2020’s Descent into the Underworld

2020 underworld download

You are about to embark on a journey. It will be difficult, and it may be triggering. You will guide your own personal 2020 through the underworld. I hereby bestow upon each and every one of you the ability to walk into the underworld and come back out again. You will lead your own year of 2020 to its final resting place where it will remain until the end of time.

~

You are standing at the mouth of a giant cave, next to you is the year 2020 standing to your left. They are old and ragged and dressed in layers and layers and layers of tattered cloaks, and coats, and garments of various sorts that completely shroud somebody hidden underneath. They are so old, so frail. They lean on a stick and shuffle along, bent with the weight of time.  You know you’ve got to begin. There is no sense in waiting any longer. It is time for 2020 to die. You start walking towards the cave opening. You are walking down a small slope and you hear the click clack of 2020’s cane behind you. You know They’re coming; They are following you.

You walk into the entrance of the cave and there’s a moment where the light of the outside world and the darkness of the deepest of shadows meet. Once you pass into that darkness, you will not see light again for a long time. 2020 has caught up and is now by your side again, and together you step into the pitch black.

You are walking down a path; your eyes have not adjusted to the darkness but somehow you can see. This is a darkness beyond earthly darkness. It is a blackness beyond mundane blackness. There are still slight cave sounds around you. Maybe that was dripping water, you’re not sure. Maybe there was a scuttling somewhere but you’re not sure. There is still the sound of stone as 2020’s cane keeps time with each step you take.

Now it feels like you’ve been walking for a very long time. You’re not exactly sure what you’re going to encounter, but you know this is going to be a difficult journey. Yet so far nothing’s happened and this waiting is kind of getting to you. As you continue to walk, somewhere far ahead there’s something in the distance that begins to appear. It seems to swirl and shift, but it hasn’t taken shape yet. There’s just a movement in the darkness. You can still hear and feel the presence of 2020 next to you and you know you’re going the right way. As you get closer that shifting starts to take the shape of a massive, unbelievably large gate. It’s not made out of anything you could particularly imagine. It’s not exactly rock. It’s not exactly stone or cement but something that keeps shifting and moving and crumbling, like tiny earthquakes and rockslides that perpetually disrupt the structure from the inside out. You walk closer because you know you have to. This is the only path, the only way forward, and you’ve got to pass through that terrifyingly large gate. But as you walk closer, you see that the gate is shut without any noticeable way to open it or to go around it.

Now, what do you do? You glance at 2020 and They are still kind of plodding along under all those heavy cloaks. You sigh and look back at the gate. You notice that the giant statue in front of the gate is in fact looking back at you. That’s not a statue at all! This stops you in your tracks and the Being swiftly moves toward you, blocking your path with a large menacing lance.

“Who are you? Why are you here?” says the Being.

You say your name and you hastily explain that you are leading 2020 to the Queen of the Underworld to lay Them to rest. Azazel, for that is the name of the guardian of the first gate, looks back at you and says, “You cannot pass through the gate in the state you are in. You must leave something behind.”

Your attention is caught by an unexpected shifting of the rocks that make up the gate. Pieces crumble from the heights and fall to the ground just behind Azazel. In your heart of hearts, a deep knowing speaks out to you. You know you and 2020 stand before the Gate of Turmoil. The Gate of Turmoil is never solid. It is consistently shifting and changing. It is never at rest. It is never at peace.

Azazel looks down at 2020 and bellows, “2020! Drop your garment in order to pass!” A little shocked, you look over at 2020, and suddenly the first layer of clothing that you see starts to become that same shifting moving turmoil of the gate. 2020 is wearing the Cloak of Instability and it must be left behind. This cloak is the the uncertainty of our lives and of our situations. It is civil unrest. It is economic depression. It is the loss of people’s homes and the loss of their jobs, the loss of their paychecks and health benefits. It is the uncertainty of how they will feed their families tomorrow.

The fabric starts to shift and move in a way that makes you almost queasy. And Azazel says again, “2020, drop your garment.” And They finally do. They let the cloak fall to the ground and it shatters, turning to dust. And out of that debris, you barely notice that a tiny glimmer of light floats up and away. Up it goes into the darkness and disappears. You have no idea what that was and you kind of question if you saw it at all. While you’re starting to ponder what on earth it could have been Azazel opens the gates and nods that you should pass through. You and 2020 continue walk through the gate and continue down the path towards your destiny. You notice that 2020 seems to be a little lighter, still walking with a cane, but walking a little more sure-footed. You are grateful for this little bit of fortune because the terrain is getting harder and harder. It’s a stone path but it’s a difficult path. And all you know is you just have to keep putting one foot in front of the other over and over again.

After a very long while of nothing but the darkest of darkness, you begin to catch a hint of something in the distance.

“This must be another gate,” you think but of course you know you are right. As you get closer you see that this gate emits cold, frigid, heart stopping light. The closer you get the more you can see that it is in fact a gate of ice, completely frozen and terrifyingly cold. It is also incredibly large, towering in the heights of the unending darkness and its ramparts extending impossibly far in either direction. A large Being stands just to the side. And as you approach, you know in your heart of hearts that this is the Gate of Isolation. Asderel, the guardian of this gate, gestures that you come forward. You slowly step up and explain why you’re there. You are leading 2020 to the Queen of the Underworld so she can finally lay Them to rest, and on que, 2020 shuffles forward.

Just as before you look over at 2020, and the top layer of clothing that They’re wearing, the Mantle of Loneliness starts to freeze and crackle and become just as frozen as the gate before you. It is the garment of solitary confinement, of being cut off from contacts, frozen rivers of ice that threaten to leave you stranded without any hope of humanity ever reaching you again.

Asderel looks at 2020 and says, “You must leave that behind. You cannot pass wearing that.” “2020 drop your garment,” he commands.

As Asderel spoke those words, 2020 threw off Their cloak. It drops to the ground and like a thousand tiny icicles, it bursts into countless shards. Out of the shattering ice came the tiniest little speck of light and just floats off into the darkness. Did you even see it? Asderel beckons you forward and lets you pass through the gate and you and 2020 walk on into the darkness once more.

2020 seemed a lot lighter of step, They did not need the cane quite as much and could almost walk with a normal gait, shuffling a bit here and there, but keeping up. You are grateful because you are really hoping that this is not going to take that much longer but, boy, are you wrong. Just keep going, one foot in front of the other.

It seems like you rounded a corner in the darkness because suddenly a smell, an unbelievably awful smell greets your nose. This wasn’t just any kind of terrible smell, but one you could feel through all of your senses, the kind of smell you can feel in your eyes. It was awful. It was horrible. It took everything you have not to just retch onto the ground right then and there, it was that bad. And then you realize that in front of you was a giant gate of indescribable awfulness. Was it garbage? Was it rotting flesh? It was hard to tell. It was all of these things. It was terrifying because you had to approach it and you didn’t want to. And you could almost feel 2020 faltering as well, but you had to press on. Towards the scent you had to go.

As you get closer, you feel the deep knowing in your heart of hearts that this is the Gate of Corruption and the guardian of this gate is named Tamael. Tamael beckons you closer which is the last thing you want to do because it all smells so bad, but you have no choice. You urge 2020 forward and begrudgingly They step closer as well. Tamael speaks to 2020, “You cannot pass through like that. You have to leave something behind.” 2020 moves with a lot more ease of motion than you’ve seen Them do in the past, starts to unbutton the Coat of Lies and Misdirection.

This is the coat of political jargons and distrust, of fascism and of deliberate misinformation. The coat was putrid, rotten, and unbelievably gross things are falling off and crawling all over it. Tamael speaks, “2020, drop your garment.” They did. As that coat hit the floor, it liquifies instantly into unspeakable filth. Yet it seems again that a tiny speck of light floats off into the distance, vanishing before you could really perceive. Tamael opened the gate, getting your attention and ushered you and 2020 through. There was no dilly-dallying at this gate. You had to go. And gratefully, as soon as you pass through the gate the stench is gone. You realize 2020 did not need Their cane anymore and was walking completely free, keeping up so that you didn’t have to alter your pace. Now together, you could walk confidently forward.

After an unknown amount of time, you could hear what sounded like yelling, like crowds and crowds of people yelling, bellowing, screaming. It was such a din. It rattles your bones. As you approach it, it got louder and louder. And the sound was so loud you could barely think. In your heart of hearts, you have a deep knowing that this was the Gate of Outrage and the guardian of this gate was named Kokarel. As you approach the Gates of Outrage, Kokabel’s deep bellowing voice rose above the din. “You cannot pass! You must leave something behind!” You look over at 2020 and suddenly the coat They were wearing was made of chains.

The Gate of Outrage was made of all of the voices yelling, screaming, whaling, protesting all of the inequalities and injustices that were committed this year. This Cloak of Chains, some broken, but all heavy and burdensome, was the weight of racial injustice, of brutally murdered individuals and of systemic racism. The links that made up the chains were made of inequality and deep-rooted fear and shame.

