Showing posts with label Synchronicities. Show all posts
Showing posts with label Synchronicities. Show all posts

Sunday, February 12, 2023

"Persephone".............. a synchronicity remembered

"Persephone/Triad" (2005)

I told this story recently  to a friend, Trish MacGregor, who, with her husband Robb, has spent many years exploring and writing about Synchronicity.  Seemed worth remembering here as well.  I think it demonstrates that very strange way we can be so interconnected, linked, I believe especially when creativity is involved.

In 2005 I was at an artist's colony in Woodstock, NY called Byrdcliffe.  I had come from presenting a workshop earlier on masks and the Goddess, and THE GODDESS WITHIN was an important book I used as reference for that class.  Some of the writings in that book  were also deeply emotionally significant to me, in particular what the authors had to say about the "Persephone woman".  It is a beautiful book.  I had thought I would try to write to  Jennifer Barker to see if she would talk with me about the Goddesses in an interview (I was still collecting interviews for my "spiritual art" book).  I had not thought of trying to contact Roger Woolger, as because the book was about women and the Goddess,  Jennifer Barker Woolger seemed more appropriate.  But I had no idea where she was or how I might contact her.  

It happened that Byrdcliffe was having a big party while I was there (and, of course, one of the pieces I was working on had to do with Persephone, and the book was significant in its creation).  I got to talking with a woman there and it turned out we both had a great interest in feminine mythology, so we agreed to meet for lunch the next day.  And over lunch I mentioned the book and how I would like to contact one of the authors.  The woman (whose name I don't remember now) said "Oh, you mean Jennifer!  She moved to Vermont after her divorce.  Would you like her number?"  Just like that!  Turned out that my lunchmate and Jennifer had been good friends, and when she divorced she left New York and moved back to Vermont, taking back her maiden name, Jennifer Barker.  And I learned she did, among other things, offer gatherings dealing with the Persephone Archetype.  

I called her and she actually agreed to meet me if I came to Vermont!  I am embarrassed to say that I did not do so - things got chaotic, and I guess I also felt insecure about it as well, and I did not take the opportunity that was given to me.  I've regretted it since.  It seems she wrote a book on Persephone at some point in the years since, but I can't seem to find if it ever got published, certainly I can't find where to purchase it.  And I think she has passed on.

But that's my story................I think it's what Bill Moyers called "invisible means of support".  Above is one of the "Persephone" pieces I did while at Byrdcliffe. 

         
Byrdcliffe Arts Colony,   Woodstock, New York.
 


Monday, May 2, 2022

A Synchronicity from 2011: "Feed and Plant and an Angel"

 

Sparrows and juncos, all hungry
they too are planters of trees, spreading seeds
of favorites among fences.  On the earth
closed to us as a book we cannot

yet read, the seeds, the bulbs, the eggs
of the fervid green year await release
Over them on February's cold table I spread
a feast.  Wings rustle like summer leaves.

Marge Piercy, "Available Light"

I've been thinking a lot about how Synchronicity/Guidance Non-Local and Non-Temporal inspiration might work,  which of course greater minds than mine have puzzled over and come to various elegant conclusions!  I guess what ultimately arises, for me, is the image of the "Medicine Basket",  the woven  Container of one's life,  light and dark strands, making a pattern and a vessel.  A vessel full of mystery.  

I find I look back a great deal these days, and have decided that is ok, that is appropriate, that is about both Grief and Gratitude.   I don't need to be "innovative" and "new".   My time of being "innovative" and "new" and "emerging" is probably over.   I need to learn to be wise, and to pay attention.  

So here is a post from almost exactly 11 years ago,  and I can't believe I forgot all about this synchronicity and brief but magical encounter.  I never forgot that illuminated morning conversation with a man whose name I never learned, or if I did, it's not remembered now.  I do know that in the several years afterwards when I did the show I looked for him, but never found him again, and learned that he was a well known storyteller, and that he had died in 2012.  But he remains in my heart, a passing Angel who left me a gift of Grace.


"Feed and Plant"
April 20, 2011


I've been having tantrums lately, about feeling isolated and alienated and unsure of where to go or what to do.  I share these feelings, with an increased intensity and frequency, with many others these days.  The river is running very fast now.  The river is running like a torrent now.

I also tend to feel that tantrums, as long as they don't hurt anyone or become collectively a war or a riot.............can be very useful.  Children have tantrums;  eventually they exhaust themselves, and sometimes the tantrum's end is about learning new boundaries and maturity.  Tantrums for grownups can also not only vent, but reveal.  We spend so much time in our heads, in the "should be, used to be, would be, could be" realm of experience, which seems real at the time but usually isn't even mildly useful to the what is...... and meanwhile, as a wise angel who briefly turned up recently to set me straight said - "There's the NOW, patiently watching, saying 'well, are you done yet?"

Change is the only certainty.  The NOW is. 

So I had something happen magically, that was profound for me.  Sometimes when these things happen, it's easy to say to yourself, "well, that's silly", but as that Angel ("Angelos", from the Greek, originally meant "messenger") reminded me, "you listen, so you noticed."

