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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We’ve Fallen and We Can’t Get Up: Like Chiron, We Need to Take Inside Us the “Sins” of Promethean Fathers to Stop Millennial Cycles of Suffering

We Are the Centaurs, My Friends: We Are the Necessary Heroes for Deluded Promethean “Fathers,” Open the Jar, Pandora, and Why the Gods Are LOL

Wounded Deer and Centaurs, Chapter Seven: Return of the Centaur and How We Look to the Gods

Enter the Centaur: Wherein Lies Real Hope – Sixties and Millennial Generations Are Shamans for Deluded Promethean “Fathers” 

Blind Hope vs. Real Hope … Chiron Is Martyr for The Sins of the Fathers

Prometheus Brought Us Blind Hopes

Another aspect of this is that Prometheus is said to have “caused blind hopes to live in the hearts of men.” Indeed, we are also now seeing how blind was our reliance on technology and the vaunted but vain “rational mind”—which has now been seen to be a rationalizing mind.

For we realize this self-congratulatory thinking has been keeping out uncomfortable truths and building illusory, manic Atman projects of escape from the consequences of our actions. None of which, we are now finding out, are capable of working.

Enter the Centaur: Real Hopes – Chiron

But to jump ahead. There is hope in the Prometheus myth as well. There is shown a way forward for humanity, which at this particular time in history appears to have been prophetic. For Prometheus is saved from his sufferings by the Centaur, Chiron. Chiron sacrifices himself—Christ-like—taking on Prometheus’s suffering and dying in his stead.

Return to The Centaur

Earthy, Sensual, Noble

The Centaur — half human, half animal — does not, like Icarus, paste on wings and try to separate from groundedness in the Earth. No. Centaur qualities are earthy, sensual, sexual. They embrace the noble qualities of the horse … reminding us that as primal beings, early humans, we were noble humans … as they say, a bit ethnocentrically, “noble savages.” We once stood, sure-footed and tall, and we walked confidently upon the Earth, knowing we belonged here.

Wounded Healers, Shamans, Gardeners of Consciousness, Poets … Brave and Foolhardy Journeyers Into the Unapproved and Hidden

Traditionally associated with intoxicants and with the bacchanalian, centaurs can see into other realities, nonordinary ones. They are open to altered states of consciousness. They are not averse to looking into their deeper natures, their “undersides,” their unconscious; that is how they came to be one with Nature in the first place.

Indeed, Chiron is also known as the wounded healer and is associated with the shamanic. Being, like Chiron, healers, centaurs are skilled in both physical and mental health. Thus they are wholistic and psychotherapeutical. They are philosophical. Plato was one. Walt Whitman was one. They are poetic.

Mystics, Scapegoats, Natural … A-mused and A-musing Not Deluded and A-mazed

They are scapegoated, like Chiron was, for the sins of society, and in modern times they have scornfully been referred to as “hippies” and “beatniks” — but they include the bohemian types of all times. Being rooted in a more fundamental nature or reality they are mystic. Jesus was one. Following a “different drummer,” as it were, they are the Wayseers.

Connected to the real source of truth in Nature and the Divine, they are in touch with their muse … and are both a-mused and a-musing…but they are not into the maze of culture, the matrix, they are not fooled or a-mazed.

The Centaur is completely in tune with her and his planetmate-nature, the Divine and Natural order—as in the Jungian and mystic understandings of individuation as being a re-uniting with a fundamental and earlier reality — returning home, humble and prodigal-son like.

The Opposite of Ordinary Folks…Who Build Stairways to Heaven and Towers to Their Vanity

This is the opposite of most folks who spend their lives seeking to vainly build stairways to heaven, Towers of Babel to the divine, to be muscular Nietzchian supermen, or to struggle up Wilberian ladder-style paths for imaginary achievements and to an understandably elusive “enlightenment.”

We Are the Centaurs, My Friends

This self-sacrificing tendency in humans I will be talking about at length at the end of this book where I point out how we need to stop acting out and begin taking back the projections we make onto the Unknown and thereby stop the Promethean cycles of suffering going on for millennia.  We need to, like Chiron, take upon ourselves the “sins of the fathers.” As Tom Waits sang it, “I’m gonna take the sins of my father (mother, brother, sister), down to the pond…I’m gonna wash them.”

