


Last Sunday at the Zen Center of Denver, we played a recorded talk by Robert Aitken Roshi, the well-known Zen teacher, author and founder of the Diamond Sangha. I was asked to give a brief introduction to the talk, as I served (along with my ex-wife, Lindsey Trout) as Aitken Roshi’s personal attendant, caregiver and secretary from Nov. 1999 – April 2001 in Kaimu, on the coast of Puna on the Big Island of Hawaii.
The first time I went to dokusan with Robert Aitken Roshi, I was working on Mu. I sat there, breathing Mu quietly, until finally Roshi said, in his precise way, “Settle into Mu. Sink into Mu, and let everything else go.”
The second time I went to dokusan with Aitken Roshi, I did the very same thing. This time he said, “You must question Mu. Ask ‘Mu?’ with all your inquiring spirit.”
I often reflect that there is a sort of balance here. Aitken Roshi really was a practitioner of the Middle Way. He had certainly experienced the spiritual-samurai approach common to some Japanese monasteries, but that wasn’t his way. Where other teachers might exhort their students to stay up all night in sesshin doing zazen, Aitken Roshi was as likely to encourage us to get a good night’s sleep, since we would be up early in the morning. He was by no means slack; he was just precisely centered, settled in his life and practice, like a great mountain rising gently from the sea.
And at the same time, as he wrote in his book Encouraging Words: “You often hear me say, ‘Sink into Mu, settle into Mu,’ and it may seem that the important words are ‘sink’ and ‘settle.’ They are important, but more important is the question, ‘What is Mu?'”
Japanese visitors to Kaimu, where we lived when I was there, liked to observe that “kai” in Japanese means “great,” and so Kaimu would translate as “great Mu.” Roshi would always just sort of nod politely, having heard it one too many times, but you can understand why his visitors felt compelled to say it. This was his practice: a gentle but constant inquiry, a great Mu that suffused his whole life.
We often received visitors there at Kaimu, some of whom would stay just for a meal, some for weeks or even months. Danan Henry Roshi (our former teacher at the ZCD) came for a long stay, as he had for many years; Peggy Sheehan and Karin Kempe (now teachers at the ZCD) visited, as did many others, including many prominent Zen teachers, who came one and all for Aitken Roshi’s insight, instruction, and sound counsel.
Life at Kaimu followed a simple schedule. Each weekday morning we would have zazen, and Roshi would offer dokusan. Morning was for work, with Roshi parking himself at his computer to tap away at whatever writing project he was working on. Lunch was fairly informal and eaten in the guest house. Afternoon was for other chores, such as driving into town, though often, especially on the weekends, Lindsey and I, along with our guests, might pop off to the beach for a quick swim. But not to be missed was Aitken Roshi’s daily constitutional around 4 p.m., when he would walk down to the end of the road with whoever joined him, talking quietly, pointing out different kinds of trees, flowers and birds, and waving to each and every passing car. At 5 or 5:30 we would have supper, marked of course by the high quality of conversation at the table, with many a lively guest. Toward evening, finally, there would be informal zazen, sitting quietly in the little zendo, hearing the ceaseless crash of waves upon the lava. Saturdays were for rest, and on Sunday mornings we would be joined in the zendo by our small local sangha for zazen, teisho, and a question-and-answer period.
In delivery and message both, Aitken Roshi was precise and carefully considered. His voice is really inimitable. Once he told a story of meeting a man who prided himself on recognizing accents. Going around the room, this expert correctly placed each individual there in the state and sometimes even the county of their origin; but when he got to Roshi, he was stumped. He finally guessed California, which was not totally incorrect. In fact Robert Aitken was born in Pennsylvania, moved to Hawaii when he was five, and did live in California at various times in his life, along with Japan. These places shaped him, as did the voices of his family, his friends, his beloved wife Anne, his many formidable teachers, and the vast universe.
If you listen closely to the recording, you may hear birdsong in the background. Perhaps it was the cardinals continually flitting around Kaimu; or perhaps it was the melodious laughing thrush, a bird Aitken Roshi would name with a particular relish, as of one uttering a felicitous phrase. And if you listen still more closely, perhaps you may hear Roshi speaking as the thrush – singing still, all these years later.
Her adoptive parents always said that Lili was a special girl, and on her fourth birthday they bought her a special toy. The box was quite heavy and half as large as she was, and when she tore open the wrapping, the
cardboard came to life with animations, a cartoon bear speaking in a cartoon voice. “Hi there!” he said. “Are you Lili?”
“How does it know my name?” she said to her mother, amazed.
“It’s nanotech, baby. And we told the company when we bought it. Go ahead, answer. What’s your name?”

