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The Coming of the Left Outs

August 8

The Coming of the Left Outs

 

When Paco and I decided to make Fex & Coo available, we knew we had to “choose” from the mass of material. So, we chose a way that had some semblance of a “linear” storyline. Of course, I use “semblance” in the sense of giving the appearance of something that it really isn’t. So, essentially, we “pretended” at order. This was the basis of leaving out much that had been written. What we have come to now is that this is not fully in the spirit of the Fex & Coo project. So, we aim to do something about this. And what we are going to do is now publish what we can call the “left outs,” that is, all the material that has been written but not so far been available. Please do not expect any linearity or any other “arity.” The only thing we aim for is that these coming left outs will provide you as much enjoyment as they have provided us in writing them.

To Subscribe to Fex & Coo visit fexandcoo.website and register.

Russ and Paco

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With all that is going on…I’m called to listen to Gòrecki

June 23

Quoted from Classic Fm

Gorecki: Symphony No. 3
What is it?
Possibly the most emotionally draining piece of music ever written.

Why it will change your life:
There’s a reason Polish composer Henryck Górecki called his third symphony the Symphony of Sorrowful Songs. Each movement features a solo soprano singing texts inspired by war and separation, but it’s the second movement that really stands out. The text is taken from the scribblings on the wall of a Gestapo cell during the Second World War and, as you can imagine, it’s pretty harrowing stuff – but Górecki makes it sound so transcendental that it’s hard to believe it was written in such dire circumstances. He said himself that he wanted the soprano line “towering over the orchestra”, and it certainly does that.

Gorecki: Symphony No. 3
What is it?
Possibly the most emotionally draining piece of music ever written.

Why it will change your life:
There’s a reason Polish composer Henryck Górecki called his third symphony the Symphony of Sorrowful Songs. Each movement features a solo soprano singing texts inspired by war and separation, but it’s the second movement that really stands out. The text is taken from the scribblings on the wall of a Gestapo cell during the Second World War and, as you can imagine, it’s pretty harrowing stuff – but Górecki makes it sound so transcendental that it’s hard to believe it was written in such dire circumstances. He said himself that he wanted the soprano line “towering over the orchestra”, and it certainly does that.

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Calling for Neologisms by Paco Mitchell

June 23

Russ, your penchant for whimsy, silliness, and all the other synonyms you unearthed—insofar as they lead to moments of innocent humor and joy—will always be welcome guests in this world we stand to inherit or bequeath. (See Russ's post "Whim, Wham, Whimsy" at fexandcoo. website)

In fact, I am grateful to have a comedy-mask to wear, in between my Saturnine stints of wearing a tragedy-mask while tracking vectors of doom-and-gloom. But even such a comic interest—if set against our many crises in social, political, and economic systems, our endless recourse to military “solutions,” our religious manias, guns, our terribly confused categories, our deep conflicts over self-governance, and so forth—comic interest, as I say, must work up a fine sweat to avoid brain-shutdown.

But that’s exactly what I’ve been experiencing recently, a kind of brain-shutdown in the face of crisis overload. I’m not proud of it, not bragging about it, but I’m sure I’m not alone. In fact, I would guess that a great many people, whether they realize it or not, are undergoing something similar. In my opinion, this is a new psychological syndrome for which we have no name.

This is not a scientific diagnosis, of course. I ran no studies, calculated no statistics, and invoked no theory. Nor did I eschew feelings and intuitions, the way scientists often do (cf. James Hansen’s references to scientific reticence). Quite the contrary, I revel in those unorthodox functions. I feel that, believe it or not, they ground me.

At any rate, for several days I found myself shambling around like one of Stephen King’s zombies, my mind seemingly blank, unable to write, lurching hither and yon, preoccupied with peripheral matters, wondering what’s happening now, and so forth.

Without a name, our new syndrome—a word derived from the Greek compound for “running together”—is bound to sneak up from behind and catch us flat-footed. That may sound like hyperbole, but the “shutdown,” or whatever it was I underwent, really did occur. I thought I was immune to such conditions—but apparently not.

And if my appraisal was accurate, many people would be suffering a virtual derangement, some worse than mine, thanks to this widespread phenomenon. That does not bode well for our ability to come to terms with the Approaching Unprecedented.

In this context, a neologism—a newly coined word or expression—spontaneously occurred to me when I realized what was happening to me. It was unbidden, as we say.  The term was ecotastrophe. The word had a certain cachet attached to it, like a form of prestige. It even gave the appearance of having been torn apart and then stitched back together again as if it had gone through a battle. I’m not offering it as a blockbuster, exemplary coinage, just a simple sample of a complex process. It just came to me, with that creative autonomy of words which allows us to connect with the deeper agencies—the word wisdom—we all carry somewhere in our depths, whether we know it or not.

