“The word emotion itself comes from the Latin exmovere, and means to move out, agitate, or excite. This is where our English word ‘motion’ comes from, and of course you can see the connection with the word ‘emotion’. When emotions get stirred up, they bring about movement or action.”
From Scott E. Spradlin, Don’t Let Your Emotions Run Your Life: How Dialectical Behavior Therapy Can Put You in Control (Oakland, CA: New Harbinger, 2003), 9.
“‘True,’ said Kull. ‘I remember the legends — Valka!’ He stopped short, staring, for suddenly, like the silent swinging wide of a mystic door, misty, unfathomed reaches opened in the recesses of his consciousness and for an instant he seemed to gaze back through the vastness that spanned life and life; seeing through the vague and ghostly fogs dim shapes reliving dead centuries — men in combat with hideous monsters, vanquishing a planet of frightful terrors. Against a grey, ever-shifting background moved strange nightmare forms, fantasies of lunacy and fear; and man, the jest of the gods, the blind, wisdomless striver from dust to dust, following the long bloody trail of his destiny, knowing not why, bestial, blundering, like a great murderous child, yet feeling somewhere a spark of divine fire…Kull drew a hand across his brow, shaken; these sudden glimpses into the abysses of memory always startled him.”
From Robert E. Howard, “The Shadow Kingdom,” in Heroes in the Wind: From Kull to Conan (London: Penguin, 2009), 28.
“Kether, the first Sephirah, is a center of light, and in the Qabalistic Cross, it is attributed to a center positioned slightly above the crown of the head. It refers to that higher genius or it which, not yet fully incarnated within, broods above, a silent watcher. It is for each of us the source of inspiration and freedom and enlightenment. It is life itself.”
From Israel Regardie, The Middle Pillar: The Balance Between Mind and Magic, ed. Chic Cicero and Sandra Tabatha Cicero (Woodbury, MT: Llewellyn, 2012 [1938]), 72.
“The ninth sphere or Sephirah on the Tree of Life is that of the Nephesh, which means the animal soul. It is the sphere proper of the animal instincts and urges, which may in truth be called the Freudian unconscious — that which was conscious at one time or at one stage of development but which has since been lost to consciousness. It is regarded as comprising all those psychic faculties which are not conscious. All the various automatic, habitual, and routine actions; all the things that we say and do ‘without thinking’ and all the thousand things we never really ‘do’ at all, these processes are assigned to the unconscious realm, to the principle of Nephesh. To it is related the cerebellum, the hind section of the brain, and it is intimately connected with the glandular and sympathetic nervous systems. As such it is that part of our being which regulates the circulation of the blood, the pulsation of the heart, our digestion and respiration. All the promptings of desire and the urges of passion that spring unbidden within us, have their seat in Nephesh. This is the underworld of the psyche through which we get comparatively close to nature, to the elemental side of life. It is the undermind in which function the primary instincts of self-preservation and reproduction. It is the seat of the sex instinct itself. The Jungian concept of the unconscious might be the approximate term for this side of life, as is held by the Freudian school, whereas the much abused word superconscious would be distinctly descriptive of the Supernal Sephiroth of the Yechidah, Chiah, and Neshamah corresponding to the Jungian unconscious.”
From Israel Regardie, The Middle Pillar: The Balance Between Mind and Magic, ed. Chic Cicero and Sandra Tabatha Cicero (Woodbury, MT: Llewellyn, 2012 [1938]), 36.
See here.
“Space flights are merely an escape, a fleeing away from oneself, because it is easier to go to Mars or to the moon than it is to penetrate one’s own being.”
Carl Jung
From Adelaide Bry and Marjorie Bair, Visualization: Directing the Movies of Your Mind (New York: Harper & Row, 1976), 18.
I would like to point my readers’ attention to a blog — The Art of Life — featuring a wonderful serialized novel. You can find the first chapter, “Start with gratitude”, here. Set in a place that will probably be familiar to readers of this blog, it’s a fast-paced and sharply written mystery/thriller full of intrigue, murder, ghosts, environmentalism and art. In addition to being a brilliant writer and a totally amazing human, the author also happens to be my mother.
And yes, she’s looking for a publisher…
The Patterson film, which was taken in the Northern California forest in 1967, remains the quintessential piece of indecisive evidence for the existence of the famed cryptid Bigfoot. I’m currently reviewing a book on the subject, and I’ll let the author’s words sketch out its significance:
“Patterson’s film has been studies by amateurs, evaluated by special effects experts, and looked at by scientists. It has been picked over, poked at, trumpeted as the most important piece of wildlife film ever taken, and laughed at as an obvious fake. The reason it resists scrutiny — and probably always will, regardless of whether it is genuine or fake — is the material fact that the film itself is of poor quality. Even with all the high tech gadgetry available to examine the film, the low resolution of the original grainy 16mm footage renders it practically impossible to analyze in great detail. We may never know whether Patterson meant it to be this way, or that it was just dumb luck of an individual unskilled and unsophisticated in the ways of filmmaking. In North America at least, it has become the toll booth all anomalous primate enthusiasts, academic or amateur, must pass to proceed. it lurks and skulks and peeps about just off to the side of every believer and skeptic, challenging, mocking, and encouraging. Regardless of who owns it, the Patterson film became a central component of Sasquatch studies. It allows for no middle ground. It is either real or fake, with no chance it is a misidentification of something else. Patty’s now legendary backward glance in frame 352 [Ed. Note: See image] teases and tests anyone who has ever seen it. It survives when all others associated with it have come and gone. It is not the only evidence, and it is not the only contentious evidence. Everything ever brought forward to support manlike monsters, mystery-apes, and anomalous primates has been controversial and will continue to be.”
From Brian Regal, Searching for Sasquatch: Crackpots, Eggheads and Cryptozoology (New York: Palgrave, 2011), 129-130.
Image found here.
Still seems tantalizingly elusive, this film — shaky, confused, out of context and scale. And yet somehow completely haunting.
So, what do YOU think??
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