I was facing a three day weekend at the Renfair in Los Angeles, selling my masks alone now, and early in the morning went to my car to open the door and hit the freeway, costume and lunch in hand.  Tucked into the handle of the door was a piece of dirty white paper.   When I pulled it out, I saw that it was folded into one of those paper airplanes that children make.  And when I unfolded it, I saw that it had two words, block printed in pencil in a childish hand, one on each side of the paper.  On one side it said "FEED", on the other "PLANT".

"Wow, that's really strange" I thought, and tossed it aside.  Why would some kid put it there?  And on I went to the Faire.


As I was setting up in the blissful quiet before the stampede of merrymakers,  a participant, dressed in a nobleman's costume, with a great burgundy  hat against and a white head of hair, came by and we had one of those brief conversations that can seem divinely channelled.  He affirmed the value of my work,  and the continuity we participate in as creators, whether we remember that or not.   All the people who interact with my masks, all the people who now make masks and wear them.   I needed to hear that.  And   he also reminded me of the inevitability of change, the suffering that comes from not accepting the "what is" of the moment.  Tantrums we can have, or very real grief - but we still have to get up, open up, learn,  grow, and deal.


I have a wrapped quartz crystal - on the first day I gave an extra mask to a man who didn't have much money and wanted one for his partner.  He came back later and presented me with the crystal, which he had mined himself in Arkansas. What a splendid gift!  My angelic friend (I don't know his name) immediately noticed my crystal, and said it was to help me.  So the conversation led into the morning's synchronicity, my little "paper airplane".  I think, had I not encountered this person, I would have completely forgotten about it.

He commented that it was "Written in the hand of a child learning his or her letters, in pencil.  Basic.  Not like the abstractions we "adults" make.  Like the work of real farmers is basic, the ground that supports us.  Without their labor, without the alchemy and generosity of the land and the farmers, none of this" (he made an expansive gesture indicating the vast urban complex called Los Angeles we were standing more or less in the center of) "none of this would exist.  The farmers and land sustain it all.  All the "higher" sophistication of our civilization falls apart when the land fails to care for us, and the true farmers, not those chemical factories, but true farmers..........aren't understood."

I might add that I thought it was Earth Day, and I'd somehow forgotten. I was wrong, but I think that gives further weight to his observation. "Feed and Plant is a profound message for all of us.  Especially now."  And then we shook hands, wished each other a great day, and parted ways.  My energy had completely changed, and I stood there with my mouth open.

"FEED" and "PLANT".   All of my  alienation, loneliness, lack of purpose, all those grand complexities...... if Angels deliver the occasional message in the form of  grubby paper planes, and then send an occasional human representative just to make sure attention is paid - well. that's otherwise called Grace.   I may not be a farmer, but we can all be farmers, literally by planting and growing even if it's a window box, getting our hands in the Earth, connecting with the alchemy and gift of the Earth.  As a universal message, it should be Earth Day everyday.

We all can, and do, "plant".  As an artist, I can plant beauty, inspiration, I can encourage others to do the same.  I can recognize the "trees" I'm planting, and have planted,  in my life.  Feed yourself and others with what sustains and nourishes.  Plant seeds that will feed the future, plant seeds that will grow into trees.  It doesn't need to be complicated at all.  Even sparrows do it.




Tuesday, March 29, 2022

Why I Named My Computer Penelope

 

"I was a hidden treasure and desired to be known:
therefore I created the creation in order to be known."
-- Rumi

I have a new laptop computer, which I love!  It's so fast, compared to the former model, although I retired that little computer with gratitude for years of service.  I have named my new computer "Penelope".  Penelope, the "wife of Odysseus" who sat weaving and unweaving a shroud until he should return,  derives her mythic name from most ancient origins, origins that preceed even the ancient Greek stories of the Odyssey.  The name is a name of Weaving and Weaver and Woven.....it means "with a Web on Her face".  Probably this ancient name was originally given to a Goddess of the Fates,  weaving and unweaving the lives of men and women.  It also may have been an honorific name for a Priestess/Oracle, one who in her prophesies "Saw  with a Web on her face".    

It is easy to see the diminishment and co-option of the powers of the Goddess, and hence women, in the fate of poor Penelope,  no longer weaving the lives of men, but simply waiting for her husband to return and save her from a bunch of predatory men!  One of my favorite contemporary renderings of the story of Penelope is, of course, from Margaret Atwood, the PENELOPIAD * .  As the wry and often tongue in cheek Penelope says,  "Now that all the others have run out of air, it's my turn to do a little story-making."

To return to internet savvy computers named in honor of  Penelope,  I thus like to think that some of the spirit of the Oracle, the winding and visionary Pythoness, can come through this particular "Web" that, daily, my  own face is emersed in.  

