It will be a thick missive this week. High Heathercombe-seat of this weekends gathering is snowed in, and so to my regret we have had to postphone till the first weekend in February. Gazooks-i hate to cancel man, hate to cancel. So i am throwing in various poems and questions to keep some mythic thread to these few days.
For students:
First challenge: Read below poem and write a five minute poem in response to it-any aspect-write at the edge of your understanding. There will be another at the end. They are two of mine i am tinkering with-a little overfull, but hopefully evidence that i'm joining in the tussle of all this poetry writing we do. This one is to do with the idea that desire needs some third element to arrive for it to truly activate, an old god or goddess to appear in some un-scripted manner.
The Gods of Hay and Love
Two wait alone for the rambunctious commander,
To glue all desire into the bees of their bodies
In tiny rooms they séance for
The smile-foxed awakener
He that lays tracks in the sullen valley,
He that threshes timber and holds mountains apart
No gentle crooner,
But leathered, rounded, unbending.
Some strong trunk of focus
an unrepentant arrow
that spits out the trembling centuries
As berry-large rain twists
In a cup of strength,
As a wash of salt
Licks the harbours fiery maidens
This charging wheel fractures its consorts
He will not leave the low places
But coax smoke from the anxious kindling
Tranced always by the girl
of appetite, of her thatch of memory, of her ghost
family, her animal flanks.
All the lights in this house are out,
Late afternoon
The empty rooms lean in an inch
To catch some word-butter from
The boney caves of love.
Dust moves a fraction on the sill
Water pours from an old jug
And for a second the world is
full of magicians.
Second challenge: What do you think the differences between a myth, folk-tale, legend and fairy tale are?
Please consult NO book for this-work through your own feelings-think of their connections to time, history and geography. responses can be sent to martin@schoolofmyth.com and will be read with interest.
Here is some of the essay-following on from the 'pastoral and prophetic' and 'a Culture of Wildness' sections in previous blogs.
SEEKING THE NEW ENCOUNTER
The beautiful thing about traditional tales, the thing that makes them interesting, and endlessly adaptable, is that they do not speak their truths directly. Traditional tales use the hidden language of metaphor…you could say there are as many hidden stories within a narrative as there are tellers and listeners.
Sally Pomm Clayton, Into the Hidden Country (Society for Storytelling Press, 2008) p.7
My concern with much contemporary storytelling is a hesitancy to explore metaphor, that a superstitious code prevents any deeper implications being explored. In a society that largely ignores depth and metaphor in favour of the shallow and literal, Pomm Clayton’s ‘hidden stories’ are not always accessed. The folk-tale sits rather like a wedding cake- we scrape off the icing but never dig our spoon into its fruity depths.
As a storyteller I am fascinated by this language of place, by place-names and their
etymology-the Thwaites, Thorpes, Duns, Bournes, Combes-and all the mysterious composites: Hetty Peglars Tump, Grimes Graves, Wookey Hole, the Gog Magog
Hills…(i) encircle myself with a personal poetry of place
Hugh Lupton, (The Dreaming of Place, Daylight Press, 2001) p.6
I like the direction that the great storyteller Hugh Lupton hints at.The imagination of Lupton is now, fired by language, moving downwards into associations of both localised history and folklore, and, as a storyteller, makes an assumption that this is a natural point of enquiry. Ted Hughes invokes the element of the wind;
Almost every poet, when he mentions the wind, touches one of his good moments
of poetry…the Old Testament prophets were often carried off to their visions in a great wind, or heard extraordinary things out of unnatural stillness.
Ted Hughes, Poetry in the Making (faber and faber, 1967) p.33
Hughes’s quote is grandiose, but maybe, I wonder, not inflated enough! In a de-constructed, irony infused environment, does the aspiration of a personal, visceral relationship to landscape both inner and outer invoke derision? Probably. But I contend that Lupton and Hughes haven’t gone far enough in their ruminations, that they should have allowed more lunacy into their wonderings, created more trouble with the intelligentsia. As this essay continually suggests, the doors towards that archaic relationship with nature are far from bolted. However, a dialogue like that could create a character that is as introverted as the stillness of mid-winter, or as ridiculously abundant as spring- both imply an excess of feeling or sensation.
