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February 7, 2010

SUGAR as Esoteric Issue: as Narcotic and Poison

JOSEPH AZIZE PAGE

Joseph.Azize@googlemail.com

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SUGAR IS AN ESOTERIC ISSUE

I am absolutely serious. Sugar is an esoteric issue, together with smoking and narcotics. Of course, it is not nearly so dangerous as narcotics, which can make conscious development practically impossible. But I am not sure how it compares to tobacco. That issue is difficult, because, among matters, people who consume tobacco invariably consume sugar, so the respective roles of these poisons in causing disease is tricky. Also, the sugars which are sometimes added to cigarettes make their smoke more cancerous (they increase by up to 60% the amount of formaldehyde in “mainstream” cigarette smoke, i.e. the smoke produced after puffing on a cigarette). Therefore, the effects of sugar and tobacco may operate jointly.

BACKGROUND

Where is this all coming from? An article I have written, dealing with sugar (meaning refined sugar and high-fructose corn syrup) from a legal and ethical point of view, has been accepted for publication by an peer-reviewed academic journal. Expected publication date is May this year. However, knowing from experience how changeable such matters are, I won’t provide details until it actually has been published. But when that occurs, I shall give full details on this blog. On that halleluiah day, I will encourage you all to subscribe to the journal and to give gift subscriptions to your friends.

In the forthcoming article, I contend that there is a crying need for legislative intervention to actually tax sugar, ban sugar products from schools, require full disclosure of sugar content in any food (even in bread), with health warnings on confectionary, and more of the same fanatical measures. You can read the facts about sugar in the late John Yudkin’s Pure, White and Deadly. My article summarises some of the latest evidence, the vast bulk of which supports his conclusions about the relation between sugar, diabetes and cancer (not to mention dental caries), and some of which shows that sugar is addictive in much the same way that narcotics are.

That is all very well, you may say: but why put this on an esoteric studies web site?

THE ESOTERIC SIGNIFICANCE OF SUGAR

For those who know Gurdjieff’s ideas, let me say first, that sugar disharmonises the tempo of our common-presence, and second, that it damages essence.

Now, let me rephrase that for the non-initiated. Sugar is wreaking havoc on our civilization. It’s just doing it slowly and enjoyably. Gary Taubes, whose work in this area seems to me to be – without hyperbole – magnificent, writes: “Through their direct effect on insulin and blood sugar, refined carbohydrates, starches, and sugars are the dietary cause of coronary heart disease and diabetes. They are the most likely dietary causes of cancer, Alzheimer’s disease, and the other chronic diseases of civilization.” (The Diet Delusion, n 27, p 454) The italics on “dietary causes” is Taubes’ own.

Over time and in sufficient doses, sugar can do great damage to a person’s body and emotions. That is, it damages essence, the real you, the heirloom with which you are born. Indirectly, sugar will even damage how one’s mind works, because the workings of the mind, body and emotions cannot ultimately be separated (although the organism is very adaptable, and can often reach extraordinary levels of intellectual and emotional functioning despite even near-fatal physical damage). Indirectly, through diabetes and, it seems, other diseases, sugar can even be fatal. And if it does indeed contribute to diseases such as Alzheimer’s, what have we unloosed upon ourselves?

When I say that “over time and in sufficient doses, it can do great damage to a person’s body and emotions”, we must bear in mind that how much time and what doses are sufficient depends upon the person, their conscious control over their organism, their genes, the balance of their diet, the exercise they take, their sleep, their lifestyle, and other factors.

Now for common-tempo. In a talk he gave in Paris, in August 1922, Gurdjieff said that a person’s reception of impressions depends on “the rhythm of the external stimulators of impressions and on the rhythm of the senses”. Right reception, he said, would be possible “only if these rhythms correspond to one another”. In fact, he went so far as to say: “a man can never be a man if he has no right rhythms in himself.” G.I. Gurdjieff, Views from the Real World, pp.82-83.

Briefly, as I understand it, in Beelzebub, especially in the chapter on “Hypnotism”, Gurdjieff teaches that each centre of the organism, and also essence (as a whole) and personality (as a whole) function at different tempos, and that parts of the human organism can mutually communicate only when their tempos stand in a particular relation. At p.1163, Beelzebub says to Hassein that each of the functions which compose our individuality acquires a “harmonious tempo in the common functioning”. In other words, our individuality (the distinctive nature of our being), is made up of various functionings, each of which is formed as a whole (“crystallized” is Gurdjieff’s word) and works at its own tempo in an integrated organism, in harmony with other functions operating at their proper tempos.

One can think of it as being like a car: all the moving parts have their own tempos. The wheels, fan-belt, ignition, battery, all work at different speeds, or more precisely, within different ranges of speed. In fact, they can only work within their specific ranges. If one arranged all these parts so that they operated at one uniform speed, the car would be useless . I am aware I am now speaking of “speed”. Shortly, a speed is absolute: it is measured from zero, but tempo is a relative speed. Tempo is meaningful only as comparing the speeds, rhythms or rates of a particular activity.

Gurdjieff says that we have two established tempos of blood circulation (provisionally taking the tempos as absolute). Each of these tempos is related to a form of consciousness: essence (sub-consciousness), or personality (consciousness). A change in consciousness can cause a change in the tempo of blood circulation, and a change in that tempo can cause a change in consciousness.

Sugar disrupts that tempo to an extent which was not, I believe, contemplated by nature, and which is not under conscious control. Interestingly, anecdotal evidence suggests that if taken naturally (i.e. directly from sugar cane), it is not nearly so noxious, if at all. However, you get a load of sugar a lot faster drinking soft drinks than you ever can by chewing on sugar cane. In the right dose, and for some people it is a relatively small one, sugar causes a nervous energy to enter the body, and disrupts emotional equilibrium.

Because sugar is (apparently) the only food which provides energy and no nutrients, there is nothing good to say about it which cannot be said for anything else which makes food more palatable (e.g. cinnamon and vanilla). On the other hand, those foods have positives which sugar does not. The glucose in sugar is oxidised in the cells, and the bloodstream cops the released energy. This is the basis of the “sugar-fix”. And this disrupts the tempo of the body, and the all-important tempo of the blood circulation. In other words, sugar is a food (although that is arguable), and a poison, which makes it harder for essence to manifest, and easier for personality to manifest.

If you don’t believe me, try and observe carefully what happens inside you when next you ingest confectionary, cake, sweetened biscuits, soft drink or anything else to which you’ve added sugar. You may be surprised to find that what you thought were part and parcel of your natural fluctuations of mood (and, in Gurdjieff’s terms, your “state”), are in fact abnormal but familiar results of sugar ingestion.

Part of the “esoteric danger” is this: because we do not think of sugar as a slow-working poison (albeit of low toxicity in small and irregular doses), but as a food and only as a food, it hardly enters our heads to think of its effects as being unnatural. We are far more likely to attribute its psychic effects to other causes.

Also, we are so used to sugar that we tend to accept our unnaturally sweetened state (to coin a phrase which is meant only half-humorously) as neutral, or even as positive. We take so much sugar, and we see so many people who take it, that we don’t know how jumped up we are.

There is more. I could do a social analysis and say that we live in a “sugar-coated” society. And I believe we do: but that is another area. But for now, I just want to raise this issue.

GURDJIEFF, SUGAR AND THE TEMPO PARADOX

There are two related objections to consider: but didn’t Gurdjieff use sugar? And, considering the different tempos used in the movements and sacred dances, surely Gurdjieff didn’t try and impose one tempo on us?

The answer to the first question is simple: yes, Gurdjieff seems to have loved sugar, and was even known as “Monsieur Bon-Bon” because of his lavish distribution of confectionary. But Gurdjieff didn’t know everything. His being was beyond ours to an extent which makes comparison pointless, but he still had to find out where the shops were. He had to learn: in fact, he spoke to the Adies about one particular thing he had learned (as I shall mention in the forthcoming book on Helen Adie, where I can provide the context to do justice to the issue). As with sugar, I doubt that Gurdjieff would have used tobacco so much, or allowed people to smoke as they did, had he understood the dangers, especially the risks of passive inhalation where people who do not smoke suffer from others’ indulgence.

In respect of the second question, the first point is that it is striking that what I might call the sacred dances do seem to be slower. I am thinking of “The Big Prayer”, “The Camel Dervish”, and those which form the esoteric series within his last series of 41 movements. But you could contradict me on that, and I would be unconcerned. There is something deeper than all this.

And this is it: first, disrupting our standard tempos is analagous to disrupting our standard roles. Gurdjieff said that man “has a role for every kind of circumstance in which he ordinarily finds himself in life; but put him into even only slightly different circumstances and he is unable to find a suitable role and for a short time he becomes himself.” At p.239 of Miraculous, the phrase “for a short time he becomes himself” is italicised. I think something similar happens with tempo. Is it going too far to say that each person ““has a common-tempo for every kind of circumstance in which he ordinarily finds himself in life; but put him into even only slightly different circumstances and he is unable to find a suitable tempo and for a short time he becomes himself.”? Decide for yourself.

The second point is that although I have been studying tempo for a while now, I have only very recently started to think that the key to the awakening of essence is the ratio of tempos. Of course, the corresponding ratios should fall into place mor easily while one is quiet. This is why the preparations and exercises Gurdjieff bought are so important. Through these, he taught how to raise certain organic tempos to consciousness. But this was taught so that the state attained could be an influence in daily life, and the results crystallized in us. As Mr Adie used to say, it’s like learning to row a boat. You start off in calm waters, but one day, with sufficient practice, you might be able to manage in rough water.

Now, in so far as the movements have to do with changing the tempo of our organism, the aim is that we remain conscious whatever the tempo and how it changes: or so I tend to think. In terms of what I have said above, it is the ratio of tempos that is critical. The quicker my body must work in the movements, the finer the work of the mind and feelings which is demanded.

I have made this as clear as I can, but of course I cannot disclose on the net the actual methods used in the preparation and exercises. Without that disclosure there will always be an irreducible margin of vagueness. So, perhaps these comments can help: a certain physical tempo is necessary only as an aid. Essence is not a slow tempo, or any tempo at all. Essence is in feeling (real feeling, and not the emotions). Feeling centre works faster than any of the centres but for sex and the two higher centres.

When essence appears through feeling, it can handle any speeds. Once we have awakened, we can manifest. But for man number 1, 2, and 3, there is a long work required to understand, by inner-sensation, the appropriate range of physical tempos and how to bring them within their proper ranges and mutual ratio.

CONCLUSION

I began by speaking about sugar. I said that in addition to the physical illnesses it contributes to, it damages essence and disharmonises the tempos of our common presence. I am recommending that anyone engaged in a spiritual quest has a spiritual reason to give up sugar altogether, and a responsibility not to facilitate its use (indeed, I feel a duty to actively discourage it).

Yet, I know from experience that it is very difficult for us to logically confront such matters. Neither do I think it’s only an issue of how I raise it with people, although that is not always guaranteed to help.

I would ask you read Yudkin and Taubes, and look at the evidence. Then consider whether sugar is not, as I suggest, an “esoteric issue”.

And if you think it is, what prevents you acting on your knowledge?

Is this an area where the ‘I’ that knows is not the ‘I’ which is present when we come to eat?

5 February 2010
Joseph.Azize@googlemail.com
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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

“Maronites” is pp.279-282 of “The Encyclopedia of Religion in Australia” published by Cambridge University Press and edited by James Jupp.

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November 21, 2008

RENE DAUMAL’S “HOLY WAR”

For a review of this performance see
Review of Rene Dumal’s ‘Holy War’
on the John Robert Colombo page

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Celebrating the centenary of Rene Daumal’s birth (1908-1944)

SATURDAY DECEMBER 6, 2008, 7.30PM
GEORGE IGNATIEFF THEATRE, TRINITY COLLEGE,
16, DEVONSHIRE PLACE,
TORONTO

“HOLY WAR”
The remarkable prose poem of inner search

The prominent poet and novelist of avant-guarde French literature wrote this prose poem as the Nazi armies were crushing Western Europe and approaching France. “Holy War” takes the battle inside.

