Volume 6 of Linguistic Trickster spans the time-frame of May 1996 through the end of 1998. This two and a half year period of my life has been the toughest to revisit in many ways. I was 15 1/2 when the poems begin, and have just turned 18 by the end of the period. Most of the poems are not amazing in themselves, as works of art. There are a few gems in there, and a few remain to this day some of my favorite pieces. But as a prolific autobiographical record of my own inner life they are precious to me, and I am so grateful to have the written residue of my young flailings, as hard as it is to read through them now, by the sheer force of their primal raw manic and disturbed inner confusions and contradictions. It is clear in hindsight that with the rise of puberty (I was a late bloomer and matured physiologically much later it seemed than most of my friends and peers) came an intensification of the Moods and Restlessness that had always haunted my extremely emotional and sensitive temperament. I doubt that most who knew me in those days would have guessed at the dark tempest that always raged right beneath the surface of my more manic and enthusiastic side. My wild side. My exuberance, playfulness, and barely containable readiness for adventure... along with my eagerness for mischief and mayhem... hid the despair and deeply painful Consciousness of Self. Behind the bubbling frenzy of the smiling trickster was the terrible demon of darkness. What I would call now my Daimon, the guiding figure of the Souls Pattern, dragging me through experience after experience, meeting myself in the mirrors all around me, in the world and other people, in dramas and dreams and the dreadful tearing of the seams of my inner landscape as I tried to find some foothold in a seemingly ever-shifting reality. How to remain tethered, I wondered, when each moment held an all-engaging presence of attention for me that fluctuated wildly from ecstatic flights of joyful ebullience to the deep abyss of misery; Making mountains out of mole-hills and Mole-hills out of mountains. Subtle Impressions from everyone and everywhere and everything gripped me constantly, pulling me this way and that. I had and still have, a vast reservoir of vital energy, of LifeForce, and as it was ripening in these years, I had no understanding whatsoever how to tame it. No model and no guide. It seemed to me that most people who surrounded me, were barely alive, just stumbling half-numb through life, no real Juice. I swore even then that I would not be one of them, that I would Live my passion one way or another. Even if it killed me. And that meant, also, that when the Passion turned to Pain and Interminable Self-Reflection, that I would follow those devils into Hell itself in order to discover what they hid.
After a lifetime of Obsessive Astrological exploration, as well as Deep dreamwork and shamanic soul recovery, I have a framework for all of what was taking place within my Soul. But back then, when these words poured out of me incessantly, I had no tether or map. All I had was the religious undertones of what I had absorbed through the normal programming of childhood that seeps in whether one is in an overtly religious household or not, and I judged and condemned myself harshly according to those standards. It seemed I went from one tortured obsession to another. My hyper-fixations usually took the form of people in those days. I craved intimate mirrors to play out the internal archetypal motifs that were swallowing me whole moment by moment. In AstroSpeak, I have a Fifth house Aries Moon...Aries being the sign in which the Martian Vitality and lifeforce and adventure is projected out toward the world and all It can experience and play with and consume and express. It is a cardinal sign, bringing with it Change for the sake of Change. Everything gets old quick. No matter how beautiful or real or pure. My emotional reactions were always tinged with fire and dynamism and impatience and arrogance...as well as childlike innocence and naivete and curiosity. Falling Hard and fast and quick, and getting bored just as easy. Like a toddler. As a 'sort of' counterbalance I have the Sun/Uranus/Asc/Mercury in First house Scorpio, also ruled by Mars (and Pluto in modern Astrology), but with that same fiery volatile Passion and intensity turned inward, but with fixity, to the existential abyss, the subtle psyche, the imaginal realm and the chthonic underworld where all our hidden shadows dwell. I was drawn to the darkness and all things taboo, to all things hidden and hushed. I needed to feel things so deeply and confront life so head on, whether inwardly or outwardly, I was unable to plant my feet on the ground in any solid sense. I never really had any real 'plan' for things, never felt settled in my skin, just riding each wave and crest and then sinking to the bottom in an endless overwhelm. My entire life has been bound up in the question of What on Earth To Do With All This Energy and Passion and Drive to Experience? Destroy myself and Others? Channel it into something divinely inspired? Transmute the raw and unbridled kundalini sexual and creative energy into Art and Alchemy? Aching to Pupate. Always. Always. All Ways.
Not everyone is so fixated on their personal Mythology, but for me, it is my Daimonic Urge and Reason to Be Here This Time Around. It is all coming Full Circle. The Fool Circling Herself Over and Over again......Spinning the toroid and surfing the tides. The churning of the cosmic ocean, with the poles of my moods, and obsessions. Pluto/Venus in the 12th house underLooking all of it, smirking in the background, knowing that the entire Game of Life for me would be this never-ending battle between my unquenchable need and desire to penetrate all things and all people so deeply in the psychic reality that there would be a complete merging of souls and obliteration of the separate Self.........and my unconquerable need and desire for ultimate freedom and sovereignty and manic flights of hyperfixation into whatever new flight of fancy drew my eye and my mind and my fiery soul into its crucible at the time. And Time was so unstable, it tilted and wavered constantly from one extreme to another. It is easy to see this now and to laugh at times at the utter contradiction of my nature in its raw and adolescent attempts at individuating out of the morass of the yeasty culture-d glass of the collective. If I didn't have this huge tome of proof of just how unbalanced I was I might have overwritten those files in my mythology with any number of placations and delusions of sensibility. But alas, I have been leaving myself clues and codes for so long, lifetimes, that I feel my hamster wheel of existence is simply struggling each time to catch up with where I left off....so I can resume the Game. Venus and Pluto's red velvet embrace taunting me on to dive again and again into the poison, attempting to discover the antidote within it. The Fractal nature of Time and Space and The spinning Gyres of our moments and mires, brings us over and over again to the same drama in some different form, some different intensity, some altered frequency of awareness making the reVisiting of Episodes vary in just how destructive or cathartic or world-shaking each anniversary of annihilation is. For me, the whole Scorpio season is rife with peril, but particularly when the transiting Sun each year has navigated through my 12th house and over my Pluto/Venus conjunction, and then straddles my Ascendant in Scorpio. November 1st is the darkest Underworld Period in my private psychomythography. Over and over 'abducted' into the realm of Hades, jerked from Demeter's springtime world of innocence and maidenhood and into the realm of the Dark One. We who follow Stories through Time, though, know that there are alternate versions of the tale. In some, Hades Pluto steals the Kore maiden away, against her wishes, pulled down down down into the depths of the Earth and the Chthonic underground, to be his bride. Tricked and manipulated into eating that dastardly pomegranate, the poor naive Persephone is born anew against her delicate Will, initiated into the mysteries of life and death and sex and birth and death and the psychic reality, raped by the dark lord himself, and held against her will as her poor mourning mother wanders all the lands of the upper world refusing to let anything grow. But there are alternate versions in which Persephone chooses of her own volition to leave her mother's spring-world and to descend inward and deep into the treasure-land of Pluto's psychic wealth. Foregoing her innocence, and stepping into her role as bride of Hades and Queen of the Underworld. I always knew, even during each cyclical 'Rape of Hades' that there was some element that had chosen to go willingly. That had not hesitated with the offering of the pomegranate seeds. 'The red dripping juice, the blood ripping loose, as I lay within it' . My first exposure to Greek Mythology in this incarnation, held me spellbound; And always it was the Story of Persephone and Hades that obsessed me. We know, on some level, which archetypal assortment of ancient and future narratives we have come to spin into some new form and tapestry with our very life-blood and psychic substrate. We know, deep down in the Marrow of Our Bones........what we have come to do. Who we have come to form from the raw clay. We know, when we feel the foreboding of the future, our innocent child and adolescent minds reaching out toward that terrifying abyss and yet clutching to the apron strings of our Mamas, our Demeter, who weeps for the inevitable Loss of their pure maiden. Confrontation with Self is Alluring in all Times and Spaces. Indeed.
I used to think, when younger, that my rendezvous' with Hades were the causal factor in my psychic splitting and fragmenting and my extreme lack of boundaries and fixation on the seductive spirit of the Lust for Life expressed through the only thing I had at my disposal, my body and my heart, and my soul. I now know that I came into this realm with this blueprint, and I have been working on this theme in some form for lifetimes. I swore, on the other side of the Dream, that I would finally integrate all of this. I remember. I remember promising mySelf that I am ready to burst through into an entirely new expression of SpiritAsBody.........a new Form, utterly different, as different as the butterfly and the caterpillar. A transfiguration that cannot happen without letting everything that has ever come before, in all lives and timelines, turn to mush within my Sealed Vessel. I can imagine nothing more painful than the crystallized imprints of all self-idea and frameworks of being, dissolving into an amorphous mass of pure raw material....... and with it the self-inflicted guilts and shame and terror of immortality. I know, because I have gone through the process on fractal levels. And so far, it has been the most painful and humbling thing that I have ever experienced as a human playing at being, a seeminglySeparateSelf, over and over and over again. I have clung to my own narratives and stories and miseries like prized possessions, time after time, during the catabolic process. The eventual release is the closest thing to surrender or bliss I know of. And I descend now, into these psychic gulags that hold trapped fragments of the selves I have been and Am, in this and other realities, not because of any desire to drag the 'past' along behind me like a dead weight....but because I know What It Is To Create From The Compost Of Our Most Intense and Animated and Alive Moments.
