Bones of the Master

Read an excerpt from Bones of the Master

The Last Days of Puu Jih

October 1959: Crow Pull Mountain, Inner Mongolia

The ninth day of the tenth month. The Yellow Season. Tsung Tsai woke at three, two hours before first light. In the dry grass beyond the monastery’s stone and mud-brick walls, the last slow-dying cicadas scraped their wings.

The monk lit a candle stub and warmed his hands by its flame. The wick spat, guttered, then flared. The light flickered over his face and over the stark stone of the six- by nine-foot cell where he had lived for eighteen years. In it were his few possessions: a sleeping pad and quilted blanket roll, his rough brown robes, writing table, inkstone and brushes, a book of poems. He went to the window that looked north and west to the mountains, toward Morhgujing and the Silk Road–the ancient caravan route through the black Gobi and the Taklimakan. He could just make out the winter plum that stood beneath his window, its branches bare and its bark worn gray with blowing sand. In a few hours, the monks would pace there in walking meditation.

Tsung Tsai broke the skim of ice floating on the washbasin and splashed his face. He dried his hands and got his prayer beads from inside his robes that hung on the wall. Then he lit an eight-inch length of incense and sat. The ash still smoldered when, after meditation, he put on his robes and went downstairs to the kitchen. He finished his tea as he heard his brothers wake to the hollow clap of the night-ending gong. He listened to them wash and cough. The monks’ routine during these last days would proceed as usual. But today he would not join them. He heard the swish of their robes as they shuffled down the corridor to the temple. Then he left.

The gate in the monastery’s south wall was still closed against the world. For another day Puu Jih would remain a Ch’an Buddhist sanctuary where monks, seeking enlightenment, studied the Dharma of Mind Transmission:

Break off the way of speech. Destroy the place of thinking. Awaken the mind to no-mind. Find silence and . . . sudden understanding.

There was still no sign of dawn when Tsung Tsai pushed the gate closed behind him. He was anxious to see his teacher, so he hurried up the path that curved past the garden and the storehouse. He knew the way. He knew the sound of his feet on the trail scree and the stream falling away to the east.

He had tied his robes up around his waist for the climb. The sun at forty degrees north latitude would burn in a fierce arc, so he wore a straw hat to protect his shaved head. In a basket strapped to his back he carried the last of the millet. There was only a few days of lamp oil left in the monastery. Yesterday the monks had harvested the last of the cabbage and potatoes. The yellow beans, the wheat, and the millet were finished. China was starving. More than thirty million would die in the next two years. Only bureaucrats and rats would eat.

A decade of chaos had begun. Even in remote Mongolia and Tibet the monasteries would be smashed, books burned, and monks murdered.

When would death arrive at Puu Jih? There were stories, rumors sliding from village to village like the hunger. And then last week, late one night, a young lama from Mei Leh Geng Jau lamasery on the Ulansuhai plateau roused them from their beds with his shouting and pounding on the gate. His face was drawn white, thin as paper. His eyes were wild. He told them that the ninth patriarch, the great Ch’an master Hsu Yun, Empty Cloud, had, at the age of one hundred twenty, been hacked to death by the Communists.

At five, lighter shades began to overprint the sky. Then the stars peeled away, and Ula Shan’s black bulk and the trees on the spine of the ridge gained shape. He looked south toward his birthplace, the village where he had lived until he entered the monastery at sixteen.

Tsung Tsai was born during the hour of Shen on the eighteenth day of the third month of Kuei Hai, March 18, 1925, in Lan Huu, north of the Yellow River. The youngest of four children, he was named Pao Sheng but called San San, “the third son of the third son”–a mystical incarnation, his father liked to tell anyone who would listen.

He could remember waking in his mother’s arms and hearing the “wooden fish,” his teacher’s prayer clapper. When Shiuh Deng chanted alone in his cave, the village people said they could hear him; he whispered in their ears. They called him Red Foot Truth, after his habit of going barefoot in even the cruelest of Mongol winters. They believed he could fly.

When Tsung Tsai was eight, a mendicant monk, a bhikku, wandered into Lan Huu and set up shop under a tent umbrella. He cured the sick with his bell and crooked stick; with medicines compounded of barks, twigs, roots, and flowers, of powdered horn, bone, and gland; and with a holy potion he made by blowing sacred words, three times, into boiling water. When he left the village, Tsung Tsai followed. After a few hours, the old bhikku tired of the boy’s company and, with a shower of stones and a threatening stick, sent him running home in tears.

When Tsung Tsai was ten, his father died suddenly, and the boy ran off alone to Sand Mountain to mourn. He spent nine days walking among those wandering dunes in the wind that is called “blowing sand and running stones.” He found he could talk to the wild horses. They told him that one day he would find a lohan, a great saint, and become his disciple. Then, on the ninth day, he saw a star fall from the western sky, and he was certain that it was his father gone to the Pure Land.

Copyright© 2000 by George Crane
–From Bones of the Master : A Buddhist Monk’s Search for the Lost Heart of China, by George Crane. © George Crane used by permission.