In the following quote from William James we detect an advocacy for such grandiosity, Blakes’s ‘road of excess leads to the place of wisdom’; that a place for desire in the centre of ones life creates just the necessary tensions that make it truly engaging. In the language of the essay this involves concerted attention on both the Village and the Forest.
Man's chief difference from the brutes lies in the exuberant excess of his subjective
propensities his pre-eminence over them simply and solely in the number and in the
fantastic and unnecessary character of his wants, physical, moral, aesthetic,and
intellectual. Had his whole life not been a quest for the superfluous, he would never
have established himself as inexpugnably as he has done in the necessary. And from
the consciousness of this he should draw the lesson that his wants are to be trusted; that even when their gratification seems furthest off, the uneasiness they occasion is still the best guide of his life, and will lead him to issues entirely beyond his present power of reckoning. Prune down his extravagance, sober him, and you undo him.
William James, The Rag and Bone Shop of the Heart, (Harper Perennial, edt Bly, Hillman, Meade, 1992) p14
This quote from Francis Ponge i love completely and is probably the great summation that these strange chunks of essay writing have been moving towards.
Hope therefore lies in a poetry through which the world so invades the spirit of man that he becomes almost speechless, and later reinvents a language…true poetry is what does not pretend to be poetry. It is in the dogged drafts of a few maniacs seeking the new encounter.
Francis Ponge, News of the Universe: Poems of Twofold Consciousness, Edt Robert Bly, (Sierra Club Books, 1980) p214
Here's to our dogged drafts!
So here is the next poem to take five minutes from. If the other one is about love in the afternoon (as it were), this is about the stresses all artists feel when presenting their work, whatever that may be. Have fun with this-let your darkish self wander the lines!
My Whip Hand (At the End of a Week of Curating)
Sitting by an open door is an insult to many important things
A prolonged, deliberate, attack on myself
It’s been a weak harvest-
And my fingers hold the tension
My spiderish bone-tangle
crackles weaker skulls from its counting- tips
I have signed up to depletion,
to never see gold bears at the stream anymore
Or great pyramids that lurch from a child's jaw
The urchins of night have leapt back into the crescent
Its twenty years since an oar troubled the vines
This disdain of mine is a vineragy gate
That the old shelter in for a second while shopping,
But, eager to be pulled back to the laughter
They don’t take my eye for long
My whip hand wheezes in dismay
keen for instruction from the ailing General
The urge to flail
Or better to strike
A bruise could be a dark pool we could both bathe in.
I can’t wait to hand the keys in
To trade my damage
For the milky walk home
All this disappointment is really not as satisfying
As i had hoped it would be
I thought I’d somehow settle into its wry horror
But no, I’m an exhausted lunatic,
eating horse tails and choking on sunlight
My good friend Rebecca had been interested in the relationship between arts-painting, sculpture,installation etc and the mythic world. I am sure many of you
could write huge lists of individuals involved. Painting links could be:
ANTONI TAPIES
DON VAN VLIET
PHILIP GUSTON
CY TWOMBLY
ELLEN GALLAGHER
OLLI AND SUZI
GEORG BASELITZ
WILLIAM SCOTT
ALAN DAVIES (early)
Few of the connections are overt as such, just something i sense and respond to.
I have something of an allergy to art that is clearly and entirely devotional work to the natural world, i like to see some tension, complexity and im-purity creep in-us humans are good at that. That might sound weird, judging from my position on many things, but i don't respond to work that is purely banging some eco-message over my head. Just ain't cool-i'm looking for a more subtle, unique response to being alive at this point in time.
My big guy for years was JOSEPH BEUYS. so here's a few lines on him (some of this i put in a few months ago)on this story-theme....
