Hello Darkness: Why We Need the Dark

 

"We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us."

The Winter Solstice approaches again,  and I find myself longing each day for rest, solitude, reflection, the incubatory quietude of this time.  The Dark is gestative, and emotional states arise in myself and others that disturb, revealing what has been buried in the daily frenzy of life.  Yet if listened to, if given a voice in the dark, they can provide needed insight and healing. I believe the  cycle of the season calls for it.  Not so very long ago, we had Ancestors who, like all mammals, lived within the cycles of the seasons.  After the last Harvest, the days grew shorter, and the world colder, and the hard work of the summer and fall ceased.  This was a time of dormancy, of going within, of rest and sleep, of being enveloped by the Dark as the Winter Solstice approached.  

We don't have that relationship with the Dark, or with the Cycles of our world, that our ancestors had very much these days.  Yet I believe it is still there within each of us, still felt, perhaps felt as a loss or a hollow place inside.  I pay attention these days  to my own fear of "stopping", my own preoccupation with busy-ness as the Night approaches and wishes to be heard. I am giving myself time to listen now.  

I don't feel it's necessary to always come up with something new, to "re-invent the wheel" when it's been said well before.  I'm like that with books too:  I can read a book over and over, entering again each time into it with pleasure and new insight.  So in that spirit, I offer here again a post from last year, which includes an article I love by Clark Strand.  

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I remember a winter night many years ago, when I lived in the country in upstate N.Y..   I shared a house with a second story living room that had a big picture window,  A  mid-winter snowstorm had left us stranded in a shimmering blanket of snow.  One could look out on that field of white, illuminated by the dark sky, the moon, and an occasional star,  into a vast,  dark silence.   For a while the lights went out, but we had no shortage of candles, and somehow that makes the memory even sweeter for me.  The intensity of the dark and the silence  of the snow that long ago December was not frightening, but intimate,  a landscape for sleep, for the incubation of dreams,  a darkness ripe with dormant life.  A place where we could lie together in the warmth of our bed, becoming aware of  the occasional sound of snowfall, or an animal moving outside.  

I remember recently seeing a time lapse film of cities - vast networks of light, sky scrapers and traffic rushing along freeways like blood coursing along arteries, and I was struck by how much it looked like some kind of organism frenetically pulsing and extruding itself and consuming everything around it.  The truth is, it had a terrible beauty - the shimmering, glittering urban  triumph of humanity over nature, over the darkness.  Or is it truly "triumph"?  How is it possible we have so forgotten that we are not the conquerors of nature, but part of nature?  Have we failed to see, in our blinding pursuit of speed and of "illumination" that we are also animals, participating in the cycles and seasons of the life of Gaia, needing rest, incubation, renewal, and the sweet silence of the dark.

Newgrange at the Winter Solstice

In the years since, I have so often thought of those winter nights. 

I  take the liberty of reprinting here a wonderful article by Clark Strand, whose book is well worth reading.  He has had such nights too, of that I'm sure. 

Bring On the Dark:  Why We Need the Winter Solstice

By CLARK STRAND
December 19, 2014

WOODSTOCK, N.Y. — WHEN the people of this small mountain town got their first dose of electrical lighting in late 1924, they were appalled. “Old people swore that reading or living by so fierce a light was impossible,” wrote the local historian Alf Evers. That much light invited comparisons. It was an advertisement for the new, the rich and the beautiful — a verdict against the old, the ordinary and the poor. As Christmas approached, a protest was staged on the village green to decry the evils of modern light.

Woodstock has always been a small place with a big mouth where cultural issues are concerned. But in this case the protest didn’t amount to much. Here as elsewhere in early 20th-century America, the reluctance to embrace brighter nights was a brief and halfhearted affair.

Tomorrow is the winter solstice, the longest night of the year. But few of us will turn off the lights long enough to notice. There’s no getting away from the light. There are fluorescent lights and halogen lights, stadium lights, streetlights, stoplights, headlights and billboard lights. There are night lights to stand sentinel in hallways, and the lit screens of cellphones to feed our addiction to information, even in the middle of the night. No wonder we have trouble sleeping. The lights are always on.

In the modern world, petroleum may drive our engines but our consciousness is driven by light. And what it drives us to is excess, in every imaginable form.

Beginning in the late 19th century, the availability of cheap, effective lighting extended the range of waking human consciousness, effectively adding more hours onto the day — for work, for entertainment, for discovery, for consumption; for every activity except sleep, that nightly act of renunciation. Darkness was the only power that has ever put the human agenda on hold.

In centuries past, the hours of darkness were a time when no productive work could be done. Which is to say, at night the human impulse to remake the world in our own image — so that it served us, so that we could almost believe the world and its resources existed for us alone — was suspended. The night was the natural corrective to that most persistent of all illusions: that human progress is the reason for the world.

Advances in science, industry, medicine and nearly every other area of human enterprise resulted from the influx of light. The only casualty was darkness, a thing of seemingly little value. But that was only because we had forgotten what darkness was for. In times past people took to their beds at nightfall, but not merely to sleep. They touched one another, told stories and, with so much night to work with, woke in the middle of it to a darkness so luxurious it teased visions from the mind and divine visitations that helped to guide their course through life. Now that deeper darkness has turned against us. The hour of the wolf we call it — that predatory insomnia that makes billions for big pharma. It was once the hour of God.

There is, of course, no need to fear the dark, much less prevail over it. Not that we could. Look up in the sky on a starry night, if you can still find one, and you will see that there is a lot of darkness in the universe. There is so much of it, in fact, that it simply has to be the foundation of all that is. The stars are an anomaly in the face of it, the planets an accident. Is it evil or indifferent? I don’t think so. Our lives begin in the womb and end in the tomb. It’s dark on either side.

We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us. And the earth, too, needs that rest. The only thing I can hope for is that, if we won’t come to our senses and search for the darkness, on nights like these, the darkness will come looking for us.

You, darkness, that I come from

I love you more than all the fires

that fence in the world,

for the fire makes a circle of light for everyone

and then no one outside learns of you.

But the darkness pulls in everything –

shapes and fires, animals and myself,

how easily it gathers them! 

powers and people 

and it is possible 

a great presence is moving near me.

I have faith in nights.

