Additional Take On Alice…

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In 1951 Souvaine Selective Pictures was set to release Alice in Wonderland featuring a combination of live action and stop-motion animation by pioneering animator Lou Bunin. Bunin had worked for Diego Rivera in Mexico and was behind the earliest known stop-motion production in the U.S.
Alas, there was only one problem, RKO Radio Pictures was set to release Walt Disney’s three million dollar version of Alice in Wonderland and they weren’t comfortable with competition. Claiming that a second Alice film would confuse moviegoers, Disney and RKO successfully sued to have Bunin’s film released eighteen months later in the U.S. with a severely limited distribution, despite the fact that Bunin had already premiered the film in Paris in 1949.
The above is a clip from that film. Unfortunately the negatives have been damaged, leaving us with a poor quality print. However, this does not take away from the fact that, while the white rabbit may be the stuff of nightmares, Bunin’s film is much more faithful to its source material.
It is hard to imagine anyone accepting the veracity of Disney’s claim that this movie, whose budget was half of his feature, would so confuse customers as to cause “irreparable damage” to him and RKO. In the end their victory did nothing to help when the movie was released. Critically panned, despite being a masterpiece of animation, Disney’s Alice in Wonderland achieved little success at the box office, though one can imagine that it fared better than Souvaine Selective Pictures’s. In the end, it only served to make the loss of Bunin’s film that much more unfortunate.

(Ross Rosenberg)

Sweet Alice….

A quick one!
Ah… the joys of Googlemancy!
Bright Blessings,

Gwyllm

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Lewis Carroll Poetry
A Whiting And A Snail

Lewis Carroll
‘Will you walk a little faster?’ said a whiting to a snail.

‘There’s a porpoise close behind us, and he’s treading on my tail.

See how eagerly the lobsters and the turtles all advance!

They are waiting on the shingle – will you come and join the dance?

Will you, won’t you, will you, won’t you, will you join the dance?

Will you, won’t you, will you, won’t you, won’t you join the dance?
‘You can really have no notion how delightful it will be

When they take us up and throw us, with the lobsters, out to sea!’

But the snail replied ‘Too far, too far!’ and gave a look askance –

Said he thanked the whiting kindly, but he would not join the dance.

Would not, could not, would not, could not, would not join the dance.

Would not, could not, would not, could not, could not join the dance.
‘What matters it how far we go?’ his scaly friend replied.

‘There is another shore, you know, upon the other side.

The further off from England the nearer is to France –

Then turn not pale, beloved snail, but come and join the dance.

Will you, won’t you, will you, won’t you, will you join the dance?

Will you, won’t you, will you, won’t you, won’t you join the dance?’


The Lobster

Lewis Carroll
‘Tis the voice of the Lobster; I heard him declare,

‘You have baked me too brown, I must sugar my hair.’

As a duck with its eyelids, so he with his nose

Trims his belt and his buttons, and turns out his toes.
When the sands are all dry, he is gay as a lark,

And will talk in contemptuous tones of the Shark,

But, when the tide rises and sharks are around,

His voice has a timid and tremulous sound.


Soup Of The Evening

Lewis Carroll
Beautiful Soup, so rich and green,

Waiting in a hot tureen!

Who for such dainties would not stoop?

Soup of the evening, beautiful Soup!

Soup of the evening, beautiful Soup!

Beau – ootiful Soo – oop!

Beau – ootiful Soo – oop!

Soo – oop of the e – e – evening,

Beautiful, beautiful Soup!
Beautiful Soup! Who cares for fish,

Game, or any other dish?

Who would not give all else for two p

ennyworth only of beautiful Soup?

Pennyworth only of beautiful Soup?

Beau – ootiful Soo – oop!

Beau – ootiful Soo – oop!

Soo – oop of the e – e – evening,

Beautiful, beautiful Soup!

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The Maenad & Divine Madness

Something to tide you over for a day or so. Everyone down here with a cold, sore throat etc. Seems the season -sigh- Just keep taking those pills, drink that tea and carry on!
Victor n Kim stopped by for a couple of hours, nice to see them. 8o)

Rowan came home from camp last night, slept for 14 hours.

So ever onward, here is todays’ entry!
What’s On The Menu:

The Drug War Song

The Links

Divine Madness

Gabriel Rosenstock Poetry: Maenads…

Art: Classical Illustrations of Maenads (Seems to be the theme today)
Also, Please Check out Radio Free Earthrites! I am sure you’ll like the new music on there now.

I hope you enjoy, more on the way, so stay tuned!
Bright Blessings,
Gwyllm

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The Drug War Song….

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Links:

The Difference Engine

Pub hosts drug testing operation

The Scariest Thing about Neanderthals

Retail Notebook: Shop offers an array of ‘magical groceries’

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Divine Madness

by oinokhoe
“I became aware, more vividly than I had ever been, that the secret of life consists in sharing the madness of God, I mean the power of rousing a peculiar exultation in yourself as you confront the Inanimate, an exultation which is really a cosmic eroticism.” – John Cowper Powys
I begin writing this with some trepidation. Publicly, I tend towards silence on the topic of religious ecstasy of any kind. States of mind are so subjective, the topic is so broad, and beyond that I just feel that some things should be talked of sparingly. I do not wish to detract from the power of ritual experience by discussing it in too much detail; dry examination does not befit it. However, I do think that something can be gained from a brief foray into this strange and often frightening realm.
Socrates said “our greatest blessings come to us by way of madness,” but qualified this with “provided the madness is given to us by divine gift.” This is an important distinction. I am not advocating random insanity with no goal and no guidance; that is rarely productive. Rather, I am thinking of the many traditions which embrace altered states of consciousness, within a magical and/or religious context, for the benefits they bring. Socrates recognized four types of such ecstasy: Prophetic madness, which comes from Apollo; Ritual madness, from Dionysos; Poetic madness from the Muses; and Erotic madness, from Aphrodite. Since my god has always been Dionysos, I will focus on the second form, that madness which comes from direct contact with the gods and other powers through ritualistic and initiatory experience. (Anthropologists generally refer to this whole range of experiences by the term “possession-trance,” though they acknowledge that the activities covered by this term vary greatly, from a Vodoun priest being ridden by his god, to a Siberian shaman traveling to the otherworlds in a trance state.)
Dionysos is a god of extremes, the “god of ecstasy and terror, of wildness and of the most blessed deliverance” (Walter Otto). Thus he is reached through extreme actions – in the myths, these include wild dancing, excessive drinking, and the tearing apart and eating of live animals. Many people might cringe at these accounts, but there is no middle road for the wary, there is no way to tiptoe up to Dionysos and nudge him on the shoulder. Nor should there be. There is a place for such madness, it serves a function, both for society and for the individual.
Concerning the former: Euripides has Dionysos creating havoc in a town, calling the women out of their homes and up to the mountains, implying licentious behavior. When the maenads are imprisoned, he shakes down the walls and releases them (just as he releases man through the tonic of wine). He defies convention by dressing effeminately, and convinces Pentheus to dress as a woman too despite his reservations; though Pentheus’ fate is to be torn apart by his own frenzied mother. Many read The Bacchae as a warning, and believe that Euripides was against the cult of Dionysos. But I believe that he was simply presenting a situation where change was needed, and was affected through drastic means. In ancient times the cult of Dionysos was always on the perimeter, never completely accepted in Greek society, yet never completely rejected either. Its resultant madness was tolerated, perhaps to prevent a greater and more destructive outburst.
On a personal level, divine madness can bring life-changing results. But it can also bring ruin, sending a person over the edge, which is why this is not for everyone. We don’t have a system in this culture to prepare us for such experiences, we think only in terms of “sane” and “insane”, which is why going over to the other side can easily destroy the sensibilities of anyone. But for those who wish to go Beyond, to see the outer realms, to touch the gods, which is an incredibly dangerous but exhilarating path, there is no choice but to surrender part of oneself, which becomes a sacrifice of sorts. It cannot be done lightly, nor without purpose. However, although you may work within a ritual context, and act responsibly and carefully, you can never truly control what happens. If you choose to open yourself to the “madness of God” you must accept the consequences, for good or ill.
The benefits to ritual madness are many and great, but they generally fall into the categories of arrheton, the ancient Greek word denoting something beyond description, unable to be spoken of, as well as aporrheton, a secret not to be shared with others. However, I will say that (in my experience) it can bring communion with the god, of a quality and intensity that usually cannot be reached through other religious actions, as important as those actions, such as prayer and sacrifice, may be. (Although such actions can often be the path into madness.) It also opens the famous doors of perception – “knowledge that lies outside the range of understanding can only be gained in a state that also lies outside this range” (Philipp Vandenberg). And it frees you, as Dionysos freed the maenads, Dionysos the Liberator, the Looser of Bonds. It releases you into a state both outside yourself and extraordinarily within yourself, where you can catch a glimpse of your own soul, and the soul of the world.
How do you enter into this madness? I cannot recommend any specific methods, for many are dangerous and/or illegal. With Dionysos, the way must usually begin with his gift, the vine. For other gods, or other paths, it will be different. Traditional cultures have used everything from psychotropic plants to drumming to invocation to sensory deprivation. If you are committed to the task, you will find a way. And you will never be prepared for what will come, and you will never exhaust the possibilities. But it will change you. Surrendering to madness even once leaves a mark. Gripped by Dionysos, you may find yourself suddenly attracted to the smell of the hunt, and the cries of the maenads will be music, as it is music to his ears. If you think you are ready for this, then he is waiting for you.
“and to Thebes they came all blood-bedabbled, bringing from the hill not Pentheus but tribulation. / I care not. And let not another care for an enemy of Dionysos.” – Theocritus

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Gabriel Rosenstock Poetry: Maenads…

I OPEN MY POEM
I open my poem to bright things

here come oranges, dandelions,

come in

take a seat

I’ll be right with you
into my poem

comes a lovely cuckoo snow in its beak

welcome
what’s this?

oceans of sunshine
I open my poem to all that is

that will be that was

that could be

bad move
here comes

an old cat

a pigeon’s leg in its mouth

(shit happens)

sit yourself down

mind the cuckoo

it’s got snow in its mouth
make room for yourself

between

the oranges and the dandelions

where are you from your catself?

where’s the rest of the pigeon?
I open my poem to all the elements

alive and dead and

some ivy comes in trailing

its own wall

the wall falls on the cat

this poem is a tragedy

of sorts
somewhere in the world

a wall is falling on a cat

on a child
I open my poem again to bright things

but there’s nothing left

MAENAD
In her womb she bears the constant sound of bees

That will be silenced only when a wave

Surges to her waist
She stands in the sea

Something unspeakable

In her almond-shaped eyes
Salt foam soon will sting

Her swollen vulva and she will cry out

The waves will shrink from her fury
Lemons and oranges will rain down

Rainbows of fish will arc from the water

And there will be one great humming
Later

Stars will appear from the silence

As if nothing had happened

As if this were the first of creation

She will clamp jellyfish between her thighs

LIKE AN OWL
The streamlined feathers of the owl

ensure the silence of its approach,

a silent glide between

one unknown and another

and the woodland mice and insects

are filled with terror

before this beak, this claw of the night.
Like an owl you come to me

spectrally

nightly

tearing at me –

I waken, abruptly

and there is nothing

nothing at all staring at me

only the confused memory

of a kiss

gliding into obscurity

on the wind.

LIADHAIN
(i)

Liadhain…

Knowledge flowed between us.

I am Cuirithir.

God goes halves in me

with Liadhain
God’s share

is sterile, lifeless,
Liadhain’s

boils me alive
We lay together among oaks

it was like a nut being shelled

and placed in my mouth

by a creamy, invisible hand
She said nothing at all

but when she closed her eyes

she could see the sap

rising in trees,

hear the old fulfilment of branches
(ii)

When she hides from me

I see her everywhere
I follow the deer’s shadow

and the hawk’s

her absence flits among the oaks
(iii)

When she wakes in the morning

I look deep into her eyes
She is a well

that reflects me
I drink of myself
(iv)

She is all winds,

the middle of all seas –
Everything that moves

and does not
She is a change in season,

all the months of the year
She is day and night,

night and day
(v)

Sleep now, sleep! Sleep, Liadhain,

on your mossy pillow, sleep easy …
If I could, I would dive far into your sleep,

to be forever, bright one, part of your dream.

In the middle of the forest, the boar is restless,

but sleep now, easy in yourself
(vi)

Look! Liadhain in the pool,

swimming on her back

mirabile visu –

she is moon,

a star-filled storm

Christ, do not approach me.

Virgin Mary, avert your eye
(vii)

My prayers

don’t go

anymore

to God

Liadhain, Liadhain,

on the tip of my tongue
(viii)

Her shape in the clouds,

her laugh between showers,

the rainbow

her soul’s colours
(ix)

My beloved is dazzling.

I’m like a hedgehog

waking too early on a spring morning

light hurts my eyes
(x)

A waterfall thunders far off

without pause

there’s no relief

from the way things are

my words are foam

in air

taste it
(xi)

‘Liadhain! Liadhain!’ murmurs the dark river,

‘Liadhain!’ calls the cuckoo in the valley

the plump salmon shouts out ‘Liadhain!’

‘Liadhain! Liadhain!’ cries the slender doe
(xii)

Breezes comb her dewy hair.

I am envious of elements
(xiii)

But an icy blast rose,

uprooting the oaks

the blackbird’s whistle froze in its beak

all the waves of Ireland wailed
(xiv)

My own self I had lost,

lost Liadhain and her merrymaking

Christ bared his wounds –

for me, also, He was crucified
(xv)

On this, my slab of supplication, Liadhain will perish,

and I in unknown territories
(xvi)

Dear God! Bring us together again

Couple us – I beg you – for just one night

in the splendid Paradise of saints

Angelic Apparitions

Staying with the Angelic Theme for a bit. Angels seem to be entities that at least on a symbolic level are accepted across great swaths of society world wide. This acceptance (at least as a symbol) is only afforded to a few other ‘mythic creatures’. Mantis Beings need not apply….
Today (Tuesday) was incredibly beautiful here. Clear sky, crisp… golden light fading more into the silver now. The fall is when I feel most mortal, it is so bitter-sweet and wonderful. I am here now, I shall not be forever. This moment holds everything.
On The Menu:

Durex Commercial

Three Angel Parables:

The Angel of Death Calls

The Judgment of God – A Sufi Tale

The Tale of the Crying Angel

Poetry: W.B. Yeats for a Wednesday…

Art: The Angelic Collective
I hope you enjoy this edition!
Gwyllm

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Durex commercial – chocolate flavoured condoms

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The Angel of Death Calls

A Sufi tale with a profound message for life.

