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Becoming: World Cultures

article by Deldon Anne McNeely

Interviewed on his 90th birthday, Nelson Mandela, the South African political leader who led the fight against apartheid, was asked if he regretted not having spent more time with his family during his lifetime. He thought for a while and replied, “No, I had to do what was necessary for my soul.” (Interview, British Broadcasting Corporation, June, 2008.)

C.G. Jung was clear about the fact that he was proposing individuation from the standpoint of a Western European cultural lens, and he did not mean to apply it to other cultures. And even as the world has become smaller, we Jungians recognize that our precise notions about individuation cannot be applied to all cultures without significant reworking. Yet it is possible that, since the concept applies to human consciousness, it might be adapted to describe the expansion of consciousness in whatever form is available in any given culture. This is an aspect of the concept that needs more research.

In the Western European and American tradition, a commonly desired characteristic of individuation is the capability of persons to leave their parental home and make their way as independent individuals in a home separate from the family of origin. Naturally, geographical distance from the family is not what Jung meant by individuation. We may put miles between us and still stay emotionally dependent on each other. But being true to our values often means changing our profession, religion, politics, or attitudes to something entirely different from what was expected of us in our family.

In some cultures that kind of independence is discouraged, because one’s first duty is to help preserve the welfare of the family of origin, to stay with the family, clan, or tribe and contribute to the well-being of the group. Survival demands it. This describes the Pakistani woman (mentioned in a section of Becoming) who could not oppose her tribal requirement of arranged marriage. (This is so common in Britain that they have enacted a “Forced Marriage Act” to protect women.) Loyalty is also highly valued in cultures that have experienced genocide, as have Native-Americans, Jews, Kurds, and minority groups in many countries.

In spite of family prohibitions, some individuals are capable of seeing beyond their environmental restrictions, even when they do not choose to openly oppose them. Some can and do make contact with a wider consciousness and use their dreams, creative abilities, and ambitions to compromise with the conscious situation. They may become prominent as spokespersons, leaders, or advocates for others, or they may express their advanced consciousness as introversion through art, healing, and ways of wisdom. As long as the possibility of thinking for oneself is available, individuation can proceed, as Mandela’s statement illustrates. But it may look different in different cultures, including some parts of the USA and Western Europe.

Actually, contemporary trends in psychoanalysis have moved more and more toward encouraging community, a generous and open-spirited attitude toward others and toward nature, and a support for flexibility-oriented, rather than goal-oriented, individuation. These values are easier to express in parts of the world that haven’t been entrenched in authoritarian values.

In general, Native-Americans’ process of individuation appears different from that of European-Americans. Because of their experience of the near extinction of their culture, many Native-Americans expect to adhere closely to the traditions of their nations. They value the continuation of those values and rituals which connect them to their heritage, although they may feel encouraged to leave their culture to experience and learn the ways of the larger society. Often Native-Americans become active politically in order to promote the good of their people and contribute to the development of their nations. This is not to imply that they do not also identify themselves as Americans, as illustrated by their participation in military combat and national politics.

An intellectual dilemma brought about through the mind-body split, begun with Plato and thoroughly developed by Descartes, had an impact on Western minds through the Enlightenment. This split with the world of nature was not suffered by non-Europeans such as Native American, African, and Asian cultures, and the differences are apparent in attitudes toward matter and nature to this day.

Jungian psychoanalyst Jerome Bernstein, who has worked for years with the Navajo Native-Americans, believes that the Western ego takes its form and dynamic structure at the price of its separation from nature. Thus, individuation as Jung formulated it has a lot to do with reconnecting to that dimension of the transpersonal, the objective psyche, or Self as nature.

Says Bernstein:
borderland.jpgAs I see it, much of what the individuation process aims at is the starting point for the (traditionally rooted) Navajo. Much of the connection that the Western individuation process aims at is where they begin—albeit with a different ego structure than the Western ego. There is no separation from nature, no differentiation between mind and body, between the ego and the sacred. (Bernstein, private communication.)

It seems safe to say that an individual can proceed with a strong sense of community and loyalty to the collective without losing one’s individuality. Bernstein has written extensively about the split between humans and nature that is so prevalent in our society and the difficulty encountered by people who are sensitive to that split in his book, Living in the Borderland: The Evolution of Human Consciousness and the Challenge of Healing Trauma.ir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1583917578

In the United States we are expected to ignore a heavy-handed approach to environmental problems, an approach that assumes an attitude of domination and greed instead of conservation and care. Those who feel empathy with nature and distress about the destruction are often dismissed as abnormally sensitive, and they are misunderstood and marginalized. Actually, like canaries in the mine, many are more realistic about consequences than those in denial of the destruction, and they have important information if we could only listen.

Values that were assumed by our culture to be universal fifty years ago now seem terribly biased. Colonialism viewed culture through the eyes of the colonists and distorted the nature of the colonized, at great cost to the colonized and to humanity itself. European and American countries applied their values to African and Asian cultures with little consideration of history. Corporations saw the value of their commercial goods through their vision, which did not benefit their customers or the environment. Men made laws which did not consider the welfare of women, and women promoted customs which did not fit the needs of men. We are all being shown the possibility of seeing through the eyes of others, seeing from another angle, seeing from a larger vantage point.

We cannot undo the damage, cannot restore the broken communities and ecosystems, cannot revive the victims of genocide who have had their ways of life annihilated. What we can do is stop imposing and judging, and start to wait, listen, and respect the habits and philosophies of people with different values.

Becoming: An Introduction to Jung's Concept of IndividuationJung emphasized “uniting the opposites” in becoming a whole person. He meant that we come to see nuances, rather than engaging in black and white thinking. We are less rigid about what is good or bad, or what constitutes masculine or feminine traits, less occupied with separating human and nature. In Native-American pre-colonial philosophy there has been no separation to be overcome between ego and nature, between human life and animal life, between the welfare of the person and the welfare of humankind. Until recent years our government has systematically silenced and tried to eradicate the Native-Americans’ capacity to articulate their philosophy. Now some leaders see that there was wisdom in the attitudes of native peoples toward nature that we would not allow, but which was valuable. This has happened in other parts of the world as well, such as Australia. There the prime minister recently made a sincere and very moving public apology to the indigenous people for the way they had been treated by their colonizing government. Many of the political problems in the Middle East are a result of misunderstanding the values of people whose allegiance has been to their tribal identities for generations. . .

ir?t=wwwmalcolmclc-20&l=bil&camp=213689&creative=392969&o=1&a=B0045U9TLCThe previous article is an excerpt from Deldon Anne McNeely's newly published book: Becoming: An Introduction to Jung's Concept of Individuationir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=B0045U9TLC.

About the Author
Deldon Anne McNeely received her Ph.D. in Clinical Psychology from Louisiana State University and is a member of the International Association for Analytical Psychology. A senior analyst of the Inter-Regional Society of Jungian Analysts, she is a training analyst for their New Orleans Jungian Seminar. Publications include Touching: Body Therapy and Depth Psychologyir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0919123295; Animus Aeternusir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715373: Exploring the Inner Masculine; and Mercury Risingir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0882143662: Women, Evil, and the Trickster Gods.

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Fisher King Press publishes of an eclectic mix of worthy books including Jungian Psychological Perspectives, Cutting Edge Fiction, and a growing list of alternative titles.
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The Promiscuity Papersir?t=wwwmalcolmclc-20&l=bil&camp=213689&creative=392969&o=1&a=1926715381The Promiscuity Papersir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715381 by Matjaž Regovec

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The Promiscuity Papersir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715381
by Matjaž Regovec
ISBN 9781926715384, 90pp, Index, Bibliography, 2011

In The Promiscuity Papersir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715381, archetypal roots of promiscuity are explored. In classical Greek and Roman mythology some promiscuous father figures may be found viz. Chronos (Saturn), and Zeus (Jupiter). Another form of Saturnian promiscuous dynamic is explored in the mythological figures of Oedipus and Antigone. This is followed by presentation of a case history.