As a simple sample, ecotastrophe at least gets the ball rolling, like Jung’s spontaneous stone-carving of the bear rolling a ball, which he “saw” in the stone and executed in his garden—brought to life, we might say.

Jung has already trodden this unblazed, neologistic trail by coining the term “the Coming Guest,” which I take as his expression for the unknown “thing” that is happening to the world—a stunning choice, in my opinion.

And decades ago, Russ, you determined that, whatever else it may imply, the image of the Coming Guest resonates with the archetypal principle of Eros. That was forty years ago, and I see nothing since then to unwind that spool of yarn that you spun so skillfully. The need for more neologisms today is all the greater.

My call for neologisms is an invitation to our readers to carry out what amounts to their own active imagination in words, opening up to the psychic layers below consciousness. There we enter the train station, perhaps, where dreams come chugging in to greet us. There is where words well up, to take their place in the sun.

I don’t know if anything will come of this experiment, but I know how powerful words can be. So did the Greeks, who, long before the New Testament was written, understood that Logos and Sophia were virtually identical—both standing for the creative feminine wisdom-aspect of God.

So, dear readers: What shall we call this new, unprecedented syndrome? What neologisms come to your mind? Will you share them on our website?

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REMEMBERING SKYE June 21

June 21
[Note. I often have voice dreams without any accompanying imagery. They can be complex, with multiple voices, or simple and short. The tenor of the voice is often “commanding” and I take these to be “tasks.” Many of my publications have had their origins in such voice dreams. A recent one was: “Remember Skye.” What follows is what stands out in my memory.]
In the summer of 1992, I was invited to represent the United States at the 12th Dunvegan Castle Arts Festival in Scotland. The patron of the festival was Yehudi Menuhin, long-time friend of clan chief John MacLeod of MacLeod, the host of the festival held on the Isle of Skye in the 800-year old ancestral home of the MacLeod clan. The festival took place over a two-week period, featuring poets, story tellers, pipers, singers and lecturers.
The previous year’s US representative was Helen Vendler, then Keenan Professor of English at Harvard University (the first woman to achieve a senior professorship there) and poetry critic of the New Yorker. Her lectures had been on “The Structure of Poetry” and “Three Shakespeare Sonnets.” Pretty big footsteps to follow! I had been asked, as well, to speak on poetry. I am not a poet, but I have strong feelings about the necessity and value of poetry. The titles of my lectures were “Writing from the Inside of the Inside,” and “The Cost of Poetry and the Price of Its Loss.” It took all the courage I could muster not to prepare formal lectures, but to have faith that I could speak from some deep well in me that values poetry and why it matters. To this day, these two talks remain my personal favorites. Both talks were extemporaneous and no recordings were made, so the lectures exist only as memories now.
I wasn’t the only Jungian analyst at the festival. John had also invited his friend Bani Shorter, an American living and working in Edinburgh, Scotland. She is known for her work on the Critical Dictionary of Jungian Analysis with Andrew Samuels and Alfred Plaut, as well as her book, An Image Darkly Forming: Women and Initiation. Her talk at the festival was titled “The Thread of the Story: The Fairy Flag.”
I had the great pleasure of meeting some of Scotland’s finest musicians, singers, pipers, story tellers, and poets. A highpoint among highpoints was meeting and spending many evenings in conversation with one of my “heroes,” the poet Norman MacCaig. He was Scotland’s greatest poet writing in English and had long been one of my favorites. I am not one who seeks autographs, but I did bring along MacCaig’s Collected Poems for him to sign if I got a chance to ask him. Not only did he sign and write some now-treasured words, but we had some unforgettable conversations over the clan chief’s special Macallan single malt.
In the spring of 1980, I had visited Dunvegan as a tourist. While there I collected stories about money from Donald Stewart, the Curator while standing under the famous Fairy Flag. This became part of my talk later that year which became my article “Coins and Psychological Change.” Just before that experience, I had spent an extraordinary evening with Sorley MacLean, the great Gaelic poet, at his home in Portree. We talked late into the night about the “source” of his poems, from dreams, visions, and from “one knows not where,” as he told me. In my dream that night, I dreamt of an old hand printing press. This was the origin of my making and printing handmade books and the beginning of The Lockhart Press. Being with him was a total gift. I had looked forward to seeing him again at the Arts Festival, but as the event neared, he took ill, and I did not get to see him again. He died in 1996.
In April 1992, before leaving for Scotland, I presented seminars and talks on “Writing Inside Out” at a conference in Santa Monica, California, sponsored by Pacifica Graduate Institute. I had suggested the title as well as the subtitle: “Where Dream and Word, Like Twins, Are Born.” I was joined by Annie Dillard, Allan Ginsberg, and Natalie Goldberg, working for a weekend on this theme. It was working with and being with them that inspired and crystalized the talks that I gave at Dunvegan.
The night after I finished the second talk, I had a dream that remains one of the most gripping, compelling, and profound dreams I have ever had. I think my dream to “Remember Skye” is referring directly back to this dream experience, urging me, I think, to realize there is more I must do with this dream. I have written before of this dream in the interview with Robert Henderson. Everything I said there about it still applies. But now I sense something more is at issue. In the dream, I am in a great hall in a castle (unlike anything at Dunvegan). The ceiling is very high and on the four walls hang enormous tapestries. I am alone. As I gaze up each tapestry, I see that they are woven stories of the history of the great castle, battles, ceremonies, celebrations, and such. As I watch ever more intently, the figures begin to move on all the tapestries. All the scenes become animated and it is amazing to watch. As I watch more, the tapestries begin to devolve into swirls and whirlpools of color. All figuration is lost. As I take in this dizzying spectacle, I see great heads begin to rise and fall back, ancient heads, male and female, Vikings, perhaps, or earlier northern figures. This goes faster and faster. As each figure rises, I can see that it is speaking and, I sense, speaking to me directly— speaking with some urgency. But I hear only silence. The dream goes on endlessly in this fashion. When I awake, I am standing at the opened window, looking out at the clear sky. and I see there the figures of the dream, continuing as they had been, but still all in silence.
It's a wonder I didn’t fall out the window.
You can imagine my frustration in not being able to hear the voicing of these figures. What were they saying? Why the urgency? Why couldn’t I hear? I have tried everything I know how to do in working with dreams, but still—even now—I cannot hear them. I am prompted now to put this renewed remembering of this Skye dream alongside a more recent dream. Here is a recounting of the more recent dream in the form of a poem, an approach I now use with many dreams.
Welcome and toast, $5.99 a cup
The setting:
An anywhere, everywhere
living room middle crust
at best or no crust at all
The characters:
Strangers all, but known
to me; everyone friendly
not a party, but festal still
The hostess:
Black-gowned but all
eyes on the black earthen
cups, squatting on her tray
The drink:
Black too, Blavod— it is
libation for night’s time
black clay holding black
The toast:
She says it costs $5.99
a cup for this final toast
just drink up and welcome
Ragnarök
Of course, Ragnarök is Norse mythology’s end of the world, end of the gods, with everything swallowed by the oceans. But as with all such “end of things” myths, there is always an “afterward” in which something begins again. Not so much a rebirth of what has been, but of something new. But my dream speaks of celebrating a final toast, and I sensed in the dream that this was indeed a final Ragnarök. Could this be related in some way to the “urgency” with which the Northmen were speaking to me?
I think so.
I have come to terms with my own end as I’ve tried to make clear in my book with Lee Roloff, The Final Interlude: Advancing Age and Life’s End. It is more difficult to come to terms with the end of humanity. But a clear-eyed look at the events of the Sixth Extinction as they unfold, points to no other conclusion. It is hard to carry the idea that what would follow would not be human. But our collective hubris may be preventing us from seeing something different than human as being the fate of the earth. Jung says to look at the artist as the carrier of the messages as to what the Coming Guest will be.
In a future post, I will do just that—look to the art that is becoming infused with these potentia.
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An important read…