By Shaykh Muhammad Hisham Kabbani

A certain king once went on a trip to one of his provinces. He set out on his journey, dressed in a sumptuous array and puffed up with pride. A man poorly dressed approached and greeted him from the side of the road; but the king would not answer. The man caught the bridles of the king’s horse and none of the king’s soldiers could make him let go. The king cried: “Let go of the bridle!” The man said: “First grant me my request.” The king said: “Release the bridle and I promise to hear your request.” The man said: “No, you must hear it right away,” and he pulled harder on the reins. The king said: “What is your request?” The man replied: “Let me whisper it in your ear, for it is a secret.” The king leaned down and the man whispered to him: “I am the Angel of Death.”
The king’s face became pale and he stammered: “Let me go home and bid farewell to my family, and wrap up my affairs.” But Azra’il said: “By the One Who sent me, you will never see your family and your wealth in this world again!” He took his soul there and then, and the king fell from his horse like a wooden log.
The Angel of Death went on his way and saw a believer walking by himself on the road. The angel greeted him, and he gave back his greeting. The angel said: “I have a message for you.” “Yes, my brother, what is it?” “I am the Angel of Death.” The believer’s face brightened with a big smile. “Welcome, welcome!” He said. “As God is my witness, I was waiting for you more impatiently than for anyone else.”
“O my brother!” the Angel of Death said, “perhaps you have a matter that you wish to settle first, so go and take care of it, for there is no rush.”
“As God is my witness,” the believer said: “there is nothing I wish more dearly than to meet my Lord.” The angel said: “Choose the way in which you would like me to take your soul, for so I have been ordered to ask you.”
The believer said: “Then let me pray two cycles of prayer, and take my soul while I am kneeling in prostration.”

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The Judgment of God – A Sufi Tale
Not so long ago, as time is counted, there came to a certain oasis far in the western desert a faqir. He was a Qalandar, a wandering darvish, who had walked the deserts of Africa and Arabia for many years, seeking only solitude wherein he could remember his Creator and contemplate the Divine mysteries. His virtue and faith, his submission to the will of God, had been rewarded with tranquility of spirit, and his sincerity and devotion on the path of Love was such that the Hidden had been revealed to his heart, and he had become a Wali, a Friend of God.
Now it came to pass that the night the faqir wandered into this oasis and lay beneath a palm tree to rest before the midnight prayer, there was, unknown to him, another man under a nearby tree who was also making camp for the night.
But the other man was a notorious bandit, once the feared chieftain of a band of robbers who had for years plundered the spice caravans and waylaid rich merchants on their way from the coastal cities to the inland towns. The outcry against his merciless raids, however, had at last reached the ears of the Sultan and he had ordered his soldiers to hunt down the band and destroy them. Many were caught and beheaded. Many others deserted their chief out of fear that they would share the fate of their comrades.
Eventually, this evil man found himself alone. His purse was now empty, every last coin having been spent in escape, and he was a hunted criminal with a price on his head. Even his former allies, those dishonest merchants who had bought his stolen goods, closed their doors against him. They also feared, lest the wrath of the Sultan fall upon their necks. And so he had fled for many days across the desert and come at last to the oasis where, tired and hungry, he sat beneath a tree and cursed his wretched fate.
Now I ask you, which of these two men is the greater, and which the less? Whom has God blessed and whom has He cursed? No, do not answer! You do not know the answer, for you are not their judge. The Creator alone is the judge of His creation.
Munkir and Nakir, however, the angels who question the dead when they are assigned to the grave, looked upon the scene of the two men and sighed. ‘Surely,’ said Munkir ‘here at least the true gold may be seen from the false. These two may be judged, though their end is not yet come. God will have the greater, and Satan the less.’
‘Alas! It must be so,’ agreed Nakir. ‘True gold is the most rare, and therefore are the fields of heavens spacious indeed, while the halls of Hell are filled to bursting, overflowing even the deepest pits.’
Now God perceived the thoughts of His servants, and spoke to the hearts of the two angels. ‘Verily, thou hast pronounced their just fate,’ He said. ‘Yet woe unto mankind had I created the world by justice alone. Am I not the Merciful and Compassionate? Behold! I will visit them with sleep and visions that thou shalt know the truth of My creation.’
Thus the Lord sent sleep and mighty dreams to the faqir and the wretched thief. And lo, the Qalandar awoke in hell, even into the midst of the great fires of the pit. And the bandit chief arose in Paradise, where he stood among the saints before the very Throne of God.
The Master laid down his spent pipe and sipped his tea. His eyes searched our faces over the rim of the glass. “Is it mercy to send the worst of man to heaven?” he asked. “Or justice to send the best of man to hell?”
No one dared answer.
“Good!” he said soothingly. “To cleanse the heart of judgment is to discern the Way of Love. And such was the lesson of Munkir and Nakir. For they beheld the faqir awaken in the very midst of Hell, and saw that most worthy of men rise up naked as the fires burned his flesh and the cries of tormented souls pierced his ears. Yet he did not feel pain at the touch of the flames, and showed neither surprise nor fear. His thought was only of his Beloved, and no affliction was great enough to sway his love. He sat among the fires and the torment as a darvish sits, and in a voice clear and strong he began to sing.
‘La Illah illa Allah! La Illaha illa Allah!’
The fires blazed furiously as the song began and then dimmed to smoldering embers, and the burning mountains trembled at the Holy Name. Now the tormented souls ceased their wailing to listen, for the name of God is not uttered in the pits. Then there was no other sound to be heard but his, and the song went on and on until the very foundations of Hell were shaken, and the damned souls began to feel a spark of forbidden hope.
Surely Hell would have fallen into ruin had not Satan himself appeared, and begged the faqir to depart. But the old man would not move, for he had walked many years on the Path of Love, and the Beloved’s Will was his will, whether it be paradise or eternal fire.
The Master paused for a moment to again sip the tea beside him. He did not look at us until he began the tale again.
“And what of the thief?” he asked, when the glass was empty. “This chieftain of bandits who was once so feared and terrible, and who had fallen into wretchedness and misery, the fate of all such men in the end.”
God caused the two angels to perceive his vision also, and they saw him rise and stand robed in white, trembling amidst the host of heaven, before the Throne of Almighty God. And the angel Gabriel spoke unto him.
‘By the mercy of the Lord, thy Creator, thy earthly deeds are forgiven thee,’ he said. ‘Come now and be at peace.’

And now the truth filled his heart, and great wonder, and every veil fell from his eyes; and he saw with a clear sight the Majesty and Beauty of His Compassion, and he wept.
And the Lord God spoke unto him, and said: ‘O man, fear not. For thou canst not fall so low that I cannot raise thee up.’
And fear left the thief. He prostrated himself before his God and wept. On and on flowed the endless tears of his wasted life, until they became the very waters of mercy and would not cease; and the feet of the saints were washed by his tears.
He would have wept for eternity had not the vision ended and the two men abruptly awakened. Then the thief saw the faqir as he stood, and came to him still weeping from the dream. And the faqir perceived all that had befallen them and embraced him, and they prayed together at the midnight hour even unto the dawn. Much befell them afterwards, for the thief became the disciple of the faqir, but that is all of their tale I will tell.
And Munkir and Nakir, who had witnessed but the tiniest particle of the unending Mercy of God, bowed before their Creator in submission, and in shame of their rash condemnation. For surely beyond the comprehension of men and angels is the Judgment of God.

The Tale of the Crying Angel
Kifkef began:
“In Sinai there is a story that, once upon a time, the world was made only out of mountains, valleys and forests. There were some rivers that ran down to small lakes but no oceans and no seas.
The world was dreamed into creation by fourteen white angels who slept on silky cloud beds in a perfect circle. They dozed in serene silence, all things crystal and clear in their minds. And so it also was on the virgin Earth beneath them which they sculpted with their dreaming.
The surface was only in twilight then and the people lived in simple harmony. In the haze that filled the air no one could see very far and they looked only to what was needed for that day. But as the light from Heaven trickled its way down to the Earth, people began to notice all kinds of strange things.
To start with, they saw that they all had different colours of skin and shapes of face. Some had beautiful Arabic complexions and others suffered with pale, blotchy white skin that burnt in the sun. These inequalities soon caused each group to gather together, distrustful of all the others. Blame for everyday problems was put on the least popular tribeswhomever looked different and rumours of war smouldered around every campfire.
Also, the men saw pretty quickly that they were stronger than the women and so could take more of the good things in life for themselves. And, in general, the weak and the less able came to survive only on the leftovers dropped from the tables of the powerful and honoured.
Not only this but the arrival of clear light revealed all kinds of glorious horizons that made their mouths drip with saliva. What they had was no longer enough because there was always something better to compare it with. Everyone began to plan for futures decades down the line and damn anyone who got in their way.
And so the dreamt Creation took control of its own destiny, much to the blissful ignorance of the angels, who still imagined all kinds of beautiful thoughts in their peaceful sleep up high.
However, after some time the sounds of the suffering in the land became so many and so loud that, at last, the noise floated up to the sky and the youngest of all the angels was awoken by the cries of terror and grief from below.
She wiped the sand from her eyes and it took a few moments to realize that the Earth was no longer the happy paradise of her dreams. The sounds of crying and pain shook her from her trance and she glided down to help at once, her gossamer wings barely ruffling in the air.
She headed for the place where the suffering was the loudest and landed in the middle of a battlefield, where two armies were doing their best to hack each other to pieces. Bones were crunching and blood squirting to each side but at the sight ofthis dazzling white angel, floating down from the sky, all those that could ran for their lives. I mean, what would you do?
She moved around the arena of war like a whisper in the wind, laying her hands upon all the fallen. Her touch healed the most butchered and not only that, she even returned the recently dead to life. But by the time her work was done, she found herself surrounded by a gang of armed knights. She couldn’t understand what was happening. Before she could say a word, they wrapped a whole load of chains all around her. Under heavy guard, she was led to a stone castle and presented to the king who had ordered her capture.
“Aha. What a creature.” He cried in triumph, “Now I shall be truly invincible. With you on my side, my armies shall march with eternal life, forever able to get back on their feet and fight again.”
When the angel heard these words her heart shook violently within her. She realized that though she might try to help the people on this planet, they would only ever want to abuse her gifts.
She slipped out of her chains, which were no real restraint upon her and filled the hall with a flash of white light. By the time anyone cold open their eyes again she had flown out of a high window.
She flew at high speed down the slopes to the darkest, deepest place she could find in the cracks and canyons of the Earth. When she could go no lower she sat down to face her grief and began to cry. Tears flowed out of her large eyes like streams and then rivers, filling up all the holes around her and the salt water rose around her.
The pools swelled until she was lost to view and her tears overspilled into the other valleys, claiming the low, dry land in all directions across the Earth. She cried without end and that, my friends, is how the oceans were born.
The hate and injustice continue and so the angel still sits at the bottom of the Earth, crying with all her heart for the dream that went so terribly wrong.
And do not the scientists tell us that the sea levels continue to rise?”

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Poetry: W.B. Yeats for a Wednesday…

No Second Troy
Why should I blame her that she filled my days

With misery, or that she would of late

Have taught to ignorant men most violent ways,

Or hurled the little streets upon the great,

Had they but courage equal to desire?

What could have made her peaceful with a mind

That nobleness made simple as a fire,

With beauty like a tightened bow, a kind

That is not natural in an age like this,

Being high and solitary and most stern?

Why, what could she have done, being as she is?

Was there another Troy for her to burn?


On Hearing that the Students of our New University have joined the Agitation against Immoral Literature
Where, where but here have Pride and Truth,

That long to give themselves for wage,

To shake their wicked sides at youth

Restraining reckless middle-age?


September 1913
What need you, being come to sense,

But fumble in a greasy till

And add the halfpence to the pence

And prayer to shivering prayer, until

You have dried the marrow from the bone;

For men were born to pray and save;

Romantic Ireland’s dead and gone,

It’s with O’Leary in the grave.

Yet they were of a different kind,

The names that stilled your childish play,

They have gone about the world like wind,

But little time had they to pray

For whom the hangman’s rope was spun,

And what, God help us, could they save?

Romantic Ireland’s dead and gone,

It’s with O’Leary in the grave.

Was it for this the wild geese spread

The grey wing upon every tide;

For this that all that blood was shed,

For this Edward Fitzgerald died,

And Robert Emmet and Wolfe Tone,

All that delirium of the brave?

Romantic Ireland’s dead and gone,

It’s with O’Leary in the grave.

Yet could we turn the years again,

And call those exiles as they were

In all their loneliness and pain,

You’d cry `Some woman’s yellow hair

Has maddened every mother’s son’:

They weighed so lightly what they gave.

But let them be, they’re dead and gone,

They’re with O’Leary in the grave.

—-
The Magi
Now as at all times I can see in the mind’s eye,

In their stiff, painted clothes, the pale unsatisfied ones

Appear and disappear in the blue depth of the sky

With all their ancient faces like rain-beaten stones,

And all their helms of silver hovering side by side,

And all their eyes still fixed, hoping to find once more,

Being by Calvary’s turbulence unsatisfied,

The uncontrollable mystery on the bestial floor.

—-
Beggar to Beggar Cried
`Time to put off the world and go somewhere

And find my health again in the sea air,’

Beggar to beggar cried, being frenzy-struck,

`And make my soul before my pate is bare.’

`And get a comfortable wife and house

To rid me of the devil in my shoes,’

Beggar to beggar cried, being frenzy-struck,

`And the worse devil that is between my thighs.’

`And though I’d marry with a comely lass,

She need not be too comely — let it pass,’

Beggar to beggar cried, being frenzy-struck,

`But there’s a devil in a looking-glass.’

`Nor should she be too rich, because the rich

Are driven by wealth as beggars by the itch,’

Beggar to beggar cried, being frenzy-struck,

`And cannot have a humorous happy speech.’

`And there I’ll grow respected at my ease,

And hear among the garden’s nightly peace,’

Beggar to beggar cried, being frenzy-struck,

`The wind-blown clamour of the barnacle geese.’

A Collective of Angels…

Nice Weekend!

