Zen and the Art of The Snow Shovel

Round 2 of 3 rounds of shovelling in one day during a recent snowstorm.

In the section of Atlantic Canada I’m parked in we average around 100 in/250cm of snowfall per year. It’s not uncommon to get 2-3 feet in a single storm, several times a winter.

A few weeks ago, we got a big dump of snow. Around 2 feet if I recall correctly. I went out to snowblow my driveway the next morning before heading to work and the snowblower wasn’t having it. It would blow snow, but the drive mechanism wouldn’t engage so it wouldn’t go anywhere. The machine weighs more than I do, so simply pushing it was not an option.

Was a time when I would have beaten the thing with a shovel and swore up and down at it – as if this action would have compelled the inanimate object to somehow change its mind and work. Instead I realized I had two options.

I could haul it back in the garage and take it apart and see what the issue was and if I could fix it. Bear in mind it was around -19ºC at this point – even in my unheated garage – and dicking around with some small mechanical parts in those temps didn’t seem too appealing.

Or I could shovel.

Either way I was going to be late for work, but just accepting that fact was half the battle. I decided on option 2.

I begrudgingly began to shovel, but as I did so I started to become more aware of things in that moment. It was a bright, sunny day – as weirdly enough, it often is after large snowstorms – it was quite still and quiet, and generally just pleasant to be outside (assuming one is properly dressed for the cold).

Once I’d accepted that I was going to be late for work anyway – and the fact that there was nothing really I could do about it – settling into work at a reasonable vs. rushed pace was actually quite satisfying. I felt good using my body to do work. It was much more meditative without the constant racket of the snowblower engine and the crisp air was untainted by exhaust.

Shovelling snow is one of those tasks where you can actually see your progress in real-time. You can observe that you’re actually getting something done and absorb the satisfaction that provides.

Sometimes, I wander the house, circling, not sure where to go or what to do. My wife will often ask me what’s up – I usually reply that I feel I have so many things I need to do, I don’t know which one to do first.

I was listening to a podcast the other day (I forget which one) and one of the people mentioned a story about Albert Einstein. Apparently, Einstein had a closet full of very similar, or indeed, the same clothes, and would often dress exactly the same every day. When someone once asked him why, he is said to have replied “to avoid Option Paralysis.” I get that. I have had that. I’ve been paralyzed by all the options. And consequently rendered non-productive at various times as a result. I don’t know if Option Paralysis is a real thing or not, but it’s real to me, and when it hits, and I can’t move forward, it really does a number on my frame of mind.

What I’ve started doing though is just pick one thing and do it. Do it completely. Do it with all my focus and finish it. Then move on to another thing. It often turns out to not really even matter which thing gets done first, because invariably what happens is when you can get one thing done – and feel good doing it – then that mojo translates into the next thing, and the next thing, and – you get the point.

In Zen Mind, Beginner’s Mind, Shunryu Suzuki wrote:

“In order not to leave any traces, when you do something, you should do it with your whole body and mind; you should be concentrated on what you do. You should do it completely, like a good bonfire. You should not be a smoky fire. You should burn yourself completely. If you do not burn yourself completely, a trace of yourself will be left in what you do. You will have something remaining which is not completely burned out. Zen activity is activity which is completely burned out, with nothing remaining but ashes. This is the goal of our practice. That is what Dogen meant when he said, “Ashes do not come back to firewood.” Ash is ash. Ash should be completely ash. The firewood should be firewood. When this kind of activity takes place, one activity covers everything.” 

That day, shovelling snow became such a thing. And the next storm, when I went out to shovel three different times while it was still going (it’s easier to shovel a small amount of snow three times, vs. a large amount once). I dedicated myself to the one task, only that task. I wasn’t trying to do several other things at once – or worrying about what I was going to do when I was done. That would be then. This is now. “Burn yourself completely.” This doesn’t mean exhaust yourself into fatigue – I take it to mean put all your attention in that moment into what you are doing, whatever it is.