I sit now, after editing and going through over 600 poems from a small period of time in which I was both the most Innocent and filled with dreams as I would ever be again, as well as the most tormented and lost and confused and victim to my own impulses and out-of-control Eros as I would ever be. I am listening to a playlist that I remade, from the mixtape my first love gave to me. Back when it was a process of recording patiently onto a cassette tape. The words to the songs are eerily prescient, holding the fractal of what would become the mythology of our magic little world. I almost cannot bear it, feeling all of the things I felt then, so viscerally, and reliving the excitement and the hope and the innocence and yet also the turbulence of my own inner conflicts and clumsy attempts to silence the voice of denial that held me hostage, living in an ivory tower of dissociation from my most recent abduction into Hades realm. And the recognition, the knowing that over and over in my life, my own Nature, my own desperate clinging to the Daimon's Games of Power have led me to hurt other people deeply, people I adored and felt such deep and abiding love and affection for. Over and over again the wheel turns. And I face myself. Just a different set and costumes for the same story. And yet....the knowing....that each decision and each turn of the spiral has led to the next keyhole of destiny. The flesh feels things differently than the mind does. The Body and the Soul can twist in anguish where the mind and spirit simply evaluate from their lofty perch.
I am loathe to admit that I have never really been hurt or left dark and cold by another, at least romantically, despite what my young immature poetry seems to attest to. My abductions have been of betrayal of a different manner. And how often have I cried so loud and so deep and so long, tears that really belong to those who have been left tangled in their own tapestry of pain, by my own actions and desperate restlessness? Even those events in which, to anyone else, I would be considered a 'victim' have never left any real and lasting indelible mark on my consciousness in the same way as having to hold the pain of hurting anOther. In some ways I know that later tortures and entanglements that I drew myself into, were my way of punishing myself for things I have carried for so long. It is We, who whip ourselves and flagellate, for every real or perceived indiscretion or misuse of power or passion. We roll through Other's lives like steam engines, all of us, the same way they roll through ours, and we all leave marks and scars and broken hearts and broken pieces of mechanical parts.....we are mirrors of each other. My whole life I have been trying to shatter the mirrors and free mySelf from my own psychic gulag. There are some fragments of soul that have been trapped inside for Aeons. The River Lethe's waters are refreshing.....
This is the End of the Innocence.
Or is it?
The Eternal Return........Some believe we are forced into this rotating wheel of existence, as a punishment, others as a great trick and trap of the soul by the nefarious overlord who created this matrix simulation. Some believe there is no real point except to be pure enough and good enough and virtuous enough to get off the wheel and stay in the heavenly abode of nirvana and everlasting peace. I have inhabited those lofty and angry reality tunnels. I have been there. As a reaction against my naturally passionate and vital life-force, and my indulgences, I have swung to the opposite extreme. I have been so virtuous and unsullied and pure that I was basically dead. You know the type. So dissociated from their Soul and Body that they really believe they have no anger or desire or Eros......it is all painted white and hung on the wall of the ivory tower up there in the Heavenly Resort where God hangs out with his chosen ones........disgusted with the messy vulgarities of life. Yes, those ones. They have the most life-force in them, I believe, and it so terrifies them, that to acknowledge it and to dance with it and sculpt it consciously is such an overwhelming task, that it is never begun. So the Angelic Choir sings on inside their deluded minds.....while their Body paces like a tiger in a cage, and their Heart fractures piece by piece to keep from exploding into some exuberant display of animal joy at the mere taste of air and of sunlight and of the senses shouting to every other thing in their vicinity that I AM HERE, BY GOD, I AM ALIVE! I have been that starved person. Quite Literally. I started out as the Tiger, and when Lifeforce quickened within me I was on Fire with Life and Love and Laughter and Creativity. In a World where only the Living Dead are allowed to exist. And I tried to shut it off and shut it down and because I could not, I hated myself, and It dripped mercilessly into a pool of dark molasses that clung to every failure and flaw of my pathetic human self and insecurities and lust and self-lies. And then, I would rise again from the dreadful heap of suffering and spring into some new obsession and fixation and feel the well-spring of God in my veins again and rail against any or all who may have had the audacity to try and cage this tiger again. And in Truth...... It was always I, who caged Me. I read now, through my past words, my desperate projections onto Other. I see how this raging fire within was threatening to consume me entirely, and was projected outward on any available mirror, anything that could hold the intensity of my Gaze for just a moment, long enough to rid myself of the demons. The Daimon.
I see, in retrospect, and even at the time I had awareness of it, to be honest, that I was arguing and exclaiming with my own Self in most of my writing.
“We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.” ~W B Yeats
The various competing forces of my psychic configuration hashing it out constantly. We all do it. But some are more sharply defined and more deeply accursed with erratic moods and depth of feeling and empathic undulations that make it impossible to know the difference between self and other, until a long initiation in the fire and the water. And then, perhaps, that curse is turned into a gift. The Innocence. That is why we play this game. Over and over. We will never fore-go it. Ever. How do I know? Because Here We Are. We go through all the tribulations and traumas of building a new infant body and making the journey through the abyss, into an often shocking and tumultuous young existence......all to feel, One More Time, what it is to be so smitten with Life and Possibility and Not-Knowing, that we cave under the weight. We drag Immortality behind us in a tightly tethered sack that we pretend is not there, for the experience of losing the Self in An Other. Of having a chance to Play with New Rules and Discover again, the Ecstasies of Falling in Love for the first time, or of setting out into the Great Beyond to Make A Life For Oneself. The Fools Journey. Full Circle. Circling the Square and Squaring the Circle. While the I divides itSelf in Time. Leaving Space for Ties that Bind Body and Mind. We leave Eternity over and over again Simply to feel the Innocence: we will give up all wisdom , endlessly, to look out thru the eyes of wonder and the unjaded heart that bleeds and beats …. We start out wishing for all the experience and the answers and the knowings, trying to race thru everything and the older we get in these human Characters, the more sure we are, I think, each time, that we will do it all Over again..::all the pain and all the sorrow and all the confusion and all the angst , just to feel that Innocence of Life First Seeing Itself In AnOther’s Eyes. And the wheel turns itself over again. “It was the end of the innocence” William Blake knew. The Songs of Innocence. The Songs of Experience. And there-in Lie We. Somewhere In-Between. Worlds in Collision, Trying To Be.
We come into each others lives as Humans Playing at Being, helping each other See ourSelves differently so we can Be ourSelves differently. Whether we know it intellectually at the time, on some level we know where we are headed in this life. Even when we are still just an acorn, aching to live itSelf out into whatever Oak it can Stand to Be.
🥀{“Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream--making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is the very essence of dreams...”
“⭐️This book changed the way I look at dreams, or maybe the book taught me what my heart always wanted me to understand. Hillman looks at the dream as happening in the “Underworld” – a place of death – and wants us to enter into that world to understand the dream instead of trying to drag the dream up into the day-world by interpreting it.
Some quotes from the book:
“Freud’s method projects the persons in a dream back over the bridge into the dream-day, even if for the sake of their latent meaning. We associate my dream-brother and dream-father to my day-brother and day-father and, by this association, return the dream to the day. Jung’s method of interpretation on the subjective level takes the dream persons into the subject of the dreamer. They become expressions of my psychic traits. They are introjected into my personality. In neither method do we ever truly leave the personal aspect of the dream persons, and thus they remain in the upperworld. Dare I say it loud and clear? The persons I engage with in dreams are neither representations of their living selves nor parts of myself. They are shadow images that fill archetypal roles; they are personae, masks, in the hollow of which is numen.”
“Public performance on a stage, perhaps because it puts us into the underworld of theatre, also constellates the curious interplay between life-soul and image-soul. The almost depersonalization experience of stage fright makes one feel deserted by one’s soul. All that one memorized and trained for has suddenly vanished. It is as if another soul must play the role, and this moment of going on stage is like a rite de passage, a transition into death.”
“For a dream image to work in life it must, like a mystery, be experienced as fully real. Interpretation arises when we have lost touch with the images, when their reality is derivative, so that this reality must be recovered through conceptual translation. Then we try to replace its intelligence with ours instead of speaking to its intelligence with ours.”
Hillman notes that when we see a killer in a dream, we tend to fear him. But Hillman looks at this figure as a helper who is trying to initiate us into the Underworld land-of-the-dead; the dream world: “There is a divine death figure in the killer, either Hades, or Thanatos, or Kronos-Saturn, or Dis Pater, or Hermes, a death demon who would separate consciousness from it life attachments.