Kokabel bellows, “2020, take off that garment!” and over the incredible din when that cloak hit the ground, you heard the chains ring out, piercing through the sounds. When they fell to the ground, every single one of them broke, and a tiny glimmer of light floats up, floats past your face and disappears into the darkness. Kokabel’s voice sounds out once more, “Go through this gate and be gone.” Gladly you and 2020 pass through and the moment you get to the other side of the gate, all was quiet and utterly dark again.

After an incredibly long time of walking, you feel your limbs becoming heavy. There was a perceptible sadness hanging in the air that was physically heavy. You knew you were coming to the next gate.

As it began to appear in the distance, you see it was made out of something clear, something that was liquid, something that moved and swirled slowly like giant droplets. Just then you knew with a deep knowing that you were looking at the Gate of Loss. As you get closer, you see the guardian Baraqiyal, standing next to the gate. When you finally stand in front of the guardian, you explain just like you had done every other time that you were there to take 2020 to the Queen of the Underworld so that she may lay Them to rest for good. Baraqiyal sang in a low soft voice, “Oh, 2020, you can’t pass like that. You have to leave something behind.” You look over to 2020 and They are wearing the Mantle of Tears. It was made of all the grief, all of the pain, all of the fear and confusion from every situation that has happened all year. All of those countless tears were on that cloak, collected from all of the deaths, from all of the atrocities, from all of the helplessness.

2020 struggles to get out of this particular cloak the most so far. For being made out of tears, it was unbelievably heavy. As it falls to the floor it instantly turns into vapor. But from within that vapor a little glimmer of light floats away into the darkness. Baraqiyal sang, “Pass through these gates and be gone.” You are glad he did because as you walk forward the feeling of heaviness, the sorrow, the grief that was so heavy you could feel it in your fingertips suddenly let up as soon as you pass to the other side. You and 2020 plunge back into the darkness, continuing on your journey, deeper and deeper into the underworld.

As you and 2020 keep walking for what seemed like an imperceptibly long, long, arduous time, you begin to perceive a heat growing from somewhere in front of you. And you think, “Well, I am in the underworld. There should be fire here somewhere, right?” Even though you couldn’t see where the source was you could feel that radiant heat swirling in the air the closer and closer you got. You knew the next gate was up ahead.

A giant gate appears in the distance, finally giving a source for what your senses had been feeling for a long time. Wide as the eye could see, as tall as the eye could see, this gate is made of billowing fire. Its ramparts are made of black smoke. Black smoke like that only comes from death. And as you get closer, the heat gets so intense you could barely breathe. Your lungs feel like they’re being burned with every breath you take. This is the Gate of Dissolution. Amasras, the guardian of the gate, calls down at you, “What are you doing here?” You say your name and state the reason of your journey with 2020. Amasras nods once but as he turns his gaze towards 2020, he glares. “Not like that! 2020, drop your garment.”

As you look at 2020, They are wearing the Cape of Ash. Emerging from the ash you see corpse after corpse of burned animals, of tree stumps, of insects, of people, of ruined lives. This is the cloak of the devastating fires that started the year in Australia. This is the cloak of the fires that raged in the Western United States. As 2020 drops this cloak to the ground, it goes up in a puff of dust, spreading into the air and causing you to cough. You think you see a tiny glimmer of light floating off into the distance. Hmm. Might have just been the ash though. Amasras spoke, “Go through this gate and be gone!” You are glad because this gate was particularly awful with the unbearable heat and choking smoke. It was all gone the moment you and 2020 came through the gate to the other side.

Even though you are surrounded again by darkness, you walk confidently forward knowing, sensing you are almost there. You travel for a really, really long time. It could have been years. It could have been minutes. There was no way to tell. Time started to act very different. Your internal clock was completely wrong or off or confused. Were you walking in circles? You had no idea. All you knew is 2020 was still right there next to you walking and you had to press forward, or what you hoped was forward. Then finally, off deep in the distance you see a shadow, a shadow of the darkest dark you could possibly imagine. That shadow isn’t solid. It isn’t still. It looks like a veil of black chiffon gently blowing in the wind at midnight.

It is so ethereal and so terrifying. As you keep getting closer, you find yourself hoping that something would crystallize out of it. But no, the closer you get the more ethereal, the more nothing it became. It was just a shifting of shadow over darkness. This, you knew, as your heart sank to the bottom of your feet, was the Gate of Unknowing. Samyaza, the guardian of the gate, was equally shrouded in something that was imperceptible, something that shifted and danced at the corner of your mind that you couldn’t quite catch. And while you look and hope that something would materialize, that something would land, you knew that at the Gate of Unknowing, nothing could be known for certain. Samyaza spoke in a deep, low voice, asking who you were and why you were there. And you repeat again everything that you’ve been saying to all the other guardians. And there was a long silence, and you aren’t sure that Samyaza would let you through this gate. This was the last gate after all. And they had to be extremely careful who they let in to see the Queen. But after a long while, Samyaza said, “2020, drop your garment. You cannot enter holy land looking like that.”

You look over and 2020 is wearing a cloak that somehow was made up of the same shifting nothingness that was in front of you. This was the Cloak of the Pandemic. It is made up of many different parts, many different experiences, many different realities, many different agendas, many different truths, and many different lies. Almost like quicksand, it shifts, it moves, it is never still. Nothing could be clear. Even as a virus itself moves, shifts, evolves, this cloak could not be witnessed in any wholeness. As 2020 drops this cloak to the ground, it hits and freezes instantly into black ice, unseen, deadly, and unclear. But from this frozen darkness comes a glint of something that rose and skitters off into the distance. By this point, your senses are shocked into openness. So much have you endured and so much have you seen. Standing before the Gate of Unknowing nothing was certain, and everything could come into question. Samyaza speaks again with his deep bell-like voice as he opens the gate and ushers you through, “Now, go. I don’t ever want to see you again,” and gladly you and 2020 walk through the gate.

Now, finally, this last gate opens onto the throne room. The room was vast. No ceiling can be seen but it feels cavernous. The room was filled with thousands, upon thousands, upon thousands of dead souls lining a path that leads straight to the queen’s throne where she sits, noble and in command. The souls glow in a ghostly, ghastly pallor, and their light and the small flicker of torches at the very far end of the other side light your way. You know these are all the souls that died this year. They have come to see 2020 off as well. 2020 weeps bitterly with each step They take forward.

You notice now that 2020 was completely naked, scrawny, extremely old and bare. You walk together down this long corridor of souls towards Ereshkigal, the Queen of the Underworld herself. As you get closer, you see her take shape more and more before your eyes. In the light of the torchlight, you see she’s wearing a great crown made of bones. She’s terrifying and beautiful all at the same time. Somehow she shifts between looking like a corpse and looking like the most beautiful woman you’ve ever seen. Her garments of black velvet and brocade cascade down passed the throne and over the steps that lead up to where she sits. She has two giant gargoyles sitting on either side of her throne in front of the two large torches that are lighting the room with the flickering of their fire.

You stand now at the foot of the steps that lead up to her throne which you now can see is made up of obsidian crystals and blackened bones. You bow low, and 2020 kneels on the ground bowing so low, prostrating Themselves completely in front of her. She beckons that you stand up and 2020 stays bowing down.

She looks at Them coldly and she speaks in a voice that is both the whisper of death beyond the grave and the twinkling of angel’s bells, “It is time for you to join your siblings. It is time for you to sleep. The sleep that you shall never wake up from. It is time for you to be done. And it is time for you to die.”

In tears 2020 looks up, sits, and slowly stands to face her. She holds out her hand, points at 2020 and with a slight flick of her wrist, makes a cutting motion. Just like that, in a split moment, 2020 fell to the ground, utterly lifeless. All that was left of 2020 was a bag of skin, no insides, no skeleton, no muscular structure, nothing, just a flayed bag of skin crumpled on the ground next to you.

Ereshkigal speaks, “I pronounce 2020 dead.”

The two gargoyles pick up the flayed skin of 2020 and take it over to the left side of her throne and hang it on a hook. You follow them with your eyes, and you noticed there was a hook right next to the one 2020 was hung up on. That was 2019. The one next to that was 2018. As you kept looking, there were flayed skins on hooks for as far as the eye could see. This is how the year ends. Every year, they come down here and sacrifice themselves to the great Goddess of Death. Every year they enact the same ritual and are hung as reminders of the dual nature of time.

Ereshkigal turns to you, “You’ve done well,” she says, “but you cannot stay here. This is not your home.” You nod and bow low with gratitude. The Queen of the Underworld just gave you praise after all, something she does not do very often.

She holds out her hand towards you, a hand that is both bony like a skeleton and smooth and soft like a fairytale princess. In her hand is a small ball of light, glistening and glimmering.

“This light is all that remains of your own year of 2020,” She says in her chimeric voice. “This is all of the blessings, the love, the learnings, the lessons, the friendships you have gained this year. This light will guide you back out of the underworld.”

