Very funny. I'd like you to know that you're being recorded. There's a tape recorder on now and running. Okay. There's a tape recorder on. I'll just take a look at that. Is that from the local newspaper? It's fantastic. He doesn't understand English anyway. That's why I like the Carmel Valley Lookout. At least you get used to being recorded. Every weeking woman. We should never say anything that we couldn't accept to hear on tape. I thought when you guys were making the movie, that if I were just putting movement at the other time, that would be a great encouragement.

[01:24]

What is this ceremony we're having tonight? I've heard some pretty strange things about it. I don't want to be quoted now. I heard about his intentions. I think this guy's intentions. He said he had an idea, the scene, like the scene from Rock Chimone, where... Now, I don't know if this is true, but if it is, I certainly would like to know about it. The scene from Rock Chimone, The movie? That's different from the literary work, I think. The movie is where they don't know whose story is true. And this woman acts out the story, taking the spirit of the dead person. It's a very, very strange scene in a movie. We all sat there like this. And she's speaking in another person's voice. It's like a communication with the dead. And she is the dead person. and she's rolling around on the ground and doing all sorts of things. Is he going to be in the Zen door or in the dining room? When I heard that, I wanted to know. Is he going to do that or are you?

[02:41]

Well, we have a rehearsal. We just watch. They're going to do some ceremony? Yeah. No, no. Roshi, I have some friends that are Indians, and I want them to come here and have a and do a whole American Indian ceremony here for us. I'll bring him, Daniel Aikie. I was just trying to bring up whether we were really going to have that or not. You really want it? We could chant, you know, during the noon service. You could just say a special echo. And then tonight, we could have a lecture. No, not a lecture, but we could have something with you. For you're going away, which is much more important to us than the ceremony. You don't understand. You should try to understand the ceremony. Oh, you know. Please explain. That's why he's trying to find out. Maybe he'll find out.

[04:15]

Do you know anything about it? No, I don't. I would like to. Do you have some sort of Japanese ceremony? Do we have it? There is some way. It's manuscripts and old papers from before the die. A friend of Adrian's and his father's that died five or six years ago left a bunch of his manuscripts and writings and things like that and they're going to burn them. We have a fire permit to do this. Greg, we have a fire permit?

[05:20]

And I know we won't get a permit to do it either. We could talk to the city, but they wouldn't let us. Well, we can burn in the morning. You can burn things in like the incinerator. How much? I think just a little pile, I think. Your pipe, right? We'll put it in the pipe. You can put that in the pipe. Okay, well, I tried. I give up. I give up. It won't take so long. Well, how long could it possibly take? Well, I thought you weren't going to have time for your lecture. I thought it was a whole big long ceremony. No. It's quite short, sir. Okay.

[06:39]

I heard somebody said there was a Zen student in Japan. Mm-hmm. Is that true? Mm-hmm. Long before Ivan did anything about Zen, right? He was like your college, a college mate, maybe even an alum. They got a school together. They did? Yeah. And this fellow was in Japan, and he'd been at Heiji for a while, for a week or so. versions in Japan. I understand something. This year, our headquarters experience each year, and next year, and this year, I don't know, I haven't seen any.

[08:16]

The Guild for United Artists give a hundred full-sized brochures. Two rabbits. They discussed about this thing.

[09:22]

Can't they put? Can't they put? I don't know, for every year, I don't know what's going on. There are many, many childs now. I don't see many people. I think the underground theatre will be... What do you call it? Midnight satsang. Midnight satsang. This is my cafe. Only one in the country. I don't know. I don't know. I don't know. Yeah, everybody else bad ass. Didn't Charles come? Charles didn't come. No. No, he was here earlier. Yeah.

[10:51]

No, but all, everyone else went for, uh, with Tony, with the O'Hanson. They're good. No? Anybody? I knew I brought you this afternoon. Oh, is he? Yes, he's here. No, he's not here. He's not. Mm-hmm. He attacked that time. Did he? No. The names are a present from him. I'm just, I'll erase it, I don't think. Mm-hmm, you don't respond to it? No. I'll just use it a little bit here and there. Very good. Very good.

