Tag Archives: imagination

… erotic charge of flawed characters …

Literature thrives on flawed characters. With the sinister Heathcliff in Wuthering Heights, for example, Emily Bronte tapped into the shadowy aspect of masculinity.

C G Jung calls the latent masculine within women the Animus. Both in its light and dark aspects, this archetypal blueprint can put women under a spell.

I can see Jonny play the disparate twins in my novels :)

I can see Jonny play the disparate twins in my novels :)

Equally, the latent feminine potential within men, the Anima, can evoke both, the guiding wisdom of Sophia or the dark erotic charge of Medusa, causing tremendous fear of nature and its awesome power.

Rather than using the image of a femme fatal, I choose to show what  fear of the feminine inspires in some cultures.

Rather than using the image of a femme fatal, I choose to show what fear of the feminine inspires in some cultures.

Our irrational attractions can be sparked and coloured by the parent of the opposite sex. Like a woman with a brooding and unapproachable father may have to kiss many frogs before she discovers the prince inside, while an idealising father can trap his girl in vacuous fantasies. And the boy of a manipulative mother may develop resentment or idealisation for women, or both in a toxic mix. What we tend to project onto the opposite sex is however deeply sculpted by a collective archetypal storehouse of experiences with dual aspects. Paradoxically, this storehouse is also the source of our most powerful experiences and innovations. Whether in a life-giving shape or a dark and petrifying shape, either way, the Animus and Anima hold a numinous fascination until their autonomous grip on us emerges into awareness, becomes conscious, is redeemed, turns creative and makes us truly human.

In my first novel, Course of Mirrors, my protagonist, Ananda, is torn between two disparate men, twins. The theme continues into the sequel – Shapers – with higher stakes in another time zone. In the excerpt below, Gart is rescued from a dangerous impasse by a trickster and transported into the twentieth century, where he meets the story teller and myth-maker, Cara.

*     *     *

Short excerpt from chapter 12, Shapers

Back in Derrynane

Five hundred years back, at the Kerry peninsula, Gart pondered how he came to sit at this familiar coast, under a dull sky that matched his mood, the sea before him rolling and spitting at his soiled boots. It was the trickster’s doing, of course. He did not thank Zap for transporting him back here, where an old crone had hexed him and a group of weird artisans had made him look like a fool. Yet it was here that he first met Mesa, who he now pined for in his bones. He must get back to Rhonda and outdo Crim. And Leo must be terminated, since he had obviously gone mad, and courted disaster if he planned to control Rhonda’s army. The Governor of Guardians, ha, they despised the fat man. It was him, Gart they followed.

‘I messed up,’ Zap acknowledged, stretching on the wet sand nearby and cracking his joints. ‘Forgot, I can’t activate coordinates for the hub, and this happens to be the only other place we’ve been in together before. I had little choice. ’

‘You’re not so bright after all, are you?’ Gart grunted.

‘At least we’re not consumed by noxious fumes of our own making. Best not dwell on the past.’

‘We are in the past, eejit.’

‘Local slang, eh? You’re a fast learner. You score a point. Zap jumped up and ran a circle of cartwheels. ’Let’s go up to the estate, see who’s there.’

Derrynane estate looked deserted. ‘Nippy air on the plateau,’ Zap said, ‘you would’ve thought they’d light a fire, but not a whisk of smoke from the chimneys.’ The men slipped through the narrow gap between green-smothered walls, the two dragons, Zap recalled, though now their shape was lost under rampant ivy. The yard, empty of dogs, cats, geese or horses, had a silver car parked near the main entrance. Zap whistled, ‘Flashy design, time’s moved on since we’ve been here last.’

Gart’s heart lurched at the sight of the woman appearing in the porch.

‘Hi,’ she said, ‘do I know you? You’ve been here before, haven’t you?’

Zap, in Shaper style, put a hand to his heart. He too recognised her, though she had turned into a mature woman. ‘You’re Cara, I remember. Where’s everybody?  Saki, Anke, Mushki …’

‘Oh the troupe, goodness, that was years ago. When Gutch and Craig joined them they hit the road together. I think they operate from a place at the English coast.’

‘And that witch?’ Gart wanted to know.

Cara gave him a piercing look. ‘You mean the oracle of my mentor, Tilly. She has sent me here, for a retreat. I only just arrived. I plan to spend some time writing on my story of Mesa.’

‘I hope the story includes us,’ Zap said, we’re friends of Mesa.’ He shot a glance at Gart, whose mouth opened and shut in confusion.