You are staring at the light and think to yourself, “Gosh, I thought I had a better year than that. It’s so tiny!”

Ereshkigal seems to anticipate your thoughts and says, “It is only so small because it is so very dark in here. Take it and let it be your guide home.”

With that you take the light and bow, thanking Ereshkigal for her kindness.

You know it’s time to leave. You turn and you start walking back out of the throne room. The light in your hand gives off a warm glow like the glow of a small candle, yellow and comforting. As you walk, you realize that all the landscape, all of the souls, that whole room, everything is gone. All you see is that little light in front of you and you just keep walking. The light is keeping you on the path, is keeping you moving forward, and is guiding you back out. You do not walk past the gates, you never see them again.

After a short time, much shorter than what it felt like going in you realize you’re almost out. You start seeing something in the distance, the cool glow of the sun. It’s daylight still outside. And you know that’s the mouth of the cave. You want to run and just leave but you can’t. The light does not let you. You have to just keep walking as slowly as you’ve been walking. You need to take your time; you cannot rush this. You will be outside in a minute. As you walk that light gets closer and closer, and you feel as if you are going to burst at the seams from being done with this ordeal that you’ve just been through. This last bit of walk seems painfully long, but you know this too shall pass.

The moment you step outside of the cave, that light in your hand begins to glow even brighter. It shimmers and glimmers, and it glows and grows out of your hand and floats down onto the ground. On the ground, it starts getting bigger and bigger and bigger and it starts to get blindingly bright. Within that brightness you can see a shape taking form. It has grown into an egg shape, a giant egg, almost as big as you. The light, this egg-shaped light starts taking form and fleshes out. The light dims to a crystalline brilliance and you can see that there is a physical egg sitting on the ground in front of you. It glitters in the sun like a jewel and with a deep knowing you know that this egg will hatch exactly at 12:00 AM, January 1st, 2021. It will birth the new year, your very own new year into being.

You suddenly think back to Ereshkigal’s words, “This light is from your lessons, your joys, your learnings, your friendships.” And you remember the tiny sparks of light that were omitted every time 2020 dropped Their cloaks. Those tiny specks of light made up the light she had given you and now make up this egg.

With your deep knowing, you realize that from the Gate of Turmoil came new support systems and collaborations and survival in the face of necessity.

From the Gate of Isolation came new ways of connecting and communicating, setting up global networks, new friendships and communities and deep connections.

From the Gate of Corruption came the need to discriminate and participate in democracy.

The Gate of Outrage brought change and allyship, images of black joy and cultural introspection with a step in the right direction though there’s still a long way to go.

From the Gate of Loss came new depths, new compassion and deeper and deeper wells of strength you never knew you had.

From the Gate of Dissolution came environmental urgency to listen to native elders and a new way of forest management and you could suddenly hear the songbirds in the trees singing.

And from the Gate of Unknowing came survival, strength and equanimity to the uncertain forces of this world and the knowledge that though you are being tested, you can survive.

These sparks of light are globally birthing 2021. But these sparks of light also mean something very specific and personal to you. This is the accumulation of the light in your darkest hours that has shone luminously onto your brightest ones. It is from these moments, from this light that you have tended all year within yourself that the container for 2021 has been created. And from this light, your 2021 will be born.

 

Earth Day 2020 Coloring Page for relaxation

This Earth Day seems extra significant. There were the fires that raged through Australia at the beginning of the year and now a global pandemic. Mother Nature is out of balance and she is pissed. I have been wanting to do this for years honestly, and I finally got it together enough to finish drawing out my painting, DevaDeva is about our interconnectedness as a global Being, not as individual species, but as part of one organism, the Earth. The imbalance in nature is reflected in us as well. Look at what is happening around us. This pandemic is tearing us apart and exposing the cracks that we’ve all known are there and it’s testing the resolve of people to help each other and come together at the same time. These are fascinating times to be alive. And while we are home, I offer you a coloring page to relax and recharge with. Download it here: Çøloring Book Deva

Coloring is a meditation, a relaxing activity to take your mind into the soft and squishy place it likes to be. I hope you enjoy this and I would absolutely love to see your interpretations of Deva.

 

Follow The Goose: The Continuing adventures of Lady No-Kids and The Family

 

We’ve all seen this cartoon circulating around the social webs. It’s hilarious and it definitely hits home for many people, on either side of the story that’s playing out here. Personally, it pisses me off. Why? Because the narrative that it’s suggesting is inherently and fundamentally incorrect.

This cartoon could be read two ways. It has been used by many of my single girlfriends as a justification of how much better their lives are without children; that they can go on free-spirited adventures without feeling tied down by responsibilities to a family. I think it could also be read that the couple think that lady with no pants is totally insane and they feel justified how much better their lives are that it’s grounded and stable. Both of these points of view, in my mind, are flawed. Yes, singles everywhere can “follow the goose” anytime they want to, but do they? I think the underlying truth there is that more of them wish they could do this, that they felt free and secure enough in themselves, by themselves, to wear a top hat and undies and follow Mrs. Goose wherever she may go. The other side is that the family wishes they could do the same. I think the underlying truth of this cartoon is that both parties involved here wish they could, put simply, be more free.

My suggestion is this update:

 

In this second frame, the whole family, along with the kids, join in the fun.

The main reason this cartoon upsets me is that why wouldn’t the family want to follow the goose with their children? Isn’t that what childhood is about? The wonder of nature, the adventure of watching and following a fellow creature, the fun of imagination and pretending are all wrapped up in this simple concept. If they did follow the goose, maybe, like Alice, they would end up in Wonderland and a whole world of a story could open up and take place right there in the park.

Alice followed the White Rabbit in her imagination and discovered a world that was “curiouser and curiouser.” Her journey in many ways is a metaphor for childhood as well as an epic Joseph Campbell hero’s journey. She was tested in a variety of ways, she questioned her motives and her actions, she learned something from her time in Wonderland and her world became ever more so varied and rich because of her dream.

Why not take the chance in the park with these children in the cartoon to offer them something as rich and fulfilling to their imaginal worlds too? Following the goose in funny outfits is play and joy and fun. It helps foster a human being that appreciates the natural world outside of them as well as the fantastical world inside of them.

And I can feel someone reading this, who has children, thinking in their mind right at this point that I am being idealistic and have no idea the pressures of having children etc. etc. While I don’t have a child right now, I hope to have one in my life soon as my husband and I are excited to be in a place in our lives where we can welcome one into our family. I can empathize with the struggles of raising children, of the pressure of school, of the social strata in place that criticizes mothering at every turn no matter what you do, how much money and time children are and how hard it is to ever have a moment to yourself when you have them. Yes, I understand and I am sure I will understand when I am in those shoes as well even more. But I feel it in my bones that taking time for imagination, for fun, for play, for silliness, for following geese, for being with nature and for wearing silly outfits is absolutely the most important thing for children to experience. That side of their lives is what makes them whole humans, helps them manage their emotions and aids them in becoming functional and socially integrated adults. Education, math, computers, whatever. All of that is important in this world we live in and of course I am not advocating that be neglected. But the sad story this cartoon reveals is that I am not sure that living a full life of expression and joy is happening for many people, on either side of this story.

My remedy is: don the silly outfit and follow the goose together. So much could be learned, gained and lived in just a few moments of fun and laughter. And even more important, so much could be gained from doing that together with a friend, whichever side of this narrative you are on.

Cerberus and the Dog Treats

I decided to start scrying with a black mirror that I made at home. The thing is, scrying for me is pretty simple. I can, and have, contacted beings of other dimensions, crystalline entities, demonic figures, alien sentient shapes, and archetypes any time of day any day of the week. But what is new to me is contacting ancestors, actual spirits, and ghosts, and the dead. This is whom I want to make contact with now. So, I thought instead of using my regular scrying crystal, I figured I’ll go all Goth Martha Stewart, and make a black mirror from scratch.

These are the instructions I followed if you want to do the same: Scrying Mirror DIY

Let me first get into what scrying is. When you look into your crystal ball or whatever you are using, you let your eyes go very soft and relaxed. Eventually, everyone says there’s a mist. That’s one way of putting it. I think it’s like the periphery of your eye starts fuzzing in this way, and everything in the center is relaxed. It can look swirling. It can look like mist for sure. It can look like all sorts of things. Then visions start coming out of that mist or in my case, I get fully transported into another realm, another dimension. This transportation or arising visions happen in your imaginal realm of your mind’s eye. It’s at once within your scrying tool and inside of your head with your eyes fuzzed out and relaxed enough so no visual input is distracting your inner eye from seeing what it needs to see. If I’m looking at my crystal ball, there are crystalline entities in it that I need to always check in with, and talk to, and ask permission from, before I do any kind of work in there. I do readings for myself and other people from that place. That’s pretty straightforward scrying or crystal gazing.