[11:53]

You left me with that one. We should just call it. What's the point? What's that one? It's a risky point. You know what I mean? You know what I mean? Gone with the expiration. Been hurt. The ten pieces. That's coming out, I think. That's Gary Snyder's movie, The Life of a Boondogger. Oh really? It's sort of about a shaman. About a what? About a shaman, but it's really kind of a Boondogger movie. Go Mel, I'll see you quickly and I'll raise you one butterscotch. You can have this because I like it. I've been sucking on it. You can't eat that. You don't know what to do with that either. You can wrap it up. You know what I saw one day at a banquet?

[13:36]

Oh, Craig, I've got some girl working in the dining room. Just got here yesterday. She's a drop-in. You had her yesterday, right? No. I don't know who is working there. Yeah, I gave her two minutes ago. She's got nothing to hear about that long. She's short and long and quiet. She's a new girl. She's just working there first time this morning. I don't know who is working there. Where do you want her? In the bedroom? No, she's working there. She's working there. We had her yesterday. I think it would be better to have the girl who is there. I don't know who she was. But this girl is awfully slow. Somebody needs to be behind her whipping her, I think. I don't know. What about you? I mean, sure. I thought maybe she might do better at something, you know. Do you have all the expenses reported? The little report on... Roshi, are they going to come to the council house and take a look at it? Did you get all the reviews for it?

[15:06]

Oh, that's the photographer? No. When? I hope it's before I shave my head. Before you shave your head? This year. When you shave your head, we've got a nice post for you in Alaska. Anyway, if we agree. There we go. But, your capoeira sensei, capoeira. Katayama sensei knows him. And he told Katayama sensei to leave. He must ask for more experience. He gets more experience. So there are three things there. This is just that.

[16:33]

Brahm, he submitted to his quarter. So, if he... Of course, I think they will fail, because this is headquarters. We can charge them for being actors. I think we can charge. But they'll come by their own experience. Would this be several people? Or just one photographer? Like the people who came to take the movie before. They would stay as our guests? It might be better to have them here during training period. More interesting movie during training period.

[18:04]

He took lots of movies when he was here. Look at this little camera. He had Dan doing it. I don't know. That's for judging. Is this a regular movie? After dinner, the night I had been there, they had you there about 200 guests for dinner. They all ate in a great big bowl with a little bread. In silence? Very much. And there was chanting before the meal. And it was very nice. Everyone sat saison.

[19:40]

And after the meal, they shared time. The first film was about Cézanne, and the second film was about Monterey Higgins. If you listen carefully, I think we... I have to answer this. I think if they come by their own expense, I think it's okay. I wouldn't... Yeah. Gee, it wouldn't seem there'd be any question about the trip travel. We came in 6th, 1st place. Dear friends. Isn't it a bit too long, John? It's been a long time. It's been a long time.

[21:12]

the film with the respirators? They're all wired up. You're looking like elephants. I can't hear you. You've got this big, huge mask on you. There's a truck that goes way down into... And a girl following him, carrying the respirators. I was thinking of things to come. What was this reference to in the movie? So that's the E.E.T. I can tell Kamiya. Kamiya. Yeah. Did you ever see that movie, Roisin? Speaking of dogs that come in, where's Duran? Oh, I see his mail is coming. Is Duran coming here? There was a movie. Oh, a movie. It's expected, I think. Wow, that's wonderful. Where has he been? You know? Oh, I can't wait to see Grant. I don't know. Well, there's some adventurers and keepers coming here. Yes. I don't know. I heard you were studying in Boston. In Los Angeles, Southern California. Southern California. Hmm.

[22:28]

They're in Colorado? I talk more about not talking than any man. He said in a question to Roshi once, he said, Dojo Roshi, this Sesshin, I have been following your instructions, just as said, and I haven't tried to gain anything. Like innumerable Sesshins in the past, my mind has continued to rattle on endlessly. Why should I continue? Remember? That was beautiful. He has to. Poor man.

[23:33]

The funniest thing he told me one time was, he went up to Tyson, or I guess to the teacher, the teacher in New York. Where? Tyson's son or teacher? No, not son. Yasutani. Tyson was interpreting. He said, why is it some woman had kensho the first time she came? They've never been done. And I've been saying all these years, never any kensho. And Tyson said, well, he said, he used to call the, he used to talk about the ox-herding pictures and call them cows. He said, some people see the cow way in the distance. And they walk and walk and walk and they go, a lot of people come right on it, all of a sudden, they don't see it at all. They say, Duran, you'll be milking her horse. One time at a session in Mill Valley or something, a Yastai session, Taishan was going around beating everybody.