‘You better come in.’ Cara’s scalp tingled. This must have been what Tilly had had in mind, to process the strange occurrences from so many years ago. ‘Zap and Gart, is it?’ Like Tilly, they hadn’t aged at all, while she herself had gained ten years. To mask her excitement she whizzed around the kitchen. She stacked kindling in the cooker, emptied her shopping into the fridge, plonked bread and cheese on the table, put a kettle on, fetched plates and cups and cutlery, all the while feeling Gart’s eyes on her. She told her guest about her life, her journeys, and studies. Zap helped with arranging the table and kept nodding, eager to hear all she had to say. Cara only tried to gain time to collect herself before she was ready to ask the questions pressing on her mind, about Sax, about Rhonda, about Mesa.

‘Shall I get logs?’ Zap asked sweetly.

‘Oh yes, please. I was planning to camp in the cottage, but we might as well get rid of the chill in the big house. The cooker is attached to a central heating.’ She watched Zap walking out with a basket, charmed by the ease of his manner.  Gart made way for Zap but did not offer any help. Rooted to one place since entering the kitchen, he resumed his position, leaning casually against the door frame  Now they were alone Cara couldn’t avoid him. Their eyes met. She blushed. He had followed her every movement with an air of aloofness. A hint of curiosity sneaked into his eyes.

‘I look like her. Is that it?’ Cara said.

‘In a way.’ Gart moved towards the table and pulled out a chair to sit on. ‘What happened to your lover, Dillon?’

‘We split, went our different ways. He had his quest.’

‘What quest?’ Gart asked. The term perked his interest since Oruba had called his underground journey a quest.

‘Not my tale to tell. He may have found whatever he was looking for.’

Zap returned, groaning under the heavy basket of wood on his shoulders. He piled logs over kindling in the cooker and neatly stacked the rest against the wall before he went to get another load. Cara lit the fire. Gart, intrigued about her remark regarding Dillon’s quest, struggled to grasp what precisely intrigued him. He scratched his ear, as if hoping for a message. He resented how confusion undermined his confidence. The kettle whistled. To snap out of his dazed state, Gart got up to pour the boiling water over the coffee in the percolator Cara had prepared. ‘Thank you,’ she said, surprised. When Zap returned they settled to a meal. It was Cara’s turn to ask questions. Intermittently Zap fed the fire and they moved from coffee to drinking wine. The story Cara was so eager to hear unfolding was punctured by heated disagreements between Zap and Gart.

‘Some names have changed, but I recognise the characters.’ Cara said, jotting down notes, pen hot in her hand. ‘I thought they’d outlawed weapons in Rhonda. Where did the laser guns come from?’

Gart said. ‘Leo must have raided the Archives. Everything from ancient pasts is stored in the pyramids surrounding the archives – and there maybe catacombs under them. I know this because Leo let it slip once. ‘The man’s a danger to Rhonda. I’ll put an end to him.’

Zap shook his head. ‘Killing Leo, and start a war! Use your imagination. He turned to Cara. ‘If you’ve a say in this story, keep this man away from Mesa. He’s murdered in the past, he can do it again. Mesa deserves better.’

Gart pushed back his chair and sent it cluttering to the tiled floor. He stormed from the kitchen. Cara felt the hurt pride under Gart’s rage. Zap crunched his fist and stared into space. Fiercely protective of Mesa, he had clean anger under his pain. ‘Please keep the fire going, Zap, there may be frost tonight. I’ll talk to Gart,’ Cara said. And she knew where to find him.

The sky had cleared towards the horizon. Beyond the yard, the autumn breeze picked up, biting through Cara’s light coat. She saw him standing at the cliff, looking towards the faint silver band that now divided sea and sky. A diaphanous layer of cloud screened the late sun, against which Gart’s lean body looked delicate, like a feather drawing. Why had she invested her story with two lovers, men who did not see eye to eye, men as different as Assisi and Caligula?  He did not turn to look at her as she stepped close to him. He did not move at all, his mind had wandered off through time’s veil, searching for Mesa, no doubt. ‘You see,’ Cara said, ‘once we have given life to something we can’t control it, we can only try to influence an outcome with truth, which is not always in tune with our wants.’

‘I don’t understand.’ Gart finally met her eyes. ‘You created this damn story. Whose side are you on?’

‘Truth is hard to discern, its meaning is held in another reality, where on-going myths are spun. You became part of my story because you walked into it, in a most brutal and controlling manner, though it wasn’t entirely your fault. Does the name Batin mean anything to you?’

Gart felt a stab of fear, but quickly shrugged it off. ‘I think I met a ghost of that name.’

‘How your path unfolds depends on your engagement with what you attract. It’s the same for me, but in addition I’m recording fates, yours, Leo’s, Zap’s, Mirre’s, Oruba’s, Mesa’s, Crim’s… ‘

He cut in. ‘Crim’s one too many.’