Ines, a woman in her early thirties, enters analysis because she would like to solve the recurring problem of her unsuitable partnerships, in which her partners are predominantly promiscuous. The father was psychotically disturbed and the patient was the family member who offered support to him. Psychotherapy started with a stable frequency of two sessions a week. Within the transference, there appear two figures. One of a 'positive father,' and the other as the 'all-knowing.' The latter may be compared with the mythological figure of Oedipus, whose intelligence was exceptional, being demonstrated in his redemption of Thebes from the Sphinx. All the same, Oedipus suffered from a promiscuously incestuous relationship with his mother Iocaste. During old age, when he was expelled, and accompanied by his faithful daughter Antigone, Oedipus was most probably psychotic. In the analysis, Ines has decided, after 200 hours of analysis, to reduce the frequency down to one session a week. The problem of analytic interpretation is described, as well as the effects of interpretation (when it finally takes place) that it had on the analytic relationship and analytic process. The intimate and important link between promiscuity and incest is also explored, promiscuous actualizing the incestuous. Promiscuity is a manifest sexual activity with the unknown other. Promiscuity can also be considered as a defense against paranoia.

About the author

Matjaž Regovec is a Jungian analyst and analytical psychologist. He undertook his analytic training in Vienna while living and working in Slovenia and is a member of the London based Association of Jungian Analysts (AJA, IAAP), as well as a professional member of the Slovenian Association of Psychotherapists (ZPS).

In 1993, Matjaž founded IPAL (Institut za psihološko astrologijo in psihoanalizo Ljubljana) – Ljubljana Institute for Psychological Astrology and Psychoanalysis, of which he is still the managing director. The Institute offers a professional three-year diploma course in counselling, as well as a postgraduate training in psychoanalysis (www.ipal.si). Matjaž has a private practice in Ljubljana and works with Jungian analytic self-experiential groups in Ljubljana, Belgrade and Budapest.

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Four Eternal Women: Toni Wolff Revisited - A Study in Opposites
Four Eternal Women
Toni Wolff Revisited - A Study In Oppositesir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715314
By Mary Dian Molton and Lucy Anne Sikes
ISBN 978-1-926715-31-5
320 pages, Bibliography, Index

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Toni Wolff was at first the patient, and later the friend, mistress for a time, long-term colleague and personal analyst of Swiss Psychiatrist Carl Jung. In addition to her work as the founder, leader and teacher for the Psychological Society in Zurich which led to the establishment of the world-renowned C.G. Jung Institute in Zurich/Kusnacht, she published a seminal but little known work called “Structural Forms of the Feminine Psyche” (“Der Psychologie”, Berne, 1951). This treatise, certainly one of the first studies in Analytical Psychology, has been the subject of the authors’ investigation, attention, research and study for the past twelve years. Toni Wolff’s original outline of her four archetypes barely filled fifteen pages of the journal, and was written in the academic style of professional journals of that period, sans illustration or commentary.

Toni.jpg
Toni Wolff circa 1920's
While Wolff’s work has been mentioned in short form in the work of several writers, Four Eternal Womenir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715314 is the first full and serious archetypal delineation of her original thesis, and examines each of her four feminine archetypes from several perspectives:
  •  Wolff's Own Words
  •  An Overview of History and Myth
  •  Familiar Characteristics
  •  Lesser known (Shadow) Possibilities
  •  Career Inclinations
  •  Relationships to Men
  •  Relationships to Children
  •  Relationships to Each of the Other Types
The tension of the opposites set up by Wolff’s own diagrammatic representation of these archetypes provided an additional dynamic to this study. Those who have followed Jung’s individuation path will recognize aspects of Jung’s Transcendent Function. All readers may well become personally sensitized to discover their own type preferences, and how some aspects of shadow may be present in their ‘opposite’ partner.

About the Authors

Lucy Anne Sikes, MS, ARNP, is a Senior Diplomate Jungian Analyst and is an Advanced Registered Nurse Practitioner. She is in private practice of Analysis and Psychotherapy in Prairie Village, Kansas, close to Overland Park, Kansas and Kansas City, Missouri. She currently serves as a lecturer in Jungian Theory and Practice and is past Coordinator for the Kansas City - St Louis Training Seminar of the InterRegional Society of Jungian Analysts.

After her retirement in 1983 from a full career as an educator and later an executive for the Public Broadcasting System, Mary Dian Molton began her Jungian studies and took an advanced degree in clinical social work. She has studied at the C.G. Jung Institute in Zurich, has trained extensively in psychodrama, and has worked as a Jungian psychotherapist since 1987. She also holds a BFA in Fine Arts, and an MS Ed. with a specialization in Secondary Theater Education. For several years she wrote, produced and chaired a weekly television series which showcased creative teaching.

Advance Orders for Four Eternal Womenir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715314 can be placed by calling 1-800-228-9316, toll free Canada & US, international call +1-831-238-7799, skype: fisher_king_press.
fkplogo110x100.jpgFisher King Press publishes an eclectic mix of worthy books including Jungian Psychological Perspectives, Cutting Edge Fiction, and a growing list of alternative titles.
  • We Ship Worldwide.
  • Credit Cards Accepted.
  • Phone Orders Welcomed. Toll free in the US & Canada: 1-800-228-9316 International +1-831-238-7799 skype: fisher_king_press
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Threshold Experiences

Now available from Fisher King Press

Threshold Experiences: The Archetype of BeginningsThreshold Experiencesir?t=wwwmalcolmclc-20&l=bil&camp=213689&creative=392969&o=1&a=0944187994
The Archetype of Beginnings
by Michael Conforti, PhD

This seminal volume represents the foundation of Michael Conforti's 25 year pioneering exploration of the confluence of psyche and matter.

"In the beginning", so goes many a great story. These familiar words beckon us across a threshold, often transporting us into unknown worlds and novel experiences. So too our lives are filled with many such "beginnings" -- new jobs, relationships, adventures, and even the inception of life itself. Each of these "threshold experiences" not only introduces us to new domains, but also draws us into the realities of archetypal fields. Learning to creatively interact with these prefigured, a priori fields can allow us rich access to sources of eternal wisdom.

Jungian analyst Michael Conforti's examination of the initial clinical interview as a "threshold experience" shows that the same archetypal processes responsible for the generation of life itself also shape patient-therapist relationships, creating fascinating, highly patterned dynamics. These powerful fields structure events so that core issues in clients', and often even therapists', lives are re-enacted in the therapeutic setting with remarkable fidelity to the archetypal field within which each is embedded. Conforti's deft weaving together of psychological and scientific theory, dream analysis, and clinical vignettes elucidates the ways that the psyche entrains both client and therapist into a synchronized pattern. An understanding of the role of the Self in this process reveals the profound meaning and purpose that can be gleaned from careful attention to the communications occurring during the early phase of the therapeutic dialogue.

Drawing from the fields of jungian psychology, biology, quantum physics, and the new sciences, the author provides a unique lens for viewing the central archetypal dynamics operating within an individual life. His findings demonstrate how past experiences not only shape the initial stages of therapy, but also allow us to understand the future trajectory of treatment. This important study confirms C.G. Jung's assertion of the need for an interdisciplinary perspective if we are to truly comprehend the workings of the psyche.