It is not the role of this essay to make a sweeping denotation that the role of storyteller inevitably carries with it the role of Witch or Cunning Man; our societal conception of what story offers is to wide for that, but does seek to re-emphasise its primary function-as an intermediary between societies shared language and an invitation to ‘otherness’ to present itself, imagistically, to the group, and, in doing so, expand our capacity for knowledge. The largesse of the role I describe is certainly problematic and ripe for inflation-it is a call for something to burst open in the individual. It requires a certain shamelessness. However, when you become an eagle you attract the hunter.
The German artist Joseph Beuys embodied this shamelessness, and was suitably attacked;
'He was a bullshit artist of unrivalled ambition and stamina…pure hokum,and yet we readily succumb to its lyricism.'
Robert Storr, Joseph Beuys: Diverging Critiques, (Liverpool University Press)
‘We readily succumb to its lyricism’ indicates Storrs awareness of the desire for enchanters, even in the late twentieth century. His wider essay on Beuys is appropriately conflicted; “he was able to inject energy into outmoded roles and replenish a poetically bankrupt mysticism” Storrs opens the controversial ground of Shaman and Showman, acknowledging a cultural desire for the former and the reality of receiving the latter.
We know of Beuy’s being shot down as a Luftwaffe pilot, ruptured with shrapnel, and then being rescued by a nomadic people, the Tartars, and brought back to health by being wrapped in felt. This conspicuously mirrors elements of the descent, rupture and renewal process we locate in myth and rites-of-passage. Rather too well, claims Storr.
In certain shamanic initiations young Shamans are invested with 'medicine bones' that are placed into the reshaping of the initiate’s body; items such as rock crystals replace the previous body part-the anatomy now containing information from the mineral world, a wrenching and distortion bringing life into a new, expanded harmonic. One account from the Unamatatjera recalls the climax of this process:
"In the morning the old man came and looked at him and placed some more atnongara
stones inside his body, and in the joints of his arms and legs and covered his face with leaves. Then he sang over him till his body was all swollen up. When this was over he provided him with a complete set of new inside parts, placed a lot more atnongara stones in him, and patted him on the head, which caused him to jump up and live."
B. Spencer and F. J. Gillian, The Northern Tribes of Western Australia, 1904, p457
A positive appraisal could suggest that Beuy’s "Medicine Bones" were the shrapnel lodged in his physical form, elements that collided biology and machinery, colluding in his descent into illness and the rapture of his renewal. The breaching of the skin also perforates ideas of unequivocal containment. In shamanism these new attachments to the body are seen to contain distilled consciousness of the arena they originate from: mineral, plant, animal etc, so we encounter Beuys receiving concentrated knowledge of the atmospheric of war, the shadow of his own people’s psyche, appalling in its intensity. In one infinite moment Beuys is suspended in the death space, is split open by the projected violence of combat and is left changed, holding through experience a key to the expanding possibilities of the community.
Beuys is an exceptional figure for bringing an explicit ritual sensibility to modern art that didn't feel hackneyed and clumsy. He refused the one -sided, tribalised myth of thirties Germany and became a Grief Man for some of the distorted and poisoned mythology of that era. The rawness of his work but also the Apollian intelligence and ambition he presented has caused him to become a totemic figure in a very confused field. Of course, distorted myth is not purely a German problem, but an international dilemma of how a society subverts and distorts its mythologies-no one has clean hands.
It is interesting to note Stoor’s use of the word ‘bullshit’-we see Trickster entering the picture with the controversy around Beuys,all sorts of shadowy, scatalogical, half-formed suspicions form a noose for his heretical neck. It is appalling for the enlightened mind to feel that compulsion towards the murky, spell- like atmosphere of the story-man arise yet again, as if Descarte never happened.
But Beuys was nothing if not cunning (a very Tricksterish quality) and understood that controversy will always accompany true art-maybe his scar tissue toughened his skin.
Of course, cunning derives from cunnen-to know.
FINAL CHALLENGE: Which characters, or energies, or mythic archetypes do you draw on most in your life? (Wolfish Lover, Gregarious Queen etc) Where would you see their influence? (mostly unconscious).
How is mainlining a particular force causing an imbalance?