Cara sighed. ‘I care for all of your fates, they affect me deeply.  My feelings swing about, gyrate like a weathervane does when it storms, which should kind of answer your question. Right now, as I stand here next to you, sensing the pain you can’t quite admit, I’m on your side, but my alliance can change, from moment to moment, from day to day, from chapter to chapter, since like you, I’m compelled by this quest for truth.’

‘Truth again …’ Gart’s lips curled and broke into a devastating smile. ‘Tell me this then – why does Mesa look like you?’

Cara swallowed her shock. He had touched on her core identification, revealing her disparate affections, the turmoil she experienced between the two types of men she was enmeshed with across time, of whom one now exploited her vulnerability, took complete possession of her with his eyes. And faithful to his nature, he relished in the conquest. Cara’s heart quickened. From deep inside her body she felt his pull, as if by a rope. His seductive power made her tremble. Yet she knew he cared only about himself. And coerced by her divided nature, her concern instantly switched to Crim.

*    *    *

If you’re not familiar with the concepts of the Shadow, Animus or Anima, the Wikipedia pages can serve as introduction.

http://en.wikipedia.org/wiki/Shadow_(psychology)

http://en.wikipedia.org/wiki/Anima_and_animus

And anyone who has never heard of Joseph Campbell – this book is a must for writers.

http://www.amazon.com/Thousand-Faces-Collected-Joseph-Campbell/dp/1577315936

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… the inner silence of Henri Cartier-Bresson …

The Mind’s Eye – writings on Photography and Photographers, by Henri Cartier-Bresson, is a lovely book I received for Christmas from a dear friend. I was reminded how H C B inspired my photographic work with its poetry and Golden Mean, and still inspires other creative areas, including my writing.

Henri Cartier-Bresson - 1972 photo of a Georgian familyFor H C B photography led on to include painting & drawing. For me photography led on to include writing, in the way H C B said: ‘The writer has time to reflect. He can accept and reject, accept again; and before committing his thoughts to paper he is able to tie the several relevant elements together. There is also a period when his brain ‘forgets,’ and his subconscious works on classifying his thoughts. But for the photographer, what has gone is gone forever.’

The impact of H C B’s images is hard to define. They exemplify what many photographers aspire to but can’t name. Not only do most of his shots surprise by capturing the essence of a fugitive moment, a magical decisive one, they are framed in a way that touches all the elements of motion in a dynamic balance.

H C B - rest‘My passion has never been for photography ‘in itself,’ but for the possibility – through forgetting yourself – of recording in a fraction of a second the emotion of the subject, and the beauty of the form; that is, a geometry awakened by what’s offered.’

‘I hope I’ll never see the day when photo shops sell little schema grills to clamp onto our viewfinder; the Golden Rule will never be found etched on our ground glass.’

Henri Cartier-Bresson, girl running

 

 

 

 

 

 

I let Henry Cartier-Bresson talk for himself:  http://www.youtube.com/watch?v=MW7I3GBdsBw

Henri Cartier-Bresson, the wallInner Silence

H C B speaks in relation to portrait-photography of looking for the silence in the person. I guess he was looking for the silence behind everything. This silence was most likely what he was attentive to. I conjure that this silence lies between each breath, from which all phenomena emerge from second to second – from that timeless soul-garden within us – which we can tune into.

henri-cartier-bresson-liverpool-1963-c2a9-henri-cartier-bresson-magnum2

What I am saying is – H C B could not have captured these decisive moments without having experienced the silence within him. From this timeless state we glimpse the joie de vivre with its awesome sense of wonder generated and re-generated from eternity that makes life worthwhile and meaningful. It’s probably this glimpse, the ethic of this silent sphere that drives all anarchist artists.

Henri Cartier-Bresson, Sur les bords de la Marne 1938Why Black and White and not Colour?

In 1952 colour film emulsion was not well developed. H C B said then: ‘I am half afraid that this complex new element may tend to prejudice the achievement of the life and movement which is often caught by black and white.’

He was concerned that  composition would suffer and be overpowered by colour. I remember when colour TV was first introduced, I intensely disliked the busy business cramped into a small frame. Colour can however be used as a language, and I am certain H C B would have cottoned on to this had he lived on.

Here a sample of my own to illustrate colour’s use.  http://500px.com/photo/6913693?from=set/266780

In 1974, together with other freelance photographers, Henri Cartier-Bresson founded Magnum Photos. See also: http://www.henricartierbresson.org/pres/home_en.htm

H C B’s second wife, the Belgian-born Martine Franck, was an inspired photographer in her own right: http://www.theworld.org/2012/08/remembering-celebrated-photographer-martine-franck/

I am wishing all my readers and visitors a wonderful creative New Year …. 

