Tag Archives: imagination

… remember me – the body implores …

Day and night we receive and tie up new thoughts, mostly subliminal. By keeping track of this neuron dance we find fresh associations that expand the architecture of our imagination. Sudden insights lift our spirit. Frequently practical innovations arrive, novel ways of doing things. But with thoughts adrift, we often fail to be present to our bodies, and this neuron dance turns mechanical. We may be hampered by depression, presently a global dis-ease, but life perks up a little when we listen to our body.

‘Remember me,’ it implores. ‘Love me, give me attention.’

Stretching limbs calms the stress in fascia tissues and muscles, stirs the senses, and deepens breathing. Food tastes better, small things delight, movement gives pleasure.

‘We are souls dressed up in sacred biochemical garments and our bodies are the instruments through which our souls play their music.’ … Einstein  

The unconscious collective psyche continuously churns up vital signals through the body, but has long been denigrated by wrong-footed ideologies … the greatest crime against humanity, since the neglect of nature’s voice led to the abuse that threatens the balance of life on this planet, and our health.

Nature – the wild, matter, psyche breath, being, anima, the feminine principle – contains all life. The term has acquired many slants of meaning during previous centuries. We have now established frames through which nature is perceived … the scientific, economic, political, apocalyptic, holistic, visionary, philosophical, romantic, and the spiritual frame, for example. Each outlook influences the relationship we have with nature, as a person, group or nation.

Since all human innovations are inspired by nature, every manmade thing is natural, yet by lengthening the duration-span of too many products, nature’s cyclic process of decay is disrupted, often with dire consequences. It’s like stuffing ourselves with food the body can neither absorb nor digest. Controlling nature’s rhythm does not work. The best we can attempt is to seek rapport, fall into step, attune and harmonise with this dance we are part of.

Quite likely all the varied frames which determine our relationship with nature were formed by the wish to make the unconscious force of the wild psyche more bearable.

We demand nature’s protection. This includes humans. Do the ecological villains among us also deserve protection? In a psycho-therapeutic practice this would be considered as the expansion of consciousness through befriending and owning the shadow. I forever wish this map of knowledge was introduced to the educational curriculum.

First call is the body. If the body’s messages are fully received (giving varied frames their due) and understood (in a deep loving sense,) the messages are always essentially true. Only humans manipulate and deceive, by ignoring and belittling nature’s raw truths. The planet suffers the same neglect. Our best efforts at deep listening will always be partial.

I count on the constant minority that grasps a wide spectrum of meaning in relation to every rift that endangers our world. While this minority tries to uphold a wider view, as a small collective it is not geared for action, knowing well that whatever succeeds in being legally determined cannot please all, but usually intensifies disagreements, especially in cultures where emotions and thoughts are censored for political ends.

One could say the will to action is diluted by the wider view. But there exists a subtler use of the will, like rehearsing positive outcomes, which requires imagination. Efforts of this subtle will are hardly visible; but they no less influence and create our reality. This subtle will is based on trusting the intelligence of nature, of soul, the One Being, the Spirit of Guidance.

A prayer/song by Hazrat Inayat Khan:

Let thy wish become my desire

Let thy will become my deed

Let thy word become my speech beloved

Let thy love become my creed

Let my plant bring forth thy flower

Let my fruit produce thy seed

Let my heart become thy lute beloved

And my body thy flute of reed

Crossing and bridging divides is the theme of my life. As a child I came to believe in a spirit that guided me, sparked by a print that hung in my paternal grandparent’s bedroom, where a guardian angel leads a girl and a boy along a rickety bridge across a ravine with rapids rushing below. The image left a deep impression, and, over the years, similar images appeared in dreams, revealing the scene’s symbolic power. Training and working as a transpersonal therapist I often helped clients to explore the complex relationship between the masculine and feminine principle (Anima and Anima) active within each individual and across the gender divide. But most useful work on the road to greater wholeness begins with listening to what the body knows, and, by implication, what the self-regulating planet tells us.

The theme of bridges plays in my novel, Course of Mirrors, and continues (in the sense of bridging time) in a sequel, Shapers, which I hope to publish this or next year.

