How To Cook Your Life
A COOKING CLASS WITH ZEN PRIEST AND CHEF EDWARD ESPE BROWN
Move over “Zen and the Art of Motorcycle Maintenance!” Here comes Zen and the Art of a Good Meal! Filmmaker Doris Dörrie turns her attention to Buddhism and that age-old saying, you are what you eat. In How To Cook Your Life, Dörrie enlists the help of the charismatic Zen Master Edward Espe Brown to explain the guiding principles of Zen Buddhism as they apply to the preparation of food as well as life itself. “How a person goes about dealing with the ingredients for his meals” explains Dörrie “says a lot about him. How To Cook Your Life teaches us to be attentive in our everyday dealings with the most mundane things and also open our eyes to one of the most beautiful occupations: cooking.”
Zen Master and Renowned Chef Edward Espe Brown is captured on film as he guides students through the mastery of cooking and the importance of how we treat our food. Heartwarming|insightful and often surprising.
INTERVIEW WITH EDWARD BROWN
EDWARD BROWN: I was 19 or 20 years old, when I started to cook. I had a lot of fun. There is something simple and direct about cooking, and something so esthetically pleasing, something primal. We do so many things in our Life that are intellectual. I was unhappy in school with all its mental exercises of "show me what you know and show me what you have learned". This was not what I wanted for my life. It was absolutely not satisfying. When I started cooking I found something really fulfilling: I could actually do something with my body — and it tasted good. IS INTUITION AN IMPORTANT PART OF COOKING? EDWARD BROWN: Yes, sure. But intuition in my world is based on careful observation, on carefully sensing the flavors of numerous different foods, spices, and herbs. I always tell my students to "catalogue" the taste of what you put in your mouth. So when you compose new dishes this information appears as if by "intuition". It is your thorough study and examina-tion of different foods and flavors re-appearing. Of course delight stimulates the process. YOU HAVE A SPECIAL MINDSET TOWARDS COOKING: COOKING IS A WAY TO PRATICE ZEN; IT IS A METAPHOR FOR ATTENTION AND HIS A MEANS TO NOURISH YOUR-SELF AND OTHERS.
EDWARD BROWN: Careful attention, sincere and wholehearted effort go a long way to making deli-cious food. The Zen students who cook at Tassajara are not professional cooks, but they cook with love and care and that's why it tastes so good. If you treat food with care and appreciation it shows the heart of the person who handled it. It is like a good par-ent who treats her child with attention, approval, and warm-heartedness, with caring support. This child will feel loved and grow-up well with a positive sense of self.
MANY PEOPLE ATTEND YOUR COOKING CLASSES. WHAT ARE THEY LOOKING FOR?
EDWARD BROWN: When I started this cooking class in 1985 we had a lot of fun. We cooked and I told sto-
ries while cooking. Time has passed and today some people are talking through much of the class. I often ask myself: Why are they here and how will they learn anything if they are talking so much? People get con-fused and think that happiness is never having to re-ally relate to anything. Everything would just be there for you. You would not have to feel, sense, think, decide, respond, confront. You're privileged. When people are not relating to what's in front of them, the result is an uprooted and lonely society with a lot of disconnect — by cooking for others, you can overcome this separateness and nourish yourself and others. WHAT IS YOUR OPINION ON THE TIME WE LIVE IN? WHAT IS OUR APPROACH TO FOOD AND COOKING? EDWARD BROWN: It is obvious that here in the USA manual labor doesn't count anymore; it's devalued and not honored. Not only when it comes to cooking, also the carpenter, the mechanic, the plumber, the farmer, the gardener and the seamstress are affected by this. Their knowledge and craft are devaluated. We don't have time for all those things anymore. We are too busy earning money at often uninteresting jobs. If people were to do more simple, down-to-earth ac-tivities like gardening, sewing or cooking they would feel more satisfied and fulfilled, more connected. You won't get this from watching television. Working with our hands nourishes us. It doesn't matter, if you cook or do garden work, it will give you a feeling of being connected to the world. You work with the things of this world. Today, if you are a successful person, you hire a cook, a housekeeper, you