New word to me: “Stolperstein”

A stolperstein (German pronunciation: [from German, literally “stumbling stone”, metaphorically a “stumbling block” or a stone to “stumble upon”, plural stolpersteine) is a cobblestone-size (10 by 10 centimetres (3.9 in × 3.9 in)) concrete cube bearing a brass plate inscribed with the name and life dates of victims of Nazi extermination or persecution. The stolperstein art project was initiated by the German artist Gunter Demnig in 1992, and is still ongoing. It aims at commemorating individual persons at exactly the last place of residency—or, sometimes, work—which was freely chosen by the person before he or she fell victim to Nazi terror, euthanasia, eugenics, was deported to a concentration or extermination camp, or escaped persecution by emigration or suicide. As of 31 January 2017, over 56,000 stolpersteine have been laid in 22 European countries, making the stolperstein project the world’s largest decentralized memorial.

The majority of stolpersteine commemorate Jewish victims of the Holocaust. Others have been placed for Sinti and Romani people (then also called “gypsies”), homosexuals, Jehovah’s Witnesses, black people, members of the Christian opposition (both Protestants and Catholics), Freemasons, the Communist Party and the European anti-Nazi Resistance, military deserters, and the physically or mentally disabled.

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“BODHIDHARMA’S TEACHING” by Venerable John Eshin (

Bodhidharma was born around the year 440 in Kanchi, the capital of the southern Indian kingdom of Pallava. He was a Brahman by birth and the third son of King Simhavarman. When he was young he was converted to Buddhism and later received instruction in the Dharma from Prajnatara, whom his father had invited from the ancient Buddhist heartland of Magadha. Prajnatara was a master in the Dhyana school of Buddhism which was later transliterated to Ch’an in Chinese, Zen in Japanese and Son in Korean. It was Prajnatara who told Bodhidharma to go to China. Bodhidharma arrived in China about 475, traveled around for a few years and finally settled at Shaolin temple.

Bodhidharma had only a few disciples, including laypeople, both men and women. His was the first teaching of the Dhyana school outside of India. It was in China, Korea and Japan that this school would flourish. Bodhidharma’s teachings were recorded. Seventh and eighth century copies have been discovered earlier this century in the TunHuang caves. His best known sermon is ‘Outline of Practice’.

‘Many roads lead to the Way, but basically there are only two: reason and practice. To enter by reason means to realize the essence through instruction and to believe all living things share the same true nature, which isn’t apparent because it’s shrouded by sensation and delusion. Those who turn from delusion back to reality, who meditate on walls, the absence of self and other, the oneness of mortal and sage, and who remain unmoved even by sutras are completely in accord and unspoken agreement with reason. Without moving, without effort, they enter, we say, by reason’.

‘Way’ or Tao is used to translate Dharma and Bodhi when Buddhism was introduced to China.

“Reason and practice’ complement each other. One must practice what one understands and learns, and one must understand one’s practice otherwise it may become misguided.

‘Same true nature’ is Buddha Nature or True Self. We all know our individual selves, our ‘me’ self. This is a limited and unclear self, one that we have developed unknowingly through our upbringing and conditioning. Buddhism points out that we can access or develop our realized self, called Buddha Nature.

‘Isn’t apparent’ refers to the inherent Buddha Nature that is hidden by our mistaken functioning of mind. We sense objects through our sense organs. Our mind then separates from these objects, becomes dualistic, and all sorts of dualistic comparing, liking and disliking, attachment and avoidance, love and hate, arise. Buddhism strongly points out it is the dualistic separating of inside/outside, subject and object, man and woman, person and surroundings, that is the root of all our suffering. It is not simply the polarities, man and woman, person and surrounding, or subject and object, in themselves. It is when the two polarities are taken as fundamentally separate and dualistic that suffering begins.

