Tag Archives: inspiration

… prayer …

When I hear of colleagues and friends who are having a stressful time, I usually exit my often self-defeating stream of thoughts and clear my mind – so my well-wishes can broadcast clearly. What works for me is tuning into thankfulness and often a little prayer or song comes to mind.

An image transformed during a rare attempt to be adventurous with photoshop.

An image transformed during a rare attempt to be adventurous with photoshop.

 

Who or what are my little prayers addressed to?                                                                                                                       The One in me I’m not ready to manifest and therefore bow to.

 

Below is a German song that came to me just now.

The text misses two dots above the ‘o’ in the word ‘schonen.’ I’d be grateful if someone could point me to a source for dots.

 

Dank Dir fur jeden schonen Morgen

Dank Dir fur jeden neuen Tag

Dank Dir dass ich all meine Sorgen

Auf Dich legen mag.

Very freely translated: Thank you, for every lovely morning, thank you for every novel day. Thank you, that I may leave my sorrows in your wisdom’s way.

Some time ago I shared my favourite prayer, also a song, with words by Hazrat Inayat Khan: …https://courseofmirrors.wordpress.com/2011/05/08/my-favourite-prayer/

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… global vision & synchronicity …

Moroc, Marrakech Riad roof, golden vision - low     Less than 80 years ago, across the world, only about 200 televisions sets were in use. Today, a simulated reality confronts us with our collective mind. A click away, we sample the zeitgeist and witness some disturbing trends, like the continuous robbery of world resources.

How do we filter the mass of information? Do we shout treason when we see the failure of economic systems that allow 1 % of the population to own 40 % of global wealth, or when we discover that certain corporations privatise water –  even rainwater  –  in underdeveloped countries? Traversing from one patch of light to another, do we make connections that apply to our scope of action? Or, lacking a meaningful context, are we hypnotised by this enlarged mega-screen, the global vision of a world that can mirror our inner fragmented states  –  a world where every viewpoint exists simultaneously, that over-exposes so-called reality and blinds us? Are we ourselves living inside the screen-myth, as extras, freed into bits, a reservoir of data?

As writers, what in-forms us, what material do we disseminate? And what is it that makes choices, switches from one networks of influence to another? What guides us through the data jungle? Are there perceptions beyond our wilful personalities that determine, agencies that operate through us from beyond time and space? I’m weary of the term God. For me this agency is a consciousness composed of past, present and future intelligences, a light-wave that echoes different signals according to the receptivity and needs of each animated vessel. Humans can be dense, but a calm mind recognises clear signals of this wave, since they chime with a joyous feeling of connectedness, a larger symphony, maybe even the sense of a destined purpose.

In my experience, this consciousness operates through synchronicity. There exist conceptual similarities between the behaviour of sub-atomic particles and archetypal images, (C G Jung and Wolfgang Pauli discussed such similarities in the context of synchronicity), a striking link between mind and matter that has been largely ignored. It implies that mind and matter connect, relate, mirror each other, and reciprocate. The process is given life in the realm of the psyche as imagination, not structured by time and space, but through layers of meaning illuminated by consciousness. Psyche is the changing room between cosmos and pneuma.

Moroc, Marrakech, Riad roof, shadow - lowJung thought of archetypes not as fixed, but as changing predispositions, universal patterns inherent in the human psyche, images that comprise our collective past and future unconscious. A pattern stirred into activity by an emotionally charged event in our lives, brings home related experiences, often through meaningful coincidences in a non-linear and a-causal way.

Such synchronicities draw on a deeper life-sap, as if an eternal intelligence were at work.

David Bohm proposed that subatomic particles remain in contact with one another regardless of the distance separating them, and that their separateness is an illusion. Here a facet of his thinking – a short first part of a 5 part series  http://www.youtube.com/watch?v=oGyDVF8GrLk                                                                                              A great and humble man I greatly admire. He has beautiful hands  :)

A dream, for example, can attract an outer event, a meaningful coincidence, that powerfully substantiates a message from the unconscious, often accompanied by a numinous quality. In my own life, synchronistic events have challenged my narrow reasoning at certain crossroads towards seemingly irrational decisions. Exploring a hunch, while not attaching to the outcome, often clarifies a situation for me. Consequently, I respect the unconscious, and heed my intuitions.

‘The universe does not exist, out there, independent of all acts of observation. Instead, it is in some strange sense a participatory universe.’ – John Wheeler

Just as scientist are branching out from traditional imperatives that divide the world into subjects and objects, so we all, presented with a global vision, must modify some of the archetypal imperatives, images and ideas that have outlived their use, and look for symbols that carry a fresh mystery.

