Category Archives: personal mythology

birthday.

In the middle of my 37th birthday, after my windshield hits a bird in flight as I drive several miles to the deserted national park beach, I walk alone down the simple boardwalk toward the sea, while the car containing everything I planned to bring with me except for my towel, the sunscreen, and my sunglasses pulls away and drives off into the unknown. As I walk the planks, I realize one thing after another: I don’t have my water bottle. I don’t have my phone. I don’t have my wallet. I don’t have my lip balm. With each realization the sun seems brighter and harsher.

Panic begins to rise. I see myself desiccated with bleeding lips and blistered feet staggering back to the village. Other scenarios begin to swirl before I take a series of deep breaths, shed my cover-up garments and sunglasses, and march into the waves. I push myself to go farther and deeper into the waves than feels comfortable.

A perverse impulse arises to keep going. To abandon the site of perceived abandonment, as well as every other wearying and disappointing thing in life. To trust that some powerful current and my weak swimming skills will ensure a relatively swift demise.

And yet, simultaneously, I watch worry arise about being bitten by a shark. I would bleed to death on the beach alone even if I were able to wrest myself from the jaws and struggle to shore. And, even as I fantasize about being swept away by the waves, I am paranoid of every perceived strongly sucking current.

I will myself not to lick my lips. Not to swallow any sea water. Not to turn around and scan the beach for the return of my companion who drove away.

I am determined. Determined to find some meaning and enjoyment in a ribbon of moments that will continue for an unknown duration, embroidered with anxiety, rage, and a twisted thread of suicidal ideation and nervous self-preservation.

I face the horizon. I step toward it again and again. I feel the water, warmer than the air, pummel me again and again to the sand and then gently suck me toward the depths. I repeat words to myself: “trust acceptance presence.” I watch pelicans flap and swoop. I see fish jump and splash back into waves. I notice subtle changes in the cloudless sky. As I appreciate the beauty, I am simultaneously grateful for and resentful of it—beauty and wonder always tempting me away from my fatigued and hopeless death fantasies, back to life and optimistic curiosity.

I experience the present moments as a metaphor, a symbol deeply meaningful, if hackneyed. You are tiny, truly powerless in the vast flow of the whole works, a rag doll at the mercy of the ocean. At some level, always, and especially at the end, you are totally alone.

And yet you have your choices. Brace against the waves or try to flow into them? Succumb to anger and panic? How will you respond when, if, your companion returns? The sun beats down and I receive utter clarity about my place in the scheme of things, the insanity of certain active patterns, this ridiculous situation. Happy fucking birthday. This is your gift. It’s only trite because it’s virtually impossible not to get this sort of message if you are in the ocean and paying attention.

I feel emptied. Humbled. Let go of and in the process of letting go.

I recline onto the water, relax, and begin to float. Mostly. Part of me believes that something at my core is so dense and heavy that I will always begin to sink. At some point I stand up and see my companion coming down the boardwalk. He does not join me in the water but sits on the dry sand with my shed garments. I turn back to the expansive, comforting, and dangerous embrace of the ocean for what feel like long minutes before joining him, ambivalently hoping he’ll join me first.

I thank him for returning, and we talk while I bury my goose-pimpled legs in warm sand and shiver. An ocean of words can drown you as surely as the ocean, but there are no casualties in this specific sea.

Squall turns to tranquil pool and the day proceeds.

-=-=-

For a late lunch we order food that turns out to be so spicy it is painful to eat. As I masochistically masticate, determined to buck up and not waste food, I keep overhearing a mother at a nearby table threatening to hit her small blond daughter:

“Eat, or you are going to get a spanking.”

“Sit still in your chair, or you are going to get a spanking.”

“Behave, or you are going to get a spanking.”

I note the passive construction of this threat. She does not say, “…or I am going to spank you.”

Not, “I, a full grown woman, am going to strike you, a small child.”

My appetite recedes by the second.

A friendly cat jumps into a chair at our table and curls up contentedly. My companion goes inside for something. I reach out to pet the cat and as soon as I touch its fur, I am weeping with my face flat on the table.

Animals are such easy and safe companionship. No cat has ever threatened or abandoned me. I wonder: if I had been raised by a pack of feral cats, would I have simply died, or would it now be easier for me to sustain intimate human relationships?

I feel waves. Gratitude for animals. Missing my cats at home. Rage and frustration at the tenacity and trickiness of the old, deep neural wounds of abuse and how they cause me and the ones I love to enact stupid slam dances with one another when we’d really like to flow with a sense of security and ease. Impotent despair at sitting here witnessing a child’s brain being carved in just this way.

-=-=-

Not long after my companion finds me weeping face down on our lunch table, I confess to him that I had thought about suggesting a horseback ride on the beach, but I figured it would be dull and depressing after our Costa Rica horse rides where we were allowed to gallop and jump.

A few hours after this, as we pull up to the horseback ride stand, I learn that he had previously arranged for us to ride horses on the beach for an hour at dusk on my birthday.

The guide explains that he recently stopped allowing people to gallop on the beach. Too many people lied about their equestrian experience and it was dangerous to let people unfamiliar with these horses take off on them. It could be bad for business. I understand this.

If people would just be honest about things, we’d avoid a lot of trouble. Too bad we so often don’t even know how to be honest with ourselves, and that it is frequently emotionally, if not physically, unsafe to be honest.

On the ride, we learn our guide must return home immediately after our appointment to put down a sick horse. The horse is 40 years old and our guide has known him most of that time—longer than he’s known his children.