After all, the "Web" may be the most important living Metaphor for our time.  The  truth of our inter-dependancy and inter-connection with all of life is not only a metaphysical discussion, but, through Physics and Astronomy, Ecology and Earth Science, Consciousness studies and  the evolving Global Culture and our Climate  Crisis which we share with all life......we are all One.  All one in the Web of life.  I personally believe the next human evolution is to fully grasp that and create a culture that embodies that truth.  Can we do it?  I don't know.  

 "I believe that all coincidences are messages from the unmanifest – they are like angels without wings, so to speak, sudden interruptions of life by a deeper level"...... Deepak Chopra

Recently I was interviewed by a woman who is creating a documentary about Synchronicity, something I've written about a great deal in the Blog over the years.  One thing I noted in remembering my own synchronicities was that many of them occured while I was travelling, or in situations or environments that took me out of the familiar containers of my life.     The "In-between", liminal Interstices of life seem to be where there are breakthroughs into, what I like to think of, as the Great Web.  Synchronicities are among those breakthroughs, breakthroughs that can be necessary for growth or evolution.

 "There are references in the Kabala to what is called "breaking the shell". The mind set of "what you believe" is the shell, and (sometimes it's necessary) to break the shell. You have to fall apart sometimes to be put back together; because that's the only way you can be reconstructed. You cannot veneer these teachings on top of who you think or imagine who you are. " 
...........David Jeffers**

Physicist F. David Peat suggested in his book SYNCRONICITY - The Bridge Between Mind and Matter *** that syncronicities are breakthroughs that hint of the deeper, integral nature of reality.  

Carl Jung believed that Synchronicities were always meaningful to those who experienced them.  

"Syncronicities provide a bridge between inner and outer worlds, between our private thoughts and external, objective realities. Within a synchronicity, patterns of external events mirror an inner experience. To distinguish synchronicities from mere chance occurrences Carl Jung stressed that they must always involve "meaningful coincidence" that lie beyond any explanation involving causal links and connections. In this way syncronicities reveal to us an underlying world of patterns, forms and connections that transcend any division between the mental and the material.".......David Peat

How are we linked, really? What threads are we throwing out and finding resonance with, at any given moment? What "threads of the Great Weaver" within those moments of the Interstices, become visible?  


***"Synchronicities are those mysterious and inexplicable coincidences that occasionally erupt into a life. At times we may feel that those around us are confined to a narrow world of logic and physical law, a world that admits no hint of mystery. This can give rise to a feeling of isolation within an indifferent universe and an increasing complex society whose members are reduced to ciphers. Synchronicities, by contrast, offer a doorway into a very different world. A world that also has resonances with the deep insights that have been revealed by the new sciences.

True synchronicities are more than mere chance occurrences. They are characterized by a sense of meaning and numiniousness. They provide a bridge between inner and outer worlds, between our private thoughts and external, objective realities. Within a synchronicity, patterns of external events mirror an inner experience; likewise dreams and fantasies may seem to flood over into the external world. To distinguish synchronicities from mere chance occurrences Carl Jung stressed that they must always involve "meaningful coincidence" that lie beyond any explanation involving causal links and connections. In this way reveal to us an underlying world of patterns, forms and connections that transcend any division between the mental and the material.

Synchronicities also act as markers of time, moments of transformation within a life that occur in chairos, when “the time is right”. Thus, while causality ties us to our past, synchronicity can link us to our future. They can also act as significant encounters when a door is opened through which we can pass. One notable encounter took place between the psychologist Carl Jung and the physicist Wolfgang Pauli. This meeting of people from two very different worlds led to Pauli’s series of dreams which caused him to explore the relationship between psyche and matter and believe that the time was at hand for the "resurrection of spirit” within the world of matter.

David Peat

 

** David Jeffers, Interview with Lauren Raine, 2001 
 https://threadsofspiderwoman.blogspot.com/2010/11/lilith-as-archetypal-guide.html 

 

* THE PENELOPAID by Margaret Atwood,  198 pages
Published October 5th 2005 by Canongate U.S. 
The Penelopaid has also been produced as a wonderful Play:  https://youtu.be/X9Q2m_CZ5nc

 

Sunday, January 30, 2022

"Sedna" and a syncronicity

 

"In the archaic universe all things are signs and signatures of each other. Inscribed in the hologram, to be divined subtly."
Giorgio de Santillana and Hertha von Dechend, Hamlet's Mill
Every time I sit down to write, I always feel like it entails constructing articles complete with footnotes and addendum.......which is one of the reasons my articles have been not very inventive or prolific lately. Having said that, I'm going to loosen up, maybe make a few subjective statements and meandering surmises, and stop feeling I have to write as if I was defending my ideas at a podium.
Currently I belong to an online group that meets once a month to share and discuss synchronicities, or meaningful coincidences.  Because of that, I've been wanting to collate or review some of the many synchronicities I archived in this Blog.  Below is one from 2012 that involved a good friend of mine, the sculptor Georgia Stacy who lives in Nogal, New Mexico.  
Erica Swadley as "Sedna's Shaman" in Restoring the Balance (2004)

 In 2009 I sent out an email about an article to be published in   Coreopsis A Journal of Myth and Theatre    for their Summer/Autumn Issue of 2009.  The theme for that edition was  ironically themed "Mask, Mirror, and Muse".  My article was about my ritual theatre event/performance at the former Muse Community Arts Center:  "Restoring the Balance: the Mask of Sedna" .  