Daumal endows the words “holy war” with their truest meaning, as he evokes with ruthless honesty and rich humour the inner struggle toward consciouness and conscience.

This is the unseen warfare that many spiritual traditions regard as the surest basis for peace.

Priscilla Smith (voice)
Dolphi Wertenbaker (dance)
Chris Wertenbaker (oud)
Jeff Greene (strings)

With an introduction by author and Daumal scholar, Roger Lipsey

A discussion with the audience will follow the performance

Doors open 7.00pm
General admission $25
Students $20

For information and to purchase tickets call: 416 – 469 – 2847

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November 22, 2008

TORONTO CONCERT of GURDJIEFF/de HARTMANN MUSIC: REVIEW


John Robert Colombo Page

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Toronto Concert

John Robert Colombo reviews a concert devoted to “The Piano Music of G.I. Gurdjieff and Thomas de Hartmann”

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Everyone recognizes the name of Glenn Gould, the famous pianist and musicologist, whose crisp and no-nonsense interpretation of Bach’s “Goldberg Variations” took the musical world by storm in 1955. Almost as well known are Gould’s well-publicized antics – statements like “Mozart should have died sooner rather than later” and “The concert is dead.” The latter statement was proclaimed the same year that his Toronto neighbour Marshall McLuhan remarked, “The book is dead.” Both the concert and the book have been a long time dying.

Gould was a great eccentric and recluse rather than a great character or stage performer. Tragically, he was habituated to pharmaceuticals, and I believe that this addiction partly accounts for the hyper-real (almost surreal) quality of his interpretations and performances. If you suffer hyperacuity, you do not enjoy his recordings as much as you do those of his much less brilliant contemporaries. It does not take genius to perform with brilliance, emotion, and insight.

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Gould came to mind as I paused in front of the statue erected in his honour at the entranceway to the Glenn Gould Centre of the Philip Johnson-designed Broadcast Centre of the Canadian Broadcasting Corporation in downtown Toronto. The statue may be said to stand, but the life-size, bronze effigy of him (wearing his characteristic rumpled raincoat) shows him slouched on a park-bench. I used to see him wearing that raincoat shambling through the halls of the old CBC Radio Building. The statue is a good likeness.

As I entered the Centre’s theatre, also named in his honour, at 8:00 p.m., Friday, November 21, 2008, I wondered what he would have made of the concert that my wife and Ruth were there about to hear. Gould was open to new ideas – indeed, he contributed a blurb to a book of Borges-like poems that I translated with Robert Zend, a lively Hungarian Canadian poet and radio producer – but to my knowledge he never once evinced any interest in either Eastern thought or any form of expression of the “wisdom tradition.”

The concert we took our seats to hear was devoted to the piano music produced by the collaboration of G.I. Gurdjieff and Thomas de Hartmann. Now one of the pleasures of writing reviews for this blog is that there is no need for me to explain the backgrounds of these two gentlemen or their unlikely partnership, probably unique in the annals of folk and ethnic musicology. The “Gurdjieff-de Hartmann music” has a devoted following among both students of the work and young professional musicians. I could reel off the names of a dozen well-known pianists who perform many of these 300 or so works, and there are discographies that list the innumerable CDs that they have recorded.

I maintain an interest in Canadian cultural expression as well a “watching brief” on Fourth Way work, so permit to combine interests by sounding another nationalistic note. The musical world of the Fourth Way is well served by the retired film producer Thomas C. Daly of Montreal, who remains the faithful warden and guardian of this music, in his capacity of executor of the estates of the late Olga and Thomas de Hartmann. He has worked overtime to make these compositions available to music lovers.

Count me among these lovers. I first heard these plangent, seemingly repetitive, chord-like compositions in the late 1950s, pounded out on an upright piano, as I awkwardly performed the Movements. Intermittently since then, I have listened to them in small concert halls and in the solitude of my study at home. Indeed, they have quickened my taste for the repetitive compositions of “the musical minimalists” (like Arvo Pärt) and the work of electronic composers (like Philip Glass). Gould himself experimented with musical constructions – splicing tapes of human voices together – to create compositions that sound like “musique concrète,” so he might well have enjoyed attending this concert as much as we did.

The concert was organized by the Society for Traditional Studies, the earliest and the largest of the numerous organizations which take an interest in these ideas and motifs that are scattered throughout the City of Toronto (population 3.3 million). As a bystander, I wish these groups would collaborate more often than they do to sponsor public occasions like this one.

The Glenn Gould Theatre seats about 340 and two-thirds of the seats were occupied by an audience of quiet-spoken, interesting-looking men and women, mainly middle-aged and professional or semi-professional in appearance. Tickets were priced at $25 apiece ($15 for students and seniors) and the two performers were Casey Sokol (percussion) and Charles Ketcham (piano).

I am placing Mr. Sokol’s name first because he is quite active in Toronto. He is an associate professor with the faculty of fine arts at York University where he has taught and performed since 1971. He is a familiar figure in Work circles, performing these piano compositions with flair, enthusiasm, and affection. In the past he has selected compositions for his programs that reflect the varieties rather than similarities that are to be found in this body of piano music. In person he strikes me as having compressed power and intelligence.

The guest pianist was Charles Ketcham, who has recorded albums of the piano music but who is principally known as a widely travelled orchestra conductor. He originally studied under Eric Leinsdorf at Tanglewood and has made guest appearances or served as associate conductor at many of Europe’s important orchestras. With other musicians and musicologists, he has edited what has been described by knowledgeable people as the “definitive edition of the complete Gurdjieff / de Hartmann Piano Music” and he has “recorded the complete works for the German recording label, Wergo Schallplatten GmbH.”

Mr. Ketcham is not to be confused with his namesake Charles B. Ketcham, the American theologian and the author of “The Ontological Ground for a New Christology.” (I wonder if they are relatives.) Our Mr. Ketcham (the pianist) makes his home-base in San Francisco. He is a welcome visitor to Toronto; he arrived during a minor snowstorm, the first of the season.

He strikes me as a man who is able to wear two hats – the beret of the performer and the top-hat of the conductor – and bring to every musical occasion a strong sense of professionalism. For no good reason, I kept thinking of Messrs. Sokol and Ketcham as the “pepper and salt” of this concert, though both sported heads of white hair. Mr. Sokol supplied percussion accompaniment during the middle portion of the program.

The musical part of the concert went from 8:00 to 9:45 p.m. and was followed by an optional forty minutes of discussion. This took the usual, question-and-answer format. Some members of the audience left after the performances, but most remained and took seats closer to the stage. Those members who remained were in for a double treat: some good answers to reasonable questions, plus the spirited playing of two more compositions: “Mama” and a second “Sayyid Chant” (to match the opening number).

Now to the program. To whet the reader’s appetite for what we heard, here is a list (from the well-designed program that was distributed) of the twenty-one compositions that were performed:

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Sayyid Chant and Dance, No. 1.

“Rejoice, Beelzebub!”

Tibi Cantamus, No. 2

Hymn from a Great Temple, No. 1

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Ancient Greek Melody

Armenian Song, No. 1

Duduki

Hymn (Jan. 6, 1927)

Greek Melody

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The Initiation of the Priestess

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[Intermission]

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Hymn (Jan. 2, 1927)

Afghan Melody

Oriental Melody

Dance Rhythm (Nov. 29, 1925)

Armenian Song, No. 2

Untitled Melody (Jan. 1, 1926)

Dervish Dance

Moorish Dance (Dervish)

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Bayaty

Prayer and Despair

Religious Ceremony

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It would be difficult for a diligent rapporteur (like the present one) to do any more than record some of his general impressions and responses to the musicians and the music. It is beyond his remit and competence to do more than that.

Mr. Ketcham offered a most professional performance of these works on a sleek black Steinway grand piano. In the past I would overhear the strains of “On the Steppes of Central Asia” whenever I heard other talented pianists perform these compositions. Mr. Ketcham added a new dimension with his broad sense of what constitutes performance and composition. So I kept hearing the unexpected strains of the compositions of well-loved European composers of the period (mainly the 1920s): Ippolitov-Ivanov, Khachaturian, Satie, Bartok, even Saint-Saëns’s “Aquarium” (from “The Carnival of Animals”), as well as echoes of the semi-notes of Arvo Pärt, the latter a legacy of attendance at the previous evening’s Estonian concert at St. Anne’s Church.

Mr. Ketcham also added to my appreciation of the range of the material, specifically the variety of subjects and effects. There were in effect the “ethnic” influences: rhythms and melodies described as Ancient Greek, Afghan, Moorish, Armenian, and “Oriental.” Then there were the moving and mysterious religious motifs: Sayyid chants and dances, Dervish dances, and prayers, etc. Finally there were the moods: elation, aspiration, dejection, depression. Finally there were complexities, solemnities, and intimacies aplenty.

All the pieces are quite short, yet each gives itself over to a seemingly complete expression of a rhythm, a feeling, even a thought, with a handful of the compositions ending abruptly, as if cut off in mid-expression. At various times I felt I wanted to march in a procession or step out into the aisle and perform a series of Tai Chi exercises. The printed program enjoined us not to applaud the compositions individually, but to reserve our applause for the end of each part of the program. So there was plenty of pent-up energy!

The concert opened with “Sayyid Chant and Dance,” a work of intricate complexity, very pianistic. The program ended with an encore performance of another Sayyid composition, one that expressed incredible longing … for what, who can say? These served as a pair of bookends for the musical portion of the concert.

During the mid-section of the program we heard and saw Mr. Sokol accompany Mr. Ketcham, taking delight in the use of a hoop-like drum with jingle-bells called a daff, a gourd-like drum called a darok, along with other unfamiliar, eye-catching and ear-holding instruments. The rhythms of dances familiar in ethnomusicology (perhaps given today’s climate of opinion it should be called “exomusicology”) were pronounced. The gentlemen performers worked together with a unity of aim or purpose as if they did this with delight every night of the year.

While listening to “Untitled Music” and other compositions I felt that parts of me were being energized and other parts being anaesthetized, so that various operations and procedures could be overseen and performed. It was a series of quite concentrated experiences, rather surprising in the same way that an acupuncture treatment is riddled with surface surprises: unexpected twinges, twitches, tweaks, and (to continue with the t’s) tastes.

The discussion began with Mr. Ketcham asking two questions: Where does music come from? What does music express? He did not attempt to answer these perennial questions, but he added that he had directed the first question to those composers he had met. They all drew a blank. He directed the second question to members of the audience.

One member stated that she felt that the music was coursing through her blood stream, going from the heart to the head. Another member said he felt it affected his breath and his breathing. A woman said she sensed that the music was being “disclosed” rather than composed or discovered.

In answer to the direct question, in effect, “What is Gurdjieffian about this music?” Mr. Ketcham gave a considered and measured answer: “Man has a purpose in life that cannot be realized as we are. There is something more complete to be found, and it is through consciousness that this transformation is to take place.”

He went on to sketch Mr. Gurdjieff’s cosmological view of man in the universe, the sense of scale.” I expected him to mention the word “harmonious” but I did not hear it. Instead he said, “Every tone is a mystery.” We really hear not one tone but composite tones, vibrations, overtones, and they “represent something that is universal.”

One observant questioner asked him how he “prepares” for a performance. She had presumably noted how he would pause at the keyboard before tackling a composition. He momentarily looked like the little boy caught with his hand in the cookie jar. In reply he quoted a previous speaker who had said that the music caused him “to make space.” “I make space,” he said, economically.

Toronto audiences are inclined to be tongue-tied, so I asked two questions to which I received responsible replies. The first question was: Do musicologists recognize the Gurdjieff-De Hartmann collaboration to be unique, given that ethnomusicology was a characteristic of the 1920s? And why are these three hundred compositions not part of the repertoire of contemporary performers and repertory companies?