Michael Conforti, Ph.D., a pioneer in the field of matterpsyche studies, is a practicing Jungian Analyst. An international consultant and lecturer. He has taught at the C.G. Jung Institute Zurich, as well as in Canada, Venezuela, the Caribbean, Denmark, and Italy. He works with individuals, organizations, and businesses, including the film industry, to identify and understand the role of the archetypal patterns underlying human behavior. Dr. Conforti is the Founder and President of the Assisi Institute for the Study of Archetypal Pattern Analysis, and the author of Field, Form, and Fate: Patterns in Mind, Nature and Psyche
fkplogo110x100.jpg?width=110Fisher King Press publishes an eclectic mix of worthy books including Jungian Psychological Perspectives, Cutting Edge Fiction, and a growing list of alternative titles. Learn more at www.fisherkingpress.com
  • We Ship Worldwide.
  • Credit Cards Accepted.
  • Phone Orders Welcomed. Toll free in the US & Canada: 1-800-228-9316 International +1-831-238-7799 skype: fisher_king_press
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Oct 1, 2010


With great pleasure, Fisher King Press is pleased to announce the publication of

9781926715124.jpg
By Deldon Anne McNeely
ISBN 9781926715124, 230pp, Index, Biblio, (Oct 2010)
Download a free PDF sampler of Becoming

Becoming: An Introduction to Jung’s Concept of Individuation ir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715128explores the ideas of Carl Gustav Jung. His idea of a process called individuation has sustained Deldon Anne McNeely’s dedication to a lifelong work of psychoanalysis, which unfortunately has been dismissed by the current trends in psychology and psychiatry.

Psychotherapists know the value of Jung’s approach through clinical results, that is, watching people enlarge their consciousness and change their attitudes and behavior, transforming their suffering into psychological well-being. However, psychology’s fascination with behavioral techniques, made necessary by financial concerns and promoted by insurance companies and pharmaceutical companies, has changed the nature of psychotherapy and has attempted to dismiss the wisdom of Jung and other pioneers of the territory of the unconscious mind.

For a combination of unfortunate circumstances, many of the younger generation, including college and medical students, are deprived of fully understanding their own minds. Those with a scientific bent are sometimes turned away from self-reflection by the suggestion that unconscious processes are metaphysical mumbo-jumbo. Superficial assessments of Jung have led to the incorrect conclusion that one must be a spiritual seeker, or religious, in order to follow Jung’s ideas about personality. Becoming is an offering to correct these misperceptions.

Many university professors are not allowed to teach Jungian psychology. Secular humanism and positivism have shaped the academic worldview; therefore, investigation into the unknown or unfamiliar dimensions of human experience is not valued. But this attitude contrasts with the positive reputation Jung enjoys among therapists, artists of all types, and philosophers. Those without resistance to the unconscious because of their creativity, open-mindedness, or personal disposition are more likely to receive Jung’s explorations without prejudice or ideological resistance. There is a lively conversation going on about Jung’s ideas in journals and conferences among diverse groups of thinkers which does not reach mainstream psychology. Becoming is for those whose minds are receptive to the unknown, and to help some of us to think—more with respect than dread—of the possibility that we act unconsciously.


About the Author
Deldon Anne McNeely received her Ph.D. in Clinical Psychology from Louisiana State University and is a member of the International Association for Analytical Psychology. A senior analyst of the Inter-Regional Society of Jungian Analysts, she is a training analyst for their New Orleans Jungian Seminar. Publications include Touching: Body Therapy and Depth Psychology; Animus Aeternus: Exploring the Inner Masculine; and Mercury Rising: Women, Evil, and the Trickster Gods.


Also available from the Pacifica Graduate Institute Bookstore!
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The Archetypal Beggar

The Beggar
Article by Erel Shalit

Rainer Maria Rilke: The Song of the Beggar

I am always going from door to door,
whether in rain or heat,
and sometimes I will lay my right ear in
the palm of my right hand.
And as I speak my voice seems strange as if
it were alien to me,

for I’m not certain whose voice is crying:
mine or someone else’s.
I cry for a pittance to sustain me.
The poets cry for more.

In the end I conceal my entire face
and cover both my eyes;
there it lies in my hands with all its weight
and looks as if at rest,
so no one may think I had no place where-
upon to lay my head. (1)

Faceless Interiority
Far away in the shadow, behind the persona and one’s face of appearance, stands the beggar. He has no social face; he plays no game. Pretension is an aspect of the persona, though not every persona that we wear is necessarily either false or pretentious. Persona pertains to the social adaptation of our conscious identity. It takes courage, honesty and compassion to transcend one’s conscious experience of identity. On the road, one is forced to overcome obstacles and struggle with adversaries. Then, as well, one will have to bend down low and care for the wounded, embracing the weak. And traveling on, one will have to see without eyes, touch with empty hands, hear the unspoken words, and sense the sameness, identitas, in anonymity. A forty-five-year-old extraverted man, professionally successful and generally concerned with labels of accessories, dreamed:
I am in a very elegant house. It’s my house, and I’m having a party. Everyone “who’s-who” is there. Suddenly a bitchy old woman comes down the stairs, tells me that the house is hers, I have only rented it, and I have to leave. It is very embarrassing, I’m being thrown out, from what I thought was my house. Out there in the street I meet a beggar. He is homeless, crazy, doesn’t really know how to speak, and doesn’t know who he is – he is without identity. It’s frightening.
As a negative of our ego-ideal and the socially adjusted persona, the shadowy image of the beggar abides in our soul, as if without identity. Without a persona, there can be no pretension—which comes from Latin’s praetendere, to extend in front. We need to ‘extend in front’ of ourselves, to reach out and forwards. Thereby, some degree of falseness and pretension are inevitable and undeniable. In contrast to the persona, the beggar “huddle[s] in the shadows,” and unmasks those who come his way,(2) that is, everyone who ventures far away from the royal court of unquestioned convictions. Without the protection of a social façade, the image of the beggar expresses the Inner Voice or the Daemon. The beggar becomes the genuine persona, that is, he is an image of the means by which the Voice comes across; persona, per sonare, by means of voice. But since he lacks the appearance of an external persona, he is not easily seen and attended to, but must be heard and listened to, for us to grasp the meaning of his words.(4) In Dr. D’s dream (page 176), he attends to the voice of the old, shabby, hardly visible, wise man.

The image of the beggar entails a reversal of our attitude in consciousness. We may believe that we give him something, that we may contribute to his welfare. But the essence of his being is that he holds something for us to receive. He may hold in his hand, and whisper through his mouth, a wisdom free from conventional ethics, transcending our conscious distinction of good and evil.(4) Beyond the blushing face of shame, the beggar’s hand is full of emptiness—he holds nothing in his hand.

The beggar does not do, and we may so easily pass by without noticing him. Only by stopping for a moment may we see what he can give—an opportunity to feel and hear, to reflect and forget myself (my ego), and to know what not to forgo:
The crippled beggar cries.
His weeping masks the sun’s eye,
hides the flowers.
His weeping–
a smoldering barrier
between me and God.
The crippled beggar demands
that I thrust my whole life
into his hand–
that which is revealed
and that which is hidden,
all that could have happened
and all that yet will happen.
The crippled beggar demands
that I let him eat
from the Carmel in my soul
and from the sea,
from the risings of the sun
and from the depths within me.
The crippled beggar spits in my face
because I have not forgotten myself,
because I have not died.
His scorn is right.
To the quiet, inner core
that exists even in the heart of the lost,
to the axis of immortality
that exists even in the heart of the insane,
I have not given over
my whole self.
I have almost forgotten
that he, too, the impoverished one,
is a child of the sun,
that his soul, too,
will turn into a rose at twilight.(5)
When Gandhi after more than twenty years in South Africa stepped ashore in India, he spent a year of wandering, “his ears open but his mouth shut.” The notable poet Tagore called him “The Great Soul in Beggar’s Garb.” Soul is a perspective, perspective, by means of spection, looking, introspective and extraspective, which enables us not to just act and do. It is reflective between us and events, and makes us relate to our deeds,(6) thereby inducing what we do with life, with inspiration. Without soul we may constantly fight wars with an ever-more evil enemy, or we may fall into paralyzing crippleness. The voice that speaks through the image of the beggar is not formulated by his words, but by our listening in spite of there being nothing to see. The soul that the beggar brings is one of pure interiority, which brings life only if attended to. At the end of the Grimm brothers’ tale of The Golden Bird, for instance, the king’s (in some versions the gardener’s) youngest son arrives secretly at the king’s court, dressed in a poor man’s ragged clothes. As he arrives, scarcely within the doors, the horse began to eat, and the bird to sing, and the princess left off weeping. The soul appears in the least of garments, secretly, invisibly, without known identity. The following was the final dream that a fifty-five-year-old man brought at the end of a seven-year analysis:
I am walking with a group of people in a field. It is rather dark. It is like walking along a wadi [dry river valley] at the slopes of a gray mountain. From somewhere high up I hear a voice telling me – and it seems he is calling just me – I have to get up on top of the mountain and read prayers from a book.