I'm proud of that article. Restoring the Balance was the last event I personally directed using the Masks of the Goddess collection, although they did travel to other producers.  It was also an event wholly infused with, for lack of a better word, a kind of numinous presence, and synchronicities abounded in it's production.  I even found myself after the event with spirit photographs!

Katherine Josten as "Sedna" 

I have always felt I had a responsibility to document and share the stories participants created, told, or re-told with the masks.  Not just the ever-evolving myths themselves, such as the "Story of Sedna", Inuit Mother Goddess of the Ocean,  but also the stories of the rituals, the performances, the insights that arose for those who were involved in the productions.  In the hope that those archives may inspire others to carry on the work.  These were collective re-mythings: prayers and celebrations of the multi-cultural Divine Feminine through the medium of story, performed within the liminal landscapes of ritual, theatre and sacred space.

As members of the neo-pagan Collective Reclaiming used to say when a Circle was cast for ritual work: 

"We are between the worlds now, and what happens between the worlds can change the world."  

To be "between the worlds" is to be in that zone between the secular and the sacred, a circular "wholly" place that is fertile and imaginally fluid. ("Imaginal cells" is the actual scientific term for the cells that are responsible for transforming a caterpillar, immersed in its chrysalis, into a butterfly. They are alchemic agents of biological change.)

"I think many artists feel they are weaving some form of energy into their work. It's what psychometrists see when they "read" objects. There is an aesthetic psychometry each person does as they look at a work of art. Artworks are like batteries - if we're receptive, they can charge us. My idea of reality is that there are many, many interpenetrating dimensions." .....Alex Grey

 "What happens between the worlds", fashioned with individual and collective intention, occuring with or without the form of conscious ritual or pilgrimage,  is a generative place, ripe with syncronicities, because therein the  boundaries lessen.

"Wind Borne" by Georgia Stacy
So, what this is leading to is an email I received, after forwarding my article about the Myth of Sedna, to Georgia in New Mexico. Recently, Georgia has begun to include whale flukes instead of wings in her wood sculptures. Here's a new piece from that series and an email she sent me back.

 Lauren, This is more than a coincidence. I was reading the "Inuit Imagination". When I came to the sculpture carved for Sedna, with a whale fluke, I cried for the second time. I cried the first time I heard the story, many years ago. But, the clincher...right before I turned on the computer to find your email, a friend called and wanted to read me the story of Sedna, because I had just finished a sculpture with bones for arms. Life is so interesting.

Georgia
Why this confluence of syncronicities?  I personally, having worked for years with myths as an artist, and with Collaborators who are "activating" the myths through art and drama - I personally believe that the archetypes are alive in our collective consciousness, within the "dream body" of humanity. The story of Sedna is a very important story for our time.  It is about the suffering and sacrifice of the  Sustaining Mother, what happens when Mother Earth is disregarded and abused,  and the rites of at-one-ment the Inuit did to regain balance and good relationship with Her. It recognizes the interdependency of all beings, and the need for honor, and Balance.   It is also about the suffering of women at the hands of men, the imbalance that occurs when the feminine is not honored, and what must arise in order to restore the Balance
It's about exactly what we lack in our industrialized, climate imperiled  time: a deep ecological understanding of reciprocity with the living Earth and all the mutually inter-dependant beings we share our lives with.    The "Story of Sedna" is an old myth that belongs to an indigenous people most Americans have never heard of - yet it is a myth that has universal and contemporary significance.  The telling that occured in our event was ripe with synchronicity because it was a story that needed to be told again. 
SEDNA https://terragenesis.fandom.com/wiki/Sedna

 Interestingly (synchronistically)  "Restoring the Balance" was produced at All Nations Hall at the Muse Community Arts Center  on April 9th, 2004.  I did not know it at the time, but just a few weeks before that NASA announced the discovery of a new planet beyond Pluto which astronomers named "Sedna".  *  (I learned about the new planet shortly after the event.  It seemed, to my personal poetics, like a synchronistic and grand metaphor for the concerns of our time, and I thought of my fascination with another indigenous Goddess, the "midwife of the New Era", Spider Woman.**)

When we step inside the magic Circle "between the worlds", when we enter the "fissures", we find we are not alone. Here's another quote from Alex Grey, in an interview I did with him and Allyson in 1989: 

"If you reach down far enough, we're all made up of the same archetypes. Joseph Campbell talked about what he called "core myths". As did Jung. If you go deep enough into yourself, you find yourself in a noisy place with a lot of other people. And if you draw symbols from there, you plug into a collective form of consciousness." 
Well, back to the studio now, and hopefully, the Cracks will continue to open, even if I'll never understand why.
"There's a crack in everything - that's how the light gets in." 
 .....Leonard Cohen
Painting by Tyler Gore

* "March 15, 2004: NASA-funded researchers have discovered the most distant object orbiting the sun. It's a mysterious planet-like body three times farther from Earth than Pluto.