Mr. Sokol replied that the character of the interaction between a professionally trained composer-performer and an untrained traveller-collector of indigenous traditions is recognized to be unique. Mr. Ketchum added that the musical scores were not published until the 1990s, the decision having been made late in the day by Michel de Salzmann to make them readily available. Also, the compositions are “intimate” and involve one or two interpreters, not all the players of symphony orchestras.

Later he made a case for the fact that these compositions were composed and are performed to have an influence on parts of the body seldom touched by other music or even observed by most people. They were designed to produce feelings we do not normally notice. Mr. Sokol said that the compositions are not folk music, saying, in effect, “You may go to Afghanistan but you will not find ‘Afghan Melody’ being performed there.”

Like the rest of the audience, Ruth and I left the Glenn Gould Centre with the sounds of the piano and percussion instruments vibrating within us. We paused before the bronze statue of the great pianist on the sidewalk in front of the building. Despite the fact that his gaze is averted, I bent down and peered into the sockets of his eyes. It seemed almost sacrilegious to do so. But (it may be my imagination) I observed – a wink.

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Here is a related review of a new CD.

Not everyone is privileged to live in a large city like Toronto which hosts concerts of the quality of the one that we were able to attend. But for those people who have a taste for this music, but who live elsewhere, it is possible to have an aftertaste (so to speak) of what was missed through the release of a new CD.

Elisa Denzey, Toronto-based pianist and fabric artist, has had a forty-five year association with group work. She studied with Annette Herter who was a pupil of Thomas de Hartmann, from whom she learned that performance does not exist for the sake of performance but in the interest of … self-knowledge. Music is there not for performance “as we usually understand it, but rather the cultivation of a sensitivity to or an understanding of what each piece of music is saying or describing.” (I like the subtle distinctions between “sensitivity” and “understanding” as well as “saying” and “describing.”)

That quotation comes from the program notes that accompany the newly released CD of piano compositions performed by Ms. Denzey titled “Gurdjieff / De Hartmann.” The CD is available from By the Way Books or from the : ExGurdjieff Foundation of Toronto experimental Group. (Both organizations have websites.) The list price is $25 CDN, the price charged for a single concert ticket.

Ms. Denzey recorded all of the twenty-one compositions in her seventy-sixth year during one six-hour session in 1999. The tastefully produced CD includes three or four of the compositions that we played at the concert. (Curiously, both the disk and the concert include the same number of compositions.) Her interpretation is a less dramatic and far softer one than the interpretations offered by Messrs. Sokol or Ketcham. Perhaps it is more feminine. This in itself is neither a positive nor a negative. In fact, it is an attestation to the power of these compositions to move men and women in the same direction, each at his or her own speed, each in his or her own way.

John Robert Colombo is known throughout Canada as “the Master Gatherer” for his compilations of Canadiana. His two latest books are “The Big Book of Canadian Ghost Stories” (Dundurn) and “Whistle While You Work” (C&C). The latter 400-age paperback book consists of essays and articles of general cultural and specific esoteric interest.

January 23, 2009

GEORGE ADIE: PRACTICAL EFFORTS AND CHIEF FEATURE

Joseph Azize Page
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George Adie: Practical Efforts and Chief Feature

Often on the spiritual road, an insuperable question arises. Part of the difficulty is not the complete and utter sincerity demanded by the question itself. A really good, hard, here-are-your-gizzards-on-a-pike question can even be welcomed. The dilemma, the quicksand we kick in, is that we don’t even know how to begin to think about the question, and as we persevere, we sink deeper into the mud of turning thoughts. This could, maybe even should, be an opportunity. But in reality it is invariably experienced as emptying and draining at best, and at worst, as soul-destroying.

Here is one of the most difficult questions: how can I make practical efforts? Openings seem to appear, the question seems resolved in one’s work, and then it returns again, and any response seems further than ever. Even harder is this: what is my chief feature? This is so obscure to us that most people in the Gurdjieff groups of my acquaintance ignore it in tacit despair. Of course, despair is not admitted: no, a self-calming line is found (e.g. we are past that, or, it is a purely intellectual question and we want questions which address one’s being). I remember one “older” person saying to me that thinking about chief feature made us fixed. But this is wrong: I would say I know that this is wrong. It is wrong because chief feature is what keeps us in rigor mortis. Intelligently struggling with it can only lead to freedom. And what is more, Gurdjieff himself agreed: just read In Search of the Miraculous where he is quoted in Ouspensky’s masterful account.

In early 1983, Mr Adie spent an evening with us studying chief feature, and gave us the task of writing in not more than 50 words what we believed our chief feature to be and how we proposed to struggle with it. Then, in the following weeks, as we continued to study the concepts, we handed in our assessments. In the third week, in the group meetings, Mr Adie read what we had written and made comments. He would not, he said, generally indicate whether what we had observed was indeed our chief feature or not. Yet, on a very few occasions he did say that the perception was correct, while on some other occasions, he made a point of not endorsing the person’s conjecture.

When I recently transcribed these meetings, I found that I had not forgotten most of the comments from the group meeting I had attended. The learning of the evening has kept coming back to me. I think that the truth of what was said, and the quality of the shared attention in that small studio, helped me to remember. It was an extraordinary night. I remember that it seemed to be illuminated, and that there was a serious calm feeling in the air as I left for home. I have decided to share just a few of the exchanges, partly because the two comments he made about Gurdjieff may of interest to others. Also, as I was working on this material, Bob Hunter’s The Tyrant Within, an interesting and even vibrant study of chief feature, arrived. It seemed to demand a response.

But to be clear, this is not the evening where he discussed chief feature. This is the later exchange, where he spoke of our difficulties in formulating chief feature, and then taking what we had said, whatever we had said, he indicated that there was a way forward, and sketched out the direction, especially for those who had found the exercise hard.

From Tuesday 15 March 1983

Mr Adie said generally: “It’s now a question of taking measure. Most of reports on chief feature are all about the place. Very few of them are direct, and very few of them really get anywhere near touching the work. There’s one from Able: ‘Greed, selfishness and desire to be appreciated. These are, in combination, all-powerful, and have been as long as I can remember. Any concern for others, excepting my immediate family, can take place only after these I’s have been satisfied. I have tried to combat certain small aspects of these I’s, but never the real thing. I have not developed a central I, an inner strength which can oppose these I’s, when they are in control, I rarely get a glimpse: usually, only in retrospect.’.

“Well this is good”, said Adie, “because it’s a straight-forward statement. Whether it’s exactly right is another matter. But it’s more direct. After a good few years of seeing, there’s something at least more or less categoric about it. My comment it is that I haven’t developed a central I, certainly, but I have been given the seed for it. You don’t disbelieve that, I think, and you have the embryo in you, even if you haven’t developed it. You were given the seed, and you have the embryo, but it may be very covered.

“So, if you have this conviction that you have at least that, and you accept this fact, that acceptance is sufficient to begin to struggle and to work: you don’t need any more. If you have it, are you going to let it rot, are you going to yield it up again at the end of your life without any profit? You know the parable of the servants who had five, two and one talents. The first rendered to his lord the five talents and another five he had earned from them, the second returned his two talents and the two he had earned, but the third, who had just one, had not invested it, and said take back what thou givest, thou hard master. Mm?

“And this question of greed: how to struggle with greed? I want to determine what it is, and how, and how to give up something. It’s no good saying ‘it’s greed, and it always comes up’. If it’s true, then what do I need to forego? What? There must be many things. Something specific: choose it, do it, and it will have meaning in relation to my wish … only in relation to my wish. All the other I’s will say it’s rubbish, not interested, and they’ll turn out the same sort of plausible rigmarole that’s been going on for so long.

“Then selfishness. How to combat selfishness? I have to choose who, and when, and how to put them in the first place – simple. But how often do I move to that kind of thought? I say: ‘Oh, I’m selfish, I must observe my selfishness, I must prepare myself and so on.’ No. All beside the point. I must choose a definite time and definite circumstances when I am going to put the other one before me. Their comfort is more than mine. Then I can confront. Then I shall see the kind of make up of it.

“Work is definite. It is quite definite.

“And then the desire to be appreciated. Everyone has it, of course. The question there is am I really unable to be without praise? It isn’t so. There have been moments when I have been free. When I am, when I know I am, praise isn’t anything to me. I am.

“I have to remove myself from these limited and limiting thoughts. I have to get out of this realm and to practice. This certainly applies to everyone, but in degree.

“I’m going to be completely merciless tonight. It’s no good stroking people. We either really want and really believe there’s a chance or we don’t; and if we don’t, it’s much better not to waste our time.”

Mr Adie then read Pierre’s note. ‘I lose my force, energy and direction mainly to unnecessary worry and considering about what people think of me, and from that, I redirect it into criticism of others.’ Is there any such thing as necessary worry? Do you still believe that worry is necessary? You see how little thought you’ve put into it. Of course, there is no such thing as necessary worry, but we proceed on the basis that there is, and we justify worry, I justify hurry, I justify the fact that I have no time for it. I accept this situation, and I plunge into the worry.

“Now about this particularly, try to be alone for a moment or two. There is a special meaning to being alone. There could be a dozen people there, and yet if you wished, it would be possible to be alone. You have to have some serious intent, and some freeness from your personality. This is aloneness for us. Then if you are alone you are free to work: if you are not alone, you are already considering, associating, reacting. So, what is necessary for you? Not for everybody, but particularly for you? What is necessary is to be alone, for some time anyway.

Then Mr Adie took Serena’s assignment. ‘My chief feature, fault or obstacle is, I think mental laziness, letting myself drift through life without wishing to appreciate the terror of the situation.’

“Not wishing to appreciate the terror of the situation? It’s just words. You can’t wish to appreciate the terror of the situation? You can wish to be: then you can appreciate it. Do you follow? You do? Good. It isn’t really mental laziness, it’s laziness all the way around, not being serious. All you can do is wish to be. If you want to get over negative emotions, it’s no good wishing not be negative. But if you wish to be, then the wish is for something you can sense in yourself, and then the result will follow. It’s no good wishing for things to be other than they are. You are not a thing, you are a living woman with the possibility of action. You wish to have that presence, and when you have that presence, all the things which you project, all the lies, gradually diminish. Take those words: “mental laziness, letting myself drift through life without wishing to appreciate the terror of the situation.” When you are, then you will appreciate what you need to: but your wish must be more immediate if it is to be effective.

Serena said: “What you said was really what I meant.”

Mr Adie replied: “Yes, but this is what you write, and that has a significance. If you disown it too easily, and don’t address what you actually wrote, you are robbing yourself of an opportunity. See, if you weren’t here you could withdraw it, and all would be forgotten. Here I can help you to confront it: you know how he speaks about being-logical-confrontation. Even saying that it isn’t what you meant may be a form of laziness. You have a fact: something in you used these words, and not the words you say you meant.

“Then you go on: ‘I need to face this every day, starting in the morning.’ It is true, quite true, but it’s a passive comment. There is no suggestion as to what to do, except for something which is impossible for you as you are.

Serena expanded: “I need to get up earlier in the morning.”

“In order to prepare? Yes, very good, then make a clear plan, because you will have to change your regime in some way: maybe eat supper earlier, or whatever. If you take that into account, you then have something practical. Choose something definite within your power and do it. But if you want to get up earlier while you don’t want to alter anything else you may find that it comes to nothing, it starts and then it stops. If you attempt that seriously over the next week, it will be different, it won’t be like this any more.

“Well, that’s all for tonight. It’s food for everybody, I think you must all have found a point of application. We all share in this. Let me see how long will it take me to get to something small and specific which I really can carry out. Make the plan, carry it out, and bring it next week.”