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… excerpt from Shapers – sequel to Course of Mirrors …

‘the Seed,’ painting by Silvia Pastore

 ‘Shapers’… the end of chapter 6

The random excerpt of Shapers, below, is where I’ve got earlier today while working through a last round of revisions, before proof reading and formatting towards an initial e-book, if I find the funds. From Course of Mirror’s mythic theme, the cast re-appears in a future SF setting, not on other planets, but on earth. The main protagonists, Ana, Cara and Mesa, connect back and forth in time. They are really one and the same, a triple soul. It’s a compelling work of the imagination with strong, memorable characters. Even my son agrees 🙂

* * *

The hall rocked with the rhythm of drums. All eyes were on Zap, who did a thrilling dance with silk ribbons, and at the same time juggled a round of colourful balls. They slid down his back and legs and with a kick of his heel were flipped back into rotation. He spotted Mesa and waved his ribbon, inviting her to join him, which she did, with sudden abandon. Her responsive dance provoked gasps of admiration. Elim stepped up with his violin, improvising melodies to Mesa’s sensual movements. Her waist undulated between the flowing ribbons, while her arms rippled like snakes.

The sight filled Cara with happiness, until she spotted Dillon staring at Mesa with rapture in his eyes. An intense bout of jealousy overtook Cara. Her lover was a pushover for mystery. When the muse grabbed him all else ceased to exist. She invited the pain, almost welcoming the torture of feeling rejected, though reason argued that Dillon’s infatuation would pass, like any storm, eventually. Still, she felt inept. And yet, only an hour ago she herself was irrationally impressed by another man. What was his name? He was not unlike Dillon, yet different, obscure, and more complex. The thought of him made her skin tingle as she ploughed through the crowd in search of Tilly, and the stranger.

The Stranger

Gart had escaped the festivities. Standing at the cliff’s edge, he clutched his flapping cape, while shouting into the storm, into the void. “Talk to me!” A deep rumble shook the ground. “What is it I am? Answer me!” A blinding streak of lightning split the night and dispersed across the fluid orb of black waters. “Who dropped me here? Take me home to my name.” Thunder resounded in his skull, a force surged through him, fused his feet to the rock under him, and roused senses he had no words for. “What’s expected of me? These people here … they sap my strength, and … I glimpsed something I’ve never seen before … forms behind things … behind her.” As if in response, the apparition of a woman, illuminated from within, rose from the waves below him. Gart sunk to his knees. What are you?”

A name echoed from the cliffs, but was drowned out by another clap of thunder. The spectre of the figure scattered into shards of silver speeding out in all directions, the sea, the sky, across the sweep of rocks called Kerry.             

“Aren’t the waves magical?”

Gart turned towards the voice and was confronted by the girl, Mirre, who by casually touching his shoulder at the banquet had made the hall spin. What was it about her? “Stay away from me!”

“Why?” Mirre’s eyes sparkled from under her windblown red curls.

Her candid question annoyed and intrigued Gart.

Mushki, having caught up with Mirre, skidded to a halt. Searching his holdall, he set up a tripod, screwed on a camera and focused the lens towards the flashes at the horizon. “You,” he motioned to Gart, “you obstruct my view.”

“Don’t be rude,” Mirre said. “Here, use my tablet. It records images in three or more dimensions.”

“No thanks. If I keep the shutter of my lens open I get the effect I want,” Mushki said, and readied himself. He was in luck. Another rumble … giant branches of light filled the sky.

Mirre shrugged and fixed her gaze once more on Gart whose looks reminded her of Crim, her favourite author of animations. “Tilly says you’re a Guardian. Their red uniforms are grand, but you’re not wearing one.”

A spasm gripped Gart’s spine. His head throbbed, and the memory of his identity flooded back. His eyes darted from Mirre to the ivy walls of the estate, to the bay where he glimpsed his airbus, and back to the girl. He burned the image of Mirre’s freckled face into his mind, turned on his heels and dashed down a path towards the beach, away from the chaos that had gripped his mind, familiar faces he couldn’t place. His Guardian training should’ve protected him from such emotional turmoil. What was wrong with him?

He now recalled a repeated interference on his console while heading for Rhonda after his spying mission in Sax. Someone called Zap seemed lost in Derrynane. Annoyed, yet curious, he had demanded his craft to find the place. Then the horizon wobbled, and as if taken over by some spook, he nearly crash-landed on this alien stretch of coastline.