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… the rose trick …

As white clouds sail above my garden today, and robins peck at morsels the fat turtle-doves dislodged from the feed-balls I hung into tree branches, I’m thinking of the hectic buying-frenzy in town, and what springs to mind is that it’s all about feeling loved. In that spirit – a Christmas gift for you, my readers and friends – The Rose Trick – a guided imagery from another dimension. I use this imagery in my work, though it turns out different each time. Once you have read the text, close your eyes and make it real – imagine…

A garden, your inner garden – in it grows a rose bush that carries one bud about to open. Stand still and observe – a luminous tip of colour peeks from the enfolding calyx – the sepals gradually separate and turn their green tips outward. See the rose bud stir – see its petals open in a slow and fluid movement – until the luminous rose has attained its perfect shape and exudes its delicate fragrance.

As the garden fills with radiant light, imagine the open rose growing into another dimension, expanding in size to a sphere that is inviting you in. Overcome the weight of your thoughts, walk barefoot with  feather-light steps towards the centre of the rose-orb and sit and rest there for a while …

Absorb the soothing resonance, the exquisite tenderness of the petals, and the subtle scent of the rose-sphere through every cell of your body. Be loved. Become the perfect rose.

Autumn Rose

Now rise and return to the former dimension of your garden. Look back. Watch how the rose grows small and folds back into it sepals – watch the bud floating into the palm of your hand – sense the rosebud in your hand, and how its power wishes to stay alive in your heart so you can call upon its unfolding whenever you need loving. Do it, place the rose and the whole experience of rose-becoming into your heart.

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Do this imagery when you feel a lack of harmony, or if you lost someone dear. It will re-animate the attar of roses in your heart.

The inspiration behind this imagery, which, done with an open attitude, can be  powerfully transforming, comes from great beings like Hazrat Inayat, Khan, Fazal Inayat-Khan, Roberto Assagioli, R M Rilke, Rumi, Bette Midler, and from roses grown in many gardens …

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‘When one of us gets lost, is not here, he or she must be inside us.

There’s no place like that anywhere in the world.’  Rumi

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The following are thoughts from ‘The Mind World’ – Volume Four of Hazrat Inayat Khan’s lectures.

The Function of the Heart

The heart, in Sufi terms, is called the mirror. Whatever is reflected in the heart does not only remain a reflection but becomes a creative power productive of the phenomenon of a similar nature.

For example, a heart that is holding in itself and is reflecting the rose will find roses everywhere. Roses will be attracted to the heart and roses will be produced from it and for it. As this reflection deepens and becomes stronger it becomes creative of the phenomenon of roses and the symbolic qualities we associate with roses.

Equally, the heart that holds and reflects wounds will find wounds everywhere. It will attract wounds and it will create wounds; for that is the phenomenon of reflection. There are examples to be found in the world of people who by retaining a thought have created on the physical plane its manifestation, its phenomenon. The reason is – that the phenomenon is not only an image as produced in the mirror

but that reflection in the heart is the most powerful thing. It is life itself – and it is creative.

If the heart is calm enough to receive reflections fully and clearly, one can choose for oneself which reflection to repel and which to retain.

*    *    *

Maybe we are the particle science is chasing ...

Maybe we are the particle science is chasing ..

See also Bette Midler – The Rose: http://www.youtube.com/watch?gl=GB&hl=en-GB&v=oR6okRuOLc8

And https://courseofmirrors.wordpress.com/2012/07/14/imagination/

And …

Arvo Pärt – Alina!

http://www.youtube.com/watch?v=rmafNVimRbI

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… the mystery of character versus genre …

Flicker, flicker, speed, speed – time is flying – here is a genre – an inviting golden bowl – let’s drop a story into it. A well-defined genre promises the best route to financial success for many aspiring writers.

the golden bowl of genre Human traits that make up characters are unfathomable in their combination, which is why we traditionally veer to an index of types. The adage of the writing guru – don’t tell, show – suggests character is revealed through traits that imply qualities. Traits fascinate us, but if they are mechanical in their emotional and logical processes, they seldom surprise. In such case the page-turning tension must be provided by the plot.

During the nineteenth century’s advent of psychology and individuation many writers moved away from the Greek model of plot-driven stories. Curiosity shifted to the complex inner life of characters and their individual way of creating meaning was employed to unfold narratives.

