“Just because we have more access to Mind at Large … does not mean we are mindless, feelingless machines”: Planetmates on work versus instinct, happiness, joy, creativity being like instinctual knowledge, play, Divine inspiration, and fun. Planetmates say, “We are your angels in Nature”

“…there would be much more “instinctual” knowledge available to you — and is available to you — were you, for reasons of your birth and infancy and the way they have caused you to run away from the feelings in your bodies, not split off from them. Indeed, to the extent that you have not run away from such pain, or to the degree that one has turned and faced and integrated that pain and reconnected with one’s body, you do feel and receive such specific “instinctual” instruction.

“In fact, think of it, when we say we do not know where those messages come from, which we experience in the body, do you see that, to be more specific, we know them to come from the “divine”? For they are “instructions,” as it were, that guide us in the care of ourselves in life and the carrying out of our life’s actions along lines most beneficial and pleasurable. And other than a force that is comforting, beneficial, and wiser than our limited selves, what else is the Divine? For certainly that is enough for us. Keeping that in mind, do you not see that it is the same for you? And that to the extent that one is able to lower the barriers of early pain and the mental defenses that arose from it, you also can feel such Divine instruction … of an increasingly more specific quality … and become more “instinctual.” Or, in your words, divinely inspired or guided by God.

“Backing up, so you denigrate our experience as “instinctual,’ when it is no different from your own experience of life … and if there is any difference it has to do with the greater access we have, the stronger and clearer connection we have, with a wisdom and beneficence beyond our limited selves, which you have separated from, but which is still accessible deep inside you, below the levels of your early pain. Just because we have more access to Mind at Large, which contains all information and knowledge, does not mean we are mindless, feelingless machines. Does it not mean the opposite? Indeed, we are your angels in nature, as we said earlier.

“So, keep in mind, our “instinct” is what guides us in having the experiences of the joy, pleasure, and happiness of life … something you have lost so much of. And it hardly matters where it “came from.” Certainly, the fact that we are more divinely inspired is no reason to trivialize our experience, or our knowledge … any more than you should demean the brilliance of your Shakespeare or Einstein or Jesus just because they happened to have found a way to stay or become sensitive to the wisdom of the Universe and the Divine, which is everywhere around, but which you, most of you and for the most part, block yourself from feeling.

“And for us this pleasure and joy, this “instinctual” guidance, includes having offspring. It is another capacity that wants to be actualized, which, in doing so, planetmates feel pleasure. It also is not a chore, or work, which for you it has often become.

“But you also know what life is that is lived under the direction of the Divine instead of the direction of higher ups, extracting from you the suffering equivalent to the control of you, which is termed work. 

For, you ask a child digging in the sand with a shovel if that is work. Ask the athlete if clearing the bar when pole vaulting is work. Ask if it is work to sidestep all tacklers and throw oneself over the goal line. Ask the sculptor if fashioning stone and watching her or his vision of it emerge from it is work.

“Lion cubs fight and wrestle with each other. You say they are just preparing themselves for an adult life of struggle and fighting off predators. Really? Do you really think they are taking it on like a class, or exercise regimen, and not just having fun?

“At any rate, creative people know what we are talking about. They know about the work that is not work, that is actually play and conducive to joy. And they know about that magical, “instinctual” knowledge that comes to one precisely and specifically. For they know that their “works” (their “plays”?) have to be just so. When it fits with their “instinct” — their unconscious knowing which only comes out in actions of following it or expressing it — they know it is done and it cannot be any different. As Amadeus, in an ironic tone, said in the movie when someone criticized his composition for having “too many notes,” “Just exactly which notes would you have me take out?”

“So for the artist in any medium, the creative product arises as if it was done somewhere else, by someone else, and one is just the channel for it. Upon its completion, it feels as if it had come forth perfect and precise in all its details … springing, as it were, “fully formed from the forehead of Zeus.” So this is instinctual knowledge, of a sort, which ultimately comes from a place beyond themselves and ourselves.

“But with sedentary ways you forgot all that and you created work, which is the non-divine actions emanating as urges, not from the inside and the body (ultimately the Divine), but from the outside, driven and pushed by coercion. Rather than the positive reinforcement one receives in following one’s “instinctual” guidance, which makes of one’s life a happy one, acting in response to the promptings of the outside is largely a product of negative reinforcement. One is not, as in Nature, just rewarded when one follows its promptings, one is punished when one does not. Overall, such a life is not a happy one….”

[Pt 3 of 25rd prasad — Family Fortress. More coming….  

To see the entire book, to which this will be added eventually (book is two-thirds updated), go to the blog page at http://mladzema.wordpress.com/the-great-reveal-book-6/ … 

Planetmates: The Great Reveal – Michael Adzema’s latest book – is being released in print and e-book format on April 25, 2014

To purchase any of Michael Adzema’s books, available in print and e-book formats, go to Michael Adzema’s books at Amazon.

Those who want signed copies of any of my books, email me directly … sillymickel@gmail.com … Discount for blog subscribers.

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Play Cards with Your Dragons: The New Hero’s Cycle Involves Surrender Not Struggle, Sacrifice Not Slaying, Compassion Not “Toughness,” and Silliness Not Stoicism

Loving Warriors and Silly Heroes: The Necessary Hero Dances Above Dissonance, Lightens Up in the Face of Stress, and Sees Divinity Not Demons Behind It All

Apocalypse – No! Chapter Thirteen: Peaceful Warriors and Silly Heroes

 

You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You

We Need Compassionate Warriors, Not Fighters: It’s Not Enough Just to Slay Dragons, We Need to Jump Into Volcanoes

Volcano-Jumping: A Different Heroic Response

This different kind of heroic response—which characterizes the perinatal arena and is sorely needed at this time in history—is exemplified in another contemporary movie of cult status. We will deal with it in some detail to bring out the elements of the kind of hero that is now required to stop the cycles of destruction that have currently driven us to the abyss…to the very edge of a “volcano.”

In “Joe Versus the Volcano,” the main character, played by Tom Hanks, is given a heroic task. But unlike a typical hero’s cycle task which stereotypically involves the slaying of a fire-spewing dragon, Joe is asked to give up his life by jumping into a fire-erupting volcano.

The connection between volcano and dragon is that at the second-line or psychodynamic level the fire-spewing aspects of the perinatal, which might be compared to a volcano, can be seen as “embodied” or reduced in the form of a dragon. In the same way, the volcanic energy of perinatal feelings is initially embodied in easier-to-face and “dragonized” psychodynamic, second-line, or childhood traumas and feelings.

You Just Can’t Slay a Volcano

But what may seem to work at the second-line or psychodynamic level—the conquering or slaying of negative feelings…and notice that I said “seem”—has no place at all at the perinatal. For here the pain energy is overwhelming and pervasive. Thus the difference is analogous to that between facing the energy of a dragon and facing that of a volcano.

The Heroes We Need – The New Hero’s Cycle

First Anima, Then Community

Keep in mind that this movie shows Joe, earlier on, going through all the major stages of the hero’s cycle—the retreat from mundane reality, the sailing off into a new and exotic realm of existence and adventure.

It even depicts a typical “dragon slaying”—the hero’s conquering of inner fears and risking of one’s life for another that results in the uniting with anima energy–the saving of the damsel. So earlier on there is a dealing with psychodynamic energy, just as in “Nothing but Trouble” Chevy Chase deals with psychodynamic material and enacts a dragon slaying by risking his life to rescue Demi Moore from a giant chopping machine. But, also similarly, this results in the opening up of another level, requiring a completely different—indeed, opposite—response. Thus, in “Joe Vs. the Volcano,” Joe is asked to give up his life to save an entire community, not merely to risk his life to rescue his anima, his feeling self.

Risking It All

The ensuing plot has interesting elements as it shows Joe having to decide whether to sacrifice his newly won relationship with his anima ally for the benefit of an entire—but anonymous—community. This demonstrates that at a progressed level of the spiritual process—that having to do with one’s inter-connection with the larger community of living things, not just one’s personal unconscious—one must risk even one’s newly regained creativity, inner child playfulness, and personal feelings, i.e., one’s anima.

But in telling fashion, in order to make the higher “community” sacrifice the anima elements that have been let go of, symbolized by Meg Ryan as the anima damsel, end up going with Joe to his chosen fate and are borne up, renewed, along with him.

Borne Up by a Beneficent Universe

On Joe’s part, the climax shows the same quality of a beneficent Universe aiding a true and dharmic heart. Joe (with his anima) face what they think is death. Instead they find themselves “borne up” by the volcano, not consumed; and they are deposited (reborn) in a typical perinatal watery surround—the ocean, symbolizing therefore a spiritual birth. This is a perfect depiction of how surrender, not “heroic” resistance, is done and why it needs to be done currently, as I have been pointing out.