I am not only trying to contact the dead, but I am experimenting with holding myself to a stricter visionary standard. The difference between actual vision and scrying vision is that like most of the “vision” is happening in your unconscious mind, somewhere behind your actual field of vision in your perceived headspace. I am trying to cultivate an eidetic imagery level of seeing the forms and the beings that I encounter. Eidetic imagery is a type of seeing that isn’t a hallucination but isn’t external visual input. It’s somewhere between the two. Children have it most often. When a child says they can see their imaginary friend, they really can. There have been. Really fascinating studies about it. It’s rarely kept into adulthood because somewhere along the way after being told your imaginary friend isn’t really there, you stop believing that part of your eyes and it fades. I have never lost this ability, but the good news is that it can be enhanced and even cultivated from scratch. There’s a lot to say about this that involves a Buddhist practice called Fire Kasina and a few other techniques, but perhaps more on that in another essay.

Back to my scrying experiment. Like I said, if I do that with more visionary material, I’m much better at it. But as far as contacting the dead goes, this is brand new territory. First time I tried, I didn’t have too much expectations. I began by darkening the room and lighting a candle a bit of a ways behind me. I made my protective circle (I like calling in the directions and the Lesser banishing ritual of the pentagram) and I called in my spirit team. I did a prayer to Jupiter, as it was Thursday and Jupiter hour in the evening. I often interact with Jupiter like this, so we are good, but I have never tried this kind of work at this time before. I sat down before my mirror, made my intention and relaxed into my zone. Immediately a couple poltergeisty things happened. My African Grey parrot, Sam fell off his perch, which never happens. He was fine thankfully. Then a moment later, the space heater I had on blew its circuit. It didn’t blow anything else out. It just turned off on its own. That was a little weird too. I persisted.

As I continued to sit there, I saw nothing in the mirror or around me. I resisted going into normal visionary mode and kept my eyes more focused. Yet I could feel that something was looking back at me, but I couldn’t see what it was. There was definitely the feeling of a cavernous opening within my space as well. I sat for quite some time and it was clear that was it. So, I closed up shop and decided to try a few days later.

On Saturday, March 30th, it was Earth Hour where everyone turns their lights off for an hour, which was held 8:30 to 9:30 PM local time. That happened to be Saturn day, of course, and it was scheduled for Moon hour. Perfect. I set up everything the way it was before. This time my spirit team arranged themselves along the four directions, which was the first time that has ever happened. Interesting.

I began to gaze at my mirror after setting my intention. I maintained a level of clarity within my eyes, like the actual functional part of my eyes. I need to mention here that earlier in the day I had a tattoo client who finished early. We did a gorgeous Hekate tattoo on her thigh and it was gorgeous. Since I had some time, I decided to work on a piece on myself (yes, I tattoo myself). I am creating an Atlas moth on my thigh. I had done a fair amount of coloring on its wings and the piece was still bleeding as I was sitting there at the scrying session. I felt a trickle of blood escape the bandage and run down my knee. I reached down by instinct and scooped it up with my finger and without hesitation, put the drop of blood onto the face of the mirror.

The thing that happened next was incredible. I have to insist that I saw this with my eyes. This wasn’t a “I saw it in my brain, and it’s happening outside of me as well” moment.  I saw this happen with my actual eyes in my actual external vision. The second the blood touched the mirror, the surface crackled just like when you drop oil onto a super-hot pan. The blood multiplied and spattered, crystallized, then becoming blood droplets. The mirror kept bleeding these crystal and blood droplets for a few seconds. I thought to myself, “Oh. Well. That worked.”

Then a few moments later, I started seeing a plane appear within the mirror. Just a gray desolate plane. Not much going on but there was a realness to it that I could see within my actual vision. I started noticing that feeling that something was wide open, almost like a window in another room was leaking cold air. Then I noticed a shape very far off in the distance on the grey plane coming in from the left of the mirror. The shape moved and I could begin to see it a bit better as it drew closer. From the motion it was making I could tell it was on four legs and it was an animal. I thought to myself, of course it’s an animal. It’s always animals for me!

I patiently observed it coming closer. I could see its large solid body, it’s wide stocky build, it’s three heads. Oh my. I realized I was looking at Cerberus, the dog guarding the underworld. In my vision Cerberus was a beautiful gunmetal gray. He looked very fierce, but kind of lovable, and reminded me a lot of a pit bull – a very big, wide, giant, larger than life pit bull.

Cerberus and I looked at each other for a few moments. I wasn’t sure if I needed to say anything or make a pronouncement of some kind. Then as clear as day before I could say anything at all I heard, “Well, I can help you, but you need to get me dog treats.” I said, “Of course.” My mind was racing to try and think through my cupboards if I had anything that was akin to a dog treat on hand but all I have at home are cat and parrot treats. I’m not going to give Cerberus cat treats and most definitely not parrot kibbles. That just seems wrong. He’s not going to like them. Although pit bulls probably would just eat anything, but I can’t second guess this. Cerberus specifically asked for dog treats and dog treats he shall have. I’m going to go buy the guy actual, proper dog bone biscuits.

Returning to the moment with the Hound of Hell directly in front of me, I came back to my senses and everything I had been studying about grimoire magic flooded into my mind. “Okay,” I said to him testing the waters a bit, “I’ll give you half a treat first, and the second half when I’ve made contact with whom I want to make contact with.” He looked at me a little bit, and said, “Done. Deal.”

That was it. He walked back off into the distance, the plane disappeared with him and the mirror went blank. I knew that’s all I was going to get. I now find myself in a position where I have to go buy Cerberus, the Hound of Hell, dog treats. This, on many levels, makes perfect sense to me when I consider it. I always make friends with the animals first and it’s always ghost animals that follow me home. I have already purchased delicious high-quality dog treats for Cerberus, and I look forward to cultivating that relationship. Because you can’t get into the Underworld without being let in by the gatekeeper and if Cerberus wants to be my psychopomp, then I am totally into it. I can’t think of a better guide and ally in the Land of the Dead. I look forward to trying again when the dog treats come, and I will report back on how everything went. Until then.

 

The High Priestess

The High Priestess.

Last year I did a project where I decided I needed to get to know the tarot on a different level. I slept with one card from Aleister Crowley and Lady Frida Harris’ Thoth Tarot underneath my pillow every night. Every morning, I would record the card, the phase of the moon and my dreams. That by itself is a whole story I will write about later, but needless to say, I had amazing and totally crazy results, and I had 78 nights of the most intense dreams I think I’ve ever had in my life. Then I decided to do it again.

The first time I did it in the order the tarot is normally laid out, starting from The Fool 0 and ending with the Princess of Disks. The second time I decided I would start with the cabalistic correspondences starting at the top, with the Aces in Kether. I worked my way down the tree on the Sephiroths going through each suit of the number as well as any Court cards that were applicable. Once in Malkuth, I worked my way back up the tree along the paths of the Majors, starting with the Universe card and then ending with The Fool.

Towards the end of this second round with only a few more left to go, it was the High Priestess’ turn. Just as I put her underneath my pillow and laid my head down, as clear as day, I heard a voice say, “I want you to paint me real.”

My eyes shot open. What? It repeated, “I want you to paint me real.” Okay.

And then she said, “Well, while you’re at it, just paint the whole thing too.”

I took “paint me real” to mean “paint me in the mische technique,” which is the old master’s style painting I paint in and to be sure, it’s hyper-realistic. It’s also unbelievably time-consuming. Then her last command of painting the “whole thing” could either mean all of the Major Arcana, or heaven forbid, the entire deck in the mische technique. Oh jeez. What did I just get myself into?

It was clear to me from the beginning that I had no choice in the matter. If I was to take anything seriously about the work and magic I had been doing with tarot, this was clearly a part of it and it had to be done. I began thinking about how I even felt using an existing piece of art in this way. The truth is I have the utmost respect and love for Lady Frida Harris and her work. In no way do I want to make it seem like I think I’m better than the originals or anything silly like that. It’s just the exact opposite. I want to do this because her images have meant so much to me, have lived in my psyche and my dreams and have become alive. It has been common practice in art institutions throughout history up until fairly recently to straight up copy the works of the masters to learn from their technique. There is artistic precedent for even that. But my project wouldn’t be copying her actual art at all but using her images as a springboard for my own expression of them. In a way, I can’t think of anything more reverent than that as an artist and that is the foundation I began planning my first piece with.

Obviously, the first painting had to be the High Priestess. She was abundantly clear in her commands that she wanted to be painted first and foremost. The rest of her companions was almost an afterthought. But how was I going to paint her? If she is “real” than she has to look like someone. I mulled over a few options but the more I thought about it, the more it began to take concrete shape. I decided to make the High Priestess a self-portrait. And as I began to work on her painting, I realized without a doubt that all of the rest of them need to be self-portraits too.