Rainer Maria Rilke

Why We Need the Dark

 

"We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us."

The Winter Solstice approaches again,  and I find myself longing each day for rest, solitude, reflection, the incubatory quietude of this time.  I need so much more of that in my life, and the cycle of the season calls for it. I pay attention to my own fear of "stopping", my own preoccupation with busy-ness as the Night approaches and wishes to be heard. I have decided to forgo Christmas this year, in heeding that call.

Here is a post from last year I that I feel like revisiting and sharing again,  I love this article by Clark Strand

_____________________________________________________________________________

I remember a winter night many years ago, when I lived in the country in upstate N.Y..   I shared a house with a second story living room that had a big picture window,  A  mid-winter snowstorm had left us stranded in a shimmering blanket of snow.  One could look out on that field of white, illuminated by the dark sky, the moon, and an occasional star,  into a vast,  dark silence.   For a while the lights went out, but we had no shortage of candles, and somehow that makes the memory even sweeter for me.  The intensity of the dark and the silence  of the snow that long ago December was not frightening, but intimate,  a landscape for sleep, for the incubation of dreams, a place to heal from the frenzy of achievement and obligation, a darkness ripe with dormant life.  A place where we could lie together in the warmth of our bed, becoming aware of  the occasional sound of snowfall, or an animal moving outside.  

I remember recently seeing a time lapse film of cities - vast networks of light, sky scrapers and traffic rushing along freeways like blood coursing along arteries, and I was struck by how much it looked like some kind of organism frenetically pulsing and extruding itself and consuming everything around it.  The truth is, it had a terrible beauty - the shimmering, glittering urban  triumph of humanity over nature, over the darkness.  Or is it truly "triumph"?  How is it possible we have so forgotten that we are not the conquerors of nature, but part of nature?  Have we failed to see, in our blinding pursuit of speed and of "illumination" that we are also animals, participating in the cycles and seasons of the life of Gaia, needing rest, incubation, renewal, and the sweet silence of the dark.

Newgrange at the Winter Solstice

In the years since, I have so often thought of those winter nights. 

I  take the liberty of reprinting here a wonderful article by Clark Strand, whose book is well worth reading.  He has had such nights too, of that I'm sure. 

Bring On the Dark:  Why We Need the Winter Solstice

By CLARK STRAND
December 19, 2014

WOODSTOCK, N.Y. — WHEN the people of this small mountain town got their first dose of electrical lighting in late 1924, they were appalled. “Old people swore that reading or living by so fierce a light was impossible,” wrote the local historian Alf Evers. That much light invited comparisons. It was an advertisement for the new, the rich and the beautiful — a verdict against the old, the ordinary and the poor. As Christmas approached, a protest was staged on the village green to decry the evils of modern light.

Woodstock has always been a small place with a big mouth where cultural issues are concerned. But in this case the protest didn’t amount to much. Here as elsewhere in early 20th-century America, the reluctance to embrace brighter nights was a brief and halfhearted affair.

Tomorrow is the winter solstice, the longest night of the year. But few of us will turn off the lights long enough to notice. There’s no getting away from the light. There are fluorescent lights and halogen lights, stadium lights, streetlights, stoplights, headlights and billboard lights. There are night lights to stand sentinel in hallways, and the lit screens of cellphones to feed our addiction to information, even in the middle of the night. No wonder we have trouble sleeping. The lights are always on.

In the modern world, petroleum may drive our engines but our consciousness is driven by light. And what it drives us to is excess, in every imaginable form.

Beginning in the late 19th century, the availability of cheap, effective lighting extended the range of waking human consciousness, effectively adding more hours onto the day — for work, for entertainment, for discovery, for consumption; for every activity except sleep, that nightly act of renunciation. Darkness was the only power that has ever put the human agenda on hold.

In centuries past, the hours of darkness were a time when no productive work could be done. Which is to say, at night the human impulse to remake the world in our own image — so that it served us, so that we could almost believe the world and its resources existed for us alone — was suspended. The night was the natural corrective to that most persistent of all illusions: that human progress is the reason for the world.

Advances in science, industry, medicine and nearly every other area of human enterprise resulted from the influx of light. The only casualty was darkness, a thing of seemingly little value. But that was only because we had forgotten what darkness was for. In times past people took to their beds at nightfall, but not merely to sleep. They touched one another, told stories and, with so much night to work with, woke in the middle of it to a darkness so luxurious it teased visions from the mind and divine visitations that helped to guide their course through life. Now that deeper darkness has turned against us. The hour of the wolf we call it — that predatory insomnia that makes billions for big pharma. It was once the hour of God.

There is, of course, no need to fear the dark, much less prevail over it. Not that we could. Look up in the sky on a starry night, if you can still find one, and you will see that there is a lot of darkness in the universe. There is so much of it, in fact, that it simply has to be the foundation of all that is. The stars are an anomaly in the face of it, the planets an accident. Is it evil or indifferent? I don’t think so. Our lives begin in the womb and end in the tomb. It’s dark on either side.

We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us. And the earth, too, needs that rest. The only thing I can hope for is that, if we won’t come to our senses and search for the darkness, on nights like these, the darkness will come looking for us.

Why We Need the Dark - Solstice Reflections

 

"We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us."

A post from 2017 I felt like revisiting - as always, my thoughts, particularly at this time of year, turn to "Endarkenment" as the Balance and partner of "Enlightenment".  :

I remember a winter night many years ago, when I lived in the country in upstate N.Y..   I shared a house with a second story living room that had a big picture window,  A  mid-winter snowstorm had left us stranded in a shimmering blanket of snow.  One could look out on that field of white, illuminated by the dark sky, the moon, and an occasional star,  into a vast,  dark silence.   For a while the lights went out, but we had no shortage of candles, and somehow that makes the memory even sweeter for me.  The intensity of the dark and the silence the snow that long ago December was not frightening, but intimate,  a landscape for sleep, for the incubation of dreams, a place to heal from the frenzy of achievement and obligation, a darkness ripe with dormant life.  A place where we could lie together in the warmth of our bed, becoming aware of  the occasional sound of snowfall, or an animal moving outside.  

