In progress: The Earth Witness

Nearing completion on this piece, which I’ve been planning for many months and working on in earnest for the last three or four weeks. It depicts Shakyamuni in the earth witness posture (bhumisparsha), with the earth goddess rising up to call forth the waves of understanding to wash away the army of Mara, the forces of delusion.

A Cadre of Change

From a talk delivered at the Zen Center of Denver Oct. 16, 2022. Listen to the talk on the ZCD’s website at https://zencenterofdenver.org/a-cadre-of-change/.


What is the Sangha? I find myself returning to this question over and over. Some people say the Sangha is everything and every person in the whole universe. This idea is correct, but it can be misused – just as Hakuin’s words, ‘This very body is the Buddha,’ can be misused. Personal practice must implement the universal view of Sangha. Actualizing is our work, individually and socially.

Some people say that Sangha is sanctuary. This idea is correct, but it too can be misused. We need a sanctuary for our zazen, just as we need peace in our hearts individually. But ultimately sanctuary is isolation. I am coming to feel that Buddha Sangha, and by that I mean zendo membership, is a cadre of change. It is a community of people secure in their vision of universal Sangha, grounded in their personal sanctuary, who seek to transmute the poisons of the world in organized and coherent ways. (Robert Aitken, Encouraging Words 109.)

These are Robert Aitken’s words, found in his book Encouraging Words, and like the old roshi I find myself returning to this question over and over. What is the sangha? What is its purpose? What, after all, are we doing here together? 

For anyone new to Zen who may be unfamiliar with the term, Sangha is one of the Three Treasures of Buddhism, alongside Buddha and Dharma. Buddha can refer to the historical Buddha, Siddhartha Gautama, or to the many buddhas we meet every day—everyone sitting here and you yourself—and to the irreducible fact of existence, the boundless Buddha-nature of all things. Dharma is the teaching: the Buddhist canon of sutras, koans and commentaries, and the great teaching of the cosmos, the truth of how things actually are. And Sangha is the community: religious communities like this one, and the great network of all beings extending to the farthest reaches of time and space, bound together in an infinite web of interdependence.

As humans we are social animals, living our whole lives within extensive networks of social relationships. Social networks shape virtually everything we do and are, from our most basic motivations to the languages that form our conscious thoughts. In a real sense, we are our communities, and they are us: like fingers of the same hand, or ants in a hive. We are never separate; we are always connected. You are your mother, your father, your siblings and children; you are your friends, your coworkers, the grocery store clerk and the man begging on the side of the road. You are your city, your nation, and the whole human species, present in every cell and neuron, every word and gesture. As Walt Whitman said, “I am large, I contain multitudes.” 

Our communities provide countless benefits, providing us not only companionship but the fundamentals of life—food, shelter, clothing, medical care, and everything else. Wendell Berry wrote, “Only the purpose of a coherent community, fully alive both in the world and in the minds of its members, can carry us beyond fragmentation, contradiction, and negativity, teaching us to preserve, not in opposition but in affirmation and affection, all things needful to make us glad to live.” This is the virtuous action of sangha: “teaching us to preserve all things needful to make us glad to live.”

But if we reap the benefits of social networks, we also share their dysfunctions. War, violence, racism, sexism, authoritarianism, exploitation and oppression of all kinds are the ever-present shadow of human culture, as extant today as in ancient Egypt.

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The Sleeper

“The Sleeper” appears in Birdy #108… and as it appears the text isn’t available on Birdy’s site, I’m pleased to share the complete story here! This was one of my very favorite stories for the magazine, and a killer layout to boot, inspired by art by Graham Franciose.


The Sleeper

By Joel Tagert

At other Arctic villages the Felix and its crew had been variously greeted with astonishment, alarm or hostility, to be expected in places where the inhabitants had never seen Europeans, much less a schooner. But when Captain John Ross and five other men disembarked from the jolly boat at that unnamed hamlet in Lancaster Sound—so far as anyone knew, the northernmost settlement in the world—they were greeted only by a delegation of four village elders, who through gestures and Felix’s translator, Minik, indicated they would prefer that their visitors be on their way.

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The Writhing

“The Writhing” appears in Birdy #107, November 2022, with art by @flooko. It’s a follow-up to “Filthy Animals” and finds Joira and Gedim getting squirmy:

You sure you want to do this?

The ship’s down here, Gedim.

I believe you. But is it wise to go spelunking around an alien cave system when just yesterday we both nearly died after getting sucked into a pit of black goo?

The Artist in the Flesh

“The Artist in the Flesh” appears in Birdy 106, from October 2022, with art by @moon_patrol. Alternate title “Chupacabra Chop a Cow, Bra”?

The steer had been flayed and dissected, its skin, organs and bones arranged upon the shrubland in a meticulous mandala with the animal’s heart at its center, a cloud of black flies fighting the Wyoming wind to claim their share of the bounty. Dick Gerlits stalked slowly around the circle — fifty feet from edge to edge — a scowl steadily cutting deeper into his leathered features.

“What do you think, boss?” asked Hector.

Gerlits took his time answering. “I think I’m gonna find the son of a bitch that did this and nail his fucking hide to my wall. If it’s the last thing I do in this life, I’m gonna find him.”

“Well, watch out if you do,” said JJ. “Cause this son of a bitch has got a sharp knife.”

The Widows’ Pilgrimage

“The Widows’ Pilgrimage” appears in Birdy 105, September 2022, with art by Ali Hoff. The Bears of Umbre battle a Niroan Legion for control of the elemental Widows. Blood and gold!

Bears of Umbre! Soon you’ll step foot on the Red Shore. Why “red”? Blood and gold, that’s why! Look at those Widows. Eight of ’em, each dripping with treasure, ripe for the taking. The fortune of a lifetime, and all that stands between us and them are some Niroan cunts. So gnash your teeth! Bite and claw! Tear out their throats, hack off their balls, spit in their eyes! Umbre, fuel my rage! Maka, lend me your thirst! Ogin, whet my axe! Blood and gold! Blood and gold! Blood and gold!

Surf’s Up at Apocalypse Beach

“Surf’s Up at Apocalypse Beach” appears in Birdy #104, Aug. 2022, with art by Caitlyn Grabenstein. Don’t let the end of the world ruin your day, dude.

Something wet slaps onto the windshield. “Shit,” I cough, since I got a hit in me, then cough a lot more, til I wonder if I’m hallucinating.

It looks like a frog. A freaky, slimy, gray-green frog the size of a mandarin orange, except it must be some kind of mutant cause it’s got a membrane between its arms and legs, like a flying squirrel. It’s not even dead. It hops away.

Then another hits the windshield. And another. It’s raining frogs.

“What was in that joint, dude?”

No Escape From the Storm

“No Escape From the Storm” appears in Birdy #102, June 2022, with art by Caitlyn Grabenstein (@cult.class). Like Thelma & Louise, but interdimensional.

So she pulled out of the line and flipped around in the parking lot to head back toward the on-ramp. As she did, she saw a funnel start to descend toward the low scrub hills. Suddenly Aliya’s reaction didn’t seem so unreasonable. “Holy shit.” Her foot stomped on the gas like she was wearing concrete boots. She’d never been more grateful for a twenty-year-old V6.