Archive for the ‘nanowrimo’ Tag

New Year, Old Year   Leave a comment

Around a fire into the evening on Tuesday, a delicious and quiet Samhain with three others. Before that, a lovely group Samhain of 40 last Friday in Western MA. And one more Samhain celebration to come, with our Vermont Seed Group on Saturday, in two days’ time.

A fine invocation for Thursday evenings of the Samhain season, in Caitlin Matthews Celtic Devotional:

As the Winter closes about our ears, and the wind blows chill, I call upon my soul’s teacher to show me the progress of the day. In the depths of doubt and uncertainty, may we always be shown the next step of the road.

And we are.

Three years ago on Samhain I wrote:

We stand at the eve of winter in the northern hemisphere, with the change to standard time in the U.S. to underline the shift and bring on darkness an hour earlier in the evening. The change proves useful, I find, to draw me out of private thoughts and back toward awareness of the planet beneath my feet and all around me, awareness too of all the kin who whisper and flap and caw and bark and write blogposts and sit across the table from me.

I’m called to fast, I’m summoned to be born. Ignore the call, and I suffer, goes the divination.

Celtic-Cross-Layout-240x300So I heed my own words and listen.

What does the Tarot say? With the classic 10-card Celtic Cross spread, I ask about the shape of the coming year. Here are the cards I drew, with fairly standard interpretations of the positions first.

1–The present. Also, the self, or the querent’s state of mind: King of Pentacles.

2–The crossing card, placed over the first card; the immediate influence, problem, challenge, etc.: Queen of Swords.

3–Destiny; in some spreads, placed above as the “crown” of past influences: Devil.

4–Distant past; or in some interpretations, the future — to the right: 5 of Swords.

5–Recent past, or conscious focus, above: 7 of Cups.

6–Future influence; or the unconscious, the underlying or the true driving force of a situation — below: 9 of Pentacles.

7–The querent; self-perceptions: 4 of Pentacles.

8–External influences: Knight of Wands.

9–Inner emotions, a tangle of fears and hopes: The Star.

10–Outcome or final result: The Moon.

Detailed Analysis:

kingpentI start with seeing the major arcana as the soul’s journey, and minor arcana as individual human lives. Here, both as my own physical incarnation and as a wider representation of earthly powers and princes, card 1 with the King of Pentacles is dominant. The Court cards may be interpreted as personalities, with the king as an older male, and pentacles concerned with resources. The challenge or immediate influence of card 2 is the Queen of Swords, a feminine influence or figure in thought. As a past influence or tendency toward destiny, card 3 with the Devil is immersion in materiality, often polarized as male and female, or dual in nature. It can also represent dark magic, against and by the self most of all. Numerically his Tarot number 15 reduces to 6, linking this card, and the Devil’s influence, both to the future and to the unconscious — no surprise.

The distant past (or future) of card 4 in the spread is the 5 of Swords, a mental sorting or balancing. This can lead to a crisis or challenge all its own, because — arising from a single element — it is incomplete. It presages the later Star of card 9.

7cupsThe recent past and conscious focus of card 5 is the 7 of Cups,  magic, spirituality, results, completion, mixed with or focused on emotion. The unconscious or true influence of card 6 is the 9 of Pentacles, a fixing, ending or culmination of resources. Card 7, self-perception, is the 4 of Pentacles, stability or security — again, of resources. The external influence of card 8, the Knight of Wands, is a younger personality or presence, more fiery and ambitious. Card 9, the card of hopes and fears, is the Star, deeply important on the other path I practice, and present in our proverbs and idioms as guiding star, north or pole-star, and also as dis-aster, ill-starred-ness. Its Tarot number 17 reduces to 8, and hence influences or pairs with card 8. The final outcome or result of all of this is the Moon, whose Tarot number 18 reduces to 9 and pairs with card 9: a strong linking of the last three cards.

Summation:

RWS_Tarot_18_MoonWith 3 of the 10 cards coming from Pentacles, resources and the physical world will be a prime focus of the year personally and for the planet. Balancing feminine energies to the mature male energies in play are an immediate aspect of the present and near future. Destiny and past influences at work, though not inevitable, are ones we have both initially set in motion and strengthened by our sharp focus on materiality. Our outer fixation on security and stability may feel reasonable, given such destabilizing forces at work. But while our hopes and dreams focused on these things are valid, pursuing them along a still-material path, even with a renewed youthful vigor, will not return us to what is stable and safe. Other directions we have recently begun to explore can prove more beneficial. We’ll see moon-like changes, darkness and light alternating in phases.