“Away From the Things of Man”

In the end, the main characters are floating in the middle of a wide open sea—signifying the immensity of potentiality that is now open, and facing a gigantic moon on the horizon—symbolizing the beneficent nature of the Universe to which they are opening, that is, it is beautiful and lit with possibilities.

They are seen sitting on only their luggage—symbolizing the “stripped down” nature of the self, that is, stripped of ego trappings of status, vainglory, defenses, and so on. Their final comment at the very end of the film is that they do not know where they’ll end up but only that it will be “away from the things of man”—indicating their desire to never go back to the drama of ego and its puerile catacomb pathways of darkened experience.

The Universe Is You

We see then that in this movie, like “Nothing but Trouble,” the heroic response required is surrender, not resistance or control, and that the response from the Universe is cooperative and helpful, and hardly antagonistic as was feared, especially at earlier levels.

This is in keeping with the discovery at the perinatal, which borders it on the transpersonal, that in fact the Universe, not only is not antagonistic, not only is beneficent and helpful, but in fact is no different from oneself, indeed is oneself…and one begins to wonder why one would ever expect not to be borne up by a Universe that is now seen as inextricably united with one’s Self.

Note

While the interpretation of Joe Versus the Volcano presented in the video below – Joe vs. the Volcano: Losing my Soul, Part One – is annoyingly suffused with theological terminology – hell, devil – and suffers from the paranoia that happens lacking a perinatal or even a Jungian understanding, it does succeed on a more superficial level of basic insight. It does get the highly metaphorical and philosophical import of the film and picks up on major themes of the movie. It strikes me as having the problem of just understanding religion while knowing nothing about psychology. And it suffers, as I’ve put it elsewhere, from the problem of projecting one’s perinatal underbelly onto the Universe or of funneling revelation through the filter of personal pain.

Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere

What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered

Responses to the Perinatal

Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.

Jiving With Your Monsters

The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.

Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.

Beware the Tar Baby

On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.

Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.

Lighten Up!

But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach. Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.

Silly Heroes

Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.
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If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.

 

 

Darkening Down

Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile air—indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.

The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.

But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.

Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.

However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.

Evolution In Attitudes to the Perinatal?

However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.

Dancing Above the Dissonance

Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.

Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.

The Universality of Divinity Remembered

The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.

Continue with Apocalypse – No! Chapter Fourteen: To Move the World – A Race Against Time

Return to Apocalypse – No! Chapter Twelve: Atman Projects Versus Surrender Solutions

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Will We Survive? Putting Our Society “On the Couch”: Control vs. Surrender, Death vs. Life … The Path to Heaven Leads Through Hell

The Journey to Light Leads Through Perinatal Darkness: Correcting the Arrogant Modern Ego … Religions Are About Control … Spirituality, Surrender

Apocalypse – No! Chapter Eleven: Control Versus Surrender … Heaven Leads Through Hell

Does It Look Like We’ll Duck Armageddon? The Information Tsunami, Ego Erosion, and Movies Are Collective Dreaming

 

Are the Changes Needed to Avoid Apocalypse Occurring? The “Royal Road” to Our Collective Mind, Putting Our Society “on the Couch”

Is there any evidence that the changes that need to happen for us to stave off apocalypse and save our world are actually occurring?

The “Royal Road” to Our Collective Mind

I have mentioned there are studies of the psychology of generations, beginning with the Baby-Boomers or Sixties Generation, that show both an increased access to the perinatal as well as a tendency to act out perinatal influences in less harmful…though more blatant…ways than generations prior. We have seen that this tendency goes hand in hand with actual engagement in activities to counter the negative perinatal act-outs that exist in our environment, for example, campaigning against war, pollution, racism, violence, and so on.

But in “Chapter Three: The Perinatal Media,” I introduced the common anthropological tenet that the projective systems of a culture—that is, its art and artifacts—can be analyzed to get a glimpse into the worldview of a particular society. For our purposes, I pointed out how our movies are especially potent glimpses into our collective consciousness as well as our collective unconscious. You might say that our cinema is the “royal road” to our collective unconscious.

Movies As Collective Dreaming

Our flicks perform admirably well as collective dreams in that, unlike the other products of our collective consciousness such as other art and artifacts, they are multimedia stories, much like dreams are. But more than that, they are shared by more of the populace than any other art form. I am not including TV separately as an art form, since I put it in the same category as films, especially when many films are broadcast on TV and much else on TV also has the same character of being multimedia stories.

Finally, the strength of a particular element of the collective consciousness can be easily determined by the popularity of a particular movie that represents it or by that element’s increasing inclusion in a number of films. For example, in “The Perinatal Media,” I discussed the emerging new elements of faces coming out of walls and forceful oral insertion.

Putting Our Society “on the Couch”

All together, these mean that, just as a psychotherapist might analyze a client’s dreams to get an idea of his or her unconscious workings and contents, one can interpret mainstream movies to get an idea of the workings and contents of our society’s “collective mind”—both conscious and unconscious.

This is no more complex than saying that when we see things in movies that people rush to see, they are drawn to it because those things are also in their own minds. And the more they flock—the greater the success of a movie—the more pervasive in a society are those themes, elements, and contents. Certain aspects—themes or elements in films—are said to really “resonate” with people and therefore people make the movies that contain them popular and successful.

When this is said, it only means that people are consciously or unconsciously drawn to things that exist within themselves. Conversely, no existence inside? No interest.

So in this and upcoming chapters I will use films as the dreaming out loud of our collective mind. Put less esoterically, I will be analyzing a few examples of mainstream movies for their content, and I will be assuming the content I find there exists as well in the society that has watched it…has dreamt it.

I will also be assuming that movies that are mainstream, by which I mean can be found readily for sale as DVDs on-line or in retail stores and have become part of the popular conversation are indicative of pervasive elements in our collective consciousness and unconscious. They can be looked at for the unacknowledged workings of our society as a whole.

I will not deal with the actual numbers of people who have attended particular movies. For I will assume out of the tens of thousands of movies that are produced each year—by small and large producers—those that have made it into the theaters of virtually all the communities of our society, and from there onto the DVD lists and the shelves of stores of all those communities, have by those facts alone demonstrated their resonance with the collective social mind. Otherwise, we would get into the maelstrom of analyzing critic’s opinions of these movies; and with that, to modify a saying, opinions are like asses: everyone has a different one.

Something’s Happening Here … Again

One final point about the heuristic value of the analysis of films for the workings of the collective mind: Elements and themes in movies change over time. I have shown how new elements may be evidence of new elements of our collective unconscious minds coming into consciousness in detailing how the faces-in-the-wall element has developed. (See “All in All It’s Just Another Face in the Wall.”)

But when old, familiar plots have different outcomes, this is important as well. When elements change or evolve over time, this speaks of something going on. This points to changes or evolutions in our collective consciousness. And when elements and themes and plots change or evolve rapidly, we can accurately say that the changes in consciousness are equally swift.

These are some of the tools we will be using in this and upcoming chapters as we take a look at a few examples of mainstream films and what they might be reflecting back to us about our own society’s changes in consciousness. But first let me say something about what may turn out to be the most important of the thematic evolutions or changes in film elements that we have been seeing.

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Information Avalanche and Pre- and Perinatal Themes

In the last half century we have been hearing a great deal about the need to expand consciousness to balance the negative effects of the extremes of technological advance. Fortunately this change of consciousness is to some extent inevitable—or at least greatly aided—by certain side effects of the technological explosion…specifically in the area of telecommunications.

Ego-Eroding Information Deluge

As cultural boundaries are eroded by a multicultural information avalanche, people are forced to lower their inner defenses and ego boundaries. Confronted by such incoming information people will either take some of it in, learn, and thereby grow beyond their former selves or they will need to expend themselves in an all-out effort to shore them up.

A potent example of the first, currently, is the way people worldwide are opening to and learning from each other using social media via the internet; the revolutionary potential of this creation of an open global consciousness is already showing itself in uprising for democracies and economic justice virtually everywhere on Earth. A clear example of the second—where folks are putting everything into blocking out information and beating back the personal growth that would result—is in the backlashes to these liberal forces, which are also occurring throughout the world—as a Tea Party in the United States and as the fortification of authoritarian regimes from China to Syria and Turkey, from Iran to Israel.

We have seen that the first response—where folks allow the discomfort inherent in personal growth—is typical of a more advanced form of child-caring that is centered on the needs of the child. We know also that the latter reaction goes with child-caring centered on the needs of the care-givers, or parents…and not the child. In this latter instance of parenting, it is understandably called child-rearing or raising a child as opposed to child-caring. We have noticed that the first response goes along with increased self-analysis and introspection and the latter one with acting out, aggression, and culture war.

Information Tsunami Pushes Consciousness Revolution

So, this tsunami of information in all areas, where previously we could smugly hold forth ego-satisfying views, pushes both toward an overthrow of those narrower perspectives and the establishment of broader, more encompassing ones as well as toward an ever increasing irrationality in fending off this information, at any and all costs.