Saw Rowan in his play at his school, ‘The Dark Of The Moon’… he played a spirit- Conjure Man, and adopted the role of the blind Magus for it. Excellent on all counts, best staging I have seen, and a production with excellent acting, music and blocking. The students helped shape it, and Rowan also did stage management, fight choreography, and set construction. Jane Ferguson, the theatre teacher has worked with Rowan off an on for over 7 years. She is a real treasure!
Leana & Richard stopped by today to pick up a couple of prints, we had a nice afternoon hanging out and talking about Portland…
Lyterphotos (you may have seen his article in The Invisible College) came by just as Leana & Richard were leaving. He hung for an hour or so, and we talked about art, metaphysics and kids. Funny how that works…
The Invisible College Magazine went off to LuLu.com finally. Will have a print edition soon, so stay tuned! It looks pretty good, but I have to make sure before I let it out of the bag…
I was working on this edition, and the title popped up in my head. Angelic Beings have been recorded long before Christianity, or Judaism emerged for that matter. They are represented all over the world. Persia, East Asia, Greece, Egypt, the Americas, all had ancient images of winged beings… I am fascinated by the image… Why do we portray beings in this way? What is behind it, is there a memory that travels from the past, and from society to society?
Bright Blessings,
Gwyllm

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On The Menu:

Petes’ Picks – Shukar Collective – Malademna

No Nukes Is Good Nukes

Pete’s Picks – Shukar Collective – Gypsy Blooz

Daoist Poetry

Art: The Angelic Collective…

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Shukar Collective – Malademna

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No Nukes Is Good Nukes

An interview with longtime anti-nuclear activist Helen Caldicott (2005)

By Gregory Dicum

Q: There’s a concerted effort right now to rehabilitate the image of nuclear power. Proponents argue that fossil fuels are more damaging to the environment, as well as being in short supply, and that nuclear is the [best option going forward]. What’s going on here?
A:The people saying these things are not biologists, they’re not geneticists, they’re not physicians. In other words, they don’t know what they’re talking about. And that makes me very annoyed. First of all, every reactor produces about [20 to 30] tons of highly radioactive waste a year. The majority of it is very long-lived and will have to be isolated from the ecosphere for hundreds of thousands of years … As it leaks into the environment, it will bio-concentrate by orders of magnitude at each step of the food chain: algae, crustaceans, little fish, big fish, us.
It takes a single mutation in a single gene in a single cell to kill you. [The most common plutonium isotope] has a half-life of 24,400 years. Every male in the Northern Hemisphere has a small load of plutonium in his gonads. What that means to future generations God only knows — and we’re not the only species with testicles. What we’re doing is degrading evolution, and not many people understand that.
Q:Yet as society begins to recognize that we do have to get away from the petroleum economy, there’s a lot of enthusiasm amongst environmentalists for hydrogen — enthusiasm that’s shared by the nuclear industry.
A: Well, of course, they’ll do anything. I’ve been dealing with them for 30 years and they lie — they frighten me. I can debate with generals about nuclear war and feel much more comfortable because they know that what I’m talking about is true. The nuclear industry just lies its way through the whole thing.
They say nuclear power is the answer to global warming. Well … the [Department of Energy] and the EPA [will tell you] that, at the moment, the process of uranium enrichment for fuel for nuclear power releases huge quantities of CO2. And that does not include releases from decommissioning of the reactor and transportation and long-term storage of the waste.
Meanwhile, the enrichment of uranium is responsible for [over 90 percent] of the CFC-114 gas released into the air in the U.S. Now, CFC is banned internationally under the Montreal Protocol because it destroys the ozone layer, one. Two, CFC gas is 10,000 to 20,000 times more potent as a global warmer and heat trapper than CO2. So the nuclear industry is lying. And advocates for nuclear power have fallen for the nuclear industry’s lies. Not propaganda, but lies.
Of course we’ve got to stop burning oil and coal. Those grotesque vehicles that get 10 miles to the gallon should be banned! Americans have no idea about conservation. Europeans have the same standard of living as you and they use 50 percent less energy because they turn their lights off and they conserve. We are actively killing the earth by the way we live.
Q:But some European countries derive more of their power from nuclear energy than the U.S.
A:Many countries in Europe are starting to realize that what they’ve done with nuclear power is ridiculous and immoral. Belgium, Germany, and Sweden have now passed laws to close down the reactors. So they’re learning, but a little too late. Where are they going to put the waste?
Q:Meanwhile, here in the U.S., we’re going in the other direction, talking about new nuclear plants and even new nuclear weapons. Why now?
A:Because the nuclear scientists in the labs keep pushing and pushing. They like building and testing their nuclear weapons. They get a lot of money for it, and they’re addicted to it.
The generals like their missiles too. One general basically said, “If you threaten our missiles and our early-warning systems, baby, that’s threatening the family jewels.” Got it? That’s the reason they’re still there. Missiles are an extension of their sexuality. There’s a deep psychosexual pathology inherent in the brains of these men. “Missile erections,” “deep penetrations” — even the language they use is sexual. I’ve thought, in my more light-hearted times, that maybe they should all be given Viagra, and then they wouldn’t need their missiles.
Q:Although women have also led nuclear-equipped countries, and very aggressively.
A:Margaret Thatcher, Indira Gandhi, and Golda Meir. But you’re picking three women out of millions of men. Some women — very few — emulate male behavior. Condoleezza Rice is one. The magic number is 30 percent [according to a U.N. report]. Below 30 percent representation [in government], women tend to please the men and vote for missiles. Above 30 percent, they say, “No, you’re not getting your missiles — we’re voting for milk for children.” So women need to support each other in order to do what they know is correct behavior, and express their nurturing instincts. It’s got nothing to do with politics.
Q:Most of the nuclear-policy focus lately has been on the various dangerous, unpredictable regimes that are busily acquiring nuclear weapons. Why does yours continue to be on the United States?
A:The most dangerous regime in the world at the moment is this regime. The country with the largest number of weapons of mass destruction is America. Of the nearly 30,000 nuclear weapons in the world, Russia and America own 95 percent. No one else can destroy all life on earth except Russia and America. The two rogue nations in the world are Russia and America, holding the world at nuclear ransom. Period.
We got to within 10 seconds of nuclear war in 1995 when Yeltsin made a mistake. On 9/11, America was on the second- or third-highest state of nuclear alert, ready to launch. Weapons are still on hair-trigger alert. They go off, Putin and Bush get minutes to decide whether or not to press their buttons, the nuclear “exchange” is over in an hour, and that’s the end of most life on earth.
And to look at North Korea, who may have two or eight bombs, or none — that’s a form of displacement activity. If you put rats in a cage and threaten them with a lethal situation, they run around doing something irrelevant to that which threatens them. That’s what people are doing by looking at North Korea and not looking at the main issue at hand, which is about to blow us all up. I mean, the whole thing’s insane.
Q:It’s interesting that you have a lot of inroads with military people. And a lot of the people who have come out for nuclear disarmament in the last decade have military backgrounds. Why do you think that is?
A:Well, because they know how dangerous it is. They’re scared.
Q:And yet you’d think they are also in a position to do something about it.
A:Well, you know, they wait till they’re retired. That’s typical of these men. It’s not that they have an epiphany — they know all along. So, in a way, they’re acting as evil people by allowing it to happen during their watch and only coming out when they retire. And I use that word “evil” in a fairly careful way. They are participating in plans to blow up the planet. I can’t think of any other word that’s more appropriate to describe that than “evil.”
Q:Yet today, in spite of this well-documented danger, the issue’s not at the forefront of many people’s awareness. There’s a great deal of complacency.
A:Well, ignorance. I don’t think anyone’s shocking people into facing reality right now. I’m trying and it’s not so easy because I don’t get access to the media. It’s hard to get on a lot of stupid shows and talk the truth. They don’t want the truth. They want theater.
I founded NPRI as a way to get this access. So that I, and others, c
an get on to debate these awful right-wing characters from the Heritage Foundation and the Cato Institute and American Enterprise Institute. We need equal time, and that’s difficult to come by. But it’s starting to happen where we’re developing a fair bit of credibility.
In mid-May, we’re having a symposium called “Full Spectrum Dominance.” It will be a retreat for 40 of the nation’s top journalists with some pro-nuclear people, anti-, and people in the middle — the top thinkers in the country. Many people say to me, “This is urgent — we need media education because no one’s writing about it.” The media is determining the fate of the earth.
Q:You met with Ronald Reagan when he was president — in an interview with Amy Goodman you described an oddly touching scene of holding his hand to comfort him — but you came away devastated by the feeling that there was nothing to be done. Have you tried to meet with George W. Bush?
A:No. I think Reagan had a heart; he was basically a nice fellow. I don’t think this fellow has a lot of heart. And I also don’t think he’s very bright. Reagan was intelligent in an intuitive way. There was someone at home there you could actually connect with. I’d certainly see George Bush and try to talk to him, but I wouldn’t want any of his neo-conservative people around him. I’d have to work pretty hard, I think, to get to his core.
Q:Do you think there’s anybody else — some other avenue into the administration?
A:No, I don’t think there’s anyone there at the moment who is really worth talking to. I think they’re terribly blocked and terribly dangerous. They practice psychic numbing — that’s the medical terminology — to block out what they’re doing. They’re doing evil and not looking at it. But I tell you what: I treated a lot of these fellows on their deathbeds, or when their children were dying, and when they’re in that very emotionally vulnerable situation they recant. They look at themselves and look inside their souls and realize what they’ve done, and they’re terribly sorry. But it’s too late then.
Q:In the film Helen’s War, there’s a sense that you’ve come out of retirement to go back into the fray. This has been your mission since 1971, and yet here we are, almost 35 years later –
A:I know, and it’s worse. I often feel like I’ve wasted my life doing this work for no good reason, because I love medicine. I gave it up to do this work. People have been saying that I might have helped prevent a nuclear war in the 1980s, but who knows?
I was compelled to do it. I couldn’t stop myself. But am I glad I did it? If we had gotten rid of the bombs I’d be very glad, and die fulfilled. I think, though, we’ve got a chance now to get the revolution going again — to build it again and complete the work. All doctors have to be optimists.
Q:Looking back, what stands out as your greatest success?
A:Of my whole life? The biggest thing I ever did was give birth to my three babies. That’s why we’re here, to reproduce — biologically speaking. Next to that, I guess it was the end of the Cold War, but in truth, when that occurred, my husband had just left me. So I was deeply depressed and I hardly knew the Berlin Wall came down, which was sort of ironic.
Q:You’ve done an incredible thing; you’ve completely dedicated your life to what you believe in. Not everyone can do that.
A:Why not? Not everyone wants to do it, but everyone can do it. It’s a decision you make. I’ve seen so many people die unfulfilled. And those who’ve dedicated their lives to great causes of service to the environment and to the human race have died totally fulfilled.
I think people have to examine why they were conceived, why they were born. It’s our responsibility in this particular generation, when life on earth — probably the only life in the universe — is so threatened.
Everyone can be extraordinarily effective, they just have to not be self-indulgent or narcissistic or greedy, and work for other people and other things. In that action lie the germs of true happiness. You’ll never be happy trying to make yourself happy. It doesn’t work.
Q:So if someone reads this interview, and they get to the end of it, and now they have the knowledge –
A:Then they have to act. Read The New Nuclear Danger: George W. Bush’s Military-Industrial Complex — there’s enough information in that so you could debate Rumsfeld at any time and beat him on television. And at the back of that book there’s a huge list of anti-nuclear groups all around the country and the world, and you can look up all the people making the weapons and where they live and how you can contact them. The CEOs of Lockheed Martin and Boeing and the like. It’s got a huge list of things you can do and places you can go and actions you can take. Knowledge is ammunition, but you have to work out what you’re going to do with your life to save the planet.

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Shukar Collective – Gypsy Blooz

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Daoist Poetry

Lily Magnolia

There is an end to the remotest corner of the earth, while

There is an endlessness to the yearning between lovers

– Yan Shu


Memories in Early Winter
…I remember my home, but the Xiang River’s curves

Are walled by the clouds of this southern country,

I go forward, I weep till my tears are spent

I see a sail in the far sky,

Where is the ferry? Will somebody tell me?

It’s growing rough, it’s growing dark.

–Meng Haoran


Under the yellow dust, and the three Mountains,

A thousand years passed like a gallop;

Watching the whole Earth and land

Seawater pouring from a cup.

–Li He


A Ballad of Heaven
The River of Heaven wheels round at night

Drifting the circling stars,

At Silver Bank, the floating clouds

Mimic the murmur of water.

By the Palace of Jade the cassia blossoms

Have not yet fallen,

Fairy maidens gather their fragrance

For their dangling girdle-sachets.
The Princess from Ch’in rolls up her blinds,

Dawn at the north casement.

In front of the window, a planted kola nut

Dwarfs the blue phoenix.

The King’s son plays his pipes

Long as goose quills,

Summoning dragons to plough the mist

And plant Jade Grass.
Sashes of pink as clouds at dawn

Skirts of lotus-root silk,

They walk on Blue Island, gathering

Fresh orchids in spring.
She points to Hsi Ho in the east

Deftly urging his steeds,

While land begins to rise from the sea

And stone hills wear away.

–Li He


The south wind blows at the mountain

And makes it flat land,

Heaven’s Emperor orders the sea to move;

The Heavenly Mother’s peach blossoms a thousand times

How many times did Peng Zuwuxian die?
–Li He

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Pure Land…

The Buddhas and Zen masters of all times and places have emerged only on account of search for truth. Present day seekers are also in search of truth. Only when you attain truth will you be done; until you have attained it, you will repeat your former ways.

– Lin Chi (d 867?)

Meant to get this out yesterday… but added a couple of items. Rowan’s last night at his play is tonight, followed by the cast party… Then he is off to Outdoor School as a Cabin Counselor for a week.
We attended Doris Gunn’s Wake last night. So many great stories, and laughter, and some tears. Truly an amazing woman. She ran as vice-Governor of Oklahoma back years ago, and had her finger in so many different movements. Her sense of engagement was breath-taking when you heard the stories. A good part of the family was there and many friends. They are having a second one tonight. More people, and more stories I am sure.
My Art show has been extended for 4 weeks, and I am putting up a series of different images this next week… so stay tuned!
Bright Blessings,
Gwyllm
On The Menu:

The call of Cthulhu

Zen Quotes…

Pure Land Teachings of Master Chu-hung

Poems Of Li Bai

Art: Pure Land Mandalas
Enjoy!

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The call of Cthulhu

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More Here….. At last, the stars are finally right…

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Zen Quotes:
In the still night by the vacant window,

Wrapped in monk’s robe I sit in meditation.

Navel and nostrils lines up straight;

Ears paired to the slope of the shoulders.

Window whitens – the moon comes up;

Rain’s stopped, but drops go on dripping.

Wonderful – the moon of this moment,

Distant, vast.
– Ryokan (1758–1831)

She is like white clouds rising from the mountains,

No-mind from the start.

She is like the roosting bird who feels no longing

For the woods of home.

Because this person of the Way happens to enjoy

The mountains and streams,

She wanders among them unconcerned about how deep

Into the lakeside mountain peaks she goes.

She has gone to the empty cliffs to pay respect to

The hundred thousand forms of the Buddha.
– Su Dongpo (1037–1101)

It is the one who is without obsession who is noble. Just do not act in a contrived manner; simply be normal. When you go searching elsewhere outside yourself, your whole approach is already mistaken. You just try to seek buddhahood, but buddhahood is just a name, an expression. Do you know the one who is doing the searching?
– Lin Chi (d 867?)

Natural mind like the Autumn moon

Reflected on a clear jade lake.

Nothing like it

How to explain it?
– Han Shan (627–649)

To be able to be unhurried when hurried;

To be able not to slack off

When relaxed; to be able not to be

Frightened and at a loss for what to

Do when frightened and at a loss;

This is the learning that returns us

To our natural state and

Transforms our lives.
– Liu Wenmin (early 16th cent)

Holding my sweater and

Facing the fragrant peony,

I sense how different our viewpoints are.

Someday our hair will turn gray,

Yet the flowers will be this red each year;

Following the morning dew,

Each blooms gorgeously

Then their sweet scent is

Chased by the evening winds.