I’ll return to this in a year and see how I did.

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1074Once again I’ve set out on the remarkable journey that is Nanowrimo, churning on toward my first day’s word-count goal of 1666 words (50,000 words divided by the 30 days of November). Not too late to join us!

 

IMAGES: The original 1910 Rider-Waite deck is now in public domain in the U.S.; these images from that edition come from Wikipedia.

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Firsts, Followers, Magics   Leave a comment

IMG_1637

Pine on our south property line

OBOD’s weekly email “Inspiration for Life” offers good advice here, but frequently my question after reading is this: how exactly do I go about practicing any insight it contains? And of course part of any answer sends me back to digging through what I’ve learned. It prods me to open my spiritual toolkit once again.

Here’s a recent weekly prompt, as I think of it, for a possible focus I might take up during the week:

Don’t feel bad about feeling bad. Don’t be frightened of feeling afraid. Don’t be angry about getting angry. There is no need to give up when we are feeling depressed. Nor should we be dismayed at the grief which often accompanies the outgrowing of anything which needs outgrowing. We can be glad that our soul is speaking to us and pushing us onwards. We frequently need to persevere with a period of inner turmoil before the dust can settle and be swept out the door. — Donna Goddard

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First comes an experience, and then any emotional response to it we may have. Sometimes there isn’t one, though often one comes, just not right away. My wife and I moved out of state for a promising new job, quit within a month, and moved back to Vermont in mid-September. In various ways I’ve been dealing with more fallout from that over the past thirty days than I did in late September, when the event happened, or shortly after we returned.

These delays frequently catch us off guard because of the time gap between initial event and response. Then we react to our reactions, without looking at the cause. Sometimes our secondary reaction takes up our attention and energy far more than the original experience or emotion. So we fill too many waking — and dreaming! — hours grappling with the effects of effects, rather than being cause in our own lives. And if like me you’ve truly mastered this peculiarly modern and dysfunctional art, you now feel guilty for a second, third or even fourth-level reaction: your response to your response at emotions stirred by the initial experience. How craftily we perform these perverse and twisted magics against ourselves!

Fortunately, the same skill we use in tying ourselves in knots can serve to aid us in climbing free. It needs only our fire to turn it to our purposes.

So I summon my magic, starting with the Law of Reversed Effort. Rather than resisting the guilt, inertia and listlessness, I realize they’ve become so heavy they start to drop off me, pulled by their own weight and gravity. They puddle in a mess around my feet. Stepping away, I begin to rise, calling for help if I wish from teacher, friend, familiar or other beneficent spiritual presence as I ascend.

As I rise, I pass through clouds, and then suddenly I’m above them. Here the sun shines with an intense brightness I can feel warming my skin. I continue to ascend, the earth growing smaller and smaller beneath me. It’s now a blue-green ball of coolness beneath me, the solar system around me. Then that too recedes. The whole galaxy swims around me, then clusters of galaxies, shining strands of stars and families of stars. Piercing the sphere of the cosmos like a soap bubble, I rise yet further, into another and larger universe. I slow and pause, absorbing the sense of light and freedom and expansiveness.

When I am ready, I descend back the way I came, through galaxies, back to the solar system, back to earth, and down into my body again. When I feel my physical form sitting on the chair, I savor the sense of lightness and ease, and give thanks. Then I open my eyes, savoring the gift, and record the experience.

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In this world rich with experience, it’s fine that I am not always the cause. But it’s immensely helpful, in such an interconnected world, to remember that things don’t happen to me, as if I’m a stone, but for me, because I’m an integral part of the web. It’s feedback for what we’re all doing. Just this shift in awareness can begin to free me to find useful insights, spiritual tools, and paths forward, right in the middle of circumstances that otherwise may feel like dead-ends. Because choosing to be the effect of thoughts about experiences will return me to remarkably useless perceptions, like “That’s just your imagination!” which of course is perfectly true, but not, however, in the sense that this accusation comes.

Imagination is spiritual sight. It’s never just one thing. In fact, it constantly, unfailingly, eternally (internally!), tries to show us multiple, innumerable other ways to see, to perceive, to understand, to celebrate, to create. It shows us ourselves, and everyone and everything else, as we can be. Not in a Disney, fluff-bunny or Hallmark sense, but in the truer sense of potential buried and awaiting all the transformations that human consciousness is designed to achieve and manifest.  Here, where it’s needed most. In the middle of the sturm and drang, the drama, the doom, the headlines, the media chatter. Yes, right in the middle of it all, a birth, a growth, a flowering.

