Archive for the ‘inspiration’ Tag

Seed Meets Trickle   Leave a comment

“A seed, a seed, at Imbolc a seed!”

“Ah, the seed has long lain there fallow, only at Imbolc do you at last feel it stirring beneath the snows.”

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mlvFranz

Marie-Louise von Franz

“One must start where there is still a flow of energy, even if it is just a thin flow, even if it seems silly” — Mary-Louise von Franz, Animus and Anima in Fairytales (Inner City Books, 2002).

Before and at and around Imbolc, the god Lugh draws me powerfully. Naturally, because time isn’t linear, and the workshop talk I’ve agreed to at Lughnasadh, a six-month conjunction with Imbolc and another fire festival, is now at work (was, before I agreed to it), by the god’s hand, or my own, or — more confusing and interesting — both at once. Snow on the ground, the land still in the grip of the Frost Giants (I like mixing myths, personally, at least by season), and here comes Lugh to prod me into action with his spear. Or if not action, exactly, some kind of attention.

The shape of the talk as it comes to me now in bits and starts will deal among other thiings with the matter of encountering a god, but also of any new course of action, of imagination, of inspiration. These wear different cloaks, but from what I can see, under them they’re the same, or at least siblings, equal parts trust and terror at times. Energy — which is what we are at heart, intelligent energy on the move.

So the seed, the nudge to change, to move, to grow — it comes and roots itself in us. And when the root-strength that cracks sidewalks and shoves boulders aside and generally plays havoc with human ideas of permanence and endurance finally gets to work, things move.

sowerAnd often enough the seed then dies in the ground. What nourishes it? We stomp on it, uncomfortable thing, reminding us that something outside us wants to work its will with us, here, too. Right in the middle of streaming Netflix and election madness and ISIS and the woeful state of things and our own personal misery and joy, the particular flavor and color of crazy that the current year puts on each morning, mourning. Just because.

But let trickle reach seed and GERMINATION! Watch out! Funny, the vegetation god from the House of Bread (which is “Bethlehem” translated, as John Michael Greer obligingly reminds us) puts it this way in a Gospel, which really is supposed to be good news after all. Or as a Bard thinks of it, a song for the queens and kings we could be:

And he taught them many things by parables, and said unto them, Listen, a sower went out to sow: And it happened, as he sowed, some seed fell by the wayside, and the birds of the air came and devoured it. And some fell on stony ground, where not much earth was; and immediately the seed sprang up, because it had no depth of earth: But when the sun rose, it was scorched; and because it had no root, it withered away. And some fell among thorns, and the thorns grew up, and choked it, and it yielded no fruit. And other fell on good ground, and yielded fruit that sprang up and increased; and brought forth, some thirty, and some sixty, and some a hundredfold. And he said to them, Those who have ears to hear, let them hear.

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We can play a part here in germination. (Says who? Well, I can argue about it, or I can try it out for myself. Which is more fun?) Where is my fertile ground? What god/dess is planting there? Where’s that trickle? Ah, there.

And so it begins. If I’ve learned anything to pass along, it’s the magic when seed and trickle meet. I can’t make seeds, but I can maintain a greenhouse for them. I can’t start the trickle, but I can pay attention when one comes — I’ve got ears to hear — and help it flow or block it. There. To work.

IMAGES: ML von Franz; sower.

 

 

 

 

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Nano ’14 Update and Fragment   Leave a comment

nanowidge4-14Reporting in from the depths of Nano-ing. My goal is 25K by this Saturday, the halfway mark, and I’m obviously behind, though not impossibly so. Woo-hoo!

So here’s a recent fragment from my deeply drafty work so far. On Dirnive (that DEER-nee-veh, if things like names matter to you like they do to me), Emily’s private “other world,” a council tasked with contacting her fails in its first attempts. But the fallout from their efforts on Emily’s emotional and mental equilibrium is nonetheless severe. Medication and therapy have succeeded only in making her sleepy and angry respectively. Here she meets with yet another in what is becoming a string of therapists who can make little headway with their young patient. Of course, there’s a simple reason for that: Dirnive is actually real and not merely a disorder or complex or hormonal imbalance. Oh, and Char is one of Emily’s friends from St. Swithin’s.

“Well, Emily, this second session is where we have a chance to begin to get to know each other. Is there anything you’d like to say to get us started?”

Emily gazed at Dr. Ericson, her new therapist, and sighed to herself. Another expert.They’re all alike. She smiled sweetly and decided to play along. She turned on the sweet biddable teenage girl charm. But not too much. Understated. That’s the trick.

“There’s this repeating dream I’ve had,” she began, “three or four times now. Maybe that will give us something to work with, doctor.”

Emily took a deep breath.  Just improvise, Char always says. Well, here goes. “In the dream I’m always in the same place at the start. On a shore, just gazing out to sea, and there’s a single small cloud on the horizon, off in the west. And I know pretty soon I’ll be flying over the water toward the cloud. And I hear Lara’s theme playing. You know, from Dr. Zhivago? The weird thing is, it’s being sung by some of my St. Swithin’s classmates, and they’re all dressed in formal wear, like for a prom, but they’re all in Russia for job interviews. Weird, right? And then Zhivago, you know, the actor I mean, what’s-his-name, Mom and I just watched it last year. Omar Sharif! Yeah, that’s it. So Omar comes out in a cowboy hat and spandex but no shirt. Love the name!  I’m so gonna call my firstborn Omar. So anyway, he interviews the Swithiners for a script-doctor position for the film we’re making. Only it becomes a film about my left big toe, not the Pasternak novel. And my toe has a sad little face painted on it, like a clown’s, along with a period costume for the movie. And he, Zhivago I mean, or Sharif, not my toe, he promises them all a salary that will be paid in cheese blintzes, as long as no one cuts off my toe before the scripts are finished. Which I’m worried about, my toe that is, and I want to tell Lara about it, ’cause she’s been standing there the whole time, rocking the blonde thing and nodding sympathetically at all of us, but she’s off to a mouse festival. Which makes sense, kind of, in the dream anyway, at least with the cheese in it. So I wake up crying ‘No cheese blintzes!'”