Write about their atmosphere-scent, smell, color, mood. When and why did they appear in your life? How are they related to your families influence?
Answers the back of a one-legged, boozy crow and sent to Tregonning House.
OK-more soon.
Martin
Thursday, 7 January 2010
Thursday, 31 December 2009
The last,wintery, hours of 2009 hang over Tregonning House, and my rather sniffly, gaze peers out at the slate grey sky. I say sniffly, actually it feels like the rarely spotted, burgandy dappled Algerian cough gargoyle has taken up residence in my chest. I'm not 100% i must admit. Several episodes of 'Northern Exposure' later i feel well enough to stroll the soulful corridors of our house, picking books off shelves and watching the pages swim before my hot eyelashes.
So, books. I would like to recommend some-especially for those looking for some theoretical muscle around the myth-world. They are tough at times, but basically quite readable. Its so important to read if you possibly can. These books all benefit from underlining and note-taking.
So, in no particular order:
SACRED NARRATIVE: Readings in the Theory of Myth edit. Alan Dundes, University of California Press.
MASKS,TRANSFORMATION,AND PARADOX A. David Napier, University of California Press.
THE FLUTES OF DIONYSUS: Daemonic Enthrallment in Literature R.D. Stock, University of Nebraska Press.
MYTHS OF THE DOG MAN David Gordon White, University of Chicago Press.
MYTHOGRAPHY: The Study of Myths and Rituals William G. Doty, University of Alabama Press.
Favourite poetry books are no contest:
WHAT NARCISSISM MEANS TO ME Tony Hoagland, Grey Wolf Press
NORTH OF THE CITIES Louis Jenkins, Will O' The Wisp Books.
None of these books came out in 2009 or even close-but i recommend tracking them down.Time ain't no straight line.
For any second year myth students i would say these are essential texts-we will be referring to them in the next two gatherings.
My own literary irons are in the field this Christmas (view last few blogs for excerpts), but i feel in to befuddled a state to offer any more fiendish speculation.
I have loved this year: the friends made, the many thousands of miles traveled, the conferences, camps, woodsmoke and poetry, the mad howls of emerging Deer Maidens and Piratical Wolf Singers. Love to all at the Westcountry School of Myth, Great Mother Conference,Minnesota Mens Conference,
UK Wilderness guides council, All at Mythsinger (Washington State),the Block Island powerhouses, Brooklyn Myth-Cats Erin and Nick, Carolyn Casey, David Darling, Lisa Starr, brother Coleman and all the many beloveds wandering the hidden tracks of this world-may you have warm moccasins and plenty of soul-vittals in your hunters bag.
Hey, Santa got me some Lagavulin, vintage Levi shirt and a Chess set to name but three. A final reminder that the 'ROAD OF SOLITUDE, ROAD OF VOICE'is NEXT weekend (just over a week) so get in touch today to confirm attendance.
martin@schoolofmyth.com
See you down the road in 2010!
Martin
So, books. I would like to recommend some-especially for those looking for some theoretical muscle around the myth-world. They are tough at times, but basically quite readable. Its so important to read if you possibly can. These books all benefit from underlining and note-taking.
So, in no particular order:
SACRED NARRATIVE: Readings in the Theory of Myth edit. Alan Dundes, University of California Press.
MASKS,TRANSFORMATION,AND PARADOX A. David Napier, University of California Press.
THE FLUTES OF DIONYSUS: Daemonic Enthrallment in Literature R.D. Stock, University of Nebraska Press.
MYTHS OF THE DOG MAN David Gordon White, University of Chicago Press.
MYTHOGRAPHY: The Study of Myths and Rituals William G. Doty, University of Alabama Press.
Favourite poetry books are no contest:
WHAT NARCISSISM MEANS TO ME Tony Hoagland, Grey Wolf Press
NORTH OF THE CITIES Louis Jenkins, Will O' The Wisp Books.
None of these books came out in 2009 or even close-but i recommend tracking them down.Time ain't no straight line.
For any second year myth students i would say these are essential texts-we will be referring to them in the next two gatherings.