I discussed at length in a previous section how this informational upswelling has led to a need to process it all in new social formats and the rituals of the talk and reality shows.

“Consciousness Raising” As “Shoveling It”

For the most part, this growth or expansion of consciousness, when it happens, is seen as a linear increase and correspondingly is labeled a “raising” of consciousness. This is true whether we are talking about societal or individual progress.

Ken Wilber’s transpersonal theory is the most popular version of such a ladder-style path. In it the process of growth is analogous to that of climbing a mountain or shoveling compost into a pickup truck—one simply moves upward or piles it on. [Footnote 1]

But there are those who think otherwise.

Yes, Tina Turner, We Do Need Another Hero … a Different Kind: The Path to Heaven Leads Through Hell

Religions Are About Control; Spirituality, Surrender. Let Go, Let God to Correct an Arrogant Modern Ego

The Path to Heaven Leads Through Hell

Those in the know about the pervasive pre- and perinatal influence on personality and behavior, and especially those of us actively engaged in working through the effects of such early traumas, are fully aware, like Dante, that the path to heaven leads through hell. We have found that the path to the transpersonal light leads through the psychodynamic and perinatal darkness, that the path up and the path down are parts of the same path outward. [Footnote 2]

A Dark and Hideous Shadow World

Our experience has been that the information avalanche and multicultural onslaught have eroded our personal boundaries to an influx, not only of transpersonal bliss-love-compassion, but equally—and very often, initially—to a dark and hideous shadow world, a backwards bizarro world, of pernicious and insidious disorganized feelings comprised of elements ancient, infantile, pathological, biological, scatological, and perinatal. These are some of the forms spiritual emergence can take, especially initially. And they are the ones most likely to be seen as spiritual emergencies.

Pre- and Perinatal Themes in Cinema

Therefore, it is interesting to see these views confirmed by the bubbling up of psychodynamic and perinatal themes in our collective consciousness as evidenced by current films, books, and music. I have mentioned the pre- and perinatal themes and symbolism in films and explained why, along with other elements of postmodern times, they are evidence of something significant occurring in the consciousness of our age—an emerging perinatal unconscious.

But there is another element evolving in current films which has to do with a changing or evolving collective attitude toward these perinatal elements. And along with a changing attitude, there is evidence pointing to an evolving collective response to it.

Control vs. Surrender, Death vs. Life

“Control Spiritualities” and Patriarchal Cultures

Specifically, a different kind of heroic response, which characterizes the perinatal arena, can be said to characterize the postmodern movies replete with perinatal symbolism. Most striking of all, this different kind of heroic response corresponds to a different kind of spirituality than what is commonly portrayed in this society, or at least has been the norm up until now.

For basically there are “control” spiritualities and “surrender” spiritualities, with rarely the twain meeting. “Control spiritualities” are adapted to patriarchal cultures and involve the use of the ego to “control” and be in charge of even the realms of the supernatural. This is so because an ultimate evil—a devil or Satan—is postulated, which is given equal weight along with God in determining one’s ultimate fate. This type of spirituality is normally what is called religion.

“Surrender Spiritualities” and God As Being Good

But there is another brand of spirituality that is based on a belief in the ultimate goodness and rightness of All That Is. God’s goodness being essentially the dominant force in the Universe, herein it is considered safe to “surrender” in one’s relation to Reality, to expect that one will be guided correctly, in fact perfectly, in the act of letting go. Thus letting go is not to be feared—as in the control spirituality—but is to be practiced and fostered. In this perspective, which we might call surrender spirituality, control is seen as the problem, not the solution.

“Control” and “Surrender” Psychotherapies

Of course these two approaches to spirituality represent two approaches to psychotherapy as well. The control attitude is the dominant mode of psychoanalytically-based approaches—those in which the “demon” of the id is postulated.

The attitude of “letting go” and “surrender,” on the other hand, is the dominant mode of the experiential psychotherapies, which are themselves rooted in the tradition of humanistic psychology with its belief in the ultimate goodness of the human organism and which thus allows a faith in the ultimate rightness of human processes.

“Hero’s Journey” As “Control” Psychotherapy

Since the control attitude, in any of its manifestations, requires the postulation of an ultimate evil against which one must remain vigilant and must fight, the common “hero’s journey” myth—with its typical fighting and slaying of supposedly evil parts of the personality and reality symbolized as dragons and other monsters—is a prevalent focal myth to this attitude. Corresponding to this myth are the emphasis on disciplines and practices seeking to develop the ego and the will…over against the dangers that are postulated to exist in the Universe requiring these disciplines and, so-called, ego developments.

A Different Heroic Response in “Surrender” Paths

Since the “feeling” therapies and the other spiritual and experiential psychotherapeutic modalities with which they are allied are so different in attitude to the traditional “control” attitude, should there not be corresponding differences in myths to exemplify them? Indeed, there are.

In history, the surrender spiritualities have had correspondences in myth in which the dragon is not fought, conquered, and slain, but rather is either tamed and becomes one’s ally or pet—Saint Margaret is the prime example in the West, but this is a depiction prevalent in the East—or else one is swallowed by the “dragon” or monster and, after a while, is reborn.

Jonah is the prime example in the West for this latter depiction. But again this reaction to the fearful dissociated aspects of the personality, or the Shadow, is not a common one in the Western patriarchy, and it is much more common in traditional cultures and in the East.

A Shift to “Surrender” As a Corrective to a Western Overweening Ego?

All of this may be changing in recent times in the West, as once again the humanistic attitude and the new spiritual perspectives, as well as the experiential psychotherapies such as primal therapy, make us increasingly aware of the ultimate beneficence of the body, and of the Universe beyond even that, and of the importance of surrender and letting go as a corrective to the overweening control and defensiveness of the diminutive Western ego.

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Continue with Apocalypse – No! Chapter Twelve: Atman Projects vs. Surrender Solutions

Return to Apocalypse No! Chapter Ten: Where There Is Hope, Cultural Rebirthing

Footnote

1. See especially Ken Wilber, The Atman Project. Wheaton, IL: Theosophical Publishing House, 1980.

2. See, for example, Michael Adzema, “A Primal Perspective on Spirituality,” Journal of Humanistic Psychology, 25(3), 83-116. Reprinted online at the Primal Spirit site at “A Primal Perspective on Spirituality.”

Continue with Apocalypse – No! Chapter Twelve: Atman Projects vs. Surrender Solutions

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Projecting the Perinatal Zeitgeist: Everything You’ve Managed to Forget About Being Born

Everything You Always Wanted to Know About Being Born … Playing Now, in Theaters Near You!

 

Wounded Deer and Centaurs, Chapter Two: Everything You’ve Forgotten About Birth … Projecting the Perinatal Zeitgeist

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize twenty-first century life.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds … And Oh, the Shark Has Pretty Teeth, Dear…

In these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time — ”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie “Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In this—as in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”—we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and were overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention. [Footnote 1]

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

Also, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

Speaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

XXX

There is lots of violence, and of course, sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

Monsters, Vaginas, and Hairs, Oh My!

Recurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

One most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

The perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

“Noah, How Long Can You Tread Water?”

Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before birth, placental fluid. Near the end of gestation, the mother, when standing, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Told You I Didn’t Like Vegetables!

Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

This sequence of pics from an episode of The Outer Limits is a rather good depiction of this. Notice that at the point the object emerging from the mouth is most visible it takes on the form of a vagina dentata. This links the images with birth and indicates the aggressive character of the feelings being depicted, that is, we have repressed anger feelings left over inside us from what was done to us. It is also more than just coincidence that the person to whom this is happening is in a hospital room and is dressed in a hospital gown; the plot is about this woman carrying a baby and this scene happens just after the birth. This is significant for the reason following, which states that this image has its roots in an event that indeed happened right after birth..

Gag Me With a Toxin.

This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids from the neonate’s mouth by the attendants immediately after birth.

This latter connection — the ungentle mouth cleaning of birth fluids — I can personally validate from my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence the popularity of such images in the media of recent decades.

Treated Like a “Piece of Meat”

This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the neonate—can leave one with lifelong feelings of being treated like a “thing.”

Many report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb. Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

Confused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms, they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of course both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

Welcome to the World … Now f u

Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, feel manipulated and used, treated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other people, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

This also sheds light on the seemingly “mindless” violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be acting out their “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

Faces Coming Out of the Walls

I would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

We have had, over and over again, the image of the “evil fetus” erupting from the abdomen, as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing.

Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

Ventura Out of the Womb

A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carrey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working after a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

We witness the actual “birth”: Jim Carrey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

Couldn’t Fight Your Way Out of a Plastic Bag!