 "The sun appears so small from that distance that you could completely block it out with the head of a pin," said Dr. Mike Brown, California Institute of Technology (Caltech), Pasadena, Calif., associate professor of planetary astronomy and leader of the research team. The object, called Sedna for the Inuit goddess of the ocean, is 13 billion kilometers away. Sedna will come closer to Earth in the years ahead, but even at closest approach, about 72 years from now, Sedna is very far away. Then it will begin its 10,500-year trip back to the far reaches of the solar system. "The last time Sedna was this close to the sun, Earth was just coming out of the last ice age. The next time it comes back, the world might again be a completely different place," Brown said.

Mysterious Sedna: Astronomers have discovered a mysterious planet-like body in the distant reaches of the solar system.

https://science.nasa.gov/science-news/science-at-nasa/2004/16mar_sedna

** In some Pueblo mythologies Spider Woman (Tse Che Nako, the Thought Woman) is a Creatrix Goddess.  She also is a Midwife to each new Age.  

"The end of the Hopi calendar, and entry into the "5th World", is thus also about the "Return of Spider Woman", the cosmic weaver who is also, in the Pueblo mythological universe, the midwife who guides the "new people" through the Sipapu (or birth canal) in the sacred Kiva, offering a thread (or a ladder) to rise up into each "New World"...... I reflect that in the Circles I've participated in, there are 5 directions: North, South, East, West, and Center. The Center is that which unites everything, the breathe, the dark space, ecological interdependency, the Web.  Integral."

The Spiritual Significance of 2012,  12/7/2012

"Every atom of your body is connected to every other atom in the universe, as it exchanges energy and information with the vacuum"...Nassim Haramein

Sunday, December 19, 2021

Silent Peacocks: Personal Reflections on the Need for Sacred Solitude

Here is another article, this from around this time in 2019, that I just revised for publication submission.  It means a lot to me, that moment, that place.  I think the time is coming to return again.  Perhaps this is where I'll spend the Solstice.........

(December 19, 2019)

I am at the Holy Trinity Monastery in St. David, Arizona.  It is raining, and the only sound is the gentle fall of rain on leafless trees, droplets of water, little shining crystals on the dark branches before my window. 

And on the banister of the terrace before me are 5 peacocks and peahens, their magnificent, extravagant, impossible iridescent tails hanging over the edge.  They are just sitting there, making no sounds. I remember peacocks as noisy creatures, with a piercing cry.  How strange those peacocks are, motionless, silent.  I know that if they become aware of me, they will run off, so I join them in their silence for a moment, unmoving, aware of only peacocks, and the sound of rain. 

The Monastery is so quiet in fact, there are not even sounds of sparrows or ravens, no dogs or coyotes. It is also mostly deserted, probably because it is winter and mid-week.  The land has the familiar peace I have so often found in places of worship, a peace rising through the soil as one walks, an essence of place stepped and pressed into the land itself.  It does not matter what I "believe" in such places.... prayerful or sacred places are not about the intellect.  

There is a striking statue of Saint Benedict by the cloisters; he is holding a book, and there is a raven at his feet with, apparently, a rock in his beak. * I do not know what the raven means, but the white statue is welcoming.  I find myself watching my breath as I walk, clasping my hands behind my back.  Maybe the monks who lived here did that, and I am just picking up a memory in the land. 

The Benedictine Monastery in the small eastern Arizona town of St. David is actually no longer a Monastery, not since 2017 when the Vatican recalled the few monks and Father still living here.  It clearly once had a good-sized population that gradually diminished. As I walk, I try to imagine monks here, tending to the gardens, the shrines, the retreat buildings in the rain, or in the hot summers of this part of the country.   It is still managed by a faithful group of volunteer Oblates.  I notice that they are all elderly……I wonder if they will be able to attract younger people in the future to manage this special place? It seems, as I reflect with the meditative presence of the peacocks before me, that it is a great shame that the monastic life is so little appreciated in our frenetic world.    

Last evening, as the sun went down behind rows of pecan trees, I saw the flock of peacocks, some 20 of them, sitting on a fence before a particularly ancient pecan tree.  I watched as, one by one, they flew without sound into the tree, finding their particular perches.  Each bird seemed to wait patiently for his or her own “take-off”. This was clearly a daily ritual.   I was struck by how orderly this procession of the peacocks to their nightly roost took place. 

Peacocks……… one thinks of them as loud, stupid birds.  Yet at the St. David Monastery, where many generations of peacocks have lived and roamed freely, they are a tribe going about their business.  Just as the Monastery is devoted to silence and prayer, so they also seem to be.  They are wrapped in brilliant shades of quietude.  Beautiful in their other worldly iridescence among the gray and brown of winter leaves.

 

How did I end up here?  Not entirely sure.  By Grace? 