The guide does not seem sad, but he briefly snaps at my companion, who is riding the horse that the other horses do not like.

As I watch the guide ride off with the two horses we had ridden on leads behind him, I nearly began sobbing.

-=-=-

After riding, we go on the ghost walk tour, where we hear quite a bit about the difficulty of burying the dead on a barrier island. It doesn’t take much of a surge for everything to come floating back up.

I wonder what one does with a dead horse on a barrier island.

-=-=-

I don’t sleep very well that night. Things float up—symbols and metaphors can seem singularly grave and portentous in the dark of night—and I shed a lot of tears.

The next morning, the older women staying in our bed and breakfast want to know how my birthday was.

“Good.”

I hate myself for this dishonesty but it is the proper social thing, even though I’m pretty sure it’s obvious I’m lying. But it isn’t completely false.

My birthday was life. It was difficult and painful and full of mourning. And there were also: the ocean, beauty, a cat, horses, attempts at connection that were valiant if foolhardy, clarity, and peace and semblance of meaning found within it all.

Next year, I’m considering a solitary retreat in a cave somewhere for my birthday. We’ll see.

theme.

I gave up New Year’s resolutions years ago. In 2008, I began choosing an annual theme.

As a year closes, I think about a pattern or theme that has been holding me back in some way. The theme for the following year is the flip-side of the pattern I’ve been experiencing as an impediment.

When my dear friend Maria reminded me that I will invoke the Shadow of any theme that I adopt for a year, I realized the beauty of this theme-identification technique: I’m already living with the Shadow. I want to bring in the flip side. Actually, if you look at my themes, some of them are more shadowed than light:

2008 – Year of Danger – Having faced that I was breaking down from stress and unresolved trauma, I had begun trauma therapy in 2007. I was seeing many ways in which I tried to remain safe and protect myself. 2008 was a year to do things that felt threatening because they pushed my edges. It was a year of embodying and internalizing this advice from the James song, Sound: “Do everything you fear. In this there’s power. Fear is not to be afraid of.”

2009 – Year of Imperfection – Invoking and embracing imperfection in order to break patterns of perfectionism.

2010 – Year of Presence – Facing the fact that I was not going to be finishing my PhD and moving away to get an academic job somewhere else. For the first time in my life, facing what it is to live in a place without one foot out the door. I had been living like a potted plant here for 6.5 years. In 2010, I broke the pot and let my roots begin to enter the ground. I practiced being present in this place, as well as to many other aspects of my life.

2011 – Year of Ecstasy – Ecstasy is a transcendent altered state of consciousness. I associate it most strongly with expansion of sense of self to the point where self-consciousness is erased and a merging with something larger than self is achieved. Call it Spirit, Universe, Divine, God, whatever. This sounds dramatic, but can be as simple as the unselfconscious rapture in being absorbed by the beauty of a sunset or flower. I wanted more of this in my life and invoked it. In February, regular Ecstatic Dance events began in my town. I also explored a number of other techniques including drumming (and making my own drum) and Holotropic Breathwork. I observed the transition from 2011 to 2012 at a 12-hour Dance Lodge at which I invoked…

2012 – Year of Possibility – In 2011, I noticed a pattern: when I am unable to see all of the steps between here and a future goal or desire, I am likely to begin to tell myself that the goal or desire is not possible. I realize that I do not know all of what is possible, and I see how it is often more comfortable for me to only shoot for and hope for that which I can already see in my grasp. I also know that my larger goal is not my own comfort, so these were the first words I spoke in 2012, to call in my intent:

There are possibilities of which I could not dare to dream.
I am not here to judge and decide what is possible.
I am here to receive and discover it.

As always, we’ll see.

dance, when you’re broken open.

Dance, when you’re broken open.
Dance, if you’ve torn the bandage off.
Dance in the middle of the fighting.
Dance in your blood.
Dance, when you’re perfectly free.
–Rumi

Last weekend, I watched this show (53:54) called In Search of Ecstasy:

In this episode of Global Spirit, host Phil Cousineau explores the ecstatic state — a global phenomenon found in all kinds of spiritual, religious, and wisdom traditions. Cousineau is joined by guests Sobonfu Somé, author and teacher of African spirituality, and Andrew Harvey, a British scholar specializing in the works and teachings of Jalaluddin Rumi. This lively discussion is interwoven with video segments that transport the audience on a journey inside different cultural expressions of divine ecstasy, asking why and how ecstatic trance is practiced around the world, and why it fascinates so many people today.

This episode includes unique video footage of a Sufi Zikr ceremony in Turkey – the practice of remembrance that brings participants to an ecstatic state of connection with God. Also featured are powerful scenes of traditional and modern day trance rituals which uncover the altered state experience which people seek through dance, trance and spirit possession. The program features Orisha priestesses from Nigeria and Brazil, and Shaman healers from the Kalahari and Korea, all pulsating to a provocatively similar beat with thousands of young people losing themselves at an all-night techno-rave event in an Australian forest.

First let me say that I want to hang out with Andrew Harvey and Sobonfu Somé. My computer screen was exuding joy just because they were on it. Andrew Harvey also said something that I loved (well several things, but this one…): that the West is a concentration camp of reason.