I then stand on a cliff high up on the mountain, with the man who had called me. He doesn’t look like the kind of prophet you would imagine – or perhaps you would! He is very unimpressive, small, ugly, hunchback, disgusting! No, sorry, not disgusting, but you’d hardly notice him, or, rather, if you met him in real life, one would try to avoid him, like those poor sick beggars you see more and more in the city.

He just hands me the book. Looks like a bunch of old papers. The prayers are a combination of Jewish and alchemical texts or prayers. I have to do this, supposedly because I am accused of some crime, possibly having assassinated someone. But before climbing higher on up the mountain, I go into a cave, supposedly my cave, where there are lots of wine glasses, kind of grails, some in glass, others in metals, that I have to serve to people, though I don’t really see the people; they will arrive later. The wine glasses are placed on an old wooden table, and the tin cups on an even more antique wooden table. Everything is semi-dark. I don’t know what kind of mixture or drink is in the glasses, especially in the tin cups – probably some alchemical tincture – just joking! But it has that kind of flavor, so I guess I have to accept that! Then the man, the beggar/prophet or whatever, his daughter comes running. She has been running very quickly, and I meet her at the entrance of the cave as I am on my way to depart to ascend the mountain. She is clearly taken by her long and quick run, breathes visibly, tells me that the whole accusation against me is a mistake. I feel relieved. I know that you [the analyst] won’t die from me leaving, even if you’ll be somewhat sad, just like I will be as well, but I still know that I have to carry out the task, even if you can’t help me any further, and I must go ahead and do it alone.
This man knew he had further work to do, but also felt that there always would be, and at some stage he needed to take it on himself. The need of a soulful attitude in this man’s further undertakings was unmistakable. His tendency not to remain serious, but to dismiss the hard work by joke and avoidance, had been prominent. A sense of lack of meaning in life had been the reason to come for analysis.

In his associations to the dream he said he had come to understand there were “layers of meaning” to “that Jungian stuff and all that alchemy,” using “alchemy” as a code word for his ambivalence to the process, but thereby for its potency as well.

The word alchemy had most likely not been mentioned during the years of analysis, but the meaning of the word warrants a brief comment: as is well known, Jung concluded that the alchemical process reflects the soul’s transformative journey through the shadow to the Self, from base metal to refined gold. There are various assumptions as to the etymological origin of the word alchemy. One possible origin is from the Greek chumeia, to pour together, to cast together, clearly reflecting the process of bringing seemingly opposite elements together. In this sense, alchemy replicates the process of the Self; symbolos, symbol-formation as a healing process that brings the opposites together (syn- together, ballein- to throw)—in contrast to the consciousness-raising process of diabolos (to throw apart).

Another possible origin is from the Arabic al-khimiya, where Khemia was an ancient name for Egypt, meaning ‘the land of the black earth,’ because of the mud that brought fertility to the land of the Nile. Most transformative activity in the alchemical laboratory of therapy and analysis probably takes place in the land of the black earth, the shadowy matter of the process.

Gershom Scholem writes, “Even more remarkable is the derivation of the word kimiya (chemistry) from the Hebrew, which carried over from Arabic sources.” He quotes several older Arabic and Jewish sources, and says, “The word for chemistry comes from ki miya,”(7) i.e., alchemy would mean for it is of God. It seems we might need to hear the voice of all three possible etymologies in order to appreciate the journey of the soul.

The previous article is an excerpt from Erel Shalit’s

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1.Selected Poems, Translated by Albert Ernest Flemming, p. 78.
2. Elie Wiesel, A Beggar in Jerusalem, p. 3
3. It is noteworthy that the root of the Hebrew word for meaning, maSHMAot, means to hear. Martin Buber claimed the Jews were inherently a people of the “ear,” “summoned to ‘hear,’ as in ‘Hear, Oh Israel’ ” (Elon, The Pity of it All, p. 262.)
4. Cf. Depth Psychology and a New Ethic, p. 39; The Hero and His Shadow, p. xvi
5. “The Crippled Beggar,” from The Spectacular Difference: Selected Poems of Zelda, p. 39-41. Translated, with an Introduction and Notes, by Marcia Falk (Hebrew Union College Press, 2004). Copyright (c) 2004 by Marcia Lee Falk. Used by permission of the translator
6. James Hillman, Archetypal Psychology: A Brief Account, pp. 6-10; Andrew Samuels, Jung and the Post-Jungians, p. 244.
7. Gershom Scholem, Alchemy and Kabbalah, p. 16f.

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When the Moon Casts a Woman Off

article by Naomi Ruth Lowinsky

The moon and then
the Pleiades
go down

The night is now
half-gone; youth
goes; I am

in bed alone
—Sappho (1)

When the Moon Casts a Woman Off

The muse is erotic. This is well known to the men who adore her. For me, her erotic nature can show up unexpectedly, as it did in India, or as it did during that powerful transition in a woman’s life—menopause.

When the moon has cast a woman off, and she is running hot and cold in a confusion of purposes, body and soul fighting over the terms of their engagement, she may find herself lost, wandering about in a flat landscape, emptied of the drama of her cycles, unfamiliar to herself. When her soul, having lived in all the female places, isn’t sure where she lives anymore; when her mind loses track of itself and falls through the cracks in the floor of her brain; when her spirit is short of breath, confused by the weather, by sudden surges of heat that lack any erotic purpose; and her womb that has been telling time, keeping her in tune with the sea and its tides, goes silent, keeping its secrets inside; she may find herself thrown back to what called her before her first blood flowered, as though soul, mind, spirit, need to root themselves again in her beginnings; her life needs to come full circle. For me, that circle brings me back to a reverie about my early sexual stirrings, and a fantasy about Sappho.

Sappho. Have you heard of Sappho? She lived 2600 years ago, in a time when the division between the erotic and the sacred had not yet hardened, when a young woman’s education included the arts of love as well as of poetry, dance and music. How is it she suddenly fills me with her presence, as though I’ve always known her; as though I can remember my time with her as a young woman on Lesbos: the temple to Aphrodite, the meadows with flowers we maidens wove into one another’s hair; what we sang around the altar in the moonlight; as though Sappho was my teacher, my priestess, my wild older woman crush.

How can I claim to remember Sappho? She is a revered ancestor in my poetic lineage. But all we have of her poems are fragments, all we can gather of her life are glimpses, pottery shards, passages in Longinus and Demetrius. Yet even those fragments, those glimpses, give us a lot. They say she is a great lyric poet, perhaps the greatest of all time. They say that she, like Socrates, taught the young. The aristocrats of 5th century B.C. Greece, sent their daughters to Sappho, to her thiasos, where she initiated them into the mysteries of love; taught them ritual, poetry, dance, officiated at their weddings.