Other examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal, as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

Existential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs which become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells, solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of the entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

But the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

House; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boats, especially submarines; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

In the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

The Wall

In the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. We have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out above, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.

Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

I remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, is the ideas of dungeons or castles … with mad scientists, no less — obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

I might start by pointing out the element of there being another realm into which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. We see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

“There’s No Place Like Home.”

But death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

In this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

Through the Looking Glass

And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

This depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

Love, Fear Relationship

To put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see subsequent chapters, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

To Hell With It…

So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

Face Me, or You’re Mine!

Central to this book is the idea that we need to face the ultimate and horrible truths if we are to save ourselves. Wounded Deer are those people who suffer from closeness to these perinatal truths. Centaurs are those wounded ones who have accepted these facts of life; they have accepted the fact that fundamentally they, as all of us, are wounded. And in embracing it this way they become healers for those who cannot face their truth or who are struggling with doing so.

For not only are we closer to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

Fear and Freedom … Only a Membrane Away

Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

Perinatal Spamming

We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

Getting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Finally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an alien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

The point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

Whether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, whether they will they lead to the armageddon that many are predicting or to a consciousness evolution and a new Earth—will be something for us to consider further on.

Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

To Be Continued with Wounded Deer and Centaurs, Chapter Three: The Perinatal Furniture of Everyday Living

Return to Wounded Deer and Centaurs, Chapter One: We Are a Fever

Enjoy your own virtual emergence by following the pics below:

Now add a blissful period and go back around again; that’s the way it works in life.

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite: “‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed“

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

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What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered

Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere

Responses to the Perinatal

Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.

Jiving With Your Monsters

The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.

Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.

Beware the Tar Baby

On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.

Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.

Lighten Up!

But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach. Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.

Silly Heroes

Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.

If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.

Darkening Down

Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile air — indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.

The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.

But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.

Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.

However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.

Evolution In Attitudes to the Perinatal?

However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.

Dancing Above the Dissonance

Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.

Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.

The Universality of Divinity Remembered

The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.

Continue with Apocalypse? Or Earth Rebirth? A Smaller Number of Us — Standing in the Right Place and With a Lever Big Enough — Might Be All That Is Needed to Move the World

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Religions Are About Control; Spirituality, Surrender. Let Go, Let God to Correct an Arrogant Modern Ego

Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell

The Path to Heaven Leads Through Hell

Those in the know about the pervasive pre- and perinatal influence on personality and behavior, and especially those of us actively engaged in working through the effects of such early traumas, are fully aware, like Dante, that the path to heaven leads through hell. We have found that the path to the transpersonal light leads through the psychodynamic and perinatal darkness, that the path up and the path down are parts of the same path outward. [Footnote 2]

A Dark and Hideous Shadow World

Our experience has been that the information avalanche and multicultural onslaught have eroded our personal boundaries to an influx, not only of transpersonal bliss-love-compassion, but equally—and very often, initially—to a dark and hideous shadow world, a backwards bizarro world, of pernicious and insidious disorganized feelings comprised of elements ancient, infantile, pathological, biological, scatological, and perinatal. These are some of the forms spiritual emergence can take, especially initially. And they are the ones most likely to be seen as spiritual emergencies.

Pre- and Perinatal Themes in Cinema

Therefore, it is interesting to see these views confirmed by the bubbling up of psychodynamic and perinatal themes in our collective consciousness as evidenced by current films, books, and music. I have mentioned the pre- and perinatal themes and symbolism in films and explained why, along with other elements of postmodern times, they are evidence of something significant occurring in the consciousness of our age—an emerging perinatal unconscious.

But there is another element evolving in current films which has to do with a changing or evolving collective attitude toward these perinatal elements. And along with a changing attitude, there is evidence pointing to an evolving collective response to it.

Control vs. Surrender, Death vs. Life

“Control Spiritualities” and Patriarchal Cultures

Specifically, a different kind of heroic response, which characterizes the perinatal arena, can be said to characterize the postmodern movies replete with perinatal symbolism. Most striking of all, this different kind of heroic response corresponds to a different kind of spirituality than what is commonly portrayed in this society, or at least has been the norm up until now.

For basically there are “control” spiritualities and “surrender” spiritualities, with rarely the twain meeting. “Control spiritualities” are adapted to patriarchal cultures and involve the use of the ego to “control” and be in charge of even the realms of the supernatural. This is so because an ultimate evil—a devil or Satan—is postulated, which is given equal weight along with God in determining one’s ultimate fate. This type of spirituality is normally what is called religion.

“Surrender Spiritualities” and God As Being Good

But there is another brand of spirituality that is based on a belief in the ultimate goodness and rightness of All That Is. God’s goodness being essentially the dominant force in the Universe, herein it is considered safe to “surrender” in one’s relation to Reality, to expect that one will be guided correctly, in fact perfectly, in the act of letting go. Thus letting go is not to be feared—as in the control spirituality—but is to be practiced and fostered. In this perspective, which we might call surrender spirituality, control is seen as the problem, not the solution.

“Control” and “Surrender” Psychotherapies

Of course these two approaches to spirituality represent two approaches to psychotherapy as well. The control attitude is the dominant mode of psychoanalytically-based approaches—those in which the “demon” of the id is postulated.

The attitude of “letting go” and “surrender,” on the other hand, is the dominant mode of the experiential psychotherapies, which are themselves rooted in the tradition of humanistic psychology with its belief in the ultimate goodness of the human organism and which thus allows a faith in the ultimate rightness of human processes.

“Hero’s Journey” As “Control” Psychotherapy

Since the control attitude, in any of its manifestations, requires the postulation of an ultimate evil against which one must remain vigilant and must fight, the common “hero’s journey” myth—with its typical fighting and slaying of supposedly evil parts of the personality and reality symbolized as dragons and other monsters—is a prevalent focal myth to this attitude. Corresponding to this myth are the emphasis on disciplines and practices seeking to develop the ego and the will…over against the dangers that are postulated to exist in the Universe requiring these disciplines and, so-called, ego developments.

A Different Heroic Response in “Surrender” Paths

Since the “feeling” therapies and the other spiritual and experiential psychotherapeutic modalities with which they are allied are so different in attitude to the traditional “control” attitude, should there not be corresponding differences in myths to exemplify them? Indeed, there are.

In history, the surrender spiritualities have had correspondences in myth in which the dragon is not fought, conquered, and slain, but rather is either tamed and becomes one’s ally or pet—Saint Margaret is the prime example in the West, but this is a depiction prevalent in the East—or else one is swallowed by the “dragon” or monster and, after a while, is reborn.

Jonah is the prime example in the West for this latter depiction. But again this reaction to the fearful dissociated aspects of the personality, or the Shadow, is not a common one in the Western patriarchy, and it is much more common in traditional cultures and in the East.

A Shift to “Surrender” As a Corrective to a Western Overweening Ego?

All of this may be changing in recent times in the West, as once again the humanistic attitude and the new spiritual perspectives, as well as the experiential psychotherapies such as primal therapy, make us increasingly aware of the ultimate beneficence of the body, and of the Universe beyond even that, and of the importance of surrender and letting go as a corrective to the overweening control and defensiveness of the diminutive Western ego.

Footnote

2. See, for example, Michael Adzema, “A Primal Perspective on Spirituality,” Journal of Humanistic Psychology, 25(3), 83-116. Reprinted online at the Primal Spirit site at “A Primal Perspective on Spirituality.”

Continue with The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below

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Dreaming Out Loud, Part 1: Are the Changes Needed to Avoid Apocalypse Occurring? The “Royal Road” to Our Collective Mind, Putting Our Society “on the Couch”

Does It Look Like We’ll Duck Armageddon? The Information Tsunami, Ego Erosion, and Movies Are Collective Dreaming: Dreaming Out Loud, Part One

Is there any evidence that the changes that need to happen for us to stave off apocalypse and save our world are actually occurring?

The “Royal Road” to Our Collective Mind

I have mentioned there are studies of the psychology of generations, beginning with the Baby-Boomers or Sixties Generation, that show both an increased access to the perinatal as well as a tendency to act out perinatal influences in less harmful…though more blatant…ways than generations prior. We have seen that this tendency goes hand in hand with actual engagement in activities to counter the negative perinatal act-outs that exist in our environment, for example, campaigning against war, pollution, racism, violence, and so on.

But in “Chapter Eight: The Perinatal Media,” I introduced the common anthropological tenet that the projective systems of a culture—that is, its art and artifacts—can be analyzed to get a glimpse into the worldview of a particular society. For our purposes, I pointed out how our movies are especially potent glimpses into our collective consciousness as well as our collective unconscious. You might say that our cinema is the “royal road” to our collective unconscious.

Movies As Collective Dreaming

Our flicks perform admirably well as collective dreams in that, unlike the other products of our collective consciousness such as other art and artifacts, they are multimedia stories, much like dreams are. But more than that, they are shared by more of the populace than any other art form. I am not including TV separately as an art form, since I put it in the same category as films, especially when many films are broadcast on TV and much else on TV also has the same character of being multimedia stories.

