fans. When I go to conventions, I see the reactions of women and men alike, and some girls actually shake and cry when they tell me stories about how much Mulan has influenced their lives and had such a strong impact in their lives. It’s profoundly moving for me. So I think it is important to not just gain new fans with the live-action adaptation, but really pay tribute to the fans that have been around for so long with the film and now have passed it on down to their kids and their families."

"I used to pray to god, Buddha, and the Force because that’s how much a belief it was for me. It was a religious experience for me. No small thing! No small connection there… I’ve been part of the [fandom] family for so many decades that now to actually be in the family is pretty crazy."

"I really think as long as you have a good story that relates to a lot of people it doesn't matter what ethnicity it is."

"I love doing TV. It's so great for my world as a mom, as someone who likes to have a steady job and go to work feeling secure because I'm with a family."

"I think, definitely with this business, it was part luck, part timing, and maybe some destiny. I think we’re all destined for something. So I’m just very grateful, I’m always extremely grateful for any job that comes along and any dreams that can come true. Because it’s a really tough business, especially if you’re a woman, and especially if you’re an ethnic woman, and especially now, if you’re an older woman. So I’m always very, very grateful."

"Being Buddhist, I do believe we are reincarnated. Our spirit goes back into the celestial forces and we come back based on how well we’ve treated others — whether we come back better or in worse forms."

"I'm not one of those actresses that's going to feel like I never achieved my dreams and goals and just get disgruntled and hate everything about the business. I've had so much fun."

"Maybe you can't make the whole body comfortable, but make at least part of the body comfortable and stay with that part. As for the pains, let them be in the other part. They have every right to be there, so make an arrangement with them. They stay in one part, you stay in another. But the essential point is that you have a place where the mind feels stable, secure, and comfortable in the present moment. These are the beginning steps in meditation."

"our sense of self is an activity, a strategy for avoiding suffering, for maximizing happiness."

"Society tends to slough off the problems of aging, illness, and death, tends to push them off to the side because other things seem more pressing. Making a lot of money is more important. Having fulfilling relationships is more important. Whatever. And the big issues in life — the fact that you're headed for the sufferings and indignities that come with an aging, ill, or dying body — get pushed off, pushed out of the way. "Not yet, not yet, maybe some other time." And of course when that other time does arrive and these things come barging in, they won't accept your "not yet," won't be pushed out anymore. If you haven't prepared yourself for them, you'll really be up the creek, at a total loss."

"You let go of the grosser forms of happiness, the grosser strategies for happiness, and get used to more and more refined ones. And they finally take you to the point where there’s no course left but to let go of strategies. All strategies. It’s like painting yourself into a corner. The only way to get out of the corner is not to be anywhere. When you can manage that, you see that what the Buddha taught was right. He really knew what he was talking about. This is the way to true happiness."

"There’s a passage where [the Buddha] contrasts his way of teaching with what he calls training in bombast. Training in bombast is where you’re taught things that are very poetic, that sound very high, very lovely, very inspiring, but no one is encouraged to ask what, precisely, they mean. After all, in bombast there really is no precise meaning. It’s all just vague, high-sounding words. But, as the Buddha said, he taught cross-questioning. Your training with him was in cross-questioning. When there was a teaching you didn’t understand, he encouraged you to ask, “What’s the meaning of this? What’s the purpose of that? How far should this word be taken?” That way, wherever there are any doubts or uncertainties, you can clear them up."

""The Interactive Present" (2002)"

"Ardently alert means that when the mind is staying with the breath, you try to be as sensitive as possible in adjusting it to make it feel good, and in monitoring the results of your efforts. Try long breathing to see how it feels. Try short breathing, heavy breathing, light breathing, deep, shallow. The more refined you can make your awareness, the better the meditation goes because you can make the breath more and more refined, a more and more comfortable place for the mind to stay. Then you can let that sense of comfort spread throughout the body. Think of the breath not simply as the air coming in and out the lungs, but as the flow of energy throughout the whole body. The more refined your awareness, the more sensitive you can be to that flow. The more sensitive you are, the more refined the breath becomes, the more gratifying, the more absorbing it becomes as a place to stay."

"I remember when I first went to Singapore. I marveled at how planned everything was. But the sense of marvel was not totally positive. They had everything laid out for you: where you were going to be born, what you were going to do as a child, where you were going to get your education, where they would channel you when you’d go to work. They had things planned out for your retirement, and then for your death. It gives rise to the feeling that you might as well go ahead and die and get it over with, if that was going to circumscribe the totality of your life. But thinking about the possibility that true awakening can be found through your efforts: that breaks through those circumscribed limits. That’s not part of anybody else’s plan, but that can be part of your plan. And to whatever extent you can nurture that conviction, it keeps your heart nurtured and nourished as well."