When you work with tarot, you put yourself into the cards; especially when you’re reading for yourself. Naturally then, when you’re reading for somebody else, that person becomes the cards. So the cards are shapeshifters to whomever it is they’re speaking to, manifesting as aspects of personality and Being that are both universal as archetypes and as specific as any individual. My High Priestess is different than your High Priestess but we can both agree that She has an overall meaning as well. The best way to speak to this was to have all of the Major Arcana have the same face, my face.

I want to talk a little bit about the High Priestess card in general. The high priestess is made of stone in this card. I like thinking of it as not just an earthly stone, but perhaps more like lunar rocks since she is the Moon. But even more than just because she is the Moon, she is out of reach for terrestrial concerns so she needs to be made out of something more otherworldly and out of reach, and frankly, something more magical than simply just marble.  This lunar rock is very pristine, very clean, very pure, very hard, and very cold. She’s an austere queen; she sits on her high throne and kind of exists behind, not just the actual veil that’s in the painting, but even behind the mask that is her sculpture itself. So she’s not even a real, flesh and blood person here; she’s above and beyond that. She’s either entombed in this figure of her, or it’s just a representation of her form because her actual spirit is uncontainable. So she’s this cold, hard substance that’s sitting there in perfection as a representation of something as mutable as photons, sometimes focused like a laser and sometimes as ethereal as a rainbow.

The bow and arrow on her lap is the bow of Diana or Artemis. Just as Artemis, she’s a virgin priestess, not an archetypal mother goddess at all. She is not that kind of creative energy, but rather like pure wisdom –  pure, like a pure inspiration that comes like a lightning bolt into your heart or into your mind. She is holding her arms in a gesture that creates a swirl of scintillating crystalline geometries much like the way the light plays in the inside of a crystal. Underneath is the bow of the moon, creating a horizon of light from which emanates the net of cosmic illusion. This is the veil of Maya, the separation between our egoic view of the world and the true nature of being beyond.

But I also like looking at it like it’s the matrix; the actual underlying structure of reality. She is behind and beyond that structure and from her emanates all of the things that this reality is made of. Her creative power, that clean sharp lightning of inspiration, becomes this network, this web, this structure that coalesces into the forms at the bottom of the painting. Representing the basic building blocks of reality, Crowley and Lady Harris came up with using seed pods and geometric forms. Each flower has ten petals for the ten Sephiroth on the Tree of Life, one having concave and receptive petals for Binah and the other spiral petals for Chokmah.  The pine cone represents Bacchus and the grapes are for Dionysus as a nod to some knowledge and mystery traditions that are able to cut through the veil of illusion. The geometric forms are the Platonic solids, minus the cube. Platonic solids are constructed by shapes that are identical in shape and size meeting at regular angles with the same number of faces meeting at each vertex. Only five solids meet these criteria and four of them are represented in this painting. According to Plato, the classical elements were made of solids like these so it’s easy to see how they got included in this image. These forms along with the seeds and flowers are ideas of the beginning; the very kernel or nugget of something, the essence of something that’s going to become something else.

The camel, which may be one of my favorite parts, refers to the Hebrew letter Gimel, which is the G sound. The path that the High Priestess card is on the Tree of Life is called the path of Unifying Intelligence, path 13. It connects Kether and Tiphareth but has to cross over the Abyss to get from one to the other. Camels are the best creatures on the planet to have by your side when you are crossing the abyss of a desert. They are reliable, strong, steadfast, loyal, and those are kind of the qualities you need to get through the abyss. On the path from the sun to the essence of all being, you have to be steadfast; you have to be prepared; you have to be loyal. Think about a camel in a desert during a storm. You just have to put one foot in front of the other and keep going.

Camels naturally carry/conserve water and water, of course, is the element of the unconscious. The hidden meaning, in this case, is that to in order to be the Sun (Tiphareth) returning to the Father (Kether), you’ve got to resonate with your inner well (waters of the unconscious) and pass through the darkness in faith and meditation in order to immerge into the light. It’s almost like the infamous dark night of the soul experience in spirituality or meditative traditions, but coming totally prepared with your inner camel to carry you through at your darkest hour.

There is plenty more to say about the meaning of the card and many people have said much more. Perhaps as a few final thoughts, I’ll speak to what the High Priestess means to me.

I always think of that scene in The Lord of the Rings, where Galadriel tempts herself with the one ring. And she turns into a white, crystalline, terrifying goddess. And I feel like that’s exactly what the high priestess is. It’s sheer power, sheer entity, sheer destruction, sheer creative force that sometimes you can’t tell the difference between, that is so powerful, and so huge that we almost can’t comprehend it within our lives. But yet, we all carry that divine spark within us as well in the depths of our souls. She is the macrocosm as well as the microcosm, the ultimate pure light of spirit and the witchy way you feel on a good day. Personally, the High Priestess is an expression of me at my most empowered, most badass, strongest the-universe-is-my-playground Self. I pull this card and I know that today I can do anything. It’s when I’m in the flow of life when I feel most connected to the tendrils of the universe and everything I do ripples through reality and manifests.

I want to add that while I was painting this, I was learning about grimoires and journeying on Rune Soup’s Member courses. All of that information is baked into the brush strokes of this piece as well, which I find really appropriate.

Below are some of the underpainting initial steps of the Mische Technique. I love how the technique itself becomes opalescent which is so reminiscent of the crystalline nature of the High Priestess.

Healing the Ancestors

I was sitting with this stunning Hyacinth Macaw on my knee, scratching her head, reading about parrots, cuz I’m meta like that. I was reading about their classifications and history and then the next section was about the pet trade. This is clearly something I’ve known for a long time. Reading it was not new information but somehow it struck me so differently than it ever has before:

 

Every parrot that is a pet in someone’s home anywhere in the world descended from parrots that were trapped from the wild, often in tubes or shabby crates, transported across vast distances in this condition and then forced to start living a life of captivity.

 

I have often cried from feeling the horror they must have felt, the fear, the knowledge that so many around them were dead or dying on their journey. Parrots are unbelievably smart, sensitive and feeling beings. Most of them are smarter than your four-year-old and many of them have a more developed emotional depth than many adults walking around. So, the thought of them having to endure the lives they lead in captivity, not to mention how any of them got here in the first place is almost unbearable. But this was different.

I looked down at the Hyacinth Macaw, Echo, and she looked into my eyes with her sweet smiling face and I was hit with a wall of feeling. My whole body felt restrained, felt terror, felt sadness, felt despair. My eyes welled up and began flowing with tears that didn’t seem to be mine. I was overwhelmed and I just let myself feel it fully. I looked at her and I kept saying out loud, “I’m sorry. I’m so sorry. Please forgive me.” I was apologizing for humanity, for people that did unspeakable things for money. And then it struck me. I need to apologize to her ancestors, the ones that were taken as well.

 

Still sitting with the upwelling of feelings and tears, I went inward and took several deep breaths. I sunk into myself and out of myself. With Echo’s help I was able to locate a place where her ancestors lived in the Other Place. Their spirits came to me when I called to them. Echo’s male relative spoke first.

“What are you doing here? We’ve never seen one like you before?”

“I have come to ask for forgiveness from you. What people did to you was wrong. We should have never taken you from your home. We should never have hurt you. I am sorry. I am so very, very sorry. Please find it in your heart to forgive us,” I replied.

He and his wife were beautiful blue spirit macaws, large and ethereal, glowing with otherworldly light and magnificence. I was small and humbled before them.

He raised his eyebrow at me.

“No one has ever come here before from your kind.” He paused for a while. “I can feel you are genuine. I know you are sincere. We thank you for your apology.” Another long pause where they looked at each other and she nodded slowly. “We forgive you.”

“Thank you. With all of my heart, thank you,” I said. I bid them farewell as it was done. I came back from that place and breathed and opened my eyes, which were streaming with fresh tears. Not ones of pain, but of a relief and a slightly lighter load of emotions.

At this very moment Echo began to make a noise I had never heard her make before. She started almost purring/cooing. It was the sweetest, most calming sound ever. She was serene and relaxed and was thanking me with her whole being.

My next thought was that I have to do this for Sam. If anyone needs it, it’s my little African Grey trauma baby. I had the opportunity to sit with him quietly the very next day when I was back home. I took him in my lap and started deep breathing and diving down into the other place. I feel like once your psyche knows where to go in these realms, it can find the exact location pretty quickly, like your saved locations on the Google maps app. So, there I was.

 

Instead of being in the presence of two large spirit birds, I saw two captives, one in a sort of makeshift cage and the other in something that looked like a sock. It was clear that one was older, or from a slightly different time than the other which led me to believe that his ancestors came from Africa at different times. Regardless, they were both still in those awful contraptions. My spirit body released them immediately and two terrified little birds rushed forward and flew onto a nearby branch high above me. I wasn’t sure if anything else would happen, but I waited and gave them time.