Finally, the strength of a particular element of the collective consciousness can be easily determined by the popularity of a particular movie that represents it or by that element’s increasing inclusion in a number of films. For example, in “The Perinatal Media,” I discussed the emerging new elements of faces coming out of walls and forceful oral insertion.

Putting Our Society “on the Couch”

All together, these mean that, just as a psychotherapist might analyze a client’s dreams to get an idea of his or her unconscious workings and contents, one can interpret mainstream movies to get an idea of the workings and contents of our society’s “collective mind”—both conscious and unconscious.

This is no more complex than saying that when we see things in movies that people rush to see, they are drawn to it because those things are also in their own minds. And the more they flock—the greater the success of a movie—the more pervasive in a society are those themes, elements, and contents. Certain aspects—themes or elements in films—are said to really “resonate” with people and therefore people make the movies that contain them popular and successful.

When this is said, it only means that people are consciously or unconsciously drawn to things that exist within themselves. Conversely, no existence inside? No interest.

So in this and upcoming chapters I will use films as the dreaming out loud of our collective mind. Put less esoterically, I will be analyzing a few examples of mainstream movies for their content, and I will be assuming the content I find there exists as well in the society that has watched it…has dreamt it.

I will also be assuming that movies that are mainstream, by which I mean can be found readily for sale as DVDs on-line or in retail stores and have become part of the popular conversation are indicative of pervasive elements in our collective consciousness and unconscious. They can be looked at for the unacknowledged workings of our society as a whole.

I will not deal with the actual numbers of people who have attended particular movies. For I will assume out of the tens of thousands of movies that are produced each year—by small and large producers—those that have made it into the theaters of virtually all the communities of our society, and from there onto the DVD lists and the shelves of stores of all those communities, have by those facts alone demonstrated their resonance with the collective social mind. Otherwise, we would get into the maelstrom of analyzing critic’s opinions of these movies; and with that, to modify a saying, opinions are like asses: everyone has a different one.

Something’s Happening Here … Again

One final point about the heuristic value of the analysis of films for the workings of the collective mind: Elements and themes in movies change over time. I have shown how new elements may be evidence of new elements of our collective unconscious minds coming into consciousness in detailing how the faces-in-the-wall element has developed. (See “All in All It’s Just Another Face in the Wall.”)

But when old, familiar plots have different outcomes, this is important as well. When elements change or evolve over time, this speaks of something going on. This points to changes or evolutions in our collective consciousness. And when elements and themes and plots change or evolve rapidly, we can accurately say that the changes in consciousness are equally swift.

These are some of the tools we will be using in this and upcoming chapters as we take a look at a few examples of mainstream films and what they might be reflecting back to us about our own society’s changes in consciousness. But first let me say something about what may turn out to be the most important of the thematic evolutions or changes in film elements that we have been seeing.

Information Avalanche and Pre- and Perinatal Themes

In the last half century we have been hearing a great deal about the need to expand consciousness to balance the negative effects of the extremes of technological advance. Fortunately this change of consciousness is to some extent inevitable—or at least greatly aided—by certain side effects of the technological explosion…specifically in the area of telecommunications.

Ego-Eroding Information Deluge

As cultural boundaries are eroded by a multicultural information avalanche, people are forced to lower their inner defenses and ego boundaries. Confronted by such incoming information people will either take some of it in, learn, and thereby grow beyond their former selves or they will need to expend themselves in an all-out effort to shore them up.

A potent example of the first, currently, is the way people worldwide are opening to and learning from each other using social media via the internet; the revolutionary potential of this creation of an open global consciousness is already showing itself in uprising for democracies and economic justice virtually everywhere on Earth. A clear example of the second—where folks are putting everything into blocking out information and beating back the personal growth that would result—is in the backlashes to these liberal forces, which are also occurring throughout the world—as a Tea Party in the United States and as the fortification of authoritarian regimes from China to Syria, from Iran to Israel.

We have seen that the first response—where folks allow the discomfort inherent in personal growth—is typical of a more advanced form of child-caring that is centered on the needs of the child. We know also that the latter reaction goes with child-caring centered on the needs of the care-givers, or parents…and not the child. In this latter instance of parenting, it is understandably called child-rearing or raising a child as opposed to child-caring. We have noticed that the first response goes along with increased self-analysis and introspection and the latter one with acting out, aggression, and culture war.

Information Tsunami Pushes Consciousness Revolution

So, this tsunami of information in all areas, where previously we could smugly hold forth ego-satisfying views, pushes both toward an overthrow of those narrower perspectives and the establishment of broader, more encompassing ones as well as toward an ever increasing irrationality in fending off this information, at any and all costs.

I discussed at length in a previous section how this informational upswelling has led to a need to process it all in new social formats and the rituals of the talk and reality shows.

“Consciousness Raising” As “Shoveling It”

For the most part, this growth or expansion of consciousness, when it happens, is seen as a linear increase and correspondingly is labeled a “raising” of consciousness. This is true whether we are talking about societal or individual progress.

Ken Wilber’s transpersonal theory is the most popular version of such a ladder-style path. In it the process of growth is analogous to that of climbing a mountain or shoveling compost into a pickup truck—one simply moves upward or piles it on. [Footnote 1]

But there are those who think otherwise.

Footnote

1. See especially Ken Wilber, The Atman Project. Wheaton, IL: Theosophical Publishing House, 1980.

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Everything You Always Wanted to Know About Being Born But Were Afraid to Ask: Birthing Into the Media and the Perinatal Veil

Apocalypse No! Chapter Eight: The Perinatal Media

ET, Phone Mom – Of Aliens, Toothy Vaginas, Satanic Cults, and Explosions: Everything You Always Wanted to Know About Being Born

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize our times.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds…And Oh, the Shark Has Pretty Teeth, Dear…

In these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time—”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie “Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In this—as in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”—we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and was overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention.

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

Also, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

Speaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

XXX

There is lots of violence, and of course also sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

Gag Me With Asparagus – Of Time Travel, Claustrophobia, Hell, Cesarean Births, and Death by Vegetable

Newborns and Monsters and Hells, Oh My!–Of Time Travel, Claustrophobia, Cesarean Births, and Death by Vegetable

Monsters, Vaginas, and Hairs, Oh My!

Recurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

One most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

The perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

“Noah, How Long Can You Tread Water?”

Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before birth, placental fluid. Near the end of gestation, the mother, when standing, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Told You I Didn’t Like Vegetables!

Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

Gag Me With a Toxin.

This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids from the neonate’s mouth by the attendants immediately after birth.

This latter connection—the ungentle mouth cleaning of birth fluids—I can personally validate through my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence its popularity.

Becoming Thingified – Modern Birth Tells the Baby, “Welcome to the World, Now Screw You!”

“Welcome to the World, Now Go to Hell!” – A Baby Becomes Thingified Through Modern Birth

Treated Like a “Piece of Meat”

This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the neonate—can leave one with lifelong feelings of being treated like a “thing.”

Many report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb. Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

Confused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms, they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of course both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

Welcome to the World … Now f u

Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, feel manipulated and used, treated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other people, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

This also sheds light on the seemingly “mindless” violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be acting out their “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

All in All, It’s Just Another Face in the Wall – Threatening Enclosures From Which One Wishes to Push Out or Escape

All in All, It’s Just Another Face in the Wall – Enclosing, Threatening Things That One Wishes to Push Out or Escape From

Faces Coming Out of the Walls

I would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

We have had, over and over again, the image of the “evil fetus” erupting from the abdomen, as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing (see the previous section titled, “Gag Me With Asparagus“).

Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

Ventura Out of the Womb

A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working after a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

We witness the actual “birth”: Jim Carey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

Couldn’t Fight Your Way Out of a Plastic Bag!

Other examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal, as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

Existential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs which become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells, solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of the entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

But the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians

Worse Homes and Gardens – Houses, Prisons, UFOs and Spaceships, Dungeons … and Their Obstetricians

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

House; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boat, especially a submarine; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

In the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

The Wall

In the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. We have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out in the previous post/section, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.

Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

I remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, is the ideas of dungeons or castles…with mad scientists, no less—obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Through the Looking Glass Into Parallel Universes … But “There’s No Place Like Home”

Through the Looking Glass Into Parallel Universes, But “There’s No Place Like Home”

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

I might start by pointing out the element of there being another realm into which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. We see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

“There’s No Place Like Home.”

But death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

In this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

Through the Looking Glass

And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

This depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

Aliens, Abductions, Hell … Birth and Death: Freedom Is Just a Membrane Away

Aliens, Abductions, Hell, and Fear: Freedom Is Just a Membrane Away

Love, Fear Relationship

To put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see in the next chapter, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

To Hell With It…

So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

Face Me, or You’re Mine!