With shaking hands Gart pointed the sensor towards the dolphin-shaped airbus glinting in the dusk. The craft responded. The signal light came on. Only a few more steps and he would be able to lift off from this bewildering place. A sense of vertigo made him stop. All sound ceased. For a brief moment he felt as if his body did not belong to him. Into the silence stirred a soft breeze. An invisible hand seized his and led him to where the water lapped at the sands. Before him the air wavered and the shape of an old woman appeared, more ancient than the yew trees on the peninsula. The crone looked at him like a fox, tilting her head. Her voice was firm. “When a heart cracks its myths flow free and the stories of river and sea mingle.”

Gart opened his mouth and closed it again. A melodic tune drifted across the waters.

Twinkle, twinkle, little rat … how I wonder what you’re at …

A subtle fragrance reached his nostrils bringing memories. Years of harsh drilling for leadership had sealed away images of his childhood. An ornamental garden with birdsong and blossom, a nursery filled with flowers, toys, and humour – a woman reading dreamlike stories to him. Children raised as Guardians were not read stories. They were trained from infancy to obey commands. He was different. Phrases he used as triggers to control his army had no effect on him. He tossed his hair back trying to shake off the confusion. The crone watched him. He realised his thoughts were exposed to her ageless knowing.

“You were led here to experience the sweet agony of emotion, what it’s like to be lovesick, and to yearn for a lost place,” said the crone. Her words seeped under his skin.

A gentle wave splashed over his feet. His toes squished in his sandals. Droplets of sweat soaked his brow. What was she talking about? He glanced back at his craft. Would the tide reach it? He must get away.

Heat shot up his spine when Cassia took a step towards him. “Stop your haste. Imagine deeply. What do you desire? Listen to what the sea whispers in your ear. Accept contradictions. They’re indispensable. You were raised to command the Guardians for a purpose.”

His head hurt. His skull seemed too small to accommodate this garbled talk. He blinked as the crone became fuzzy, then transparent, and finally vanished altogether.

Her last words echoed, “A woman needs your help, and you’ll need hers.”

Gart rubbed his eyes, squinting at the shimmering air before him. Some Shapers were known to materialise out of thin air. Was she one of them? Clinging to his wits he rushed to his airbus and fumbled with the console. How can the sea whisper? And how can a heart crack? His curiosity had often led him to unearth illegal information. He knew how to access a glossary of emotional terms outlawed in Rhonda.  Agony – another troubling term – sounding like a woman’s name.

  *   *   *

In late May I visited London – for the first time in almost three years. I met with my son, his wife, and her mother from Darwin. We visited the Tate Modern exhibition on ‘Surrealism without Boundaries.’ That’s for another post.

I’m grateful for any small support on patreon https://www.patreon.com/posts/its-been-almost-67178389

 

 

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… how past and future flipped their meaning …

Painting by Theodor Severin Kittelsen

I noticed that since the lockdown of active living was brought in to control the spread of the Corona virus … the isolation from social engagement has affected children and the elderly in different ways.

The middle group, people who kept our social systems functioning, deserve deep gratitude. The work pressure surely involved intense stress and risk-taking.

As for children and young people, bursting with energy and hungry for experiences, I felt for them, being trapped in often cramped homes, while having their future projects halted. No rite of passage events, no opportunity to find their tribe, dreams lost in a distant mist, a mirage on the horizon, where sky and land meet. Recalling my own childhood and youth, I find it hard to imagine the sense of futility and sheer frustration. Some kids will have coped better with this situation than others, not least because there is now the internet, zoom, and generally the disembodied metaverse to engage with, but to what end, when bodies become redundant?

The elderly, to which I belong, for whom work and social engagement may have slowed, and then jolted to a standstill during the past few years, have at least the advantage of a rich and often meaningful past. At best, they can make use of an enforced solitude to regain contact with the unconscious, travel inwards, and use the overview from a distance to lift and re-weave the threats of their lived experience.

From where I observed the young and old sections of society, it seems that past and future flipped their meaning in relation to the expansion of consciousness, and, dare I say it, soul-making, which requires the organic experience. Compared to a bland future, the past holds abundant treasures for the imagination, and an almost luminous creativity. 

As long as I remember I felt a desire to deepen my understanding of time and space, nature, human behaviour, the sciences, people’s perception and differences, the collective psyche … to which end I travelled to seek adventures, read countless books and studied many subjects, some of them formally, like philosophy, spiritual traditions, psychology, mythology, art, photography, film and video, each time meeting interesting and inspiring groups and ideas. I was too involved with people to value the poems and stories I wrote, until my introspection flowed into a novel, ‘Course of Mirrors,’ and a soon-to-be sequel, ‘Shapers.’.  