Mrs Adie mentioned that next week was a combined meeting. “Yes, thank you”, he said. “Then bring your observations in a fortnight; but next week, to the combined meeting, bring the effect of your work.”

Thursday 17 March 1983

Mr Adie started with the Myron, who was then working on a book. This was an exchange I have often remembered. “You wrote: ‘The major obstacle at present is the consuming belief in my professional brilliance, and all the unnecessary effort and antagonisms that go with trying to support this belief. It is an obstacle in that it hinders my ability adequately to fulfill my duties such as the preparation and pondering.”

There was a lengthy pause. “Well most of what is necessary has already been said. But you see, there’s a sense of competition there: your excellence and superiority is only in relation to others. Otherwise, how do you measure your brilliance? You’re not brilliant in comparison with a caterpillar, for instance. You couldn’t crawl up a leaf and climb back down.”

At this point there was laughter and loads of it. I can still recall people diagonally rocking on their chairs.

“It’s all comparative”, he continued. “Comparative and competitive. And the other puppets with whom you compare yourself, you don’t see them as they are at all. They are puppets whom you see as inferior, or – if you are jealous – they are superior puppets. It’s all created inside you: a whole universe of puppets. By accident, you might get a glimpse of the truth. But can you really tolerate this position? … You must be alone in your efforts for freedom, otherwise you start competing once more. All your life is competition: how good, how clever. So surely you yearn for some kind of freedom, don’t you?”

“Yes”, Myron replied.

“Well, why worry any more? The freedom’s in this other direction, alone. If you’re not prepared to be alone and seek a kind of aloneness, you’re just wasting your time. It can be full of grace, that special time. You might have a moment or two of real quiet. Working in that way is a sacred thing.”

Mr Adie paused. “Writing books can so easily be narcissistic. You know about Narcissus? Looking into the pool, loving himself. It’s a wonder no one pushed him in.” Again, laughter. He then took Sam’s observation: ‘This week, upon being called and attempting to turn inward, the question arises, what is the next step?’

“Yes, that’s right. I am called, so what is necessary? Now, at this very second. It’s always at this very second. Then you go on: ‘This question is of a formatory nature and leads away from the sense of myself into revolving thoughts and sleep.’ But it is formatory only if I don’t sense myself. Of course, if I don’t respond, it immediately turns into a poison. But the question is the next step: I turn to myself. I do nothing. I am present. What is necessary is more likely to take place if I am not interfering.

“You’ve got to find your feeling and sensation: it’s your responsibility to provide the vehicle or tabernacle in which this process can take place. Remember “I AM”.

“Remember, as Mr Gurdjieff used to say “You are Mr Gurdjieff’s pupil: you are not tail of donkey. You are possible man.”

“So, alright, you are Mr Gurdjieff’s second generation pupil. You are becoming a man. It’s not nothing.

He then read Amie’s thoughts: ‘If I have a goal and there are obstacles to face …’. Do you mean “when” you have a goal, and “when” there are obstacles to face?

Yes, Amie said.

“Good, because the first is theoretical. So when you have a goal, and when you face obstacles: ‘this negative part rises up and cancels the positive wish, so there is no longer any forward momentum. I lose the sense of myself’. Yes, broadly speaking it’s right. But now it mustn’t be “if I have a goal”. You have to a task, you have to have an immediate goal, a task. The far goal is there, but you have to have the intermediate steps, otherwise you’ll never arrive, you see.

“Mr Gurdjieff used to say that if you are going to achieve, it’s like the lamp-posts. You have to the first lamp post, then the next, then you are at the Arc de Triomphe, more lamp posts, then Colonels Renard in order to get to this room. But if you don’t pass each lamp post you’ll never get there. You have to do the thing immediately before you. That, at least, is within your power. Maybe you’ll get knocked over before you reach the far aim, but this one here seems in reach. So the work is always immediate. And our work in regard to this is at once.

Now to understand, and later I will make my resolve for a particular plan. If you make a plan to see the obstacles you will encounter them. But you will never see them unless you have an aim. Presently, what had been a difficulty is no trouble, but then there’s a bigger one before you.

And you shall succeed only by work: there is no alternative. The great reward is the sense of I which you speak of. Work until I know that I really am. I have to decide myself between I and it, between I and not I. I and all the Annies, all the Myrons.”

Mr Adie paused again: “Well, this was a bit longer than we have ordinarily had, but it was to mark a new level in our work. Bring short notes of what you’re doing for yourself. Even there you’ll find the resistance: you haven’t got the pencil or you haven’t got the paper. But it isn’t so far to get them.

Work from your understanding and limit your task to that. Not all day, just definite and limited so that you can know whether you have failed or not. And do not accept to fail. Well, we’d better stop there. Good night.”

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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March 15, 2009

JOHN LENNON: Essence and Reality Part 10: “# 9 Dream”

Joseph Azize Page
Joseph.Azize@googlemail.com


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johnmay1974

John Lennon & May Pang

“# 9 DREAM”

I once had a dream where I was sweeping the cloistered walk of a temple courtyard. It strangely resembled one I had seen in Turkey: ostensibly a school of traditional music, I had suspected that this Turkish school was in fact connected with Sufism. In my dream, as in life, a strong sense of peace of security possessed the scene. Across one of the cloisters there were hung brightly woven curtains. I was quite light-hearted, and was almost finished sweeping, when someone asked me if I would like to have my fortune told. Across the courtyard garden, others were having their palms read by women who were barely more than teenagers. It all seemed a bit of a hoot, so, in a spirit of fun, I said yes, I would have my fortune told. Directly, someone said that the fortune-teller had arrived, and I felt a slight tremor. When I saw her, something inside me drew back. She was a tall and noble African, with high cheek-bones, a multi-coloured turban, and something of that impersonal, hierarchical presence which Nina Simone commanded. She seemed to displace the air rather than to walk, and she was accompanied by two men, one a bearded man in middle age, and the other an unshaven and demented youth. Somehow, I knew that they meant business. This was the real thing. I was in two minds about going ahead with the consultation, but I found my courage. I sat cross-legged, opposite her, while the two men looked on. She took my left hand with her right, and drew my arm forward. Then she laid the fingers of her left hand on the flesh of my left forearm, placing a slight pressure on the veins. Immediately, sensation filled my body and flowed over into an electric sensation, which took me into another state.

I know how far short these words fall of communicating the experience, and its present significance for me. Yet, the dream is a source of confidence. Perhaps the most I can do is suggest something which you can then relate to a similar dream you may have had. However, some poets and musicians have had more success in communicating these sendings. Samuel Taylor Coleridge managed to evoke an eerie power in “Kubla Khan”, his account of an opium dream. Interestingly, he was moved by the music he heard played and sang by “an Abyssinian maid” with a dulcimer. However, the music had passed from him, as it were, causing him to say that “If I could revive within me her symphony and song”, it would make him a man of altogether different capacities and powers.

I feel that in “#9 Dream”, John Lennon fulfilled something of Coleridge’s yen, and has fashioned a fantasy-ruby, an auditory vision of roughly four and a half minutes’ duration. The first time I heard this song, even though it was on a battered old radio with knobs and switches falling off it, I was entranced and physically affected, I could hardly stand. As is the way of things, no subsequent listening has ever had the same effect, but maybe now the experience goes deeper, to a place which is not so easily overcome by shock. Certainly, the song has benignly haunted me for 35 years. Frequently I sing to myself the opening words: “So long ago: was it in a dream? Was it just a dream?” Even now, it conjures in me a different focus, as it were. It reverberates with echoes of a far-away time, a far-away place, of people and spirits separated only by a veil dancing just beyond my finger tips. The tempo of the song is neither slow nor “dreamy”, and is all the truer to dreams for taking a pleasant walking pace. The nice tread of the music contributes to the sense of visionary reality – there is nothing hallucinatory about this song, unlike “Lucy In The Sky With Diamonds”. Yet, the melody line takes its time; the words are not hurried. Some of the key words are subtly sustained, or given a light stress. It sounds as if Lennon is singing the following:

So-oh long ago: was it in a dream? Was it just a dream?
I-hi know-oh, yes, I know, seemed so very real
Seemed so (un)real to me –
Took a walk down the street,
Through the heat whispered trees.
I thought I could hear, hear, hear, hear
Somebody called my name – “John, John”,
As it started to rain – “John”,
Two spirits dancing so strange,
Ah! bawawaka, po-say, po-say.
Ah! bawawaka, po-say, po-say.
Ah! bawawaka, po-say, po-say.
Dream, dream away – magic in the air, was magic in the air?
I believe, yes I believe,
More I cannot say, what more can I say?
On a river of sound,
Through the mirror go round (round),
I thought I could feel, feel, feel, feel
Music touching my soul, (whispering)
Something warm sudden cold,
The spirit dance was un-fold-ing,
Ah! bawawaka, po-say, po-say.
Ah! bawawaka, po-say, po-say.
Ah! bawawaka, po-say, po-say.
Ah! bawawaka, po-say, po-say (continued)

May Pang, Lennon’s then girlfriend, whispers his name and some other words I cannot quite make out after the words “music touching my soul”. There is nothing dramatic about Lennon’s delivery or the music, they are almost understated, and yet they leave an impression. “So long ago: was it in a dream? Was it just a dream?” I cannot imagine these words being sung to any other tune, or the tune having more appropriate words. In fact, all the words come out as naturally as if he were speaking them with the unpractised emphasis of everyday conversation.

It seemed so very real, Lennon sings, and then he seems to say that it “seemed so unreal to me”. Perhaps he was only taking an audible breath before saying “real”. But it has always sounded to me as if he were saying “real” and then “unreal”. He both said and unsaid himself in an unreleased version of the Beatles’ song “Revolution”. which was faithfully shown in the movie Imagine, so it is not impossible. The song seems to imply that reality and unreality are two sides of one coin in this dream existence. Indeed, the difference between them is only a question of realisation. Once it has been dreamed, once it has been imagined, the concept or feeling can be realised, even if the realisation is itself an act of imaginative recreation.

I recall that Lennon was interviewed by a Sydney radio station when the album Walls and Bridges was released in 1974. He said that in the song he had described the dream exactly as it happened: so he will have seen himself walking down a familiar street, in hot weather, as trees whispered to him, and someone called his name. The DJ asked him about the spirit mantra “Ah! bawawaka, po-say, po-say”. Lennon answered with disarming simplicity that this was what it sounded to him the spirits were saying.

Was magic in the air? he asks. And he replies, yes, he believes it was. As I have indicated, dreams can comfort, they can console, teach and inspire belief. Thus it was for Lennon: as Lennon fans scholars well know, “nine” was for Lennon the number of destiny, it was his number. For many years he had taken drugs to break free from “the straitjacket of the self”, as he said. Now, through a dream, he was able to go through a mirror and around: through the image, coming back to reality having seen the other side of his perception.

Finally he asks, what more could he say? And what can he say about this mystery? What can be said by anyone about any mystery? Yet, he has described something almost beyond description. Could you imagine a song with the lyrics “I went through the image and came back to reality having seen the other side of my perception”? This is what he has done with the simple words “through the mirror go round”.
It seems to me that Lennon did receive an intimation of something high, I might say “sacred”, in this dream. First, however, we must say a few words about dreaming.

Dreams are the work, in Gurdjieff’s terms, of the “moving centre” (“moving brain”). This centre, which is in charge of our learned movements such as walking, talking, playing guitar, cleaning dishes and so on, continues with a certain consciousness while we are asleep. Generally, and especially during deep sleep, it is not connected with the intellectual or emotional brains, and so the next morning we do not recall the dreams. But if we are not fully asleep, then a faint connection between the centres may subsist, and the intellect can recall something of a dream the next morning. The moving centre, unlike the intellectual centre, is not logical, it does not have a sense of non-contradiction. Therefore, Gurdjieff said, it allows illogicalities and impossibilities, the dreamer can speak with people who are dead. To the extent that the moving and intellectual brains are disconnected during dreams, dreams can be illogical. Gurdjieff told this to Mme Lannes, and she passed the information on to Mr Adie, which is why I can confidently attribute it to Gurdjieff.