Hillman, in one section of the book describes the circus as a metaphor of the Underworld: “Where else but the circus will we ever see the underworld in daylight: the tent of enclosed space, the rings, everyone as close to death as his or her art will allow, the freaks of nature that are beyond nature, and above all, the precise performances of repetitive nonsense, as if Ixion, Tantalus, and Sisyphus had once worked for Ringling Brothers.”
“The comic spirit masquerades in all things we do and say; we are each a joke and do not need to put on a white face. The matter is not one of becoming a clown but of learning what he teaches: making an art of our senseless repetitions, our collapsing and our pathologizings, putting on the face of death that allows the dream world in and watching it turn ordinary objects into amazing images, our public persons into butts of laughter.”
“Unfortunately psychology emphasizes attention and recall; the dayworld wishes to have, must absolutely have, a ‘good memory’; a bad memory is more devastating to success than is a bad conscience. Forgetting therefore becomes a pathological sign. But depth psychology based on an archetypal perspective might understand forgetting as serving a deeper purpose, seeing in these holes and slips in the dayworld the means by which events are transformed out of personal life, voiding it, emptying it. Somehow we must come to better terms with Lethe, since she rules many years, especially the last years, and we would be foolish to dismiss her work only as pathological. The romantics took Lethe most seriously.”⭐️
James Kulm, in reference to the book ‘The Dream and the Underworld’ by James Hillman
{self portrait series Kennedy Peak 8-6-24 part 4 ::::The SilverScreen of the Underworld Dream }
~all photo captions contain quotes/excerpts from the book by Hillman
UNDERGROUND AND UNDERWORLD When using the word underworld, it is imperative to keep in mind a distinction made by some classicists. This distinction is of great psychological importance, because it frees the psychic realm from nature. Chthon and ge (“underworld” and “underground”) do not necessarily refer to the same region or evoke identical feelings. “Chthon with its derivatives refers in origin to the cold, dead depths and has nothing to do with fertility. “This kind of deep ground is not the same as the dark earth; and the Great Lady (potnia chthon), who sends black-winged dreams and who can also be called Erinys, cannot simply be merged into the single figure of the Great Earth Mother.Psychology’s great-mother complex has swallowed even her own differentiations. Small wonder that this complex is also called “uroboric consciousness,” for even she herself vanishes into an interpretive monotony that makes me believe that the monotheistic psychology I so often belabor is less a mimesis of ancient Hebrewism (within and alongside of which there was much space for imaginal variety) than it is a mimesis of the Great Mother. Monism as Momism. Be this as it may, when we read analytical psychology today to discover about the ‘chthonic,’ we find it has taken on her meaning of primitive earthiness. Morever, as primitive and earthy, it must mean matriarchal and feminine. Thus our instinctual body, whether in flesh or image, in men or women, in the past or now, belongs to her, and we must become murderous heroes to get it back. The great-mother complex hangs the trinket of female gender on agriculture and fertility, as well as on the earth, body, instinct, and on depth. This move ignores that chthonic is an epithet belonging in the sense of “Is ignorant about,” a chthon that cannot be identified with instinctual body or earthy soil.Let us be clear: the chthonic is not only female, not only instinctual, not only physical, and it does not have to do with fertility rites. As Wilamowitz-Moellendorf said, Ïf modern scholars, who talk so much about chthonian cults, think in this connection of agriculture and all that goes along with Demeter in that sphere, they have not accustomed their ear to the overtones of Greek words.” The two words ge and chthon imply two worlds, the first of the earth and in it, the second below the earth and beyond it.There are even three distinctions here which have been imagined as levels of earth: an earthed imagination in keeping with Ge herself, whose name we still find in ge-ography, ge-ology, and ge-ometry. The first of these distinctions is between Demeter’s horizontal green plain with its activities of growth and Ge, the earth below Demeter. This second level Ge, may be imagined as the physical and psychic ground of an individual or community, its ‘place on earth,’ with its natural rights, rituals, and laws (Ge-Themis). Here, Ge serves as a fundament on which human life depends even more deeply than on food and fertility, like a governing maternal principle that makes material fertility possible and is its spiritual ground, and then beneath these the third, chthon, the depths, the dead’s world.Of course, a polytheistic mind does not firmly divide these “levels,” and so Demeter-Ge-chthon frequently merge in epithet and cult. (What scholars imagine about the Greeks does not correspond, nor must it, with what the Greeks imagine about the Gods.) Also against my distinctions is the fact that one can as well view the entire complex of the underworld that one can as well view the entire complex of the underworld from the perspective of Ge, as does Patricia Berry. She then is able to see much of the chthonic spirit that I meet in Hades to be equally present in Ge, and that Gaia (Ge) is both material, maternal earth, and chthonic void with its own spirit.The question here partly turns on how one regards earth. The strata of meanings which I have just laid out in terms of Demeter-Ge-chthon imagines a nonphysical earth or terre pur, below or beyond and maybe prior to the ground that we touch. Some etymologists and classicists try to relate the three “levels” culturally, believing one level of meaning to be prior in the sense of historically earlier than another; as if in a genealogy fantasy themselves, they try to derive one level from another, tracing the historical development of these three concepts. For example, Kirk refers to the very early pre-Socratic Pherecydes of Syros (frg. 1), who placed Chthon at the beginning with Zeus and Chronos, “but Chthonie acquired the name Ge…”Rather than enter the arguments of historical fantasy, I would keep to the psychological distinctions reflected in the three words and three personifications. Ge herself shows two aspects. On the one hand, she has to do with retributive justice, with the Fates, and she has also mantic, oracular powers. (Ge chthonia was worshipped on Mykonos, together with Zeus Chthonios and Dionysos Leneus, as she was linked with the chthonic Pluto and Hermes and the Erinyes at Athens [Areopagus].) This is the “great lady” who sends the black-winged dreams and is appropriately the mother of Themis (“Justice”). This spiritual side of her can be distinguished, on the other hand, from the physical Ge to whom grains and fruits were given (Ge-Demeter). Demeter too has a mystery aspect; her daughter Persephone belongs to Hades and has an underworld function. The spiritual significance may not be reduced to the physical (death cult to fertility rites, sense of justice to agricultural rituals) without ignoring the blatant fact that there are different figures with different epithets. In other words, even the earth and nature have their psychic function as well as their terrestrial ones, and one may serve the earth and be on the ground in more ways than one, i.e., through psychic activities, and not only through natural ones.“Is it the transition to light that gives the dream its shadowy quality? We all know how much of an art it is, not to dream, but to recall it.”The distinction between chthonicand earthy, between invisible fundaments and tangible ground, between darkness of soul and blackness of soil, between three Egyptian hieroglyphs, one for earth, another for Aker or entrance to the underground at the edge of existence, and yet another for the realm of the dead of Anubis, the blue-black jackal-dog.Once again, the distinctions are presented in terms of distance. The most radical classicist of the late nineteenth century, Erwin Rohde friend of Nietzsche, said in his great work Psyche that the underworld of Hades and Persephone is so remote from our world that those removed there “can have no influence upon the life and doings of men on earth.”He further emphasized the distinction between the underground of Ge and the chthonic underworld by saying that Ge ïn actual worship was seldom found among the groups of male and female deities of a chthonic nature such as were worshipped together at many places.”The spiritual quality of the underworld stands forth most clearly in descriptions of Tartaros, which, from Hesiod onward, was imagined to be at the very bottom of Hades, its farthest chasm. Tartaros was compared with the sky – as distant from the earth as the heaven above, and it was personified as the son of ether and of earth, that is, a realm of dust, a composite of the most material and immaterial. As the fantasy of Tartaros developed, it became more and more a pneumatic region of air and wind. Unlike the Christian hell of fire, in the imagination of late antiquity Tartaros was a region of dense cold air without light. Hence, Hades often was spoken of as having wings, just as in the Gilgamesh Epic, Enkidu dreams of his death as a transformation into a bird, his arms covered with feathers. The dead are clad like birds, their element evidently air.The volatilization of the underworld contrasts it sharply with the ground under our feet. In the Alexandrian age, the netherworld lost its localization in the earth altogether – that is, it became free of natural literalism – and was geographically transposed to the underside of the world. There was now a lower hemisphere. The word subterranean (hypogeios, or “below ge”) referred to the whole celestial hemisphere curved below our earth and which, like Hades, must necessarily be invisible from our perspective. It cannot be seen from our usual standpoint. Already then the dayworld and the nightworld, the two sides of the romantic soul, were conceived in a geographical theology of the upperworld and netherworld.In “this theology the world is divided into two halves by the line of the horizon; upper hemisphere is the domain of the living and the higher gods, the lower that of the dead and the infernal gods. “The Egyptians had carried into extreme detail this reversed world below our feet. The dead walked upside down, feet up, heads down. “People there walk with their feet against the ceiling. This has the unpleasant consequence that digestion goes in the reverse direction, so that excrements arrive in the mouth.” The Underworld is converse to the dayworld, and so its behavior will be obverse, perverse. What is merely shit from the daytime perspective – or what Freud called day-residues – becomes soul food when turned upside down. The way we go about there, the way we ruminate, even logic is stood on its head, for there our heads are in another place. (In Chapter 6 we shall look at some contemporary examples of this “upsidedownness,” including excrements in dreams.)Might there be an archetypal figure within Freud’s “day residues” that are the material of the