“Why become enlightened?…Why join the military? Why get married? Why cross the ocean? Why stay at home? Why stay single? Why avoid the Army? It’s a personal choice. There’s something in a person that draws them to the light.” —Rama, Enlightenment talk, The Enlightenment Cycle series, 1992
I was sitting with my teacher and asked her, “What is maya? You talk about the world being maya, illusion, but how can the world be illusion when it feels real and solid? I’m confused!”
She said, “Ah yes, but first I have an assignment for you. I’d like you to learn how to weave. Find a good school, learn the craft, and create a tapestry for me. The tapestry can be of any design, but make sure the border is red—that is your border color alone. When you are done, come straight back and we’ll discuss maya further.”
So I embarked on my task immediately. I found a renowned school with first-rate facilities and well known teachers; it even offered a study program in Japan where you could learn traditional techniques from Japanese masters!
In my first studio class, there was an older woman seated at the loom in front of me, and she did the darnedest thing—she farted throughout the entire class. I don’t mean those little pop, pop, pop, popcorn farts, but rather, loud trumpet farts. Bodily functions have never been that amusing to me, but this was different. It felt a bit surreal because she acted as if nothing was happening. She didn’t giggle. She didn’t apologize. She didn’t fan the area. She didn’t react in any way. She just continued weaving and tooting, weaving and tooting. I don’t know if she was hard of hearing and so wasn’t aware they were loud, or if she simply didn’t think they were a big deal, but either way she was unmoved. I could see the guy to my right shared my amusement. His shoulders were shaking as he quietly laughed, and when we looked at each other it became almost impossible to hold it in. After class, finally away from everyone, we died laughing because it had just been so bizarre. We continued our giggles through lunch, and I was charmed by his easy laugh and the mischievous sparkle in his eyes, not to mention his handsome shoulders and cute booty.
We both went on the study program to Japan. There I was so moved by the Zen aesthetic. We did everything using the ancient techniques. We wore simple hand woven tops and pants, and had special slippers just for the studio. The studio itself was minimal, but every element in it was crafted to perfection—the timber beams, the tatami mats, the sliding panels that opened onto the tranquil garden. The garden was a silent oasis of beautiful maple trees, moss-covered rocks and a delightful stream. And our teachers, well most of them, were amazing. To have these wise men and women, who’d learned the ancient art form from their masters, pass it on to us was a true honor. John and I both really resonated with the entire experience.
After we returned home and finished our studies, I decided to open a studio. I was pregnant with our first child and thought it would be easier to take care of her if I had my own studio. John, to my relief, decided to return to real estate. He’d gotten his license a few years back when he’d worked with his mother at her agency. It was a lucrative living, and a good way to support the family and finance the studio. And I was relieved to still be able to do my art. (It frequently goes unsaid that many artists have a partner or spouse who financially supports their artist lifestyle!)
The studio we built was a work of art. We fashioned it in the traditional Sukiya style—timber beams, tatami mats and screen walls that opened to the garden. And the garden, wow, we worked very hard to make it a really beautiful and peaceful meditative space.
After a while we expanded the studio to include a school, but interest was limited, so we pivoted and used the compound for artist retreats. These, in turn, did really well. I created an almost flawless format that consisted of a little bit of art class, a little bit of yoga and meditation, a lot of great organic food, and a lot of Chardonnay.
When the kids left for college, that was both rough and okay. I was supportive and happy for them to become independent of me, but regardless, their energy bodies were made from mine and as they spun further away, the pulling and thinning of the lines between us hurt. At least it was great to have all the social media and video games out of the house. Even though they are great and sensitive beings, they were still young and into all that garbage.
As John and I became older, we were like pieces of furniture in each other’s lives—always there, barely noticed, the stimulating conversations of fresh love used up decades ago. When he died, I grieved but continued on with my daily routine. Coffee and toast in the garden. Weaving in the studio. A walk with the dogs. Dinner and a movie. What was different was the space his thoughts had occupied in my mind was now free. I forgot that had even happened. When we were first together, it was an affront. His thoughts occupied space in my mind, and it really bugged me. Things I didn’t have any concern or affinity for lived inside my mind—things like hunger for junk food, competitiveness, web sites, certain humiliating sexual positions. I got used to the foreign presence after a while, and later, I forgot it was even there, taking all those thoughts on as my own. And now, with his death, all that space returned to me. It was then I remembered my teacher’s assignment.
I was mortified that I had forgotten—how could I have forgotten? It was truly shocking to me. I immediately set to work on the tapestry and finished quickly. When I returned, my teacher said, “Ah, there you are. I see you were delayed. This experience is, of course, the answer to your question about maya. You dipped your toe into maya, and got sucked all the way into illusion for sixty years, entirely forgetting your true mission. This is the nature of maya!”
“Now come with me. I will show you where this tapestry will be stored.” She took me down the hall to a heavy wooden door carved with a large dharma wheel. As she opened the door, I saw thousands and thousands of tapestries with my red border. “You see, you’ve been asking me this question for thousands of lifetimes. Just look at how many tapestries you’ve woven! Asking me about the nature of maya, is not the right question. The right question is ‘What does my soul want?’ It’s a personal choice to become enlightened. It’s not required, and if a soul wants more physical experiences, then it’s fine to go explore maya some more. But when a soul craves light, like yours does, you will always feel “off” and unsatisfied when you are not on the path to enlightenment. You can fool yourself into thinking you are on the path by doing “spiritual” things, like a little bit of meditation, having a Zen garden and doing yoga. But your soul knows and you know, that’s not enough. To wake up you have to fully intend it. It’s a choice without a backup plan. There can be no secondary intent. You can’t meditate a little bit harder and hopefully wake up. No! You make the choice to wake up, and once you quit fighting what your soul wants, everything falls into place!”
“Enough with this fascination with maya! Come now, let’s go meditate.”