I extrapolate from this that to the extent that the moving and the feeling brains are unconnected, our dreams can have emotional aspects – even fearsomely emotional aspects – but the moving centre does not know this, so it blithely goes on creating dungeons and other tortures for us. Meanwhile, the emotional centre is being racked by torments, but is unable to convey this to the moving centre. It may, however, succeed in getting its message to the instinctive centre (which controls the work of the organism one does not have to consciously learn, such as breathing, the circulation of the blood, digestion and so on). And when the message gets through, we awaken. What Gurdjieff does not tell us is why the moving brain dreams, and whether all dreams necessarily come from moving brain.
George Adie’s view, with which I agree, is that the moving centre dreams as a form of digestion. Impressions are received during the waking day, and these impressions are not necessarily fully understood or grasped by the other centres (see the diary note of 4 February 1987 in George Mountford Adie: A Gurdjieff Pupil in Australia, 283). Some impressions are fairly unimportant, and leave little trace. So little trace do they leave that they appear in dreams only as background. But the concerns of our moving centre, and hence our dreams, tend to be things which are of substantial importance to us. Generally, I find, they relate to two fields: (a) matters where our ideas and feelings are as yet unresolved, and (b) the transfer of patterns from intellectual centre to moving centre. First, unresolved matters. If I have a bad conscience about something (using that phrase in its ordinary sense), if something has disturbed me, or, on the other hand, if something caused me pleasure or an intense hope, it may reappear in dreams. It is as though the moving centre has to file everything away into the tidiest possible place. We are made for order. Significant matters need extra filing, as it were. They demand extra attention, and if they are not given satisfactory attention during the day from the intellectual centre, then they demand it, so to speak, in sleep. So the connection between the moving and intellectual centres is re-established, albeit weakly, the prominent event is gone over with the help of the intellect, and it is given new associations in the psyche – it is acclimatized, as it were.

The filing carried out by the moving brain is not at all conducted in the way the intellectual or the emotional centre would carry it out. It seems to be performed according to a method of random associations or, if not entirely random, of associations possessing a similar intensity, and not necessarily of similar concepts. The result of this is that strong impressions often produce strong dreams where one cannot say what the dream message is, except that the impression was considered important.

The second major function of the moving centre in sleep seems to me to be to allow it to acquire skills learned by the intellectual centre during the day. As Gurdjieff correctly pointed out, I learn typing with the intellect, I have to. But eventually the moving brain takes it over, and does a better job: it does not have to think about every little thing. Well, I suspect that sleep is when the moving centre has a clear field, in which it can learn these things without being crowded out by the head. This would explain why the better we sleep the better we learn.

All this suggests two things to me: one is that we are made to understand. I can hardly insist on this enough, because at the moment there is, in some circles, a sort of exaggerated enthusiasm for non-understanding. It is true that some things cannot be understood, but that hardly means that we should not try to understand them. The very attempt may bring more understanding, or a grasp of other matters. Indeed, I suspect that the allure of the mysterious is a providential arrangement to arouse our curiosity, to evoke a pure love of knowledge and discovery. To anaesthetize that impulse, so readily observed in children is, it seems to me, criminal. I repeat, the fact that our organism knocks out our intellect in order to use dreaming to arrange and organize the day’s events seems to me to be evidence that we are designed to seek understanding and the harmonisation of our various impressions.

Also, and I add this to the blog because the idea may prove useful for some people, I have found that by carrying out the exercise of reviewing the day, I have fewer dreams, and those I do have tend to be less intense. I refer here to the Gurdjieff exercise whereby one casts one’s mind eye over the events of the day, and pauses when one comes to anything important or worrying. It is not necessary to think about these things, let alone to conduct an amateur psycho-analysis. In fact, that may cause new problems. All that is necessary is to put oneself before the memories, and then, I often find, a clearer understanding starts to appear.

To understand “#9 Dream”, and something of the process of art (higher art), I also think that some dreams come from other centres than the moving brain: they can be the products of higher emotional centre, and therefore speak in a natural symbolism – and this is emphatically not the symbolism of dream dictionaries. The higher emotional and higher intellectual centres are the two faculties, existing in every person, which are the means of receiving and transmitting influences from beyond this sensory world. When contact is made between the intellect, and the higher emotional centre, said Gurdjieff: “man experiences new emotions, new impressions hitherto entirely unknown to him, for the description of which he has neither words nor expressions.” However, because we are so rarely in such a state of connection, ” we fail to hear within us the voices which are speaking and calling to us from the higher emotional centre.” (P.D. Ouspensky, In Search of the Miraculous, 194-195).

My view is that Lennon heard these voices of the higher emotional centre calling him in a dream, and hence we have this marvellous song. As May Pang said, when Lennon woke up the morning after the dream, he had the words and the music together. If there has been a gift from the gods in modern music, this, I would say, is it. So the mystery of dreams is, or at least can be, related to the mystery of the life of the soul, the spiritual life. And Lennon made the connection.
As I said in the last blog, Lennon invites us into mystery. He does not make the mistake of trying to strip away the wonder by saying too much. He displays the magic, as it were, by presenting it, highlighted, in his own river of sound (and it should be added that Phil Spector was probably the perfect producer to work with Lennon on this piece). “#9 Dream” marks the high water mark of a tide which had begun with “There’s A Place”, on the Please Please Me album. Between these two points, there is a reasonably substantial body of work which forms a connecting trail. I cannot cover all of it, but in the next Lennon blog, I shall deal with one central concept: the use of creative imagination. I am referring, obviously, to what is Lennon’s signature tune, the classic “Imagine”.

Joseph.Azize@googlemail.com

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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April 27, 2009

A REPORT ON THE 2009 A & E CONFERENCE, TORONTO 2009

Filed under: A REPORT ON THE 2009 A & E CONFERENCE, Uncategorized — ccwe @ 3:47 pm


The John Robert Colombo Page

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All & Everything Conference, Toronto 2009

A day-by-day account of events, impressions, and experiencesas reported by John Robert Colombo

Preamble and Confession

For decades I have been conducting a correspondence with Simson Najovits, a friend and fellow writer who since the 1960s has lived in Paris, preferring the City of Light to the City of Montreal where he was born. Little by little, from letter to letter, then from email to email, I began to realize that we shared certain metaphysical aims and interests and that, indeed, he was a long-time student of the Work.

After exchanging many letters, I learned that he had met and worked with Madame de Salzmann and Madame de Hartmann and that he was on a first-name basis with many of the French movement’s leading personalities. I will not mention their names but the names would be recognized if I did. Then I learned that after a decade and a half of experience of the Work, he had left it – though whether one ever leaves the work or ever could leave the work is a matter that could be discussed at some later time.

I remember telling Simson that, to my great surprise, the forthcoming All & Everything Conference, the fourteenth in the annual series that was launched in 1996, was scheduled to be held in the Canadian city of Toronto, and not in its long-time English venue, the Royal Norfolk Hotel in Bognor Regis. I invited him to visit Toronto and stay with me and my wife Ruth at our home, located about ten kilometres from the conference site. He declined the invitation. The idea of spending five days in Toronto did not excite him!

He noted, “While those on the outside may have interesting comments about the Work and ‘All and Everything,’ it is those on the inside, those who practice the Work, or those who were in the Work for a long time, who have the most apposite, the deepest insights about ‘All and Everything.’”

In another email I told him that I had been invited by the conference organizers to submit an abstract of a paper for possible presentation at the conference, but that I had declined the invitation. I explained that while I might relish considering myself “a companion of the book,” I was no way an authority on “Beelzebub’s Tales.” I explained that I knew my limits and preferred to remain safely within those boundaries.

I got a wary reaction from Simson, especially when I went on to inform him that I planned to attend all the sessions of the conference and report on the experience on a day-to-day basis for those readers of Sophia Wellbeloved’s website who would like to attend but would not be doing so – presumably the vast majority of its readers.

Simson said, “Ain’t that going to be a bit of a problem for you?” He pointed out that a year earlier I had admitted in an email to him that I had never read “Beelzebub’s Tales” and, later on, in one of the reviews carried by Sophia in her blog, I had stated that I had never read the magnum opus from cover to cover, not even once, not to mention the prescribed three times. As I made these points, I could see him, in my mind’s eye bristling like a porcupine.

I was admitting the truth. I pointed out that I had spent most of my undergraduate years surrounded by graduate students of English and French literature who had proudly boasted that they had read “Finnegans Wake” from cover to cover or “A la recherche des temps perdu” from covers to covers. I listened carefully to what they were saying about Joyce and Proust, and with equal diligence I read what they were writing about these masters and their masterworks, and about the world at large, but I had failed to detect any evidence that these marathon reading exercises had changed them for the better or for the worse.

Indeed, I have met students of “The Secret Doctrine” who have studied Madame Blavatsky’s book on Wednesday nights for years on end, taking only short breaks during the summers. They certainly knew more Theosophy – or more about Theosophy – than I ever did, but the exercise seemed not to have altered their personalities or their characters in any appreciable or apparent ways. I kept thinking of a line of Kipling’s that is a favourite of mine. It goes roughly goes like this: “Who knows England who only England knows?”

I am not going to take the next step and make the same point about students of the Work and their respect for “Beelzebub’s Tales” because I have no evidence, either pro or con, that immersion in the work automatically deepens or widens consciousness or sense of presence or does both together. I suppose the word “automatically” there gives away my position. One sentence read consciously is worth ten thousand sentences read mechanically. Of the transformative powers of works of the human imagination, expecially of works of scripture, I have no doubt. It depends on the reader.

“I anticipate no problem at all covering the A&E Conference,” I replied to Simson. “My position is analogous to that of the ‘rapporteur’ who attends all the presentations at a single-track academic conference and then on the final hour of the final day offers his own impressions: a cumulative but personal reaction to the discussion and the discussants. I have always marvelled at how well it may be done. Once I heard a scholar deliver his report brilliantly in rhyming couplets! (That I will not be doing, but believe me, I am tempted!)

“My intention is to describe the viewpoints expressed and paint the contours and colours of the occasion and catch the expressions of emotion and intellect. It was in that way that a few years ago I covered the three-day meeting of Traditionalists in Edmonton in a report published in the journal ‘Fohat’ and subsequently reprinted in my book ‘Whistle While You Work.’ I did so without being able to read Arabic or Farsi or most of the texts of the Traditionalists that were extolled during those sessions.

“At the same time, I have already read, with a fair degree of comprehension, almost all the proceedings of the previous A&E conferences, which I purchased (from By the Way Books) as they appeared, so I am prepared, up to a point. The point is that I will admit, right off, that I have a cursory knowledge of the contents of ‘Beelzebub’s Tales.’ I recall the statement made by A.R. Orage, following his break with Mr. Gurdjieff, that even he did not understand the text, despite having translated, adapted, edited, or rewritten much of it.”

I concluded by saying, “Simson, I am surprised that you would think that it is a problem. It is often useful to regard a subject from the opposite perspective: Would anyone who is an authority on the text agree to report on the event? Not likely. There are times when someone who holds no particular views and sees the big picture and is willing to learn has the advantage over the specialist who is ‘parti pris.’

“Anyway, we will see. I seldom bite off more than I can chew. While I did decline a possible invitation to prepare a paper at the conference, I did accept the kind invitation to speak briefly at the banquet, as I felt that there should be some input from the host country than might otherwise be the case. Anyway, reversing a well-known saying, ‘My “bite” is worse than my bark!’”

Simson was mollified and replied, “Well, I guess you’re right about a few things – it is unlikely that anybody who is an authority on the text would agree to report on it at the conference, it is so that quite often somebody who sees the big picture and is willing to learn has the advantage over the specialist and it is so that after his first reading of ‘Beelzebub’s Tales,’ Orage said that it was ‘unintelligible,’ although I think he changed his mind later.”