The Greeks did not divide sexuality up as do we. Young women learned love, their bodily and emotional responses, from other women. Some of them went on to marry men and live what we call heterosexual lives. Others stayed in the temple, as priestesses. Some, it is clear from Sappho’s work, preferred to stay with women.

As Judy Grahn points out in a powerful evocation of Sappho in her book of essays, The Highest Apple, Sappho was born into a now lost lineage of women poets that stretched behind her for a thousand years.(2) She lived in changing times. Already by her time, Greek women were oppressed and controlled by the patriarchy; they could not own property; they belonged to their husbands. But on Lesbos, in Sappho’s thiasos, we catch a glimpse of a world where, in Grahn’s words “women were central to themselves.” I long to have access to such wholeness of female being, such authority of voice and image.

I took my lyre and said:
Come now, my heavenly
tortoise shell: become
a speaking instrument(3)

Would I could be such a speaking instrument. Would I could summon such elegance and clarity. In Sappho female flesh becomes word. Her poems are personal, embodied, full of desire and of sensuous physical detail: descriptions of beautiful clothes, advise on what flowers a girl should wear in her hair. They are luminous.

H.D. brought Sapphic lucidity back into the language, describes Sappho’s poetry as: “containing fire and light and warmth, yet in its essence differing from all these, as if the brittle crescent-moon gave heat to us, or some splendid scintillating star turned warm suddenly in our hand like a jewel, sent by the beloved.”(4)

I wish I could study poetry with Sappho; learn to speak from female passion as did Sappho; I wish I could be on as intimate terms with Aphrodite, know the altar, know the ritual.

You know the place: then

Leave Crete and come to us
waiting where the grove is
pleasantest, by precincts

sacred to you; incense
smokes on the altar, cold

streams murmur through the
apple branches, a young

rose thicket shades the ground
and quivering leaves pour

down deep sleep; in meadows
where horses have grown sleek
among spring flowers, dill

scents the air. Queen! Cyprian!
Fill our gold cups with love
stirred into clear nectar(5)

But wait a minute. Is this the time to be invoking Aphrodite? At midlife, dealing with hot flashes and memory loss, struggling to keep track of many obligations, is this the time of life for Sappho to be stirring in me? Sappho who loved young women, sang of their beauty, taught them the erotic mysteries? Where was she when I needed her, when I had never heard of her, when I was a young woman, overcome by a confusion of passions?

I came of age in a time when it was believed that young women should be sexually initiated by men. The ancient practice of a woman learning the responses of her body in the hands of an older woman, had been mostly forgotten. There was an archetype missing (still is, for the most part), one the Greeks knew well: the archetype of sacred sexuality. In my day, a young woman’s passion was dangerous; if she expressed it, terrible things could happen to her. There were names: clinical names, colloquial names. Nymphomaniac. Slut. There were dangerous consequences. Pregnancies. Illegal abortions. Doors slammed for life. Shutters closed on her sense of self.

In the 1960s, some of us got wind of Sappho’s energy, without really knowing much about her. We saw that women had to learn to love women instead of only valuing our relationships with men. We formed circles of women and talked personally, about sex, our bodies, our passionate lives. In such a group, “consciousness raising” we called it, I remember wondering what menopause would be like. We asked an older woman some of us knew to write a letter about her experience. I can’t remember what she said. I do remember her tone, wise, funny, amazed and pleased to be asked. If I were to write such a letter now I’d have to say that nothing has prepared me for the power of change. It’s archetypal, like going through puberty, or becoming a mother.

And then it occurs to me: no wonder I’m fantasizing about Sappho. It’s not just that she’s a priestess of Aphrodite; she’s a priestess who facilitates archetypal change, and she does it in the voice of a woman-centered woman. As Judy Grahn says, when we lose access to our ceremonial stories “we fall out of history . . . out of mythic time . . . out of poetry except as the objects of it . . . out of meaning into a kind of slavery, a no-world, a no-place . . . ” How then can we make sense of female initiation, profound bodily changes? We need Sappho. We need her to teach us the lore of the body, the creative process, the invocation of the divine.

And I say to myself, why not try to invoke Sappho? What would it hurt? At worst she won’t come. At best, we’ll have an experience of the imagination.

The Tenth Muse

Imagine that we knew Sappho when we were young. Imagine that we can remember the island in the middle of the blue Aegean, near Turkey as it was 2600 years ago, a landscape of olive trees and apple orchards. The scholar of Greek lyric poetry, C.M. Bowra, describes it thus: “an abundance of natural springs fills the valleys with plane trees and lush grass; in the spring the ground is covered with anemones, orchids and wild tulips.”(6) The poet Alcaeus, a contemporary of Sappho, describes her as: “violet-tressed, holy, sweetly smiling Sappho . . .” (7)


invocation

tell me, Sappho,
whose delicate fingers
wove the violets into your hair?
whose soft seashell ears burned
at your song?

and would you take her back
after the years
she forgot you

opened her body
to his song

would you come to the tip
of her tongue
leap
to her image making
mind?

would you send for her
the very chariot
that carried the goddess
she of the doves
and the smile that is
evening star?

lady of Lesbos
we gather
pieces of you
out of the mouths
of buried vases

i wish it were mine
to remember
how we danced
around the altar in full
moonlight
our tender young women feet
crushing the grass

holy Sappho
make a place for me now
the moon is waning
we whom the tides
have released
long for a fragment
of you— (8)

She’s come. Can you see her? She is so vivid, as though she’s always been here, just under the surface, energetic, curious, intense, showing off her dark skin in bright clothing. She’s wearing the purple and yellow outfit she described in a poem. Listen to her beloved Atthis:

Sappho, if you will not get
up and let us look at you
I shall never love you again!

Get up, unleash your suppleness,
lift off your Chian nightdress
and, like a lily leaning into

a spring, bathe in the water.
Cleis is bringing your best
purple frock and the yellow

tunic down from the clothes chest;
you will have a cloak thrown over
you and flowers crowning your hair… (9)

She stands before a white temple, the blue Aegean glowing behind her. She’s smiling at us. Sappho, speak to us!

You wonder where I’ve been. I say, where have you been? I’ve been here all along, the old voice of female poetry, glad to be released at last from all those tiresome, bookish discussions about me. You’ve read all that nonsense. Was I short and dark? Did I die for love? Was I married to a man called Kerkylas, a wealthy merchant, or was this an obscene pun in an Attic comedy, because Kerkylas can mean “prick from the Isle of Man”(10) Was I a love priestess? Did I have jealous fights with my rivals for love or for power? Finally you stopped reading all that scholarship that just chops me up into smaller fragments, fits me into small categories that break up my wholeness. How can you separate body from love from soul from ritual from poetry? It is only in what’s left of my work that you can know me, and in the imagination of poets. There are those in your time who know me. H.D. knows me, as:


an island, a country, a continent, a planet, a world of emotion, differing entirely from any present day imaginable world of emotion…
A song, a spirit, a white star that moves across the heaven to mark the end of a world epoch or to presage some coming glory.
Yet she is embodied–terribly a human being, a woman, a personality as the most impersonal become when they confront their fellow beings.


Judy Grahn knows me, and traces her lesbian poetic lineage through H.D. and Emily Dickinson straight back to me. (11)


You can know me, not only as a particular poet of 6th c. B.C. Greece, but as the fragmented voice of woman, the ghost of the wholeness of woman that’s been ripped into shreds. What woman has written straight out of her body, her feeling, since I did, until now, in your time? My voice is the passion of woman for woman, the passion for the goddess. Every woman needs to know this passion, whether she sleeps with women or with men. Then she can express for herself what Freud found so mysterious: what a woman wants.