dream? Could these leftover scraps refer to the household garbage that was sacrifice to Hekate (Cults2:515)? Hekate has long been implicated in dream interpretations. Both the magical view that considers dreams to be foretellings and the nineteenth-century mechanistic view that attributes them to waste products of physiological sensations (garbage) show Hekate’s influence when she becomes equated with Nyx (night), as in Spenser and at times in Shakespeare, then dreams become her province and our interpretative ideas reflect her perspectives.We may continue this tradition, although in a different manner. Yes, the dream is made of scraps that belong to the Goddess who makes sacred the waste of life, so that it all counts, it all matters. Offering the dream to “the mysteries of Hekate and the night” (King Lear, act 1, scene 1) means giving back the regurgitations that “come up” in dreams without attempts to save them morally or to find their dayworld use. The junk of the soul is primordially saved by Hekate’s blessing, and even our trashing ourselves can be led back to her. The messy life is a way of entering her domain and becoming a “child of Hekate.”Our part is only to recognize that there is a myth in the mess so as to dispose of the day residues at the proper place, that is, to place them at Hekate’s altar. Ritually, the garbage was placed at night at a crossroads so that each dream may lead off in at least three directions besides the one we have come from. Hekate, who has traditionally been represented with three heads, keeps us looking and listening in many ways at once.Because the underworld differs so radically from the underground, that which has its home there, dreams, must refer to psychic or pneumatic world of ghosts, spirits, ancestors, souls, daimones. These are invisible by nature, and not merely invisible because they have been forgotten or repressed. This world is fluid, or dusty, fiery, muddy, or aetherial, so there is nothing firm to hold to – unless we develop intuitive instruments for seizing impalpables that slip through our fingers or burn at the touch.By locating the dream among these impalpable fundamentals in Hades, we will begin to find that dreams reflect an underworld of essences rather than an underground of root and seed. They present images of being rather than of becoming. We will learn that a dream is less a comment on life and an indication as to where it is growing, than it is a statement from the chthonic depths, the cold, dense, unchanging state – what we so often today call psychopathic because, as Freud saw, the dream does not show morality, human feelings, or the sense of time. We can no longer turn to the dream in hopes of progress, transformation, and rebirth.I think too that the underworld teaches us to abandon our hopes for achieving unification of personality by means of the dream. The underworld spirits are plural. So much is this the case that the di manes (underworld spirits), who were the Roman equivalent of the Greek theoi chthonioi, have no native singular form. Even individual dead persons were spoken of plurally, as di manes. “The ancient Egyptian was thought to live after death in a multiplicity of forms, each of these forms was the full man himself”(Ba, p. 113). The underworld is an innumerable community of figures. The endless variety of figures reflects the endlessness of the soul, and dreams restore to consciousness this sense of multiplicity. The polytheistic perspective is grounded in the chthonic depths of the soul. A psychotherapeutic emphasis will be upon the disintegrative effects of the dream, which also confronts us with our moral dis-integrity, our psychopathic lack of a central hold on ourselves. Dreams show us to be plural and that each of the forms that figure there are “the full man himself,” full potentials of behavior. Only by falling apart (RP, pp. 53-112) into the multiple figures do we extend consciousness to embrace and contain its psychopathic potentials.We get into difficulties when we try to read the deep chthonic level from the viewpoints of Demeter or of Ge. To perceive the chthonic with Demeter’s eyes is to take the dream as signal for literal action and to translate it with naturalistic ethics into a moralized world. To take a dream as containing an immoral implication or a moral indication for setting matters right and redressing a balance is to read it from the Ge-Themis-Dike perspective. Perhaps we need the intervention of another lady of the underworld, Hekate, who was especially adept with ghosts, who both brought and banned fear, and who had nothing to do with the round of human life (marriage, birth, agriculture), herself without brother or sister or any descendants. “Her worship was without morality.” Hekate’s underworld perspective reaches to the chthonic depth of the dream, which, on the one hand, is a simple statement of essence – how spectral things look when stripped of their human context – and, on the other, elicits our psychopathy. The region of the soul in which dreams have their home is deeper than flesh-and-blood urges, which we have been, mistakenly, calling chthonic, as if it were the same as natural, as if the underworld referred to ira and cupiditas, the blood-soul, the thymos. This all is earthy; the natural, physical, somatic soul of emotions. Our modern word unconscious has become a catch-all, collecting into one clouded reservoir all fantasies of the deep, the lower, the baser, the heavier (depressed), and the darker. We have buried in the same monolithic tomb called The Unconscious the red and earthy body of the primeval Adam, the collective common man and woman, and the shades, phantoms, and ancestors. We cannot distinguish a compulsion from a call, an instinct for an image, a desirous demand from a movement of imagination. Looking into the night from the while light of the dayworld (where the term unconscious was fashioned), we cannot tell the red from the black. So, we read dreams for all sorts of messages at once – somatic, personal, psychic, mantic, ancestral, practical, confusing instinctual and emotional life with the realm of death. The pronounced distinction between emotion and soul, between emotional man and psychological man, comes out in another of Heraclitus’ fragments (85): “. . . whatever it [thymos] wishes it buys at the price of soul.” Thymos, the earlier Greek experience of emotional consciousness or moist soul, did not belong in the underworld. So, to consider the dream as an emotional wish costs soul; to mistake the chthonic as the natural loses psyche. We cannot claim to be psychological when we read dream image in terms of drives or desires. Whatever counsel an analyst gives about emotional life, supposing it drawn from dreams, refers to his experience, which he reflects from the dreams. It is not in the dreams. He is “sup-posing” about them, that is, he is “putting onto” them what he knows about life. What one knows about life may not be relevant for what is below life. What one knows and has done in life may be as irrelevant to the underworld as clothes that adjust us to life and the flesh and bones that the clothes cover. For in the underworld all is stripped away, and life is upside down. We are further than the expectations based on life experience, and the wisdom derived from it. Again, we can follow Heraclitus (frg. 27): “When men die there awaits what they neither expect nor even imagine.” The word translated here as “expect” is related in Greek to “hope” (elpis), so that the specific hope that is abandoned (Dante, Inferno 3) on entering the underworld perspective is the fantasy of daylife expectations and flesh-and-blood illusions. Souls in Hades are “incurable” said Plato. There is no alteration to be hoped for. Such hope would be hope for the wrong thing. We need more the hope of St. Paul, which is a hope of invisibles and for invisibles, than the hope of Pandora, who, as the wife of Prometheus, contains a hidden hope, which he makes evident in his mission to help mankind. To go deep into a dream requires abandoning hope, the hope that rises in the morning and would turn the dream to its purposes. At the Hades level of the dream there is neither hope nor despair. They cancel each other out; and we can move beyond the language of expectations, measuring progressions and regressions, ego strengthening and weakening, coping and failing.Let me once more try to draw this distinction between the underground of vital, emotional life and the underworld Heraclitus said (frg. 15): It it were not in honour of Dionysus that they conducted the procession and sang the hymn to the male organ, their activity would be completely shameless. Hades and Dionysus are the same, no matter how much they go mad and rave celebrating bacchic rites in honour of the latter. The passage has given scholars – those who accept this phrasing at all – so much trouble partly because it juxtaposes, even identifies, the very different realms we are keeping distinct: psychic essences and emotional nature.This fragment refers to the mystery of a sacred procession and it must be read with a similar reverence, even as a revelation of something profound in acts that seem shamelessly pornographic, raving, and mad. It is therefore not enough to pass it off with a moral generality, as some interpreters do, that Heraclitus means that even the wildest life forces also lead to death, or let it go by, as other interprets do, as another of his metaphysical generalities about the sameness of life and death (frgs. 62, 88). We are still left with the vivid imagery of this mystery in the sexual language that is so fundamental to psychology. So, Heraclitus, as one psychologist to another, across the centuries I read you to be saying that for this troublesome distinction between emotion and soul, between the perspective of vitality (Dionysos) and the perspective of psyche (Hades), sexual fantasy holds a secret. In what seems most evident, public, and concrete, there is also something covered in shame, hidden and invisible.The Hades within Dionysus says that there is an invisible meaning in sexual acts, a significance for soul in the phallic parade, that all our life force, including the polymorphous and pornographic desires of the psyche, refer to the underworld of images. Things in life, no matter how full of life, are not only natural. Dionysos is also a “downer.” We may believe we are living life only on the level of life, but we cannot escape the psychic significance of what we are doing. Soul is made in the rout of the world. What has meaning for life has meaning for soul at the same moment, so consider you living in the light of the Hades within it.The other side of the mysterious identity, the Dionysos within Hades, says that there is zoe, a vitality in all underworld phenomena. The realm of the dead is not as dead as we expect it. Hades too can rape and also seize the psyche through sexual fantasies. Although without thymos, body, or voice, there is a hidden libido in the shadows. The images in Hades are also Dionysian – not fertile in the natural sense, but in the psychic sense, imaginatively fertile. There is an imagination below the earth that abounds in animal forms, that revels and makes music. There is a dance in death. Hades and Dionysos are the same. As Hades darkens Dionysos toward his own richness. Farnell describes their fusion as a “mildness joined with melancholy.”