"This is the basic trick in getting the mind to settle down in the present moment — you've got to give it something that it likes to stay with. If it's here against its will, it's going to be like a balloon you push under the water. As long as your hand has a good grasp on the balloon, it's not going to pop up, but as soon as you slip a little bit, the balloon pops up out of the water. If the mind is forced to stay on an object that it really finds unpleasant, it's not going to stay. As soon as your mindfulness slips just a little bit, it's gone."

"In our culture ... people who don't submit to their lust are said to be repressed and have all kinds of warped beasts in the basement. So the part of the mind that thrives when it's freed from lust doesn't get a chance. It gets pushed into the corner of the basement. It becomes the repressed part."

"Sometimes you hear the idea that the ego is so corrupt that anything it tries to do is going to be corrupted as well. That idea closes off all the doors except for one: the hope that somebody is going to come along and save you. But that hope is irresponsible. The responsible attitude is that you’re responsible for the actions of your mind. You really can choose. And fortunately your motives are not always corrupt. As the Buddha said, you can take advantage of the fact that you want true happiness, and develop some noble qualities out of that. The qualities of purity, compassion, and wisdom come from taking your desire for true happiness seriously."

"The world can misread us, and they will, and they have, and they won’t stop. But we do not have to misread ourselves. We can’t lose sight of what we came here for, which is to write for ourselves or for the people we love. The Western myth tells us to discard our former selves, that we have to constantly improve, move towards perfection. There’s a sort of verticality to Judeo-Christian values. But I think when I am writing I’m going back. I think it’s important for us to go back and say thank you to who we were, to go back and rescue that person and actually invite them into the present. I think writing is a dispersing of selves. When you sit down to write and to do your work, you must gather the phantoms in one place so they can work together."

"The novel insists that there is power, and with it, agency, in survival—which includes the interracial tensions you speak of—because trauma is still an integral reality for queer folks. But these bodies do know joy, and they know it by acknowledging and honoring the tribulations they outlived. We often think of survival as something that merely happens to us, that we are perhaps lucky to have. But I like to think of survival as a result of active self-knowledge, and even more so, a creative force."

"...you realize that grief is perhaps the last and final translation of love. And I think, you know, this is the last act of loving someone. And you realize that it will never end. You get to do this to translate this last act of love for the rest of your life. And so, you know, it's - really, her absence is felt every day. But because I'm becoming an author again in another book, it's doubly felt. And ever since I lost her, I felt that my life has been lived in only two days, if that makes any sense. You know, there's the today, where she is not here, and then the vast and endless yesterday where she was, even though it's been three years since. How many months and days? But I only see it in - with one demarcation. Two days - today without my mother, and yesterday, when she was alive. That's all I see. That's how I see my life now."

"The great male writers of the European tradition, be it Proust, Tolstoy, Turgenev, deemed that those most inspiring to them existed in a white aristocracy…You read those books and you wouldn’t even know that people of colour existed in Europe. To each his own, and that was their choice. But I wanted to say: these lives, of women, and even of poor white people – these lives are worthy of literature. As Turgenev looked at the crumbling Russian empire, I look at these folks in a different crumbling empire and deemed that these are inspiring lives to an artist."

"This book is as much a coming-of-age story as it is a coming-of-art. I would say that I begin with the voices of those I care for, family or otherwise, and follow them until they drop off, until I have to create them in order to hear them. My writing is an echo. In this way, On Earth is not so much a novel, but the ghost of a novel. That’s the hope anyway."

"When I lost my mother, I thought, there's no point. Everything I have done, I'd done for her. I went to school for her. She gave me no pressure. You know, and it's important for me to say this because, you know, there's a stereotype of the Asian tiger mom. My mother was never such a mother. She said, whatever you want to do, as long as you're happy, you can do it. And worse comes to worst, she points to the desk. She works in a nail salon. She points to the desk beside her. There's always an empty desk in the salon. She says, you can sit down right here, and then we'll work together. So I had ultimate freedom to explore. And I think for me, you know, that freedom really was all to serve her. It was, how do I help my mother get out of the projects? Every immigrant has that dream."

"When I really assess Western culture in how it grapples with other bodies and other ecologies of thinking, at the end of the day, my response is: please catch up. And I do mean – please – because we want you to catch up, we want you to be here, because where you’re at is a quicksand that’s killing you."

"I think that might not have been enough, were it not for me being my family ’s only hope. Because they were also dying, in a different way: financially, mentally. And I thought, I can’t die. Literally I can’t die."