Why do you suppose you’ve been so consumed by poetry recently? It hasn’t occurred to you that I might have had something to do with that? For two millenia I was a sleepy spirit. But I’ve been right under the surface, waiting to be invoked. I have not been forgotten, but my poems, what has become of my poems? I wrote them down. I wanted them to last forever. It looked like they would. The Alexandrians published me a few centuries after my death. My work survived for a thousand years. I was known as the tenth muse, first among lyric poets, the queen of poetry. Once, everyone knew my poetry by heart. My words were ripe fruit on the tongue of every cultivated person. Now, all that’s left are fragments.


Don’t think because I’m a shade, I don’t mourn the loss of my work. Don’t think it doesn’t humiliate me, even in death, that my voice got torn to shreds of papyrus, that handwritten copies of my work were used to stuff a coffin, mummify a crocodile. Why did my books disappear? I have not been forgotten, but my poems are lost. I have not been forgotten, but for two thousand years who has written in my tradition? I have been quoted but the whole shape and luster of my work has been lost. Who has invoked me intimately, as I did Aphrodite, as you just did me? Why has it taken you so long? I’ve been knocking at the door of your consciousness most of your little life!


Dead poets long to be read. We long for our living audience, for the poets we influence, the poems that carry on our tradition, bring it into new territory. Suddenly your time is full of women poets, as though a fire swept through old woods releasing seeds that haven’t sprouted for 2600 years! You’re waking me up, exciting me, calling on me to return.


Now you want me to help you in this second rite of passage, in the Lesbos of your imagination. But I need your help. Events keep tearing you away from me. Important meetings. Conferences. Telephone calls. I say: come to Lesbos; make time for solitude; be alone with me. Imagine yourself in the grove of apple trees. The apples are reddening, growing ripe. The breeze in the trees has more to say to you than any group of colleagues. What do they know of your essence, your struggle to release your spirit from other people’s purposes? If I am to help you find the self you left behind, I need your full attention, your ear to my voice, your mind to the flow of images. Most of all I need your body!

You want my body?

No, I’m not propositioning you, not in the usual sense. I’m a ghost, a spirit. What I want is words for your body’s experience, your desire, your longing. When young women came to me on Lesbos I prepared them for the changing of the gods in their bodies. I called down Aphrodite. I taught them the pleasure of their bodies, what flowers to wear in their hair, what would make the blood run hot under their soft skin. Here they were, young and so lovely, breasts just blossoming. How could I not fall in love? I who was teaching them to cultivate the goddess of love, to make her incarnate in their own flesh, was cultivating my own body of love.


I brought girls from childhood to womanhood, teaching them to sing and to dance, to cultivate the subtle play of blood and fire in their loins, the connection to their feet, to know what colors to wear, how a dress should drape.


If I had known you when you were young, you would have known your own beauty. You would have learned to express your own passion, in words. No matter how overcome with passion a woman may be, if she can make a poem of her experience—she retains herself—has made a vessel for herself. I did this time and again.

He is a god in my eyes
the man who is allowed
to sit beside you—he
who listens intimately
to the sweet murmur of
your voice, the enticing
laughter that makes my own
heart beat fast… (12)

Can you imagine how it is to love a young woman, train her in the erotic arts, and then have to officiate at her marriage? Making poems held me together, as making poems has been holding you together in the change of life. What you need is some of our ancient Greek love for our bodies. We did not suffer from that post Christian fear of the body which has caused the fragmentation of my voice. Nor had we any desire to “rise above” our bodies. We knew what you need to remember: the body is where the gods speak to us. Your body is speaking to you, in hot flashes, in memory lapses, in a deep disorientation from the moon. You need me to help you in this change of the gods. I need you to give poetic voice to the change.

There is something I don’t understand. Do you not know about the change? Didn’t women of your time live past menopause?

Of course. Women have always known about menopause. In the ancient world we had our secret rituals, we knew the herbal remedies, all the lore of the wise blood. But none of this was valued, or written down. And as the men took over, and women’s spiritual practices were deemed dangerous, witchcraft, you forgot what we once knew. It got lost, like the poems of the poets before me, lost like the mysteries of Eleusis, like the many forms of the goddess.

The Sister from Below: When the Muse Gets Her Wayir?t=widgetsamazon-20&l=bil&camp=213689&creative=392969&o=1&a=098103442X
The previous article is an excerpt from
The Sister From Below: When the Muse Gets Her Way
by Naomi Ruth Lowinsky


Naomi Lowinsky is the author of The Sister From Below: When the Muse Gets Her Wayir?t=widgetsamazon-20&l=btl&camp=213689&creative=392969&o=1&a=098103442X, The Motherline: Every Woman's Journey to Find Her Female Rootsir?t=widgetsamazon-20&l=btl&camp=213689&creative=392969&o=1&a=0981034462, and the just published book of poems, Adagio and Lamentationir?t=widgetsamazon-20&l=btl&camp=213689&creative=392969&o=1&a=1926715055. She has authored numerous prose essays, many of which have been published in Psychological Perspectives and The Jung Journal. Her two previous poetry collections, red clay is talking (2000) and crimes of the dreamerir?t=widgetsamazon-20&l=btl&camp=213689&creative=392969&o=1&a=0967022487 (2005) were published by Scarlet Tanager Books. She has been nominated for a Pushcart Prize three times and is the recent recipient of the Obama Millennium Poetry awarded for "Madelyn Dunham, Passing On.” Naomi is a Jungian analyst in private practice, poetry and fiction editor of Psychological Perspectives.

Naomi’s publications are available from The Pacifica Graduate Institute Bookstore and directly from Fisher King Press. Phone orders welcomed, Credit Cards accepted. 1-800-228-9316 toll free in the US and Canada, International +1-831-238-7799.

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(1) Sappho, Barnard trans., fragment #64.
(2) Judy Grahn, The Highest Apple : Sappho and the Lesbian Poetic Tradition, p. 7.
(3) Sappho, fragment #8.
(4) Hilda.Doolittle. (H.D.), Notes on Thought and Vision and The Wise Sappho, pp. 57-58.
(5) Sappho, fragment #37.
(6) C.M. Bowra, Greek Lyric Poetry, p. 130.
(7) Alcaeus, Greek Lyric Poetry, p. 239.
(8) Lowinsky, unpublished poem.
(9) Sappho, fragment #43.
(10) Sappho, The Poems and Fragments of Sappho, translated by Jim Powell, p. 33.
(11) H.D., The Wise Sappho, pp. 58-59.
(12) Sappho, fragment #39.


Copyright 2010 © Fisher King Press - Permission to reprint is granted.
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Just Published by Fisher King Press . . .

The Art of Love: The Craft of Relationship

A Practical Guide for Creating the Loving Relationships We Want
by Bud and Massimilla Harris
ISBN 978-1-926715-02-5


The Art of Love: The Craft of Relationship presents the profound principles that form a loving relationship in an easily accessible manner. Using a deceptively simple approach, it will help people shift their attitudes and provide them with skills to create a loving, long-lasting partnership. There are so many titles in print on change because it is an ongoing challenge for most of us. So are relationships. With many years of experience working with couples, Bud and Massimilla Harris share vital information, lessons, and insights. Engaging, and easy to read, The Art of Love: The Craft of Relationshipir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715020ir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715020 is packed with wisdom, skills, and ideas that can open the door to a new era of fulfilling relationships.

This Fisher King Press publication brings complex material and common sense into a format that is carefully constructed to achieve results by being communicative and consistent, enjoyable and hopeful. Unlike the textbook appearance of many self-help books that include psychological jargon, case examples and exercises, The Art of Love uses stories and dialogue to teach valuable skills for handling problems in a way that builds love and trust.