Why wail till they have withered and fallen

To understand such emptiness?
– Fa Yen (885–958)

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Pure Land Teachings of Master Chu-hung
Master Chu-hung (1535-1615)

Break Through Delusion
This is the way people are in the world. When they encounter pleasing situations, they feel happy and content. When they encounter situations that go against them, they feel worried and endangered.
Nevertheless, pleasing things should not be considered lucky, and adversity should not be considered unlucky. If you are sunk in things that your conceptual mind considers convenient, the intention of transcending the world will never arise. If you are sad and do not get what you aim for, then you will grow weary of the fetters of the world of physical existence, and therefore seek to transcend the world.
Thus, when myriad sufferings extend before you, just contemplate them with correct wisdom.
Ask yourself: Where does the suffering come from? It is born from physical existence. Where does physical existence come from? From karma. Where does karma come from? It is born from delusion. On the basis of delusion, you create karma. On the basis of karma, physical existence forms. On the basis of physical existence, you incur suffering. Just manage to break through delusion, and all of this is empty and still.
You may venture to ask, “What is the method for breaking through delusion?”
Just go to the fundamental meditation point and understand: Who is reciting the buddha-name? Who is mindful of the buddha?
Take hold of your doubts over this, take hold and defeat them: then all delusion will be smashed. Think this over! Don’t neglect it!
Pure Land and Zen Methods
There are many ways to enter the Path, but for directness and simplicity, none matches reciting the buddha-name.

The method of buddha-remembrance through reciting the buddha-name brings salvation to those of the most excellent capacities, and reaches down to the most stupid and dull. In sum, it is the Path that reaches from high to low. Do not be shaken or confused by vulgar views that Pure Land is only for those of lesser abilities.
Since ancient times, the venerable adepts of the Zen school have taught people to contemplate meditation topics (koans), to arouse the feeling of doubt, and thus to proceed to great awakening. Some contemplate the word “No.” Some contemplate “The myriad things return to the one: what does the one return to?” The meditation topics are quite diverse, and there are quite enough of them.
Now I will try to compare Zen and Pure Land methods.
Take for example the koan “The myriad things return to one: what does the one return to?” This is very similar to the koan “ Who is the one reciting the buddha-name?” If you can break through at this “Who?” then you will not have to ask anyone else what the one returns to: you will spontaneously comprehend.
This was precisely what the ancients meant when they said that those who recite the buddha-name and wish to study Zen should not concentrate on any other meditation topic but this.
Recite the buddha-name several times, turn the light around and observe yourself: who is the one reciting the buddha-name? If you employ your mind like this without forgetting, without any other help, after a long time you are sure to have insight.
If you cannot do this, it is also alright simply to recite the buddha-name. Keep your mindfulness from leaving buddha, and buddha from leaving your mindfulness. When your mindfulness of buddha peaks, your mind empties: you will get a response and link up with the Path, and buddha will appear before you. According to the inner pattern, it must be so.
Master Chu-hung (1535-1615)

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Poems Of Li Bai

Endless Yearning (I)
I am endlessly yearning

To be in Changan,

Insects hum of autumn by the gold brim of the well

A thin frost glistens like little mirrors on my cold mat,

The high lantern flickers, and deeper grows my longing

I lift the shade and, with many a sigh, gaze upon the moon,

Single as a flower, centered from the clouds

Above, I see the blueness and deepness of the sky

Below, I see the greenness and the restlessness of water…

Heaven is high, Earth wide, bitter between them flies my sorrows

Can I dream through the gateway, over the mountain?

Endless longing

Breaks my heart.


Endless Yearning (II)
The sun has set, and a mist is in the flowers

And the moon grows very white and people sad and sleepless,

A Zhao harp has just been laid mute on its phoenix holder

And a Shu lute begins to sound its mandarin-duck strings…

Since nobody can bear to you the burden of my song

Would that it might follow the spirit wind to Yanran Mountain,

I think of you far away, beyond the blue sky

And my eyes that once were sparkling, are now a well of tears,

Oh, if ever you should doubt this aching of my heart

Here in my bright mirror come back and look at me!


A Visit to Sky-Mother Mountain in a Dream
So, longing in my dreams for Wu and Yue

One night I flew over Mirror Lake under the moon,

The moon cast my shadow on the water

And traveled with me all the way to Shanxi,

The lodge of Lord Xie still remained

Where green waters swirled and the cry of apes was shrill,

Donning the shoes of Xie

I climbed the dark ladder of clouds,

Midway, I saw the sun rise from the sea

Heard the Cock of Heaven crow,

And my path twisted through a thousand crags

Enchanted by flowers I leaned against a rock

And suddenly all was dark,

Growls of bears and snarls of dragons echoed

Among the rocks and streams,

The deep forest appalled me, I shrank from the lowering cliffs,

Dark were the clouds, heavy with rain

Waters boiled into misty spray,

Lightening flashed, thunder roared

Peaks tottered, boulders crashed,

And the stone gate of a great cavern

Yawned open,

Below me, a bottomless void of blue

Sun and moon gleaming on terraces of silver and gold,

With rainbows for garments, and winds for horses

The lords of the clouds descended, a mighty host,

Phoenixes circled the chariots, tigers played zithers

As the immortals went by, rank upon rank.


On the Way Back to the Old Residence

Traveling to Heaven in dreams

There is another space and dimension in the kettle

Overlook the human Earth,

That is easily withered and rotten.


Ling Xu Mountain
Leaving the human world

Going toward the path to Heaven;

Upon Consummation through cultivation,

Then follow the clouds to Heaven,

Caves hidden under pine trees,

Deep and unseen among the peach blossoms…

The Darkening Days…

In Northern Europe, Samhain (the Celtic term for Halloween, pronounced sow-in as in ‘sour’) was the time when the cattle were moved from the summer pastures to winter shelter. It was the end of the growing season, the end of harvest, a time of thanksgiving, when the ancestors and the spirits of the beloved dead would return home to share in the feast. Death did not sever one’s connections with the community. People would leave offerings of food and drink for their loved ones, and set out candles to light their way home. Those traditions gave us many of our present day customs. Now we set out jack-o-lanterns and give offerings of candy to children – who are, after all, the ancestors returning in new forms.” – Starhawk, On Faith

Samhain… and the parting of the doors. Saw a few goblins, elves, musketeers, gypsies and the like today. Perfect Autumn day, somber though with news locally and from afar. We have two candles burning on the mantle tonight for those who have chosen this time for the transition…
A favourite time of year, the beauty, and the lingering days that are now darkening. Such beauty.
On The Menu:

Doris Gunn

White Goddess

Chapter Nine – from Petronius’ “Satyricon”: The Werewolf Story told by Niceros

Poetry: John Keats
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Doris Gunn

Got a call on the 30th from our good friend Julie. She was over at John Gunn’s home, and his mother, Doris, who we have known and loved for many years, died in her sleep… Doris had been ill with cancer for 2 or so years, and was a real fighter until the end. Luckily, Johns’ sister was there as well, visiting from Alaska.
Doris was originally from the Carolinas’. She spent a good deal of her life in the cause of the future. Doris did jail time for fighting the nuclear industry, and may well have been in for other causes but I cannot recall at this time. She was always organizing, and the photocopier was her tool of choice…
She was a frequent caller into KBOO, our local Leftie/Pacifica type of Radio Station… She would come on, and land an excellent point. All the commentators knew her.
Doris had a huge heart, mixed with true southern mannerisms and a wonderful sense of inclusiveness. She was the epitome of The Yellow Dog Democrat… We will miss you Doris, you chose a good time to go. Thanks for the laughs, the stories, and of course… The Photocopies!
Blessings,
Gwyllm

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White Goddess

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Chapter Nine – from Petronius’ “Satyricon”: The Werewolf Story told by Niceros

[LVII] But Ascyltos, lost to all self-control, threw his arms up in the air, and turning the whole proceedings into ridicule, laughed till the tears ran down his cheeks. At this once of the freedmen among the guests, the same who occupied the place next above me, lost his temper and shouted:
“What are you laughing at, muttonhead? Isn’t my master’s elegant hospitality to your taste? You’re a mighty fine gentleman, I suppose, and used to better entertainment. So help me the guardian spirits of this house, but I would have made him baa to some purpose, had I been next him. A pretty sprig indeed, to laugh at other people! a vagabond from who knows where, a night-raker, that’s not worth his own piddle! Just let me piss round him, and he would not know how to save his life! By the powers, I’m not as a rule quick to take offense, but there! worms are bred in soft flesh. He’s laughing; what’s he got to laugh at? Did his father buy the brat for money? You’re a Roman knight: and I’m a king’s son. ‘Why did you serve as a slave then?’ Why! because I chose to, and thought it better to be a Roman citizen than a tributary king. And henceforth I hope to live a life beyond the reach of any one’s ridicule. I am a man now among men; I can walk about with my nose in the air. I owe nobody a brass farthing; I’ve never made composition; no one ever stopped me in the forum with a ‘Pay me that thou owest!’ I’ve bought some bits of land, put by a trifle of tin; I keep twenty folks in victuals, to say nothing of the dog; I’ve purchased my bedfellow’s freedom, that no man should wipe his hands on her bosom; I paid a thousand denars to redeem her; I was made a sevir, free gratis for nothing; I trust I may die and have no cause to blush in my grave.
“But you, are you so busy you can’t so much as look behind you? You can spy a louse on a neighbor’s back, and never see the great tick on your own. You’re the only man to find us ridiculous; there’s your master and your elder, he likes us well enough, I warrant. You! with your mammy’s milk scarce dry on your lips, you can’t say boo! to a goose; you crock, you limp scrap of soaked leather, you may be supple, but you’re no good. Are you richer than other folk? then dine twice over, and sup twice! For myself I value my credit far above millions. Did any man ever dun me twice? I served forty years, but nobody knows whether I was slave or free. I was a long-haired lad when first I came to this town; the basilica was not built yet. But I took pains to please my master, a great, grand gentleman and a dignified, whose nail-parings were worth more than your whole body. And I had enemies in the house, let me tell you, quite ready to trip me up on occasion; but–thanks to his kind nature–I swam the rapids. That’s the real struggle; for to be born a gentleman is as easy as ‘Come here.’ Whatever are you gaping at now, like a buck-goat in a field of bitter vetch?”
[LVIII ] At this harangue Giton, who was standing at my feet, could no longer contain himself, but burst into a most indecorous peal of merriment. When Ascyltos’ adversary noticed the fact, he turned his abuse upon the lad, screaming, “You’re laughing too, are you, you curled onion? Ho! for the Saturnalia, is it December, pray? When did you stump up your twentieth? What’s he at now, the crow’s meat gallows-bird? I’ll take care God’s anger falls on you, you and your master who does not keep you in better order. As I hope to live by bread. I only keep my hands off you out of respect for my fellow freedmen; else would I have paid you off this instant minute. We’re right enough, but your folks are good for nothing, who don’t keep you to heel. Verily, like master like man. I can scarce hold myself, and I’m not a hot-headed man naturally; but if I once begin, I don’t care twopence for my own mother. All right, I shall come across you yet in the open street, you rat, you mushroom, you! I’ll never stir up nor down, if I don’t drive your master into a wretched hole, and show you what’s what, though you call upon Olympian Jove himself to help you! I’ll be the ruin of your rubbishy ringlets and your twopenny master into the bargain. All right, see if I don’t get my teeth into you; either I don’t know myself, or you shall laugh on the wrong side of your face, even if you have a beard of gold. I’ll see that Minerva’s down on you, and the man that first trained you to be what you are.
“I never learned Geometry and Criticism and such like nonsensical screeds, but I do understand the lapidaries’ marks, and I can subdivide to the hundredth part when it comes to questions of mass, and weight and mintage. Well and good! if you have a mind, we’ll have a little wager, you and I; come now, here I clap down the tin. You’ll soon see your father wasted his money on you, though you do know Rhetoric. Now:
‘Which of us?–I come long, I come wide:

now guess me.’
“I’ll tell you which of us runs, yet never stirs from the spot; which of us grows, and gets less all the while. How you skip and fidget and fuss, like a mouse in a chamber-pot! So either hold your tongue altogether, or don’t attack a better man than yourself, who hardly knows of your existence,–unless perhaps you think I’m troubled by your yellow ringlets, that you stole from your doxy. God helps the man that helps himself! Let’s away to the forum to borrow money; you’ll soon see this bit of iron commands some credit. Aha! a fine sight, a fox in a sweat! As I hope to thrive and make such a good end the people will all be swearing at my death, hang me if I don’t chivy you up hill and down dale till you drop! A fine sight too, the fellow that taught you so,–a muff I call him, not a master! We learned something else in my time; the master used to say, ‘Are your things safe? go straight home; don’t stop staring about, and don’t be impertinent to your elders.’ Now it’s all trash; they turn out nobody worth twopence. That I am what I am, I owe to my own wits, and I thank God for it!”
[LIX] Ascyltos was just beginning to answer his abuse; but Trimalchio, charmed with his fellow-freedman’s eloquence, stopped him, saying, “Come, come! leave your bickerings on one side. Better be good-natured; and do you Hermeros, spare the young man. His blood is up; so be reasonable. To yield is always to win in these matters. You were a young cockerel yourself once, and then coco coco you went, and never a grain of sense in you! So take my advice, let’s start afresh and be jolly, while we enjoy the Homerists.”
Immediately there filed in an armed band, and clashed spears on shields. Trimalchio himself sat in state on his cushion, and when the Homerists began a dialogue in Greek verse, as is their unmannerly manner, read out a Latin text in a clear, loud voice. Presently in an interval of silence, “You know,” says he, “what the tale is they are giving us? Diomed and Ganymede were two brothers. Their sister was Helen of Troy. Agamemnon carried her off and palmed a doe on Diana in her stead. So Homer relates how the Trojans and Parentines fought each other. He got the best of it, it seems, and gave his daughter Iphigenia in marriage to Achilles. This drove Ajax mad, who will presently make it all plain to you.” No sooner had Trimalchio finished speaking than the Homerists raised a shout, and with the servants bustling in all directions, a boiled calf was borne in on a silver dish weighing two hundred pounds, and actually wearing a helmet. Then came Ajax, and rushing at it like a madman slashed it to bits with his naked sword, and making passes now up and down, collected the pieces on his point and so distributed the flesh among the astonished guests.
[LX ] We had little time however to admire these elegant surprises; for all of a sudden the ceiling began to rattle and the whole room trembled. I sprang up in consternation, fearing some tumbler was going to fall through the roof. The other guests were no less astounded, and gazed aloft, wondering what new prodigy they were to expect now from the skies. Then lo and behold! the ceiling opened and a huge hoop, evidently stripped from an enormous cask, was let down, all round which hung suspended golden wreaths and caskets containing precious ungents. These we were invited to take home with us as mementos.
Then looking again at the table, I saw that a tray of cakes had been placed on it, with a figure of Priapus, the handiwork of the pastry-cook, standing in the middle, represented in the conventional way as carrying in his capacious bosom grapes and all sorts of fruits. Eagerly we reached out after these dainties, when instantly a new trick set us laughing afresh. For each cake and each fruit was full of saffron, which spurted out into our faces at the slightest touch, giving us an unpleasant drenching. So conceiving there must be something specially holy about this dish, scented as it was in this ceremonial fashion, we rose to our feet, crying, “All hail, Augustus, Father of his Country!” But seeing the others still helping themselves to the dessert, even after this act of piety, we also filled our napkins,–myself among the foremost, as I thought no gift good enough to pour into my beloved Giton’s bosom. Meantime three slaves entered wearing short white jackets. Two of them set on the table images of the Lares with amulets round their necks, while the third carried round a goblet of wine, crying, “The gods be favorable! the gods be favorable!” Trimalchio told us they were named respectively Cerdo, Felicio and Lucrio. Then came a faithful likeness of Trimalchio in marble, and as everybody else kissed it, we were ashamed not to do likewise.
[LXI ] Then after we had all wished one another good health of mind and body, Trimalchio turned to Niceros and said, “You used to be better company; what makes you so dull and silent today? I beg you, if you wish to oblige me, tell us that adventure of yours.” Niceros, delighted at his friend’s affability, replied, “May I never make profit more, if I’m not ready to burst with satisfaction to see you so well disposed, Trimalchio. So ho! for a pleasant hour,–though I very much fear these learned chaps will laugh at me. Well! let ‘em. I’ll say my say for all that! What does it hurt me, if a man does grin? Better they should laugh with me than at me.” “These words the hero spake,” and so began the following strange story:
“When I was still a slave, we lived in a narrow street; the house is Gavilla’s now. There, as the gods would have it, I fell in love with Terentius, the tavern-keeper’s wife; you all knew Melissa from Tarentum, the prettiest of pretty wenches! Not that I courted her carnally or for venery, but more because she was such a good sort. Nothing I asked did she ever refuse; if she made a penny, I got a halfpenny; whatever I saved, I put in her purse, and she never choused me. Well! her husband died when they were at a country house. So I moved heaven and earth to get to her; true friends, you know, are proved in adversity.
[LXII “It so happened my master had gone to Capua, to attend to various trifles of business. So seizing the opportunity, I persuade our lodger to accompany me as far as the fifth milestone. He was a soldier, as bold as Hell. We got under way about first cockcrow, with the moon shining as bright as day. We arrive at the tombs; my man lingers behind among the gravestones, whilst I sit down singing, and start counting the gravestones. Presently I looked back for my comrade; he had stripped off all his clothes and laid them down by the wayside. My heart was in my mouth; and there I stood feeling like a dead man. Then he made water all round the clothes, and in an instant changed into a wolf. Don’t imagine I’m joking; I would not tell a lie for the finest fortune ever man had.
“However, as I was telling you, directly he was turned into a wolf, he set up a howl, and away to the woods. At first I didn’t know where I was, but presently I went forward to gather up his clothes; but lo and behold! they were turned into stone. If ever a man was like to die of terror, I was that man! Still I drew my sword and let out at every shadow on the road till I arrived at my sweetheart’s house. I rushed in looking like a ghost, soul and body barely sticking together. The sweat was pouring down between my legs, my eyes were set, my wits gone almost past recovery. Melissa was astounded at my plight, wondering why ever I was abroad so late. ‘Had you come a little sooner,’ she said, ‘you might have given us a hand; a wolf broke into the farm and has slaughtered all the cattle, just as if a butcher had bled them. Still he didn’t altogether have the laugh on us, though he did escape; for one of the laborers ran him through the neck with a pike.’
“After hea
ring this, I could not close an eye, but directly it was broad daylight, I started off for our good Gaius’s house, like a peddler whose pack’s been stolen; and coming to the spot where the clothes had been turned into stone, I found nothing whatever but a pool of blood. When eventually I got home, there lay my soldier a-bed like a great ox, while a surgeon was dressing his neck. I saw at once he was a werewolf and I could never afterwards eat bread with him, no! not if you’d killed me. Other people may think what they please; but as for me, if I’m telling you a lie, may your guardian spirits confound me!”
[LXIII ] We were all struck dumb with amazement, till Trimalchio broke the silence, saying, “Far be it from me to doubt your story; if you’ll believe me, my hair stood on end, for I know Niceros is not the man to repeat idle fables; he’s perfectly trustworthy and anything but a babbler. Now! I’ll tell you a horrible tale myself, as much out of the common as an ass on the tiles!
“I was still but a long-haired lad (for I led a Chian life from a boy) when our master’s minion died,–a pearl, by heaven! a paragon of perfection at all points. Well! as his poor mother was mourning him, and several of us besides condoling with her, all of a sudden the witches set up their hullabaloo, for all the world like a hound in full cry after a hare. At that time we had a Cappadocian in the household, a tall fellow, and a high-spirited, and strong enough to lift a mad bull off its feet. This man gallantly drawing his sword, dashed out in front of the house door, first winding his cloak carefully round his left arm, and lunging out, as it might be there–no harm to what I touch–ran a woman clean through. We heard a groan, but the actual witches (I’m very particular to tell the exact truth) we did not see. Coming in again, our champion threw himself down on a bed and his body was black and blue all over, just as if he had been scourged with whips, for it seems an evil hand had touched him. We barred the door and turned back afresh to our lamentations, but when his mother threw her arms round her boy and touched his dead body, she found nothing but a wisp of straw. It had neither heart, nor entrails, nor anything else; for the witches had whipped away the lad and left a changeling of straw in his place. Now I ask you, can you help after this believing there are wise women, and hags that fly by night. But our tall bully, after what happened, never got back his color, in fact a few days afterward he died raving mad!”
[LXIV We listened with wonder and credulity in equal proportions, and kissing the table, besought the Night-hags to keep in quarters, while we were returning home.
And indeed by this time the lights seemed to burn double and I thought the whole room looked changed, when Trimalchio exclaimed, “I call on you, Plocamus; have you nothing to tell us? no diversion for us? And you used to be such good company, with your amusing dialogues and the comic songs you interspersed. Heigho! all gone, ye toothsome titbits, all gone?” “Alas! my racing days are over, since I got the gout,” replied the other; “but when I was a young man, I very nearly sang myself into a consumption. Dancing? dialogues? buffoonery? when did I ever find my match, eh?–always excepting Appelles.” And clapping his hand to his mouth, he spit out some horrid stuff that sounded like whistling, and which he told us afterwards was Greek.
Moreover Trimalchio himself gave an imitation of a horn-blower, and presently turned to his minion whom he called Croesus. This was a lad with sore eyes and filthy teeth: he was playing with a little black bitch, disgustingly fat, twisting a green scarf round her, putting half a loaf of bread on the couch, and on the animal’s refusing to eat it, being already overfed, cramming it down her throat. This reminding Trimalchio of a duty omitted, he ordered Scylax to be brought in, “the guardian of my house and home.” Next moment a huge watchdog was led in on a large chain and took up a position in front of the table. Then Trimalchio tossed him a lump of white bread, observing, “There’s no one in the house loves me better.” The boy was enraged at hearing Scylax so lavishly praised, and setting his bitch down on the floor, cheered her on to attack the monster. Scylax, as was his nature to, filled the room with savage barking, and almost tore Croesus’s little “Pearl” into bits. Nor did this fight end the trouble; but a chandelier was upset over the table, smashing all the crystal, and scalding some of the guests with oil.
Trimalchio, not to appear disconcerted at the damage done, kissed the lad and told him to get up on his back. The latter mounted a-cockhorse without a moment’s hesitation, and repeatedly slapping him on the shoulders with his open hand, laughingly shouted, “Buck! buck! how many fingers do I hold up?” After thus submitting for a while to be made a horse of, Trimalchio ordered them to prepare a capacious bowl of wine for all the slaves sitting at our feet, but on this condition, he added, “If any one won’t take his whack, souse it over his head! Business in the daytime, now for jollity!”

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Poetry: John Keats

Ode To Autumn
Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eaves run;

To bend with apples the mossed cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o’er-brimmed their clammy cell.
Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind;

Or on a half-reaped furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twined flowers;

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cider-press, with patient look,

Thou watchest the last oozings, hours by hours.
Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,–

While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;

Then in a wailful choir, the small gnats mourn

Among the river sallows, borne aloft

Or sinking as the light wind lives or dies;

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft,

And gathering swallows twitter in the skies.

O SLEEP
Soft embalmer of the still midnight!

Shutting with careful fingers and benign

Our gloom-pleased eyes, embower’d from the light,

Enshaded in forgetfulness divine;

O soothest Sleep! if so it please thee, close,

In midst of this thine hymn, my willing eyes,

Or wait the amen, ere thy poppy throws

Around my bed its lulling charities;

Then save me, or the passèd day will shine

Upon my pillow, breeding many woes;

Save me from curious conscience, that still lords

Its strength for darkness, burrowing like a mole;

Turn the key deftly in the oilèd wards,

And seal the hushèd casket of my soul.

—-
WHEN I HAVE FEARS THAT I MAY CEASE TO BE
WHEN I have fears that I may cease to be

Before my pen has gleaned my teeming brain,

Before high-pilèd books, in charact’ry,

Hold like rich garners the full-ripened grain;

When I behold, upon the night’s starred face,

Huge cloudy symbols of a high romance,

And think that I may never live to trace,

Their shadows, with the magic hand of chance;

And when I feel, fair creature of an hour

That I shall never look upon thee more,

Never have relish in the faery power

Of unreflecting love;–then on the shore

Of the wide world I stand alone, and think,

Till Love and Fame to nothingness do sink.

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“The veils are thin this time of year, they say. The veils are thin between the worlds seen and unseen, but they are also thin within us. Something in us opens and reaches out into the dark. Something in us reaches into the darkness held deeply in secret, too. Something in us longs for the warming fire. Our veils are thin, our personality parts fight for dominance, and our psychic centers know that there is more. Our hearts do, too. The unseen reaches for us, and we reach for the unseen. There is no difference between the two.” – T. Thorn Coyle

Coming Up Tuli….

Uploading the magazine to Lulu.com… will be doing a test run this week!
Stay Tuned….
Gwyllm

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On The Menu:

The Links

-Forever-!

Tuli Kupferberg – Interview by Jason Gross (June 1997)

Tuli Kupferberg – Interview by Matthew Paris (2004)

Poems From The 90′s: Tuli Speaks His Mind…

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The Links:

Rak Razam Interviews Filmaker Jan Kounen: Psychedelic States…

Dutch protesters make bid to save “magic mushrooms”

Forget wine—California’s biggest crop is bright green and funny-smelling

Report: Schwarzenegger says marijuana is not a drug

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-Forever-!

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Tuli Kupferberg – Interview by Jason Gross (June 1997)
PSF: What were you working on before the Fugs?
Well, I was the world’s greatest poet before I became the world’s oldest rock n’roll star. I wasn’t with the Fugs until I was 42 but before that my life was trivial. I went to graduate school for sociology in Brooklyn. I dropped out and became a bohemian, living in Greenwich Village. The rest is mystery and history. It’s all one blur now.
I was a free-formist. I never took to the traditional forms. I never bothered to learn them. It’s OK to learn the old forms though and study what you’ve inherited in any art. I valued spontaneity a lot and being young, you’re always afraid that you’re going to be overwhelmed by the masters so you try to avoid it.
PSF: What kind of things were influencing you then?
The usual things. Ego, sex, money, in that order I think. Money wasn’t actually up there though. You could actually live on much less than you can today. I was sort of influenced by anybody I read.
PSF: How did you get interested in politics?
I was very political at an early age. When I was in my pre-teens they had those ‘Hoover-villes’ during the Depression. My father had a retail store that failed three times. We were just on the brink of going on welfare. You’d be amazed at how that can make you politically and economically conscious. My generation really experienced adversity so a dime is still big money to me! You had to be REALLY STUPID not to be political then. Even when things got better, you didn’t see it was better for you personally. It could always happen again and it always does. Besides the economy, you also had wars. When there’s a crisis in society, sometimes you see things more clearly. Otherwise, it just kind of waves right over you, especially when you’re young.
PSF:What did think of the Beat movement when it first started happening?
I remember being shocked by it. I guess I was still in some sort of traditional mode. Shocked, jealousy and then adaptation. It was liberating. I was shocked by Ed Sander’s freedom of sexual expression. I’m sure people were shocked by mine when I started. Ginsberg is your best example of a liberating force. It’s not just the language or the freedom of the language because that just reflects character structure. A person who drops dead or wants to kill someone would use all those words you’re not supposed to use. It’s more than language. It’s attitude towards sexuality and human relations along with domination and love. It’s not that people who shout about sexual freedom understand everything that’s involved. In order to have good sex, you have to have good human relationships and vice versa. When I grew up, in my community, you weren’t going to have sex until you got married- this was a middle-class Jewish community. Maybe you went to a prostitute… But that gradually broke down. That was all for the good and not just for me but also for most of America.
PSF: So you got to be part of the Beats yourself then?
Everyone was. But I felt that they had a heritage with the bohemians. The term comes from 12th century University of Paris. The craziest students came from Bohemia and they gave them this name. There’s this old tradition of living outside of the mores of society. Until the burgeouis revolution, most artists lived on the patronage of the ruling class. LA VIE DE BOHEME, the libetto for that opera, tells you what was happening then in the 18th century. So that’s a 150 year old tradition that’s still going on. It used to be linked to geography with places like New York, San Francisco, Munich, Paris. But now, with the Internet, you could be crazy, wild, free and self-destructive anywhere you want. But hopefully, there’s still communities of people out there. Utopian colonies who are just friends.
PSF: Before the Fugs, did you have any interest in music?
I’m not a musician- I can’t read music. The only thing I know how to play is the radio. I sing and write and compose songs. I have a memory of thousands of songs. There was always some music in the house. I seem to remember melodies better than some musicians I know. I had a sliver of that particular kind of intelligence. I listened to a lot of pop music on the radio but there were no musicians around me. Poetry and music used to be the same thing so if I had an interest in poetry, it was part of a musical interest as well.
Speech is music. It’s bad music. Some languages are very musical. When you hear certain people read, it’s almost music. Some people who do music, it’s almost speech. It’s a continuance.
PSF: A lot of your music comes from chants and sing-a-longs.
I like to invovle the audience like a number of writers, directors and political people do. I like to break down the barriers. The artist wants to move people and see the results. That’s why performing is more pleasurable than just writing, to me at least.
PSF: How did you start out with Ed and the Fugs?
We were both poets on the lowest East Side. We met at a place called the Metro. They sold furniture and since they had the tables and chairs there already, so they decided to open a coffee shop. Once the coffee house was established, it became the center of poetry readings. This was in the early ’60s. After the poetry, we would go to a place called the Dom on St. Marks. We would go there and try to dance, listening to the Beatles and the Stones. The early Beatles were not great poets but they did become great poets later. We decided that we could do something like that. So we decided to enter the field and we were sort of an instant hit. We had a wide range- Ed was a wild, crazy, mid-Western young man and I was a New York radical Jew. So together he had everything or, as some people would say, nothing.
PSF: Peter Stampfel said that he was impressed with all the songs that you and had written before the Holy Modal Rounders joined you.
He was a great help to us. He sort of gave us the illusion that we were musicians and a band. We were sort of a punk band. Our idea was that anybody could do this. Peter and Steve Weber gave us a lot of encouragement. We didn’t give a fuck actually. We weren’t out to do high art. For our first performances, our friends joined us on stage and carried on. We had a few people who would write songs like Ted Berrigan. The most archetypical Fug line was ‘I ain’t ever gonna go to Vietnam, I prefer to stay here and screw your mom’ which was from Ted. That’s from ‘Doing Alirght.’ That was enough to get us beaten up if we did it in the right place.
With the War going on then, it was a desperate time. There were thousands of dead and all the young men were facing that attempt to murder them. The nation was still supporting ‘our boys.’ We were really the ones being patriotic because we were trying to save lives. Other people were just trying to kill other people that they had never seen. That’s what war is- you go somewhere and kill people you’ve never met.
PSF: What happened with the Fugs after Peter and Steve left?
We got other musicians. I was sort of opposed with the idea of perfecting our music. I felt that it would interfere with our message: love, sex, dope. The only thing I think is safe or worth doing is marijuana. Also, as Ed put it ‘all kinds of freedoms given to us that the First Ammendment hadn’t taken care of.’ We were poets. Poets can say whatever they want about anything. So we felt that we did that with music. Pop music from the ’20s to the ’60s was mostly courtship music. In pop music, the Beatles sang abou
t everything in life and so did everyone else, including us.
PSF: Do you think a lot of people who were getting serious about politics at that time were phonies or were they genuine?
There’s the problem that if you keep faking something long enough, you start to believe your own lies. But I think mostly they were genuine. The ’60s were a time of great crisis in America. The war was the focal point. There was also minorites who demanded equal rights and the womens’ movement and various kinds of socialism, communism and anarchism. Then you saw that these things were connected. For instance, a woman couldn’t have equal pay unless you had some sort of control over the economy unless you fixed it in the law (though I really don’t believe in the law). It’s still inter-related but people aren’t conscious of this. You have to be very clever, quick and lucky to escape such an oppressive system.
PSF: You think that you did that?
Well, we were never arrested, which is amazing. We were threatened many times. Ed has these FBI advisories. Someone in the FBI probably realized what a farce it would be and what asses they would make of themselves if they put Ed on the stand. ‘What exactly do you mean by ‘Coca-Cola Douche’ Mr. Sanders?’ ‘You know, Coke! No Pepsi!’ There were suggestions that we’d be prosectued but nothing ever happened. People in the government aren’t THAT stupid. After ‘Howl’ was being prosecuted, it became the most famous poem in the country and thousands of people wanted to read it. So if we HAD been arrested, we would have probably sold a few hundred thousand more albums.
PSF: Since you were talking about it before, what kind of interactive things were you doing with the Fugs?
Pete Seeger used to do it but going way back. There were whole societies that had huge choral groups. Mass singing was done with the Welsh and the Russians. You could do it in two ways. You could print up the lyrics and force the audience to sing with you. You could also repeat a line or do the song once and then give the audience the line. Depending on what mood they’re in, you get audience response. It depends on the song too. The best audience was the third audience at midnight on a Saturday at a club we used to play at on MacDougal Street. They were all drunk so you could come out on stage and wave your hands and they’d scream and yell for you. In our first performances in the East Village, the audience would come on stage and do all sorts of things.
In the sixties, we were really the USO of the Left. We did a lot of benefits. We were one of the most conscious bands but we weren’t the only ones. It was really the attitude and style, which later became co-opted. In all due modesty, I don’t think there other bands that were as radical then. Zappa was kind of a cultural radical but he was a liberterian and a political idiot as far as I’m concerned. He started out in advertising and he stayed there to some extent. Ginsberg started out in advertising but he never looked back. The Who, The Stones and Beatles were saying very radical things. A lot of folk music is culturally and politically radical. There is a tradition in folk music for that though a lot of the songs are bad. It goes back to the Wobblies in the 19th Century. Woody Guthrie also. Dylan started very political. Phil Ochs too. Folk purists used argue about playing rock n’roll but good music is good music where ever it comes from. Music by itself can move people, sometimes very destructively like with a military march.
PSF: A lot of your songs involved writing new lyrics for songs.
It’s a very old tradition. I used it a lot when I didn’t have a band. The earliest singers I remember that did this was (Martin) Luther who took popular songs of the period and made church hymns out them. He said ‘why should the devil have the best of tunes.’ Then Joe Hill in the early part of the 1900′s used church hymns and changed them into radical pop songs.