I remember recently seeing a time lapse film of cities - vast networks of light, sky scrapers and traffic rushing along freeways like blood coursing along arteries, and I was struck by how much it looked like some kind of organism frenetically pulsing and extruding itself and consuming everything around it.  The truth is, it had a terrible beauty - the shimmering, glittering urban  triumph of humanity over nature, over the darkness.  Or is it truly "triumph"?  How is it possible we have so forgotten that we are not the conquerors of nature, but part of nature?  Have we failed to see, in our blinding pursuit of speed and of "illumination" that we are also animals, participating in the cycles and seasons of the life of Gaia, needing rest, incubation, renewal, and the sweet silence of the dark.

Newgrange at the Winter Solstice

In the years since, I have so often thought of those winter nights. 

I  take the liberty of reprinting here a wonderful article by Clark Strand, whose book is well worth reading.  He has had such nights too, of that I'm sure. 

Bring On the Dark:  Why We Need the Winter Solstice

By CLARK STRAND
December 19, 2014

WOODSTOCK, N.Y. — WHEN the people of this small mountain town got their first dose of electrical lighting in late 1924, they were appalled. “Old people swore that reading or living by so fierce a light was impossible,” wrote the local historian Alf Evers. That much light invited comparisons. It was an advertisement for the new, the rich and the beautiful — a verdict against the old, the ordinary and the poor. As Christmas approached, a protest was staged on the village green to decry the evils of modern light.

Woodstock has always been a small place with a big mouth where cultural issues are concerned. But in this case the protest didn’t amount to much. Here as elsewhere in early 20th-century America, the reluctance to embrace brighter nights was a brief and halfhearted affair.

Tomorrow is the winter solstice, the longest night of the year. But few of us will turn off the lights long enough to notice. There’s no getting away from the light. There are fluorescent lights and halogen lights, stadium lights, streetlights, stoplights, headlights and billboard lights. There are night lights to stand sentinel in hallways, and the lit screens of cellphones to feed our addiction to information, even in the middle of the night. No wonder we have trouble sleeping. The lights are always on.

In the modern world, petroleum may drive our engines but our consciousness is driven by light. And what it drives us to is excess, in every imaginable form.

Beginning in the late 19th century, the availability of cheap, effective lighting extended the range of waking human consciousness, effectively adding more hours onto the day — for work, for entertainment, for discovery, for consumption; for every activity except sleep, that nightly act of renunciation. Darkness was the only power that has ever put the human agenda on hold.

In centuries past, the hours of darkness were a time when no productive work could be done. Which is to say, at night the human impulse to remake the world in our own image — so that it served us, so that we could almost believe the world and its resources existed for us alone — was suspended. The night was the natural corrective to that most persistent of all illusions: that human progress is the reason for the world.

Advances in science, industry, medicine and nearly every other area of human enterprise resulted from the influx of light. The only casualty was darkness, a thing of seemingly little value. But that was only because we had forgotten what darkness was for. In times past people took to their beds at nightfall, but not merely to sleep. They touched one another, told stories and, with so much night to work with, woke in the middle of it to a darkness so luxurious it teased visions from the mind and divine visitations that helped to guide their course through life. Now that deeper darkness has turned against us. The hour of the wolf we call it — that predatory insomnia that makes billions for big pharma. It was once the hour of God.

There is, of course, no need to fear the dark, much less prevail over it. Not that we could. Look up in the sky on a starry night, if you can still find one, and you will see that there is a lot of darkness in the universe. There is so much of it, in fact, that it simply has to be the foundation of all that is. The stars are an anomaly in the face of it, the planets an accident. Is it evil or indifferent? I don’t think so. Our lives begin in the womb and end in the tomb. It’s dark on either side.

We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us. And the earth, too, needs that rest. The only thing I can hope for is that, if we won’t come to our senses and search for the darkness, on nights like these, the darkness will come looking for us.

A River Runs Through Us

"Then in the Arctic half-light of the canyon, all existence fades to a being with my soul and memories and the sounds of the Big Blackfoot River. Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of those rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. "

Norman MacLean, "A River Runs Through It"

These years I support myself with a successful AIRBNB/B and B.  I am now busy in ways I never imagined I would be.   "Home" used to be a van with a travelling cat, and in the complexity of my life now there isn't so much time to "call for vision" as I once had...........and when they do come, it too often seems  I have to put them at the bottom of the laundry list. 

I may have finally reached an age where I don't  inquire any longer about "the purpose of my life".  I reflect that if I have a "purpose"  at all, it is the sometimes  gathering and transmission of vision, the effort to communicate it.  I do feel that this is the sacred job of artists, although many would argue against that rather mystical idea.   We are all many layered, the world speaks to us in a multitude of ways,  and our depths run dark  and invisible most of the time.  And  a "river runs through us".  

I have a good friend who recently left me  a long message on my answering machine.  Almost 65, she wondered if we came into the world with a destiny, and if so, she is going through that threshold where she wonders if she might have "missed"  hers, not done whatever it was she was supposed to do, leaving behind her a wake of dissatisfaction.  To me she is an extraordinary, beautiful, accomplished woman who has led an adventurous and creative life.    How can I respond?  Why does it seem we no longer live in a world where such a profound conversation can be had over a cafe table, and a bottle of wine, deep into the night, instead of squeezed into 2 minute answering machines as we each rush, rush, rush through our ever complicated and busy lives?  I think I finally understand the Chinese curse:  "May you live in interesting times."    Sometimes I think distraction and busyness is the curse of  "today's world" and I determine to change that as I now fully push the  borders of old age.  

"Dreams.  They are never where you expect them to be."  

                                                                                                              ........From "Shirley Valentine" (1989)


Thinking about that conversation, I wanted to say that I no longer believe in "destiny".  We Americans are so materialistic, and grandiose, that the idea has come to mean some "great thing" -  so  if you aren't having a retrospective at the Met, or running an orphanage in Uganda, or in the Fortune 500, or married to a movie star, people somehow feel they've "failed", discounting all the glorious, beautiful, soul deepening experiences they've had. 