[24:50]

No, he was jumping around. I said, harder, harder. On the seventh day of the Sashim, Duran went... Duran ran out and Tyson, stop, stop! And Duran opened the door and threw it over his head. It was on the middle of 19th Avenue or something, wasn't it? Oh, really? It was on the middle of the street. Oh, I had the picture of being in somebody's home. No, it was in New York. Oh. Haishan was very pleased. That was excellent. He said he was very careful about what he hid in the wagon. We go from one end of the country to the other to sashim. That would be a very American thing. Yeah. Machine hopping. Jet. Machine hopping. The jet set machine. We've got six a year at that. Six a year? Six a year. Six sashim. On Bay Street it's six.

[26:16]

Paul, do you have any schedule on the tops of the buildings? Well, we have to get that wall up there quick. The wall will be done in a week. Okay. I thought you were all ready. Oh, man. I'm going to be fine after a while. Can we let that go tonight, too? Rushie, you know the bridge coming out over this road? Bob Beck has told me every year that that bridge could You know that ridge about eight years ago caused the river, it got stuck and it caused the river to go right into where the Zindo is now. There was trees, there was, just like in the creek where you see big trees jammed up, there was debris down there where the Zindo is in it and on, you know, right up against it. Bob said just a mountain. He said it washed the whole road out and made the creek, the road the creek. Knocked the steps out and everything. You know, something like that. He said it was just tremendous. And he says he thinks it could very likely happen again unless we raise that bridge or at least made it where we could take it out. I've always been a little afraid of that. Do you think that makes sense? I mean, it's happened. It's not happening. You know, once something sticks in a fast creek, you'll never be able to get it out. People keep dumping rocks off of there and building up the bottom of the creek.

[27:58]

What was that up there? Yeah, that's where the... Yeah, I was going to ask you about maybe moving those rocks. We have a nice dam there right now. Yeah, it's really something. It would be pretty effective anyway. Right up here at the upper bridge. You mean the bridge where our gate is? Yeah, the bridge up at the gate. We've got a lot of sandbags there. You talking about the other one? No, I'm talking about the other one. We've got that too. Big. But if they live there, they freeze. It was a particular set of circumstances that happened then. Like, the fire had been just that long ago, so all the trees that were standing

[29:03]

were like dead in the fall of the year, an extreme storm. There's not so many dead trees up there now. It's just like a particular sort of sense of... Would it, though, would the stream ever overflow so that it would start coming down below and get that deep? Possibly, but it would come, it would come a number of... It was quite okay, yeah. Yeah, it was. A guest told me, I think at that time it was three feet of mud, left in, I think, in the Zindo and in the dining room. Mostly, that kind of thing happens when dance like, you know, days, stops the stream. And also, we are hungry. When it starts coming, it will be We get a D2 or something. Why couldn't we make it just so we could pull the bridge out? It should be fine. It's a completely paranoid trip. It's a what? Like I said, it's a completely paranoid trip. It has no... Well, it does have... That's not true, Paul. I mean, it's happened. But because it's happened once, it doesn't mean there's a particular set of circumstances that caused it to come into effect. I mean, you don't think, since it's happened,

[30:34]

There was absolutely no problem with it last time we had that heavy rain here before. I think they were near the bridge. It's a new bridge, I think. Maybe it's not the original, but it is in the same building. You could kick that bitch out with an axe in three hours. They might have had a 4x12x12. You couldn't, uh, you couldn't, uh, winch it off? You could, uh, you could wrap a power wagon and pull it off of there in a second. Why don't you put it up on a little, take a couple of night bulbs and, uh, you just throw it, you could throw a chain around it. I just don't think it's a problem. Well, I'm glad to hear that. I'm glad to hear that. In the middle of summer we're talking about some would-be disaster. You want it right until it starts raining? There's millions of things around here that are in much worse condition than that. I just wanted to mention that. You come back down again in August?

[31:55]

I don't think we should announce it though, because our plans are hurried. Except that it might get a lot of students back. And in the fall we'll start, we'll work on that DiEM out there. Yeah. You think that's important? Yeah. And do you want that work to be done as a project? Yeah. We must make it stronger. By strong. So that all the bank... be taken away. I heard Scott said he got a good price on it. He's got a grand structure.