Imagination at work is nudging the roll of the cosmic dice, when the Dungeon Master sets us to establishing who and what we will be in this iteration of the Great Game. Because we know we’re the dice, the throw that sets them rolling, the twinkle in the eye of the Master, and the numbers that come up which we then agree to play with, as well as the Players themselves.

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Or if that package of metaphors doesn’t work for you, fire is always burning. Honor it. We decide what to use it to ignite, warm, inspire.

Air is always breathing and flowing around us. Respect it. We decide what to breathe on, and endow with careful attention, thought, planning, symbolism, imagery.

Water is always pooling and rippling. We decide what needs nourishing at the roots, where the true dream lives, what we deeply feel, and how our hearts guide us along the paths we instinctively know already. Acknowledge it.

Lastly and most kindly, earth is ready beneath us, supporting us, stage for manifesting all we make of our lives from this moment forward. Love it.

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nano17-2

Peering out the windows of this train at strange new territory passing by, talking with curiously-attired strangers in the car, supping with voices and images of beasts and birds in my ears, dozing off with conversations still echoing. You know, the life of a writer obsessed for a time with characters and story.

At 27,201 words, I’m somewhat under my target word-count for Nanowrimo. The lovely impossible experience of any sustained period of writing means the simultaneous tyranny of daily word-sprints and counts and updates and bemoaning the calendar and days passing, along with a complete, blissful disregard for all these things, as I bathe in a refreshing pool under gentle sunlight, that has appeared in the middle of my story, a moment of solitude surrounded by moss and mists and a distant valley calling me to explore.

Nanowrimo 2017   2 comments

nano17-1So I’m off on another adventure in wordcrafting with Nanowrimo 2017 — you know, that intermittently sane online community that helps (goads) you to draft 50,000 words of a novel in the 30 days of November. I’ve attempted it several times before. Twice I’ve completed drafts I’m still revising that show promise.

The wisdom on the street is we all have a store of crap we need to write through in order to get to the good stuff, so I’m shoveling away. You know — the “there’s a pony in here somewhere” school of writing. Some days it’s “Neigh, pony — I can’t find you!”

Here’s a mostly self-contained excerpt touching on the relationship between two of the three main characters, Jack, a photojournalist, and Andie, his friend-with-benefits, that I’m reasonably pleased with. (This is a subplot in the larger story of a former U.S. protectorate in the Pacific now opening to eco-tourism, where Jack’s sent to do a write-up and photo-shoot for the travel magazine he works for. Main plot concerns a shamanistic encounter he experiences there. The fight with Andie mentioned below takes place shortly before Jack departs on his assignment):

In a burst of anger after their last fight, Jack deleted his pictures of Andie. All except one. That was a professional image she’d texted him, asking if it belonged in her portfolio. It showed her outdoors, a forest scene, in profile, modeling party wear, showing off her lovely proportions, along with a good percentage of thigh. Yes, he could easily concede, the way his gaze kept returning to her shape, that it wasn’t love, despite his protests to her, but simple physical attraction. But what he also kept returning to again and again was the repose in her face, a calm he’d rarely witnessed in person. What had centered her so deeply in herself? This was an Andie he liked very much. Why did he see it so rarely? Only once had he surprised her that way, when they lay cuddling, unmoving, barely breathing even.  She’d been facing away from him, but then he happened to look across the room and caught her expression, mirrored on the dark TV screen. The same.

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Posted 3 November 2017 by adruidway in Druidry, nanowrimo

Tagged with

Nanowrimo 2015   3 comments

bard-with-luteBard-twoYes — at it again. A rough draft of a novel in 30 days. 50,000 words. No, you don’t need a concept or a website like National Novel Writing Month — Nanowrimo for short — to write any time. But the sense of a community and a horde (300,000 people online qualifies as a horde in my book) of other writers madly hyped on caffeine or other stimulant of choice, all tapping and scribbling out uncensored, fervent prose, can help stir the synapses towards actually getting the words down. Think of it as one possible demonstration of Bardic arts.

nano15pic“Not a problem for you — after all, you maintain this blog, right?” you say. Try 1667 words a day of fiction for a month. Not such an impossibility– serious writers often set something like that as their daily word limit every day of their writing lives. Never done something like it? It can firm your resolve or leave you in the dust. I’ve been in both places. “So how ya doin’ so far?” you ask. Well, everybody starts small. That’s an hour’s work. Onto the rest of the month!