Consider a Cutting Garden

Everyone loves to give and receive flowers. So great is their appeal, that fresh cut flowers play a role in the celebration of holidays and the milestones of family and personal life over much of the world. It is a particular luxury to have fresh flowers on display at home on a daily basis. What a delight it is to be surrounded indoors by bouquets and arrangements of fragrant, colorful blossoms -to have a bit of the garden in the house.

For gardeners the ultimate pleasure is to be able to cut flowers from their own garden to bring indoors and to give away to friends and family. Many also love to have homegrown blossoms, foliage, and seedheads handy for fresh or dried floral crafts and cooking. However, the problem is always that picking flowers from the garden reduces the floral show in the yard. It is always a tough decision whether to cut flowers for indoors or leave them on display outdoors. The perfect solution to this problem is to establish a separate cultivated area specifically as a cutting garden. Then you can have your flowers and pick them too!

Fill your cutting garden with plants that produce the flowers and foliage you love. Use it as an area to experiment with new plants and colors. Place it where it is not on public display, and indulge your fancy. Consider making it part of your vegetable garden. This is a production garden; created to be cut down, so do not worry about design correctness.

Creating a cutting garden
Create a cutting garden much the same way you initially establish a flower garden. Choose a site that receives generous sun and prepare the soil so that it drains well. Add humus in the form of compost, peat moss, or chopped leaves to improve clay or sandy soil. Create one or more beds of whatever size and shape accommodate the available space. They can be tucked into sunny spots along the back boundary, in a neglected corner, or behind the garage. By their very nature, they are transient, so they are easily changed or reconfigured next season if necessary.

While cutting gardens often look beautiful at the peak of the season, this is incidental. So, because they are not intended for display, a purely utilitarian layout makes the most sense. Then once they are established they are easier to m

aintain and require much less attention than ornamental beds. For this reason, cutting gardens usually resemble traditional vegetable gardens. They are typically planted in widely spaced rows that are easy to move through and between while planting, thinning, fertilizing, deadheading, and, of course, harvesting.

Managing a cutting garden
Be sure and mix into the soil a granular, slow-acting fertilizer at the beginning of the season. This will provide consistent, balanced nutrition to the plants over many, many weeks. Periodic doses of dilute liquid fertilizer sprayed on plant foliage will boost the energy of certain heavy

blooming plants during peak production.

Rather than interplant seeds or young transplants of many different kinds of flowers, group the species of plants for efficient use of space and easy harvest. To get maximum production, plant annuals in succession-early season, mid-season and late season bloomers grouped together. Cluster plants with similar requirements for sun, water and drainage for easier maintenance. Plant tall types together, away from where they might shade smaller ones.

To minimize watering and weeding maintenance, spread a 2 or 3 inch layer of some organic mulch on the soil around the plants in the cutting garden as soon as they are a few inches tall. It does not have to be attractive, so use whatever is inexpensive and at hand, such as chopped leaves, shredded newspaper, or straw. The mulch will discourage weeds, keep the soil moist longer, and contribute nutrients to the soil as it decomposes in the heat of summer. Add to the mulch layer if it breaks down to less than an inch. If you grow plants that are notorious selfseeders, such as spider flower (cleome), removing the mulch at the end of the season will help to clear away most of the seeds as well.

To spur and maintain flower production of annuals, pick blossoms regularly. Deadhead those that remain and become faded. This prevents them from forming seeds which slows flower production. Water about an inch per week if rainfall is unreliable. Unmulched beds will need more

frequent watering, especially in the summer. Keep a look out for aphids on tender young growth or on plants that are stressed and unhappy. Pinch infested tips off or wash the foliage with a strong stream of water from the hose. Insecticidal soap spray will take care of stubborn infestations.

As soon as the blossoms from one stand of flowers have been cut, and/or the plants begin to weaken; pull them, cultivate the bed, and plant new seedlings to provide cut flowers for the weeks to come. For instance, plant only pansies in an area for an early season supply of flowers. Then, when summer heat arrives, replace them in that area with American marigolds or zinnias.

Plants for the cutting garden
Lots of different kinds of flowering plants are suitable for a cutting garden. Long-stemmed annuals or perennials are most useful. Typically, colorful annual flowers dominate these gardens, because they are such enthusiastic bloomers. Cutting their blossoms only encourages them to produce more. All kinds of daisies are enormously popular and combine well with lots of other flowers.

Long blooming perennials have a place in the cutting garden as well as in the more formal flower border. Plants such as coral bells and fringed bleeding heart will produce flowers all season, especially if they are regularly picked. Some, such as purple coneflowers and black-eyed susans produce bold, bristly seedheads that are ideal for floral crafts. Of course perennials can be depended upon to bloom next seasonno need to replant that part of the cutting garden

Don’t forget foliage plants that contribute texture and color to both fresh and dried arrangements. Silverleafed artemisia varieties, lamb’s ears and herbs such as lavender contribute grayish-silver foliage that is both handsome and aromatic.