Long-haired preachers come out every night

Try and tell you what’s wrong and what’s right

But when asked about something to eat

They are sure, they are sure to repeat

‘You’ll get pie…

You’ll get pie in the sky when you die (that’s a lie)

Work and pray

Live on hay

You’ll get pie in the sky when you die (it’s a lie)’
So it’s an old tradition. I call them para-songs.

PSF: Did the Fugs have any particular goals?
Our goal was to make the revolution. That would have been a complete revolution, not just an economic or political one. We had utopian ideals and those are the best ideals. What happened was that this movement that flourished then had a lot of problems. A lot of promises weren’t as deeply rooted or as well grounded as we thought. The technological revolution and the movement of world capital created problems that no one had ever thought possible. The sixties never connected. It was basically a youth movement and basically a middle-class, male movement. That’s not enough. There were students but the war fed itself on that part of the movement and the previous radical history. There were a lot of ‘grown-ups’ and academic people and ordinary people but its roots were not deep enough and its analysis (Marxist and anarchist) wasn’t enough to take over. We didn’t know how to get from our good ideas to the society we wanted.
Then it slowly collapsed once the draft ended and once the war ended. Obviously the forces of the old society (religion and tradition) were much stronger than we thought. So things continued the way they are. We still don’t have the ideology to get out of this. We never connected to the working class and now they seem to be disappearing into microchips- you have a lot of ‘surplus’ people. We need some sort of understanding of what’s going on because everything is out of control, especially out of our control. We have very little influence, we radicals today.
The sixties were a complete surprise because in the fifties, American society was just recovering from World War II and young man just wanted to go back to school and start a family. There was no politics. Then the sixties happened. You can never predict when it’s going to happen because it’s rooted in human nature that you can only take so much oppression before you do something. But sometimes you do the wrong thing. We don’t have the answers but if they only gave us a chance… It was not a complete failure because a lot of the things we believed in have gone a long way to being realized. We were not the idealists. We manifested them and learned from other people.
PSF: With the Fugs, what was happening with the band after ’65?
I think that our songs developed and become more sophisticated and complicated. We spread into different areas and the music got better. I don’t think we should have disbanded. It was due to personal conflicts which I really don’t completely understand. We would have been really needed in the ’70s because that was a slow decline where everything that that generation thought was going to happen, just disappeared slowly.
PSF: What were you doing after the Fugs broke up?
I formed a group called the Revolting Theater, which sort of carried on in the tradition of the Fugs. Basically we acted out artifacts that we had found in society- advertisements or crazy songs or poetry. That had a mild reason for being. We played mostly at colleges. Then I formed a group called the Fuxxons and that was me and anybody that was around- we did some Fugs songs and other stuff.
Then in ’84, the Fugs were reformed. I would have been always ready to reform but I think Ed decided that it should happen at that particular time. We did a reunion concert with new musicians at the Bottom Line. A lot of people came and it was fun. We’ve been playing on and off since then. I don’t think that we had the impact that we did in the sixties for a number of reasons. We did the Real Woodstock Festival in ’94 where Ed lives. That same year, we played in Italy.
PSF: Before you said the Fugs were about dope and fucking. What about now?
No, I said that the Fugs were about dope and fucking and any kind of mind liberation that didn’t kill you or damage your internal organs. I was always careful about that because I’d been a medical librarian and I knew all about that. My phrase was ‘better to be a live ogre than a dead saint.’ I knew a lot of dead saints. It was about politics and it was about life and relations between people and ‘freedom,’ meaning the ability to explore and express yourself and other peoples’ feelings. We were all about creating a utopia and we had our ideas about what it was. We tried to work for it and to live it because we weren’t going to wait- ‘we want the world and we want it now.’ We were impatient, especially in the sixties where young people faced death and they weren’t going to wait to enjoy anything after they were dead.
It’s a mistake to put it (freedom) in terms of physiology. Nothing wrong with that. The basic unit of human society is the human body. You have to know how to use it and enjoy it. That’s only part of it though because if you have a human body and you put it in the dark and leave them there, you get something that isn’t quite human. It needs nourishment and human society. It doesn’t have to be the patriarchal family. In the age of AIDS, I recommend group marriages with four couples. More than eight people would be too much.
Bascially, the Fugs are the same except we’re more refined and more clever and more worked out and more beautifully put and less listened to.
PSF: You were saying that things are different for the Fugs now.
What’s different isn’t the Fugs- it’s the society around which we function. There was more of a community for the arts before. If you lived in the Village, you knew the film makers and the painters. Due to mass media, there’s no much of a community because there are many, many small communities and groups. If you go into Tower Records, you can find 2500 bands- that’s good because it means a lot of people are doing things. But audiences have also become more broken down. There’s no large community. The question is whether the times create the great artist or whether the great artist helps to create the times. It works together. If you’re incredibly great, you can surpass the times. If you’re just a little good, then times will push you onward and make you better. If the times are terrible, you’ve got to work against all of it. It’s really complicated but we’re always ready for more good music and more good times.

_________________
Tuli & Ed Saunders

Interview With Tuli Kupferberg – 2004/ Matthew Paris

M.P. – Tuli, you started out as a young anarchist; were you Kropotkinesque or Bakuninesque?
T.K. – Well, actually I was a Stalinist. In those days everybody was a Stalinist but very shortly I became a Trotskyite or demi-Trotskyite, and then I became very confused. All those terrible questions were being asked about the trials, though other people were asking them. I was very young, about thirteen; it was the Depression so there was a lot of motivation around.
M.P. – Why Stalinism? He was a Russian nationalist and Trotsky international; how did you defend that?
T.K. – When you’re thirteen you don’t really defend too much. It’s just that the Communist Party was the most active group around and they would have first shot, so to speak, at a young person who became politically concerned. When I went to New Utrecht High School it was a hotbed of political radicalism; all Jewish areas were. (laughs) They were the children of immigrant workers a lot of whom were radicals of various kinds.
M.P. – How do you feel about those days when causes were so clear and simple?
T.K. – 0, if they would only come back! (laughs) Maybe simplicity was part of being young, but Fascism, Hitler helped crystalize us. I think there’s a lot to that theory that Western Capitalism built Hitler up, particularly. France and England, to devour the Soviet Union. My God; he didn’t do exactly what they wanted! Maybe the telephone receiver wasn’t too clear.

It’s peculiar because American ideology was Part of this simplicity, such as Manifest Destiny, Progress. The easy way out was simplicity. Whenever you found a Socialism you didn’t like you’d say, this is not Socialism. In the end, the ideology was not developed enough to explain or foresee things. Therefore we had these incredible mistakes, if you can call what cost millions of people their lives a mistake happened.
Marx predicted a lot of things wrong, made a lot of mistakes, and had a lot of success; he predicted the revolution would happen in a developed country like England and it never did. Revolution in Russia because it was undeveloped stood outside the theory. In retrospect one can say that both Marxism and Anarchist theory had serious defects. The Anarchists say their theory has never been tried; that’s one of the faults. If it never took power anywhere, it’s a defect.
M.P. – Aren’t these etudes in artifice that stand apart from Nature?
T.K. – Nature is a word I never use; I think everything is natural, even artificial things; it’s a different kind of nature. Not everything that’s natural is wonderful as anyone who eats the leaves of the hemlock will easily find out.
I don’t associate with any group; maybe no group will associate with me. I think the 60s was a search for community because American society has none; it has small groups organized to exploit small groups-and then larger groups. At first anarchism has to be an attitude; it starts with disrespect for institutions. If you have a general disrespect, you might slight something worthwhile.
M.P. – How did you meet Ed Sanders?
T.K. – I guess I met him at the Metro, a coffee house on Second Avenue; we had readings in the free art forms of the period. You were there.
M.P. – Yeah. If people didn’t like the poetry there was some rather violent criticism of it.
T.K. – I think that’s all right.
M.P. – Also there was utter freedom to say whatever you wanted; that was revolutionary.
T.K. – Well, Paul Goodman always said you could always say whatever you wanted as long as it didn’t have any effect.
Only In America. The owner was not exactly a poetical type. It was a commercial thing for him; he was sort of a Birchite actually. The poets brought him a lot of business so he was quite happy with that. It had a reputation of a place where people read and met their friends in those kinds of circles.
M.P. – There was you, Ed Sanders, Allen Katzman, Allen Ginsberg; you never knew what was going to happen. One girl read tragic limericks. Ed Sanders ran it, right?
T.K. – No, it passed through several hands because it got too disgusting for one person to do all that organizing and balance these inflated egos against one another. One of the games was getting the perfect place on the schedule. You didn’t want to read too early, but you didn’t want to read too late. You had to find the place where the audience was at the perfect pitch of receptivity.
M.P. – Those were eight hour sessions. When was that?
T.K. – 0, it would be a little past the middle, generally. In my novel which has the same unmentionable title as a magazine I helped edit, I discuss it; if anyone can convince a publisher to do it, they can ponder over it too.
M.P. – There was one poet, who seemed to have bought a costume out of an old IWW shop, who’d bring a poem of 30,000 pages, read excerpts, and always have a different girlfriend. He was very serious.
T.K. – There were thousands of people like that; you’ll have to be more specific.
M.P. – He looked like a Warner Brothers fantasy of a dangerous Red; no smiles.
T.K. – I got inoculated against bad sentimental poetry there. I didn’t get pickled, just sweet and sour. I once was going to do an anthology called The World’s Worst Poems. It was very hard to do, because no matter how hard I tried, there would always be something good in one of them, or if the poem were totally bad, it became something else: a perfectly funny thing, actually.
M.P. – It’s a virtuoso trick to be banal all the time.
T.K. – The trouble with a cliché is that you don’t hear it at all. Newspapers are a means of non-communication; you have to read between the lines. I make a lot of poems out of them but sometimes you want to rip out the paper and recite it as the joke of the month.
M.P. – Could you talk about the politics in your mag with the unmentionable name?
T.K. – Not all of it was. It was A Magazine of the Arts. You’re allowed to say Arts, I think. Ed Sanders was the editor. He was sort of a lyrical wild man; he just sort of spoke those words quite naturally. It’s really in the American tradition.
Ed is from Missouri; there really is a lot of Mark Twain in him. He gathered the liveliest things he could find around the East Village at that time and put them all together. He didn’t worry about language and he got a pretty lively magazine.
M.P. – How do you feel about Al Goldstein’s mag, to not use another word)?
T.K. – The sexism seems to be so obvious and stupid that I don’t consider it to be very harmful. I like the humor of it, the lightness it brings to sex. I think if you talk to Al he’ll deny that he’s sexist.
M.P. – Yeah, I talked to Al. He says that. He says it’s Flaubertian satire.
T.K. – I don’t know whether it started out that way. If you carry anything to an extreme it becomes ridiculous. I’ve had this experience with satire: you have to know what you’re doing, but if you’re willing to take the risk, you’ve got to make yourself very clear.
M.P. – Did you like working for the East Village Other?
T.K. — I was a free lance as opposed to a slave-lance journalist. It had some possibilities; it did some good things.