As I was driving without a destination a day ago, I vividly remembered a book I read (while spending the night on a bench in the ultimate liminal zone of Heathrow Airport) called

The Unlikely Pilgrimage of Harold Frye”. ** The central character, Harold, is in his 60’s, living a conservative retired life with his wife.  They do not really speak any more, as they navigate around each other with many years of habitual co-inhabitation.  One day Harold receives a letter from someone he has not seen in over 20 years, someone who is dying of cancer in a hospice far away to the north of the U.K.  She has written to let Harold know she remembers him fondly, and to say goodbye.  In his habitual numbness, but equally habitual English sense of propriety, he decides to write her a simple letter, a card that says something like “thank you for your friendship, best wishes, Harold Frye”.  He does so, and then decides to walk to the post office in order to mail it himself. 

Except when he gets to the post office, he decides to walk on to the next Post Office, one at the north of town, and mail it there.  And yet, when he gets to that post office, on the outskirts of town, he discovers that he still has the letter in his pocket, and he is still walking.  And so, the unplanned and unannounced and even unconscious pilgrimage of Harold Frye commences. 

Perhaps I am like Harold.  I just decided I needed to get away, from the Holidays, from Facebook, from cars, away from all the noise, and the noise incessantly sounding in my own head, right now:  but I had no idea of where to go. None.  

But I have a car, and a credit card.  All the way down 22nd street to the freeway, I still couldn’t decide where I was going…. west, to Phoenix, maybe Sedona? A long way, and Sedona is expensive.  Or south, to Patagonia?  Head to New Mexico, the solace of those wide-open mystical spaces…. even though it is an even longer way than Sedona?  It was only when I got to the freeway underpass that I pulled into the left lane for route 19, heading in the direction of Patagonia, which at least had a bird sanctuary and a coffee shop.  I’d see what happened from there. 

As I drove, I felt better.  I turned my phone off.  In Patagonia I had a coffee, discovered that the only hotel (cleverly cowboy vintage)      was ridiculously expensive, then thought what the heck, I’ll head to New Mexico, why not. The mood I’m in I could drive all night anyway.   The road from Patagonia to I-10 is scenic, with a snow-covered mountain range in the distance.  In Saint David, a little town on the way to Benson, I remembered there was a Benedictine Monastery. Always curious about it, I stopped, inquired about retreats, and here I am.  Ask and ye shall receive, truly. 

Lately I’ve been having those winter-born (what a wonderful word, “winterborne”) …… “dark nights of the soul” ………. which look, practically speaking, more like being overwhelmed, brittle, snappish, and exhausted and increasingly disturbed by it. I am running a successful AIRBNB “enclave”, still working thus in the “service industry” at the age of 70. 

I have to work and know few who can afford not to these days. I am glad sometimes that no one much notices me, or my current inner landscape. To me, of late, everything sounds like “yap yap yap”.  Sometimes I feel like contemporary life is a bit like being endlessly barked at by a chihuahua.  Our modern world - an entire fleet of chihuahuas. A demanding litany of inconsequential complaint, vented commentary, monologue for the sake of attention, appeals for money, offers for deals, electronic voices, irritated drivers……exhausting. And, as I am an empath, all the human pain in there too, all the loneliness and fear and despair and grief and human pain I can’t help, and increasingly feel too frayed to listen to.  

When I’m not “in service” changing sheets or scrubbing floors, I am an artist.  (Yes, one can be an “emerged” artist and not wealthy.  In fact, most artists have to find other means of support.) The artifacts of that 50-year career surround my property.  I have to say, running an AIRBNB has been somewhat deflating, as I have noticed that most people don’t think about art unless it is in a museum or a gallery.  Or now, I suppose, on Instagram.  Instant art for an increasingly microscopic attention span! 

For myself, art is a language, albeit an often-archaic language, one that one has to be educated in, like learning to speak Latin. Certainly, it requires what our lives increasingly lack ......contemplation. Patience.  Without that introduction, and time, artworks are just a backdrop that ‘specialists’ understand, dismissed as irrelevant.  

Or a colorful passing tidbit to consume like a candy. 

People do not see that a painting is a conversation, a window into another world……in this case, my world.  For me, the works have numinous names and places in the landscape of my life.   The bodies of work on my property are the best of me, my personal shrines and devotions, and now I just want to protect them from the infidels, so to speak. 

If they don’t see it, it is safe, and those visionary depths the paintings and sculptures arose from (in me) are also underground.  Even if they are in plain sight.   

How do I feel about all of this?  I often question my discontent; I am often despairing of contemporary life.  Yet here, in a monastery where many came to seek God........it doesn’t matter whether I am “right” or “wrong” in my discontent.  It doesn’t matter what I think at all. 

I sit on a bench and listen to the melancholy voice of Saturn.  Wise and winter-borne Saturn. 