The pathologized images have moved the soul in several ways: we are afraid; we feel vulnerable and in danger; our very physical substance and sanity appear to be menaced; we want to prevent or rectify. Especially this last seizes us. We feel protective, impelled to correct, straighten, repair. For we have confused something sick with something wrong. […] affliction reaches us partly through the guilt it brings. Guilt belongs to the experiences of deviation, the the sense of being off, failing, ‘missing the mark’. […] However the true missing of the mark is taking the guilt literally, where failings becomes faults to be set right. This places the guilt on the shoulders of the ego who ‘should not’ have failed. Then pathologizing reinforces the ego’s style and guilt serves a secondary gain, increasing the ego’s sense of importance: ego becomes superego, drivenly busy with repairing wrongs. A guilty ego is no less egocentric than a proud one.
James Hillman, Re-Visioning Psychology
{self Portrait series part 3 : 8-6-24}
“The poeisis of space In this chaotic time Of birth” ~Charleen Johnston
What door is opened into soul through our wounds.
James HillmanThe cure of the shadow is on the one hand a moral problem, that is, recognition of what we have repressed, how we perform our repressions, how we rationalize and deceive ourselves, what sort of goals we have and what we have hurt, even maimed, in the name of these goals. On the other hand, the cure of the shadow is a problem of love. How far can our love extend to the broken and ruined parts of ourselves, the disgusting and perverse? How much charity and compassion have we for our own weakness and sickness?… Loving oneself is no easy matter just because it means loving all of oneself, including the shadow where one is inferior and socially so unacceptable. The care one gives this humiliating part is also the cure. More: as the cure depends on care, so does caring sometimes mean nothing more than carrying.
James Hillman, Meeting the Shadow: The Hidden Power of the Dark Side of Human NatureFor any one of us, child or adult, the question eclipsing all others is: How does what comes with you to the world find a place in the world? How does my meaning fit with the meanings to which I am asked to conform? What helps growing down?
James Hillman, The Soul’s Code: In Search of Character and CallingThere is more in a human life than our theories of it allow. Sooner or later something seems to call us onto a particular path. You may remember this “something” as a signal moment in childhood when an urge out of nowhere, a fascination, a peculiar turn of events struck like an annunciation: This is what I must do, this is what I’ve got to have. This is who I am.
James Hillman, The Soul’s Code: In Search of Character and CallingBut our task here is not to restore all the invisibles but to discriminate among them by attending to the one that once was called your daimon or genius, sometimes your soul or your fate, and now your acorn.
James Hillman, The Soul’s Code: In Search of Character and CallingAttention does for consciousness what our hands do for our bodies: it grabs hold of nature so that we can change it.
James Hillman, Alchemical Psychology: Uniform Edition of the Writings of James Hillman, Vol. 5For the daimon surprises. It crosses my intentions with its interventions, sometimes with a little twinge of hesitation, sometimes with a quick crush on someone or something. These surprises feel small and irrational; you can brush them aside; yet they also convey a sense of importance, which can make you say afterward: “Fate.
James HillmanIdeas that we do not know we have have us. And then they shape our experiences from behind, unbeknown. Psychology’s job, it seems to me, is to see the subjective, archetypal factor in our sight, before or while looking at facts and events. Other sciences have to pretend to being objective, to be describing things as they are; psychology fortunately is always bound by its psychic limitations and can be spared the pretense of objectivity. In place of the obligation to be objectively factual, it is obliged to be subjectively aware, which becomes possible only if we are willing to have an exhaustive go at the assumptions in our primary notions.
James Hillman, Anima: Anatomy of a Personified NotionThere is more in a human life than our theories of it allow.
James Hillman, The Soul’s Code: In Search of Character and Calling“The work of soul–making is concerned essentially with the evocation of psychological faith, the faith arising from the psyche which shows as faith in the reality of the soul… Psychological faith begins in the love of images, and it flows mainly through the shapes of persons in reveries, fantasies, reflections, and imaginations. Their increasing vivification gives one an increasing conviction of having, and then of being, an interior reality of deep significance transcending one’s personal life….”
James HillmanPsychological faith is reflected in an ego that gives credit to images and turns to them in its darkness. Its trust is in the imagination as the only uncontrovertible reality, directly presented, immediately felt.
James HillmanSoul making, as work on anima through images, offers a way of resolving the dependencies of transference. For it is not the therapist or any actual person whatever who is the keeper of my soul beyond all betrayals, but the archetypal persons of the Gods to whom the anima acts as bridge. The shaping of her amorphous moods, sulfuric passions, bitter resentments, and bubbles of distraction into distinct personalities is the main work of therapeutic analysis or soul-making. Therefore, it works in imagination, with imagination, and for imagination. It discovers and forms a personality by disclosing and shaping the multiple soul personalities out of the primary massa confusa of arguing voices and pushing demands.
From Hillman, James, Re-Visioning Psychology, p. 50This is what I must do, this is what I’ve got to have. This is who I am.
James Hillman, The Soul’s Code: In Search of Character and Calling…you find your genius by looking in the mirror of your life. Your visible image shows your inner truth, so when you’re estimating others, what you see is what you get. It therefore becomes critically important to see generously, or you will get only what you see; to see sharply, so that you discern the mix of traits rather than a generalized lump; and to see deeply into dark shadows, or else you will be deceived.
James Hillman, The Soul’s Code: In Search of Character and CallingAnytime you’re gonna grow, you’re gonna lose something. You’re losing what you’re hanging onto to keep safe. You’re losing habits that you’re comfortable with, you’re losing familiarity.
James HillmanI can no longer be sure whether the psyche is in me or whether I’m in the psyche…
James HillmanEach life is formed by its unique image, an image that is the essence of that life and calls it to a destiny. As the force of fate, this image acts as a personal daimon, an accompanying guide who remembers your calling.
James HillmanThe daimon motivates. It protects. It invents and persists with stubborn fidelity. It resists compromising reasonableness and often forces deviance and oddity upon its keeper, especially when neglected or opposed. It offers comfort and can pull you into its shell, but it cannot abide innocence. It can make the body ill. It is out of step with time, finding all sorts of faults, gaps, and knots in the flow of life – and it prefers them. It has affinities with myth, since it is itself a mythical being and thinks in mythical patterns.
James HillmanIt has much to do with feelings of uniqueness, of grandeur and with the restlessness of the heart, its impatience, its dissatisfaction, its yearning. It needs its share of beauty. It wants to be seen, witnessed, accorded recognition, particularly by the person who is its caretaker. Metaphoric images are its first unlearned language, which provides the poetic basis of mind, making possible communication between all people and all things by means of metaphors.
James HillmanExtraordinary people display calling most evidently…they are extraordinary because their calling comes through so clearly and they are so loyal to it. They serve as exemplars of calling and its strength, and also of keeping faith with its signals.
James HillmanFor centuries we have searched for the right term for this “call”. The Romans named it your ‘genius’; the Greeks, your ‘daimon’; and the Christians your guardian angel. The Romantics, like Keats, said the call came from the heart, and Michelangelo’s intuitive eye saw an image in the heart of the person he was sculpting. The Neoplatonists referred to an imaginal body, the ‘ochema’, that carried you like a vehicle. It was your personal bearer or support. For some it is Lady Luck or Fortuna; for others a genie or jinn, a bad seed or evil genius. In Egypt, it might have been the ‘ka’, or the ‘ba’ with whom you could converse. Among the people we refer to as Eskimos and others who follow shamanistic practices, it is your spirit, your free-soul, your animal-soul, your breath-soul.
James Hillman, The Soul’s Code: In Search of Character and CallingPerception bestows blessing—as the stories sketched in this chapter attempt to demonstrate. Perception brings into being and maintains the being of whatever is perceived; and when perception sees in “the holiness of the Heart’s affections,” again as these stories say, things are revealed that prove the Truth of the Imagination.