My own literary irons are in the field this Christmas (view last few blogs for excerpts), but i feel in to befuddled a state to offer any more fiendish speculation.
I have loved this year: the friends made, the many thousands of miles traveled, the conferences, camps, woodsmoke and poetry, the mad howls of emerging Deer Maidens and Piratical Wolf Singers. Love to all at the Westcountry School of Myth, Great Mother Conference,Minnesota Mens Conference,
UK Wilderness guides council, All at Mythsinger (Washington State),the Block Island powerhouses, Brooklyn Myth-Cats Erin and Nick, Carolyn Casey, David Darling, Lisa Starr, brother Coleman and all the many beloveds wandering the hidden tracks of this world-may you have warm moccasins and plenty of soul-vittals in your hunters bag.
Hey, Santa got me some Lagavulin, vintage Levi shirt and a Chess set to name but three. A final reminder that the 'ROAD OF SOLITUDE, ROAD OF VOICE'is NEXT weekend (just over a week) so get in touch today to confirm attendance.
martin@schoolofmyth.com
See you down the road in 2010!
Martin
Wednesday, 16 December 2009
Well, it's officially cold. Totnes market was warm at first but WAY too many people, it was like a mini-Glastonbury at times. Still, a spot of freezing drizzle cooled the collective ardor and people soon scattered into the surrounding ditches, brothels and prisons and palaces they normally abide in. Chips on the way home and chauffeur to a car of many twinkled-eye kids.
I am deliberately not thinking about 2010 much as if it is busy as i think it is going to be i would be best off getting some form of rest when i can. Very pleased to be teaching alongside LEWIS HYDE of 'the Gift' and 'Trickster Makes This World' fame at Robert Bly's Great Mother Conference first week in June, over at Maine, U. S. You have just got to get to this conference-the folks who go i carry with me like some anarchic, invisible army of supportive hooligans of all that is truly beautiful. Tear open the piggy-bank and GO.
I'm bringing over stories of the Celtic ecstatic Taliesin and the fact that all countries, underneath the soil,arrowheads, crustations, memories and roots are secretly ANIMALS that require certain coaxing songs to be sung to their limbs and earthy veins before any eco-treaties can fully work. and i know Coleman Barks has some great medieval Welsh translations he could be encouraged to read with just a murmur of encouragement. Caroline Casey will be wrenching befuddlement
from the jaws of slumber and turning it into intensely coloured arrows of whiskery beauty which flies from the tigerish bow of all true and mischievous souls. Phew.
The deepest gift though is the assembled tribe-every conversation is some kind of learning curve of love.
I will be making a big 1-2 month trip over to the states from then onwards (with family)that will certainly take in both coasts and Minnesota. If you know of wonderful spots that might suit the work let me know as i'm putting the plans on the table right now.
Well, i should start wishing us all a merry christmas. Waitrose are doing Lagavulin whisky on special at £33 per bottle rather than £40 so jump-spend the money-its God's own cough medicine. All bottles ecstatically received at Tregonning House.
I wish us all cosy glows and slap and tickle and beautiful old hymnals of shepherds and the moon and the boy with the scent of hay. Stay up late and look for Pan and his piping at the gates of Dawn on Christmas day. I think him and JC are better friends than many of us suspect.
I am saluting the life of RUMI with Sufi mystic Reshad Feild over at St. Johns Church, Bridetown, Totnes at 7.30 on Thurs 17th Dec-its free-love to see you there.
So bless you into the new year and the life you are meant to have. Its wonderful to know that people actually read these animistic mutterings.
I will leave you with something from the poet Bhartrihari
let's discount envy to start with
You high minded men, tell me what
you think. What is best: the sloping
sides of hermit mountain
or the sloping thighs
of a woman fond of lovemaking?