Second, the show reminded me that I have not been getting enough ecstatic bliss in my life over the past few months. Yes, there are not infrequent surprise hits… coming out onto the top of the parking deck just as the bats are emerging at dusk. Watching snow fall. A certain slant of light on one afternoon when the leaves are at a specific point in turning color and the wind just right so that the tree appears to be flashing on and off—standing there watching with mouth agape and forgetting to cross the street when the cars stopped. Being so in the moment while driving, accepting having only an illusion of control over what happens next, knowing that anything could happen next, that I laughed at the idea of the road peeling itself off the earth and flapping around like a length of caution tape in the wind. Getting down with my face close to the earth, entering my moss garden at different scale through a magnifying glass or jeweler’s loupe, and being so thoroughly immersed that I am surprised and for a moment terrified by the entry of an ant into my field of vision. Playing chase with Cuchulain and having to sit down because I am laughing too hard.

But I prefer to ensure a steady diet of intentional self-cracking* bliss. I am not sure when the impromptu dance parties in my living room ended, but it had been at least a few months. I remedied this last night and totally lost myself in music and movement for a while. I heard some parts of some songs I never heard before that made me feel like my face was splitting open from beaming.

I didn’t realize it until years later, but I believe ecstatic dance was among the things that preserved my ability to function while I was an undergrad. Goth/industrial/fetish clubs are not so exciting that they are worth driving to 45 minutes each way two or three nights a week. However, in the sort of mental space I was in during those years, moving my body to pounding dark music until I as I know me was driven out by sound and sweat and swirling and stomping and energy and breath, such that I would stop and find out an hour had passed… this was essential.

Clubbing was not for drinking, drugging, flirting, fashion showing, or dramawhoring. It was for Dancing. I did not need Gabrielle Roth. I had my own 5Rhythms:

One might suggest that my relationship with dancing and music in general at the time was a mite unbalanced in a slightly unhealthy manner. Such a suggestion would not be untrue. However, it helped me keep myself together (mostly) until I powered up another level and was able to address some of my state more directly.

Cure shows–also bliss. Just thinking about certain moments in sets gives me goose bumps, wets my eyes, and makes my chest feels like it is expanding such that wings might burst out and I might take flight. I am not being flippant when I refer to them as a like religious experience.

I also have been writing too much Ruby code and not enough meandering stream of consciousness personal digging. Now, there is something to crafting some code that does something cool you could never do by hand without a warehouse of data grubbing minions. But it is more a satisfaction. Clearly I did this with my analytical brain.

But when time gets lost and suddenly I am finding myself writing things that make connections and unearth insights I had no idea that I had or knew. When I suddenly understand something deeply vexing I’ve been circling around for years by letting myself get sucked into the funnel of it, and the truth is suddenly just… there. When I paint for a couple of hours, and then realize my back is killing me from hunching over and I sprawl out for a while and sit back up and think, “Where did this amazing image come from??” These things feel like magic. A connection to something beyond what I go around thinking I am. Even if it is just my larger self, bliss. Ecstatic.

Like… it has suddenly become clear: 2009, Year of Danger. 2010, Year of Presence. 2011, Year of Ecstasy.

I wonder how much my sudden focus on this topic comes from the fact that I found out I could finally buy this song online. I will never again play this on repeat while I am at work. It has… side effects:

How do you feed your soul the recommended daily (weekly? monthly? ever?) allowance of ecstatic experience?

* Oh god, now I see in my mind: a giant nutcracker painted to look like Carl Jung.

it sounded like a freight train.

Actually, it was silent.

One of these years, one of these nights I am going to have a tornado dream and instead of either getting away or trying to get away and blacking out, I will go out to meet it.

In an unfamiliar house. I kept telling someone what to do, but I’m not sure who I was talking to. A storm is coming. A sense of foreboding. I’m standing at a large window or glass door, scrutinizing the darkening sky. A flash of lightning and I see the funneling spiraling and there appears to be a fire inside it.

THERE IT IS. GET INTO THE BASEMENT.

Down shaggy carpeted dark wood paneled stairs with terror and some small sense of relief that there is a basement to hide in. The door at the top of the stairs slams shut and I look around for the best place to shelter. I notice there are small windows almost at the ceiling, and there is a door leading into another room.

THESE WINDOWS ARE NOT GOOD. GET INTO THE NEXT ROOM.

The door slams shut behind me/us in the next room before I notice there are even more windows here. But there is a door to another room.

THIS IS EVEN LESS SAFE. GO INTO THE NEXT ROOM.

This happens over and over, and even in the dream I am thinking “there is no way anyone would build a basement this long.” In every room there are either more or bigger windows, or things like saws.

I never try to open any of the doors that slam shut behind me/us, never attempt to backtrack. Finally I just freeze.

In a workshop/studio with flimsy drafting tables and the topmost two feet of the walls all the way around are windows to let in natural light. I see debris start flying around outside and know spiraling sucking darkness is approaching.

Blank. End of dream.

I say or think that I’m tired of this blanking out. Too many dreams, too many real memories where there is rising fear and as the terror tightens, everything just stops. Like the power going out just as you are going to find out how the cliffhanger is resolved. Logic says that it doesn’t matter. I am here, so obviously, I survived whatever ended up happening. Something else says it is unresolved. Says we don’t know how it ended. Fears what is unknown. And so I get frustrated and shake my fist and say, “Bring it on. Let’s see the ending. Let’s get it over with. I’m ready.”

And then a slightly nauseating dread, and whatever the mental equivalent of an atheist animist buddhist crossing herself would be. Oh FSM, what did I just ask for and will I really wish I could take it back?

The tornado dream is an old recurring one. Always different, but familiar.