I’m presently reading Italo Calvino’s ‘Invisible Cities,’ a dreamlike dialogue between Kublai Khan and Marco Polo about imagined or memorised cities. A sentence I came upon yesterday sparked this post …

“You reach a moment in life when, among the people you have known, the dead outnumber the living … “

This does not yet apply, but I get it. During the last three decades I lost over 20 dear friends, including my parents, not taking into account writers and public figures I admired. Grief meanders freely in my mind, is palpable, and unavoidable. Yet, due to their influence, all significant people that died during these last three decades live on in my psyche.

While my physical engagement with people has slowed these last years, time itself has dizzyingly sped ahead, which, for me, is enough reason to resurrect the embodied insights of past decades, if only to defy a sensational but boringly flat metaverse. Young people might of course have a totally different view.

Several themes were on my mind to write about here this month, until this curious thought of a reverse past/future junction came up last night. So I wonder if my reflections resonate with some of my readers, especially those of you in the second half of their lives.

My week living in a cave on the island of Elba

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… ‘Spanish Dancer,’ by the Austrian poet Rainer Maria Rilke. My English translation …

Last month I shared my translation of one of R M Rilke’s Sonnets. Following on, I dug up the poem ‘Spanish Dancer,’ by Rilke, thinking that after our dark moon phase, we could do well with connecting to the Carmen spirit so powerfully expressed in the flamenco dance. When translating poems from German I mainly disregard form & rhyme, instead I try and lift the feeling and essence I experience while reading.

The wonderful image is from a 2014 photo exhibition I saw in Amsterdam. So sorry, I don’t have the photographer’s name.

SPANISH DANCER

As a match, struck by the hand, white,

before turning to flame, breaks out

into flickering tongues, so within

the circle of close onlookers begins,

quickening, bright and hot, her spiral

dance to flicker and catch.

And suddenly it is flame, fully flame.

With one glance she ignites her hair

and in an instant swirls with daring skill

her entire dress into this ardent blaze

from which, like startled serpents, her

naked arms dart alive, rattling.

And then: as if the fire might relent, 

she gathers it all in and casts it off,

imperious, with a gesture of contempt,

and sees: there, raging on the ground

it lies flaring on and will not submit.

But victorious, assured, with a sweet,

hailing smile she raises her face

and stamps the blaze, with small, firm feet.

Spanische Tanzerin, Rainer Maria Rilke, Neue Gedichte, 1907

Translation: Ashen Venema

Spanische Tänzerin

Wie in der Hand ein Schwefelzündholz, weiß,
eh es zur Flamme kommt, nach allen Seiten
zuckende Zungen streckt -: beginnt im Kreis
naher Beschauer hastig, hell und heiß
ihr runder Tanz sich zuckend auszubreiten.

Und plötzlich ist er Flamme, ganz und gar.

Mit einem: Blick entzündet sie ihr Haar
und dreht auf einmal mit gewagter Kunst
ihr ganzes Kleid in diese Feuersbrunst,
aus welcher sich, wie Schlangen die erschrecken,
die nackten Arme wach und klappernd strecken.

Und dann: als würde ihr das Feuer knapp,
nimmt sie es ganz zusamm und wirft es ab
sehr herrisch, mit hochmütiger Gebärde
und schaut: da liegt es rasend auf der Erde
und flammt noch immer und ergiebt sich nicht -.
Doch sieghaft, sicher und mit einem süßen
grüßenden Lächeln hebt sie ihr Gesicht
Und stampft es aus mit kleinen festen Füßen.

Aus: Neue Gedichte (1907)

Also, seven years ago I shared here my English translation of Goethe’s Zauberlehring, an ever relevant theme, now more so than ever. https://courseofmirrors.com/2014/10/09/the-sorcerers-apprentice/

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… inner radio channels …

Some mornings I wake to a cacophony of inner voices. I call them inner radio channels. From my introvert abode, I let the din be and digest impressions, images, readings, dreams and ideas in slow motion, waiting for my mind to clear towards a reflective theme for the day. A trick of light or a robin coming close might mute the noise. Watching the information flow by, my mind’s digestive system tries to keeps a fragile balance, often via leaps of the imagination that defy logic but help me bypass the mood of futility that circles the worldwide wide web these days.