And this book is primarily about that necessity to face the ultimate and horrible truths if we are to save ourselves. Not only are we closer to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

Fear and Freedom … Only a Membrane Away

Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

Perinatal Spamming

We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

Getting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Finally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an alien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

The point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

Whether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, Earth rebirth or apocalypse—will be something for us to consider further on.

Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life –
Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Enjoy your own virtual emergence by following the pics below:

Now add a blissful period and go back around again; that’s the way it works in life.

Continue with Apocalypse No! Chapter Nine: Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite: “‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed“

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Invite you to join me on Twitter:
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Foolin’ the People … About Money, About “Us” (The 1%), About Taxes, About Job Creation, About Democrats, About Republicans, About Generations, About Your Life, About You: Choose the Red Pill

Money Madness and the Rise of “Obvious Truths” … Around Taxes, the Wealthy, Job Creation, Democrats, Republicans, Generations, Your Life, and You: When ALL You Hear Are Lies, You Think It HAS to Be Truth

Culture War, Class War, Chapter Fifteen: Money Madness

Tax the Wealthy, You’re Taxing Me … Foolin’ the People About Money

Obvious “Truths”—Fiscally Responsible Republicans and Tax and Spend Democrats

Obvious “Truths”:

• Tax the wealthy, you’re taxing me.
• Democrats tax and spend, they bust the budget, balloon the National Debt.
• Republicans are fiscally responsible, fiscally conservative; they balance budgets and are careful about the National Debt.
• Rich people create the jobs.
• The wealthy are society’s creative sector.
• That “class warfare” stuff “just doesn’t work.”

Obvious “Truth” – Tax the Wealthy, You’re Taxing Me

But when you hear the same things again and again, even black-and-white facts can be put up for dispute. For example, during the 2008 presidential race and prior to Obama’s first budget the Democrats’ tax proposal was explained as a tax cut for the middle class and no increase on any Americans making less than two hundred thousand a year. This was a black-and-white fact, part of the public record, not in dispute. But how did the Republicans explain it?

That’s a Small Business?

I certainly heard it, over and over again; I bet you did too. Republicans were saying the tax proposal was going to affect small businesses. So we have small businesses that are making over two hundred thousand a year in pure profit? And that’s a small business? That’s a smallbusiness? I think if you’re making, after all your deductions and everything and you’re still making two hundred grand, I think that you’re not a small business, I think you can afford extra taxes, but that’s what we are told.

We’re All Rich. Somehow I Missed That Memo.

So apparently we got a group of people who think that people are really rich. The assumption is that most Americans are rolling in dough so that any tax increase on the wealthy is an attack on all Americans.

So, you can’t tax that sliver of the very, very wealthy a little bit more so that the majority of Americans might benefit. Benefiting the majority of Americans used to be how you got to “home base.” But now, it’s like, “No, you can’t tax Americans; we are Taxed Enough Already!”

Obvious “Truth”: The Democrats’ Want to Take Your Money.

The way this “obvious truth” is phrased now…no way to get around it, it’s a flat out lie…goes, “You can’t tax the very rich, cause that’s…” and they’ll just say it right out, “that’s gonna affect all Americans, that’s taxing everybody.”

Well how did it get to that conclusion when actually it’s going to lower taxes. And they were saying it over and over again, “No, we don’t even need to know what the plan is; we just know he’s a Democrat and that he’s going to raise taxes,” they would say of Obama…or for that matter of any Democrat at any time in recent history.

Now, how did that become true? Well because…he’s a Democrat and well haven’t you ever heard the term tax and spend Democrats? And there we go again.

Obvious “Truth” – Fiscally Responsible Republicans

Pointing Some Fingers Already

Alright, let’s go back. Pre-Roosevelt turn of the century initiatives so common and familiar now, such as the Food and Drug Administration, are the kinds of things Democrats brought in that added to government. Yet, Republicans spout misinformation; they get people angry about “evils” of such “big government.”

Misplaced Credit

The Democrats are the ones who brought in the FDA, worker’s rights, workman’s compensation. They’re the ones who put in Medicare. They’re the ones who put in Social Security.

Misplaced Blame

And we remember the Republicans are the ones who created the Great Depression, created poverty for everybody at that time. They’re the ones who did it again with Bush, who tripled and nearly quadrupled the National Debt under the twelve years of Reagan-Bush, then more than doubled it under George W. That’s a lot of goddamn money.

That’s a Lot of Money.

And then the Republicans were giving away seven hundred billion dollars to rich people who afterward were giddy in their ingratitude. This giveaway, keep in mind, came at the end of Bush’s terms. And you would hear CEOs bragging how they’re not going to spend any of that on people; they’re not going to use any of that money to loaning any of it out, which was supposed to be the purpose.

And even afterward, all Congressmen were agreeing that’s a huge amount of money, which at the time was the biggest amount of money being spent at one time, in such a short period of time on anything. And how could we forget that they just took the money and did whatever they wanted with it? They paid off debts to other rich friends; they went overseas and invested in other countries.

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Chase Didn’t Use the Money for What It Was Intended.

Goldman Sachs used sixteen billion of what it received to pay off an outstanding debt to a German bank. The head of Chase bank is known to have said he wasn’t going to use the money to increase credit. In fact, he said he was going to keep that money and he was basically going to feather his nest with it and keep Chase solvent so that when other banks went under he could buy them up with it. That’s the money of the taxpayers he’s playing “Monopoly” with, mind you.

Obvious “Truths” – Tax and Spend Democrats

But stacked up against the facts we have this idea of tax and spend Democrats. It’s been repeated, going back many decades. It basically goes back to Roosevelt who ended the Depression and benefited virtually all Americans. And now that’s somehow a bad thing, brought up to get you mad about the tax and spend Democrat. And they’ve got all Americans convinced that if you vote for a Democrat, they’re going to take your money, they’re going to tax it, and they’re going to spend it on somebody else. Well, that has nothing to do with the truth.

Social Security, Medicare, and Surpluses, Oh My!

It has nothing to do with the truth. Certainly Roosevelt benefited all Americans with Social Security and so on; certainly Medicare, brought in under Lyndon Johnson benefited the vast majority of Americans. All these things the Democrats did. And Clinton raised taxes on the very rich a few percentage points and balanced the budget. Clinton created jobs and prosperity, balanced the budget, reduced the National Debt, and created a surplus that could have gone into creating a better America for all Americans. But, no, that was considered bad, because they said it hurt all Americans when the extremely wealthy had to give a little more in taxes.

The Fun Times Anticipating the Surplus

Never mind the facts, never mind that fact that we had a surplus that we were talking gleefully about how we were going to spend it. If you can remember, we were discussing investing in better roads and infrastructure that would have benefited even the businesses.

Stealing Home

But no, it wasn’t about the truth anymore, it was about how you made it to home base, how you got money for yourself. And it didn’t matter anymore if you just skipped all the bases, and you started at home and went to home…if you just took the money. I mean, after a while the Republicans could just do that; tax breaks for the wealthy just because they were wealthy. Because, after a while, after all those years of repeating it: They could get away with, If you tax the wealthy you’re taxing all Americans. Wow.

The Wealthy Are the Creative Sector All Right … Creative in Stealing Our Money

Obvious “Truth”—The Wealthy Are the Job Creators

Obvious “Truths”:

• Rich people create the jobs.
• The wealthy are society’s creative sector.
• Poor folks don’t create jobs, don’t invest their money.
• That “class warfare” stuff “just doesn’t work.”

Obvious “Truth” – Rich People Create the Jobs

Obvious “Truth”—The Wealthy Are Society’s Creative Sector.

Yes, I have actually heard it said this way; a good chance you have too. Here’s how it works: Raising taxes on the wealthiest is gonna hurt all Americans because by taxing that sliver of the upper two percent of Americans, you are inhibiting the creative sector’s ability to create jobs. Rich folks are society’s wealth creators. The wealthy are the creative people in our country.

They’re Creative All Right.

They’re the creative people, huh? Yea, they’re creative in stealing from us. They’re creative in fattening their wallets at our expense. They’re creative in getting people elected who are liars and things like that.

That’s not the kind of creativity I’d like to have. As far as creating jobs. Who creates jobs?

Excess Wealth Given to the Rich Created High Art Prices, Not High Employment.

Here’s the facts. You know all that money that was given to the rich people? All those tax incentives given to the rich people by Reagan? Well, It didn’t create jobs so much as it created a lot of excess wealth that went into, well, people were buying yachts, and they were investing in art objects that were being bid through the roof.