Exactly that. We must make the heroic sacrifice of taking inside ourselves those perennial urges to act out on others what was done to us. In environmental terms we must make the sacrifices of lowering our standard of living and cutting back on the lavish appetites and lazy indulgences fed by excessive technology, cultural trinkets, and superfluous commercialism, which other generations were allowed to take to the limits of their times. For if we do not, then there will be very little left for future generations—assuming there’ll be any.

These cultural “achievements” — wrought of burning of fossil fuels, release of fiery energy from the atom, and despoiling of natural resources — all of them in some way rooted in the theft of fire long ago, which started it all, must be let go of. We must refrain from being driven by these addictions and substitutes for actual felt experience, take the “fire” within instead of burning it up without. So in physical terms we must bring those excessive urges home within ourselves and ground them in Nature, bring them back into our physical bodies, we must be Centaurs. And within our bodies experience the discomfort of such a monumental millennial turnabout.

So, no. This is not easy or comfortable.

No. Not easy or comfortable.

Real Hope Lies in Pandora’s Jar and Return of the Centaur … Since the Last Time Was 1961, It’s None Too Soon 

Open the Jar, Pandora, and Return of The Centaur … Wherein Lies Real Hope

Open the Jar, Pandora

In psychological terms, real change lies in peering deep into the Pandora’s jar of the unconscious to recover the real hope that is there. Remember, Zeus punished humanity for Prometheus’s theft by sending Pandora. Pandora opened the jar she was told never to look into—another broken law of the Divine, like that of Eve and Prometheus—and out came all the ailments that now plague humankind. It is said Pandora tried to close it but “it was too late.” Still, the legend tells us what was left inside was hope.

I don’t think you have a better description of the way most folks, including most psychologists, handle the discomfort of early pain: They can’t help but be affected by it…some of it does “leak out.” But they expend all kinds of efforts toward bottling it up as much as possible, suppressing, repressing, using all kinds of defenses—including what mainstream psychotherapists call “healthy” ones.

Well, There’s No Sense Going Half Way!

Yet I can tell you as a primal therapist, breathworker, and primal person that is the exact wrong thing to do. From the perspective of deep experiential psychotherapy and Holotropic Breathwork  one must open the “jar” all the way up. One must surrender to the discomfort within—not acting it out but acting it in…or rather, surrendering to the feelings that come up and expressing them (opening the jar wide).

The jar is the personal unconscious, and what we find is that the only answer to all these troubles is to look deeply into them; for when we do we find the real hope that lies beneath the pain. Or as I have phrased it, there comes a time when one feels through the “negative grids” (the “pain grids”) to the “positive grids” (the “joy grids”). Therein is the hope.

What we find is that when one has faced and integrated perinatal pain, then the blissful experiences from earlier in womb time opens up. In Grof’s terms referred to earlier in this book, when one allows oneself to experience the depression of BPM II (constricted womb) and the tribulations of BPM III (birth itself), then one is open to the euphoria of BPM I (early womb experience). Rather than seeing through a veil of perinatal negativity and illusion and acting out from the unreal self or ego, one is getting closer to one’s real self as a positive, truly creative being, .

This is not a fleeting experience, for it allows a completely new perception on one’s life, vastly different from what one normally thinks. One has access to positive patterns laid down at earlier and more fundamental times in one’s life. One can build a life that works, for once. One can make choices that trigger one into happiness, not ones that are self-destructive and conducive to unhappiness.

This is true in therapy and on the spiritual path but also in ordinary life. For any time one confronts or looks deeply into one’s discomforts there is a time when there is release from it, there is a time when one is in a better place for having faced it. As the Tao symbol indicates, there is a seed of light in the depths of darkness.

Additionally I can tell you that opening up even more to the reality of consciousness, as opposed to constructing egoic “castles in the sky,” leads to uncovering the “spiritual grids” beyond even the “positive grids.” That is when we go beyond even hope to actual redemption, re-union with estranged divinity, faith, empathy, love, and finally compassion. And that is when we as Centaurs go from being just wounded and suffering to being, like Chiron, healers…and caring teachers.

So, for centaurs, for those who take this path, it is more depressive than aggressive. And up to the euphoric culmination I described above, it is painful and ongoing as well, just as Chiron’s wound was incurable and tormenting. These become the shamans and wounded healers, like Chiron, throwing themselves into the fire, rather than shooting fire all about themselves at others. Centauric folks take on the suffering lest they end up being like all those before them who sheepishly and selfishly passed the burden down.

Return of the Centaur

In another part of this book I point out how there are, beginning with the Sixties, now generations who are doing just that—working out these pains, not acting them out.