Moroc, Plage Blanche sunset - low

While sun and moon are forever formative and feed our imagination, they are no more our only lights.

With new associations from science come fresh symbols and exciting probabilities, in that we can question assumptions about time and progress, about the relationship between matter and mind, about our view of social units, and even the meaning we give to gender.

‘It’s a poor sort of memory that only works backwards’. The White Queen says to Alice.

*    *    *

Many of my posts here touch upon similar themes, but maybe pattern-which-connect in particular: https://courseofmirrors.wordpress.com/2012/05/25/pattern-which-connects/

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… why spin tales? …

Die Nachtigall-02 Why spin tales, why listen to them, enact them on stage, dance them, ritualise them, read them, write them, re-write them?    We tell stories to ourselves and each other, to entertain, inspire, amplify events, or in search for meaning.

When it comes to stories, fact-finders tend to miss the point. Too many sequential facts can befuddle a truth that lingers in the higher or deeper layers of consciousness, from where vital symbolic insights shine through a narrative.

We owe much to Joseph Campbell, who with life-long passion explored the origins of myths and their functions throughout human history: http://en.wikipedia.org/wiki/Joseph_Campbell

And check out these fantastic documentaries: http://en.wikipedia.org/wiki/The_Power_of_Myth

A myth is a public dream – a dream is a private myth. – Joseph Campbell

 

In my psychotherapy practice, clients present their story in unique ways that occasionally include lucid dreams of past lives. I deeply respect the power of the imagination. In neutral mode, I listen. So it happens that a trauma set in thirteenth century Languedoc, when Cathars were branded as heretics and massacred by the Catholic Church, can deeply trouble a person’s psyche with visceral images. I travel along, and as the story is released, I may bridge the emotional resonance of a pattern to the present life of a client. In this process profound cognitions can soften a psychological complex.

Lasting examples of deeper truths are mirrored in Fairy-tales and myths, where basic patterns of our collective unconscious psyche are brought into relief. That is, if we can grasp the metaphors under the primary meaning of words. Fictional settings for heroic or anti-heroic characters are particularly suited to convey powerful emotional themes infused with archetypal elements.

… the spirit of an age is more essentially mirrored in its fairy-tales than in the most painstaking chronicle of a contemporary diarist … Raymond Chandler – Realism and Fairy-land

Some religions persist in the literal truths of their sacred texts. Scientists, too, get stuck in dogma, but I emphasize more with the frustration of the latter, since, with the courage of doubt, scientists have pushed the horizon of knowledge outwards by painstakingly reading the book of nature through the language of data, evidencing processes poets and mystics before them intuited, but physical eyes cannot perceive – like radiations other than light. I’m trying to overcome the conflict of the scientist and poet in me. They interpret the world in different but equally significant ways. There is a need to read nature in both languages, so greater understanding and tolerance can develop.

‘With faith one attains and realises peace and harmony. With doubt one destroys and gains freedom to move ontowards.’    – Fazal Inayat-Khan

Memory, objectively true, or false, affects our lives every day. Stories lodged in the heart endure in a timeless dimension of the imagination. We can however alter their interpretation by exploring our perspective, be it from a pit of fatalism, a sense of insecurity, a belief in magic, faith in divine guidance, or the certitude of natural laws. Even the simple acceptance of life’s continuous dynamic change can shift the meaning of our stories, and, of course, it helps to overcome literal mindedness and make an effort to decipher the metaphors.

‘The mystical warrior is trying to reduce the obstruction in the doorway, and the worshipper is attempting to reach the construction behind the doorway, almost out of sight. There is a gap between the two … the vague band between the known and the unknown. In that band rapture is possible.’   – Fazal Inayat-Khan

Stories are the sap of life nourishing the roots and branches of humanity. We spin stories because during the birth of this universe the symmetry between matter and antimatter was broken, kicked out of balance, which resulted in a slight predominance of matter, the stuff we bump into. It’s a poignant thought that this little quirk caused the dynamic asymmetry that evolved into the universe we live in. Without this asymmetry between matter and antimatter our world would be empty, there would be light only – sans elements, sans plants, sans animals, sans night, sans saints, fools, villains – sans consciousness – no story.