The wealthy were scrambling; they had so much money they were fighting over art objects. And the art objects — paintings and so on, famous paintings – were making headlines in being sold for so much. During the Eighties under Reagan it was common to hear of 39 million dollars for such and such…58 million, 82 million. Of the 25 most expensive paintings ever sold, only two did not come at a time when tax cuts of either Reagan or one of the Bushes were in effect. And because what? Because the rich had so much extra freakin money. Now you tell me how many jobs money tied up in art objects created?

Real Truth—The Rich Will Squander or Sit on Extra Money.

I mean it isn’t rocket science. It’s very simple … simple psychology. This has to do with facts: You give money to rich people who don’t need it, they’re the ones who are going to squander it; they’re the ones who are going to spend it frivolously, or not going to spend it just let it sit. They’re not going to benefit society with it; they’re not going to multiply it; they’re not going to invest.

In economics this is called diminishing marginal returns. Simply put, it means that food eaten by a hungry person will reap greater reward than the food consumed later when the person is satiated. The same amount of money funneled into projects, or people, will have a greater percentage return when sorely needed than when not; a dollar will go far toward feeding a hungry African child and will be as nothing for a rich American. You simply cannot throw money at folks or ventures and expect to get as much, let alone more, return or reward later when the person is less “hungry” or the project less “starved” for funds..

Obvious “Truth”: Non-Wealthy Folks Don’t Create Jobs, Don’t Invest Their Money

Real Truth: People With Less Money Will Sweat Over and Multiply Money, What They Can.

Whereas, you give a fraction of that money to a poor person, a tiny amount of that to a poor or moderate income person and what will they do? You have any idea how somebody who is poor will make a little bit of money go a long long way?

I saw my father do it. He is the same person making the meager fifty dollars a week at one point. And he wasn’t making much more, but he eventually got a truck driving contract with the U.S. postal service. He was able to own several trucks and to hire several workers.

So, why did he do that? Because he didn’t have a lot of money. And by taking those chances and becoming a businessperson, taking that little bit of money he had, he created jobs for a few other people. Because he was motivated, he was desperate. And for him it was all about a chance to raise himself out of being poor. He spent his life scanning for such opportunities till he finally came across one.

Billionaires Are Not Highly Motivated to Become Millionaires.

So you have people who would take any money coming their way to better their situation in life, the real American way. They would really love to be millionaires; they would risk their very lives for that. They would work their asses off. But those folks aren’t the people who are already billionaires.

But Nobody Will Point This Out!

So you’ve got these inanities thrown out there. They’re being said over and over again…” Rich people create the jobs; they’re society’s creative sector.” These obvious untruths are not being countered by journalists and pundits. There is really no one pointing out that anything is a lie, there’s nobody saying out loud that these self-serving pronouncements are untrue, or that what is being said is vastly different from the facts.

..

Makin’ People Foolish – Foolin’ the People About “Us” (The Rich)

Makin’ Foolish People – Foolin’ the People About “Us” (The Rich)

Obvious “Truths”:

• Things you hear a lot are true.
• Simple “truths” are real truths.
• Democrats think they’re better than everybody; they’re snobs, elitists….
• Unlike Republicans who are regular people just like me, folks I could sit and have a beer with…who’d understand me.

Confused People Take Comfort in Stupidity

When ALL You Hear Are Lies, You Begin to Think It Has to Be the Truth.

So, what happens? What is the result of these things being heard long enough, with nobody countering them or anything. It’s natural, if you hear something said enough, you don’t question it.

I myself am that way. I was told that we should go into Iraq because there was weapons of mass destruction. I didn’t hear anybody saying anything differently. So I believed it. Well, that turned out to be a lie.

It’s just natural that if you don’t hear anything to counter something, you’re going to believe that the only thing being said is the truth. And that certainly has increased over time…through the years.

Democrats Feel Like They’re Talking to a Wall; They’re Talking to the Weary.

It is not that these lies weren’t countered; they were…by progressives and Democrats…and the few, the brave of commentators. In later years, MSNBC emerged and could be counted on for straight talk. Comedy Central became the “real news” for the young educated for being willing to throw light, albeit hiding behind the built-in denial mechanism of a comic façade, on the inanities of the Wingnuts and Well-Funded.

But that has not been the reality touching the lives of ordinary Americans. What I observed is that the great majority of pundits weren’t any help in clarifying things for people. Journalists would say, “Ok, Mr. Democrat, what do you have to say about that?” And The Democrat would respond with a reasoned argument, laying out all these things that made perfect sense if you’re familiar with the issue.

And pundits wouldn’t delve into their argument, tease out its elements so as to enlighten.

And keep in mind that now more than ever people need that. We have people listening to this who are working two jobs, tired, overworked, worried about their health care, stressed. They’re not going to be able to follow an argument very well. In fact they’re going to forget what all those words meant and how they all fit together.

So after a while a lot of these folks are going to say…I’m sure you’ve heard them, they’re Republicans and the ones who vote for Republicans…they would say, “Aw geez , that’s just a bunch of words, it don’t mean anything.”

But what the hell does that mean?

Confused People Retreat Into the Stupid.

Well, it means that all these words can’t be remembered, they can’t take root in their mind after the lies they’re always hearing from the other side. They are surrounded by the organized disciplined ongoing assault against them by the Republicans. They are filled up with talking points benefiting the wealthy comprised of simplistic simple-minded irrational mantra…irrational, repetitive, simple slogans.

So, the result is that Democrats don’t end up having a lot of power; they don’t get elected. I saw it happen in presidential election after presidential election. I saw Reagan saying simplistic things, getting all the people pissed off about poor people and about the Soviets.

From the other side, I heard his appealing to the worst in people countered by reason, by sensible explanations and realistic proposals of a Dukakis, a Carter, and a Mondale. And then at the end it was…. it didn’t mean a damn thing. Because people just felt more comfortable around somebody who kept things simple, who said simple words, and seemed angry like they were.

Not that Reagan said anything indicating any of his policies were going to benefit average folks. No, actually he screwed them, but they still liked him! Because Reagan, like other Republicans, are able to confuse people into thinking that any screwing up, of any time, must have been done by Democrats. They will tell you your poverty now is caused by Democratic policies of the past which actually got us out of depressions, recessions, and created surpluses. They will tell you your lousy health care now is caused by money going to the Medicare that you like. They will tell you that the financial squeeze you feel is because of the “penny” going to a poor person not the bundles of loot they are taking.

..

..

And Burdened People Become Confused People—That’s Their Plan

So, the electorate is swimming in these simple irrational things that have been made to sound reasonable. And they are unable to see through them because they have been kept in this situation of increasing pressure to produce, produce, produce; of less leisure time and no time to think; of worries, medical care, all kinds of things you have to put out money for. They can hardly see through the swindle since they are distracted by the threat to their lives from insurance companies–those folks who may or may not pay you if you need it though you have faithfully paid them.

We’ll Insure You, Up to the Time You Need It

It’s gotten to the point where you have insurance but you dare not ever make a claim. You live with the risk of unexpected loss to your home at any time that you can not cover, because if you make a claim you may not get it next time. You risk losing home insurance and threatening your home. What the hell kind of insurance is that? You are insured but they can deny you? They can deny your claim, or as it happens all the time, you have one or two claims, and you no longer have an insurance company.

So if your payments are not making them a profit, if you are one of those few who are costing them more to be a member or to be covered by that insurance company, if you’re costing them more, they’re not going to take it out of the profits of all those who are costing them less, so, you’re eliminated. So why do we even have insurance companies? Most people have insurance just in the hope that they’ll be covered.

Rational Thought Replaced With Slogans … How Can Anyone Know the Truth?

How Can Folks Unite Against Injustices Hidden From Them

Who has the time to think clearly or reason confronted by all this other uncertainty, this other insanity? So we have all these pressures and then there’s these slogans put out and people are not able to follow rational arguments.

How this expresses itself came out in a discussion yesterday on Facebook. One rational type was trying to reason with a supporter of Mitt Romney, who was convinced everyone knew all the “true facts,” EVERYONE knew about all the “failed” and horrible things Obama had done…as she’d learned from Glenn Beck among others. My earnest and reasonable friend finally threw in the towel saying, “It’s like talking to a random thought generator. What do you think about foreign policy? Cheese.”

That is the result of factoids, “obvious truths,” replacing reason in burdened and confused minds. So how could these people possibly, without being able to see clearly, how could folks like this ever be united against the REAL injustices against them…which they don’t even realize are happening…their minds filled with the fake stuff?

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How Can Folks Protect Themselves From “Wizards” Hiding “Behind the Curtain”?

People do not even know who the perpetrators are, for the pundits won’t tell them. Folks cannot figure it out for themselves; and the pundits absolutely refuse to point out who’s responsible for the things that add misery to their lives.

Media types say they cannot do that because they say it has to do with, something about equal time. But that was supposed to be for elections. And, as I pointed out earlier, equal time turned into something where, no matter what lie is put out there or would be put out, no matter what truth is put out there, the media will find somebody, they could find anybody, who would be willing to say a lie and sound reasonable for the purpose of confusing things.