The dream I had the other night… with a talking pig resigned to gorging himself one last time and lying down to sleep to wait for slaughter instead of trying to escape, and then a rat jumping out of a toilet, running up my clothing, and biting my hand when I tried to keep it from running up to my head… hanging on with its teeth in my palm until I just tore it off (my flesh going with it) and threw it against the wall, which did not faze it for a second. It saw Cuchulain jump into the bathtub and went after him and there was the sickening sound of that thumping and growling as I tried to get across the room in slow motion, yanking back the shower curtain only to have the rat run back up me and then be gone… but I thought I saw it everywhere… that dream was totally not familiar.

musings on seeing rothko’s black-on-black paintings, informed more than expected by the hollis workshop.

On Monday, September 27, 2010, I went to the East Building of the National Gallery of Art to see an exhibition of Rothko’s black paintings.

Mark Rothko, Untitled, 1964

Mark Rothko, Untitled, 1964

I peeked in, noted that there were seven looming black pieces on the walls, and for a fleeting moment felt what I imagine many people might feel when faced with this exhibition. Something within me recoiled. A wave of ennui rolled through. A sense of annoyance at perhaps being the butt of some joke about the definition of “Art.”

Most people who came in while I was there peeked in, maybe walked into the center of the room or once around its perimeter, and left. For me, a brief jolting desire to flee rose from some deep place inside, but a bigger part of me knew better and was committed to spending time with these works. I ended up staying with the paintings for over an hour. ((I would have stayed longer, but had a concert to get to later…)) In that time, one other person actually took time with the paintings.

Here is how I approach a room of Rothkos. It does take time. Go to the center of the room. Turn around slowly. Take in the effect of being surrounded by giant portals of color, or in this case, mostly lack thereof. Turn around so slowly that you see the different shapes and hues emerging from each.

Then, meet each painting individually. Begin at middle distance, normal gallery viewing range. Focus your eyes. Unfocus your eyes. In-between focus. Do this long enough that the painting shifts from being flat to having infinite depth as you start to perceive the layers and shapes in them. Notice how they disappear literally in the blink of an eye, and then re-emerge. Notice the feeling tone as the painting opens up.

Then, become intimate with the painting. I’m a rude weird ((I say it’s rude and weird because I see few other people doing it, and it means I’m obscuring the view for those people who maintain normal middle distance from the works.)) gallery attendee in that I always like to view the works as closely as possible. This is how you see the brush bristles, the cigarette butts, the finger prints, the technical details. This is how the artist first viewed the image as it emerged and when it was finished. When viewing Rothkos, this step is essential in order to experience being swallowed by the painting. With his larger paintings, your entire field of vision can be filled by color. This close encounter often magnifies or transforms the initial feeling tone of more distant viewing. This is how Rothko wanted us to view his works:

I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however – I think it applies to other painters I know – is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn’t something you command.

I also hang the largest pictures so that they must be first encountered at close quarters, so that the first experience is to be within the picture.

Rothko wanted people to experience his works as he did in their creation:

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

It is only through this intimate, direct encounter with a Rothko that his genius can be felt. And it is felt, not conceptually, intellectually grasped or understood. Once you have experienced it and felt it, you know it: Rothko was somehow able to paint the spectrum of human psychology ((I use the term psychology in its literal meaning: knowledge or expression of the psyche, defined by Jung as “the totality of all psychic processes, conscious as well as unconscious” (Jung, C.G. (1971). Psychological Types, Collected Works, Volume 6, Princeton, N.J.: Princeton University Press, Def. 48 par. 797))—the conscious and the unconscious. No figures, no words, just the bare experience of psychological states.

The first time I came face-to-face with a Rothko, I was moved to tears. I got it. I experienced it. I knew what he had been up to. Later, this intuition was confirmed when I read the following: ((I also felt like less of a weirdo for crying in front of a painting of such surface simplicity and meaninglessness. Later, I read Pictures and tears: a history of people who have cried in front of paintings, which opens with a description of an art historian being moved to tears upon viewing one of Rothko’s black-on-black paintings and this quote, from page 3:

There is no survey to prove it, but it is likely that the majority of people who have wept over twentieth-century paintings have done so in front of Rothko’s paintings. And of all Rothko’s paintings, people have been moved most by the fourteen huge canvases he made for the chapel that now bears his name.

The seven large paintings in the exhibit currently at the National Gallery were precursors of the chapel paintings.))

I am not an abstractionist. … I am not interested in the relationship of colour or form or anything else. … I’m interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions. … The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!

As I said, I stayed for over an hour. Yes, there were tears. I felt as though I were ripping myself out of the room when I had to leave. The black canvases had become enormous magnets, or warm stones in a stark, cold place.

Amused aside: I just now realized I only went into the first room of the exhibit. There was another room with nine more paintings. An excuse to go back?

The first Rothkos I ever spent time with were the big red ones usually on display at the National Gallery. I was sucked toward them by just a distant glimpse. So why the moment of recoil at the black paintings this time? There is much in the psyche we do not want to own. All of this is referred to in Jungian psychology as the Shadow—that in the Self which people consciously disown or disassociate themselves from, but end up unconsciously dragging around in a “long black bag.” ((Robert Bly’s phrase)) Personal growth necessitates periods of suffering, or “swamplands of the soul,” ((as per James Hollis)) which no one looks forward to. The Shadow and the Swamplands are typically associated with blackness and negativity. It is our reflex to recoil from them, as I reflexively recoiled from the paintings.

Of course, the paradox is, in Jung’s words:

…that in the very darkness of nature a light is hidden, a little spark without which the darkness would not be darkness…the lumen naturae is the light of the darkness itself, which illuminates its own darkness, and this light the darkness comprehends

Paul Levy expands upon this:

In contrast to a light that, as the Bible says, “shineth in darkness, and the darkness comprehended it not,” the lumen naturae, the light of lights, is a light that the darkness intimately recognizes as its own nature. The lumen naturae is the luminosity within the darkness recognizing itself as it illumines its own darkness. This archetypal experience of the luminescence of the divine being found in the translucent darkness is referred to in various mystical traditions by names such as the luminous darkness and the black sun.