*     *     *

For those interested in nuclear physics:

http://www.slac.stanford.edu/pubs/beamline/26/1/26-1-sather.pdf

 

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… awards …

Unique inspiration can be found in the blogger world. Particularly heartening are loyal teams of the kind you can steal horses with. Among them is a group of fantasy writers who first met up at Harper Collins Authonomy site, where many of us shared comments and encouragements that made us better writers. Most of this group are published authors now, like Katrina Jack with her urban fantasy Land of Midnight Days, and Sophie Tallis with White Mountain, a rolling fantasy she also illustrated. Sophie lifts the praise of other writers to epic levels. Her dragon wings are surely made of golden generosity. She nominated me for two awards, and I succumb to the honour: The Flight of Fantasy Award, and the Very Inspiring Blogger Award.

VIB1 the-flight-of-fantasy-award

Thanks for these nominations, Sophie – much love and success to you and the fantasy crowd.

http://sophieetallis.wordpress.com/2013/01/24/very-inspiring-again/

http://www.amazon.co.uk/Sophie-E.-Tallis/e/B008IVBYEO/ref=ntt_athr_dp_pel_pop_1

There are rules to these awards, which I’ll bend a little.

1   Display the award logo on your blog.

2   Link back to the person who nominated you.

3   State 7 things about yourself.

4   Nominate 15 bloggers for this award and link to them.

5   Notify those bloggers of the nomination and the award’s requirements

Here are some things about me

My first truly creative expression was an installation on my mother’s kitchen floor, consisting of swirling designs of my sweet-smelling excrements mixed with white flour from kitchen cupboards. My parents’ lack of appreciation for my art set a tone: what really matters to me may not be entirely understood. It made me want to understand myself.

I was told dreams are not real. Later I become convinced that life was a dream and reality lay elsewhere. Later still, I thought dreams can be made real for the sheer fun of it.

I believe our bodies are made of stardust and our minds are united with and guided by all the illuminated souls who ever where, are, or will be. The trouble is, I forget, and more, I doubt these illuminated ones know all, but may need embodied consciousness to expand their own. To cut it short, I value my doubts.

My best luck was working as a photojournalist, travelling and meeting some exceptionally creative and eccentric famous people. My best fun was living and working in communities. My best joy was the birth of my son. My best failing was my marriage. My best challenges were trainings as a therapist and doing a film degree as a mature student. My best fulfilments are friends, photography and writing.

I’m habitually addicted to coffee, red wine and roll-up cigarettes, though not to excess.

For decades I worked hard at empowering people. Now it’s my turn. I take time to write.

Reading and writing in my hammock is bliss. At times, when I manage to step out of my own way, a burst of energy can makes me accomplish extraordinary things almost effortlessly.

*     *     *

Omitting the already honoured, I’ll nominate a mixed bunch whose posts inspire me and may inspire you. It’s up to the nominees whether they’ll run with the award or just feel tickled :)

Diane        http://dianemdickson.wordpress.com/

Katia         http://scribedoll.wordpress.com/

Grisha       http://www.ryzhakov.co.uk/

Adriene     http://thirdsundaybc.com/

Yeshen      http://yeshenvenema.com/blog/

Natasha     http://pandahorse.com/blog/

Joe             http://joelinker.wordpress.com/

Jane           http://exmoorjane.blogspot.co.uk/

Elizabeth   http://elizabethjasperwriter.wordpress.com/

Oyai          http://oyiabrown.com/category/humour/jokes/

Vivienne   http://zenandtheartoftightropewalking.wordpress.com/

Roz             http://nailyournovel.wordpress.com/

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… 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 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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… receiving .

I used to be part of a family-of-heart, The Sufi Way, for many years. Various fateful events in 2004 made the hub of this family move to the USA. In the wake of this loss, a group of local UK friends huddled together to hold and honour the memory of a place, friendships, and the gifts of remarkable teachings we had received.

Now our small group has lost a dear friend, who unfailingly showed up and contributed to monthly events we organised together.  His Sufi name was Aranth. He was called to move on, much too young, with many projects on the go. We miss him very much. May his guiding spirits bring him home.

In a moment when I strongly sensed his presence, received his being, something fell into place. He liked to give, and loved it when his giving was received. He was giving generously of his attention, his presence, and the embodied wisdom of his experiences.

So I pondered about how we receive. Today, when everything has a price, giving can be regarded with suspicion. Or a too well-meaning parent may have set up a default warning against receiving anything with strings attached, a condition I battled with in my early years, which made me super-independent, and hesitant to ask for support when I needed it. And there is the profusion of good advice, from self-help books, quotes of gurus, or recipes – like how to write a book in 30 days. The growth industry of advice-giving requires a filter, firm choices as to how we spend our time, and what we open up to.