buy your clothes and somebody buys your food. Nobody touches a broom anymore to sweep the floor. What are hands for? To put chips in your mouth and punch the remote? ARE WE DISCONNECTING OURSELVES? EDWARD BROWN: People feel estranged because they loose connection to the world and to other human beings. There is little closeness anymore and people often have few real friends. Our lives are too busy, we have a lot of fears but hardly any happiness. So peo-ple seek fulfillment in entertainment. Many people in the USA watch up to six hours of TV every day and again they are all by themselves or if someone else is there, there is little opportunity for interaction. Our modern Lifestyle shows our inability to be deeply rooted and connected with people and things and to bring out the best in ourselves and others. When cooking, you bring out the best in the food and you serve it to yourself and others. When watching TV nothing really happens, it is pure consumption. It can be fun and a terrific release, but for six hours? DO YOU HAVE TO LEARN HOW TO COOK? EDWARD BROWN: Perhaps you have to learn how to cook, but your willingness to be in the kitchen kick-starts the whole process, which means that your will-ingness to not already know and to be finding out is a tremendous asset. Zen Master Dogen stresses that your wish, your choosing to cook, and your inter-est and curiosity along with your passion sparks the process of learning. You want to know how to do it, so you study and find out more about how to do things. Of course you are "learning to cook", but you are also becoming the embodiment of a cook: seeing, smell-ing, tasting, touching, meeting, greeting. SUZUKI ROSHI WAS YOUR TEACHER. DOES ONE NEED A TEACHER? EDWARD BROWN: Not necessarily, but I think a teacher can help you find the teacher within you. The teacher guides you to finding the part of yourself that is a good student. When you open your heart and your soul to the world you learn. A teacher can help you to be more conscious of yourself and to inspire you in opening your heart and soul to the world. DID YOU LIKE BEING FILMED? EDWARD BROWN: Yes, I had a lot of fun. Doris was very supportive and positive during the filming. It was awesome working with her. It is so rare to meet someone who truly appreciates your gifts. YOU USE A LOT OF METAPHORS. LIKE THE EXAMPLE OF THE OLD CRACKED TEAPOT, WHICH IS STILL DOING ITS JOB. ARE THOSE METAPHORS TYPICAL FOR ZEN? EDWARD BROWN: Zen finds poetry in everything, sees the profoundness of the ordinary. My favorite sen-tence of Dogen's "Instructions to the Cook" is "Let your heart go out and abide in things. Let things re-turn and abide in your heart."
INTERVIEW MIT DORIS DORRIE
DORIS DORRIE: I met Edward Brown while teaching in Tassajara. I was impressed with his undogmatic way of cooking and at the same time to connect it to Zen teachings. When I saw him cooking I wanted to bring his knowledge to a broader audience. I believe it might be useful for everybody to completely be and live in the moment and at the same time to establish, with cooking, a connection of your body to this mo-ment. This is hands-on instruction to fife, which will never leave you regardless of how bad you might feel. Once you have been instructed properly, this know-ledge will always stay with you. What really convinced me is the fact that Edward con-nects with teenagers who do not have a Zen back-ground. My daughter who was 16 at the time she met him, was fascinated with him. I realized that she was experiencing something, which I only taught her minimally. I started to think about all the things my mother was good at. Was I able to do them? I still know how to cook a goose, but many of the things she knew to prepare are lost. Which knowledge and recipes did I pass on to my daughter? The cultural loss is fundamental. YOUR FILM SHOWS WESTERN SOCIETY WITH ITS EATING HABITS AND THE WAY WE HANDLE FOOD. HOW DO YOU SEE OUR SOCIETY? DORIS DORRIE: It saddens me that we live in luxury and abundance and the rest of the world has noth-ing. I feel miserable when throwing away bread. I know that it is complicated to find a solution for a fair and better world, but maybe we can start by hav-ing a different attitude in our own kitchen. WHAT KIND OF ATTITUDE? DORIS DORRIE: To develop respect for food. What does buying cheap meat imply? Not only in regards to general meat production, but also in regards to our self-worth. Do we think of ourselves so low that rotten meat is good enough for us?