 

After several long moments, they flew a little closer. I could sense they were coming back into themselves and leaving their terrified bodies behind. There was already such a release and sense of shift in the ethers. Then, gradually, the two little birds flew toward me and as they did, they shifted into an African Grey version of the large, beautiful spirit birds that I had seen before. Tall and ethereal, but strong and commanding, shrouded in grey with a swirl of crimson red at their feet.

 

During this whole, Sam had been preening and not really paying any attention on my knee. At the very moment they landed in their new form before me, Sam stopped preening and bonked his feathered head into my stomach. This is his move for head scratches, connection and reassurance. I gently put my fingers in his head feathers and softly scratched his head.

 

I greeted the beautiful spirit African greys in front of me. I could feel they were projecting a mixture of emotions, from confusion on what on earth I was doing in this space to gratitude for finally letting them out of their cages. They went with gratitude first.

 

“Thank you for releasing us. We have been in there for a long time,” spoke Sam’s great great grandfather. His mate nodding knowingly.

“I came here to ask you for forgiveness. What my people did to you is inexcusable. I am so very, very sorry.” I cut right to the chase.

They regarded me for a moment.

“We never expected to see your kind here. But you came and showed us kindness as well. And now you ask us to forgive you,” spoke the masculine voice.

He then proceeded to tell me his name to introduce himself, an articulation of bird sound I cannot even try to reproduce in text and her name was in the same tongue. In this place I was with them, I not only could understand it, but I could repeat it and still can to some extent in my memory.

“It is such an honor to meet you both. Sam is what we call your great great grandson. I don’t know if he was ever given a real name fitting his kind. I love Sam very much and he is safe forever with me and my family.”

“We can see that. Thank you for caring so much for him,” he said. They looked at each other then he said simply, “We forgive you.”

I bowed with gratitude and thanked them with all of my heart.

“Sam will want to be in touch with you. I hope we can meet again, and I can bring him next time,” I offered.

“Yes, we can reach him now and it will be good for us all to be together here again soon.”

“Thank you, again,” I said, and I bid them farewell.

 

As they turned to go, I left the other place. I opened my eyes and saw little Sam on my knee all tucked in and relaxed. He had his beak in his wings, which he hardly ever does when he’s sitting on me, not to mention that he rarely does it at all. He was in an altered state I’m not sure I’ve ever seen before. My little trauma baby had relaxed some deep part of himself and I could sense a shift in his whole demeanour.

It’s been several days since I contacted and healed his relationship with the ancestors. There have been significant changes in Sam’s attitude, body language and personality. He is actually eating all of his food I give him which is completely out of character. He seems more light-hearted and less haunted than before. Essentially, he seems more relaxed, confidant and happier. I cannot be more thrilled. And I fully intend on growing the relationship with his ancestors and providing a psychic bridge for them to communicate and interact. I am sure this is something that’s natural to birds in the wild. But having been cut off from the traditions and culture that he would have grown up with in the wild, Sam needs help connecting into his ancestral flock.

 

Sam deserves to be freed from trauma. Every parrot in captivity does. He did not choose to come here. None of them did. Yet, here they are, in our lives. Yes, many parrots you buy today come from breeders, but the birds that those are bred from were trapped from the wild and survived horrible traumas. Trauma is genetic. It is for them just like it is for us humans. I often feel so much of my own journey in life is to stop the forward motion through time of my family’s trauma of war, of assault, of being refugees, of abuse going back generations. I am not only healing myself, but I am healing them as well, so it doesn’t go any further past down the lineage.

 

Perhaps this is another way I can be of service to the feathered beings I love so much. Humans are often cruel without thinking and more often cruel with full intention. Our need to own shiny and impressive pets has led many people to do things for profit that are unspeakable. There isn’t a way to stop the situation. The best any one of us can do is to provide a safe, happy home to the best of our ability to a group of creatures that has been around on the planet longer than we have and will probably out live us. And maybe we can help to heal their wounds just like their bond with us can heal so many of ours.

Kosmic Mother

Long before God, long before Yahweh, before even Zues, going back as far as when nomadic peoples first started roaming the savannah, the grand deity that gave birth to them all was worshipped.  She was the ultimate creator, the benevolent giver of Life and the one that would inevitably take it away.  She was the continuum, the rhythm of nature, the breadth in the air, the cycles of life visible on the nascent Earth.  She nourished her creatures from her soil and illuminated the night from her heavens.  She was the radiant sun that kissed her children awake, the din and lightning of the storm that purged and cleansed the air.  She was the vital energy, the youthful blood of a newly born child, the dark mystical warm blood of the mother giving birth and the phantom chill in the blood of death.  She was both beautiful and gruesome, inducing both ecstasy and terror.  She embodied the very existence of those first peoples, the sights, sounds, fears and hopes that they encountered as they began to explore the wondrous expanse of the unknown.  She grew out of their experiences and their intimate familiarity with the forces of our planet, the influence of the vast empyrean above them, and the subtle energies surrounding them.

 

She was not ruling on high from an unreachable throne, but could be found in the birds flying through the air, the plants growing in the ancient forests, as well as in the celestial bodies visible in the night sky.  She dwelled inside the women and men themselves that gave ritual thanks to her as they were not only her children, but were inextricably within the forces that were her being, along side every other creature co-inhabiting the Earth. The snake annually shedding its skin was a symbol of the eternal return, the cycle of life and death.  The moon was her cosmic orb as it waned and waxed, grew to light and then faded to dark.  She was present in the sacred bull that carried the moon itself on his head as his horns.  She was the dualities of life, the unfathomable mysteries of the dark and the revealing clarity of the light.

 

She was represented by carvings of spirals and double spirals that can still be seen today in the ancient rocks in the ancestral homelands.  Her alters and her icons were painted with red ochre, the color of the life blood, as were burial chambers and the dead themselves.  She was depicted many times with a green child, often shown as a dove, the fresh spring of life, the potential that everything new can hold. The great Goddess was also shown as a crone, an old woman, withered and dying, with a vulture menacingly peering by her side.  She was shown as a Bird and Snake Goddess, as a pregnant expecting mother, and as a warrior queen.  Her symbols are still visible in modern times both in artifact and in the collective consciousness inside each of us that has inherited her wisdom.

 

Many try to teach that these are only fertility and luck tokens, common nothings that happened to survive the test of time.  But the truth of her realities are the essential substance of life and existence that we are inherently a part of and can witness all around us.  Her power is the essence of us all, deep in our primordial hearts, and we all have the ability to reopen its surging energy.   Yet, it should not replace all that mankind has learned in our several thousand years, but its strength must be incorporated with that knowledge, creating a greater fusion and equilibrium than ever before realized.

Entering the Mysteries

oil and acrylic on canvas, 2018

“Entering the Mysteries”

by Krisztina Lazar

 

 

Psychedelic plants have been used as mind-opening substances as far back as anyone can trace. Perhaps they were even responsible for the proverbial “big bang” in human consciousness about 100,000 years ago, which ushered in a creative boom in art, language, and expression visible in cave art and other artifacts. However speculative that may be, the truth is that the human species has evolved in the presence of certain plant medicines since the beginning and they continue to shape our view of the world.

 

Today, we are experiencing a renaissance. The global availability, visibility, and distribution of so many things has pushed makers and creators of everything from whisky, to slime, to unicorns, to tarot, to art to step up their quality and quantity in response. Psychedelics and plant medicines fit into this category as well. Despite still being highly illegal, more sacred ceremonies, more late night dance parties, more backyard and living room explorations, and more research projects into the benefits and healing properties of these medicines are happening than ever before in history. We live now during a time of quickening and we need to continue to have a dialogue and push these boundaries ever forward.

 

Hundreds of years ago, entering the mysteries was a highly ritualized process. Whether you were visiting an oracle and she was the one on a mind-altering substance, or you were participating in the Eleusinian mysteries and experiencing a total group high, these were elaborately orchestrated events. Today we are fortunate enough to be able to craft our own rituals. We can still participate in a wide variety of sacred healing circles that pay homage to their cultural heritage, or we can acquire almost any substance we desire and try it out in the familiarity of our home. Yet despite these differences, we all still somehow go to the same visionary places that our ancestors did.

 

Jung called this visionary realm the collective unconscious and described it as a part of our mind that we share with every human being. Terence McKenna, among others, described it as a different place, like tuning a radio to a different frequency. Experientially, I find it to be both deep inside of myself as well as a different place altogether, another dimension if you will, both within and outside of myself. There I connect not only to the Beings of the medicine itself, but a place where Forms and Archetypes reside and communicate in their own specific ways. This is what my painting is talking about.