What Rothko achieved in these paintings is nothing less than representation and communication of the “archetypal experience of the luminescence of the divine being found in the translucent darkness.” He painted le soleil noir. Of course the paintings are initially repellent to the conscious ego. The work of individuation is that of spiritual alchemy and requires diving into the darkness to recover the light within. Individuation requires the death of the ego as it knew itself at the beginning of the journey. But once one has begun and seen a glimmer of the lumen naturae, one is inexorably drawn toward the darkness in which it may be found. Thus, the paintings became magnets after I truly experienced them.

I believe Rothko was working on The Opus. He called his art religious art, though he was not religious. He claimed to deal with the Spirit of Myth and was preoccupied with “finding a pictoral equivalent for man’s new knowledge and consciousness of his more complex inner self.” In a radio broadcast with Adolph Gottlieb:

If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.. …(they) express something real and existing in ourselves.

One week ago today, I attended a workshop with James Hollis. He cited Jung as saying The Opus requires three things: insight, courage, and endurance. Psychology can help with insight. Courage seems like an intrinsic trait which one may or may not be able to uncover in oneself. Endurance, particularly in a feel-good, instant gratification culture so inimical to The Opus, seems to be the most difficult as it must be continuously maintained in the face of our being worn down. Hollis says that we wake up every morning with two demons at the foot of our bed: fear and lethargy. To triumph over these and get out of bed is an heroic act. I know I have insight. I have confidence in my ability to muster courage. But I am prone to overwhelm and sometimes worry about my capacity for endurance. Perhaps I am projecting…

In 1967, Rothko completed the black-on-blacks. In 1968, he reduced his palette to brown, gray, and black. In 1970, he slit his wrists in his studio, overdosed on antidepressants, and died.

I believe that getting stuck in and swallowed by the nigredo stage is one of the risks of setting out on The Opus. The immensity of the Abyss can sap endurance and stifle vision. Seeing your own life against the scale of the Abyss can change your perspective on your mortality. At the workshop, an attendee asked Hollis about suicidality. In his response, he said something about it sometimes being a case of the ego choosing bodily death rather than face ego death.

I have not studied Rothko’s life or body of work in depth, and no one can really know why a person chooses to commit suicide. I only wonder what we might have seen if he was indeed stuck in the nigredo and had chosen egocide over suicide. What might he have created had he re-become himSelf? Maybe nothing. Maybe something more glorious. Can’t know.

I do know that the black paintings currently on display are products of genius, and that simply thinking about them now evokes the same feelings of wonder, awe, grief, gratitude, despair, comfort, fear, courage, smallness, strength, of being a stranger, and of being at home that I felt in the room with the canvases. All simultaneously. That is the beauty of the lumen naturae.

tattoo.

I don’t really care to cover much more of myself with tattoos.

This does not work for the location I would want another tattoo (to balance the one I already have).

However, now that I’ve seen this, I want it as a tattoo.

Oak

Oak

Another oak-related thing I ran across on the Interwebs today:

Tim Murphy gave me a different vision. He wants to be buried toxin-free and naked, ass up, in the fetal position, with an acorn up his butt. “Plant me, and plant a tree. Years later you and others can come sit under my shade, harvest some acorns, and celebrate what is possible.” (source)

Sounds much better than traditional burial or cremation to me. And made me laugh, too.

bird-men (and women).

Since my woodpecker-monkey-man dream, this sort of imagery has been up, up, up.

This does not include any of the Egyptian bird-headed gods or shamanic bird masks/cloaks/headdresses.

Page from Bittersweet Dreamsyrup for Melancholics, by Henrik Drescher

Page from Bittersweet Dreamsyrup for Melancholics, by Henrik Drescher

Chick-man?

Chick-man?

Bird-man by Clive Barker

Bird-man by Clive Barker

Bird-man street art

Bird-man street art

Bird-man rock painting, Easter Island

Bird-man rock painting, Easter Island

Anzu, Zu, or Imdugud: Sumerian Bird-Man

Anzu, Zu, or Imdugud: Sumerian Bird-Man

Bird-man of Lascaux

Bird-man of Lascaux

Tangata manu paintings

Tangata manu paintings

Maori wood carving

Maori wood carving

Toltec fresco

Toltec fresco

Garuda, Ubon Ratchathani, Thailand

Garuda, Ubon Ratchathani, Thailand

Pre-Columbian bird-man

Pre-Columbian bird-man

Owl-man, unsourced

Owl-man, unsourced

Aboriginal drawings at Eagles Ranch, Australia

Aboriginal drawings at Eagles Ranch, Australia

Nazca line bird-figure, Peru

Nazca line bird-figure, Peru

Neo-Assyrian bird-headed god from Nimrud

Neo-Assyrian bird-headed god from Nimrud

Sirens seducing Odysseus

Sirens seducing Odysseus

Pre-dynastic terracotta Egyptian goddess

Pre-dynastic terracotta Egyptian goddess

And that’s not touching Horus, Thoth, etc…

don’t mean to bore you with the details of my story.

I had an exceedingly weird morning. I wish I could remember the exact phrase used, but it was an exceedingly weird morning, so I don’t. But in the course of it a person said something like: from what they could tell of me (or knew of me, or had heard about me), I was a person who was familiar with (or knowledgeable about, or not afraid of) extreme emotional (or psychological) states.

