92Y / The Paris Review Interview Series: Gary Snyder
Posted on November 20, 2014
This conversation between Eliot Weinberger and Gary Snyder, part of a collaboration between 92Y’s Unterberg Poetry Center and The Paris Review, was recorded live at 92Y on October 26, 1992. We are able to share this recording thanks to a generous gift in memory of Christopher Lightfoot Walker, longtime friend of the Poetry Center and The Paris Review. Here is an excerpt from the full interview that ran in The Paris Review as The Art of Poetry No. 74 in the winter of 1996.
Are you still a practicing Buddhist? Do you sit every day?
Almost every day. Zazen becomes a part of your life, a very useful and beautiful part of your life—a wonderful way to start the day by sitting for at least twenty, twenty-five minutes every morning with a little bit of devotional spirit. My wife and I are raising a thirteen-year-old adopted daughter. When you have children you become a better Buddhist too, because you have to show them how to put the incense on the altar and how to make bows and how to bow to their food and so forth. That is all part of our culture, so we keep a Buddhist culture going. My grown sons say, when they are asked what they are, because they were raised that way, “Well, we are ethnic Buddhists. We don’t know if we really believe it or not, but that is our culture.”
What does zazen do for the poetry? Do you feel that there is a relation there that helps somehow in the writing?
I was very hesitant to even think about that for many years, out of a kind of gambler’s superstition not to want to talk too much or think too much about the things that might work for you or might give you luck. I’m not so superstitious anymore, and to demystify zazen Buddhist meditation, it can be said that it is a perfectly simple, ordinary activity to be silent, to pay attention to your own consciousness and your breath, and to temporarily stop listening or looking at things that are coming in from the outside. To let them just pass through you as they happen. There’s no question that spending time with your own consciousness is instructive. You learn a lot. You can just watch what goes on in your own mind, and some of the beneficial effects are you get bored with some of your own tapes and quit playing them back to yourself. You also realize—I think anyone who does this comes to realize— that we have a very powerful visual imagination and that it is very easy to go totally into visual realms where you are walking around in a landscape or where any number of things can be happening with great vividness. This taught me something about the nature of thought and it led me to the conclusion—in spite of some linguists and literary theorists of the French ilk—that language is not where we start thinking. We think before language, and thought-images come into language at a certain point. We have fundamental thought processes that are prelinguistic. Some of my poetry reaches back to that.
Christopher Lightfoot Walker (1954-2012) served as poster director, prints director and advisory editor of The Paris Review. He also volunteered at the 92nd Street Y’s Unterberg Poetry Center, making transcriptions, which were models of their kind, of audio recordings of live literary events. Chris was born in New York City, attended the Buckley School, then went west to Fountain Valley School and back east to Hampshire College. He was engaged in a number of entrepreneurial efforts (some in collaboration with his father, Angus Lightfoot Walker, longtime chairman of the City Investing Company), when, at the age of 31, he suffered a cerebral hemorrhage. He wore his adversity lightly, retaining, in addition to his considerable wits, his sense of humor and sense of fun. Against the odds he remained a person on whom no delightful thing was ever lost. Chris was always grateful for the refuge he was able to find in the work provided by 92Y.
This post is part of 92Y/The Paris Review: Interview Series.
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