I just recently delineated the way these primal pains are emerging and how they are being worked through, not acted out, in younger generations and in alternative, rock music, and therapeutic cultures for a number of decades now.

Finally, in a related work of mine, Culture War, Class War, I have written how the Sixties Generation is a centaur generation and how the millennial generation is continuing that tradition. I’ve pointed out Sixties folk are centauric in standing upon (sitting upon) the achievements of previous generations but also reversing the perverse Promethean human direction by reuniting with our rootedness in Nature.

Chiron Return…Every Fifty-One Years

This humble and correct primal returning has been done, is continuing to be done, and will keep on being done as the Sixties generation continues working out its power struggle at the top, but now aided by a Millennial generation—comprised mainly of their daughters and sons — who are rather centaur-like themselves … as this book and the related works continue to show.

And who, because of this, following different stars grounded in realities both deeper and higher, they boldly confront their societies, bringing about change, creating rapid evolution, revolution; and in doing this they have already created an Arab Spring and an Occupy Wall Street movement. They will bring about profound change in that they are opposed to the powers that be, just as their parents were opposed to the “establishment” of their day and created a “counter” culture.

The Chiron cycle is fifty-one years, meaning the last time we had energies like we do now in 2012 was in 1961. If you lived through or know about that decade, you know that 1961 through 1971 were among the most transformative, progressive, and revolutionary years in the history of the world…and it indeed was a worldwide phenomenon. Considering the dire developments and challenges being laid at our feet, as this book has been laying them out…and requiring as much social but personal change as well…the centaurs couldn’t have returned any too soon.

How We Look to the Gods and Prometheus Redux … Building More Nukes and Drilling More Holes – Icarus Keeps Flapping and the Gods Can’t Stop Laughing

View From the Heavens and Prometheus Redux … Icarus Is Flapping and the Gods Are Laughing as We Build Nukes and Drill Holes

Prometheus Redux

Before leaving Prometheus for good, let us consider some other interesting aspects of its rendering that provide insight into this book’s exploration of the deepest psychological—perinatal—roots of our apocalypse now:

There are four legends of the Prometheus myth—all of them are reflected, coincidentally, in themes in this and its related books, Culture War, Class War and The Great Reveal. They are

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.

“Betraying the secrets of gods to men” includes the biggest divine prerogative—dominion over death. Also, this implies that humans were given the forbidden knowledge which humans are incapable of controlling, which I dealt with at length in a previous section, using as modern examples our stirring up the forces of the atom and the secrets of the DNA.

According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.

One of the results of Promethean hubris was control of Nature but therein also detachment from Nature. As I have been showing, our birth pain led us to the Promethean mistake of fire and meat. Both of these contribute to what I have called the thingification of humans, especially in modern/postmodern times. By that I mean our extraordinary pain coming into the world and then in general in life causes us to split off from the feelings in our bodies. We objectify all of Nature: We remove all its feeling and spiritual components and leave Things as the only reality, including ourselves and other humans. We “thingify” our babies; and as adults we embrace thingification (repression, detachment, estrangement, suppression, alienation) as a way of defending against this pain.

According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.

This separation from the pain creates the personal unconscious. But as a species, we have created a collective unconscious—what I have called the Unapproved and Hidden of all cultures. And as I have said, the truth became increasingly invisible over time…our real nature, what we did, and the true cost of our estrangement became ever more buried, obscure…eventually unknowable.

According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.

This refers to what happens when we face these uncomfortable truths and resolve them. Ultimately we leave behind these dramas when we have dealt with them so much they no longer have any charge for us… in other words, they become boring… we “weary.” The patterns are still there, but they contain no charge for us.

So the first legend asserts that we are damaged and pained as karmic retribution for our defiance of Nature. And in these last three legends we have the ways we have reacted to the Promethean wound within us: ”We become unfeeling, detached, rock-like. We become one with our defenses, thingified.

The second says that we repress this information and it becomes increasingly hidden (“forgotten”) as our species has “evolved,” but also individually, as we get older in life. This is generally what is done with the Promethean wound of birth pain. The third says that some of us face and deal with the wounds. Eventually they are gone beyond, truly gone beyond, as eventually all the charge on them disappears, they have no more control over us or pull on us, as we just naturally weary of them…they dissipate.

There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.^[28]

Finally, inexplicable substratum of truth is a pretty damn good description of the Unapproved and Hidden … also known as the Collective Unconscious… But in my rendering of it—dealing with our species unconscious, not just personal, “racial,” societal, or cultural—it contains much more than Jung imagined and because of that reverses many of the interpretations and meanings arising from it from what the Jungians, Joseph Campbell, or Freud understood.