I contemplate a cast-off, brightly turquoise, feather on the ground, gleaming as it catches a bit of sun.  Here I am, enjoying this pentimento under the surface of time, given the grace and simplicity to turn under, within, below the fallen leaves, into the dark.  It occurs to me that it does not matter at all what I “think” I should do once I rejoin the noise and distractions of life.  Here is refuge, here is the power of silence.  Silence enough to listen, and my soul, for lack of a better word, is speaking. 

 

“When we are living in accord with our inner reality while simultaneously suffering the depredations of this discordant, dis-eased world, we nonetheless have supportive energy, clarifying affects, and a sense of purpose.  When we get off track, these same manifestations turn against us.  While the world rushes to pharmacology to numb the inner discord, the question remaining is simply and obviously this:  What does the soul want, as opposed to our protective but regressive complexes?  This simple question is intimidating because such an agenda can very quickly lead to the larger rather than the smaller in our lives, necessarily re-framing our sense of what our life journey is about.” 

James Hollis PhD.  “Living an Examined Life” 

As the Winter Solstice approaches, I bless the Dark, the nourishment that comes from this time of incubational dormancy, from quietude.  I am grateful to have stumbled into welcoming refuge for a few days.  To sit listening to the rain and privileged to join the silent, watchful witness of a great iridescent beauty that sits on a fence before me, waiting to be noticed, listening to the rain.  

 

Dec. 2019

*I learn later that the Raven was a friend of Saint Benedict who helped him by removing bread that had been poisoned by a jealous rival.  http://communio.stblogs.org/index.php/2011/07/saint-benedict-and-his-friend/

** The Unlikely Pilgrimage of Harold Frye by Rachel Joyce (https://www.rachel-joyce.co.uk/)

I love where we live. I love the stretch of sky from east to west. I work in a shepherd’s hut in a field, looking over the valley. It’s a place that feels alive with light and water and stories. My own view. My own silence.”

 …. Rachel Joyce

POSTSCRIPT

Shortly after I posted this article in my Blog (www.threadsofspiderwoman.blogspot.com) I found this earring by the trash can in front of my house.  It looks a great deal like a peacock feather to me!   I have no idea where it came from, but I will take it as a bit of guidance and affirmation.  The world is always speaking to us, I reflect, if we can only pause long enough to listen.

Sunday, November 21, 2021

Marga: Footprints in the Mythic Sand

 

PREFACE:  

Since I seem to be unable to write much of anything new these days (although my mind is full of images) I have decided to return to posts from the past that I like a lot, posts that are "touchstones" along the path, to re-explore posts that lead me back to the "roots" I'm currently looking for when I go into the studio.  Which, I see, is really the same work I've been pursuing for a very long time.  Perhaps I just get a bit closer to the source.  I hope. 

So  here is this entirely appropriate  article (which I'll be improving along the way) from 2010 called "Marga".  At the time I was thinking a lot about the synchronicities that continually seemed to occur in the course of my creative wanderings and searches.  I had a brief internet  coorespondance with an Englishman named Rober d'Amour after one of these posts on this Blog.  He has since entirely  disappeared, along with his Blogs,  and this was probably never his name anyway.   But I shall always be grateful to him for introducing me to the concept of Marga.  So..............from the 2011 Blog post below, "footprints in the Mythic sand."  


May, 2011

The "Blog sphere" has been a continuing source of information and inspiration - recently I received a fascinating correspondence from Robur D'Amour  who introduced me to the concept of  Marga.  This  is a term I've not run across before, but it resonates  for me, another viewpoint  of what  I've fancifully called "conversations with the universe".  Robur  kindly gave me permission to quote some of his insights:

"'Marga' is a term that means following a path of signs or symbols that lead a person to their spiritual self. Marga is a bit like finding one's way through a labyrinth by reading signs that are given to you along the way by the unconscious."
Carl Jung believed that what mattered most in life was to find his spiritual identity. He felt that a person could best achieve this by  leading what he termed a 'symbolic life'. Jung wrote:
“when people feel they are living the symbolic life the see themselves as  actors in the divine drama.......That gives the only meaning to human life; everything else is banal and you can dismiss it. A career, producing of children, are all maya (illusion) compared to that one thing, that your life is meaningful.”
I do not agree with Jung that a career, the producing of children, and all of the travails and joys and conflicts , the "banalities" of being human,  are so easily dismissed as unimportant.  Perhaps it was easier to see it so if one was a wealthy and respected man with a wife and servants to attend to those annoying tasks.......but I do agree with him that a symbolic life, a symbolic or, as Carolyn Myss*** termed it,  an "archetypal path",  can be profoundly meaningful.