 

At the very bottom of the painting, the journey begins. There is the New Moon on the left and the Full Moon on the right. This is cyclic nature of the fickle moon that triggers stepping into something beyond ourselves. It is between this cycle that magic needs to be done and the world aligns in such a way to make our efforts even more powerful. The left, the feminine, is the dark; and the right, the masculine, is the light. Darkness and left is never bad, despite what a thousand years of church teachings claim, but in fact it is the absolute essential time where dropping deep into the mysteries can be accomplished. Think about it. For a ruling system to keep its subjects entranced by their own dogmatic ideals, cutting off the ties to each individual’s access to the mysteries is necessary; it is how you castrate the imagination. That’s how control works. By investigating the Dark and the Left Hand spirituality that is inherent within us all, we can immediately realize that access to deeper and higher realms is inherently within us and we don’t need a system in place to tell us how to get there at all.

 

Continuing on the journey, we see the mushrooms emitting a spectrum of colors that is the symbolic path; the opening you will take as you move your eve upward along the painting. Follow the rainbow, as it were. Our querent, a lovely young woman, has opened her third eye and the rainbow snakes upward toward the hands. Literally, it is a snake. If you look closely at the image, the rainbow here has a little snake-head that rests at the tip of the diamond. She is surrounded by a golden halo with eyes, representing not only the awakening of her consciousness, but also that we all have the Divine light within us as well.

 

The hands, painted red ochre, have many meanings. The color is the one ancient peoples used to paint their dead before burying them back in the earth, letting them return to the womb, their Mother Goddess, to be born again. Women in India still henna their hands for marriage in honor of the Goddess as well. Hands are one of the things that makes us specifically human, and it is with our hands that we can create and destroy. These hands define an upward-pointing triangle shape, which indicates transformation. It is not necessarily the Illuminati symbol the conspiracy corner of the internet says it means, but hey, I’m not going to tell you what to think.

 

Within the hands is a diamond, essentially a triangle pointing downward. The two triangles within each other suggest the hexagram, the six-pointed star. I would have to devote an entire essay to this symbol alone, but suffice it to say, it is a highly spiritual, magical and transformational symbol for cultures throughout the world. The two triangles also are a combination of the male and female principles joining together for creation, which mirrors the New and the Full Moons at the bottom of the painting. What was once separate is now combined. Nothing says altered states quite like a hexagram.

 

The hands and the diamond, the hexagram, act like the Great Work of alchemy, taking the mundane and altering it to be the Philosopher’s Stone. The Philosopher’s Stone is both a place within oneself as well as a place far beyond, exactly like the land which psychedelics take you to. It is both held in your hand and is a state of being at the same time. This is what it means by “mystery.” Understanding the fluctuating nature of this idea is exactly what sages, healers, and mystics have been trying to describe for thousands of years.

 

The rainbow snake travels into the hexagram and expands both inwards and outwards, moving into the realms beyond. Here we encounter the collective unconscious, the realm of archetypes, forms, symbols, beings, deities, angels, aliens, you name it, for the first time. Remarkably, this place has a unique feel that is intrinsically our own, yet we are looking at things that many have seen before us. It’s as if everyone had their own camera lens that was just slightly different, but they were all looking at the same thing through them. Creatures like the Beast of Revelation, Unicorns, Scorpions, and Snakes all have meaning in this vast beyond. Snakes are universal symbols of the depths of our psyche as well as the vision that inspired the discovery of the shape of DNA. A Scorpion astrologically is the sign that is hidden in the darkness in the sky and is classically the witchy and the left hand point of view. Unicorns, in contrast, are the crescent Moon and stand for peace, harmony, and great strength. And last but not least, the Beast of Revelation is ushering in the new paradigm.

 

Each creature has a horn or two that crystalizes the rainbow for the last time. This is where the vision has come to a point and the painting to an end. Each medicine journey comes to this point, something within the vision that is the true meaning, the message, if you will, that these symbols are trying to communicate with you. This is left to the viewer as well as to the querent and must resonate within the experiencer’s deepest soul. This is where the grandness of what we see through our unique camera lens reaches back into our Being and speaks directly to us. It is what we do with that message and how we chose to integrate it into our lives that is the real work. This act of reaching out and speaking directly to you is the power of symbols, archetypes, and visions. However grandiose and universal they are, they still humble themselves and speak directly to us in exactly the way that art can communicate to each individual viewer. I hope this painting says something unique to you.

#MeToo and The Sacred Masculine

“Centaur and Kittens,” Acrylic, pen and ink on canvas, 2013

I have been really triggered by the #MeToo movement. Just like so many women, this has brought things to the surface that I haven’t fully dealt with, or really dealt with at all. It’s made me relive several traumas, it’s made me get really angry, feel really hurt, cry my eyes out, feel proud of women everywhere, feel strong, feel sad for women everywhere, and pretty much anything and everything in between.  It’s been several months now and the movement shows no signs of letting up or being stuffed back into the genie bottle from which it exploded forth. Good. This is a sacrificial bull that we have gutted and we are still gazing at the hot, steaming entrails to see what this will mean for our future.

 

Like for so many of us, it has given me a real chance to do some serious introspection and healing, even though often it’s felt like confronting the Bogey Man hiding behind the closet door or the serial killer lurking downstairs in the kitchen. It hasn’t been easy. Other than being cat-called, discriminated against, harassed, bullied, having my butt pinched, touched, stroked in public, forced to go down on men just so they would leave me alone (Hey it was better than letting them have sex with me, right?), I was also rufied and raped on a family vacation in my early twenties. The messed up thing is that I blamed myself for just partying too much and being out of control for that last one. I was so subjugated by the deluge of anti-respect for my womanhood that I took that upon myself as my own responsibility and it wasn’t until a little over one year ago that I could even say the word “rape” out loud and have it apply to me.

 

I’ve done a lot of work over the last few years in regards to this. I have fibromyalgia and I know so much of my pain is the physical embodiment of all of this energy. My pain when the #metoo movement started was through the roof and my body was crying out for me to hear not only all of the injustices that had been done to her but to everyone else coming forward with their suffering too. It was intense to say the least. But serious pain has always been one of my roads to healing and I have just upped my therapies, my meditation, taking time for myself, getting in rhythm with my lady cycle, getting in rhythm with the moon, calling in the Goddess in all of her forms, using crystals and divination to ground, and performing rituals to crack open and hone my crazy-good intuition that I am just getting in touch with. Yeah. It’s been a real evolution.

 

Right as I started taking witchcraft more seriously and actually calling myself a witch to others, something kinda crazy happened. My cat had eaten a rather long piece of Christmas ribbon and we were at the vet trying to determine how bad it was. I thought she had only eaten a small chunk. Little did I know at the time. Poor Chichibu was in agony and utterly miserable. The vet was poking and prodding her guts and she was growling like a little tiger. The vet left the room and I was standing behind my cat. I had a strong intuition that I shouldn’t touch her right then, but thought, nah, and reached for her to pick her up. Sure enough, she wheeled around and bit me, hard, on my right hand, my dominant hand, the hand I do art with. Still latched on and finally hearing my voice saying her name, she realized it was my hand in her vice grip and not the vet’s and she went limp, whimpered, and let go. She was very sorry, but it was too late. I ended up in the hospital for the next four days because it was so infected. Chichibu also was in the hospital having ribbon extraction surgery at the same time. My husband was going back and forth visiting his unhappy ladies the whole time and we just kept saying how bizarrely synchronous the whole thing was.

Even as it was unfolding, it felt like I was getting some strange initiation. Chichibu and I are very connected psychically now and I can’t touch any of my craft or divination tools without her appearing right next to me. But what I had to heal for quite some time was my right hand. At the time it felt like a healing of my creative force (which definitely needs healing – I will write about that later). And while I still feel like that is accurate, there was something else that I was feeling but couldn’t put into words yet.

 

Then two weeks after that debacle I ended up in the hospital again because I developed an allergic reaction to new medication I was taking. Luckily no extended hospital stay this time, but oddly the thing that has taken the longest time to heal from that is my right foot and ankle. The medication caused my throat to close, gave me hives and severe chills, and made my joints, especially my ankles and feet became really swollen, so much so that I couldn’t walk. My right ankle and foot are still messed up despite all my other symptoms having gone away just days afterward. Living and working in the symbolic realm for the last while, I knew it had something to do with all of this. My right hand, and now my right foot? And since my right foot and ankle have been off, my right hamstring and hips have been screaming too. Something is massively out of alignment.

 

Feeling into this for the last several days, a shadow of an idea began to take shape. I did a tea leaf reading to see what my future child would be like and I got that he’d be a boy. I felt a huge reaction rise up in me. I have no idea how to deal with a boy! Little boys are evil and and pull your hair, yank chairs out from underneath you, chase you every day during recess, and stab you with pencils – at least that was much of my childhood experience of them. My husband said something to the effect of, “Well, you gotta get clear with that energy or the Goddess is going to make you get clear.” And it hit my like a ton of bricks and it has been crashing over me like the rising tide of a giant tsunami for the last several days. I have a terrible relationship, perhaps not even a real relationship at all, with the Sacred Masculine. In fact, I have only a toxic relationship with the Masculine energy principal and I have literally no relationship with my own animus (the internal masculine energy every woman has. Men have an anima, the feminine). The most insane thing is that when I try to picture the Sacred Masculine I can’t do it. I see something for a second and then all of the bad things that men have done to me for so many many years just floods over the image.