The Art of Love: The Craft of Relationship is for:
  • Singles and couples who seek self-improvement, who want to enrich their relationships, and who desire practical advice for helping love and trust grow.
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  • Couples who need to learn how to understand each other better in order to have their uniqueness affirmed without threatening their relationship.
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  • People who are interested in cultivating love and closeness in a way that supports individual growth.
  • Therapists and counselors who seek an accessible resource for their clients, and for readers who wish to explore the most recent perspectives on relationship dynamics.
  • Groups of people, whether religious or educational, who are concerned about the state of their relationships. People who are seeking to understand them and discover the promises of love and joy that being in life together can bring.

Massimilla and Bud Harris are diplomates of the C.G. Jung Institute in Zurich and co-authors of Like Gold Through Fireir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0981034454. Bud Harris is also the author of several other publications including Resurrecting the Unicorn, The Father Questir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0981034497, Sacred Selfishnessir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1930722516, and The Fire and the Roseir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1888602422.
Phone orders welcomed, Credit Cards accepted. 1-800-228-9316 toll free in the US and Canada, International +1-831-238-7799.

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Fisher King Press / PO Box 222321 / Carmel, CA 93922 /
Phone: 831-238-7799 / books@fisherkingpress.com / www.fisherkingpress.com
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Shadows_Cvr_loRes.jpgOut of the Shadows: a play in two parts by Elizabeth Clark-Stern

Out of the Shadows began as an independent study at Antioch University. Revised some years later, the International Association of Analytical Psychologists invited the original production to be performed at the International Jungian Congress in South Africa in 2007.

The year is 1910. Sigmund Freud and his heir-apparent, Carl Jung, are changing the way we think about human nature and the mind. Twenty-two year old Toni Wolff enters the heart of this world as Jung’s patient. His wife, Emma Jung, is twenty-six, a mother of four, aspiring to help her husband create the new science of psychology. Toni Wolff’s fiercely curious mind, and her devotion to Jung, threaten this aspiration. Despite their passionate rivalry for Jung’s mind and heart, the two women often find themselves allied. Born of aristocratic Swiss families, they are denied a university education, and long to establish themselves as analysts in their own right. Passionate and self-educated, they hunger for another intellectual woman with whom to explore the complexities of the soul, the role of women in society, and the archetypal feminine in the affairs of nations.

Their relationship spans 40 years, from pre-World War I to the dawn of the Atomic Age. Their story follows the development of the field of psychology, and the moral and professional choices of some of its major players. Ultimately, Toni and Emma discover that their individual development is informed by both their antagonism, and their common ground. They struggle to know the essence of the enemy, the “other,”and to claim the power and depth of their own nature.

About the Author

Elizabeth Clark-Stern is a psychotherapist in private practice in Seattle, Washington. Before embracing this beloved work, she worked as a professional writer and actor. Her produced plays and teleplays include, All I Could See From Where I Stood, Help Wanted, and Nana Sophia's Oasis.

Published by Genoa House and available from your local bookstore, a host of online booksellers, and directly from the Fisher King Press Online Bookstore. Out of the Shadows ISBN: 978-0-9813939-4-0, Publication Date: June 1, 2010
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article by Lawrence H. Staples

the problem of the opposites

Jung recognized that the problem of the opposites is one of the most formidable obstacles to psychic integration. Even when we are able to integrate opposites there remains substantial tension between them. If the integration is so complete that the opposites literally merge, consciousness, as we know it, disappears. Consciousness of life depends upon the tension of opposites. So the problem is to bring them close together without a total merger in which one or the other of the opposites would lose its identity. This is indeed a challenging task.

To complicate, but also clarify, the problem of the opposites, I would like to share with you a quote from Jung that contains what for me is his most profound insight on the subject of guilt and its relationship to human existence. Jung said, “The one-after-another is a bearable prelude to the deepest knowledge of the side-by-side, for this is an incomparably more difficult problem. Again, the view that good and evil are spiritual forces outside us, and that man is caught in the conflict between them, is more bearable by far than the insight that the opposites are the ineradicable and indispensable precondition of all psychic life, so much so that life itself is guilt.”(1) It is important here to note that “side-by-side” for Jung does not mean a merger, mutual absorption, or synthesis of opposites.
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The idea that life itself is guilt is based upon conceptions of how human consciousness works. As noted earlier, consciousness itself depends on the existence of polar opposites. Guilt, therefore, which attempts to keep us from our “evil other,” is closely related to the formation of the opposites in our psychic anatomy.

the creative instinct

Fortunately, there is a powerful tool that can help us resolve the problem of the opposites. This tool is creative work. Creative production in art, as in life, depends upon bringing two opposites, the masculine and the feminine, into close enough proximity to produce a “child”(i.e., a book, a symphony, a painting, etc.) without losing the identity of the opposites that created the “child.” When we begin to do creative work, we connect to the deepest forces that govern all creation. It connects us to God, to the self within, to put it in Jungian terms. Reflected in our language is the Judaeo/Christian idea and belief that God and the creator and sustainer of all existence are one. The words God and Creator are in fact interchangeable in English as well as in other Western languages, such as French and German. The ultimate product of this process of psychological, inner creation is a stronger ego that increasingly approximates a reflected image of the Archetypal Self, which is whole and contains all of the opposites.

The Archetypal Self, or God, represents the totality; no stone is left out, all the stones are included in this totality. But a colossal lie stands in the way of achieving this totality. This is not about the existence or non-existence of the opposites, the dark and the light. We know they exist. The lie is in labeling one side exclusively good and the other side exclusively bad, as we tend to do. We know that creation is enabled by the existence of, masculine and feminine opposites. If we make one side good and the other side bad, we reject one of the essential players in the creative drama.

There is an instinct deep within us, although difficult to access consciously, that tells us that embracing the one-sided formulas for salvation, including the Christian advocacy of the exclusive primacy of love, will actually keep us from the totality of our selves. It is an instinct that actually is our salvation. It emanates from our duality. It tells us that we must love and hate everything at the same time. We must love the dark and the light and we must hate the dark and the light. Wired as we are, light has no meaning without the dark and dark has no meaning without the light. Each of these depends on the other for its existence. Without the one, there can be no consciousness of the other, and nothing exists for an individual if he is not conscious of it. If we are unable to maintain simultaneously in consciousness both our hate and love feelings, we cannot protect ourselves if we are abused—physically, psychologically, or sexually—by those whom we deeply love and those whom we need to trust.

It is our duality that causes us to be drawn inexorably to movies (e.g., Crash, Lawrence of Arabia, or A Civil Action) or to great art, literature, or music (e.g., the opera Tosca or the play Hamlet).(2) In Tosca,(3) we see Scarpia, on his knees, praying in church, while leering lustfully at Tosca. In the movie, Crash,(4) a policeman saves the life of a black woman whom just days before he had humiliated and mistreated. We see Hamlet indecisive and cowardly one day, and the next brave and sure. In Lawrence of Arabia,(5) Lawrence risks his life to save a man who he deliberately kills shortly thereafter. In A Civil Action,(6) a greedy, money-driven, ambulance-chasing lawyer finds a cause for which he is willing to sacrifice his career and fortune. And then there is Peter loving Christ one moment and denying him the next. There is a Jekyll and Hyde in all of us, in all people. We are drawn, as if against our wills, to these conflicting portraits. We are drawn to them and have feeling for them because we see ourselves in them, whether we know it or not. We are drawn to images that reflect ourselves, but protect us from the direct experience. To know that we have the same base feelings in us as Scarpia, right along side all of our goodness, is difficult to bear. We are drawn, nevertheless, to these characters and images because nature seems to have planted deep within us a developmental process that, through the agency of feeling, attracts us irresistibly closer and closer to our opposites. It attracts us to our opposites so that we can come together with them, side by side, in an embrace of creativity that leads us eventually to wholeness. As we experience in literature, art, and life, we are ineluctably attracted to realness, to three dimensionality, to wholeness.