M.P. – How did The Fugs start?
T.K. – It was Ed’s idea. We had been going to the Dom, which was an ethnic bar around the corner from the Metro; you remember it-we were listening to the Beatles, and the Stones on the jukebox. Ed saw a logical connection to putting that music and that energy into poetry.

I thought it was a great idea; I picked the name. We had been performing; those readings were sort of performances. There’s always been a link between music and poetry, as Ed knew being a classical scholar, so we just connected them. A lot of it

really worked.
M.P. – How did you like touring?
T.K. – It was a mixed bag. It was nice to go somewhere you wanted to go, but it wasn’t good to leave some place you wanted to stay. Motel rooms are not the most wonderful place. But it was exciting to meet the folks out there. At first it’s all very exciting and you accept it uncritically, but then you begin to wonder what exactly is being adulated and why, and is it overdone, overblown, is it wrong, is the whole idea of the Artist or anybody as hero valid? In the media it’s almost impossible to escape that role.
The form demanded that I have a broader sense of humor. Since none of us were musicians we had to do more than music. Since Ed wouldn’t let me sing, I became more an actor.

There were some good reasons why I shouldn’t have sung. But we were working in the pattern of the folk balladeer, the minnesinger, which I’m still doing; the traditions became confusing because the music got in the way of the poetry. It was at times too loud for the music, and no point to us, though we had good musicians.
M.P. – Do you think the 60s idea of an honest life was a dream?
T.K. – It’s not the first time this dream has been around. I can remember the dream of the 30s that died in the 50s. Another was alive in the 60s and died in the 70s, and it’s older than that. Nothing is wasted; no voice is wholly lost.
M.P. – Do you feel that your historical role is over as Trotsky’s was in Mexico?
T.K. – Did Trotsky really feel that? Why did he keep on writing then? If one particular role is over, it’s up to you and your sense of self to look for another role which is not necessarily a contradiction of the old one but will continue the things you want to do.
___________

Poems From The 90′s: Tuli Speaks His Mind…

BECAUSE THE STATE
tune: chorus of “Because the Night (Belong to Lovers)”

by Patti Smith & Bruce Springsteen
Because the state belongs to fuckers

Because the state belongs to them

Alpha primate otherfuckers

Wasps in the edenic glen
& because the state was made by fuckers

Because the state was made for them

Pleasure-hating motherfuckers

Lover-baiting sons a guns
And the state holds monopoly of force

“Cop killers” also mean “cops who kill”

& tho the idea is somewhat coarse

Wilheim Reich might hold: “That’s a sexual thrill”
& because the state seducts us early

From 3 years on to postgrad docs:

Because the state educts us early

Dripdries our brains, hangs ‘em out like sox
& because the state thrives with armies

Protects its properties thru blacks & blues

Soldier boys are never called “murderers”

But what the hell is what they do?
& soon no doubt when we’re alone

The govt’ll tape your cunt & my bone

The state is a devil disguised as God

That throws its laws like a lightening rod
& this “executive committee of the ruling class”

Shoves its media up our ass

Will the evil of two lessers set you free?

Now the question’s: “To be internet or be TV?”
But because the state belongs to fuhrers

Because the state kills us for fun

Because the state belongs to furors

Because the state thinks only with the gun
& because the state belongs to fuckers

Because the state belongs to them

Gotta underthrow them motherfuckers

To return us to our edenic glen
O because the state belongs to fuckers

Because the state belongs to them

Oh we’ll have to change them all to lovers

& we’ll have to try & start again

Yeah we’ll have to change us all to lovers

Oh we’ll have to try to begin again….
OY!


GREAT MOMENTS IN THE HISTORY OF CAPITALISM

URANUS (to the tune of AQUARIUS from ‘Hair’)
This song is dedicated to the Passers of the Welfare Reform Bill
When the stools are in the Gringrich House

And Senators align with Mars

Then Greed will guide our country

Pure Ego steer our Pol-Stars
This is the dawning of the Age of Uranus

The Age of Uranus

Uranus, Uranus
Simony, misunderstanding

Cruelty, sad lusts abounding

Lots more lying and derision

Golden parachutes their vision

Mystic racist fulmination

Nation-soul in constipation
Uranus, Uranus
When the Pricks are in the Clintrich House

And Congressmen are paged with bribes

Then Idiots will damn our destiny

And Shits will ruin our lives
This is the dawning of the Age of Uranus

The Age of Uranus

Uranus, Uranus
Conspiracy and underhandling

Media control astounding

Circuses with bread omission

Downsize lives without contrition
Uranus, Uranus
Now the Ghouls are in the Masters House

And Murderers kill us en masse

Now the Rule they Rule the Planet

And wipeout the Underclass
This is the Sundown of the Age of Uranus

The Age of Uranus

Uranus, Uranus
Let the Moonshine

Let the Moonshine

Let the Moonshine

Let the Moonshine in!

PAINT IT RED (& BLACK)
Tune: ‘Paint It Black’ (Rolling Stones) with spoken extensions

NOTE: Red & Black are the Anarchist colors
I see the White House & I want to paint it Red

Rabbi Jesus whispers to me: ‘Besser Red zan Dead.’

I see the Kremlin & I’m gonna paint it black

Clinton’s toasting Yeltsin: ‘Zdrovye Bourgeois Hack!’
I spoke to Tolstoy: ‘Emma Goldman’s coming back!’

He sat there writing on a shard of red & black

Black & Red. Coming back!

Red & Black. They’re comin’ back!
The homeless Alien morphs to Newt’s Sonovabitch

The Species (social) Being’s served up: dessert for the rich

The Lions of Reason strobe the deep grave of yr dream

The Lamb of Love hides in the Caves of Academe
I hear the students as they wonder what comes next

They’re forced to take the test but do not have the text

They wander thru the World Wide Internet

They still believe they’ll find the Finland Station yet!

(in St. Petersberg where Lenin entered Russia in 1917)
I heard Mohr (Marx) & General (Engels) laughing in their Hell

They said Bakunyin had a funny tale to tell

‘Anarcho Pacifist Bolshelvism never had its chance!’

Perhaps we could invite St. Francis to the dance? And hey St Paul & Jacob Frank!

(18th Cent PolJewCath pansexual Messiah)

YOWZAH!
I see the White House & I want to paint it Red

Willy Reich is shouting at me: ‘Better Bed than Dead!’

Now Billy’s roasting Yelstin: ‘So long Bourgeois Flack!’

I spy the Kremlin Hey we’re gonna take it back!

RED & BLACK

GET IT BACK

RED & BLACK

WE’RE COMING BACK

RED & BLACK

RED & BLACK

RED & BLACK

_________

Inner Bohemia…

“When patterns are broken, new worlds can emerge.”

– Tuli Kupferberg

This is entry #728… if you are still with me, you might of picked up on some trends and modalities that I am running with. I think that the concept of Bohemia is more than just a take on artist in France, Beats in NY and San Francisco in the 50′s… Hipsters around the world in the 60′s, 70′s and so on… more than Burners and Ravers. It is an accumulation of the Underground streams running for hundreds if not thousands of years, that tie us back to pre-neolithic sensibilities. Bohemia is about Love primarily, Love, Sex, Dope, Art as some would say. The basic drives. Feel good about it, and be the creature you really are….
The idea of ‘Scene’ seemed to disappear in the last few years… Tuli Kupferberg said in an interview:
“But I felt that they had a heritage with the bohemians (the Beats). The term comes from 12th century University of Paris. The craziest students came from Bohemia and they gave them this name. There’s this old tradition of living outside of the mores of society. Until the bourgeois revolution, most artists lived on the patronage of the ruling class. LA VIE DE BOHEME, the libetto for that opera, tells you what was happening then in the 18th century. So that’s a 150 year old tradition that’s still going on. It used to be linked to geography with places like New York, San Francisco, Munich, Paris. But now, with the Internet, you could be crazy, wild, free and self-destructive anywhere you want. But hopefully, there’s still communities of people out there. Utopian colonies who are just friends.”
This speaks to me of the Inner Bohemia, the Bohemia of the Heart. Not a phrase bandied about much, but still, it is a state, and to me, maybe equivalent to a state of grace. An inner connectiveness, a community united by the heart, the mind, the soul.
So, Utopian Communities…. indeed. Whether it is in a TAZ, or a neighborhood where the shared ideals creates a Commons… more on this later? What are your visions of a Utopia? Drop me a line…
Bright Blessings,
Gwyllm

___________________
On The Menu:
Peters’ Video Feed

Koan’s

The Poetry of Petr Borkovec

Peter’s Video Feed:
DCD – American Dreaming…

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Lisa Gerrard – Come Tenderness

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Koan’s
Storyteller’s Zen
Encho was a famous storyteller. His tales of love stirred the hearts of his listeners. When he narrated a story of war, it was as if the listeners themselves were on the field of battle.
One day Encho met Yamaoka Tesshu, a layman who had almost embraced masterhood in Zen. “I understand,” said Yamaoka, “you are the best storyteller in our land and that you make people cry or laugh at will. Tell me my favorite story of the Peach Boy. When I was a little tot I used to sleep beside my mother, and she often related this legend. In the middle of the story I would fall asleep. Tell it to me just as my mother did.”
Encho dared not attempt to do this. He requested time to study. Several months later he went to Yamaoka and said: “Please give me the opportunity to tell you the story.”
“Some other day,” answered Yamaoka.
Encho was keenly disappointed. He studied further and tried again. Yamaoka rejected him many times. When Encho would start to talk Yamaoka would stop him, saying: “You are not yet like my mother.”
It took Encho five years to be able to tell Yamaoka the legend as his mother had told it to him.
In this way, Yamaoka imparted Zen to Encho.

The First Principle
When one goes to Obaku temple in Kyoto he sees carved over the gate the words “The First Principle”. The letters are unusually large, and those who appreciate calligraphy always admire them as being a mastepiece. They were drawn by Kosen two hundred years ago.
When the master drew them he did so on paper, from which the workmen made the large carving in wood. As Kosen sketched the letters a bold pupil was with him who had made several gallons of ink for the calligraphy and who never failed to criticise his master’s work.
“That is not good,” he told Kosen after his first effort.
“How is this one?”
“Poor. Worse than before,” pronounced the pupil.
Kosen patiently wrote one sheet after another until eighty-four First Principles had accumulated, still without the approval of the pupil.
Then when the young man stepped outside for a few moments, Kosen thought: “Now this is my chance to escape his keen eye,” and he wrote hurriedly, with a mind free from distraction: “The First Principle.”
“A masterpiece,” pronounced the pupil.
_________________

____________
The Poetry of Petr Borkovec

Commuter Train, 0.05 a.m.
AZURE FORMICA, fluorescent tubes –

the heavens open, floods of light: Father

with adult daughter, ermine, me, the odour

of sodden clothes, a few rows down some troops.
The whistle. Lamps streak by. Then dark. The windows

hold our gaunt and yellowed faces. The soldiers

deal out cards on their laps. A woman, close,

her swaying earrings sputa of bright jasper.
Father and daughter can’t doze off to sleep

remembering the heart which bleeds and sears

on the drunk’s palm at the tiny platform shop.
She’s willowy and tall. Her program slips clean

off her lap towards the drunk – for Cymbeline.

She stoops in white, as she would to a kiss.


The Light Dragged Off
THE LIGHT DRAGGED off and rain began to pour.

Hell glinted through the pavements here and there.
Like Lada’s pictures, with tender and kind hearts,

the devils set to laying out their hoards.
Above the lamps, three late birds homeward bound.

Above the listless, sad and drawn-out standpoint
of the evening city, of the windows of each bookshop,

of the pubs going at full tilt and all lit up,
of the fountain with a naked marble lad

consoling a small carp in a marble lota
(the nose his father’s, the eyes his mother gave him…

how gaily coins glint at the water’s bottom),
of the weakening rain and the devils with their secrets.

We stood there and lit two sweet cigarettes.
It’s nothing, love. You’re shaking like a feather.

Hold me. Let’s go. We will sleep together.


We Rose
WE ROSE. SEPTEMBER. Long house shadow.

Dust everywhere, the radio’s drone.

Sun on the bedframe’s chrome.

You reached for your cigarettes.

The stairwell dreaming still beneath us,

the curtains slowly stirring, flowing down.

The empty sink was like a silver bust

and the seconds always flowing and flown

past warmth, its touch. Time at a standstill,

and all things aswell, unmoored from their roles

the sunlight on the bedframe stalled,

the hook, the picture on the wall.

I saw your cigarette’s fresh smoke,

the books beside us in a stack,

and the duvet’s fish and fowl and flowers

all slipped and slid down to the floor

where they cooled in blue geometry.

Dust on the wardrobe, dust on the aria.

The window’s coloured block going nowhere.

Outside, no plans were hatched in shadows,

and the towel, lying idle by the chair,

had the same story as us.

—-
For J.K.
The twenty-third pavilion,

The wall lit with October sun –

A bright memorial plaque for summer –

The same one Fet and Bunin have somewhere.

SLIGHT DÉJÀ VU –

some ornaments familiar;

around me came spring air

like screens pulled to.
Chilled to the bone. The trees

sent memory ranging back.

The sun pressed on my cheek

like iron, a piece of steel.
Hands over eyes, each finger

like a braid of rubies.

The heat’s a heavy figure

placed upon the earth.
As though someone had pressed

my back and hid the sun –

cold and blue the vein runs

through a memory, its dry hand.
I go with sick-bed gait

about this April morning;

inclosure, classic gate,

wind and light, their blows
against white walls, verandahs

of the numbered pavilions,

metallic noise through curtains

flies out the window – they
are like a sign or way

for someone else, not me.

As if about a white bed,

body twisted and awry,
with chamber-pot of urine,

amber, settled, cold,

I go about the morning.

Not I – two eyes unbodied.
Machine-like, quick, the nurse

makes up the sheets and covers.

The bedstead’s metal glows

like sunlight on the clouds.
Linoleum with patterns.

Like spring air in the gardens

four listless blank screens hold

a body which grows cold.

__________
Petr Borkovec (b. 1970) is the most prominent of the young generation of Czech poets who emerged after 1989. His first book of poems was published in 1990, and since then he has published four further collections, most recently, Polní práce [Field Work] (1998). He is also a noted translator of Russian poetry, and recently he has been working on translations of Sophocles and Æschylus. Borkovec lives in Cernosice, a town to the southwest of Prague.

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Friday Flickering Furiously…

Poetry is just the evidence of life. If your life is burning well, poetry is just the ash.