"The incredible thing that I can never quite understand was how they were able to kick them all out. The men had access to jobs, money, a patriarchal presence in the world, and even though they had troubles too, as immigrants and refugees, we come from a patriarchal tradition in the old country just as deeply rooted as in the west. In some cases, when men are talking to each other, women aren’t supposed to even be in the room. So that was what they were coming out of. And to think divorce?! These things were still taboo where they came from. And they all really did it."

"We’re talking about a claim to storytelling. We are taught that a valid or useful education is one in medicine, science, bioengineering. That storytelling, or the ‘liberal arts’, are defunct or fading. Yet, in the Fortune 500 companies, in the Googles, the Amazons and the Facebooks, they’re obsessed with storytelling. So you can have technology, but it’s moot if you do not have a story to provoke it. We also see this in political campaigns. They’re all about manipulation of story. I agree with you a hundred per cent, the urgency of the moment now is to create new myths.This is also informed by Buddhism, because Buddhist practice is so interested in lucid dreaming. Monks constantly practice lucid dreaming. If you can be aware that you are dreaming, then you can also be aware that you are being foggy or ignorant in the living stage. This sharpens your ability for discernment, and the capacity to look at the world more clearly. Buddhism is very clear to me because it is this feeling, above all else – above even the object – that matters. So reading is not about the book, it’s about the transition of the thought, orchestrated through language, into the brain. That’s why it’s so real to us. I think that’s very true to how we live: sometimes the feeling is much more than the world can support. That’s why myth-making, like you said, is where we’re going. That’s the future."

"The stories, at first, were folklore. My grandmother would tell a ghost story, then she would say: oh, that was after the napalm. So through cycles of these stories, that world started opening and as a child I would ask: what’s napalm? They ploughed on. It was almost intoxicating for them to create a mythology of their lives, because they were so powerless. They were all women. The men were gone; they did their harm and were gone. And they were empty hands, had no English, were powerless everywhere else. But when it was time to tell the story, they held everything."

"(The book that…kept me up way too late:) Ocean Vuong’s On Earth We’re Briefly Gorgeous. The sheer lyricism of his writing had me incapable of abandoning the story."

"Of course, you can sit down and have something you want to say. But then you must let its expression be born in you and on the paper. Don't hold too tight; allow it to come out how it needs to rather than trying to control it."

"Don't worry about your talent or capability: that will grow as you practice. […] If you want to write a novel, write a novel. If it's essays you want or short stories, write them. In the process of writing them, you will learn how. You can have the confidence that you will gradually acquire the technique and craft you need. […] We learn writing by doing it. That simple."

"Use original detail in your writing. Life is so rich, if you can write down the real details of the way things were and are, you hardly need anything else."

"This is the practice school of writing. Like running, the more you do it, the better you get at it. […] You practice whether you want to or not. Through practice you actually do get better. Sit down with the least expectation of yourself; say "I am free to write the worst junk in the world." You have to give yourself the space to write a lot without a destination."

"The basic unit of writing practice is the timed exercise. 1. Keep your hand moving. 2. Don't cross out. 3. Don't worry about spelling, punctuation, grammar. 4. Lose control. 5. Don't think. Don't get logical. 6. Go for the jugular. […] That is the discipline: to continue to sit."

"It is a good idea to have a page in your notebook where you jot down, as they come to you, ideas of topics to write about. […] Add to the list any time you think of something. Then when you sit down to write, you can just grab a topic from that list and begin. Making a list is good. It makes you start noticing material for writing in your daily life, and your writing comes out of a relationship with your life and its texture. [...] Naturally, once you begin writing you might be surprised where your mind takes the topic. That's good. You are not trying to control your writing. You are stepping out of the way. Keep your hand moving."

"In a rainstorm, everyone quickly runs down the street with umbrellas, raincoats, newspapers over their heads. Writers go back outside in the rain with a notebook in front of them and a pen in hand. They look at the puddles, watch them fill, watch the rain splash in them."

"I went home with the resolve to write what I knew and to trust my own thoughts and feelings and to not look outside myself. I was not in school anymore: I could say what I wanted."

"You tell the truth and you depict it in detail."

"Learning to write is not a linear process. There is no logical A-to-B-to-C way to become a good writer. One neat truth about writing cannot answer it all. There are many truths. […] Some techniques are appropriate at some times and some for other times. Every moment is different. Different things work. One isn't wrong and the other right. In class we try different techniques or methods."

"First, consider the pen you write with. Think, too, about your notebook. […] A cheap spiral notebook lets you feel that you can fill it quickly and afford another. Also, it is easy to carry."