Perhaps a real soul  "Destiny" was to learn to love someone very  hard to love, a difficult child perhaps, or to learn to have patience with yourself.  Perhaps you met your Soul Mate, and your destiny was not to be together, but to experience the gift of loss.  Perhaps suffering was even one's destiny, so that empathy and compassion for others was deepened, the template of a healer.   Perhaps "destiny" is to do something difficult, and fail, never knowing how many lives you touched and enriched in the process, and not knowing until much later how you were  evolved by it.  Perhaps it's to connect with others through the mesh and warp and woof of synchronicity, never knowing consciously what gifts you've given each other, what waves and ripples of creative force you've sent out into the world.  We're dreamers and dreamt, and ultimately "a river runs through us", unfathomable, ineffable, splendid.

The quote at the top of the post  has always been so beautiful to me that I wanted to meditate on it for a moment, take a look into the depths of these waters.  It is from the novel that became also a movie, "A River Runs Through It", and the quote occurs in the end of the movie, as the lead character, now an old man, is fly fishing alone in a beloved river.  Perhaps Norman Maclean is speaking about what  storyteller Clarissa Pinkola Estes * called "Rio Abajo Rio, the river beneath the river of the world". 

Perhaps "El Rio" is also what Jung called the Collective Unconscious, I don't know. But Estes' speaks of the great River of Story, the universal waters flowing beneath the surfaces of all things, an image that moves me to imagine the deep underground rivers of the planet, and of our lives.

In her book Women Who Run With the Wolves *** she writes,

"Each woman has potential access to Rio Abajo Rio, this river beneath the river. She arrives there through deep meditation, dance, writing, painting, prayer making, singing, drumming, active imagination, or any activity which requires an intense altered consciousness. A woman arrives in this world-between worlds through yearning and by seeking something she can see just out of the corner of her eye. She arrives there by deeply creative acts, through intentional solitude, and by practice of any of the arts. And even with these well-crafted practices, much of what occurs in this ineffable world remains forever mysterious to us, for it breaks physical laws and rational laws as we know them."*

"Endarkenment", Lauren Raine, 2009

 Why must we evaluate the value of our lives, our "destinies",  in such material terms of "accomplishment" and "achievement"?  I have tortured myself mightily with those magic words, rushing, rushing, rushing to do the "great thing", and meanwhile, missing so many tender and miraculous moments.  What a tyranny! 

Even in terms of  "enlightenment",:  as if there is some ultimate and permanent state of spiritual "light" and  "accomplishment" we are supposed to reach.  And if we don't, we are failures?   Why not think also of what has been our deepening   "endarkenment", the field of creative unknowing we have drawn our lives from?  Whether tapping, if only briefly, the wellsprings of El Rio in grief, creativity, meditation, or through the sudden psychic upwelling that can happen when the so-called ego cracks and splinters, it is always a blessing when the waters are revealed, for they remind us of the greater life. 

In her book Meditation Secrets for Women, Camille Maurine writes,  

  “The realm of the soul is not light and airy, but more like mud: messy, wet, and fertile. Soul processes go on down there with the moss and worms, down there with the decaying leaves, down there where death turns into life. Deepening into soul requires the courage to go underground, to stretch our roots into the dark, to writhe and curl and meander through rick, moist soil. In this darkness we find wisdom, not through the glaring beam of will, but by following a wild, blind yet unfailing instinct that senses the essence in things, that finds nourishment to suck back into growth.” (p. 211)

If the river of story has a voice, it's a voice that contains all voices, human and planetary, and the song it sings may be Om, may be "Nameste", I am Thou.  What we ultimately bring to that song cannot be measured or valued in any terms we might try to wrap words around, try to put into some kind of list, some kind of materialistic order, heirarchy, or, heavens forbid, monetary  value.  If there is anything such as a "destiny", it might be found,  as Estes (who is a Jungian psychologist) believed,  within our instinctual participation in the Great Web of being, and in so doing, the ways in which each of us can open a channel,  a well spring, for others.

"...[W]hat Jung called 'the moral obligation' to live out and to express what one has learned in the descent or ascent to the wild Self. This moral obligation he speaks of means to live what we perceive, be it found in the psychic Elysian fields, the isles of the dead, the bone deserts of the psyche, the face of the mountain, the rock of the sea, the lush underworld - anyplace where La Que Sabe breathes upon us, changing us. Our work is to show we have been breathed upon - to show it, give it out, sing it out, to live out in the topside world what we have received through our sudden knowings, from body, from dreams and journeys of all sorts."

Perhaps the individuality of each one of us, our uniqueness, is a gift we can only experience in the embodied here and now, a great adventure that occurs like a bubble on the surface of the River, shimmering in the sun, then merged again with source,  the  River beneath the River of the World.

 "The deep parts of my life pour onward, as if the river shores were  opening out.

   It seems as if things are more like me now,  that I can see farther into paintings.

   I feel closer to what language can't reach." 

             Rainier Maria Rilke

Untitled, Lauren Raine, 1972

* (p.30, below)
** (p.96, below)

*** Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype
Clarissa Pinkola Estés, Hardcover, 560 pages, Random House Publishing Group, 1992

Ritual of Endarkenment

This  painting says "past desire, ambition or grief, I rest in You,  a seed." "You" means the Earth, and this was one of my  "incubation" paintings.   The Meditation/Ritual below is something I wrote and included in a performance in 2002, the "Ritual of Endarkenment".  In our driven, technological, left-brain, materialistic world, we place an emphasis on "Enlightenment".  Here is a reflection I wrote a long time ago, a descent into what the poet David Whyte called "Sweet Darkness".

The sleeping figure is entwined with all other life, and a shaft of water, or perhaps light, nourishes the dreaming figure that waits for the season of new beginnings.  How did we ever come to conceive of ourselves as apart from the cycles of nature and time  that all other living beings experience?  Perhaps that was the true Original Sin, when the patriarchs began to invent religions and philosophies that made us "apart" from the cyclical, magical animals we are, among so many other kinds of magical animal beings.  Yes, I think that is what "sin" means to me.

RITUAL OF ENDARKENMENT

Close your eyes, and see  a cord
a shining umbilical cord at your naval
that goes down,

into the dreaming Earth.

Into the darkness, the silence, follow,
that luminous cord,
un-becoming,
un-knowing

As you descend into the warm darkness
remove your garments
remove, one by one
remove your masks.

One by one, take them off
feel the heavy weight of each as
you let it fall, as you descend.
Let each mask fall away, but
take a moment to see it before it falls
into the Earth, into the darkness.