Mythologist Joseph Campbell, who was a great admirer of Jung,  referred to this "archetypal path"  as  'marga'.  It is a way of living, a way of proceeding  without following any particular creed other than paying attention to what is presented to you by the Divine within your own system of symbols, however that may appear to you.  In The Hero's Journey (p45) Campbell writes:
"Adolf Bastian, a German anthropologist, has meant a great deal to me with just this main idea. The common themes that come out of the collective unconscious he calls elementary ideas.... In India the elementary ideas are called 'marga', (meaning)  the path. Marga is from a root word 'mrg', which refers to the footprints left by an animal, and thus  you follow that animal. The animal you are trying to follow is your own spiritual self. And the path is indicated  by mythological images.
Follow the tracks of the animal and you will be led to the animal's home. Who is the animal? The animal is the human spirit. So, following these elementary ideas, you are led to your own deepest spiritual source." *

 In practical terms, this means paying attention to what we see in the world around ourselves, to the synchronicities that occur, and to symbolic and meaningful "signs" that are presented to us -  in dreams,  and within the things we come across in our daily lives. The symbols - the "footprints"  we see are presented to  us by Fate, the Goddess, God, the unconscious,  the Muse...........or whatever name you like to give to the source that we cannot see, yet what determines 'what happens next'.  I just call it the Mystery.  

Campbell described it as following Marga as a way to find one's own myth:

“…the way to find your own myth is to find those traditional symbols that speak to you, to use them, you might say, as bases for meditation. …Let the symbols play upon the imagination, act upon the imagination, and bring your own imagination into play in relation to these [symbols] and then you will be experiencing the marga or the power of these symbols to open things up for you” (Campbell, 2011)****

Following the links in a trail of symbols that are presented to us by the unconscious, amounts to finding one's way through a labyrinth.  Labyrinths and mazes were, by the way,  common features in Elizabethan gardens, and the U.K. has many elaborate mazes still preserved, mazes that are wonderful metaphors for that "path of symbols" Jung wrote about.  As Robur wrote in his coorespondence with me back in 2010, 

"The marga (path of symbols) that I seem to have been unwittingly following is a very curious one.  I originally seemed to connect the word marga with Megara.  Megara was popularised as the heroine in the Disney version of Hercules. It's 'only' a film for children, but it does, to some extent, bring the archetypes to life. Megara is a very vivid anima archetype."

I personally was somewhat amazed, speaking of my own "Marga", to read his further comment that:

"Megara was originally a Greek word for a fissure in the ground used
for sacred rites connected with beliefs about the underworld (the unconscious)
and Persephone-Hecate." 

 

 In 1993 I began a novel, the only novel I've ever written, called The Song of Medusa.  I  wrote it with artist Duncan Eagleson, and it was inspired by the writings of  Riane Eisler** It was based on the idea of an ancient shamanic priestess of an old-European, Earth Goddess culture. The priestess was called a "Singer", and she entered altered states of consciousness and prophesy by going into fissures or caves in the earth.  This was called being "given to the Serpent".  The Serpent arose, for me, from the importance of the Serpent or Dragon as a symbol for the telluric  energies of the Earth, as a universal symbol of the renewal of life, and also for the early Earth Goddess.  The novel was about the conflict that happened as this long lived priestess experienced her world shattered by the invasions of warlike, Indo-European tribes. As the little novel evolved, somehow, and surprising indeed to me, my own version of the myth of Persephone (I called her "Persepha") also evolved within the story, so much so that it became the novel's secondary theme. 

I have recently (in 2018) had fun looking back at this little novel, and I illustrated it.  I still like it, although I see it as rather naive now, a project that could have been more evolved but was not.  

But interestingly, there are several things I did not know in the winter of 1993 when I began writing about my "Singers", loosely based on readings I had done about native American shamanic practices.  One was that the Oracle of Delphi (called the Pythoness) supposedly became intoxicated or achieved an altered state of consciousness by breathing in fumes from cracks or fissures in the earth (possibly volcanic?).   In this state she prophesized or answered questions asked of her by petitioners,  being perceived as possessed by the God. 

Delphi was dedicated to the God Apollo in classical Greece, but earlier, probably extending in to pre-historical cultures even before the arrival of the Greeks, it was  dedicated to Gaia, the First Mother or original Earth Mother.  One can see in this "transfer of ownership" of a sacred Earth Mysteries site from a Goddess to a God the evolution of patriarchal co-option as well.  

As a further footnote to this wonderful "linkage" that can occur:  not long after re-posting this Blog post about Marga in May of 2016 to illustrate a synchronicity I had experienced, I happened to read an article in Feminism and Religion (I posted the link below on my Blog  May 10th of 2016):

Dance of Persephone: The Trata of Megara by Laura Shannon 



So here I am, in 2021, re-posting and pondering again,  looking for those footprints. 

All I can say is,  "Bingo!"

Learning about "MARGA" and "MEGARA" was thus a revelation for me, a reminder that creativity can be truly magical. It seems, once again, that in the course of opening to the creative process, we do indeed open to the collective mind, and access information from that very mysterious place.

**  Eisler, Riane, The Chalice and the Blade  (1987)
***Myss, Carolyn  on Archetypes

“All truths wait in all things,

they neither hasten their own delivery nor resist it,

they do not need the obstetric forceps of the surgeon to be born

the insignificant is as big to me as any

(what is more or less than a touch?)

I believe a leaf of grass is no less

than the journey work of the stars.”

.......Walt Whitman