The search for a unique self beyond the collectively orientated ego personality is relatively new, and while time-engraved archetypal energies hold us in their emotional grip, we have now psychological maps to help us become more conscious of their compelling powers, more conscious of our personality, which, for the writer, informs their fictional characters and opens new worlds and new choices. Irrespective of the rich psychological and scientific knowledge available to us, the process of character formation present us with the greatest mysteries of our time – as exciting as discovering new territory, new planets, new eyes on the universe.

Here I am making up a scene from scratch:

He stiffly dragged his feet along the polished marble floor of the shopping mall, his head forward as if pulled by a rope, though his eyes did not focus forward, nor up or down, they swivelled, left, right, left right, alert for what? Alert for anyone who might observe him? Nobody did – apart from one person who sat still on a seat moulded into the stone replica of a toy train. She raised her eyes from her book and looked straight at him …

Now as reader, and as the writer of this entry into a scene without blueprint for a story, I’m curious – where is he heading, where is this going? I search for a deeper layer, a narrative unfolding from the mysterious core of the character walking through the mall. I want a substance to chew on, to extract a flavour from his unique world.

The woman’s stare broke his set rhythm of surveillance. His face contorted in fear, his feet lost touch with the marble floor, sailed on air, while his arms flattered like duck wings failing to lift. All he could think of before his fell flat was – she knows, she knows I’m not present in this body. All he perceived were veins of light in a glittering darkness. He chose to vacate.

Are you hurt? While approaching the sprawled body of the man, the woman shot a stern glance at her boy who stood by guiltily. She had noticed him drop the sweet wrap. She had noticed the man stepping on the slippery cellophane. She had caught his eyes – and what she saw in that instant had made her shiver …  

I’m not going to follow up this scene. Anyone who reads this is welcome to do so. It would give me a thrill.

We all enjoy our stock characters and their antics, types set into situations and conflicts we can readily identify with, heroes we can like, villains we can despise. We enjoy themes that fall into definite genres that entertain us away from tedious daily concerns. I’m not knocking these stories. I enjoy them myself.

But hey you, all writers out there, why not take a risk and be drawn to the mystery of the unpredictable that challenges you to think in new ways, why not evoke characters who, even while using known containers, allow their (your) unconscious past and future to fill in the content, characters who explore their personal experience to a depth where it becomes universal, characters who play with time and space and are directed from their inner spirit, even when it requires a new container?

In my writing, I like the adventure of discovery, a nut to crack. I like to allow my character to walk ahead and unfold the story, and if it spills over the frame of a convenient genre, so be it.

P1100981And here my little gripes with how-to-does:

The advice-filled internet spheres turn and turn like gyres.

Answers sum up being and are full of promised abundance – yet they are dead.

Questions sum up becoming and are full of challenging limitations – yet they are alive.

 

 

‘One does not discover new lands without consenting to lose sight of the shore for a very long time.’

Andre Gide

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… ground of poetry …

‘Ground of Poetry’ is a poem inspired by the bagpipe playing of a Scottish friend, Colin, during a recent gathering in memory of another friend, Aranth. See an earlier post on ‘receiving.’  The sound of the bagpipe opened the sky and vast landscapes, across which the drone carried the glories tunes into a kind of homecoming. The drone of a musical instrument, I thought, is like the backdrop sound of the universe into which every manifestation dissolves, and from which every manifestation returns.

… in the beginning was the word … the leaves in my garden reminded me of words.

 

 

 

 

 

 

 

thousand-and-one words fall to the ground

jewelling the story of seasons’ rounds

they’ll twirl anew to the drone

of each new sound arising

from beyond the ever-

open silence

 

 

 

 

 

 

 

open silence

from beyond the ever

of each new sound arising

they’ll twirl anew to the drone

jewelling the story of seasons’ rounds

thousand-and-one words swell from the ground

 

 

 

 

 

 

 

 

 

 

 

 

 

 

For anyone not that familiar with bagpipes, here are a few words and tunes:

http://www.educationscotland.gov.uk/scotlandssongs/about/instruments/bagpipes/index.asp

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… Alice moments …

‘Who are you?’ said the Caterpillar.

This was not an encouraging opening for a conversation.

Alice replied, rather shyly, ‘I hardly know, sir, just at present – at least I know who I was when I got up this morning, but I think I must have been changed several times since then.’

‘What do you mean by that?’ said the Caterpillar sternly. Explain yourself!’

‘I can’t explain myself, I’m afraid, sir,’ said Alice, ‘because I’m not myself, you see.’

Illustration by Arthur Rackham

 

A character in my book is having one of those Alice moments.

When I thought about it a little, l had to admit, so do I.

Having discovered this wonderful 1907 edition of Alice in Wonderland among my books, illustrated by Arthur Rackham, I’ll outwit my writer’s block and re-read one of my favourite stories.