Finally – Futility… The Gods Are Laughing at Us

One final message can be taken from these ancient minings of unconscious Truth which is also a commentary on our current mainstream reactions to the dire developments which are now reaching an apocalyptic peak:

Icarus Flapping – LOL

In the Icarus myth, “Icarus kept flapping his wings but soon realized that he had no feathers left and that he was only flapping his bare arms.” I don’t think there is a better image for the way we look in our actions in the face of apocalypse. The gods, aliens, Titans, angels, and the planetmates must be laughing their asses off at the sight of humans continued “flapping” about with ever more technology, pushing ever forward into the face of doom and apocalypse—the sun, the fire for Icarus—even as the Earth below us continues to fail, disintegrate, get polluted and poisoned, and no longer support our continued hubris.

We’re Falling and We Can’t Get Up

Oh, yes, we’ve started the Icarus fall…our wings of technology are “melting”—literally in the case of Fukushima—but ever faster we “flap”—seeking to build more nuclear plants, hiding from the populace the extinction level events that are happening RIGHT NOW at Fukushima, seeking to drill ever more even with the BP spill clear as can be in the rear view mirror, lining the Koch Brothers pockets in touting the benefits of coal as an energy source, melting the rocks around natural gas so that our tap water catches fire and poisons folks who drink it, and so much more. So, yes, even more furiously we flap, the harder for every increase in our fall.

We furiously pick up litter as our organs rot from radiation poisoning. Oh, yes, we’ll die. But where we fall it will be tidy. We register voters and sign petitions as our organs rot from radiation poisoning. Oh, yes, we’ll die. But we’ll all be able to vote.  [Footnote 1]

View From the Edge

We’ve had a long journey through the world of ancient myths and prehistory in delving into the way our prenatal state of oxygen insufficiency has pushed us to make fire and polluted environments attractive to us. We’ve seen how these early pushes have set us apart from all other species and placed us on an inexorable slide—which we in good time embraced and claimed as a goal and achievement even—to the edge of an apocalyptic abyss.

Next we look at how this unconscious state of an Oliver Twist style of oxygen deprivation affects us politically and socially…no matter any conscious or moral rearranging of “furniture” on the decks of our individual Titanics.

Continue with Prenatal Hunger Games and “Blood Wars”: The Fetal Fight About “Pure Blood” We Act Out in Politics, War, and Oppression … Class War, Culture War, Revolution….

Return to Will “Progress of Man” Be Humanity’s Epitaph? Apocalyptic Foretellings Hidden in Myth and a Re-Visioning of “Civilization” in Light of Impending Ecocide

Footnote

1.  Every time I look at this, It looks worse than I thought. This one makes me think there’s no way any of us will survive this. And if we do, then our children won’t. It’s that bad. And what pisses me off is that progressives want to poo-poo this.

Continue with Prenatal Hunger Games and “Blood Wars”: The Fetal Fight About “Pure Blood” We Act Out in Politics, War, and Oppression … Class War, Culture War, Revolution….

Return to Will “Progress of Man” Be Humanity’s Epitaph? Apocalyptic Foretellings Hidden in Myth and a Re-Visioning of “Civilization” in Light of Impending Ecocide

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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

Return to 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

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Kaleidoscope of Postmodern Life, Part Fourteen: Blind Hope vs. Real Hope … Chiron Is Martyr for The Sins of the Fathers

Enter the Centaur: Wherein Lies Real Hope – Sixties and Millennial Generations Are Shamans for Deluded Promethean “Fathers”: 21st Century and Its Discontents, Part 14

Prometheus Brought Us Blind Hopes

Another aspect of this is that Prometheus is said to have “caused blind hopes to live in the hearts of men.” Indeed, we are also now seeing how blind was our reliance on technology and the vaunted but vain “rational mind”—which has now been seen to be a rationalizing mind.

For we realize this self-congratulatory thinking has been keeping out uncomfortable truths and building illusory, manic Atman projects of escape from the consequences of our actions. None of which, we are now finding out, are capable of working.

Enter the Centaur: Real Hopes – Chiron

But to jump ahead. There is hope in the Prometheus myth as well. There is shown a way forward for humanity, which at this particular time in history appears to have been prophetic. For Prometheus is saved from his sufferings by the Centaur, Chiron. Chiron sacrifices himself—Christ-like—taking on Prometheus’s suffering and dying in his stead.