The lockdown phenomenon of this pandemic has brought my sense of time circling like a lullaby round my heart. Lacking the animated exchanges and stimulations during physical meeting with friends, I rely on what I read, dream or observe in nature to feed my dialogues with life. Beyond repetitive daily tasks my memory travels inside, back and forth recent decades, re-examining relationships with people and places I lost.

Many of you may have a similar experience, and many of you, like me, may have put projects on hold.  After my diary from last year yawned at me with blank pages, I didn’t bother getting another for this year, though I friend gifted me a wall calendar to keep track of days. What can we do unless abide in humility, hopefully to receive insights into what this pause in activities has to teach us, what we can be grateful for, and what fresh opportunities lie ahead?

Incidentally, a third novel I started some years ago, Mesa, deals with the theme of time slowing down. I must have felt it coming. Presently I am procrastinating with the final edit of Shapers, the sequel to Course of Mirrors. In the sequel, as well as well as in the threequel, the familiar characters of Course of Mirrors move into the far future. I wish I had the motivation to seek a publisher for these next two novels. I will however do my utmost to make them available as e-books.

Recently I posed a question to my twitter friends, where I am @mushkilgusha, I asked:

‘What is the most mysterious object in our world?’

A fascinating thread ensued; veering into the abstract, until an intuitive woman provided a satisfactory answer. As a reward, a paperback copy of ‘Course of Mirrors’ is in the post.

In 2018 I wrote a fable relating to the above question. It’s a wonderful read, especially today https://courseofmirrors.com/2018/10/02/the-mysterious-object-a-fable/

Meanwhile I’m still struggling with this new word press format.

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April 27, 2021 · 2:08 pm

… to shift my thoughts, I read poems by Wislawa Szymborska …

One book of poems I have always at my bedside, for when I need to shift my thoughts, is Wislawa Szymborka’s New and Collected poems 1957 -1997, translated by Stanislaw Baranczak and Clare Cavenagh, published by Faber and Faber 1999

She lived from July 2, 1923–February 1, 2012

Apologies for not having the photographers’ names for the two images of her that are spanning decades.

I like the humour, the ironic style, the contradictions running through the poems like a clear spring.

I thought I share a poem in full, since I posted a fragment on Twitter the other day. And also because I remember the protagonist in my novel, Course Mirrors,’ is in search of The Real.

THE REAL WORLD

The real world doesn’t take flight
the way dreams do.
No muffled voice, no doorbell
can dispel it,
no shriek, no crash
can cut it short.

Images in dream
are hazy and ambiguous,
and can generally be explained
in many different ways.
Reality means reality:
that’s tougher nut to crack.

Dreams have keys.
The real world opens on its own
and can’t be shut.
Report cards and stars
pour from it,
butterflies and flatiron warmers
shower down,
headless caps
and shards of clouds.
Together they form a rebus
that can’t be solved.

Without us dreams couldn’t exist.
The one on whom the real world depends
is still unknown,
and the products of his insomnia
are available to anyone
who wakes up.

Dreams aren’t crazy—
it’s the real world that’s insane,
if only in the stubbornness
with which it sticks
to the current of events.

In dreams our recently deceased
are still alive,
in perfect health, no less,
and restored to the full bloom of youth.
The real world lays the corpse
in front of us.
The real world doesn’t blink an eye.

Dreams are featherweights,
and memory can shake them off with ease.
The real world doesn’t have to fear forgetfulness.
It’s a tough customer.
It sits on our shoulders,
weighs on our hearts,
tumbles to our feet.

There’s no escaping it,
it tags along each time we flee.
And there’s no stop
along our escape route
where reality isn’t expecting us.

Wislawa Szymborska 

Her Nobel Prize speech inspires … if you are shy to call yourself a poet, follow this link and soak it up.

Poets, not being profitable, get little screen-time. Wislawa Szymborska says … ‘Their work is hopelessly unphotogenic. Someone sits at a table or lies on a sofa while staring motionless at a wall or ceiling. Once in a while this person writes down seven lines only to cross out one of them fifteen minutes later, and then another hour passes, during which nothing happens … Who could stand to watch this kind of thing?’

‘I’ve mentioned inspiration. Contemporary poets answer evasively when asked what it is, and if it actually exists. It’s not that they’ve never known the blessing of this inner impulse. It’s just not easy to explain something to someone else that you don’t understand yourself.’

‘Whatever inspiration is, it’s born from a continuous “I don’t know.’