‘Turn back to reality’ is Bodhidharma clear instruction to regain our original Buddha Nature, before our mind became dualistic, when we are at home with ourselves and our life and everything/one in it. ‘Turn back’ is certainly true expression. We can remember or see in babies a mind that is very non-dualistic and with a small sense of ‘my’ self. As children ‘our’ selves became stronger and more autonomic yet still have the original pure, clear mind. Somehow, as we became adults, we became unbalanced towards ‘my’ self and the original mind became forgotten. ‘Turn back’ is acknowledging that our true self has always been with us, it’s just that we have lost touch with it.

‘Meditate’ is the way of Dhyana. Today meditate often means to gain a subjective sense of peace or happiness. However, Dhyana is more like contemplation, the clear contemplation of the workings of our mind. The contemplative process is described in a very detailed way in Buddhism. Buddhism describes the many stages, styles and levels in the contemplation process that leads to, and in fact is, the realization of our true selves.

‘Absence of self and other’ is the first and third of Buddhism’s Three Marks of Existence. These are Anitya or impermanence and Anatman or no-fixed-self. This phrase also indicates the lack of dualistic separation between ourselves and others. This is the basis of compassion. Others are equally worthy of respect and concern because fundamentally others are ourselves, strange as it may seem at first.

‘Oneness of mortal and sage’ is Bodhidharma pointing to the fact that even Shakyamuni was a human, he was not divine. The potential of enlightenment is within all of us. Through practice and understanding we can also progress through the stages of Bodhisattvahood, right to Buddhahood.

‘Unmoved even by sutras’ is to abide in samadhi or the mind of oneness and non-duality. In samadhi we are ‘at one with’ and not reacting to the sutras. To be ‘at one with’ is the mind of compassion and here we are closely in accord with the sutras.

‘Without moving, without effort, they enter, we say, by reason’. Here Bodhidharma is summarizing his comments on the way of reason. The way or state of Buddha Nature is entered by becoming one with the instructions and teachings. We do not have to go to another place or time to gain our Buddha Nature. It has always been with us, we cannot fundamentally lose it, it is losing touch with it that happens. To realize the teachings is to be enlightened by reason.

Next time Bodhidharma’s comments on practice will be investigated. He starts by stating ‘To enter by practice refers to four all-inclusive practices: suffering in justice, adapting to conditions, seeking nothing, and practicing the Dharma’. These reflect the Four Noble Truths and Bodhidharma goes into just how to practice these.

‘Many roads lead to the Way, but basically there are only two: reason and practice.

To enter by practise refers to four all-inclusive practices: suffering injustice, adapting to conditions, seeking nothing, and practising the Dharma.’

Bodhidharma is referring to Shakyamuni’s first teaching, which is the Four Noble Truths. Namely, all existence is marked by suffering; suffering has a cause; the cause can be bought to an end; the way to bring it to an end is the Eightfold Noble Path of right views, right thought, right speech, right action, right livelihood, right effort/devotion, right mindfulness, right Zen.

‘First, suffering injustice. When those who search for a path encounter adversity, they should think to themselves ‘In countless ages gone by I’ve turned from the essential to the trivial and wandered through all manner of existences, often angry without cause and guilty of numberless transgressions. Now, though I do no wrong, I’m punished by my past. Neither gods nor men can foresee when an evil deed will bear it’s fruit. I accept it with an open heart and without complaint of injustice’. The sutra says ‘When you meet with adversity don’t be upset, because it makes sense’. With such understanding you’re in harmony with reason. And by suffering injustice you enter the path.’

The first Noble Truth is often explained by enumerating all the types of suffering that occur. However, Bodhidharma indicates how not to be bent out of shape by them. First he points out that these sufferings appear as adversities. Secondly he emphasizes how to accept and embrace them, thus ceasing any resistance to them. This is done by understanding that it is our karma that gives rise to our circumstances and state of being. By patiently accepting these results from the past we are no longer emotionally reacting to them. We come to accept injustices as part of life. This provides a calmer state of being, one that is more able to practise the Dharma.