“But you’re shovelling freaking snow,” you say. “How satisfying or interesting can that be?” Well, quite, actually. David Cain over at raptitude.com mentioned this awhile back in his post “How to Enjoy Life” wherein he talked about finding happiness even in things society tells us we probably shouldn’t enjoy (or just flat out don’t):

“To the mind that’s looking for it, there is pleasure to be taken in the warmth of dishwater, the fresh air on a walk to the store, and the relaxing sensation of sitting in a chair, even if that chair is in the waiting room at the oil change place. We don’t do these things—or most things—for reasons of pleasure, but pleasure is available in most things.”

The real transformative effect isn’t in the subtle pleasures you can find when you look (although they’re pretty great). It’s in the completely different way we’re aiming our minds in ordinary moments. We’re looking into our experience, not outwards from it, for interest and pleasure.”

It’s easy to give lip-service to this idea in the form of, “yeah well anything can be at least moderately enjoyable with the right perspective,” but how often do we actually employ those changes of perspective?

I still haven’t fixed my snowblower. At some point I will, but I think moving forward I will be more selective about using it (and saving gas money and getting more exercise in the meantime.)

“Burn yourself completely.”

The Boombox Theory of Zen


When I was in 5th or 6th grade – I don’t remember exactly and I’m terrible with matching time periods and events – no doubt a by product of indulgences I would undertake many years later – I managed to save up one hundred of my very own dollars to go down to the Dart Drug and buy a Panasonic boom box.

This is significant in two ways: one, because if you knew me then – or now, really – you’d know that I’m terrible at saving money; two, because it would form the basis for the lifelong relationship with music I’ve had to this day.

At the time one of my favorite pastimes was to create ‘mix tapes’ – though, not in the fancy way you’re thinking of in the later years of double cassette decks and CDs. This was old school record-the-song-live-from-the-radio mix tape production.

For the uninitiated, this meant when you were hanging out in your room, or doing homework or whatever, if a song came on you liked (or you were lucky enough to have the DJ announce it was coming up) you would FLY across your room – often banging some sort of body part on errant furniture – to get to the radio and hit the magic ‘record/play’ mash of buttons to record the song and capture it on your mixtape forever.

It was never perfect. Often times you’d end up catching the song 10 seconds in. It wasn’t uncommon to get the DJ talking over the beginning or end of your song. There was no ‘fade’. Your song transitions were abrupt, and often would feature a snippet of the previous/following song – which there was a good chance you hated.

But, bottom line, if you could capture it, you had it.

Often times, on weekends, when I knew the Top 40 show was gonna be on, I would sit, right in front of the boom box, and wait, like a hunter waits for the game. This was a good technique as usually, the songs were announced beforehand, but unfortunately the DJ almost always talked over the beginning and end of the tune. There was also the seemingly unending downtime of sitting through songs you couldn’t care less about hoping the next one was a keeper.

The upside however, is that the painstaking process it was has music and many of those songs ingrained in the fiber of my being, and many of those songs to this day are with me on a cellular level, regardless of the fact that I may have never owned the record they were released on. Judas Priest’s ‘You’ve Got Another Thing Coming’ is a perfect example. Every time I hear it, I am transported back to the time I was able to catch it on tape. I still don’t own a Priest album. Never have. Never really listened to any other tunes, but that one – maaaaan, it comes on the radio (or even Muzak somewhere, FFS) and it’s ON.

At the time, amongst your peers, those songs were prizes and status symbols. It was the true origins of street cred as you knew you’d glean some juice from your friends if you were hanging out and they commented on or were envious of the contents of your mix tape.

I wonder how kids of these generations will reflect on their time with music. Will it be as wistful and nostalgic? I’m sure they relate and form experiences with music, but I have a feeling it will be considerably different. As a father of 4, I’ve already been able to observe live case studies in the wild.