Her words bring to mind a Rumi quote: ‘Sell your cleverness and buy bewilderment.’ 

Follow this link to Brainpickings and find a number of write ups about Wislawa Szymborska

Brainpicking’s Bulgarian creator, Maria Popova honours language, and somehow manages to bring context and coherence to the irrational and the imagination. Her curiosity is unlimited. She writes about my favourite people in the world. Among them are poets like Wislawa Szymborska.

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… Trump – a prologue asking for the proper story …

       The seed -painting by Silvia Pastore

Stories inform, entertain, inspire. They make us think, dream, identify, or divert us from reflecting about what is going on inside us or in our present situation. Images and story lines reinforce each other. If we can’t detect the symbols images hold for us, be they evoked in paintings, literature, in the frame by frame images in cinema, or in the media, a story may grip with sensational elements, but remain otherwise flat. Feedback can vary, to use comic extremes, from, ‘What a thrilling yarn’ to, ‘What the hell was that all about?’ Stories that hang in the middle might satisfy both contemplatives and the sensationalist, and occasionally become best sellers.

A story well told acts like a seed in the psyche, is subtle and opens cracks in the unconscious with contradictions to ponder upon. A story well told is often mysterious, far from obvious at first impression. A story well told takes deep questions into our dreams. Then, out of the blue, we’re struck by an insight, and a door to the imagination opens.

I’ve been wondering about the Trump story. How many of you have had an inner voice saying, ‘You can’t make this up. It can’t be, how does he get away with it?’ even while chapter after chapter the public across the world was spun into a nightmarish trance. The surreal and sensational element the Trump protagonist brought to the world stage has wrought continuous fascination and cravings for the next cliff-hanger. ‘Wow, he says it like it is … a kind of superman who gives a fuck about good manners or political correctness.’

No Aha moment, no insight, no transformation, just point by point affirmations for the disenchanted, the frustrated, to let it all hang out, a continuous clowning spectacle, embodying, well, possessed by the archetype of the sulking child whose gratification is denied, the Id with its breath-taking rages. No contradiction here. No subtle narrative, more like an attention-demanding prologue. The meanwhile addicted public won’t take kindly to the sobering. Where does it go from here?

For this prologue to develop from a catalytic incident into a worthwhile story begs the questions, and not just from ungratified Americans, but from ungratified people all over the world … and though I could dare answers, they’d only resonate with a few psychologically aware, the already converted.  So I include myself as curious as to where those vital questions will find ground to grow:

What is denied, and by whom?

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… turning a stone – compelled to look deeper …

The year before the millennium, a then dear old friend of mine, Sitara Brutnell (I wrote about her in another post) found a stone on West Wittering beach during one of the little outings we did together. We both loved stones. I sometimes invest my finds with magic power. Those who have read my novel, ‘Course of Mirrors,’ will know a black shiny stone becomes a vital talisman to my protagonist.

As we wandered close to the purling waves brought in by the tide, mesmerised by the sound of pebbles tumbling over each other, we were open for treasures to signal us. I had already discovered a few smooth stones, white, marbled, pink and black, for my collection.

selfie that day, with Nikon suspended exposure

The one stone Sitara picked was uneven, jagged, with the odd spot of glassy flint shining through. Folding her palm around the slimmer end, it could have served as a tool to spark a flame with. She stood a long while contemplating the contours and varied colourings of the stone, turning it over and over.

I became intrigued with Sitara’s jagged stone, which seemed to me a metaphor of her concern for others, their troubles, their sharp edges. An exceptional friend in my life, her special grace was the capacity to forgive, always seeing a person’s character from many sides. The urge for genuine forgiveness shaped her personality, was her path.

Feeling prompted to explore her stone; I was given it on loan, to attempt a few drawings. The recent comment by a Swiss friend, regarding stones, made me dig up my sketches of Sitara’s stone, which explored its charming irregularities.

An ancient story came to mind, probably of Asian origin:

The two Pots

A water bearer in China had two large pots on the ends of a pole which he carried across his neck. One of the pots had a crack in it, while the other pot was perfect and always delivered the full portion of water.

At the end of the long walk from the stream to the house, the cracked pot arrived only half full. This went on daily, with the bearer only bringing home one-and-a-half pots of water.

The perfect pot was proud of his accomplishment. But the cracked pot was ashamed of its imperfection, and miserable about accomplishing only half of what it had been made for.