The following is a list of suggested annuals, perennials, and foliage plants. This list is just a beginning. There are certainly more cut flowers available.

Annuals for a cutting garden
[* indicates good for drying also]
Ageratum (Floss Flower)
Amaranthus caudatus (Love Lies Bleeding)
Ammi majus (Bishop’s Flower)
Anemone
Bells of Ireland
Calendula
Callistephus chinesis (China Aster)
Campanula
Celosia, cristata (Cockscomb)*
Celosia, plumosa (Feather)*
Celosia, spicata (Wheat)*
Centaurea (Bachelors’ Button)
Cleome (Spider Flower)
Cosmos
Dianthus
Dill
Dimorphoteca sinuata (Cape Marigold)
Eustoma (Lisianthus)
Geranium
Gomphrena (Globe Amaranth)*
Gypsophila (Baby’s Breath)*
Helichrysum (Strawflower)
Helipterium (Everlasting)
Marigold
Matthiola (stock)
Nicotiana (Flowering Tobacco)
Nigella damascena (Love-fn-A Mist)
Pansy
Petunia
Phlox
Reseda Odorata (Mignonette)
Salpiglossis
Salvia farinacea
Scabiosa (Pincushion flower)
Snapdragon
Statice*
Sunflower*
Sweet Pea
Verbena bonariensis
Zinnia

Perennials for a cutting garden
Achillea (Yarrow)*
Aster
Campanula
Carnation
Chrysanthemum, such as Shasta Daisy
Coreopsis
Delphinium
Dianthus, deltoids (Pinks)
Digitalis (Foxglove)
Echinacea (Purple Coneflower)
Echinops exaltatus (Globe Thistle)*
Gypsophila (Baby’s Breath)*
Heuchera (Coral Bells)
Kniphofia (Red Hot Poker)
Lavender*
Lobelia
Lupine
Nicotiana (Flowering Tobacco)
Phlox
Poppy, Shirley or Iceland
Rudbeckia (Black-Eyed Susan)
Sages
Solidago (Goldenrod)
Veronica

Foliage for a cutting garden
Asparagus, densiflorus
Asparagus, sprengeri
Coleus
Dusty Miller
Eucalyptus
Euphorbia (Snow on the Mountain)
Flowering Cabbage
Flowering Kale
Sage, Tri-color

Landscape Design

There is no easy way to teach landscape design and most home gardeners cringe at the thought of it, however, I’d like to introduce you to one particular landscape design concept that you might find interesting and useful, that of landscape mass and landscape void.

Every landscape is made up of masses of plants and areas void of plants — areas planted and areas that are open. Often the balance between the planted and the open spaces, and the arrangement of the planted and open spaces can determine the overall effectiveness of a landscape design.

Where The Voids Are
A void in landscaping could be a lawn, or an expanse of ground cover or gravel. It could also be a patio or garden pool. A void is simply an open area in the landscape. The key to landscape design is that you can plan and shape the void, rather than just let it happen by accident. For example, my wife and I are in the process of landscaping our three acre property. We are planning and planting a screen of evergreens on the western edge of our property to provide some privacy from the neighboring lot. Between the evergreen screen and the house we are planning to develop a small, perhaps 40 foot diameter, oval lawn area. Near the house this oval lawn area, the void, will be surrounded by small shrubs. Thus, we’ll end up with a wonderful small, almost hidden, oval lawn area surrounded by short shrubs to the north and south, and large evergreens to the west.

Developing the Masses
Voids are most effective when surrounded by a significant amount of mass. The mass is the planted areas of the home landscape. Too often we plant in straight narrow rows. We line up shrubs across the front of the house, or across the back fence. We neglect trying to develop depth and mass in our planting, and yet it is mass that so nicely sets off the voids. In most cases it is best to have an orderly transition between the masses and voids in the landscape. For example, start with a flower border. Back it with low-growing shrubs, behind which you plant taller growing shrubs. Finally, add a collection of trees. Pay attention to the way the mass of plants will appear when standing, or sitting, in the void.

One thing I like to do is have a void area immediately outside a frequently used window in the house. When you look out the window you see across the void to the mass planting. I try to develop this mass planting area to be as interesting and attractive as possible when seen from the window.

Mystery in the Landscape
If your yard is large enough often you can have two void areas divided by a large mass planting and then develop a connecting pathway between the voids. As you travel through the path you catch glimpses of the approaching void and this creates a bit of mystery as to what’s just around the bend. Often a piece of statuary, or something as simple as a birdbath, can be placed in the voids to act as a focal point. If the mass planting area is large enough the path can be made to twist and wind with interesting plants scattered along the way to lead you through to the next void.

Think About It
As you walk in and through your yard this spring think about the arrangement of the masses and voids in your landscape. Then think about ways to improve their relationships to each other. This type of landscape exploration is foreign to many gardeners but it really helps in making those basic landscape design changes that pay big dividends in the long run.