Yet something given from the core of our being resonates subtly, is easily absorbed, and nourishes the giver and the receiver in lasting ways. To Aranth, this kind of giving was as natural as breathing. It’s how I’ll remember him.

Here the story of a small workshop he offered some years ago, on money, and the various ways in which money is perceived – as energy, power, or talent. We stood in a circle and Aranth pulled a substantial bundle of £50 banknotes from his pocket. Our eyes popped. There was once a period in my life when £ 50 notes wandered through my purse, but not then. ‘Go on, let it go round,’ he said. With a mischievous smile he proceeded to feed the crisp notes into our circle, clockwise. ’Faster!’ he said.

Many fascinating processes happened among us. In the rush of energy, bank notes would take on a life of their own. They would stick to hands and accumulate, or notes were dropped in confusion. Some people got impatient when the flow was held up. And there were those who quickly handed the cash on to the next person as if the notes singed their hands – I was among that group. ‘How comfortable are you dealing with energy, money?’ Aranth asked. ‘There would be enough for everybody if it was allowed to circulate and flow freely.’ Yes, there is that, a fact of life, money gets hoarded and piled up in oxbows. But what about people handing on energy too fast, like I was in the habit of doing?

My lasting insight during that day was – insufficiency, as well as sufficiency, are states within us. And our environment tends to confirm the state within us. I gradually managed to stop worrying about money. Yes, it would be nice for a few wants to materialise, but I always seemed to have enough of what I need. Attending to my inner state, I shifted my focus towards holding and developing my talents.

unfading rose

I receive Aranth’s giving that day, and benefited  Yet many times a giving is concealed to me, or appears like an obstruction, and I miss its blessing. Like the beggar in a Hindu story, who stumbled over a sack of rags and cursed, not realising it contained gold.

As it happens often, it is only when we lose someone who has been part of our life that we are able to gage the depth of what we were able to receive. When a giving is truly received and valued, something of beauty is exchanged that lives on – like the unfading rose.

So I figure, this little quote they assign to you, dear St Francis of Assisi

‘It is in giving that we receive,’

has its equally valid mirror … ‘It is in receiving that we give.’

I imagine the Saint would have smiled and agreed.

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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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… layers of perception …

Lately, fully into the process of writing again – the sequel to my first novel – I sometimes wake up with phrases. Yesterday it was: Outsight is the dream, insight is reality. Aha, not just a nice wordplay, I thought, but a fitting indication for what happens in the creative, intuitive process. Insight is new comprehension, often through a shift of focus revealing deeper layers, new connections in the matrix that awaken and surprise, fresh meaning, and adjust the outsight, the old noise caught in a time warp. It’s like having new sight through what the Celts called Thin Places, actual or virtual, where our senses are transcended and spheres intermingle.

If you are a creative person, you may listen to the system talking to itself, as it does day and night, even during dreams. Some of us like to branch into the unknown for dimensions beneath surface impressions, probe into the vast reservoir of the personal and collective psyche,  normally filtered out from our conscious awareness when we must attend to the practical matters of daily living.

Often a creative process is sparked by sensing in-betweens. This applies to all arts, including writing. Different layers of experience and association diverge and merge anew when we de-focus. In a visual sense, for example, try looking at a tree in twilight, squeeze your eyes and concentrate on the in-between spaces. There is a moment when the shapes reverse and the background becomes the foreground. And who hasn’t looked at clouds or landscapes in a particular light and seen magical beings?

In this optical illusion you only need to tilt your head. 

And there is the meandering mind, receptive to intuition. Like yesterday I popped to the corner shop to get a paper. An unintended detour got me talking to Annie, who does house clearances. Amongst her cornucopia of stuff a spot of bright magenta caught my eye. I instantly thought of my friend, Rahima, presently in hospital. She is a painter. She loves colours. The vibrant patch of silk, I thought, will make her smile. 

Artists tend to tune out of fashion, out of mass projections, to let the muse take them along random paths into deeper strata of perception and cognition – of shapes, colours, sounds and movements – to re-arrange personal experience, bringing them into a new, universal context.

A good example of this process is shown in a documentary of the painter Howard Hodgkin by Alan Yentob, from the IMAGINE series.

Howard Hodgkin has a current exhibition at the Alan Christea Gallery, London.  http://www.alancristea.com/  in celebration of his 80th birthday,

A Robert Frost poem – Acquainted with the night – was chosen as the title for the exhibition.

De-focussing is magical – it brings new layers of perception …

Ask what makes you come alive, and go do it. Because what the world needs are people who have come alive.’ – Howard Thurman

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