Slange! x
I am deliberately not thinking about 2010 much as if it is busy as i think it is going to be i would be best off getting some form of rest when i can. Very pleased to be teaching alongside LEWIS HYDE of 'the Gift' and 'Trickster Makes This World' fame at Robert Bly's Great Mother Conference first week in June, over at Maine, U. S. You have just got to get to this conference-the folks who go i carry with me like some anarchic, invisible army of supportive hooligans of all that is truly beautiful. Tear open the piggy-bank and GO.
I'm bringing over stories of the Celtic ecstatic Taliesin and the fact that all countries, underneath the soil,arrowheads, crustations, memories and roots are secretly ANIMALS that require certain coaxing songs to be sung to their limbs and earthy veins before any eco-treaties can fully work. and i know Coleman Barks has some great medieval Welsh translations he could be encouraged to read with just a murmur of encouragement. Caroline Casey will be wrenching befuddlement
from the jaws of slumber and turning it into intensely coloured arrows of whiskery beauty which flies from the tigerish bow of all true and mischievous souls. Phew.
The deepest gift though is the assembled tribe-every conversation is some kind of learning curve of love.
I will be making a big 1-2 month trip over to the states from then onwards (with family)that will certainly take in both coasts and Minnesota. If you know of wonderful spots that might suit the work let me know as i'm putting the plans on the table right now.
Well, i should start wishing us all a merry christmas. Waitrose are doing Lagavulin whisky on special at £33 per bottle rather than £40 so jump-spend the money-its God's own cough medicine. All bottles ecstatically received at Tregonning House.
I wish us all cosy glows and slap and tickle and beautiful old hymnals of shepherds and the moon and the boy with the scent of hay. Stay up late and look for Pan and his piping at the gates of Dawn on Christmas day. I think him and JC are better friends than many of us suspect.
I am saluting the life of RUMI with Sufi mystic Reshad Feild over at St. Johns Church, Bridetown, Totnes at 7.30 on Thurs 17th Dec-its free-love to see you there.
So bless you into the new year and the life you are meant to have. Its wonderful to know that people actually read these animistic mutterings.
I will leave you with something from the poet Bhartrihari
let's discount envy to start with
You high minded men, tell me what
you think. What is best: the sloping
sides of hermit mountain
or the sloping thighs
of a woman fond of lovemaking?
Slange! x
Monday, 7 December 2009
A CULTURE OF WILDNESS
here is a brief segment from this current essay, that in many regards follows on from last weeks section.I would read that section first for this to make some coherance (scroll below). As they gather in Copehagen for the eco- summit this is a belief that something like the below is needed in all these frantic polemics. I am still tinkering with it, so this will only be up for a day or two before i drag the words back into the tool shed and bring out the poetic spark-plugs. Thrashing rain outside here, everyone ill or about to be-Onwards! screamed the Khan.
A Culture of Wildness
Culture…had meant, primarily, ‘the tending of natural growth’, and then, by analogy,a process of human training. But this latter use, which had usually been a culture of something, was changed, in the nineteenth century, to culture as such, a thing in itself.
(12) Raymond Williams, Culture and Society, (The Hogarth Press, 1958) p.xvi
I think that the chymeric posture of the ancient storyteller offered a contribution to William’s ‘tending of natural growth’, in fact amplifies the sense of ‘culture’ past more contemporary anthropocentric connotations, offering a perception that includes the wild-nature, visions, ecstacies, contact with the spirits of whales, owls and the antelope. Initiation rites, which have diminished widely since the industrial revolution of the nineteenth century, were an attempt at a culture of wildness.I think that Williams assessment of the current associations of the word ‘culture’ connotes grave damage.
I suggest a reassessment of what constitutes culture is necessary, and the return to the use of a culture ‘of’…its current, rather monolithic status, in the face of ecological issues, appears shaky to say the least. This assumption of culture or wildness (wildness is not chaos), has created a legacy we see daily writ large all around us.
An association of the etymology of the word ‘culture’ is colere, which means ‘to till’ (13). To till is to dig, to sweat, to make contact with the texture of soil, root, and worm; it is a move downwards, towards the subterranean. Its seeks relationship to the information of earth- through a certain labour and discipline- that ultimately flourishes into clear wine for the wider community.