Take off the mask of competence,
the mask of your accomplishments.
what does that mask look like?

Take  off the child's mask,  the little one
laughing with delight, the child crying helplessly in an empty room.
Take it off  with tenderness.

The masks of relationship, the masks you wear with others,
the mask of the lover, the mate, the parent,
the mask of conflict, the mask of the warrior,
the mask of affiliation, of responsibility, of duty:
take each one off, hold it in your hand, let it go,
into the darkness, see them fall,
the question "who am I?"
falling like a feather with them.

And take off the mask of your age
the accumulated years that whisper
I'm just a kid, I'm middle aged, I'm old, I must, I can't,
I will I should it's too late, I can't.........
take them all off, let go, feel the weight leave you.

The masks of your parents that you also learned to wear,
their fears and dreams in the shape of your face,
 remove them with respect and pity, and descend

to the last masks, the shadow masks

the masks you do not look at, but cling to,
see them in your hands -  and let them go,
into the darkness, into the dreaming Earth.

Rest, and  wait.
Ask  for the dreams
the unborn ones

that wait to be born in you
empty and held in the womb of the Earth
invite them to come, in time to come,
the guidance and inspiration that will infuse your new year.

Make that prayer  into the darkness,
feel it like a pulse among roots, that deep umbilical
holding you safe.  Rest, and  know you are loved,
held, a seed, a child, a hope, a potential.

Begin to ascend at last.
As you rise, see the masks you've discarded -
one by one, take them in your hands.
Perhaps some you no longer need;
some you will examine more closely in the future.
Perhaps some you will discard, and
some you will wear more lightly.  Feel their weight.

And as you emerge from the earth
into the sunlit world, feel that unbroken cord, shining,
unseen, holding  you to your origin. 
To the Source.
 Always, always generous.

(2002)

Bring On the Dark: Why We Need the Winter Solstice

"We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us."

I remember a winter night many years ago, when I lived in the country in upstate N.Y..   I shared a house with a second story living room that had a big picture window,  A  mid-winter snowstorm had left us stranded in a shimmering blanket of snow.  One could look out on that field of white, illuminated by the dark sky, the moon, and an occasional star,  into a vast,  dark silence.   For a while the lights went out, but we had no shortage of candles, and somehow that makes the memory even sweeter for me.  The intensity of the dark and the silence the snow that long ago December was not frightening, but intimate,  a landscape for sleep, for the incubation of dreams, a place to heal from the frenzy of achievement and obligation, a darkness ripe with dormant life.  A place where we could lie together in the warmth of our bed, becoming aware of  the occasional sound of snowfall, or an animal moving outside. 

I remember recently seeing a time lapse film of cities - vast networks of light, sky scrapers and traffic rushing along freeways like blood coursing along arteries, and I was struck by how much it looked like some kind of organism frenetically pulsing and extruding itself and consuming everything around it.  The truth is, it had a terrible beauty - the shimmering, glittering urban  triumph of humanity over nature, over the darkness.  Or is it? Have we forgotten so badly that we are part of nature and all of Gaia's cycles and seasons, that we also are animals that must rest, hibernate, envision, and renew?    In the years since, I have so often thought of those winter nights.

I  take the liberty of reprinting here a wonderful article by Clark Strand, whose book is well worth reading.  He has had such nights too, of that I'm sure.  

Bring On the Dark:  Why We Need the Winter Solstice

By CLARK STRAND
December 19, 2014

WOODSTOCK, N.Y. — WHEN the people of this small mountain town got their first dose of electrical lighting in late 1924, they were appalled. “Old people swore that reading or living by so fierce a light was impossible,” wrote the local historian Alf Evers. That much light invited comparisons. It was an advertisement for the new, the rich and the beautiful — a verdict against the old, the ordinary and the poor. As Christmas approached, a protest was staged on the village green to decry the evils of modern light.

Woodstock has always been a small place with a big mouth where cultural issues are concerned. But in this case the protest didn’t amount to much. Here as elsewhere in early 20th-century America, the reluctance to embrace brighter nights was a brief and halfhearted affair.

Tomorrow is the winter solstice, the longest night of the year. But few of us will turn off the lights long enough to notice. There’s no getting away from the light. There are fluorescent lights and halogen lights, stadium lights, streetlights, stoplights, headlights and billboard lights. There are night lights to stand sentinel in hallways, and the lit screens of cellphones to feed our addiction to information, even in the middle of the night. No wonder we have trouble sleeping. The lights are always on.

In the modern world, petroleum may drive our engines but our consciousness is driven by light. And what it drives us to is excess, in every imaginable form.

Beginning in the late 19th century, the availability of cheap, effective lighting extended the range of waking human consciousness, effectively adding more hours onto the day — for work, for entertainment, for discovery, for consumption; for every activity except sleep, that nightly act of renunciation. Darkness was the only power that has ever put the human agenda on hold.

In centuries past, the hours of darkness were a time when no productive work could be done. Which is to say, at night the human impulse to remake the world in our own image — so that it served us, so that we could almost believe the world and its resources existed for us alone — was suspended. The night was the natural corrective to that most persistent of all illusions: that human progress is the reason for the world.

Advances in science, industry, medicine and nearly every other area of human enterprise resulted from the influx of light. The only casualty was darkness, a thing of seemingly little value. But that was only because we had forgotten what darkness was for. In times past people took to their beds at nightfall, but not merely to sleep. They touched one another, told stories and, with so much night to work with, woke in the middle of it to a darkness so luxurious it teased visions from the mind and divine visitations that helped to guide their course through life. Now that deeper darkness has turned against us. The hour of the wolf we call it — that predatory insomnia that makes billions for big pharma. It was once the hour of God.

There is, of course, no need to fear the dark, much less prevail over it. Not that we could. Look up in the sky on a starry night, if you can still find one, and you will see that there is a lot of darkness in the universe. There is so much of it, in fact, that it simply has to be the foundation of all that is. The stars are an anomaly in the face of it, the planets an accident. Is it evil or indifferent? I don’t think so. Our lives begin in the womb and end in the tomb. It’s dark on either side.