However the last two parts were put, they’re true. But I wasn’t aware that this is an obvious or well known fact. Two years ago the person’s statement would have made me anxious and terrified everyone thought I was crazy. But today I’m just going, “How exceedingly weird. Well, it’s true. Curious.”

A while back I picked up a little book by Arnold Mindell called Working on Yourself Alone because I had become interested in the idea of autopsychotherapy after reading Dabrowski. Because I accumulate books like a squirrel accumulates fleas, I put it on a shelf with the rest of my growing psychology/psychoanalytical collection, expecting it to push itself forward on the shelf at me one day.

Today was the day. In the past couple of weeks I’ve been thinking about bodywork and emotional release and I’ve run across several random references to Mindell and/or process-oriented psychotherapy. This morning I saw the book from my bed and remembered it has stuff about bodywork and somatic experience, so I sat down with it for breakfast.

A passage I marked:

The way awareness works in us is, I believe, by constantly and patiently chipping away at our lives in order to bring out our original form, visible in our childhood dream, in our personal myth. Jung found out years ago that what we call early childhood dreams and incidents are patterns governing our life-long process. If you dreamed as a child that gangsters were after you, then you may frequently feel like a good person constantly confronted by a gangster-like secondary process. Everything which happens makes you aware of the limitations of your goodness and sweetness and how it keeps out your own gangster-like drives.

Being aware, then, means being aware of not only the short-term situations in our lives, but also our personal myths, childhood dreams and memories, as well as of the observers in us who use our awareness.

Two things about this quote struck me:

1. “the observers in us who use our awareness”
I’ve always been keenly aware of the multiplicity of Is in my interior experience, including observers and commentators.

The chill up my young spine when I first heard the story of the Gerasenes demon, intoned dramatically during a sermon: And he answered, saying, “My name is Legion: for we are many.”

A very different sort of chill upon reading Whitman:

Do I contradict myself?
Very well then I contradict myself,
(I am large, I contain multitudes.)

For most of my life this was terrifying. At worst, I was afraid I was going crazy. Next worst, that I’d slip up and say things that would make others believe I was crazy. At best, this way of being is clearly unacceptable in this culture of ego building and boosting, where you are supposed to know—and clearly display through identity claims and consumer patterns—your Self and what you want, feel, and believe and what the one truth of each matter is, as if these are singular, clear, and well-defined.

In the past 18 months, I’ve finally learned not to be frightened of the way my mind works. Fear of going crazy indicates recognition that what one is internally experiencing does not align with what one would typically experience as the reality of the situation or the expected “normal” response to it. The ability to recognize a disconnect between one’s non-typical experience/perception and the expected, normal experience/perception of reality demonstrates intact reality testing and awareness of one’s mental state. Intact reality testing and awareness of one’s mental state are the opposite of mental illness.

Knowing this makes the difference between overwhelming anxiety and “But I’m not crazy, I’m just laughing at myself.”

Dabrowski, Jung, Mindell, and others see identifying the multiple levels or parts of the self, working with them, and establishing integration as the path to optimal mental health. Insistence upon singularity of self is seen as lack of development and/or the fast lane to neurosis and psychopathology.

It doesn’t take much reading about positive disintegration, spiritual emergencies, shamanism, trauma, peak experience, ego death, and non-ordinary states to understand that, by this culture’s definition, the following would all be crazy and should “talk to their doctors”: saints, mystics, visionaries, indigenous healers, the enlightened, and many highly creative and brilliant creators in the arts and sciences. Not that being “crazy” makes you any of these things… but a reminder that classification and definition is always embedded in something larger with its own priorities.

2. Jung found out years ago that what we call early childhood dreams and incidents are patterns governing our life-long process.

My most vivid recurring childhood dream: I am up in my treehouse. The house part is smaller than the platform it sits on, so I can walk all the way around the exterior of the house. I am doing so, carefully avoiding stepping on any shadows cast by the tree branches. I know that if I step in a shadow, something unthinkable will happen that involves being sucked into the shadow. All I know is that this is to be avoided at all costs. Then the sun starts moving faster across the sky. The shadows start sliding faster across the platform. I have to walk faster to avoid stepping the wrong way. And it all continues to accelerate until the sun is spinning around the sky and I’m running as fast as I can, getting dizzy from watching my feet and everything spinning. And then I wake up terrified.

Vivid childhood incident 1: My parents take me with them to their friends’ house. I am in kindergarten or first grade. I go outside to play with their son who was caught poking me with straight pins when I was younger. For some reason there was a deep hole dug in their back yard. The boy took me over to show it to me. I stepped closer to peer down into it and asked what the hole was for. “It’s where the Devil lives.” Sudden hard push between my shoulder blades and laughter. Tumbling headfirst in, sand in my eyes, sand and blood in my mouth from biting my tongue, breath knocked out, believing I must be dead.

Vivid childhood incident 2: For reasons I don’t recall now, I want my mother’s attention. I have a sense of urgency about something, and I’m holding something in my left hand. I am on the shore of the lake across the street from our house. My brother is still in diapers and toddling if walking at all, so I must be between four and five years old. I don’t know how to swim. My mother is out in the lake with a friend, hanging on a float so it looks like she’s standing up in the water. There are other people around and kids playing. Frustration and starting to walk out into the water, repulsive slimy muck from the floor of the shallows extruding between my toes. A little further and the lake floor feels cleaner. A swirl of cooler water brushes around my legs. A little further and the lake floor is suddenly absent. The image of the dark water scrolling up my field of vision like an upside-down window shade and the sensation of sinking like a stone.