He went on to discuss his own early encounters with the book in Montreal before leaving for Paris for good. “I must note that after my first reading of the book I told Tom Daly much the same thing as Orage and he said, ‘It’s not unintelligible, wait and see,’ and after many more readings and countless diggings into the text (sometimes with the assistance of a precious gift you gave me many years ago, a copy of the first edition of ‘Guide and Index to G.I. Gurdjieff’s “All and Everything, Beelzebub’s Tales to His Grandson”’), well, even if there are many bewildering things in the book and many others which are sheer nonsense or typical esoteric nonsense plus a hefty dose of religious silliness, on the whole ‘All and Everything’ is not only a fabulous book, and specifically ‘Beelzebub’s Tales to His Grandson,’ a new way of writing mythology, it is understandable.”

All this took place in December 2008. I am recounting these exchanges now for the benefit of Simson in Paris as well as for the readers of Sophia’s website wherever they may live in order to set the record straight about my acquaintance with the text that is the centre of this inquiry.

In point of fact, like many people who have been attracted to the Work and who subsequently left, as a good many people do, I have acquired and retained both a general idea and a specific idea of what the book says and how it says it. I have read innumerable presentations, essays, and even other books about the big book, and I have come to the conclusion that it seems to me to be (on the one hand) an idiosyncratic epic poem in prose and (on the other hand) a shiny looking-glass that reflects back the characteristic features of its readers. Northrop Frye describes “scripture” as “literature plus.” I think “Beelzebub’s Tales” is “scripture.”

Like most people with a taste for the Work, I have read both “Meetings with Remarkable Men” and “Life Is Real Only Then, When ‘I Am,’ in their entirety, a number of times, not to mention the withdrawn booklet “Herald of Coming Good.” It is with “Beelzebub’s Tales to His Grandson” that I have this on-again, off-again relationship. Anyway, for the purposes of what follows, I will refer to the latter publication as “Tales.” (My edition is the first one issued by Harcourt, Brace.) I will reserve the impressive words “All and Everything” for all three books of the canon: “Tales,” “Meetings,” “Life.”

The Venue and the Proceedings of the Conference

Toronto may not be the most picturesque of cities, but it has charms of its own, though not one of them is visible from the windows of the hotel at which the conference was held. This venue was The Days Inn located on Wilson Avenue near Jane Street northwest of the city’s downtown. Nor were any redeeming features of modern architecture apparent within the Inn. I felt a little sorry for first-time visitors to Toronto. Hardly anybody else but me expressed discontent, but I did hear one person say, “At least the hotel is cheap, and it’s located near the airport.” Nevertheless its Lady Hamilton Room with its four unimpressive chandeliers served quite well as the meeting room for the forty-five or fifty registered attendees.

Wednesday, April 22, 2009. 8:30 p.m. Forty-five chairs were arranged in a large oval and participants quietly took their seats. I scanned the group: thirty-five men and ten women. Casual dress. People were in their fifties and sixties in the main, with a sprinkling of younger and older men and women. Technically trained or professionally educated, I would guess. Mainly Caucasian. Thoughtful and courteous people, by and large.

This first meeting was a preliminary gathering, called for the night before the conference’s first session. Ian MacFarlane, the convener, a Canadian who works in England, in his patented quiet manner, asked us to introduce ourselves in a counter-clockwise direction. People spoke easily, though some were almost inaudible. I was surprised that so many participants – perhaps twelve in all – identified themselves as Canadians who were (like my wife Ruth and myself) attending this series of conferences for the first time.

I was also surprised to learn that perhaps two-thirds of the participants had associations with groups in the United States and the United Kingdom that had been founded by leaders whose names were familiar to me though I had never met them: Patterson, Nyland, Staveley, Popoff, Beidler, Bennett, etc. (I identified myself as someone who in 1957-59 had benefitted from a contact with the Toronto group that was then led by the Welches – Mrs. Louise Welch and Dr. William Welch. In passing I mentioned that I would be reporting on the proceedings for Sophia Wellbeloved’s website.) More than half the members had attended previous conferences in Bognor Regis and elsewhere, at least two having achieved the distinction of having attended all the earlier conferences. There were also participants from Greece, the U.K., Holland, the U.S., etc. The American visitors expressed pleasure that the conference was, once again, being held in North America.

I surmised that the people present were a studious and sincere students of the work whose lives had been enriched through repeated readings of the “Tales” and from association with work groups, though some members were currently inactive or “on leave” (as one person expressed it) from them. After everyone introduced himself or herself, Seymour B. Ginsburg, whom I met for the first time, inquired if the group would be interested in hearing a short account of how the A&E Conferences had begun. This suggestion was met with approval.

He sketched in how he and Bert Sharp and Nicolas Tereschenko, with input from James Moore and Paul Beekman Taylor and others, invite the people they knew to consider the merits of Russell Smith’s Cosmic Secrets which argued that the shocks in the enneagram were wrongly located, the mistake stemming from supposedly erroneous data in Chapter 39 in “Tales” titled “The Holy Planet ‘Purgatory.’” The seminar was designed to be an ecumenical one, beholden to no particular group or institute.

It was safe to say that nobody who attended that two-day gathering held in February 1996 in Bognor Regis expected that the initiative would launch a series of annual gatherings called the “International Humanities Conference.” But the group succeeded in dismissing the Smith thesis and the momentum was such that by now the conferences are fixtures in the world of Work. A.L. Staveley, dubbed the “godmother” of the conference, felt it should be named “The Brotherhood of the Book.” Later, briefly, it was called “Companions of the Book.” Finally it got its present name “The All & Everything: The International Humanities Conference.” The focus would remain, always, on the text of “Tales.”

Sy’s impromptu history was followed by some general discussion. After two hours, the preliminary session of the fourteenth conference was over. It seemed to me that the conference had been well and truly launched, with a sense of fellowship based on a commonality of interests and a willingness to listen and learn and speak. I resolved to describe all the sessions that I could attend, and note those that I could not attend. I was not staying at the conference hotel so I missed much of the informal chatter at breakfast, etc.

Thursday, April 22, 2009. 9:15 a.m. The conference hall was set up with a projection screen and chairs arranged in lecture fashion. Ian convened the first session of the fourteenth conference with another potted history. He pointed out that in no way was the conference a “work event” because it had no movements or sittings or individual instructions. It was meant to appeal primarily to the intellectual centre. It was run by volunteers and was independent of any group. Proceedings would be recorded, then transcribed, and then made available in MP3 format, on the conference’s website, and also in printed form – with modest payment through PayPal. The morning sessions would consist of two presentations with discussions, the afternoon sessions with two seminars focused on specific chapters of “Tales.”

The first presenter was Stephen Aronson, a clinical psychologist, who read a paper titled “Preparation for the Third Line of Work: Threading the needle Between Wiseacring and the Law of Hazard.” He read it faultlessly, but he has a quiet voice and a somewhat withdrawn manner, so audience members had to strain to listen. Stephen discussed the three lines of the work (for oneself, for others, and for the work itself) and the setbacks of “wiseacring” and the “law of hazard” (employing a phrase of Bennett’s). His thesis seemed to be that we can change worlds by making changes in our minds. Simplifying things: Aim facing hazard resulted in change of attitude and hence understanding. Humour is one way of avoiding the trap of wiseacring. He stressed Mr. G.’s advice: “Remember yourselves always and everywhere.”

During the discussion period, Stephen was asked, given his extensive experience with forms of psychotherapy, if Gurdjieff’s work was merely “another chapter” in some book of therapies. In reply, the speaker distinguished between two types of therapy and all rest of the techniques and theories. The two types that stand out from the rest are Jungianism and Psychosynthesis, for they encourage people to move toward boundaries, although they do not point out the presence of doors to other worlds. As for all the other therapies, they try to relieve the pain of those people who are asleep. “I can at least talk with Jungians more easily than I can talk with the others.” Therapy, it seems, means introducing patients to matter of a higher quality.

I had the feeling that I had missed the thesis of Stephen’s talk, so I asked him to lend me the text to read over lunch hour or to express in a couple of sentences the thesis that he wanted to present. He did both. From his text I selected the following interesting quotation: “Now, we begin to sense that the Work has us for Its use.” I will include some sentences from his hand-written comments:

“To serve the work from above, the transmission of the higher potential into the lower requires me to play my role as the bridge (objectively) and not “myself” subjectively.” “Plant the seed as the sower – with regard to the type and quality of seed and seasons and the apparent conditions of the soil. Then watch what happens. You are the role of sower, not the God of Nature.”

There was a short coffee break. The second session began at 11:30. Dimitri Peretzi, dressed in black, spoke on the theme “Man Is Third Force Blind.” An architect and intellectual, he made good use of slides to illustrate his argument that “man is an incomplete being” in whom the effects of Kundabuffer have crystallized, and that First Force and Second Force meet on a two-dimensional plane; Third Force, their product, manifests in a three-dimensional cube. The Third Force is a force in its own right, but even more a process, at one and the same time a cause and an effect. The triad is not to be viewed as flat. The forces have homes in the human body.

Using Mr. Gurdjieff’s analogy of keys and locks, Dimitri spent some time equating Aieioiooa with “light of day” and remorse. The more he explained the relationship, the more complicated it seemed. He devoted time to the enneagram which, to my surprise, he turned almost on edge, to create a coil or spiral. (This recalled for me Northrop Frye’s observation that a circle is a compressed spiral.) He spoke in a lively, somewhat provocative manner. He began and ended with a quotation from Madame de Salzmann: “It is blindness that keeps one world separate from another.”

The sessions and discussions ended at 12:45 p.m. and were followed a light lunch. Everyone reconvened at 2:30 p.m. for the first of two textual discussions. This time the seating was arranged in an immense oval, so large that it discouraged any one-on-one exchange or debate. The hand-held microphones (necessary for taping the proceedings) reduced spontaneity. Those were the drawbacks to the seating arrangement. Its strongpoints were that the arrangement guaranteed that everyone was equal and that a sense of community was created. In point of fact, some senior group members worked as “resource people” (including Sy Ginsburg, Keith Buzzell and Nick Bryce) and commented irregularly though often at some length about the aspect of the topic being discussed.

After a one-minute “sitting,” there was a discussion of Chapter 25, “The Very Saintly Ashiata Shiemash, Sent from above to the Earth.” In fact, much of the discussion, ably led by Nick, was about the phrase “sent from above.” Some participants found it puzzling. What I found puzzling was not the meaning of the arresting phrase itself, clearly based on John 4:9, but the fact that the group was ill-equipped to consider “the order of words,” the term used in literary criticism to account for word choice and allusion, if not meaning. I suggested that perhaps A.R. Orage might be credited with inventing some of the terminology and that he was aware of the allusions and reverberations of words like “sent.”

There was much discussion, enriched by comments by Sy and Keith, in particular, about how Ashiata Shiemash “neither taught nor preached.” That raised the question, Where does that leave today’s teachers or leaders? Time was spent on a discussion of the nature of spiritual hierarchy, and George Bennett (son of J.B. Bennett) noted the multiple groups of “brotherhoods” mention in “Tales,” one of which he said may well exist today.

The first discussion ended with a break at 3:50 p.m. Sy then led the second seminar on “The Terror of the Situation.” There was much discussion of legominisms and an apparent anachronism in the “Tales” with respect to the narrator’s prior knowledge of events that occurred later. The serious question was raised: “What is the terror?” Answers were wide-ranging, included loss of everything, loss of individual life, loss of hope, to a general malaise with life. Unfortunately I had to make an exit early, at 4:50 p.m., before the session was concluded, so I never did find out the consensus position. I would have liked to have learned what members of the oval individually and collectively felt about the word “situation.”