 

Thinking of an adult man was problematic because of all of the triggers and trauma that are still looming in my psyche. So I tried to go back to adolescence or even to childhood to picture a being, a boy even, that could be a pure representation of the Masculine in all of it’s goodness, power, and promise. I had to go back pretty far. There was a time when me in my power was equal to that of a boy in his power. It was in preschool. I had a magical summer where I would organize a game of unicorn pegasuses and about a half a dozen little boys played with me every day. But I also was enlisted in playing Rambo with them equally as often and it was glorious. That was before things got weird. That was the last memory I have that I can recall that isn’t plagued with mistrust, fear, anger, hatred, disgust, sadness, and a whole host of other complicated emotions. Ok, so I have an image of a 5 year old dressed as Rambo with giant Pegasus wings and a unicorn horn as one aspect of the Sacred Masculine.

 

However kind of great that is, he isn’t a full embodiment of the God. Even the word “God” is problematic because it dredges up all of the terror that has been enacted in His name. Our cultural evolution has just been an ongoing over-inflation of the masculine principles and searching through mythology, ancient and contemporary, I was having a hard time finding a well-rounded individual who frankly, wasn’t a dick. Because what is the Sacred Masculine anyway? How do I even answer that?

 

I am firmly rooted in what the Sacred Feminine is. Daughter, Seductress, Mother,  Warrior, Queen, Princess, Priestess, Crone, Wild Woman, and so many more archetypes that have a cornucopia of meanings folded within them. She is the light and the dark, birth and death, young and old. And so is the Sacred Masculine. He is light and dark, impregnation and death, young and old. He is the naughty Pan. He is the wise Old One. He is the consort, the seed, the yang. He is the sky of equanimity and the burning sun. He has a ferocity to create as much as a ferocity in destruction. He has a strength to protect but also a strength to harm. And sadly we’ve really only known the Sacred Masculine as a testosterone junky God of War, blood pulsing through his engorged member, raping and conquering all before Him.

 

It’s obviously not just me that has no real relationship with the Sacred Masculine. I do not mean that there aren’t men in your life that are awesome. I am talking about the Masculine Principle here, an archetype, an essence, a multi-faceted truth that exists in another realm. I have the world’s most amazing man as my husband and I still can’t reconcile these archetypes. As I see it, humanity as a whole has a toxic relationship with the Sacred Masculine and it is coming to a head. When school shootings have become the norm and are an ejaculatory response to hatred reaching uranium’s melting point in a man’s mind; where the powers of the world are engaging in a “mine is bigger than yours” nuclear size comparison; when the grey-haired Boomer’s midlife crises is spending billions on virility, gun lobbies, and disbelieving climate change, it is obvious that things are very far off center. Our historical memories don’t extend far enough back to remember a time when this wasn’t the case. We can feel that it wasn’t always this way, but it’s like trying to remember a memory from childhood. It feels good, but it’s very fuzzy and very distant. Yeah. Sacred Mama wasn’t always taken advantage of and we remember being held in her loving embrace, but it’s a distant memory. For far too long Daddy’s been on an unpredictable power drinking binge and it hasn’t been good for any of us.

 

Just as the Sacred Feminine has been abused and neglected, the Sacred Masculine has been over indulged and let run wild. Neither one is fully in their power. The one thing this truth bomb of a realization has shown me is that I cannot invoke the Goddess alone. It’s like when Frodo gives Galadriel The One Ring and she sees how it could make her an all-powerful queen. She becomes so beautiful that she becomes unbelievably terrifying and that doesn’t solve anything either. Granted, right now we are dealing with Sauron as our Masculine principle, but installing an equally over-inflated Goddess next to Him would create chaos, not equal each other out.

 

As artists, healers, witches, meditators, thinkers, and practitioners, we visualize the Goddess in her many aspects. We have to. Bringing her back to life by paying her homage is definitely one way to change the world we live in. The #MeToo movement is proof of this. The Sacred Feminine is waking up in all of us and getting out-paid, groped, and bullied by Sauron on steroids and Viagra is just not an option any more. Enough is enough. Yet we need to equally imagine the Sacred Masculine, a healthy, virile God that protects, that guards, that saves, that doesn’t indulge in his power but is even more powerful because he practices restraint. We need to visualize the God, pay homage to the aspects of the Sacred Masculine that need to wake up, just as much as the Goddess within us all.

 

And what does He look like? Well, to me, he looks like my beautiful, faithful, true, strong, sexy gay friend with a virile set of antlers upon his head. He looks like Shining Armor from My Little Pony: Friendship is Magic. He looks like Shiva. He looks like a little boy dressed as Rambo with a unicorn horn and giant Pegasus wings. This is enough for me to start with. It’s enough that visualizing these aspects of the God don’t trigger me but instead, inspire me. These images of the Sacred Masculine for me will grow, change, and add complexity and just become more nuanced as I continue to work with them. This I know.

 

We can create a better tomorrow, but first we have to actually envision what that will actually look like. We all have to start somewhere. What does He look like to you? Start simple. Start safe. He has to be something that feels good to think about and if the first few images you get don’t feel good, keep backing off until you find one that is so pared down that it does. Start there. And when you call to the Goddess, because please, DO NOT STOP calling to the Goddess, call to the God and picture whatever version of the Sacred Masculine you can muster. And perhaps, hopefully, He will grow, change, and gain as many aspects as the Goddess and become Her true partner. Then, and only then, can the Sacred Masculine and the Sacred Feminine step into their full power, filling us up with their endless aspects. And as these archetypes achieve balance, we can step into our own power as full Beings, capable of love for not only one another, but a deep true love for ourselves.

God is a Crow

Many years ago I was constantly back and forth between Pittsburgh and Cleveland.  Whether it was for the show I had there, or friends, or birthdays it seemed like I was making the treck every other weekend.  Don’t get me wrong, it’s not a long drive, only two hours, which began to seem like I was entering into a time portal and magically emerging in Pittsburgh.  I didn’t mind the two hours there and the two hours back because it gave me time to think about whatever, and of course, to sing to all of my favorite songs I had in the playlists entitled “Singing Songs” and “Disco Baby” on my iPod.  Luckily, I almost always had gorgeous weather while I was driving, and I witnessed everything from breathtaking sunsets to heavy rainfall that glowed purple from the strange light of the storm.  I never quite added it up, but every other week, for three months, four hours round trip; that equals a lot of thinking and a lot of singing.

One of these times driving back, I’m not even quite sure what I was thinking of before, but I saw a crow sitting on a guardrail on my side of the road.  It was then one of those moments that somehow is frozen in time for a second, where everything becomes a still picture and you have some sort of realization.  As I looked at the bird, it popped into my head that God is a crow.  The second I thought it I was confused by the statement and I dreamily thought of where something like that had come from.  I found myself rationalizing quite nonsensically, saying to myself, “well, he could be, but then God’s not really a ‘He,’ but I suppose then it would be It could be. . . .”  I also mused on the sentence itself, thinking of Magritte’s painting, “This is not a pipe,” playing through the whole palindrome with my version.  And thus continued the silliness in my head.

Yet, as my mind kept echoing “God is a crow,” my true revelation came to me from somewhere underneath that hazy blanket of silly ponderings.  It was all in thoughts without words, but these thoughts where somehow an entire thesis’ length of explanations, all received simultaneously and comprehended all at once.  It was definitely not something new or even that miraculous that dawned on me.  In fact, most of us know it already, as I most certainly do, and abide by these same notions in our daily lives.  But perhaps this time it was more of a knock in the head than other times, and perhaps I saw it from a different level, a different perspective, than before.

Yes, God is a crow.  Just as God is a tree, a blade of grass, an ant, a jellyfish, the ocean, the sky, and everything else in this great Kosmos of ours.  Yet, it isn’t simply just the air we breathe, because chemically and whatnot, we know what that is comprised of.  But rather, it is inside the air.  Ken Wilber talks about the four quadrants, basically the inside and outside of ourselves as the individual and also of matter, and the inside and outside of the collective, in its cultural and social context.  I’ve always understood and known this to be true, that as a human, I have all these organ systems that make me tick, yet all of that has an inside, for lack of a better term.  In people, we call this the spirit or the soul, whichever you prefer.  But everything has this inside aspect to it, right down to a quark. Animals most assuredly have the same kind of interiority as we do, but because we, collectively, like to think ourselves above the animals hierarchically, we have labeled ours with fancy names and lofty concepts, but overall our insides are the same as their insides. And plants have insides as well, as do stones, crystals, insects, atoms and absolutely everything else also has an interior that is relative to itself.  All of our known world is somewhat like a stage set, with performers and the like, doing what they do.  But like in any performance, there is a lot going on backstage that the audience can’t see.  I caught a real full glimpse of the backstage that day that has stayed with me ever since.