It amuses me to imagine a bringing these to a first session with a Jungian analyst. I haven’t mentioned the burn and the fire, the tornadoes and hurricanes, the snakes and spiders, and all manner of other things that would make my autobiography read like a heavy-handed allegory of archetypes and symbols.

If these sorts of things are patterns governing my life-long process, it’s all about the descent and there is no use fighting it, fearing it, despairing over it, denying it, running from it, or trying to hide it. It’s the Abyss we’re talking about; people don’t usually refer to great happiness, contentment, love, gratitude, etc. as “extreme emotional states.” Yes, last summer I was writing about building a lake house on the shore of the Abyss. Since coming to terms with the fact that I’m never going to have a sunny beach house, I can see it is actually a pretty nice place. I’m just not used to random people having my address or popping round for a visit.

voices.

On my mantel, I have constructed what I refer to as the “Voices altar.” ((I use the word altar, though it is probably more correctly called a shrine, but the word shrine calls up images of men in fezzes on tricycles, which is not what I’m going for here.)) It is a place to remember gratitude and connectedness, not to worship. I have arranged images of people whose voices have gotten me through, convinced me I was not the only one like me when I felt most alone, and essentially collectively saved my life. Call them part of the pantheon in my personal mythology.

Henry and Anaïs
I won’t go into who all is represented, but the crowd includes both Henry Miller and Fred Rogers, so it’s an interesting bunch.

D.H. Lawrence
is included. In high school I read The Rainbow, Women in Love, and of course, Lady Chatterley’s Lover. Lawrence’s books may have been the first place I got the message that sensuality and sexuality could be reveled in without shame, guilt, or fear. That they might be celebrated instead of denigrated. That they are part and parcel of spirituality, and that spirituality is a different beast than religion. That life itself is to be celebrated instead of tolerated or suffered until one gains entrance to “a better place.”

So, thank you D.H. Lawrence.

Holly Gray at Don’t Call Me Sibyl is also grateful and writes in An Open Letter to D.H. Lawrence:

But your bird inspires me and awakens the feral in me, reminding me of the wild thing I once was and can be again. The ropes that hold me down are merely the ghosts of ropes that dissolved long ago. My illusions are all that oppress me now.

I was grateful to run across that post while skimming over Dr. Kathleen Young’s July 2010 Blog Carnival Against Child Abuse. The theme was Independence.

What I have been wondering is how to gain independence from the tyrannical need to be “independent.” From the outside this “independence” easily appears strong, sure, and self-sufficient. From the inside, one can romanticize one’s life and identify with D.H. Lawrence’s Baby Tortoise ((Remember, sometimes tortoises help tortoises, too.)):

Voiceless little bird,
Resting your head half out of your wimple
In the slow dignity of your eternal pause.
Alone, with no sense of being alone,
And hence six times more solitary;
Fulfilled of the slow passion of pitching through
immemorial ages
Your little round house in the midst of chaos.

Over the garden earth,
Small bird,
Over the edge of all things.

Traveller,
With your tail tucked a little on one side
Like a gentleman in a long-skirted coat.

All life carried on your shoulder,
Invincible fore-runner.

If you look closer, however, you see the independence is brittle. It is brittle because it is fear, not independence. When one learns certain lessons early in life, one learns it is less painful just to turn inward and become an absolutely self-sustaining emotional unit. Like many coping mechanisms, this works brilliantly when needed, but later becomes unhelpful and extremely difficult to shake.

When I first heard about it, I thought Biosphere 2 was an inspiring, beautiful concept. But rather than succeed as a hermetically-sealed self-sufficient paradise, that project demonstrated how quickly such a system can poison itself and become infested.

The child who learns not to get attached to people and that emotions and needs get her into trouble becomes the woman who insists upon being dropped off at the emergency room by herself, calls no one to come when she learns she will have surgery, and recovers from the operation alone except for one friend bringing pajamas and books to the hospital, another fetching her home, and another bringing a load of groceries and drugs the first night.

Such habitual defenses are so difficult to shake precisely because they are rightly owed a spot on the Voices altar. Donald Kalsched writes of an inner Protector/Persecutor as part of what he calls the archetypal self-care system. The Protector aspect devises the defense strategies, and the Persecutor aspect attacks and blames the self when it goes beyond defenses and gets hurt:

It functions, if we can imagine its inner rationale, as a kind of inner “Jewish Defense League” (whose slogan, after the Holocaust, reads “never Again!”). “Never again,” says our tyrannical caretaker, will the traumatized personal spirit of this child suffer this badly! Never again will it be this helpless in the face of cruel reality….before this happens I will disperse it into fragments [dissociation], or encapsulate it and soothe it with fantasy [schizoid withdrawal], or numb it with intoxicating substances [addiction], or persecute it to keep it from hoping for life in this world [depression]….In this way I will preserve what is left of this prematurely amputated childhood — of an innocence that has suffered too much too soon!”

Despite the otherwise well-intentioned nature of our Protector/Persecutor, there is a tragedy lurking in these archetypal defenses. And here we come to the crux of the problem for the traumatized individual and simultaneously the crux of the problem for the psychotherapist trying to help. This incipient tragedy results from the fact that the Protector/Persecutor is not educable. The primitive defense does not learn anything about realistic danger as the child grows up. It functions on the magical level of consciousness with the same level of awareness it had when the original trauma or traumas occurred.