-Leonard Cohen
(My White Bicycle – HapsHash)

I recently started exploring Poster art… and I have be revisiting Hapshash’s Nigel Waymouth & Michael English’s works… It is a wondrous thing that so much good art exploded onto the scene in such a short time…. Anyway, these guys are right up there with Rick Griffin & Stanley Mouse, but they definitely have the British aesthetic.
This edition of Turfing explores some of these pieces…. Enjoy!
On The Menu:

On The Music Box – Maps/We Can Create

Maps -It Will Find You

The Links

The Private Sea

THREE KOANS

Leonard Cohen For A Late Friday…

Art – HapsHash & The Coloured Coat….

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On The Music Box – Maps/We Can Create (find this one!)


A nice mixture of vocal harmonies, intricate phrasings, good rhythms, electronic keyboards blended with traditional instrumentations and a lush mix. Tasty Stuff! Recorded on an old 16 track recorder in James Chapman’s bedroom, this masterpiece was mixed by Ken Thomas of Sigur Ros production fame.
Maps – We Can Create…. Download it here!

Maps – It Will Find You

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_________________
(HapsHash – Love Me)

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The Links:

Thoughts On Days Of The Dead…

Scotto strikes again: Comfort Music!

The Leonard Cohen Files…

Modern Times…

Orthodox Moorish Radio…

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The Private Sea – William Braden

3. Chemistry and mysticism
In its broadest sense, mysticism refers to direct communion with the divine; to intuitive knowledge of ultimate truth; to the soul’s sense of union with the absolute reality that is the Ground, or the source, of its Being. And apparently it is impossible to distinguish this experience from the central experience produced by LSD and other psychedelic agents.

The classic accounts of mystical experience read like psychedelic Baedekers. In recent years, moreover, a number of studies have compared the two experiences, and the results have reinforced the idea that the experiences are in some way connected. The best known of these studies was undertaken by psychiatrist Walter Pahnke at Harvard University, where psilocybin was administered in a religious setting to ten theology students. Nine of the ten felt they had genuine religious experiences, and Pahnke concluded that the phenomena they reported were “indistinguishable from, if not identical with,” a typology based on W. T. Stace’s widely known summary of mystical experience.

At Princeton, students were shown accounts of a religious experience and a psychedelic experience, and two-thirds of the students identified the drug-induced experience as the religious one. In a book in which they summarize five separate studies, including Pahnke’s, R. E. L. Masters and Jean Houston stated that “religious-type” experiences were reported by 32 to 75 per cent of subjects who received psychedelics in “supportive” settings, and by 75 to 90 per cent of those who received them in settings that included religious stimuli. And so on. The consensus of research seems to be that the two experiences are at least phenomenologically the same. This is a way of saying: “Well, they certainly look the same, and beyond that I’m not going to stick my neck out.” What this neatly avoids, of course, is the problem of comparing the sources of the experiences.

Significant parallels to psychedelic experience are to be found in William James’s observations on religious conversion, the faith-state, and mystical experience. Conversion occurs, said James, when a formerly divided self becomes unified, and “a not infrequent consequence of the change operated in the subject is a transfiguration of the face of nature in his eyes. A new heaven seems to shine upon a new earth.” James made the point that “self-surrender has been and always must be regarded as the vital turning-point of the religious life.” And the total abnegation of self or ego is without question the hallmark of psychedelic experience. “Only when I become as nothing,” wrote James, “can God enter in and no difference between his life and mine remain outstanding.” Discussing the faith-state, James observed that it too is characterized by an objective change in the appearance of the world, which takes on a sweet and beautiful newness. “It was dead and is alive again. It is like the difference between looking on a person without love, or upon the same person with love.” In addition, there is a loss of all worry: “the sense that all is ultimately well with one” and a “willingness to be.” Finally, there is “the sense of perceiving truths not known before,” and these “more or less unutterable in words.” As for mysticism, James found that it also is marked by an ineffability requiring direct experience, as well as a noetic quality which carries with it “a curious sense of authority for aftertime.” Still another aspect is passivity, in which “the mystic feels as if he were grasped and held by a superior power.” And a final factor is transiency. “Mystical states cannot be sustained for long. Except in rare instances, half an hour, or at most an hour or two, seems to be the limit.”

One of those rare exceptions perhaps was Emanuel Swedenborg, the so-called Swedish Aristotle, who was said to have had a mystical experience which lasted, more or less continuously, for almost three decades. LSD cannot match that record, but it does seem to improve somewhat on the normal time limits indicated by James. Except for duration, however, there is obviously a remarkable similarity between James’s typology and psychedelic experience. And just incidentally, James noted that mystical states are often accompanied by various photisms, or luminous phenomena, which also are an aspect of psychedelic experience (for example, Paul’s blinding vision and Constantine’s cross in the sky). Finally, let us call attention to James’s observation: “One may say truly, I think, that personal religious experience has its roots and centre in mystical states of consciousness.” In other words, we are likening psychedelic experience not just to mysticism but to religious experience as a whole.
From this background, then, emerges LSD’s first clear challenge to orthodox theology.
Did the saints owe their visions to some biological short-circuit which caused them to experience spontaneously what LSD cultists achieve with a chemical? Can their mystic raptures be traced to a malfunction of the adrenal glands? Does the faith-state have a neurological basis? Is the religious experience as such nothing more than a fluke of body chemistry?
The materialists would like to think so, and do. Dr. Sidney Cohen (who is no materialist) has suggested that religious experience may one day be redefined as “a dys-synchrony of the reticular formation of the brain.”

Some scholars have pushed even further. Not only do psychedelics appear to duplicate religious experience, they say. It is possible that religion itself is psychedelic in origin. One of the major spokesmen for this viewpoint has been Gordon Wasson, an authority on the psychedelic mushrooms of Mexico, who has suggested that primitive men may have stumbled many times upon innocent-looking plants which produce the same effects as LSD. These theobotanicals, possibly mushrooms, might well have been a “mighty springboard” which first put the idea of God into men’s heads. Wasson also has proposed a psychedelic explanation of the ancient Greek cult that produced the Eleusinian Mysteries, and he has advanced the idea that Plato’s pure Ideas might be the product of a psychedelic insight. (In other words, Plato was an acidhead.) Following this line of reasoning, it might seem logical to conclude that the Eden story is actually a psychedelic parable—and we would be happy to propose that theory ourselves had we not already proposed another theory with an antithetical conclusion. In any case, Wasson goes on to suggest that psychedelic sacraments in the course of time may have been replaced by more innocuous hosts, and that they represent perhaps “the original element in all the Holy Suppers of the world.” The whole idea, of course, is pure speculation, and necessarily so, but at the same time it is very interesting speculation and by no means implausible. It is particularly tempting to apply Wasson’s theory to the metaphysics of India; according to Masters and Houston, an estimated 90 per cent of the holy men in that country are currently on hemp and various other drugs.
The point often is made that religious ascetics traditionally have promoted their mystical states of consciousness by employing techniques that rival LSD in their probable impact on biochemical balance. These include fasting, yogic breathing exercises, sleep deprivation, dervish dances, self-flagellation, and monastic isolation. Even in the pews of the pious, religious contemplation may be supported by such trance-inducing aids as organ music, stained glass windows, repetitive chants and prayers, incense, and flickering candles.
The question of religious chemistry has been underscored recently by the wide attention given to the theories, already mentioned, of Dr. Abram Hoffer and Humphry Osmond. Their adrenochrome-adrenolutin hypothesis suggests that schizophrenia may be caused at least in part by defective adrenal metabolism. Very briefly, the adrenal gland secretes the hormone adrenaline, which helps coordinate biological mechanisms in emergency situations—for example, a fist fight or a threatened traffic accident. Heart rate is increased, the blood is sugared up and pumped to the necessary muscles. Adrenaline also may affect the emotions, contributing to anxiety and depression. In the body it turns into a toxic hormone called adrenochrome, which in turn can be converted into either of two other compounds: dihydroxyindole or adrenolutin. It is possible that dihydroxyindole balances off adrenaline to reduce tension and irritability; in schizophrenics, however, adrenochrome is converted primarily into adrenolutin, which also is toxic, and the combination of adrenochrome-adrenolutin results in a poisonous disruption of the brain’s chemical processes. That is the theory. And the prescribed antidotes are nicotinic acid (niacin) or nicotinamide (Vitamin B-3). Discussing one of the villains in the piece, the scientists write: “There are few who doubt that adrenochrome is active in animals or in man, and it is now included among the family of compounds known as hallucinogens—compounds like mescaline and LSD-2 5 capable of producing psychological changes in man.”
The Hoffer-Osmond studies are far from conclusive, and similar theories have been advanced in the past. But the studies hold promise, and they are receiving serious consideration—due in part, no doubt, to the significance they have in other areas of current debate, including religion. The line dividing insanity and mysticism has never been too sharply drawn, and the biochemical theory of schizophrenia makes it all the more tenuous. Vitamin B-3 actually has cured cases of schizophrenia, according to Dr. Hoffer and Osmond. But Vitamin B-3 also has proved effective in terminating LSD experiences, and the implications of this must be obvious. As we asked earlier: Are insanity, mysticism, and the psychedelic experience in some way related?

Aldous Huxley has suggested they are. The experience of absolute reality is awesome enough in small doses, and the schizophrenic, drugged by his own body chemistry, is like a man who is permanently under the influence of a psychedelic. He is “unable to shut off the experience of a reality which he is not holy enough to live with.” He cannot take refuge, even for a moment, in “the homemade universe of common sense—the strictly human world of useful notions, shared symbols and socially acceptable conventions.” The result is a bad trip which never ends. But the psychedelic subject knows that he can and will return to that limited but comforting world, and he is therefore in a position to accept his experience: to enjoy it and to learn from it. This in fact appears to be the main basis for denying that psychedelics produce a model psychosis. As Dr. Cohen and parapsychologist Gardner Murphy expressed it: “When the dissolution of the reasoning self occurs in a chaotic manner, the result is called psychosis. When the state is not accompanied by panic or anxiety, it is perceived as mystical, and creative solutions of (or at least an armistice with) life problems could result.” Dr. Cohen has proposed that the difference here makes logical a distinction between insanity and unsanity, which he would place at polar ends of a continuum; in the middle, somewhere, would lie sanity. Nevertheless, it is a bit jarring to consider the possibility that religious experience is an end-product of adrenochrome, described as a dark crystalline material which can easily be made in a laboratory. “In its pure form,” write Dr. Hoffer and Osmond, “it manifests itself as beautiful, sharp, needle-like crystals which have a brilliant sheen. When the crystals are powdered, it appears as a bright red powder, which dissolves quickly in water to form a blood-red solution.”
It would be interesting to see if a shot of vitamins could terminate a spontaneous religious experience. But what if it did? And what if LSD does in fact initiate such an experience? Does this mean the experience is simply a manifestation of the drug?
(Jazz at the Roundhouse – HapsHash)

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THREE KOANS

It is Not Mind, It is Not Buddha, It is Not Things
A monk asked Nansen: `Is there a teaching no master ever preached before?’
Nansen said: `Yes, there is.’
`What is it?’ asked the monk.
Nansen replied: `It is not mind, it is not Buddha, it is not things.’

Nansen was too kind and lost his treasure.

Truly, words have no power.

Even though the mountain becomes the sea,

Words cannot open another’s mind.

Dried Dung
A monk asked Ummon: `What is Buddha?’ Ummon answered him: `Dried dung.’

Lightning flashes,

Sparks shower.

In one blink of your eyes

You have missed seeing.

The Enlightened Man
Shogen asked: `Why does the enlightened man not stand on his feet and explain himself?’ And he also said: `It is not necessary for speech to come from the tongue.’
Mumon’s Comment: Shogen spoke plainly enough, but how many will understand? If anyone comprehends, he should come to my place and test out my big stick. Why, look here, to test real gold you must see it through fire.

If the feet of enlightenment moved, the great ocean would overflow;

If that head bowed, it would look down upon the heavens.

Such a body hsa no place to rest….

Let another continue this poem.

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(Middle Earth – HapsHash)

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Leonard Cohen Poetry For A Late Friday…

Bird On The Wire

Like a bird on the wire,

like a drunk in a midnight choir

I have tried in my way to be free.

Like a worm on a hook,

like a knight from some old fashioned book

I have saved all my ribbons for thee.

If I, if I have been unkind,

I hope that you can just let it go by.

If I, if I have been untrue

I hope you know it was never to you


Sisters Of Mercy
Oh the sisters of mercy, they are not departed or gone.

They were waiting for me when I thought that I just can’t go on.

And they brought me their comfort and later they brought me this song.

Oh I hope you run into them, you who’ve been travelling so long.

Yes you who must leave everything that you cannot control.
It begins with your family, but soon it comes around to your soul.

Well I’ve been where you’re hanging, I think I can see how you’re pinned:

When you’re not feeling holy, your loneliness says that you’ve sinned.

Well they lay down beside me, I made my confession to them.

They touched both my eyes and I touched the dew on their hem.
If your life is a leaf that the seasons tear off and condemn

they will bind you with love that is graceful and green as a stem.

When I left they were sleeping, I hope you run into them soon.

Don’t turn on the lights, you can read their address by the moon.

And you won’t make me jealous if I hear that they sweetened your night:

We weren’t lovers like that and besides it would still be all right,

We weren’t lovers like that and besides it would still be all right.


Beneath My Hands
Beneath my hands

your small breasts

are the upturned bellies

of breathing fallen sparrows.
Wherever you move

I hear the sounds of closing wings

of falling wings.
I am speechless

because you have fallen beside me

because your eyelashes

are the spines of tiny fragile animals.
I dread the time

when your mouth

begins to call me hunter.
When you call me close

to tell me

your body is not beautiful

I want to summon

the eyes and hidden mouths

of stone and light and water

to testify against you.
I want them

to surrender before you

the trembling rhyme of your face

from their deep caskets.
When you call me close

to tell me

your body is not beautiful

I want my body and my hands

to be pools

for your looking and laughing.


The book of longing

I can’t make the hills

The system is shot

I’m living on pills

For which I thank G-d

I followed the course

From chaos to art

Desire the horse

Depression the cart

I sailed like a swan

I sank like a rock

But time is long gone

Past my laughing stock

My page was too white

My ink was too thin

The day wouldn’t write

What the night pencilled in

My animal howls

My angel’s upset

But I’m not allowed

A trace of regret

For someone will use

What I couldn’t be

My heart will be hers

Impersonally

She’ll step on the path

She’ll see what I mean

My will cut in half

And freedom between

For less than a second

Our lives will collide

The endless suspended

The door open wide

Then she will be born

To someone like you

What no one has done

She’ll continue to do

I know she is coming

I know she will look

And that is the longing

And this is the book


Mission
I’ve worked at my work

I’ve slept at my sleep

I’ve died at my death

And now I can leave

Leave what is needed

And leave what is full

Need in the Spirit

And need in the Hole

Beloved, I’m yours

As I’ve always been

From marrow to pore

From longing to skin

Now that my mission

Has come to its end:

Pray I’m forgiven

The life that I’ve led

The Body I chased

It chased me as well

My longing’s a place

My dying a sail
(Traffic at the Saville – HapsHash)