Key Gompa seems far away now from the noisy and crowded alleys of Old Manali, crammed with what seems like millions of young Israelis with dreadlocks and dijereedoos slung over their muscular shoulders, screaming through the streets on Royal Enfields with their smoking bronzed girlfriends. I've tried at least 16 different interpretations of falafel since we arrived last week, many of them faithful representations. The late Sixtees are big among my young tribesmen: in small dope den-like cafes, Janis Joplin and Pink Floyd blare from speakers obscured the thick haze of pot smoke. For the most part, we've been enjoying watching the world go round and round from our second floor veranda in our guesthouse situated in the middle of an apple orchard. There's a great bookstore in town which we've been plundering practically every other day. "No Full Stops In India", "Journey To Ladakh", "Words of My Perfect Teacher", "The Life of Milarepa" - these are some of the titles we've been gnawing on. In the afternoons, we've gotten in the habit of walking through the large deodar forest which separates New from Old Manali. When the wind blows through the stately evergreens, they bend and sway langurously like sea anemones far below the surface, their pliable branches mingling easily with their unconcerned neighbors.
Some of you have wondered about what we're doing for food these days. With the exception of our time here in Manali, food has just been a functional part of life. We used to get excited about it, but then after so many disappointments and unexpected aftermaths, we've come to regard with a degree of equanimity. Of course there is one exception to this rule, and that is chana samosa. Chana Samosa was introduced to us in Sangla by a lean and limber guitar-toting Israeli heart-throb named Tomer who possessed all kinds of useful information about how not to get fleeced in India. However we will always remember him with the deepest gratitude for graciously initiating us into Chanasamosanana [pronounced chah-na-sa-moh-sa-nya-na] - Knowledge of Chana Samosa. For never more than fifteen rupees and often for as few as ten, you get two crispy fresh samosas squashed on a plate, doused in chana (chickpea) curry, plum sauce, yogurt, spicy mint chutney, onions and parsley. Of course, this is the ideal, but it doesn't usually stray far from it. For a while I was eating it like I used to eat burritos in my early twenties while living in the Mission: three times a day. Now that other options abound (like falafel) we've both cut back. But once we leave Little Tel Aviv (ie Manali), for my part, I intend to return to post-Tomer, pre-falafel regime.
What I really wanted to talk about was our visit to the medieval fortress-like gompa of Key, which, at an altitude of 14,000 ft, is perched on a giant conical sandstone eruption beneath a vertigious palisade. We arrived just in time for lunch, after a two hour jeep ride that involved squeezing 14 people (one on the roof) and dropping a mightily aged lama off on woefully barren stretch of road so that he could walk up to his solitary cave in the cliffs above. We were enthusiastically welcomed by our host Tenzin Namgyal (right), a young monk charged with looking after all the visitors. And he took care of us with such refinement and grace that I don't think it at all exaggerated to say that he brought the hospitality art to new and daring levels. He understood the notion of just the right amount of attention - not to little to make us feel neglected, not so much that we felt ourselves to be an imposition.
After lunch, he took me around on an introductory tour. The smoky kitchen was perhaps the most amazing room of all: its high ceiling supported by large wooden columns; the walls and ceiling completely blackened with soot; massive, what must have been hundred gallon vats over wood burning fires, bubbling with chai and Thanthuk - a thick Tibetan noodle stew - which would be ladelled out generously from buckets like the one you seen in the photo of Tenzin.
The 26 year-old Tenzin was doing his duty with genuine gusto and to good effect - but nevertheless he was hankering to continue developing his meditation practice which he will renew at the end of the summer when the traffic of guests died down. When I mentioned that Juliann and I were ourselves enthusiastic practioners, he looked like he might start hopping up and down with joy, and insisted that we return to spend the winter in his room - all the three of us. I must have looked at him a little dubiously because he reassured me with the classic Indian expression, "No problem," which can mean anything from no problem to unsolvable problem. I imagined how we would sit on cushions by a toasty stove, meditating quietly between chai breaks, and watching the snow fall silently in the evenings. Awakened from my daydream, he took my hand and led me out to the main courtyard to show me the view. So we walked around the courtyard holding hands like childhood friends, stopping to talk to this lama or that lama, and appreciating the expansive views of the Spiti Valley.
What precious days we spent at Key! Where time is marked by the beating of drums, ringing bells, the clash of cymbals, and the warm guttural chanting of red-robed monks! Where in the mornings we drank hot chai and ate bowls of tsampa soaked in butter tea! Where in the afternoons we watched the vast shadows engulf whole barren valleys in a moment only to be deluged again by the sun. At night, after our bowls of Thanthuk, we sang Leonard Cohen songs (Juliann [aka the human jukebox] and little me) on the lofty temple roof looking out on the valley floor thousands of feet below, welcoming the stars which, little by little, grew brighter until they blazed with a kind of holy intensity. The opening line of the Buddha's Fire Sermon drifted into my mind "the whole world is on fire," and I reflected how indeed it is true: Even even in the midst of such happiness, time burns on, experience burns on, conditions rise and fall away like ashes in the wind, until what is becomes what was and what remains is the futile attempt to recreate it by writing about it.