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… unseen stuff – micro-organisms …

More contagious than micro-organisms are fear and hopelessness.

Long before our time, the existence of micro-organisms was presupposed, notably in Jainism, whose followers vow non-violence in thought and practice (Ahimsa) towards all living beings. The tradition is said to be older than Buddhism.  In the teachings of Mahavira (599 – 527 BEC),  micro-organisms are described as unseen creatures living in earth, water, air and fire, and existing as clusters pervading every plant and tissue, not just on earth but throughout the whole universe. Jain libraries are the oldest in India.

While home-bound with a young child in rural Somerset, I did an OU course on world religions, wanting to learn about the formative ideas underlying our variety of cultures. Reading on Jainism, I was struck by its beautiful philosophy, genuine tolerance of other faiths, and the surprisingly modern belief – that the universe is self-regulated by the laws of nature. Worth exploring: see wiki-link below.

With a different mind-set, the idea of unseen creatures informed a nasty biological war fare during the Middle Ages, when diseased corpses were catapulted into enemy strongholds.

Along came artificial eyes, the telescope and the microscope, evidencing these unseen worlds. The Jesuit priest, Athanasius Kircher, and Anton van Leeuwenhoek, were among the first to spot micro-organisms through lenses in the 17th century.  The journey took off, until Ferdinand Cohn founded the discipline of bacteriology in the 19th century, and Louis Pasteur and Robert Koch developed the study of microbiology, focussing on food preservation and vaccines. The gained knowledge helped to protect us from organisms known to spread disease, and improved the hygiene of our environment. During the late 19th century the study was expanded through the work of Martinus  Beijerinck and Sergei Winogradsky into the field of general microbiology.

Today the study of micro-organisms has developed to such extend that  hundreds of specialised branches of study exist serving a huge variety of applications. I’m fascinated by biology, and I greatly respect scientists who devote their days and nights to deepen our understanding of life.

What I question, as do many of my friends, which include scientists, is the unrestricted power of multinational companies. It is totally unethical that multinationals can push decisions as to how scientific evidence is used. To start with, they must be made accountable for damages caused, and next, it should be obligatory, like a tax, that a fraction of the profits these companies reap be used for interdisciplinary research, so that  evidence can be established for the many undeniably wholesome methods of balancing and strengthening self-organising systems.

The over-reliance on suppressive drugs (and in the case of agriculture pesticides) in the fight against every imbalance has devastating side effects. Apart from training super-bugs,  the relentless war undermines the ecosystem of our planet, and our birth right, the ingenious self-regulatory system that acquires immunity through exposure. Nature has taught us everything, nature is not the enemy. Excess use of medication could even undo the good work of vaccines, meant to help us acquire immunities. A weakened immune system may eventually fail to deal with any kind of exposure. So why do we sanction this paranoid warfare ?

What is known about micro-organisms includes the process of endosymbiosis – where symbiosis occurs between different organisms that benefit from living together. Lynn Margulis opposed the neo-Darwinian concept of competition, and proposed that evolution thrived through cooperation: ‘Symbiogenesis recognizes that every visible life-form is a combination or community of bacteria.’  (See link below) In other words, the fittest is what adapts and harmonises.

There is always more than one way to look at something. When it comes to the prevention of dis-ease, and the healing of body and mind, the soothing of stress, we have enough knowledge and wisdom to appreciate the effectiveness of: relaxation, telling one’s story and being listened to, a clear positive intention, the benefits of meditation, a calm mind, the balancing of subtle energies, the vibrations of harmonious sound, architecture, colours, symbolic  understanding, the use of active creative imagination, a gentle touch, a heartfelt smile, for example.

The authenticity of a friend, a doctor, a healer or therapist, can inspire a troubled person who is seeking support to take self-responsibility. Trust, or faith in one’s healing, is a phenomenon that also throws light on the powerful physiological effects of the placebo, which is a proposed ritual that promises nothing, but puts the patient in charge. Wow!

From another tradition that respects all faiths, here is a perspective on microbes expressed by Sufi Hazrat Inayat Khan, who brought his wisdom to the west in the early 20th century:

Every day a new invention brings a new microbe. And if a new microbe is discovered every day till the end of the world there will be numberless diseases; in the end it will be difficult to find one man healthy, for there must always be some microbe; if it is not of an old disease, then of a newly discovered one …  

The people of old thought that microbes were spirits, living beings, in the absence of science which today distinguishes these spirits in the form of microbes; and yet it seems that the ancient healers had a greater grip upon the illness, for the reason that they considered the microbe in its spirit. In destroying the microbe they did not only destroy the outer microbe, but the inner microbe in the form of the spirit, of the germ; and the most interesting thing is that in order to drive away that spirit which they thought had possessed the patient, they burned or they placed before him certain chemicals which are used even now, having been proved to be destructive to the germs of diseases.

