Alive in the Skin of a River’s Flow – Susan Murphy Roshi
Emergence Magazine Podcast
Emergence Magazine
4.7 • 627 Ratings
🗓️ 9 December 2025
⏱️ 31 minutes
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| 0:00.0 | Welcome to Emergence Magazine's podcast. I'm Emanuel Vaughn Lee, host of this show, an executive editor of Emergence Magazine, |
| 0:09.0 | located on the unseated ancestral lands of the Coast Mewalk people in present-day Marin County. |
| 0:16.0 | Each week, we feature interviews, stories, poetry, and author-narrated essays, exploring the threads connecting ecology, culture, and spirituality. |
| 0:29.3 | With roots in Zen, haiku invites us into momentary encounters with the mysterious essence of reality. |
| 0:38.3 | This poetic form has always been entwined with the seasons, |
| 0:42.3 | delivering an unfiltered meeting between self and earth |
| 0:47.3 | through the use of what is known in Japan as Kigo, or seasonal words. |
| 0:52.3 | In this week's essay, Australian writer and Zen Roshi, Susan Murphy, |
| 0:58.7 | asks what becomes of haiku when the recognizable seasonal moments they rely on, begin to falter? |
| 1:06.6 | How can haiku continue to help us bridge inner and outer worlds? When the language they use no longer reflects our ecological realities? |
| 1:15.6 | How will it bear witness to the ferocity of change, reshaping the seasons? |
| 1:21.6 | Woveen with poetry from Basho, Bousson, Issa, and fellow Volume 6 contributor Ron C. Moss. |
| 1:30.7 | This story contemplates whether haiku may, in fact, be a vessel for holding the paradox of the seasons in this moment, |
| 1:39.9 | allowing us to move ceaselessly with change, and to both mourn and love a rapidly evolving earth. |
| 1:49.5 | The haiku form, long after having come to the west from Japan, |
| 1:55.2 | continues to reflect and refract its zen-inflicted origins. |
| 2:05.0 | Now, its radically open form of responding to the world, |
| 2:13.0 | must encounter the ravages of planetary climate crisis. How will it meet this inhospitable reality? |
| 2:23.3 | That original Japanese poetic impulse moves freely through the world with a natural sense of relaxed emptiness. Inhabiting impermanence without opinion or resistance, the poet disappearing into what is being observed. |
| 2:32.3 | Haiku deliver a sentient world undivided from the experience of it, |
| 2:38.5 | the sense of self, lying low. If an eye should break the surface, it's in wryly self-aware |
| 2:47.6 | and low-key form, firmly ordinary and decidedly unself-important. |
... |
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