She paused. “Wild, huh? What do you think it all means?”

The therapist looked perplexed. Emily barely managed to swallow a shout of laughter. She coughed to cover it. Dad would be absolutely hysterical by now, she thought gleefully.

“What Remains in the Journal, What to Communicate”   1 comment

handbirdIn her comment on a post from August ’13, Lorna Smithers makes a distinction particularly vital for “Bardic types” that I want to take up here, especially in light of my last post:

The division between what remains in the journal and what to communicate is a question I confront continuously as a Bard, for unlike with a path that focuses solely on personal transformation through magic, Bards are expected to share their inspiration.

I find that some experiences are ok to share immediately, others need time to gestate for the meanings to evolve and take on a clearer form, and a select few may always stay secret.

I see good craftmanship to be the key [to] sharing experiences. In contrast to the vomit of ‘compulsive confession’, well-wrought craft lifts the raw material into the realms of art, creating works that affirm the awe and wonder of the magical world.

That Bardic instinct to share inspiration that may or may not have been shaped by art can get us in trouble.  The desire to bring into physical expression something that’s going on in your inner worlds can lead to what Lorna accurately calls vomit.  Sometimes, of course, awen really does drop a piece of loveliness in your lap.  It arrives fully-formed, and you run with it, dazed and delighted and puppy-like in your enthusiasm to share the wonder of it with all and sundry, but that (the gift of inspired loveliness, not the puppy-like response) usually only happens when you’ve done plenty of the hard slog of shaping already, alone or with only yourself and your gods for support of a vision no one else may even know anything about.

Sometimes the time and energy your pour into nurturing your creativity can make you defensive if you haven’t “produced” anything visible.  If you’re a writer, for instance, you’re not a “real” writer till you’ve “published.”  Few will care about the months, years or decades of work that may lie shelved in boxes or occupy megs of space on a computer.  The same holds true in comparable ways for anyone who’s devoted time and energy to a craft or art.

Lazy-at-workArtists who should know better sometimes like to hint, or let it be inferred, that this business of “awen on command” is how they work all the time, both mystifying us “ordinary mortals” and also doing a disservice to their craft and the nature of inspiration.  Talent, oddly enough, responds well to practice, and no one works most of the time without effort.

The Anglo-Saxon bard was called a sceop, pronounced approximately “shop,” “one who shapes” inspiration into language and song.  And the word bard comes from an Indo-European root *gwer- that means “to praise”  or “to sing,” indicating two of the roles of the Celtic bard. The same root appears in Latin gratia, and English grace — a whole cluster of relationships — the gift and our response, our gratitude, and the quality in things blessed with awen, the loveliness and fluidity and rightness they often evince.

But if I opt to share something that’s not ready or right to share, I’ll usually regret it.  Let me enthuse or gab about a story or an inner experience before its proper time, and it may lose its luster.  It no longer thrills me enough to work with it, and I take what was a gift and cast it aside, its charm lost.  The spell is broken, and I am no longer spell-bound, or able to do anything with it.  Like the old fairy story of the goblin jewels, in the daylight of the blog, or the careless conversation with another, the one-time treasures that sparkled and shone under moonlight have turned to dead leaves.  One or two such painful experiences is usually enough to teach anyone the virtues of silence, restraint and self-discipline.

walkingAnother half (there are almost never just two halves, but three, four, five or more) of the whole, however, is that keeping the flow going, trusting the awen enough to go with what you get, and allowing the work to manifest, brings in more.  Jesus did know what he was talking about when he said (paraphrased to modernize the language), “To people that already have, more will be given, and from people that don’t, even what they have will be taken away.”  While this may sound at first like contemporary government policy and destructive legislation and current economics, it holds true on the inner planes, in the worlds of inspiration and imagination.

Lorna herself is an exemplar of this Bardic trust and inspiration.  As an Awenydd, one who receives and shapes the gift of awen, she demonstrates in poetry and photography on her blog and in performance the mutual bonds with the Otherworld and spirits of place that make up her path.

And so it was with considerable interest that I read her account “Personal Religion?”  well into writing this post, while I was checking that the URLs were right for the links to her blog.  She experiences a strong reaction on hearing about the OBOD Golden Anniversary celebrations, and launches into a series of probing personal questions without immediate answers which I urge you to read directly.  The challenges she faces are those of one attempting to be faithful to a call, and she follows a path with honor.  Her struggles illustrate the living nature of the Pagan path, with its many branches and trails.  Her practice flourishes precisely because she strives to be faithful to her own vision, which may not always grow and bloom under the “big tent” of orders like OBOD.

Making that struggle visible is valuable — posting it for others to read, ponder and benefit from.

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Images: handbirdhard at work; walking.

 

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