With all this, how can anybody know what the truth is?

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A Rising Tide Lifts All Yachts … The Rich Are Getting Richer and the Workers Are Getting Humiliated

Increasing Humiliation of Working People, the Rich Get Richer at Our Expense

Obvious “Truth”:

• A rising (economic) tide lifts all boats .

Real Truth – The Rich Get Richer at Our Expense.

Life Has Gotten Harder – Real Truth

So we have this increasing deterioration of our prosperity, of our standard of living, of our joy of life. Life becomes more and more of a struggle, and who benefits? Well we see who benefits. We now have a new super rich class which is above even the very rich. It’s called the filthy rich, as I’ve pointed out.

Real Truth – Our Suffering Has Paid for Even Greater Obscenities by the Wealthy.

And to create this super-rich class where did that money come from? Well, it’s come at the cost of average people like us. And I can tell you this because I lived through it all. I’m old enough to have seen the changes. I was born in 1950. I’ve been there to know, things are much harder than they used to be.

And our rights and our freedoms have changed. Because of their successes in the Culture War/Class War, because of Reagan and Bush, the Patriot Act, the neo-con takeover, and everything, our rights to speak out and to live without harassment have been diluted. Out of all the civilized countries in the world we have the greatest percentage of our people in jails. So what does that say?

Humiliation…Increasing Humiliation of Working People

We have these huge corporations taking over and it’s humiliating to people. I mean in times past we had the small retailer, perhaps this person had a small coin shop, bakery, drugstore and pharmacy, shoe shop, maybe a corner grocery store. Now, there aren’t any small stores like that. And where does that person end up making a living?

Well, he worked in retail so maybe he even ends up working for the same department store hat pushed him out of business. So what does that do to your self-esteem?

There’s example after example of people like that in recent years; it’s something that went into high gear under Bush. There are ever more people who are losing their jobs, well paying jobs, because they’re being sent overseas; and they are sometimes actually forced to train the people who are taking their jobs.

I can say I feel fortunate to have lived many years in an America quite different from what most people in America being younger than me have been growing up with.

Hippies, Yippies, Yuppies … How the 1% Diluted the Progressive Movement by Slandering Boomers to Foster Culture War Between Them and Gen Xers and to Distract from Their Own Looting

The Yuppies Were Hardly Boomers … But This Idea Supports a Right-Wing Agenda by Pitting Progressives Against Each Other … Try the Red Pill Instead

Obvious “Truths”:

• Yuppies are former hippies.
• “Flower children” abandoned their idealism and became greedy careerists focused on money.
• Former young radicals saw the error of their ways and became more conservative politically as they got older.
• The “Me” Generation is the Sixties Generation
• Sixties youth turned from free love and a sexual revolution to conservative sexual values and evangelical religion.
• “My Generation” gave up their idealism as everyone does with greater age and maturity.
• The Woodstock generation turned from pot and visionary thinking to booze, cocaine, and disco dancing a decade later
• The “free love” generation settled down and focused on family and jobs, centered around monogamy.
• “My Generation” is currently filling up the suburbs and feverishly maximizing their portfolios, at any and all cost.

Real Truth – All the Above Are Lies … Propaganda to Further the Motives of the 1%, the Filthy Rich

I can say I feel fortunate to have lived many years in an America quite different from what most people in America being younger than me have been growing up with.

I watched in the early Eighties the lies about a “Me Generation” coming out. Republicans brought that out to beat people down with. The idea was planted that people who wanted anything for themselves were selfish, for after all only the wealthy should ever benefit.

And it’s funny too, how they were able to use their own spawn to make this case. You could look around and see a new cadre of young folks—Gen X Yuppies—who had bought into the WWII values, who had been deluded by the untruths the 1% of that WWII generation had been using against the masses. The rich elite had succeeded in convincing those younger of mind that the wealthy folks interests where actually their own.

The 1% of the WWII Generation’s response to Sixties activism on campus, as I showed earlier, led to their taking over the universities in the early Seventies and turning them away from the humanities and social sciences and into career mills; I was there and observed it first hand. The success of this is what created the Yuppies in the Eighties–young upwardly mobile professionals–who were the first batch of Generation X—who are those born 1961 to 1981, who therefore left high school beginning in 1978. [Footnote 1]

So these Gen X Yuppies were coming onto the scene in the early Eighties, when the first of them were leaving the universities. The turnaround in education, away from free thinking and towards conservative careerist values, was in full swing by the time they reached college in 1978 on. And its effect on them was patent when they began coming of age. They were what the WWII Generation wanted: money-oriented and compliant…greed had been made “good” again. Standouts of this generation today are Sarah Palin (born 1964), Eric Cantor (born 1963), Rand Paul (born 1963), and Paul Ryan (born 1970).

So then the WWII Generation, fully in charge of society, could point to these yuppie spawn as examples of the obscenity of greed, thus deflecting attention away from their own, WWII Generation, me-spiritedness. To further their ends, they also claimed the origins of this unseemly greed lie in the failed, unrealistic values of the Sixties generation and their idealism.

This was one of their most amazing feats. They were able to take their values of greed and conformity, sow them in another generation, point to those values and criticize them, blame them on the hippies, all the while hiding their own espousal of those values. They perpetrated, denied, criticized, scapegoated, distracted, and obfuscated all together! They thoroughly convinced Americans that the Me Generation and Yuppies were those who formerly were flower children.

Whereas this actual Me Generation, these Yuppies, were predominantly a bunch of reactionary young people who said to hell with this idealistic stuff, and of helping out, and kumbaya, and all that stuff. They said, we’re for money, to hell with any one else. And somehow the WWII-Generation-owned media, assisted by a Fifties Generation now in their prime, convinced folks that these careerists out only for themselves were the one-time visionaries. Of course they only pulled this off because they owned or controlled all the major organs of expression in America—the newspapers, magazines, TV, radio, education, book publishing. I’ve delineated how they did this in one of the earliest all-out assaults, after their initial setbacks in the Sixties, of the Culture War/Class War they have been waging on the 99% since that time.

The media flooded American minds with the idea that the Me Generation was My Generation (I’m “talkin’ bout my generation” here) in the Eighties. They had prepared the ground for that lie, as there had been constant slander of my generation in the press since the beginnings of our activism in the Sixties, exactly like they are now putting out against the Millennials and those in the Occupy movement today. Beginning in the Seventies, owning the publishing and media industries, they concocted the lie that there was a conservative backlash going on. (See Chapter Two: Matrix Aroused, the Sixties and The Big Lie About Yuppies Being Hippies.)

This supposed conservative backlash was merely a continuation of Nixon’s laughable claim that he was supported by a “Silent Majority,” which he had used since the beginnings of his term in 1969 and which was obviously false, as demonstrations grew in size and support swung away from him throughout this period; and eventually he was forced to resign. But Republicans always claim there are a majority of real folks out there—“real Americans” as Palin and her kind say today—who support them but are doing it secretly. (btw, lol!)

Anyway, by the Eighties the powers-that-be were able to place this idea of a selfish “Me Generation” of Sixties youth, which they had been saying for a while, as being the ones on the campus at the time or recently out, the Yuppies. It fit their narrative. But it was a lie, and virtually all my generation knew it and thought it laughable. We stopped laughing after a while as over the years, it became clearer they had done such a good job of preparing the ground and repeating the lie that it stuck in the minds of those other than my generation—the Fifties Generation ahead of us and Gen X behind us—and the right wing, who of course saw this as red meat to further their causes. The media controlled by the 1% said the Sixties generation had gone from idealism to just wanting money, thereby discrediting their opponents, us who were consistently representing the 99%. At the same time they gave credibility to their claim of the superior veracity of their own values of greed, materialism, ruthless pragmatism, ego above all, and even me-spiritedness. Also, it validated, even glorified their personal traits of conformity, hard-headedness, cynicism, compliance, and even mean-spiritedness .

The Lies About Jerry Rubin

They could only give one example, Jerry Rubin; and even about him they lied and slandered. First off, neither Jerry Rubin, or Abbie Hoffman for that matter, were Boomers or Sixties Generation members. They were Fifties Generation, born in 1938 and 1936 respectively. Boomers were born in the post-WWII baby boom from 1946 through 1960. So that is enough to discredit what they said about “my generation.” But taking it as an attack aimed at the counterculture, let’s examine it:

They said Jerry Rubin was engaged in trying to make money. And they never mentioned what he was trying to make money on… but God forbid anyone but them should try to make money anyway. You see, what the 1% do is drive people into lowered standards of living and poverty where they experience desperation for money at times. Then they can point to that grasping to survive as proof that their values of money above all else are legitimate and that it is not possible for humans to have any other values higher than that. They create the conditions that they can use to support and validate themselves…how convenient.

But tellin