Life might be easier, simpler, and less painful if our one-sidedness could be a sustainable reality instead of a wish. But, there are always two sides, regardless of whether we are conscious of them. The solution to this dilemma involves finding a way to honor both sides of ourselves in consciousness. This is the answer, but it is not easy to hold on to it. It involves a creative solution to one of life’s most difficult problems. The answer lies in a creation that depends upon intimate contact of two opposites without either being lost or subsumed by the other.

our unique identity

Ultimately, the creative act of self-development results in the formation of our unique identity. It is the most particular manifestation of our self. We all have a unique identity, not just Picasso or Einstein or Beethoven or Frank Lloyd Wright. We are not conscious of our unique identity until we have done a lot of work on our selves. People who study art, music, literature, or architecture can identify the painter’s, composer’s, author’s, or architect’s work without seeing a signature. They know that the painting was by Caravaggio or Manet, or that a piece of music was written by Stravinsky or Wagner, or a book by Hemingway, or that a building was designed by Louis Kahn or Frank Lloyd Wright. The creative product of the artist is his signature, and we recognize it because we have studied his work.

Each of us also has a unique signature. But, we must pay attention to our selves and do our own work in depth, if we are to recognize our own signature. We must do this for the same reason we must study artists to know their works. Thus, an important part of the work of discovering our selves is creative production and in-depth analysis. With time and effort we can come to know and recognize our own special signatures. Our physical identity is more readily visible and accessible than our psychic identity. There is always something unique in our physical identity; for example, the parents and siblings of identical twins can usually tell them apart. We have mirrors and can see our physical selves.

It is far more difficult to “see” our psychic selves. There are no psychic mirrors readily available to us, unless we had exceptional parents who could fully, without harsh judgment, reflect our selves back to us. We may still be able to see our psychic selves if we find a therapist who will do for us what our parents could not.

Creative work can also help us see our selves. Creative work is a mirror that can reflect our selves back to us if we pay enough attention. Therapists can help us in this regard, by helping us interpret our creative work.

In his book, The Restoration of the Selfir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0226450139,(7) Heinz Kohut wrote at length about psychically wounded people and the therapeutic methods he used to help them. He found none more effective, or so essential, as creative work. He found, importantly, that it made no difference whether the creative work was deemed good or artistic by any standards. The simple process of doing creative work helped restore the self. It is as if nature plants within us a built-in remedy for our worst affliction, the affliction of being separated from large parts of ourselves. We experience this separation as a kind of inner civil war that divides us internally. It produces the pain and suffering inherent in any civil war, whether in our internal world or outside. It seems that the human urge to do creative work, to use all our stones to heal and restore our wholeness, is a compensatory impulse and blessing that arises from the psychic civil war that wounded us. In my own work as a psychoanalyst, I have witnessed the truth of Kohut’s findings. I have watched patients grow in wholeness as they began to work creatively in a variety of media that helped them recover and restore cut off parts of themselves.
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Creative work actually serves as a kind of inner parent that compensates for the flawed parenting we may have had as children. Creative work mirrors us in a way we were often not mirrored by our parents. Creative work mirrors us for the simple reason that we can see projected in it, if we look and interpret carefully, our own psychological and spiritual selves. Mirrors in all their manifold guises help restore the wounded self.

1 Jung, C.G., Collected Works 14, par. 206
2 Shakespeare, William, Complete Works of William Shakespeare, Grosset & Dunlap, New York.
3 Puccini, G., Tosca.
4 Crash Paul Haggis (director/writer/producer), Lion’s Gate Films (2005).
5 Lawrence of Arabia, David Lean (director), Robert A. Harris and Sam Spiegel (producers), Columbia Pictures (1962).
6 A Civil Action, Steven Zaillian (director), Walt Disney Studios (1999).
7 Kohut, Heinz (1983), The Restoration of the Self, New York, International Universities Press, especially pp. 53-54, 10, 17-18, 40, 158 and 289.


This article by Lawrence Staples is an excerpt from Guilt with a Twist: The Promethean Way.

Lawrence H. Staples, Ph.D. is the author of the popular Guilt with a Twist and the recently published
The Creative Soul
: Art and the Quest for Wholeness

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Now Available from Fisher King Press

Divine Madness: Archetypes of Romantic Love
By John R. Haule
ISBN 978-1-926715-04-9, 292pp Index, Biblio, 2010

Divine Madness: Archetypes of Romantic Love examines the transforming experience of romantic love in literature, myth, religion, and everyday life. A series of psychological meditations on the nature of romantic love and human relationship, Divine Madness takes the perspective that human love is a species of divine love and that our experience of romantic love both conceals and reveals the ultimate Lover and Beloved. John Haule draws on depth psychology, the mystical traditions of the world, and literature from Virgil to Milan Kundera to lead the reader inside the mind and heart of the lover.

Each chapter explores a characteristic aspect of relationship, such as seduction and love play, the rapture of union, the agony of separation, madness, woundedness, and transcendence. Focusing on the soulful and spiritual meaning of these experiences, Divine Madness sheds light on our elations, obsessions, and broken hearts, but it also reconnects us with the wisdom of time immemorial.

As a practicing Jungian analyst and former professor of religious studies, John Haule masterfully guides his readers through the labyrinth of everyday experience, and the often hidden layers of archetypal realities, sketching a philosophy of romantic love through the stories of the world's literature and mythology.

About the Author
John Ryan Haule holds a doctorate in religious studies from Temple University. He is a Jungian analyst trained in Zurich and is a faculty member of the C.G. Jung Institute-Boston.

Place your order for Divine Madness: Archetypes of Romantic Love at the Fisher King Press online Bookstore.

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“the psychological problem of today is a spiritual problem, a religious problem . . .”
—C.G. Jung, C.G. Jung Speaking: Interview and Encounters,
“Does the World Stand on the Verge of Spiritual Rebirth?”

A psychological and spiritual reckoning, Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 questions theories and assumptions that date back to the early 1900’s and the days of Freud, assumptions which have too often separated spirituality from psychology. Suffering the trials of her own individuation process, Patricia Damery finds answers through a series of unconventional teachers and through her relationship to the psyche and to the land—answers that are surprisingly deeply intertwined.

One strand of Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 is about redeveloping a relationship to the land—Mother Earth—being rooted in a particular place and being guided by the tenets of Rudolf Steiner’s Biodynamic agricultureir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1855841487. Another strand is about Patricia Damery’s professional path of becoming a Jungian analyst, which includes the exploration of four aspects of the body: the physical, the etheric, the astral, and the mental. We are acquainted with and have similar assumptions about the physical body, but we are mostly unfamiliar with the three supersensible bodies. Jung and two of his closest and well-respected colleagues, Marie Louise von Franz and Barbara Hannah, address the subtle body in their writings, but analytical psychology (and psychology in general) has avoided this aspect of Jung’s work.

Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 is a courageous offering that will help to reconnect us to our deeper selves, the often untouched realities of soul, and at the same time ground us in our physical relationship to self and Mother Earth.

Patricia Damery is an analyst member of the C.G. Jung Institute of San Francisco and practices in Napa, CA. She grew up in the rural Midwest and witnessed the demise of the family farm through the aggressive practices of agribusiness. With her husband Donald, she has farmed biodynamically for ten years. Her chapter, "Shamanic States in Our Lives and in Analytic Practice" appeared in The Sacred Heritage: The Influence of Shamanism on Analytical Psychology, edited by Donald Sandner and Steven Wong, and her articles and poetry in the San Francisco Library Journal, Jung Journal: Culture and Psyche, Psychological Perspectives, and Biodynamics: Working for Social Change Through Agriculture.
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