INFERENCE is now available on Amazon! After years of writing, rewriting, editing and design, I’m kicking my debut novel out of the nest and into the world. From the back cover:
“INFERENCE: the long-sought grail of law enforcement, a system to pinpoint suspects with unerring precision, enabled and executed by AIs whose eyes and ears are every auto, every satellite photo, every phone, toilet and light bulb in the U.S., a sea of data from which all human movement can be extrapolated like krill slipping through baleen. But even the most powerful tools have weaknesses, and when the body of a genetically engineered boy turns up in a Seattle alley, his likely murderer seems to have vanished into thin air. Now detectives Tom Mueller and Jackie Khleang have to crack the case the old-fashioned way — before more kids turn up dead.”
Your support is critical to the success of this book! Please like and share this post. If (or hopefully when) you have read the novel, please consider also posting reviews on Amazon and Goodreads. Even a sentence or two has weight with prospective readers.
INFERENCE is available in trade paperback or Kindle e-book. Thanks again for your support, and enjoy the read!
Starhole is a new comic series jointly created by Lucas Richards and myself. (Lucas does the original drawings, I do the computer inking and coloring, and we write it jointly, more or less.) It’s essentially a spin-off of our Tara Mahoney comic books – stories about a restaurant in space – but uses a single-page format with a more explicitly comedic focus.
Like sci-fi? Ever work in a restaurant? Can’t stand terrible customers and bad managers alike? Starhole is for you!

It was a near thing, killing Gar. “GAR EAT!” he shouted, huge legs striding faster now, bigger than the biggest stalagmites, great feet shaking the ground. Eri ran for her life down the valley of the Bone Maze, approaching the pores where her own tribe lived. Probably the braver ones were crouched at the entrances now, expecting to see a gruesome end to the cleverest, fleetest, most redheaded kid they knew.
She looked back and gasped. Gar was running crouched over, his single great red eye fixated, mouth open in an avid smile to reveal teeth that would have shamed a dead dog. She was fast, but no one could sprint faster than a giant eighty feet tall. “GAR CATCH!” he roared, delighted with himself.
As the red-hot brand touched his forehead, Bering did not stop singing; to do so would mean ejection from the pilgrimage, and an ignoble end to eight bone-wearying years of study, devotions and ceaseless deception. But the pain was incredible, like a lightning bolt from the hand of God, and involuntarily his deep baritone rose two octaves to a startling wail.
“Marked are you forever, forever are you marked,” intoned the preceptor, Marad, plunging the brand into the waiting bucket. Behind Bering, screened from the chancel, twelve other initiates still waited their turn, spared the sight of the pain that awaited them but not the smell, steam mingling with the potent scents of myrrh, hot metal, charcoal and charred flesh, a thick and heady miasma. Don’t pass out! Eight years you’ve spent!
Note: This story follows upon an earlier one, “Jack in the Box.” Read it here.
In those halcyon days before the world ended, Jack had only two speeds: dead asleep or running full tilt. Even compared to other little boys he ran a lot, and ran fast, whether in a school hallway or on a soccer field. Now, on his first day in Hawaii, he flew across the sand to where his father, Lew, reclined on the beach. “Dad! I think there’s turtles over here!”
Lew chuckled. “Well, why don’t you go look at them?”
“They’re in the water.”
“So?”
“What if they bite me?”
“Sea turtles don’t bite.”
“You sure?”
“Pretty sure.”
“Okay, I’m going to go look at them!” And with that he ran back, kicking up sand behind him, a four-foot whirlwind of joie de vivre. He was eight years old. Lew’s eyes misted, thinking of what was coming. Continue reading
Among the fifty-three paintings bequeathed the world by artist and architect Edgar John Pettegree, one stands anomalous: Flat River, dated just weeks before his death in 1917. While nearly his whole oeuvre is infused with an architect’s eye for detail, Flat River appears to break with his previous work, eschewing realism for a hallucinatory, proto-Surrealist view of another world, often claimed to present a Blakeian vision of the voyage of the soul through the afterlife, painted in eerie premonition of his own death. However, as I will show, Pettegree himself regarded it as no mere visual metaphor, but a depiction of an actual repository of human souls, accessible via the occult powers of a former employer, silver baron Henry Magorian. That this indicated a precipitous collapse of Pettegree’s sanity cannot be doubted; but it is also true that far from sinking into a lax or vague imaginative effort, he applied the same rigor of craftsmanship to his final painting as in all his prior works. Continue reading