We’ve rolled back the night so far that soon we will come full circle and reach the dawn of the following day. And where will that leave us? In a world with no God and no wolf either — only unrelenting commerce and consumption, information and media ... and light. We need a rest from ourselves that only a night like the winter solstice can give us. And the earth, too, needs that rest. The only thing I can hope for is that, if we won’t come to our senses and search for the darkness, on nights like these, the darkness will come looking for us.

Endarkenment - The Dark Goddess in Art and Myth

It's moving toward the Holiday season, but I'm still on the subject of "endarkenment", still talking with others about what that means, and what kind of opportunities for self and cultural growth "going into the Dark".  One thought is that this is "dark matter", the stuff of creation that is the "backdrop" to the stars...... the "Dark Mother/Matter".  So it could be said that "endarkenment" is going home.

This was a talk I gave at the Claremont School of Theology for the Pagan Studies Conference last year.

Endarkenment:

The Dark Goddess in Art and Myth

Presented at the Pagan Studies Conference,

 Claremont School of Theology, Claremont, California 2015 

Because of the limited time for this presentation, I would like to concentrate primarily on two "Dark Goddesses" that occupy a profound place in the developmental mythos of Western culture, both in the past and as an underlying template within the present as well.  They are Hecate, the Greek Goddess of the  underground and of the Crossroads, and Lilith, the Biblical first wife of Adam.

  

“Hecate” by William Blake

Here is Hecate, the Crone or Old Age aspect of the ancient Triple Goddess in her underworld, with the other aspects of the Triple Goddess behind her, holding, perhaps, the book of fate, painted by the English visionary William Blake.  To me, this painting also suggests the prehistoric painted caves of the Paleolithic “underworld”, which archeologist Marija Gimbutas and her colleagues believed represented the underworld womb of the primal Great Mother. Although I am sure it was not his intention, still, the animals Blake includes in his underworld could be imagined as including those vibrant prehistoric creatures those ancient artists and hunters painted, deep within the earth.  It is very possible that they did so to symbolically and ritualistically incubate, within the “womb/tomb” of the cave, new re-birth in the spring. 

This idea may be related to the fact that, although there are many magnificent paintings of animals and birds in the caves of Lascaux and Chauvet in France, the earliest known painted (as opposed to sculpted) representation of a human being is the truncated vulva form found deep within the caves at Chauvet-Pont d'Arc in France. It has been determined that this is among the earliest of the paintings in the site, and the bull form was apparently painted above the original painting at a later date. The paintings at Chauvet are from 28 to 32 thousand years old, and these magnificent recently discovered caves were the subject of an award winning documentary in 2011, "Cave of Forgotten Dreams", by Werner Herzog. 

Perhaps the first, and last, Dark Goddess is thus Gaia, Anima Mundi, the Great Mother Earth.  Eco-feminist and art historian Gloria Orenstein, in speaking of a theology of Endarkenment, commented that it is:

“bonding with the Earth and the invisible to reestablish our experience of interconnectedness with all things, phenomenal and spiritual, that make up the totality of our life in our cosmos. Eco-feminist arts do not maintain that analytical, rational knowledge is superior to other forms of knowing. They honor Gaia’s Earth intelligence and the stored memories of her plants, rocks, soil, and creatures."

The dark is the place of creative becoming and unbecoming, the "dark matter" (Dark Mater) from which beginnings form and to which endings go, the serpentine, cyclical, circular intelligence of nature.  Could the “dark matter” physicists theorize is the ultimate backdrop to the creative potential of the universe, be thus symbolized as the “cosmic womb” of the Great Mother, incubating and birthing galaxies, particles, stars and planets?

 

 The dark, which is symbolized by caves, a hidden underground realm, and night, is the realm of the primordial Dark Goddesses that occur throughout human mythologies.  Before the advent of patriarchal monotheism in Western culture there were many dark goddesses, often also associated with the Moon, weaving, fate, oracular powers, and of course death and rebirth.  And snakes - everywhere one encounters the sacred, spiraling symbol of the serpent, which represents a seasonal cosmology that dies and is reborn - because the snake continually sheds its skin.  Among such Goddesses are found Hella, Nordic underworld Goddess, the Norns or fates, Persephone, Nyx, Spider Woman when she leads each age through the birth Kiva, Dewi Sri, Rangda, and the Inuit Sedna, to name just a few.

In earthly terms, they are the composters of souls. "Compost" is another, organic word for the "Transmutation" that goes on within the depths of the soil of our planet, wherein the "gold" of renewed  fertile life is distilled from rotting garbage. 

Composting is the alchemy of life.  

Who is the Dark Goddess as a psychological entity?  In Fire of the Goddess by Katalin Koda, she writes that: 

"The feminine qualities of darkness, moistness, birth, and blood symbolize the dark mother and our inner Initiate……When we face our shadow, we are initiated into our deepest powers. We may be afraid of these parts; these howling, undernourished, repressed, and rage-filled aspects of ourselves that demand to be heard, but which we cannot bear to face." 

Working with the shadow means we are mining that internal psychic darkness for the evolutionary jewels that reside in the caves, and there are mythological stories that symbolize that quest and passage to wholeness. Among the “shadow Goddesses” that have been re-discovered, Ereshkigal, the Dark Twin sister of the Sumerian Great Goddess Inanna is one of the most ancient recorded myths about the eternal transmutation of life. It is also a potent tale of the journey into the unconscious to seek healing and wholeness. 

 

The beautiful and powerful Queen Inanna must descend into the dark underworld realm of Ereshkigal, to encounter and heal the rift with the sorrowing and angry Queen of the Underworld.  In order to do so she must give up at each of 7 gates as she descends one of her powers, arriving at last naked and utterly divested of all her symbols of rank and authority - her tokens of life. Like the story of Persephone, the Descent of Inanna may also be seen as about the integration of dark and light aspects of self that are necessary to achieve mature wholeness and empowerment, just as in the life of the earth all things die and them return.  As playwright Elizabeth Fuller commented in a 2002 interview about her 2001 play “The Descent of Inanna”: 

"Persephone's myth is about moving into a new state of being.  All the soul riches, the knowledge, the art, everything was running down the drain into Hades and it stayed there.  It stopped circulating.  This was the myth of Inanna as well; everything went down to Ereshkigal, the keeper of the Underworld, and got stuck there in the universal unconscious.  Ereshkigal, the mind of the underworld, was on strike - she refused to process, which could be said of our collective predicament today.  We can look at the stories of Persephone and Inanna and see that they are pathfinders.  Pathfinders to the unconscious.  That's a very important myth for our time."