[33:06]

some big flood comes. Anyway, it doesn't take much time. But in New Year, in New Year condition, if we put more stones in New Year, OK, all parts of my body where the river goes over, that's a lot lower than it was last year. So that means that next year the creek will be running through there. He just wants to plug it. The plug works out even at high water last year and more so over there. The bank is here, and the river is going this way. And more and more, this part will be deeper.

[34:08]

and the bank will need to be kept by the people. That's the problem. What I think we need is to do work like Dan did, and build a good craft wall. Build a craft wall. You know, big stones are best. Small ones, even though you build a bank with water, take away those sands and the streams become deeper, doesn't work. If it is big stones, because stones will not be carried away by water. thick. So maybe that is best. Or, you see, good concrete from here to here. All this gravel out here is very good to make concrete out of.

[35:35]

It's a wall of many tons of very good concrete material. So, when the riverbed doesn't get deeper, it is okay. The only thing is this part will be taken out. In case the riverbed becomes deeper. There are already about three or four very big stones in here that can serve as a foundation. So maybe if you make something that I feel... One day... David, the blonde girl is still looking at me. I couldn't find the other two words.

[36:44]

Like you said, I think we can put maybe either stone or concrete wall along here and make this strong and build this up. At the end of the road. What I mean is putting the pipe here and letting the water flow. So it would be like a road then, with a little pool down here. We need to split a bridge right here and then concrete here too. How about just a straight bridge that we're going over? No pipe? No pipe. The point would be to keep the sand here.

[38:09]

keep the river bottom here from eroding away. Because as the more that the river comes and carries the sand out of here, that's going to undermine any wall that you build up on here. So I think what he wanted was some, if you had say a cement and then this, and then more cement, then the river would go through here. And it wouldn't wash away anything. Yeah. What I mean is, I don't mind this so much. Just because I need it. Because we, so that we can put concrete here. It's just a device. I wouldn't put culvert in a place like that. Just a little one so that you can lay the rest of the... Oh, you mean under... Oh, that's for... That's in low water. You're not thinking of a high water culvert? No, what I'm saying is a low water culvert, and then a high water overflow, a spillway. Oh, yeah. Which is a river. A flood spillway. Kind of river. Which would be the dry water. Yeah. I thought you were thinking of a big one. The way you and I think of it, could you drive, could you actually drive a car across? Yeah. Yeah, I think so.

[39:26]

Then we're putting in a metal culvert. It would be the easiest way. The difference between this top of the bayonet and the bottom of this culvert. Because if the culvert does jam, it would overflow. How would you do that? Alright, if you have an overflow. Very gradual. Do you... Do you think you will... Do you want to stop staying sometimes? In the summertime it would be nice. Yeah. You're soft. Yeah. You can't drive on it. No, you cannot. Then you can stop. We need a way across. We have no way across. We need a way across. If we're ever going to develop the upper area wall. In that case, it must be like this.

[40:54]

Still, we can't stop by stone. Even though we can't make this kind of thing. We can also put in a couple of very heavy objects. I think the easiest way would be to have this to come across. like that. Then I have down here, I have two big pipes where most of the water goes. And then only if I have water, we do water up here. But most of the time, water goes to these. Then we can drive. Drive like that. Or maybe these two pipes could be here, like that. Then I have over here, I have that just over there. Here's the mound in the middle. Yeah. Yeah, we do have some big cans out there. I don't think it's very good. But it's... The big one behind his head, that's kind of big. That's already good. But that one is too short. But there are some of them that are a little short. I saw one. Yeah. When... Right. You'd set that on the stove. Yeah. The whole thing on the stove.

[42:31]

That'd be a good deal. Yeah. Those should be, if we get those, those should be like $360,000. Before winter, we have to do it. Why else... Well, we can do a temporary, you know, either we do a temporary or we do... What if you, what if you just, you know, just... and build it down for now. And if you just work on this wall, then you can build it. I think if you're going to do this, you've got to work on the edges first. before you block up the present spillway. Oh yeah, you don't want to block it up. You want to protect this bank here from washing out. This is grasshopper class. Yeah. It's looking from the bottom side of the dam. This is the flip stone. Oh, I see. Yeah, I know. This is the little mound in the middle. Yeah, yeah. One channel. One channel.