I left impressed with the quality of the facilitation and with the sincerity of the participants, though many of the participants were unfamiliar with the text and in awe of the senior members who graciously shared their very detailed insights. I kept trying to remember the Arabic term for a Muslim who has memorized the Koran.

Another disappointment was that I had to miss the piano recital of Elsa Denzey, which began at 8:30 p.m., who for fifty years has performed as a pianist of the Movements in Toronto, beginning with the well-remembered Alfred Etievan. This was particularly disappointing to me because, in November 2008, for this website, I reviewed Ms. Denzey’s tastefully produced CD titled “Gurdjieff / De Hartmann.” Her performances are marked by great delicacy.

I learned from people who had attended the concert that Mrs. Denzey was accompanied by members of two generations of her family and that the feeling was that this concert might be her final performance. A great one it was! She performed the compositions written for the Moments as well as some unfamiliar concert compositions. As one listener told me, “It lasted about one hour, but it was suddenly over, as if it had been only fifteen minutes in length, so moving was it.”

Friday, April 24, 2009. The first session began, after a one-minute sitting, with the presentation “Gurdjieff Exercises and the Three Brains” delivered by John Amaral who is an engineer by training and something of a polymath. What he did, with well-prepared slides, was discuss the function of the exercises identified with Gurdjieff and his followers that are used in work situations. They are transmitted from person to person and hence from generation to generation one-on-one or in small groups.

Can the exercises be described in words? They are not like recipes, easily summarized, or easily communicated, because they require a state of being and understanding that cannot be described or communicated except in person. They rather resemble sheet music, which very talented musicians can play, but others cannot. The training and skill of the musician is of paramount importance. Students are required to make them their own.

There are exercises for the various centres, for various types of people, for various times of the day, etc. Morning exercises are very important. There are exercises for various centres, for conscience, etc. John went into more detail than this and distributed two, many-paged printouts which I will pour over in the weeks ahead.

He said we live in an exciting and ecumenical time characterized by the availability of much material. That raised a question. Will the exercises disappear if they are kept under wraps, so to speak? Or should they be made more widely available, perhaps published or even made the subjects of multimedia presentations? Mechanical reproduction of them is as useless as mechanical performance of them. “If we wish to rise above the average, it is necessary to sacrifice sleep.”

I am not going to go into more detail than this because, as John pointed out, some people even object to referring to the exercises by name outside groups, though, interestingly, a senior work leader seated beside me turned to me and said, “Writers like you should be collecting them and publishing them.” So it is a controversial subject.

There was a lively discussion about Mr. G.’s view on dreams, comments from Maurice Nicoll, Margaret Anderson, and Ethel Merston. John said it should be possible to trace the “lineage” of the exercises based on their individual characteristics, though whether the effort is worth while is worth consideration. One member raised the subject of “Tasks” and it was suggested that a task is a time-reduced exercise. I remember this being discussed way back in the 1950s. The session ended at 10:45 a.m. with a coffee break.

At 11:00 a.m., Keith Buzzell spoke on “Do-Re-Me of Food, Air and Impressions.” He is a seasoned presenter and with slides and one handout related the Table of Hydrogens to the various types of “food” and ultimately the “coating” of higher being bodies. There is the food that grows on the surface of the earth, food that exists in the planetary atmosphere, and food that comes from the sun. One of his catchy phrases was “Only life can sustain life.”

Hydrogen 768 is the food of man, but the categories are “enormous.” In fact, while I did not conduct a word-count, I assume Keith used the word “enormous” twenty-one times to describe the categories on the Table, and quite rightly. He also turned his attention to the difference between “mass” and non-mass.” At times I thought I was attending a lecture on the Joy of Chemistry. Any dieticians in the audience would have been lost!

There was an interesting analysis of the role of proteins and how modern science is revealing the facts of digestion which are in line with what is discussed in “Tales.” We learn by analogy: “Higher hydrogens digest lower hydrogens.” The speaker suggested that there is “a way of understanding how our minds can transform our physical brains.” “The input of the three brains is the substrate of the spiritual body, the DNA of the kesdjan.”

During the discussion it was mentioned that there are ten bacteria for every cell in the human body. “We could not live without all our bacteria. We have to get along with each other.” Keith quoted a teacher who asked, “How can you expect to have extra knowledge if you don’t know ordinary knowledge.” The discussion ended with a discussion of magnetic vs. mechanical fields of influence and the human will and whether it can be suborned, followed by the differences between “body” and “centre.” It was 1:00 p.m.

At 2:30 p.m., after a brief sitting, Nick Bryce led a discussion of Chapter 27, “The organization for Man’s Existence Created by the Very Saintly Ashiata Shiemash.” Nick is a veteran of these conferences, having attended all abut one of them. He is a resident of Ottawa and has a deep and comforting voice. More to the point, he has made “Tales” his own. I will not try to summarize the discussion here, as it seemed to me to consist of a number of “fresh starts,” but he elicited a high level of comments and observations discussing the “shocks” and two holy men whose names suggest Pondering and Sensing. The text was declared to be full of “analogies” and there was a useful discussion as to whether the text, at points, said what it meant, or meant more than it said.

Conscience was the subject of the passage, and what I learned is what one member of the group said is the difference here with respect to the “bite of conscience” and “the remorse” of conscience, two different things. Is conscience really buried or is it close to the surface? A student in the Bennett line suggested it is not all that deeply buried, but a student of a different line suggested that it is deeply buried. There seemed agreement that one’s conscience signals that “I have an alternative” and, thereafter, “I have no alternative.” It is not easily silenced. Is conscience part of essence? Is it outside essence? Is it part of the unconscious?

Nicoll was quoted as saying that acting against one’s conscience is “acting in a way unbecoming to three-brained beings.” The speaker suggested, “Every aspect of Gurdjieff’s teaching has to be reduced to some something that is practical and simple, otherwise it has no use for us.” The moderator introduced the image of Sleeping Beauty with the desire of the Prince to awaken her, i.e., one’s conscience. Discussion ended with the suggestion that “conscience never allows anyone to sleep in peace.”

The discussion ended at 4:10 p.m. with a coffee break, and I had to make a quick and quiet exit. This time I asked David Almon, a young man of the Bennett line, if he would accept a “task.” At first he was cagey, but then he agreed to do the best he could. Here is what he reported about the seminar on the topic of “The Chief Culprit in the Destruction of the Labours of Ashiata Shiemash.” It takes the form of a poem:

the chief culprit in the destruction

at all the very saintly labours of ashiata shiemash

to give is to receive

shall we replace one word with another?

Combine parts which blind names separate

intention birthed

potential lives

reason substance in objects

presence knows where your water is

swim in it until the boat is Found

ride it towards the other

set sail together

let the light guide

*

metaphor literal

questions critical

lessons from these stars alight

fools asleep, the crew we need

be wary. For tales of lore

nature attests ocean to shore

*

all true inside

–from one of many inhabitants of this earth.

Elan Sicroff’s piano concert began at 8:30 p.m. Elan studied at the Julliard, met Bennett in 1972, and then worked at Claymont. (During one of the discussions he referred interestingly to some of his experiences there.) In all he performed twenty compositions and received a standing ovation. Three of the compositions had been written by Thomas de Hartmann in 1902 and two of them in 1953: the early ones were romantic in the manner of Rachmaninoff, the later ones dissonant in the manner of Stravinsky. Elan is planning to record these “unknown” De Hartmanns.

The other twelve compositions were parts from the following groups: Asian Songs and Rhythms; Hymns, Prayers, and Rituals; Music of the Sayyids and Dervishes; Hymns from the Great Temple and Other Selected Works.” He titled the program “Journey to Inaccessible Places” and indeed they were journeys to places both faraway and close at hand, with all their familiar overtones and undertones. He played these Gurdjieff-inspired compositions in a strong, masculine manner as music to move one’s muscles and then one’s emotions. In a brief commentary he explained that the writing of these collaborations took place between the two men in public gatherings at the Priory, so they partake of this “third force.”

Saturday, April 25, 9:30 a.m. George Bennett spoke on “Conscious Labour and Intentional Suffering: Being-Partkdolg-Duty.” George has a strong presence and a strong voice as well as a strong sense of organization. He based his comments on a paper delivered by J.B. Bennett at Sherbourne in April 1974 and through it distinguished various types of labour. Conscious labour is recognizing what is needed to be done, doing it without expecting a reward, and being content to serve the future. Intentional suffering is voluntarily accepting the situation; indeed, it is taking on the burden of a task knowing it will create a lot of trouble.

George made good use of slides and diagrams. One slide, to which he returned, was a photograph that showed a woman and a man working a handsaw with a child looking on, the child representing the generation of the future. He then discussed the twin figures of Choon-Kil-Tez and Chon-Tro-Pelj and the reasons for the world arising and maintenance and then perfecting of

“higher-being bodies.” He amusingly referred to Mr. Gurdjieff has having chutzpah in accepting all manner of hardships to make the Fourth Way known in the West, even delivering a lecture at Harvard.

Here are some of his remarks in passing, some made during the presentation and some made during the question period that followed the talk: “Egoism sows the seeds of disaster.” He discussed how a friend, apprized of inoperable cancer, said, “I’m going to live with the dying of it.” “All experiments are hazardous, otherwise they are not interesting.” “My debt to our existence must be paid.” He introduced a powerful notion: “We must be in the present, but at the same time we may make the present bigger.” I found this latter suggestion to be a “keeper.”

At 11:30, James George spoke on “What Does Great Nature Now Require of Us?” Dr. George – he holds the honorary degree from the University of Toronto of Doctor of Sacred Letters – is an elegant figure of a man, in his ninety-first year, who stood erect, consulted a script without squinting or without wearing spectacles, and shared his convictions with his audience. People paid rapt attention to the climate-consciousness thesis of his latest publication, “The Little Green Book of Awakening.”

He asked an interesting question: “What if George Gurdjief had never written ‘All and Everything.’” Suppose there had been no accident in 1923; suppose he had not felt compelled to redirect his energies from maintaining the Priory to putting words to paper. What would we have today? The question was never answered, for it is unanswerable, but it is striking.

He then introduced his theme and thesis: Global warming is the most challenging issue of the twenty-first century – and our survival as a species is at stake. “We humans have truly become the “biped destroyer of Nature’s good.” He said he was an ecologist “before it was fashionable to be green,” well before Al Gore became one. Gore has come around to the position that we need a new and different morality and spirituality. We must open our hearts to the unknown, to the future.

During the question period he was asked, “Do you see hope?” After deliberating, he said, “Yes, I do,” almost echoing Barack Obama’s slogan “Yes we can.” He then reminisced about his years at the United Nations, when Dag Hammarskjold was the Director General and was influenced by the Pakistan ambassador who was also head of one of the leading and enlightened Islamic groups. Jim’s suggestion was that we did not know of this current of influence then, and we do not know about it now, so we have no reason to assume that it does not exist today. “The awakening his a ripple effect. Now it is needed more than ever.”

He picked up on the suggestion of an earlier speaker that “faults are found on all levels, even the highest that we know.” On the acquisition of conscience: “We don’t acquire conscience all at once.” Once we acquire it, it is not necessarily there all the time. Asked about what might be called spiritual survivals from former civilizations unknown to history, he admitted there might be a “beehive” effect and that successive civilizations may have passed on to us their qualities, perhaps through our DNA. “Where does that take us now?” Scientists are only today discovering the neuroplasticity of our brains.

Asked for his thoughts on Barack Obama, he reiterated he does have hope. It was observed that “barack” means “presence” (or perhaps “grace”), and the new U.S. President has changed things, by creating an atmosphere of hope in the entire world. “Why not hope?” We need new energy sources, “a new Manhattan Project” to find them to cast aside coal-fire plants, adopt the least damaging technologies, and take a closer look at the ill-effects of electricity, especially on children. There is hope in zero-point energy. Another reason for hope is that life has a fourteen-million (or fourteen-billion?) year history. Do not underestimate the force of love in guiding the evolution of life.