And so the question is: how does one convince an uneducable part of oneself that is about as trusting as a feral cat to open up and connect fully with people when the nature of the world and everything in it is impermanence? The trouble is finding the middle place of being with between grasping and rejecting ((i.e. grasping at not-grasping)). With every loss, disappointment, or betrayal the Protector/Persecutor picks up another beam of evidence with which to beat you and then build walls.

Kalsched says the answer is grief.

Those in the know say blog posts should be brief.

if what a tree or a bush does is lost on you, you are surely lost.

Lost

Stand still. The trees ahead and the bushes beside you
are not lost. Wherever you are is called Here,
And you must treat it as a powerful stranger,
Must ask permission to know it and be known.
The forest breathes. Listen. It answers,
I have made this place around you,
If you leave it you may come back again, saying Here.
No two trees are the same to Raven.
No two branches are the same to Wren.
If what a tree or a bush does is lost on you,
You are surely lost. Stand still. The forest knows
Where you are. You must let it find you.

— by David Wagoner, reproduced in David Whyte’s book, The Heart Aroused: Poetry and the Preservation of the Soul in Corporate America, p. 261-2.

When I was a child, I named the trees around our various houses ((One year we had four in three states. Sequentially, not simultaneously.)) and had a ritual of walking to each of them and saying hello. In fourth grade I wanted to be a dryad. I wrote something for school in which the main character was a dryad. I don’t remember anything about the plot, but I do remember my teacher marking off points because, he commented, you cannot just make up words like “dryad.” ((In studying library and information science, I have learned it will actually get you cited a lot if you make up new words.)) I tried to explain to no avail, and remember this moment clearly—a snapshot of impotent frustration and rage.

Since I began working as electronic resources cataloger at Davis Library on January 11 of this year, I have crossed McCorkle Place nearly every work day. Here is a description of McCorkle Place from a June 18, 2008 UNC tree and foundation plant evaluation of the space:

Over 680 taxa were cataloged. The number reflects the building foundation shrubs and small trees. However, the essence of McCorkle resides in the splendid diversity of noble trees anchored by the Quercus alba, white oak, with 88% (22/25) rated “high” and three “moderate”. These white oaks may parallel in age those on Polk Place. The exciting aspect is the exceedingly vibrant health of these trees. Canopies were full and dense, foliage saturated blue-green, leaves plump and oversized, bark and trunks without wounds and abrasions.

At least 15 Quercus taxa were identified at McCorkle. In fact, the genus constitutes 54% of the total trees. The three Quercus michauxii (could be Q. montana), swamp chestnut oak, are magnificent. …

…McCorkle should never be cluttered with small-stature trees. The great boles of the noble trees, the canopies providing cooling shade, architectural winter silhouettes, subtle to riotous fall colors, early fresh green from the Liriodendron to the mouse-ear-gray and -pink of the Quercus alba…Heaven-sent. McCorkle only needs tweaking.

All of that and it’s the cement-filled Davie Poplar that gets everybody’s attention.

I consider mindfully walking through this space to be part of my spiritual practice. Of course, some days I miss it completely because I am trying to explain things to a maladaptive introject or planning my work tasks for the day. But most days I am silently saying hello to the trees, thanking them for their lush shade, and feeling the places in the brick path where their roots create subtle bumps.

Family portrait

Family portrait

In April, there were many “small-stature trees.” They sprang up where the large-stature trees had dropped their acorns. I’m not sure what was done to them, but it wasn’t friendly, because the areas beneath the trees were soon covered in neat, clean mulch with no fresh green popping through.

Looking out at the big wide world

Looking out at the big wide world

Over time names have come into my head for some of the trees. One is Jonah. My favorite is Dancer, the “mom” in the above family portrait. I was slightly horrified on Monday to come upon her surrounded by caution tape, one of her limbs cut into pieces on the ground beneath her. Her large lower limb ((the one on which a barred owl perched and stared me down while being pecked by mockingbirds)) now has a scar from this higher limb’s fall.

Jonah's foot

Jonah's foot

There are certain things that come up time and again in my own personal mythologizing (or psychologizing), and thus my dreams, my art, and my words. Trees are one of them, which is not surprising given the richness of tree symbolism across world cultures. It is time for me to begin writing about these symbols and themes in a more organized manner than I have in the past, so this may be the first in a series of personal mythology posts. We’ll see. ((I have taken to saying this a lot in the past year, usually with a smile, and always thinking about the linked story.))

At any rate, two lovely tree-related things that have nothing to do with me except that I’ve purchased them:

The Night Life of Trees

The Night Life of Trees

Book: The Night Life of Trees by Bhajju Shyam, Durga Bai and Ram Singh Urveti

Intricately drawn visions of trees fill the pages of this sumptuous book of art and folklore from the Gond tribe in central India. In Gond belief, trees stand in the middle of life, and the spirit of many things lie in them. They are busy all day, giving shade and support and shelter and food to all. Only when night falls can they find rest for themselves, and then, under quiet dark skies, the spirits that live in them are revealed. Recreated from original art by Ram Singh Urveti, Bhajju Shyam and Durga Bai, three of the finest living artists of the Gond tradition, The Night Life of Trees is a tribute to the majesty of trees, and to old ways of relating to the natural world. Each painting is accompanied by its own poetic tale, myth or lore – narrated by the artists themselves recreating the familiarity and awe with which the Gond people view the cosmos.

Necklace: Tree of Life pendant from ccvalenzo on etsy. The shop carries the same tree image on pendants of different shapes and colors. I’m very tempted to pick up a black and white one.

Tree of Life pendant

Tree of Life pendant