Return to The Centaur

Earthy, Sensual, Noble

The Centaur — half human, half animal — does not, like Icarus, paste on wings and try to separate from groundedness in the Earth. No. Centaur qualities are earthy, sensual, sexual. They embrace the noble qualities of the horse … reminding us that as primal beings, early humans, we were noble humans … as they say, a bit ethnocentrically, “noble savages.” We once stood, sure-footed and tall, and we walked confidently upon the Earth, knowing we belonged here.

Wounded Healers, Shamans, Gardeners of Consciousness, Poets … Brave and Foolhardy Journeyers Into the Unapproved and Hidden

Traditionally associated with intoxicants and with the bacchanalian, centaurs can see into other realities, nonordinary ones. They are open to altered states of consciousness. They are not averse to looking into their deeper natures, their “undersides,” their unconscious; that is how they came to be one with Nature in the first place.

Indeed, Chiron is also known as the wounded healer and is associated with the shamanic. Being, like Chiron, healers, centaurs are skilled in both physical and mental health. Thus they are wholistic and psychotherapeutical. They are philosophical. Plato was one. Walt Whitman was one. They are poetic.

Mystics, Scapegoats, Natural … A-mused and A-musing Not Deluded and A-mazed

They are scapegoated, like Chiron was, for the sins of society, and in modern times they have scornfully been referred to as “hippies” and “beatniks” — but they include the bohemian types of all times. Being rooted in a more fundamental nature or reality they are mystic. Jesus was one. Following a “different drummer,” as it were, they are the Wayseers.

Connected to the real source of truth in Nature and the Divine, they are in touch with their muse … and are both a-mused and a-musing…but they are not into the maze of culture, the matrix, they are not fooled or a-mazed.

The Centaur is completely in tune with her and his planetmate-nature, the Divine and Natural order—as in the Jungian and mystic understandings of individuation as being a re-uniting with a fundamental and earlier reality — returning home, humble and prodigal-son like.

The Opposite of Ordinary Folks…Who Build Stairways to Heaven and Towers to Their Vanity

This is the opposite of most folks who spend their lives seeking to vainly build stairways to heaven, Towers of Babel to the divine, to be muscular Nietzchian supermen, or to struggle up Wilberian ladder-style paths for imaginary achievements and to an understandably elusive “enlightenment.”

We Are the Centaurs, My Friends

This self-sacrificing tendency in humans I will be talking about at length at the end of this book where I point out how we need to stop acting out and begin taking back the projections we make onto the Unknown and thereby stop the Promethean cycles of suffering going on for millennia. We need to, like Chiron, take upon ourselves the “sins of the fathers.” As Tom Waits sang it, “I’m gonna take the sins of my father (mother, brother, sister), down to the pond…I’m gonna wash them.”

Exactly that. We must make the heroic sacrifice of taking inside ourselves those perennial urges to act out on others what was done to us. In environmental terms we must make the sacrifices of lowering our standard of living and cutting back on the lavish appetites and lazy indulgences fed by excessive technology, cultural trinkets, and superfluous commercialism, which other generations were allowed to take to the limits of their times. For if we do not, then there will be very little left for future generations—assuming there’ll be any.

These cultural “achievements” — wrought of burning of fossil fuels, release of fiery energy from the atom, and despoiling of natural resources — all of them in some way rooted in the theft of fire long ago, which started it all, must be let go of. We must refrain from being driven by these addictions and substitutes for actual felt experience, take the “fire” within instead of burning it up without. So in physical terms we must bring those excessive urges home within ourselves and ground them in Nature, bring them back into our physical bodies, we must be Centaurs. And within our bodies experience the discomfort of such a monumental millennial turnabout.

So, no. This is not easy or comfortable.

Continue with Real Hope Lies in Pandora’s Jar and Return of the Centaur … Since the Last Time Was 1961, It’s None Too Soon: 21st Century and Its Discontents, Part 15

Return to A Re-Visioning of “Civilization” in Light of Impending Apocalypse … Prometheus Made us “Civilized” … And Doomed: 21st Century and Its Discontents, Part 13

No. Not easy or comfortable.

Continue with Real Hope Lies in Pandora’s Jar and Return of the Centaur…Since the Last Time Was 1961, It’s None Too Soon: 21st Century and Its Discontents, Part 15

Return to A Re-Visioning of “Civilization” in Light of Impending Apocalypse … Prometheus Made us “Civilized” … And Doomed: 21st Century and Its Discontents, Part 13

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