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Images: bard on left; bard on right.

Nano-ed ’14   2 comments

nanowidge50KwootFinished a day early, with a solid push for most of the day. Spent three hours at an informal Write-In at the Brattleboro library, which helped a lot. Tired–check! Glad I Nano-ed again this year–check! You can always learn more about process and the reaches and tricks of self-discipline and the divine gift of imagination. Looking forward to revising-check! But not yet.  First: sigh. S-T-R-E-T-C-H. Relax. Binge-video-watch. Ah!

“Oh no, ya can’t always git whatcha want”   2 comments

nanowidge34k“but if ya try sometimes …” Well, the Stones’ song is a good piece of writing advice for your main character. Give her what she wants too soon, and your story’s done before you’ve gotten to chapter two. But let her find out what she needs? Well, that’s at least as interesting.

When a regular blog doesn’t deliver the goods, some accounting by the blogger is in order. So here’s a quick Nano-update: I’m in the home stretch, a few thousand words behind, but that’s manageable. Eight days more! At this point I feel I have at least as many questions as my main character Emily: about the other world she’s been dragged to, about the people behind the scenes and their motives (because, let’s face it, how many people do you know who openly share their motives with you, alert you when they change, and generally keep you in the loop?). Yes, I’ve already written 30,000 words about her experience. Could you do justice to your life in 30,000 words?!

Of course, that’s half the reason to write: to find out what’s gonna happen next. And depending on whether the ending of the monster-lovely thing you’re birthing is clear to you, how it’s all gonna work itself out.  In my story, the girl gets the boy. But that’s when her real problems begin.

“Here, everything has a container”   Leave a comment

artofdreamsemBack from a seminar this weekend on the art of spiritual dreaming, with a series of quirky, honest, challenging speakers and panelists.  “Intimate” was a word I heard more than once to “describe the vibe”: the distance between speaker and audience collapsed in a remarkable way, so that we were all participants. Or as one speaker remarked, talking about his experience with dreaming and comedy and comedic training with the improv group Upright Citizens Brigade, “you show up, listen and tell the truth.” If the truth isn’t yet funny-sad at the same time, you keep showing up, listening, and telling and digging. You bring it with everything you are. ‘Cause otherwise, what’s the point? Except maybe chocolate.

But the statement I heard during the seminar that has stuck with me is the line that provided the title for this post: “Here, in these worlds of duality, everything has a container.” Or to put it another way, “soup needs a pot.” My wife and I riffed on this on the drive home. Relationships, stress,  jobs, life: we’re just having “container issues.” The center around which the storms rage witnesses it all. Uncontained, it doesn’t get slimed or cracked, burnt or broken, stolen, ripped off, bungled, overpaid or underappreciated. Container issues, these. How to shift attention off the containers, even for a moment, is a source of great freedom and possibility. Don’t, say some. Can’t, say others. Shouldn’t, say still others. We listen, and we don’t, can’t — until we discover a “why not?” lying at the bottom of the bag, like a stale fortune cookie, or a light-switch felt for, in a strange house or hotel room, in the dark. And we do.  And so it begins.

Hence the “art” part in the “Art of Spiritual Dreaming.” As an art, it needs practice. Really improves with trying out and adapting and personalizing, missing and picking up and proceeding in fits and starts, in the best human tradition.

The first stages of practice can be squeaky, atonal cries, like the noises from that violin you or your nine-year-old has just picked up and attempted to drag a bow across. Or grunts and groans, as when you move into that yoga posture, and you suddenly can count every damn one of the 206 bones, plus assorted tendons and ligaments, in the human body. Your body, thank you very much. Sometimes the art consists in not crying. Or doing so, with all the tears and sobs the situation calls for. If you’re a puddle, you’re sometimes half-way to “soup without the pot.” Then you climb back in. Repotted.