[43:46]

Yeah, that's what we were protecting. Yeah, we protected that and building a stowaway. A concrete stowaway that would be. It would have to be concrete or stone. A couple thousand years ago. Is that long? I was just thinking that we should... Whatever we do out here will probably determine where they build the... And if then there's no way to make concrete anymore. What? Huh? Well, I'm thinking in long-term what we're going to do. I don't know. They want me to tell you sleeping plastic is very hot at that time. Candy is too hot too. Anyway, to stop that stream is very good for trees and everything. Make a lake.

[45:06]

Yeah, we have a good water supply. Yeah, we're high enough we can grab it. Not high enough, but still. Yeah. Yeah, yeah. My idea was to have a dam that was good enough because we're filling up all the water for the flood in that area. Yeah. I bought a sickle. I used to buy it for slavery. I bought a rice-cutting sickle, a Japanese rice-cutting sickle.

[46:20]

In that flower pot that they were holding up, didn't you see the picture? I thought it was a tail. It was a flower pot with three little rice plants growing out of it. Next year, we'll get three or four friends that have a deal that we're going to clear this for. Oh yeah, okay. I cannot go to Japan. When you come back, we'll have it all paid. We'll have a kind of higher construction company, by the way. A big machine. Building dams, big walls. Build a wall around the whole town. Keep out the people. Naomi wanted to make up a list of instructions that you could give to each guest.

[47:54]

We'll put him in the cabin to get to the coming of the day. Sen Shinji, July 1970. Dear Tatsugami Roshi, a refreshing stream of guests and students flows in and out of Tassajara Canyon, bringing with it a taste of the world outside and taking away a taste of the inner world. The good foundation you left us, the monastic structure, has helped to preserve the basic spirit of last training period, even though we've had to modify some details here and there to fit the season. The students who were here last summer are very impressed with the good effects this structure has had on our everyday practice. Of course, some of the improvement is because spiritually and emotionally we are one year older. Last training period, you said that our monastery was a nursery school monastery. By the time you return this fall, I hope you will find that Zen Shinji has graduated to a kindergarten monastery, and that gradually, year after year, with enthusiastic and faithful practice by the American students, and with the encouragement and guidance of the Japanese priests, our baby monastery will continue to graduate

[49:23]

until we become a fully functioning Zen Buddhist monastery. I wish you could be here with us to share our summer practice. In some ways it seems easier than winter practice, and in other ways it seems harder. with the good effects this structure has had on our everyday practice. Of course, some of the improvement is because spiritually and emotionally we are one year older. Last training period, you said that our monastery was a nursery school monastery. By the time you return this fall, I hope you will find that Zen Shinji has graduated to a kindergarten monastery. and that gradually, year after year, with enthusiastic and faithful practice by the American students, and with the encouragement and guidance of the Japanese priests, our baby monastery will continue to graduate until we become a fully functioning Zen Buddhist monastery.

[50:34]

I wish you could be here with us to share our summer practice. In some ways, it seems easier than winter practice. And in other ways, it seems harder. away a taste of the inner world. The good foundation you left us, the monastic structure, has helped to preserve the basic spirit of the last training period, even though we've had to modify some details here and there to fit the season. The students who were here last summer are very impressed with the good effects this structure has had on our everyday practice. Of course, some of the improvement is because spiritually and emotionally we are one year older.

[52:00]

Last training period, you said that our monastery was a nursery school monastery. By the time you return this fall, I hope you'll find that Zen Shinji has graduated to a kindergarten monastery and that gradually, year after year, with enthusiastic and faithful practice by the American students, and with the encouragement and guidance of the Japanese priests, our baby monastery will continue to graduate until we become a fully functioning Zen Buddhist monastery. I wish you could be here to share with us our summer practice. In some ways it seems easier than winter practice, and in other ways it seems harder. We are all looking forward to your return this fall. Until then, best wishes from your grateful American students. Getting out of bed in the morning is easier.

[53:29]

Suzuki Roshi's Kyosaku is harder. Zazen seems shorter. Morning service is more popular. Our appetites are bigger than ever. Choson is more. Work periods are longer. Free time is freer. Evening service is even more beautiful. Suzuki Roshi's Teisho are more powerful. The evenings are more glorious. Bedtime is more welcome.

[55:06]

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