Hecate is often shown with two torches that guide the maiden Kore out of Hades, to become the creative force of spring, the mature Persephone. 

One torch is the past, the other the future.  In that liminal place at the crossroads of time stands Hecate, the Goddess of the Crossroads, guide through the underworld.  She is often identified with the moon as well, particularly the dark moon. 

One of my favorite contemporary images of Hecate is by Lydia Ruhle, whose Goddess Banners travelled to conferences throughout the world.   Notice the ever ubiquitous snake, found throughout the artwork in this presentation.   While the snake is usually shown in the hand of Demeter, here Lydia has placed the snakes at the foot of Hecate, which to me represent the serpentine energies of nature, the Earth, the cycles of life/death/life.  Hecate's Wheel also represents this continual cycling and reforming of life, the three aspects of the Goddess represented by the spokes of the wheel.   

Contemporary artist Hrana Janto's Hecate stands at the crossroads with Cerebus, the three headed dog, holding the snake entwined staff and with a halo that represents the dark of the moon. Below is also shown a symbol called “Hecate’s Wheel”, which is associated with the Goddess, and the three aspects  or Trinity represented by Hecate/Demeter/Persephone. 

In 2002 an actress and ritualist named Damira Norris chose to invoke Hecate as a performance in a ritual theatre event that utilized the Masks of the Goddess collection.  For her, working with the archetype of Hecate served as a guide through a very difficult transitional passage in her life.

As she described it,

"I remember lighting a candle each day to symbolize my commitment to my journey through the despair I felt at menopause.  That's Hecate to me.  She will not help you to avoid a thing, but She will bear a light for you on the path, which is really the path to mature empowerment and integration.  I believe at certain passages in our lives our souls cry out "I want to get rid of this, I want to move on".  And it's not easy."

 

Lilith is a Dark Goddess who has fascinated many artists.  Her journey from the night time aspect of the Sumerian Inanna, from the owl-footed midwife who helps women to birth at night, into the feared succubus and demon of Jewish and Christian lore is a mythological journey that reflects the degradation of the sacred feminine, as well as the de-sacralization of sexuality  in patriarchal monotheism.  In medieval art she is often shown as a woman with the body of a snake, as she is also interpreted by the Renaissance artist Michelangelo.  It is interesting to also note that by this time the life-affirming, healing symbol of the snake, so deeply associated with the ancient Goddesses, has become a symbol of evil.

According to various Biblical texts, Lilith was the first wife of Adam, made from the same clay.  Because she would not submit to Adam she was banished from Eden, and God created another, presumably more compliant wife for the first man.   But apparently Lilith occasionally managed to sneak back, and is often shown as the snake that offers the fatal fruit to naïve Eve.

But if so, what did Lilith really offer?  Knowledge, the means to achieve self-hood within an understanding of the eternal, serpentine, cycles of life - the serpent of the ancient Great Mother.  Alas for both Lilith and Eve, who in attempting self-hood became the penultimate Biblical scapegoats.

"Patriarchy is a system of male dominance, rooted in the ethos of war which legitimates violence, sanctified by religious symbols, in which men dominate women through the control of female sexuality, with the intent of passing property to male heirs, and in which men who are heroes of war are told to kill men, and are permitted to rape women, to seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people." ........ Carol P. Christ 

 

Of her similar derived painting "Lilith and Eve", artist Linda Garland said:

"In the desert Lilith became the consort of Samael and other fallen

 angels. Fury with Adam and grief for her slaughtered children led Lilith to plot revenge."   

Well yes.  Banished to the wilderness of the seething unconscious, children destroyed, scapegoated for the downfall of man, the very symbol of violent  sexual repression epitomized by such collective hysteria as the Inquisition …….no wonder  Lilith is also portrayed as a screech owl.

She is individually and collectively mighty pissed off.

Lilith is often portrayed as a succubus who comes in the night as a "wet dream", and many talismans were created to protect men from her seductions.  Her offspring also continued to plague Adam's descendants as succubi or vampires.  Some speculate that Lilith is the origin of the Vampire myth.  In symbolic terms, Lilith may represent the female sexual energy that is subverted, repressed, and diabolized in "sky god" patriarchy.  Within the constraints of Judeo/Christian/Islamic ethics, too often sexual expression itself has become sublimated or perverse instead of being regarded as sustaining or generative. Viewed in this light, Lilith is also the collective shadow rage of both women and the denied “feminine” aspects of men as well.

It was my privilege to interview a Bay Area artist and musician, David Jeffers, who worked with Lilith as a healer and artistic inspiration. I was very moved by his observations. "The pain of Lilith" he said, 

"is so much about the divinity of human pain.  People often only identify with Lilith's rage, the woman who was cast out because She would not accept inequality. For me She is not that simple. If you can't go beyond Lilith's first door, which is rage, you're going to be stuck; you aren't going to penetrate the emotional mysteries beyond. Lilith is the most intelligent archetypal power to aid in understanding the mechanism that underlies our unconscious motivations, she is about the ability to connect the subconscious to the conscious mind, so that information can become usable in your life and on your path. Lilith is the bridge.   People who are linear in their thinking suddenly find their world shattered when Eros shoots arrows at them. Or when they have an experience that is inexplicable or traumatic, something that cannot fit into the model they've organized their lives around. There are references in the Cabala to what is called "breaking the shell". The mind set of "what you believe" is the shell, and Lilith is about breaking the shell. You have to fall apart  to be put back together; because that's the only way you can be reconstructed. You cannot veneer the teachings of Lilith on top of "who you think you are". (2002) 

 

In Lilith imagery we see the snake again, and again, and again, the ancient remnants of the once powerful Great Goddess.  Here is a famous Lilith by the English artist John Collier.  And here another by Franz Von Stuck, which he titled "Evil" that clearly derives from Lilith mythos.  But was the snake always, like the seductive sexual potency of Lilith, evil?  In the old kingdom of Egypt the word for snake or cobra was the same symbol as that for Goddess - the snake that represents the endless natural and psychic cycle of life/death/rebirth.  It moves, like the sinuous energies of nature, in a spiral.  The snake is also used in Eastern traditions to represent the  generative force of the Kundalini moving through the chakra system.