James Hillman, The Soul’s Code: In Search of Character and CallingAging is no accident. It is necessary to the human condition, intended by the soul. We become more characteristic of who we are simply by lasting into later years; the older we become, the more our true natures emerge. Thus the final years have a very important purpose: the fulfillment and confirmation of one’s character.
James HillmanTell me what you yearn for and I shall tell you who you are. We are what we reach for, the idealized image that drives our wandering.
James HillmanI like to imagine a person’s psyche to be like a boardinghouse full of characters. The ones who show up regularly and who habitually follow the house rules may not have met other long-term residents who stay behind closed doors, or who only appear at night. An adequate theory of character must make room for character actors, for the stuntmen and animal handlers, for all the figures who play bit parts and produce unexpected acts. They often make the show fateful, or tragic, or farcically absurd.
James HillmanLove alone is not enough. Without imagination, love stales into sentiment, duty, boredom. Relationships fail not because we have stopped loving but because we first stopped imagining.
James Hillman
Anything you attend to carefully can bring blessing.
James Hillman
An individual’s harmony with his or her ‘own deep self’ requires not merely a journey to the interior but a harmonizing with the environmental world.
James HillmanAn individual’s harmony with his or her ‘own deep self’ requires not merely a journey to the interior but a harmonizing with the environmental world.
🌟Rank asked why the artist so often avoids clinical neurosis when he is so much a candidate for it because of his vivid imagination, his openness to the finest and broadest aspects of experience, his isolation from the cultural world-view that satisfies everyone else. The answer is that he takes in the world, but instead of being oppressed by it he reworks it in his own personality and recreates it in the work of art. The neurotic is precisely the one who cannot create—the “artiste-manque,” as Rank so aptly called him. We might say that both the artist and the neurotic bite off more than they can chew, but the artist spews it back out again and chews it over in an objectified way, as an external, active, work project. The neurotic can’t marshal this creative response embodied in a specific work, and so he chokes on his introversions. The artist has similar large-scale introversions, but he uses them as material.🌟
:::🌟Ernest Becker, The Denial of Death
{Self Portrait Series 8-7-24 part 2}
The road to creativity passes so close to the madhouse and often detours or ends there. Ernest Becker, The Denial of DeathMan cannot endure his own littleness unless he can translate it into meaningfulness on the largest possible level.
Ernest Becker, The Denial of DeathThe irony of man’s condition is that the deepest need is to be free of the anxiety of death and annihilation; but it is life itself which awakens it, and so we must shrink from being fully alive.
Ernest Becker, The Denial of DeathThe neurotic exhausts himself not only in self-preoccupations like hypochondrial fears and all sorts of fantasies, but also in others: those around him on whom he is dependent become his therapeutic work project; he takes out his subjective problems on them. But people are not clay to be molded; they have needs and counter-wills of their own. The neurotic’s frustration as a failed artist can’t be remedied by anything but an objective creative work of his own. Another way of looking at it is to say that the more totally one takes in the world as a problem, the more inferior or “bad” one is going to feel inside oneself. He can try to work out this “badness” by striving for perfection, and then the neurotic symptom becomes his “creative” work; or he can try to make himself perfect by means his partner. But it is obvious to us that the only way to work on perfection is in the form of an objective work that is fully under your control and is perfectible in some real ways. Either you eat up yourself and others around you, trying for perfection; or you objectify that imperfection in a work, on which you then unleash your creative powers. In this sense, some kind of objective creativity is the only answer man has to the problem of life. In this way he satisfies nature, which asks that he live and act objectively as a vital animal plunging into the world; but he also satisfies his own distinctive human nature because he plunges in on his own symbolic terms and not as a reflex of the world as given to mere physical sense experience. He takes in the world, makes a total problem out of it, and then gives out a fashioned, human answer to that problem. This, as Goethe saw in Faust, is the highest that man can achieve.
Ernest Becker, The Denial of DeathIn Jung’s terms-that we noted previously-the work is the artist’s own transference projection, and he knows that consciously and critically. Whatever he does he is stuck with himself, can’t get securely outside and beyond himself. He is also stuck with the work of art itself. Like any material achievement it is visible, earthly, impermanent. No matter how great it is, it still pales in some ways next to the transcending majesty of nature; and so it is ambiguous, hardly a solid immortality symbol. In his greatest genius man is still mocked. No matter that historically art and psychosis have had such an intimate relationship, that the road to creativity passes so close to the madhouse and often detours or ends there. The artist and the madman are trapped by their own fabrications; they wallow in their own anality, in their protest that they really are something special in creation.
Ernest Becker, The Denial of DeathThe most that any one of us can seem to do is to fashion something–an object or ourselves–and drop it into the confusion, make an offering of it, so to speak, to the life force.
Ernest Becker, The Denial of DeathGuilt results from unused life, from the unlived in us.
Ernest Becker, The Denial of DeathAnd so we see the paradox that evolution has handed us. If man is the only animal whose consciousness of self gives him an unusual dignity in the animal kingdom, he also pays a tragic price for it. The fact that the child has to identify -first- means that his very first identity is a social product. His habitation of his own body is built from the outside in; not from the inside out. He doesn’t unfold into the world, the world unfolds into him. As the child responds to the vocal symbols learned from his object, he often gives the pathetic impression of being a true social puppet, jerked by alien symbols and sounds. What sensitive parent does not have his satisfaction tinged with sadness as the child repeats with such vital earnestness the little symbols that are taught him?
Ernest Becker, The Birth and Death of Meaning: An Interdisciplinary Perspective on the Problem of ManMan cuts out for himself a manageable world: he throws himself into action uncritically, unthinkingly. He accepts the cultural programming that turns his nose where he is supposed to look; he doesn’t bite the world off in one piece as a giant would, but in small manageable pieces, as a beaver does. He uses all kinds of techniques, which we call the “character defenses”: he learns not to expose himself, not to stand out; he learns to embed himself in other-power, both of concrete persons and of things and cultural commands; the result is that he comes to exist in the imagined infallibility of the world around him. He doesn’t have to have fears when his feet are solidly mired and his life mapped out in a ready-made maze. All he has to do is to plunge ahead in a compulsive style of drivenness in the “ways of the world.
Ernest Becker, The Denial of Death[Man] literally drives himself into a blind obliviousness with social games, psychological tricks, personal preoccupations so far removed from the reality of his situation that they are forms of madness, but madness all the same.
Ernest Becker, The Denial of DeathTo grow up at all is to conceal the mass of internal scar tissue that throbs in our dreams.
Ernest Becker, The Denial of DeathBy the time the child grows up, the inverted search for a personal existence through perversity gets set in an individual mold, and it becomes more secret. It has to be secret because the community won’t stand for the attempt by people to wholly individualize themselves. If there is going to be a victory over human incompleteness and limitation, it has to be a social project and not an individual one. Society wants to be the one to decide how people are to transcend death; it will tolerate the causa-sui project only if it fits into the standard social project. Otherwise there is the alarm of “Anarchy!” This is one of the reasons for bigotry and censorship of all kinds over personal morality: people fear that the standard morality will be undermined-another way of saying that they fear they will no longer be able to control life and death. A person is said to be “socialized” precisely when he accepts to “sublimate” the body-sexual character of his Oedipal project. Now these euphemisms mean usually that he accepts to work on becoming the father of himself by abandoning his own project and by giving it over to “The Fathers.” The castration complex has done its work, and one submits to “social reality”; he can now deflate his own desires and claims and can play it safe in the world of the powerful elders. He can even give his body over to the tribe, the state, the embracing magic umbrella of the elders and their symbols; that way it will no longer be a dangerous negation for him. But there is no real difference between a childish impossibility and an adult one; the only thing that the person achieves is a practiced self-deceit-what we call the “mature” character.
Ernest Becker, The Denial of DeathThe ironic thing about the narrowing-down of neurosis is that the person seeks to avoid death, but he does it by killing off so much of himself and so large a spectrum of his action-world that he is actually isolating and diminishing himself and becomes as though dead. There is just no way for the living creature to avoid life and death, and it is probably poetic justice that if he tries too hard to do so he destroys himself.
Ernest Becker, The Denial of DeathKierkegaard gives us some portrait sketches of the styles of denying possibility, or the lies of character-which is the same thing. He is intent on describing what we today call “inauthentic” men, men who avoid developing their own uniqueness; they follow out the styles of automatic and uncritical living in which they were conditioned as children. They are “inauthentic” in that they do not belong to themselves, are not “their own” person, do not act from their own center, do not see reality on its terms; they are the one-dimensional men totally immersed in the fictional games being played in their society, unable to transcend their social conditioning: the corporation men in the West, the bureaucrats in the East, the tribal men locked up in tradition-man everywhere who doesn’t understand what it means to think for himself and who, if he did, would shrink back at the idea of such audacity and exposure.