Your art may be different. “The Sabbath was made for man, not man for the Sabbath,” said a certain wise teacher not so many millennia ago. How your art comes to you is your life, what you’re doing today and tomorrow. And after that, maybe.  But when this art we’re all practicing becomes dogma, the artist — who’s the point of it, after all — gets lost in the bans, inquisitions, burnings, purges, pogroms, reformations, downsizings and re-organizations. (Looked at one way, it’s all church/work.) Let me out, says the Artist. I need to breathe. And when we confuse cop-out with drop-out, we’ve confused what Tolkien called the “the flight of the deserter” with “escape of the prisoner.” One is weakness, though sometimes we need to acknowledge weakness, too, just like with crying.  (Show up and tell the truth.) The other, the escape, is a necessity. The bush may survive in the prison yard, but it blossoms in open air. You and I dream every night (proven, documented, everyone single one of us, every night — remembering is just another art to practice) to escape the container into more open air.

We talked in the seminar about techniques.  They’re not hidden, not anymore. Half a hundred schools and temples and ashrams, synagogues and retreats and workshops teach them, sometimes try to claim them, copyright them even, if they’re reeeeely insecure, or greedy and want your $ or other equivalent metal and paper tokens.

Silence. Chant, kirtan, song. Prayer, mantra, favorite refrigerator-magnet team-building-button go-to verbal icon for centering. Icon, image, idol, focus, mandala. Posture, breathing, zazen, yoga, tai chi, krav maga, judo, karate. Ritual, rite, gesture, mudra. Dream, metaphor, lucidity, shift, imaging, visualization. All of these can rattle the container, making us aware of it if we mistake container for real deal, for the truth of what’s going on right now. Pursued with sufficient discipline and zeal, they begin to open doors. Too many! you may say. I’ve just begun with this one, and you’re dumping a truck-load on me.

All you need is to master just one technique, says the Teacher. Just one, and that will be enough.

Enough for what? Suspicious that someone’s selling you something? For me that enough leads to pure experience. Opinions just not needed till after, if at all. Tolkien describes his sense of new/familiar in one of many instances in The Return of the King, in the chapter “The Houses of Healing”:

… as the sweet influence of the herb stole about the chamber it seemed to those who stood by that a keen wind blew through the window, and it bore no scent, but was an air wholly fresh and clean and young, as if it had not before been breathed by any living thing and came new-made from snowy mountains high beneath a dome of stars or from shores of silver far away washed by seas of foam.

And if this metaphor, which is simply another technique, happens to work for you, you catch another glimpse that can be strengthened by one of the techniques here. Or if you’ve swallowed long years or lives of dogma and you practice denial as one of your (powerful) techniques for self-defense against liars and their lies, or simply if your spiritual taste is nourished by other food, it may not work, and you need to look elsewhere, and maybe else-how. And like so many things that may have started for you way back in high school, “you’ll know it when you find it.”

All of this is simply a larger over-technique. And because it’s shaped in words in this post, it may trip you up as much as help you. So with that caveat I pass it along for what it’s worth. Sometimes even an echo is enough to keep us going down the hall and out the gate and along the next path.

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nanowidge-mon11-17If you’ve been following my nano-progress in the last few posts, you’ll see by the numbers here (showing up and practicing my telling the truth) that I’m lagging in the numbers game. Words, word-count, Nanowrimo, this novel, writing — all containers.  Necessary, but not the final story. I’ve got plenty to write, but it’s coming slower than usual, because it feels good to get it right.

Like the story’s already out there, Emily’s sitting here in the living room, curled up near the fire on a snowy, rainy, yucky Vermont day. She’s cradling a mug of tea in one hand, reading or sketching or listening to music, waiting for the next segment I’m just finishing up, and I’m trying to tell it accurately so she’ll recognize it. Or I’m transcribing from a dream what she told me in detail, in Dirnive, which she granted me a pass to enter last night, and I have to punch “replay” and re-enter that dream to check the experience one more time against what I’ve got so far.

It’s coming through like a dream, not linear — that’s for later, with editing — and with textures and colors and sounds that will loom up suddenly and ask for space and time I hadn’t anticipated. A scene with her parents and brother, casually shopping in an antiques store. A class at St. Swithins that seems to link to Emily’s absence for about two weeks’ earth time, but nearly a year on Dirnive. To conceive and give birth to a child there. Because if she doesn’t, given the difference in time passage between the two worlds, her love will age and die quite literally before she herself is out of her teens. Which makes her parents grandparents — her mother would adore a grandchild, only not so soon — but grandparents of a baby they will never see. Because Emily can come and go between worlds — her worlds — but no one else can. I think. Emily doesn’t want to risk it, yet. She says. See what a novel can do to you?!

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Image: Art of Spiritual Dreaming — John Pritchard

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