‘Second, adapting to conditions. As mortals we’re ruled by conditions not by ourselves. All the suffering and joy we experience depend on conditions. If we should be blessed by some great reward, such as fame or fortune, it’s the fruit of a seed planted by us in the past. When conditions change, it ends. Why delight in its existence? But while success and failure depend on conditions, the mind neither waxes nor wanes. Those who remain unmoved by the wind of joy silently follow the path.’

Before meeting the Dharma people live by reacting to circumstances. Grasping what seems pleasurable, avoiding what seems unpleasant, people strive to hold on to dependent pleasure and happiness. However, circumstances are impermanent and there is no way people can make circumstances always, eternally, provide their happiness.

Bodhidharma asks people to keep a steady mind, one that are not swayed by circumstances. This way one remains centred no matter what is occurring.

‘Third, seeking nothing. People of this world are deluded. They’re always longing for something – always, in a word, seeking. But the wise wake up. They choose reason over custom. They fix their minds on the sublime and let their bodies change with the seasons. All phenomena are empty. They contain nothing worth desiring. ‘Calamity forever alternates with Prosperity’. To dwell in the three realms is to dwell in a burning house. To have a body is to suffer. Does anyone with a body know peace? Those who understand this detach themselves from all that exists and stop imaging or seeking anything. The sutra says ‘To seek is to suffer. To seek nothing is bliss’. When you seek nothing, you’re on the path.’

One starts by seeking. Looking for enlightenment, peace, happiness, etc. Bodhidharma says it is only when we stop seeking outside that we can find the treasures of our mind and life. When we get attached to phenomena then our mind is buffeted by bad and good fortune. Bodhidharma uses the phrase ‘Calamity forever alternates with Prosperity’ referring to the two goddesses responsible for these in the Nirvana sutra. The three realms, with many sub realms, are states of confusion. These states are likened to a ‘burning house’ in the Lotus sutra. Confused attachment to phenomena is what Bodhidharma calls ‘custom’ and today we may say conditioning.

Seeking appears worthwhile at first. As we seek and gain insights we come to realize that by not looking outside for satisfaction we become open to true peace and steadiness.

‘Fourth, practising the Dharma. The Dharma is the truth that all natures are pure. By this truth, all appearances are empty. Defilement and attachment, subject and object don’t exist. The sutra says ‘ The Dharma includes no being because it’s free from the impurity of being, and the Dharma includes no self because it’s free from the impurity of self’. Those wise enough to believe and understand these truth are bound to practise according to the Dharma. And since that which is real includes nothing that is worth begrudging, they give their body, life, and property in charity, without regret, without the vanity of the giver, gift, or recipient, and without bias or attachment. And to eliminate impurity they teach others, but without being attached to form. Thus, through their own practise they’re able to help others and glorify the Way of Enlightenment. And as with charity, they also practise the other virtues to eliminate delusion, they practise nothing at all. This is what’s meant by practising the Dharma.’

Bodhidharma is showing the essence of Zen. When the mind is no longer dualistic it is in accord with circumstances. The mind that is apart from things is the mind that likes and dislikes, grasps or rejects, loves and hates, goes this way and that looking for peace. This is the mind that suffers. This is the mind that is self-centred.

By practising ‘at one with’ the suffering mind is gone. Our self and our life are still there but there is a harmony between inside and outside, self and other, subject and object. In fact, the sense of being separate has gone. Thus Bodhidharma can say there is no (impure) being, no (separate) self. This state is often called true self or Buddha Nature.

Buddha Nature naturally and spontaneously practices the Sila or Purities. Sila are not external precepts but the wholesome outpourings of an awakened being. For example, an awakened being is not caught up with thoughts of stealing or not stealing, but effortlessly leads a life of spotless integrity. Giving and charity are done without any thought of ‘myself’ that is giving. Awakened beings help others but without any concept of helping, thus there is the natural arising of compassion.

Bodhidharma ends by referring to the virtues or Paramitas. The practise of charity or generosity, morality or discipline, patience, energy or devotion, concentration or meditation, and wisdom are done without any concept of ‘myself’ doing them. Without any sense of ‘myself’ practising the Paramitas Bodhidharma can say ‘they practise nothing at all. This is what’s meant by practising the Dharma.’ It is the natural and spontaneous outpouring of Bohhicitta.