June 7

https://aeon.co/essays/what-do-the-dreams-of-nonhuman-animals-say-about-their-lives?utm_source=Aeon+Newsletter&utm_campaign=4fe83d9434-EMAIL_CAMPAIGN_2022_06_07_02_23&utm_medium=email&utm_term=0_411a82e59d-4fe83d9434-70343981

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THE MYSTERY OF MYSTERY

May 27

THE MYSTERY OF MYSTERY

I stopped watching television in 1998, when Seinfeld ended its nine-year run. 

In the fall of 2021, I had a dream in which I was watching a BBC crime show. When I worked on the dream, and looked at the offerings on BBC, I found myself attracted to a program called Vera. Vera began broadcasting in 2011 and continues to the present time. The series is based on the Vera novels by British author Ann Cleeves. As I began watching, I also began reading. Something about the crime genre hooked me and since then I have watched numerous other crime shows and read the novels or screenplays they were based on. 

This activity also brought to mind that as a kid I read a lot of mysteries and would also write my own stories and scripts.. When we got our first TV (1950), it also housed a record making turntable. The whole family participated in performing the scripts I wrote. I felt I was reconnecting with some important piece of myself left behind.

A subsequent dream pictured the title page of either a novel or screenplay entitled, Rule of 3. It also showed that this was an "Arlan Condon Mystery." Arlan Condon is one of the main figures in my novel, DREAMS: The Final Heresy (not yet finished). 