With every measure that physicians may take to prevent the germs of diseases from coming, in spite of all the success that they will have there will be a greater failure; for even if the actual germ is destroyed, it exists, its family exists, somewhere. Besides, the body which has once become the abode of that particular germ has become a receptacle of the same germ. If the physician destroys the germ of disease from the body of an individual that does not mean that he destroys it from the universe. This problem, therefore, must be looked at from another point of view: that everything that exists in the objective world has its living and more important part existing in the subjective world; and that part which is in the subjective is held by the belief of the patient. As long as the patient believes that he is ill he is giving sustenance to that part of the disease which is in the subjective world. Even if the germs of the disease were destroyed, not once but a thousand times in his body, they would be created there again; because the source from which the germs spring is in his belief, not in his body, as the source of the whole creation is within, not without. 

Hazrat Inayat Khan

The outer treatment of many such diseases is just like cutting the plant from its stem while the root remains in the ground. Since the root of the illness is in the subjective part of one’s being, in order to drive away that illness one must dig out the root by taking away the belief of illness even before the outer germ is destroyed. The germ of illness cannot exist without the force, the breath, which it receives from the subjective part of one’s being; and if the source of its sustenance is once destroyed, then the cure is certain.

Very few people can hold a thought, but many are held by a thought. If such a simple thing as holding a thought were mastered, the whole life would be mastered. When once a person gets into his head, ‘I am ill’, and when this is confirmed by a physician, then his belief becomes watered like a plant, then his continual reflection of it, falling upon his illness like the sun, makes the plant of illness grow; and therefore it would not be an exaggeration to say that, consciously or unconsciously, the patient is the gardener of his own illness … The root of illness is in the mind, and if that root is continuously watered by thought and feeling, illness is realized in the end.

*      *      *

More contagious than micro-organisms are fear and hopelessness.  (my conclusion)

*      *      *

We are the mirror and the face in it.

We are tasting the taste this minute

of eternity. We are pain

and what cures pain. We are

the sweet, cold water and the jar that pours.

Rumi – transl. by John Moyne and Coleman Barks

*     *     *

Jainism: http://en.wikipedia.org/wiki/Jainism

Lynn Margulis

http://discovermagazine.com/2011/apr/16-interview-lynn-margulis-not-controversial-right

Hazrat Inayat Khan – Volume 4 – Healing and the Mind World.

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… memory and place …

I never thought I would live in one place for 23 years, and tend a garden. Its visiting creatures provide inspiration and amusement. I cast tendrils of attachment to secret corners, the changing patches of colours and textures. I observe the cherry and apple blossoms turning into carpets on the lawn, the tulips, blue bells and peonies bursting open in spring, wild strawberries, the abundance of clematis, roses and geraniums during summer, or phlox and fruits in autumn. The space is breathed through by the seasons’ moods and muses. On rare and perfect summer days, when the sun plays through the branches, I love spending time in my hammock, reading and editing, or share the space with friends – bliss.

Yet I can count such days on the fingers of my hands. And not just because of the UK weather.

This paradise is surrounded on four sides by hedgerows, has 5 mature fruit trees and a shed and studio smothered by ivy. Those of you who have gardens with sizable plants will understand the dedication it takes to merely keep annual growth under control.

Is the effort worth it?

Twice a year I need assistance. After the heavy rain and excessive growth we had during spring and summer, my neighbour recently helped transporting two transit vans stuffed full with cuttings to the recycling dump. The excess jungle weighs on my mind each year, but once trimmed and sculpted, the cleared shapes feel like newly decorated living rooms. 

What is it about places we care for? How come we spend so much time and energy looking after them? What we experience through our senses can be fleeting, but where repetition is involves, it becomes fixed and saturated in our imagination. There is nothing as deeply impressive as living in one place through cycles of seasons. We call it home.

In these tumultuous times, a great number of people around the world are forced to leave their homes. Either they have no say in the matter, or they must leave for sheer survival, escaping adverse weather conditions or politics that undermine human dignity. But wherever we land, we inherit the history of a room, a house, a plot, a community, and in turn we leave traces, an influence.

The place survives us. Do we bless it?

Do our personal experiences – including those associated with ambivalent feelings about places and people – survive beyond the brain’s switchboard activity that ties associations into a framework of meaning and memory? My intuition tells me yes, there are spaces in many dimension, floating as in a kind of hologram, which can live on through a strong memory laid down in our imagination, like the next chapter of a story.