(Courtesy of Randy Ramsley.)

“The WWI Memorial That Refuses to Glorify War” by Richard Rubin

<em>Les Fantômes</em>, Paul Landowski's WWI memorial sculpture.
Les Fantômes, Paul Landowski’s WWI memorial sculpture. MAURICE SAVAGE/ALAMY

There are countless monuments to the Great War in France, but Paul Landowski’s “Les Fantômes” is unlike any other.

May 29, 2017 (

IT IS THE EERIEST WAR memorial you will ever behold.

Actually, I’ll just go ahead and say it’s the eeriest memorial you’ll ever behold. Of any kind.

You can thank Paul Landowski for that. Born in Paris to a French mother and a Polish immigrant father, Landowski was 39 years old when his unit, the 132nd Régiment d’Infanterie, was mobilized on August 6, 1914, at the very start of the Great War. He spent four years at the front, was awarded a Croix de Guerre in 1917, and somehow managed to survive. After he was discharged on January 9, 1919, Landowski returned to his home and to work, but he couldn’t seem to forget, or even to distract himself much. What haunted him most was the sight of so many dead poilus—French soldiers—piled up in trenches, stacked in mass graves. Though the trenches were now empty and the graves filled in, he could not get away from those images, the bodies, the faces. So he decided to work with them.

Landowski was a sculptor. Today he’s best known for Christ the Redeemer, that enormous 1931 art deco statue of Jesus that you see in just about every photo of Rio de Janeiro, but he was already a celebrated artist well before the start of the First World War. In 1920, when he was asked to create a memorial to those killed in the Second Battle of the Marne, he immediately thought of those images, those bodies, those faces. He knew that they haunted millions of other people, too, and that even those who had never seen such things—who had never gotten close to the front—were haunted by the vacant bedroom, the unfilled seat at the dinner table, the framed photo next to the polished shell casing on the mantelpiece. France was filled with emptiness. The only way to exorcise it, Landowski determined, was to acknowledge it.
Paul Landowski


If this seems obvious now, it certainly wasn’t then. There are Grande Guerremonuments absolutely everywhere you go in France, and not by happenstance. After the war, the French government offered funds to every settlement in France—every city, town, village, hamlet, community—to build a Grande Guerre memorial. I’ve been told that in the entire country, from the North Sea to the Mediterranean, only five settlements declined to do so. I cannot name any one of those five, and I’ve never met anyone who can, but even if they do exist, the participation rate was still, effectively, 100 percent.

Regarding the monuments themselves, though, there is little in the way of uniformity: there are steles and tablets, boulders and blocks, fountains and planters. The most memorable are the statues—and here again, there is a great deal of variety: men alone; men with each other; men with Marianne, the feminine embodiment of France. There are men charging, marching, standing still, lying down; their pistols drawn, bayonets thrust forward, hands empty, arms filled with a fallen comrade; mouths agape, lips pursed, gaze intent, eyes closed; alive, dying, dead. In the village of Sauvillers-Mongival, there’s a terra cotta sculpture of a life-sized, grim-faced poilu, hunkered down behind a machine gun, finger on the trigger. You won’t see many of those; it’s not a terribly romantic image.

And that’s the one thing that almost all French Great War memorial statuary has in common: romanticism. Not a trace of fear in the men’s faces, even the dying. They clutch their chests, thrust their arms out toward heaven, call out for their men to carry on!, stare out at the battle still underway. But they are not afraid. They do not experience regret. They may be a few seconds from death, but they are still fiercely alive, and looking only forward, never back. Even the dying figures seem more vibrant than I feel some days, and more noble than I am on my best ones.