Imaginative Health and the Language of Injury
This broadened perception is also crucial for the health of the imagination: it creates a conduit for un-prescripted image to carry the myth of a person, community or country forward and into uncertain futures, rather than caught in the petrified symbology of the entirely consensual. The stories are again in movement.A desire to return to childhood is often really a desire to be connected again to a free-ranging imagination (the reality of such a return would be untenable to most.) A culture of wildness would seek to engender that associative, curious consciousness in an adult, rather than a regression to childhood. To be child-like in this regard, rather than child-ish.
It is this very capacity that enables us to revision the transgressions and triumphs of our lives, to mythologize our pathologies. This is all symptomatic of the imagination in full health, rather than anchored to a tiny set of ingrained symbolic references. Oddly, it is often a descent from physical lustre that creates that very imagistic freedom-Andre Gide says that illness opens doors to a reality which remains closed to the healthy point of view.
So this re-seeing deepens perception, encourages metaphor and includes attention to marginalised, abandoned, bizarre, troublesome, absurd mythic impulses that arise without permission. When the orchestrated crisis of initiation is abandoned, we are more likely to encounter such heretical visions in the throws of illness than the brightly lit lecture hall. As the discredited, shocking image-language shuffles forward we create accord again with the wisdom of stagnant pools, roadkill and the shovel of the gravedigger. We allow the propulsions of unbidded vision to be accommodated within the wider remit of ‘knowledge’. This propulsion offers linguistic health too; this essay claims that there is a significant passivity in much contemporary language, a disappearance of vital, thoughtful words that match the fast decline of certain animals, forests and stretches of wilderness. I would suggest that words are quietly disappearing from dictionaries daily.
A culture of wildness is accommodating of these rough but subtle images. It does not seek to stagnate but to stay true to its essential mythic promiscuity. If there is no move to the margins, no complicated assignation of rationality and intuition, then myth cannot truly exist.
The etymology of the word ‘wild’ includes associations of ‘astray, bewildered, confused’ which indicates its very genius lies next to vulnerability and the bereft. It is a culture of inclusiveness, and suddenly the Gods are everywhere; implicit in conversation, symptoms of illness, fetish, relationship-we start to possess a vision-language of the deity that stands behind the impulse.This perception is polytheistic , un-literal, and connected to imagination more than belief, at least in its concrete sense.
To function in their deepest vocation, the storyteller must stand in the burning ground of prophetic image, a scarecrow of words, pushed by invisible winds.
As even governments crane their heads towards those very winds, as nations bend once more to strategize some form of ecological recovery, it is this very position of illumination through descent, and openess to what the metaphors as well as the literalness of crisis is informing us with, that suggests a holistic response to our nefarious challenges.
The storyteller in all of us needs to till dark earth, to wander into bewilderment, to allow the cracks of sacred hallucination to broker new images of transformation and dialogue. ‘Mad Ireland hurt you into poetry’ wrote Auden of Yeats. Agender and assignation are only half the task; how do we discern the myth-language being spoken through the depleted ice cap and fatigued bee?
The tangled picture of a statistic needs the balance of imagistic vision for the souls intelligence to be truly roused.
Myth, not history, tells the true story of human identity.
(15) N. J. Giradot, Myth and Meaning in early Taoism; The Themes of Chaos,(University of California, 1983)p.165
A Culture of Wildness
Culture…had meant, primarily, ‘the tending of natural growth’, and then, by analogy,a process of human training. But this latter use, which had usually been a culture of something, was changed, in the nineteenth century, to culture as such, a thing in itself.
(12) Raymond Williams, Culture and Society, (The Hogarth Press, 1958) p.xvi
I think that the chymeric posture of the ancient storyteller offered a contribution to William’s ‘tending of natural growth’, in fact amplifies the sense of ‘culture’ past more contemporary anthropocentric connotations, offering a perception that includes the wild-nature, visions, ecstacies, contact with the spirits of whales, owls and the antelope. Initiation rites, which have diminished widely since the industrial revolution of the nineteenth century, were an attempt at a culture of wildness.I think that Williams assessment of the current associations of the word ‘culture’ connotes grave damage.