Ernest Becker, The Denial of DeathAnthropologists have long known that when a tribe of people lose their feeling that their way of life is worth-while they may stop reproducing, or in large numbers simply lie down and die beside streams full of fish: food is not the primary nourishment of man.
Ernest Becker, The Birth and Death of Meaning: An Interdisciplinary Perspective on the Problem of ManBeyond a given point man is not helped by more “knowing,” but only by living and doing in a partly self-forgetful way. As Goethe put it, we must plunge into experience and then reflect on the meaning of it. All reflection and no plunging drives us mad; all plunging and no reflection, and we are brutes.
Ernest Becker, The Denial of DeathTake stock of those around you and you will … hear them talk in precise terms about themselves and their surroundings, which would seem to point to them having ideas on the matter. But start to analyse those ideas and you will find that they hardly reflect in any way the reality to which they appear to refer, and if you go deeper you will discover that there is not even an attempt to adjust the ideas to this reality. Quite the contrary: through these notions the individual is trying to cut off any personal vision of reality, of his own very life. For life is at the start a chaos in which one is lost. The individual suspects this, but he is frightened at finding himself face to face with this terrible reality, and tries to cover it over with a curtain of fantasy, where everything is clear. It does not worry him that his “ideas” are not true, he uses them as trenches for the defense of his existence, as scarecrows to frighten away reality.
Ernest Becker, The Denial of DeathThe man of knowledge in our time is bowed down under a burden he never imagined he would ever have: the overproduction of truth that cannot be consumed.
Ernest Becker, The Denial of DeathThere is no doubt that creative work is itself done under a compulsion often indistinguishable from a purely clinical obsession. In this sense, what we call a creative gift is merely the social license to be obsessed. And what we call “cultural routine” is a similar license: the proletariat demands the obsession of work in order to keep from going crazy. I used to wonder how people could stand the really demonic activity of working behind those hellish ranges in hotel kitchens, the frantic whirl of waiting on a dozen tables at one time, the madness of the travel agent’s office at the height of the tourist season, or the torture of working with a jack-hammer all day on a hot summer street. The answer is so simple that it eludes us: the craziness of these activities is exactly that of the human condition. They are “right” for us because the alternative is natural desperation. The daily madness of these jobs is a repeated vaccination against the madness of the asylum. Look at the joy and eagerness with which workers return from vacation to their compulsive routines. They plunge into their work with equanimity and lightheartedness because it drowns out something more ominous.
Ernest Becker, The Denial of DeathIn other words, as long as man is an ambiguous creature he can never banish anxiety; what he can do instead is to use anxiety as an eternal spring for growth into new dimensions of thought and trust. Faith poses a new life task, the adventure in openness to a multi-dimensional reality.
Ernest Becker, The Denial of DeathPeople create the reality they need in order to discover themselves.
Ernest Becker, The Denial of DeathThe “healthy” person, the true individual, the self-realized soul, the “real” man, is the one who has transcended himself.
Ernest Becker, The Denial of DeathThe great boon of repression is that it makes it possible to live decisively in an overwhelmingly miraculous and incomprehensible world, a world so full of beauty, majesty, and terror that if animals perceived it all they would be paralyzed to act. … What would the average man (sic) do with a full consciousness of absurdity? He has fashioned his character for the precise purpose of putting it between himself and the facts of life; it is his special tour-de-force that allows him to ignore incongruities, to nourish himself on impossibilities, to thrive on blindness. He accomplishes thereby a peculiarly human victory: the ability to be smug about terror.
Ernest Becker, The Denial of DeathTake the average man who has to stage in his own way the life drama of his own worth and significance. As a youth he, like everyone else, feels that deep down he has a special talent, an indefinable but real something to contribute to the richness and success of life in the universe. But, like almost everyone else, he doesn’t seem to hit on the unfolding of this special something; his life takes on the character of a series of accidents and encounters that carry him along, willy-nilly, into new experiences and responsibilities. Career, marriage, family, approaching old age – all these happen to him, he doesn’t command them. Instead of his staging the drama of his own significance, he himself is staged, programmed by the standard scenario laid down by his society.
Ernest Becker, Angel in Armor: A Post-Freudian Perspective on the Nature of ManSecrets and silences make life more real: the individual, self-absorbed and inwardly musing, taking himself very seriously, radiates a contagious aura: the tacit communication that the serious and the meaningful exist.
Ernest Becker, The Birth and Death of Meaning: An Interdisciplinary Perspective on the Problem of ManKierkegaard put it this way: But while one sort of despair plunges wildly into the infinite and loses itself, a second sort permits itself as it were to be defrauded by “the others.” By seeing the multitude of men about it, by getting engaged in all sorts of wordly affairs, by becoming wise about how things go in this world, such a man forgets himself… does not dare to believe in himself, finds it too venturesome a thing to be himself, far easier and safer to be like the others, to become an imitation, a number, a cipher in the crowd.
Ernest Becker, The Denial of DeathWe fear our highest possibility (as well as our lowest ones). We are generally afraid to become that which we can glimpse in our most perfect moments…. We enjoy and even thrill to the godlike possibilities we see in ourselves in such peak moments. And yet we simultaneously shiver with weakness, awe and fear before these very same possibilities.
🌟🌟🌟 “Creativity is divine! To me it is the virgin soul opening to spirit and creating the divine child. You cannot live without it. That’s the meaning of life, that creative fire………::”
“::….. My soul is fed. I see, I smell, I taste, I hear, I touch. Through the orifices of my body, I give and I receive. I am not trying to capture what is absent. It’s that interchange between the embodied soul and the outside world that is the dynamic process. That’s how growth takes place. That is life.”🌟🌟🌟
Marion Woodman
{self Portrait series at Kennedy peak 8-6-24}
This is your body, your greatest gift, pregnant with wisdom you do not hear, grief you thought was forgotten, and joy you have never known. Marion WoodmanTo me, real love, the move from power to love, involves immense suffering. Any creative work comes from that level, where we share our sufferings, just the sheer suffering of being human. And that’s where the real love is. Marion WoodmanWhen the power comes from within us and we claim it as our own, then we no longer have to affirm ourselves by dominating others. The irony is that we are actually afraid of our own power.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessOnly by discovering and loving the goddess lost within our rejected body can we hear our own authentic voice.
Marion Woodman, Coming Home to Myself: Reflections for Nurturing a Woman’s Body and SoulI yearned for lightness; I still yearn for lightness. Lightness is freedom — freedom from the heaviness of too much stuff, too many words, too heavy a pull toward inertia. I feared being buried in stone — becoming stone.
Marion Woodman, Bone: Dying into LifeKill the imagination and you kill the soul. Kill the soul and you’re left with a listless, apathetic creature who can become hopeless or brutal or both.
Marion Woodman, Bone: Dying into LifeIn our yearning to be perfect, we have mistaken perfection for wholeness. We think we cannot love ourselves until we and others meet some external standard. Depression, anxiety—in fact, most neuroses and compulsions—are ultimately a defense against loving ourselves without condition. We are afraid to look at the damp, dark, ugly yet exquisite roots of being that stretch deep into our survival chakra. We are fearful of finding that the spirit is not there, that our Home is empty, even as our outer home is empty. Yet it is in that place of survival, where the dark mother has been abandoned, that spirit longs to be embodied so that the whole body may become light. Ego wants to be the god of our own idealized projection; spirit wants to be incarnated in our humanity where it can grow in wisdom through experience.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessThe Goddess is the unspeakable wisdom that grows into the very cells of the body. She lives with this sacramental truth at her center: the beauty and the horror of the whole of life are blazing in Her love. She is dancing in the flames.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessIn the story of Persephone and Hades there is a child. Hades abducts Persephone and takes her into the Underworld, where in some versions of the myth she has a child. In many of the myths, Leda and the swan, Danae and the shower of gold, for example, the human woman is impregnated by the god. In other words, matter is penetrated by spirit and the child of the union of matter and spirit is the divine child.
Marion WoodmanYou think of yourself — light, fast, free — free of earth, free of bondage to your body. In your ‘perfect’ body, you are in control, addicted to the light that keeps you out of body. You’re a swan maiden, addicted to wings, addicted to spirit. You refused to eat in order to fly.
Marion Woodman, Bone: Dying into LifeThe solid line throughout was my trying to make space to fly and forever smashing my wings against the bars of the cage. Granted, the cage grew bigger and very big, but I was always beyond the collective in my soul and always cut back by the collective in my body.
Marion Woodman, Bone: Dying into LifeThe word ‘feminine,’ as I understand it, has very little to do with gender, nor is woman the custodian of femininity. Both men and women are searching for their pregnant virgin. She is the part of us who is outcast, the part who comes to consciousness through going into darkness, mining our leaden darkness, until we bring her silver out.