With advent of Apple Music, Spotify, YouTube and the myriad of other services – free and premium – that are out there, and an industry and artists who for a variety of reasons discussed at length on the internet, pretty much have to give their music away at this point to remain viable – these generations of music fans have never really had to *work* for their music. I have to admit to being an enabler in this capacity. Apple Music’s family subscription is only a couple of bucks a month more than an individual one (damn you Eddy Cue) so I sprung for it, partly (perhaps foolishly, only time will tell) thinking that sharing music would be a way to connect/bond with my kids. Still though, there’s no time or effort invested. Everything is on-demand.

When I was able to actually buy albums I spent hours pouring over liner notes – lyrics, artist comments, who played what instruments on what song, where it was recorded, who did the artwork. I paid attention to these things and could weave connecting threads between artists. “Oh, that dude also did the artwork for so-and-so’s record.” “Oh, he recorded this at The Record Plant in NYC, so did so-and-so.” I became a fan of not just the music and the musicians but other ‘artists-at-large’ – visual artists, producers, engineers, and created meccas-in-my-mind of the studios/spaces they recorded in. Indeed throughout my life I have often followed the careers of these individuals and who they’ve worked with as much as the musicians that initially brought them to my attention.

Liner notes of today are – with a few exceptions – artist websites and social media feeds. Exclusive videos, ‘album trailers’ and sneak peeks. Access and news from/about artists has never been easier to glean, yet it doesn’t feel the same to me without something tangible.

I also sense these generations of music fans have little concept of the music as a created artwork and that the artist(s) should in some way be compensated for that. I think they have a disconnect between what they want to consume/experience and the livelihood of those making it.

While listening to the radio in the truck the other day (yea, I still listen to the radio in the truck), Heart’s ‘Crazy on You’ came on. Now, I will ashamedly or unashamedly admit to owning several Heart records – and even seeing them in concert – depending on the circumstance, but I never owned an album with this song on it. Still, to this day, it comes on the radio, I know all the breaks, all the lyrics, can air guitar the solos and drum fills. Then I wondered, “How the hell is it that I know this song inside out? How is it that after all these years* I have forgotten so much other crap, yet I have this, perfectly preserved in the vault of my consciousness?” I mean, I still mix up which years my kids were born.

The more I think about it now, maybe this and coming generations of music listeners will have a deep, if not deeper, connection with their music if only for the fact that, really, no one has to listen to music they don’t like anymore. The ability to dial up exactly what you want, when you want it, means you can – in essence – ‘Clockwork Orange’ these songs into your mind to the extent there’s no way they’ll escape. The flip side of that though, is if you don’t have to wade through stuff you don’t like, work or pay for the music, does it lose it’s special value and significance and simply become ‘what is’? Is it then ‘nothing special’?

Shunryu Suzuki writes in Zen Mind, Beginner’s Mind :

“As Chinese poem says, “There is nothing special. If you visit there, there is nothing special. However Rosan is famous for its misty mountains, and Sekko is famous for its water.” This is Zen. There is nothing special. If you go there, there is nothing special. But people think Rosan is wonderful. It is wonderful to see the range of mountains covered by mist; to see the misty mountains in Rosan is wonderful. And people say it is wonderful to see the water covers all the earth. It is wonderful, they may say, but if you go there, you see just water, and you see just mountain. There is nothing special. But it is a kind of mystery that for the people who have no experience of enlightenment, enlightenment is something wonderful; but if they attain it, that is nothing. Although it is nothing, it is not nothing. Do you understand? For some person — for the mother who has children, to have children is nothing — nothing special. But if she lose her children, what will she feel?”

If this and coming generations have unlimited access to music (and/or art) without any sort of effort to attain it, does it become “nothing special” within the context of their greater experience?


* “Crazy on You” was the first single following the release of their debut album Dreamboat Annie, released in 1976 – and there’s no way I heard it then. I’m guessing it was probably 2-3 years before I heard it and no doubt it’s heavy rotation on ‘classic rock’ radio, which I favored in high school, has been the major contributor to it’s etching on my musical psyche.