Two years it endured its bitter failure, until one day it spoke to the water bearer by the stream. ‘I’m ashamed of myself, because the crack in my side causes water to leak out all the way back to your house.

The bearer said to the pot, ‘Did you notice that flowers grow only on your side of the path? That’s because I’ve always known your flaw and I planted seeds there, and every day while we walked back you watered them. So I’ve been able to pick these beautiful flowers to decorate the table. Without you being just the way you are, there would not be this beauty to grace the house.

So, all dear crackpots, myself included, we have functions we know nothing about.

Enjoy the full moon. And if your sky is clouded, enjoy at least the special energy.

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… the value of inner conflict …

Democracy starts inside us. One way to explore our inner crowd is through allowing the different aspects of our personality to have a voice, including ones we dislike or suppress, like parts burdened with shame, self-loathing and self-hate. Together with their inner persecutors and defenders, they tend to pop up involuntarily with strong emotional force during stress, or an experience that all too often had its first traumatic installment way back in childhood.

During a 1980s training with the Psychosynthesis Institute in London, we gave names to what we called our sub-personalities. The concept encapsulated what I had sensed for a long while, that I host various distinct entities inside me that can spring to live with their unique voices, interests, sensitivities and defenses in response to circumstances.

Take a dwelling that houses a family of all ages. From day to day there are debates, intimidation, fights, making up, tenderness, fun, humour, but always reoccurring conflicts, like an angered sibling can easily spark a massive row. Then ask who is in charge? A family with conflicting needs lives inside each of us.

As baby, toddler, teen, young adult and so on, we succeed or fail in overcoming obstructions. We learn, or unlearn. Ideally we mature and the understanding of ourselves deepens. Some memories we cherish, others we bury. Yet each time a traumatic condensed experience re-occurs, dormant anxieties may explode and cause us to overreact to situations out of all proportions.

The needy child seeking attention is easily recognised. Where early hope for safety and acknowledgement was frustrated, the inner child in the adult draws on an arsenal of acquired strategies, be it nagging, crying, pleading, pleasing, withdrawal, or, equally, rage. Stonewalling and sarcasm can serve as defense. The little person in us may have been confused by contradictory demands, manipulated by a toxic parent or severely damaged through abuse, yet still struggles for acceptance and love.

Another well-worn sub-personality opts for control, a no nonsense character, who detests, let’s say, hesitation and vulnerability. So when a firm response to a present situation is required, this despot may simply order the child to pipe down and shut up. End of story. You get the drift.

Internal conflicts can be harsh. Without awareness of the warring cast in us, we tend to blame others for our upsets. Alternatively we punish ourselves. Identifying and befriending judgmental players is vital before we can reach the vulnerable and fearful part that has become numb and possibly unconscious, or discover the creative dreamer that was ridiculed. Or, indeed, lift a dis-empowered warrior, who must learn to say ‘No!’

Without a mentor, this awareness journey is a daunting task.

Unable to afford Jungian analysis, my spiritual search become an escape from what I saw as our revengeful, destructive and corrupt world.

Meeting a remarkable, brilliantly creative Sufi teacher, who embraced psychology as a basis for the spiritual quest, was my turning point in the mid 1970s.  Grounding and digging started with a workshop called ‘Earthing.’

I had had a wild life up to then, a path I don’t regret. My empathy and patient listening lacked skill, but attracted interesting and eccentric people into my life. However, I needed to accept my limits, and better understand myself, others, and the absurd world we are born into, with the inherited traumas from our parents’ and generation before them.

World objects from my sand tray

A welcome to my inner journey was imaginative play, giving voice to the different parts of myself through monologues, imagery, objects, drama, art, sculpting, painting and writing, etc., all effective in daring to acknowledge conflicting needs. Due to choices enforced by my early environment, I host a philosopher and poet at odds with each other, as well as a cynic and a romantic. Their conflicts are as creative as they are intimidating.

In the digital realm people have come to make up aliases based on their ambivalent shadow aspects, like appearing in different disguises on Twitter, sometimes for the sole fun of contradicting each other. As a writer one might contemplate publishing trash genre that sells well, under pseudonyms, though it seems crass, like a soloist hijacking the performance of a symphony.

Stepping aside from internal conflict, invites my unbiased mediator. My quick route to self-remembrance is saying ‘hello’ to my body, whose every cell holds a record of old wounds. The body (the earth by implication) has endured horrendous exploitation, and to call it into awareness, with all its scars, is a huge challenge for some people.