The majority of dreams this year have involved the mystery genre in various ways. some seemingly influenced by the books I've read or programs I have watched. But never in any sense just repetitions—always adding a twist or turn or phrase or simply a word. And others with content that is wholly new and different from anything I have read or watched but still enveloped within this realm of crime and mystery. I do not experience the insistence and persistence of this theme as evidence that I am not “getting” the message. Instead, it feels like an essential collaboration with “the other” prodding me with ideas and elements to take seriously in this task.

I am used to experiencing dreams as tasks and most of the things I have written or published have had their origin in dreams. Still, I am an old man now with much “on my plate” as they say. Lots of things to finish. At this rate I will run out of days before running out of things to finish. For some time I fought this “pressure.” No longer. I now consider it a bounty and I am learning to enjoy it. 

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From the Deeper Keep

May 20

From the Deeper Keep

Winging westward, pilot’s shades dimming sun
lecture’s over, mind’s a blank, day is done
laying back, drink in hand, but not Macallan’s
You never know what triggers the deep
to offer up treasures from a deeper keep
You may not know what makes you weep
The film begins. Willie Nelson’s singing
“On the Road Again.” It’s Honeysuckle Rose.
I start to doze, but hear voices from long-ago
You never know what triggers the deep
to offer up treasures from the deeper keep
you may not know what makes you weep
It’s Tex Ritter, and Roy Acuff, and Bob Wills
I hear Gene Autry and the Bluegrass Boys
tears begin to stream and fall. I start to cry
You never know what triggers the deep
to offer up treasures from the deeper keep
you may not know what makes you weep
The stewardess comes and she’s concerned
no one knows why I’m crying so. Even I.
It’s not the movie, but the singing in my head
You never know what triggers the deep
To offer up treasures from the deeper keep
you may not know what makes you weep
Days later I tell my parents of my crazy crying
tell them what I heard. Dad says he knows why:
seems he danced with me when I was a babe
You never know what triggers the deep
to offer up treasures from the deeper keep
you may not know what makes you weep
He danced with me to country music on the radio
and he sang along as best he could again and again
until his stuttering disappeared. I had not known.
You never know what triggers the deep
To offer up treasures from the deeper keep
You never know what what you will reap.
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Remembering Ziggy

May 20

Remembering Ziggy

 

Back in the early 70’s, I taught a seminar at the C. G. Institute of Los Angeles, entitled something like, “The Value of Pop Culture for Depth Psychology.” What I tried to examine was the question of what depth psychology could learn from Pop Culture. This I contrasted with the idea of interpreting and explaining and otherwise understanding Pop Culture using depth psychological methods.

 

My main idea stemmed from my valuing the creative arts as sources of new and developing mythologies that would become new dominants in the contemporary culture.

 

At the time, I focused on three figures: David Bowie, Leonard Cohen and Laurie Anderson. Each of these figures seemed to me to have  tap-roots in the deeper regions of the psyche and were each in their own way story tellers of what they found there.

 

It’s now 50 years later, and each of these figures have been icons in their genres for decades. David Bowie died at 69. Leonard Cohen at 82. Laurie Anderson is now 75.

 

This set me to remembering how in that early seminar we worked with David Bowie’s first major album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars. It was the story of the end of the world because the world had run out of natural resources and how aliens were coming who were “black hole” jumpers, jumping from universe to universe. It was a musical version of welcoming the Coming Guest that Jung described in his 1960 letter to Herbert Read.

 

I talked about this story as a “new” myth. I talked about how the mythic potential of the psyche did not stop with Greek myths, but is always creating the stories of new myths both in our individual psyche and in the collective psyche.

 

I listened again recently to Ziggy, I felt the deep loss of David Bowie.

 

What he said about dreams is important.

 

“I suspect that dreams are an integral part of existence, with far more use for us than we’ve made of them, really. I’m quite Jungian about that. The dream state is a strong, active, potent force in our lives…the fine line between the dream state and reality is at times, for me, quite grey. Combining the two, the place where the two worlds come together, has been important in some of the things I’ve written, yes.” (Roberts 1999 NYT Interview “David Bowie: Critical Perspectives”).

 

Here is a brief interview with David Bowie on the theme of “Life is a Finite Thing.”

http://www.bbc.co.uk/programmes/p03f5cyt

 

 

 

 

 

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59th International Art Exhibition

May 16
Extraordinary!
Please read CECILIA ALEMANI's description.
59th International Art Exhibition
BIENNALE ARTE 2022
THE MILK OF DREAMS
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A most important essay from blog member John Woodcock

May 13

Hi all,

I am posting a most important essay from blog member John Woodcock

entitled, DIVINE SERVICE: in a postmodern world. I encourage

everyone to read and story it.

Here is the link:

http://ralockhart.com/WP/DivineService0905b.pdf

Russ

 

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