That’s not what Landowski was going for. Rather than gone to a better place, he focused on: gone. Those empty dinner chairs, vacant bedrooms. He worked in granite, not marble or terra cotta. It took him 15 years to create eight figures, each standing in for roughly 170,000 poilus killed. They huddle together, eight towering stone men around 25 feet tall, arms hanging down, heads listing forward or to one side, eyes neither open nor closed. A Lebel rifle rests against one; another cradles a machine gun to his chest. The figure next to him carries two sacks full of grenades. Another rests his fingertips on a pick handle. A couple of them still wear their packs. Seven are in uniform; one appears to be naked. They are dead, but alive, but dead. Gone, to be sure, but definitely still right here. He called them Les Fantômes—the phantoms.

The view from <em>Les Fantômes</em>.
The view from Les Fantômes. RICHARD RUBIN

As striking as the sculpture is its setting, a hill called the Butte Chalmont near the village of Oulchy-le-Château, about 60 miles northeast of Paris. Like much of the area, Butte Chalmont and the surrounding fields saw terrible fighting during the Second Battle of the Marne. The butte itself caught so many big shells that its shape was changed dramatically and forever. Landowski had to install a series of steps at several points along the path just to make it traversable; the final 50 yards or so required a large staircase, dozens of steps, to scale what had been craters. From the top platform you can turn around and behold a stunning plain that stretches out for miles, dotted with groves and farms, like something out of a fairytale. It’s one of the most beautiful vistas in France. The gentleman who first brought me to see Les Fantômes told me the spot is popular with families, who come in summers and on weekends with blankets and pique-nique baskets.

Facing <em>Les Fantômes</em> from the far end of the memorial.
Facing Les Fantômes from the far end of the memorial. RICHARD RUBIN
The view from behind the memorial.
The view from behind the memorial. MAURICE SAVAGE/ALAMY

If a place where legions of men were shot and blown up a century ago, and where their granite ghosts now stare down at you from on high, strikes you as an odd spot for a picnic, no matter how lovely the view—well, I can’t argue with you. It wasn’t the first thought that came to my mind, either. Then again, if you were going to rule out any place men fought and died during the First World War as picnic grounds and parks, you’d be taking an enormous chunk of northeastern French real estate off the table. And this, after all, is what those 170,000 times eight poilus died for: to keep France France. If their descendants couldn’t use this land as they pleased, they might have told you, then they themselves might as well have ceded it to the Germans.

And their memorial would have looked quite different.

Richard Rubin’s newest book is “Back Over There,” a personal journey back to the French rural landscape where so many American soldiers fell during World War I.

(Contributed by Bruce King.)

Edouard Louis talks to Tash Aw about ‘The End of Eddy’

Edouard Louis talked to Tash Aw at the London Review Bookshop on 7 February 2017.

Edouard Louis was born into poverty in northern France, as Eddy Belleguele, in 1992. His autobiographical novel ‘En finir avec Eddy Bellegueule’, newly translated into English as The End of Eddy (Harvill Secker), draws an unsparing portrait of the violence, alcoholism, racism and homophobia of the milieu into which he was born, and quickly became a sensational bestseller both in France and throughout Europe.

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Located in the heart of Bloomsbury, just a Rosetta Stone’s throw from the British Museum, the London Review Bookshop has established itself as an essential part of the capital’s cultural life. Opened in 2003 by the London Review of Books, it’s a place for people who love books to meet, talk, drink excellent tea and coffee, consume delicious cake, and of course, browse.

Our selection of more than 20,000 titles ranges from the classics of world literature to the cutting edge of contemporary fiction and poetry, not forgetting a copious display of history, politics, philosophy, cookery, essays and children’s books. And our lovely shop, designed by Amanda Culpin of utility provides the perfect setting in which to explore them all.


Surrounded by books and fragrant with tea, the London Review Cake Shop is the modern answer to London’s long-lost literary coffee-houses. Accessed through the Bookshop via a corridor in the history section, the Cake Shop offers a small but vibrant menu, a wide selection of fine teas and a superior espresso. Above all, it provides a haven for reading and reflection.

The London Review Bookshop and Cake Shop are open Monday- Saturday, 10 a.m. – 6.30 p.m. The Bookshop is also open on Sunday, 12 p.m. – 6 p.m.

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