In the way of habituation, these subtle forms must remain in some way in the collective psyche, accessible to minds and hearts who tune into their feeling pattern. This could happen via a kind of grid of finer matter (see Eccles: http://en.wikiquote.org/wiki/John_Carew_Eccles) that interact with the denser neural network of our brains.

There are these unanswered questions: is consciousness an emergent phenomenon of matter, or is matter an emergent phenomenon of some finer, spiritual substance?

Either way, if one were to assume that we create the world hereafter by the repetitive strength of our experience, be it with places, people or the passion for a sport, craft, art, music, science,  it bears us well to find something we can love, care for, and empower with our imagination.

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… The English Goat …

Can’t resist to share this image with you – received as a birthday present yesterday. Natasha was inspired by a recent camping trip and my story ‘Goats are Goats,’ which I posted in three instalments here.

The drawing not only hilariously fits the rainy atmosphere of my story, which happened in the Bavarian Alps, it is also strikingly emblematic for dwellers on the Green Isle. Irrespective of whether such dweller were born here, the character formed by the climate in England, Wales, Ireland and Scotland ripples into the psyche of everyone who can endure what it takes to live on a Green Isle – THE RAIN.

However, it’s the English, in the good old sense, who  talk most about the weather while stoically putting a brave face to it, after all, rain is good for the garden.

http://halftoneandeverythinginbetween.blogspot.co.uk/

Watch the page of this animation artist. Her humour is delicately subversive.

 

 

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… Goats are Goats … part 3

What I saw across the road, through the watery gauze of the side window, sent an electrifying jolt through me. Magnified, blazing eyes lanced through mine, saying – you’ll find what you want. For a brief moment he was there, an intense presence, a man dressed in emerald green at the corner of a white-washed house, holding a staff capped with a skull exquisitely carved from ivory. For a brief moment we were one, intimately united in clarity of being, which was how I perceived the finest detail of the staff’s handle across the distance of twenty feet. When I looked again, the figure was gone.

Trust unfurled in fast motion, unlike the everyday subtle intuitions I weighed with reason as counterbalance. My attitude towards the unexplained was respectful but wary. Ellie’s entities were real to her, and felt by those around her. Not that I doubted the forces pushing through envelops of time, only that the deeply personal significance of a supernatural event could be misread and misapplied. Since every cell of my body had grown wings, I was convinced by the message I received, with no need to solve or snub the mystery.

‘The sky’s clearing.’ Ellie said. Brilliant light broke through the clouds. A breeze swept remnants of rain like sparkling trinkets from trees. Dowsed in afternoon light, the village roofs glistened like buffed silver under a giant rainbow. ‘I’m starving,’ Ellie added, at the sight of a grocery shop.

The woman behind the counter smiled at seeing us. ‘You brought the sun!’ She cut us wedges of freshly baked bread and topped them with local cheese. Rarely had bread tasted so delicious. ‘I’ve goats’ milk in the fridge, would you like some?’ Ellie burst into hysterical laughter, which shocked the dear woman.

I grinned, ‘We’d love some.’

‘I fancy it myself,’ the woman said, and filled two glasses to the rim with cool, silky milk. We savoured every sip and wanted more. The sweet, nutty taste so absorbed my attention, I forgot to ask her about goats, which is why I felt my heart wobble when she said, ‘Sadly the source will dry up. My friend, Marte, is getting too frail to milk her doe and I don’t have the space to keep goats.’

This is what goats get up to.

Marte lived in the next village. She had been forewarned and waved at us, stoically forcing her arthritic knees towards the gate. Her goat, Fleck, was white with random patches of brown and gracefully curved horns. ‘A gentle creature,’ Marte said, ‘unless you annoy her.’ She giggled, as if she shared a pun with an inner companion. I had an ear for this kind of banter, having companions of my own. ‘She needs a good home,’ she said. ‘I gladly give her to you, if you take her weaned kid as well.’

Fleck was used to cars from trips to pastures in the hills. She calmly walked the plank into the hatch of my estate. Her adorable kid followed. The goats ogled Marte as she raised her hand in salute with a tear in her eye. Equipped with sacks of grain, lore and advice, we drove home with two new passengers comfortably bedded in straw. Their curiosity was engaging. I fell in love with the pair. And even Ellie, contented after her anxious day, was too protected by bliss to predict the trouble ahead.

The only true wisdom is in knowing you know nothing. A wise man does not need advice and a goat won’t take it.      Anon

The End 

@ Ashen Venema July 2012

Don’t miss this wonderful drawing, created especially for this story by Natasha Tonkin, my son’s partner. If the link doesn’t work  you can find the post in the archive under August 2012

https://courseofmirrors.wordpress.com/2012/08/11/the-english-goat/

 

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