I suggest a reassessment of what constitutes culture is necessary, and the return to the use of a culture ‘of’…its current, rather monolithic status, in the face of ecological issues, appears shaky to say the least. This assumption of culture or wildness (wildness is not chaos), has created a legacy we see daily writ large all around us.
An association of the etymology of the word ‘culture’ is colere, which means ‘to till’ (13). To till is to dig, to sweat, to make contact with the texture of soil, root, and worm; it is a move downwards, towards the subterranean. Its seeks relationship to the information of earth- through a certain labour and discipline- that ultimately flourishes into clear wine for the wider community.
Imaginative Health and the Language of Injury
This broadened perception is also crucial for the health of the imagination: it creates a conduit for un-prescripted image to carry the myth of a person, community or country forward and into uncertain futures, rather than caught in the petrified symbology of the entirely consensual. The stories are again in movement.A desire to return to childhood is often really a desire to be connected again to a free-ranging imagination (the reality of such a return would be untenable to most.) A culture of wildness would seek to engender that associative, curious consciousness in an adult, rather than a regression to childhood. To be child-like in this regard, rather than child-ish.
It is this very capacity that enables us to revision the transgressions and triumphs of our lives, to mythologize our pathologies. This is all symptomatic of the imagination in full health, rather than anchored to a tiny set of ingrained symbolic references. Oddly, it is often a descent from physical lustre that creates that very imagistic freedom-Andre Gide says that illness opens doors to a reality which remains closed to the healthy point of view.
So this re-seeing deepens perception, encourages metaphor and includes attention to marginalised, abandoned, bizarre, troublesome, absurd mythic impulses that arise without permission. When the orchestrated crisis of initiation is abandoned, we are more likely to encounter such heretical visions in the throws of illness than the brightly lit lecture hall. As the discredited, shocking image-language shuffles forward we create accord again with the wisdom of stagnant pools, roadkill and the shovel of the gravedigger. We allow the propulsions of unbidded vision to be accommodated within the wider remit of ‘knowledge’. This propulsion offers linguistic health too; this essay claims that there is a significant passivity in much contemporary language, a disappearance of vital, thoughtful words that match the fast decline of certain animals, forests and stretches of wilderness. I would suggest that words are quietly disappearing from dictionaries daily.
A culture of wildness is accommodating of these rough but subtle images. It does not seek to stagnate but to stay true to its essential mythic promiscuity. If there is no move to the margins, no complicated assignation of rationality and intuition, then myth cannot truly exist.
The etymology of the word ‘wild’ includes associations of ‘astray, bewildered, confused’ which indicates its very genius lies next to vulnerability and the bereft. It is a culture of inclusiveness, and suddenly the Gods are everywhere; implicit in conversation, symptoms of illness, fetish, relationship-we start to possess a vision-language of the deity that stands behind the impulse.This perception is polytheistic , un-literal, and connected to imagination more than belief, at least in its concrete sense.
To function in their deepest vocation, the storyteller must stand in the burning ground of prophetic image, a scarecrow of words, pushed by invisible winds.
As even governments crane their heads towards those very winds, as nations bend once more to strategize some form of ecological recovery, it is this very position of illumination through descent, and openess to what the metaphors as well as the literalness of crisis is informing us with, that suggests a holistic response to our nefarious challenges.
The storyteller in all of us needs to till dark earth, to wander into bewilderment, to allow the cracks of sacred hallucination to broker new images of transformation and dialogue. ‘Mad Ireland hurt you into poetry’ wrote Auden of Yeats. Agender and assignation are only half the task; how do we discern the myth-language being spoken through the depleted ice cap and fatigued bee?
The tangled picture of a statistic needs the balance of imagistic vision for the souls intelligence to be truly roused.
Myth, not history, tells the true story of human identity.
(15) N. J. Giradot, Myth and Meaning in early Taoism; The Themes of Chaos,(University of California, 1983)p.165
Subscribe to:
Posts (Atom)