Marion Woodman, The Pregnant Virgin: A Process of Psychological TransformationWhy put them through the danger of the fire? And then, I heard, as though it spoke, the voice of the guardian-head: “Each piece must go through the fire. The cowl, the wings, the pneuma, the source, the flow. All must go the way that I have gone. Each may crack in the process, as I have cracked. But look, the crack has healed. I did not break. Without the fire, the piece is untested, unlived, raw. Each must go through the fire.
Marion Woodman, Leaving My Father’s House: A Journey to Conscious FemininityKundalini power, the symbol of raising the energy coiled at the base of the spine upward through the chakras, is called by Sri Chinmoy, ‘the power of the Supreme Goddess.’ Repressed or coiled in a circle, she can be poisonous both to the body and the psyche, but once risen and standing upright, she is beneficent. The power of the serpent, rightly understood, is one of the ways the Goddess overcomes duality.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessSo long as she is obedient to a mother—actual or internal—who unconsciously wishes to annihilate her, she is in a state of possession by the witch; she will have to differentiate herself out from that witch in order to live her own life.
Marion Woodman, Addiction to Perfection: The Still Unravished Bride: A Psychological StudyThe way to healing an addiction lies in finding a connection between body and soul.
Marion Woodman, Coming Home to Myself: Reflections for Nurturing a Woman’s Body and SoulIf we are blindly living out an archetype, we are not containing our own life. We are possessed, and possession acts as a magnet on unconscious people in our environment. A life that is being truly lived is constantly burning away the veils of illusion, gradually revealing the essence of the individual.
Marion Woodman, The Pregnant Virgin: A Process of Psychological TransformationMany people are being dragged toward wholeness in their daily lives, but because they do not understand initiation rites, they cannot make sense of what is happening to them. They are being presented with the possibility of rebirth into a different life. Through failures, symptoms, inferiority feelings and overwhelming problems, they are being prodded to renounce life attachments that have become redundant. The possibility of rebirth constellates with the breakdown of what has gone before. But because they do not understand, people cling to the familiar, refuse to make the necessary sacrifices, resist their own growth. Unable to give up their habitual lives, they are unable to receive new life. Unless cultural rituals support the leap from one level of consciousness to another, there are no containing walls within which the process can happen. Without an understanding of myth or religion, without an understanding of the relationship between destruction and creation, death and rebirth, the individual suffers the mysteries of life as meaningless mayhem—alone.
Marion Woodman, The Pregnant Virgin: A Process of Psychological TransformationWhat I learned is the difference between of destiny and fate. We are all fated to die. Destiny is recognizing the radiance of the soul that, even when faced with human impossibility, loves all of life. Fate is the death we owe to Nature. Destiny is the life we own to soul.
Marion Woodman, Bone: Dying into LifeLinearity does not come naturally to me. It kills my imagination. Nothing happens. No bell rings. No moment of here and now. No moment that says yes. Without these, I am not alive. I prefer the pleasure of the journey through the spiral. Relax. Enjoy the spiral. If you miss something on the first round, don’t worry. You might pick it up on the second—or third—or ninth. It doesn’t matter. Relax. Timing is everything. If the bell does ring, it will resonate through all the rungs of your spiral. If it doesn’t ring, it is the wrong spiral— or the wrong time— or there is no bell.
Marion Woodman, Coming Home to Myself: Reflections for Nurturing a Woman’s Body and SoulA free woman has a strong neck—an open connection between heart and head, a balance between reality and ideals. To fall into the complex is to damn herself for her imperfections; to accept the attitude of the virgin is to accept her human life and open herself to her own truth.
Marion WoodmanWithout embodied soul, spirit cannot manifest through human feeling.
Marion Woodman, The Ravaged Bridegroom: Masculinity in WomenWhether we like it or not, one of our tasks on this earth is to work with the opposites through different levels of consciousness until body, soul and spirit resonate together. Initiation rites, experienced at the appropriate times in our lives, burn off what is no longer relevant, opening our eyes to new possibilities of our own uniqueness. They tear off the protective veils of illusion until at last we are strong enough to stand in our own naked truth.
Marion Woodman, The Pregnant Virgin: A Process of Psychological TransformationA woman must be able to stand in the face of power, because ultimately some part of that power will become hers.
Clarissa Pinkola Estés, Women Who Run With the WolvesThis is your body, your greatest gift, pregnant with wisdom you do not hear, grief you thought was forgotten, and joy you have never known.
Marion WoodmanSo long as consciousness is enslaved by the darkness of unconsciousness, we blindly live out these handicaps in our lives, projecting them onto our men or choosing defeated men as an image of our own defeat. The flames of our fear, grief and rage burn without light. Without realizing what we are doing, we can allow consciousness to fall into the service of darkness. If, on the other hand, we are conscious of the darkness, that very consciousness is the light that illumines the darkness. This is the journey into mature consciousness, with arms and legs, heart and genitals, strong enough to bear the lights.
Marion Woodman, The Ravaged Bridegroom: Masculinity in WomenLiving by principles is not living your own life. It is easier to try to be better than you are than to be who you are.
Marion Woodman, Addiction to Perfection: The Still Unravished Bride:William Blake says the body is ‘that portion of soul discerned by the five senses.
Marion Woodman, Conscious Femininity: Interviews With Marion WoodmanLove is the real power. It’s the energy that cherishes. The more you work with that energy, the more you will see how people respond naturally to it, and the more you will want to use it. It brings out your creativity, and helps everyone around you flower. Your children, the people you work with–everyone blooms.
Marion WoodmanThe Crone has been missing from our culture for so long that many women, particularly young girls, know nothing of her tutelage. Young girls in our society are not initiated by older women into womanhood with its accompanying dignity and power. Without the Crone, the task of belonging to oneself, of being a whole person, is virtually impossible.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessWomen are, by nature, disposed to relationship and connectedness; yet true relationship cannot be embraced until a woman as a deep sense of her at-one-ment. Without this essential independence from all roles and bonds, she is a potential victim for servitude.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessShe dreams she is in a glass coffin. From her prison, details have beauty. In her aloneness, she imagines emotions. Her husband is the perfect bridegroom, the trickster, the small boy looking for mother. She is goddess and mirror, siren and friend, femme fatale and sacrificing wife. He is attracted to her girlhood purity, her desire to sacrifice, to serve. At first he may be flattered: she sees him as a god.
Marion Woodman, Coming Home to Myself: Reflections for Nurturing a Woman’s Body & SoulSince she has not been present in the culture, she has not been readily accessible to the conscious awareness of modern women. Without her, even the dynamic symbols of Virgin and Mother are distorted. The Crone is a woman is that part of her psyche that is not identified with any relationship nor confined by any bond. She infuses an intrinsic sense of self-worth, of autonomy, into the role of virgin and mother, and gives the woman strength to stand to her own creative experience.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessCan I really believe I am worth an hour a day? Am I, who have given my life to others, selfish enough to take one hour a day to find myself?
Marion Woodman, Coming Home to Myself: Reflections for Nurturing a Woman’s Body & SoulChange means change. We may have all the insights, but if we do not incarnate them, they are all in vain.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessWe know we can change ourselves when we realize that we are not dependent on how we feel, nor on how others feel about us, nor on what the situation is around us. The values we hold, the choices we make within ourselves and for iourselves remain our prerogative. In most situations, if we begin to change, to do our own inner work, to accept our own darkness and work toward consciousness, the situation will change. We will begin to emanate a different energy, one that exudes a sense of autonomy and authenticity.
Marion Woodman, Dancing in the Flames: The Dark Goddess in the Transformation of ConsciousnessIt takes great courage to break with one’s past history and stand alone
Marion WoodmanOnce the purging has taken place, the woman often dreams of a black goddess who becomes her bridge between spirit and body. As one aspect of Sophia, such an image can open her to the mystery of life being enacted in her own body. Her “mysterious and exotic darkness” inspires a particular depth of wonderment and love. For a woman without a positive mother, this “dark” side of the Virgin can bring freedom, the security of freedom, because she is a natural home for the rejected child. The child born from the rejected side of the mother can bring her own rebel to rest in the outcast state of Mary. In loving the abandoned child within herself, a woman becomes pregnant with herself. The child her mother did not nourish, she will now nourish, not as the pure white biblical Virgin who knew no Joseph, but as the dark Montserrat Virgin who presides over “marriage and sex, pregnancy and childbirth.” The Black Madonna is nature impregnated by spirit, accepting the human body as the chalice of the spirit. She is the redemption of matter, the intersection of sexuality and spirituality.
Marion WoodmanWe are all unconsciously bound to the wheel of fortune. It goes round and round and we go blindly around on it until one day something happens that wakes us up, face to face with ourselves. What for years we could not or would not see is made visible. The unconscious is made answerable to consciousness. The Self demands a reckoning: the ego must recognize what it has long feared and rejected. Whether we grow or wither in that encounter depends on whether we cling to our ego’s rigid standpoint or whether we choose to trust the Self and leap into the unknown.
Marion Woodman, The Ravaged Bridegroom: Masculinity in Women