But the enlightenment of Apollonian logic and tribal warrior sky gods (such as Yahweh is not serpentine.  It is vertical, illuminated, bright and orderly, and the only way of the Sky god is up. 

 

Here we have Faust and Lilith by the 17th century artist Richard Westall.  The ubiquitous snake is barely visible in the foreground, and Faust cavorts with an innocent enough looking Lilith while a riotous party is seen going on in the background, one that could surely bring nothing but sheer damnation.  

 

Here we have several contemporary Liliths interpreted by Roberto Ferri and Alexander Vilichinsky.  They are there with a whole lot of snakes, which could also be viewed as a whole lot of Kundalini rising. The symbol remains potent, even if its original meaning is long lost.

  

Contemporary British artist Paul Fryer has created a winged wax Lilith, bound like Gulliver to the ground by 24 carat gold wires, bound but perhaps not entirely broken if one looks carefully at her eyes, which seem to hold a deep and vital life force. Lilith is bound, bound by golden threads that perhaps demonstrate her great value to the forces that have bound her wings.  

But she waits to rise again.

 

In Opie Snow's Lilith series, Lilith is a primal, almost purely elemental force, which perhaps, viewed from the perspective of a woman artist, is neither desirable or wicked, but hurt, or possessed of enormous vitality, or both. 

 

Here is Kiki Smith's Lilith - almost spider like, she observes from the wall, her eyes regarding the viewer with the clarity of a creature banished to the shadows, the hidden places, a creature of pain, pathos, fear and loneliness. 

 

In Mark Rothko's "Rites of Lilith", I have always felt he spoke of the the desolation of that harsh and hidden landscape within the collective unconscious Lilith has been banned to.

But there is hope today for Lilith, who is increasingly refusing to be hidden, punished, and scapegoated in many sectors of society.  She is rising again, full-bodied and well-lit within the spirits of women and the collective evolving psyche of humanity.  Here, for example, is a painting by Mariam Zakarian called "The Lilith Effect".  The artist has an entirely positive view of Lilith…..the rising Earth Serpent and the Goddess seem to be generative indeed, a virtual cornucopia.

And of course, the Lilith Faire.

REFERENCES:

Blake, William,  The Night of Enitharmon's Joy, 1795

Gimbutas, Marija, The Language of the Goddess:  Unearthing the Hidden Symbols of Western Civilization, 1989, Thames & Hudson, NY

Vulva cave painting,  Chauvet-Pont d'Arc, France:  

The painting occurs in the deepest of the Chauvet Cave chambers, and is identified  as “the Venus and the Sorcerer”.  It seems that archeologists simply cannot view this female image, or the ubiquitous “Venus” statues of the same period, as being other than a kind of “caveman erotic art”.  As a “Venus” image, the painting is presumed to be in sexual association with a bison head that was painted above the vulva form at a later date, and “must” therefore represent a male “sorceror”.  But viewed from another perspective, this image may have nothing to do with representing a “venus” or love goddess in service to a magical male with the head of a bison.  Rather, it may represent the source of rebirth, the body of the prime Deity.  And the bison, like the other animals, may represent the children of the “Great Mother’s Source” awaiting re-birth.

Herzog, Werner:  “Cave of Forgotten Dreams”, Documentary, 2010

Orenstein, Gloria, Reweaving the World: The Emergence of Ecofeminism ,

Sierra Club Books, 1990

Koda. Katalin, Fire of the Goddess: Nine Paths to Ignite the Sacred Feminine,

Llewellyn Press, 2011

Fuller, Elizabeth, Interview with Elizabeth Fuller with Lauren Raine, the Independent Eye Theatre,  2002   

Ruhle, Lydia, “Hecate Banner”, 2015

Janto, Hrana, “Hecate” 1996 (http://www.hranajanto.com)

Norris, Damira, “Interview with Damira Norris by Lauren Raine”, 2002

Raine, Lauren, “The Masks of the Goddess” collection, 1999 to 2019 (www.masksofthegoddess.com)

Giachino, Augusto, “The Third Sister”, Film, 2014, http://www.augustogiachino.com/the-third-sister

“A contemporary interpretation of the mythical Hecate, the three-bodied goddess that governs human fate, using modern dance choreographed expressly for film. This short is centered on the evocative power of ancient archetypes, their continued relevance in examining our modern lives, and the role they play in addressing human desires and fears.”

  

Michelangelo, di Lodovico Buonarroti Simoni, “The Temptation of Adam and Eve”,

Sistene Chapel, 1508 - 1512

Christ, Carol P.,

Garland, Linda, "Lilith and Eve", http://www.lindagarland.co.uk/

Jeffers, David, “Interview with David Jeffers by Lauren Raine”, 2002

Collier, John, “Lilith”, 1892

Von Stuck, Franz, "Evil",  1905

Westall, Richard, “Faust and Lilith”, 1831

Ferri, Roberto, “Lilith”, 2009, https://silindro.tumblr.com/tagged/Roberto-Ferri

Vilchinsky, Alexander, “Lilith”, 2010

Fryer , Paul, “Lilith”, 2008,https://www.wadewaxworks.com/Lilith-Paul-Fryer-2008 ,  https://paulfryer.net

Snow, Opie, “Lilith”, https://opiesnow.com/portfolio/

Smith, Kiki, “Lilith”, 1994, https://www.metmuseum.org/blogs/teen-blog/2014/lilith

Rothko, Mark, "Rites of Lilith", 1945, https://www.mark-rothko.org/rites-of-lilith.jsp

Zakarian, Mariam, "The Lilith Effect", 2010, https://www.mariamzakarian.com/

Lilith Fair:  “Lilith Fair was a concert tour and travelling music festival, founded by Canadian musician Sarah McLachlan, Nettwerk Music Group's Dan Fraser and Terry McBride, and New York talent agent Marty Diamond. It took place during the summers of 1997 to 1999, and was revived in the summer of 2010. It consisted solely of female solo artists and female-led bands. In its initial three years, Lilith Fair raised over $10M for charity.”

https://en.wikipedia.org/wiki/Lilith_Fair