‘You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves … ‘
from Wild Geese by Marie Oliver  

In the present global turmoil, my inner child craves empathy and compassion to endure the pain of the world, including pain I feel observing how some public figures ignorantly out-ward their inner stress through creating enemies – divide and conquer – a steely defense, and a betrayal of the heart. Then again, truth to  the face rarely convinces, it lacks depth, and blunts out the whispers from the dark.

Many brilliant books facilitate psychological understanding, but when it comes to moving through a dark tunnel (also called the Night Sea Journey) it is best to seek a skilled companion as guide. In my therapy practice I came upon heart-breaking stories of abuse, especially sexual abuse. The last few decades have shown the full horror of such deeply intrusive and traumatising incidents, and how widespread they are, across all social settings.

‘You’re not alone’ … is the message by Tim Ferris, in a recent very moving and powerful podcast he conducted with Debbie Millman.

PRESS HERE for his Healing Journey after Childhood Abuse (including an extensive resource list)

He ends with a beautiful re-framing of suffering … The obstacles are the path.

This attitude brings meaning to our mysterious existence, to our individual and collective journeys. Obstacles force us to question rules, habits and behaviour. Suffering through adversity, hardship, ignorance, injustice and violence teaches us empathy for each other, and expands consciousness towards our interdependence and essential wholeness.

I could add a list of books here, but if the above concepts speak to you, click on the Tim Ferris link, even if you choose not to listen to his podcast, scroll down his page and find a list of books and resources.

To end this post, despite all grounding over the years, I’m still at heart a space cadet, exploring time travelling in ‘Shapers,’ the sequel to my first novel, ‘Course of Mirrors.’

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… the weirdest person I know …

… that’s me, a dreamer. Dreams re-appear, like a déjà vu. A trick of light will superimpose an image on a scene gleaned in passing. Or a sound, a name, a number, a movement, colour or scent may link up to a dream’s mood. Similarly, memories of seemingly unrelated events from years ago can pop up while doing mundane tasks. This reminiscing improves for me as I grow wiser (older,) a subtle re-organising of events.

One morning after the recent dark moon, and the solstice, while staring vacantly into the sky, a dream image returned from the blue – an empty studio space with interlocking rooms – the sun streams in, dappled light dances across pale shades of colour peeling from the walls, a space for friends to meet, play – bursting with intense creativity. There was a hint of nostalgia (I initiated like spaces in the past) and grief over not having access to such a creative hub. Grief aside, a sense of potential remained.

Consequently, I finally opened my ‘Shaper’ MS again and got stuck into editing, this after many months of having lost faith that what pours from my mind in terms of stories will be appreciated by anyone.

With little chance of publication, giving this sequel once more editing time seems irrational; then again, I’m the weirdest person I know. The irrational has always impelled me forward from deep states of being, in search of wholeness. Like some writers, I juggle for rhythm and balance with a multitude inside, until a character, a theme, or a poem persists and generates engagement.

In this way Ana, Cara and Mesa came to be – three stories that comprise the odyssey of three soul sisters across time.

Even when it comes to my posts here, I don’t plot, nor aim to be topical. Every day brings new thoughts and connections, while something incubates in want of wings. The process of information weaving continues during sleep, and dreams bring home glimpses of this process.

‘Shapers’ was already complete when I published Course of Mirrors. Both my beta readers/editors love this sequel, even after several rounds of reading, which is encouraging.

Yesterday I came upon a note from one of my readers with a plea – make Ana real, please.

I scratched my head, giggling about the irony, since Anna’s quest is in search of the real. How to explain what is mysterious? The paragraph my reader, Susan, referred to does need adjusting, to avoid confusion. Myth or not, Ana’s story is Cara’s deeply meaningful and internal truth.

Maybe this is the time to add, my felt sense of reality was confirmed by the innovating ideas of modern physics, quantum potential being one such case. A friend, Rob, reminded me of this yesterday when he forwarded a wonderful video about David Bohm. Please watch the film. It sheds light on my fascination with time, and also poignantly illustrates how innovators of new ideas were /are blocked by the establishment.

In Shapers time moves back and forward and often becomes simultaneous. Both Ana and Mesa meet up with Cara, the suspended story teller.

Like me, Cara feels most at home on bridges. Anyway, why am I writing this post? To give thanks to a dream that drew me back into editing ‘Shapers,’ irrespective of outcome.

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