At 2:40 p.m, the seminar focused on Chapter 5, “Mr. X or Captain Pogossian,” of “Meetings with Remarkable Men.” It was led by Nick who told us that the popular work was originally called “Portraits.” Thereafter, for me, it was downhill all the way. I had last read the book half a decade ago; many who were present had not read it at all. It was the classic case of a knowledgeable and patient discussion-leader and a dull, ill-prepared class. There were some exchanges on the nature of spider-venom. The question was asked, “What makes Pogossian remarkable?” Is he remarkable because he always wants to work? How does his body resemble the machine-engines that he tends? Is the ship a metaphor for his own body? The question, “Are the portraits of the people described in the book based on real people?” elicited the reply, “Does it matter?”

I could not remain for the second seminar, scheduled for 4:15 p.m., which was devoted to “Egoism” and facilitated by Dorothy Usiskin, but attentive to my duty to report on the proceedings, I turned to the young man who was seated to my right and asked him if he would accept a task and prepare for me a synopsis of the discussion. After all, he was preparing to spend three months in a “Residential Practicum” in Massachusetts run by Ben Bennett. He hesitated and then agreed. He wrote a poem and requested anonymity. Here it is:

whose will might help you out of your gaolishes?

does humour shake them off?

who laughs?

what feels this laughter?

juggling worlds states the jester to king

for the house his dance pleases

content to be the word then

as eyes on sheep keep wolf at bay

–from the hole of these spring

That was the last formal session of the conference. The banquet commenced at 7:30 p.m. that evening with Ian delivering some announcements. There were some toasts, including a sweet one to the memory of Mr. Gurdjieff’s wife. Then the banquet speaker was introduced. The speaker happened to be me, so I turned the tables on Ian by presenting him with a copy of one of my books (I had cleared this with Ian first), making the suggestion that he regard it as the gift of the thirty-five or so people present.

The audience took its cue and stood up to applaud Ian, who then did the gentlemanly thing of acknowledging the help he had received from his advisory board, the reading panel, and the planning committee. As for the banquet speech, I cannot meaningfully describe my twenty-minute talk, delivered without notes – but I will draw the attention of the reader to the supplement this report, where a fuller version of the speech appears.

The menu offered a choice of dinners: rubber chicken or pseudo vegetarian stew, so the food was not much, though the desserts were of the tasty, store-bought variety. The white wine was light, the red heavy. No one gained weight on the food and no one got drunk on the wine. Yet I wondered, because it seems there is a custom at these conventions that people throughout the meal “let down their hair” – not the “hair of the dog,” mercifully – and tell bawdy jokes. Now, one of my occupations has been that of joke-collector, and my occupational hazard is hearing recycled jokes. I had heard all of these jokes before, though only a few were funny enough to be revived. Yet most of them were told with some gusto.

Sunday, April 26, 2009. “Where Do We Go from Here?” sounds like an existential question, but it was really a practical question in line with an academic “post-mortem” coupled with a planning session for the next conference. There were twenty-four attendees seated in a circle, and the session was moderated most adeptly by Ian. It consisted of a series of animated discussions on the subjects of next year’s conference, beginning with should there be one, followed by where should it take place. Thereafter the group discussed the quality or lack of quality of the present programming, the introduction of ways and means to increase awareness through physical movement, the need to rethink the format of the seminar part of the program, and the added attraction of local tourism.

Everyone was in favour of holding the fifteenth conference, and about three-quarters of the participants indicated they would attend next year’s event. As no conferences had yet taken place in South America, one of the participants who lives in Mexico suggested Buenos Aires or Lima as cities that have the advantages of international airports and proximity to sites of interest like Machu Picchu which members might wish to visit.

It was stressed that the choice of the city might be based on whether or not it is the home of group members who would attend in numbers and contribute to the cause by helping to make arrangements, etc. It was felt that Toronto had been a success in that it had attracted many new members who had travelled from at least four distant Canadian cities to attend.

Another reason why this conference was interesting was that it attracted a goodly number of participants of the Bennett lineage, one of whom presented (and did it well) a major paper. No decision as to the site of next year’s conference was taken, as the organizers were open to suggestions and offers, though one idea was that the site of next year’s conference might be … Toronto again! While I think this is unlikely to occur, I can see why that decision would be popular with the American participants, as Canada shares a border with the United States (now an armed one, alas!) and Toronto has many conference hotels that are modest in price.

The group agreed that the quality of the papers was high, some higher than others, and that the number of papers (four) was “about right.” Yet it was noted that proposals for about six additional papers had been entertained but could not be accommodated. There was inconclusive talk of including an additional day for papers and seminars, i.e., making it a four-day affair rather than one of three days.

There was general agreement that the seminars, as distinct from the talks, were not as productive as they could be. This agreement surprised me, as I had come to the conclusion that I was the only participant who was “exasperated” with them. Also to my surprise was the fact that even the facilitators of the seminars expressed some discontent. It was felt that while much had been gained, opportunities had been lost.

Various remedies were suggested: Breaking the big oval into three small ovals; distributing in advance a PDF of a page or two of the text and then focusing on it, perhaps with a list of questions and a list of terms; introducing ways and means of enhancing powers of concentration and encouraging contributions to the discussion.

On the latter subject, there was a debate between what I saw as a disagreement between those who viewed the seminars as study sessions and those who viewed them as sittings. Proponents of the former recommended the limited introduction of standard psychological techniques used by profession presenters in the fields of business and personal empowerment. Proponents of the latter felt that the sessions should be allowed to flow, as participants made their own connections – or not. It was suggested that I might prepare a list of some suggestions of procedures that could be used by facilitators to enhance the empower the audience. I agreed to draw up such a list.

There was a debate as to whether or not specific exercises used by group leaders should be introduced. The argument against their introduction stemmed from the description of the conference as a non-work activity. On the same basis, it was argued that there was no place here for the Movements. It was even suggested that the two evenings devoted to the Gurdjieff-de Hartmann were extraneous. Counter-arguments were heard. There was no resolution.

Members from Norway, in particular, were concerned that the conference should remain true to its aim of bringing together “people who share an interest in plunging into the book.” They were bothered that social activities (including performances of the de Hartmann music) were a distraction, and were against connecting the conferences with tourism and exotic locales. It was suggested that a tourism component could be an “add on” for those participants who wanted to experience the city they were visiting. Many members felt that the conference in Greece was worthwhile both in itself and for the tourism component.

It was agreed that the call for papers should include a call for seminar leaders, as the latter was often done on at the last moment on an ad-hoc basis. It was felt that the conferences, in addition to meeting the needs of its regular participants, should “add new blood,” i.e., attract new members. Concern was expressed that some organizations were telling their members to avoid the A&E Conferences.

I felt a sense of loss when we began to shake or wave hands and say “au revoir but not goodbye.” Over the four days I had learned (yet again) not to judge people by their appearances – indeed, the fellow in motorcycle garb turned out to be eminently thoughtful and friendly, whereas the person who looked like an office manager turned out to be disorganized, and the woman who seemed self-contained was somewhat scatter-brained. People showed unexpected enthusiasms and smiled and were so friendly. People were friends. Indeed, everyone seemed so … alive!

But the big shock came when I left the hotel and drove to our local shopping plaza to buy some groceries. I entered our busy supermarket, only to sense that the crowd of shoppers was a flock of people who were asleep.

Greetings from Canada

canada_flag1

Here is the complete text of the speech that I delivered at the banquet of the All & Everything Conference held in Toronto, Saturday, April 25, 2009.

It is a dream come true for me to attend an A&E Conference, for I have been reading the conference’s annual proceedings from the first conference held in Bognor Regis fourteen years ago. It is “two dreams come true” to be invited to address the audience at the banquet. It is a most unexpected honour.

I was desirous of attending all the sessions and of saying little, as I have no detailed knowledge of “Tales” and I did not want to make a fool of myself. I know my limits. But I immediately accepted the invitation to address the banquet because I was worried that there was no “Canadian content” in the proceedings at all. Aside from facilitators – Ian, who was born in Niagara Falls, and Nick, who lives in Ottawa – no presenter was a Canadian. (This was before I learned to my delight that Jim George would be taking part in the program.) I worried for about three minutes what I could possibly and meaningfully say to “the companions of the book.” But I knew in my heart’s core that I could convey my particular enthusiasm for the conjunction of consciousness studies and Canadiana.

In the past it was customary to envisage “fragments of a unknown teaching” in terms of geographical locales, and there are insights to be gained from establishing such vantage-points. Traditional values in Crotona, Southern Italy, may not be traditional values in Crotona, Southern California. Indeed, a chain of cities links the Work, starting or restarting in St. Petersburg and Moscow, but beginning much earlier, prehistorically perhaps, at some lost locale in Egypt or Ethiopia or the Caucasus or some remote monastery of Central Asia.

Given such exotic locales, I am sorry that you are anchored to this location: an unpromising non-neighbourhood in this city of functioning neighbourhoods. Toronto has many charms that you will not experience. There is an old saying attributed to a former mayor: “No one should ever visit Toronto for the first time.” So come back again to savour the city. Let us find out what is at hand. Around the corner from this hotel is a mosque. Five blocks south of here is a Mormon temple that has a direct and unique connection with the Mormon founder Joseph Smith. I could go on ….

I often escort people on a tour of the city, focusing on locales associated with writers who once lived here – Ernest Hemingway, William Faulkner, Wyndham Lewis, Marshall McLuhan, Northrop Frye, Robertson Davies, etc. Insulin was first synthesized here. Sigmund Freud did not live here, but his brother, a furrier with a shop on Spadina Avenue, did. As did Isaac Bashevis Singer and the anarchist “Red Emma” Goldman who died here. Elan Sicroff, who is here today, would enjoy seeing the sites associated with the eccentric but brilliant pianist Glenn Gould. There is also some outstanding architecture represented by I.M. Pei, Mies van der Rohe, Philip Johnson, Daniel Libeskind, and Frank Gehry (who was born here), as well as a rare public sculpture by Frank Lloyd Wright and innumerable Henry Moores. Gehry’s remodelling of the Art Gallery of Ontario is a work of great art and the Thomson Gallery with its magnificent Lawren Harris canvases (inspired by Theosophy) approaches objectivity.

Let us begin in the world of imagination and symbology. I would like you to stare beyond me, beyond the cream-coloured wall behind me, and look into the distance, for three seconds. Each of you should ask yourself, “What do I see?” I will do the same. What did you see? I saw with my “improved binoculars” into the far reaches of the country. I saw the North Pole and the Magnetic North Pole. Did you see them? They are part of this country and they exert a tremendous influence on us and on our civilization. I could speak for an hour about the myths and legends of Canada’s and the world’s most northern point. (Rest assured I won’t.)

Instead, I will ask, “Do you remember what P.D. Ouspensky wrote about the Pole?” References to the “polar regions” occur repeatedly in Ouspensky’s talks: “We live in a bad place in the universe – near the North Pole.” Not good news! I need not remind you that in “Tales,” Gurdjieff himself writes about the Eskimo who is one of four contemporary initiates – I assume the Eskimo in question is a long-lived Canadian citizen. In fact, I might even supply his name.

Now I would like you to turn around, for three seconds, and tell me what you see? Do you see what I see? (I am writing this script so it is unlikely that you saw what I saw: Niagara Falls.) This mighty cataract is one of the world’s most familiar natural sites, and it marks the nation’s boundary with the United States. I could talk for an hour about the lore and mystery of the falls – I won’t – but I will share with you one of the best observations ever made about the falls. It was delivered off-the-cuff by Oscar Wilde when he visited the place in the 1880s, when it was known as “the honeymoon capital of the world.” A reporter asked him for his thoughts on the matter. He quipped, “It’s the second major disappointment in the life of the American honeymooning couple.”

Let me talk about Toronto for a few minutes. Neither P.D. Ouspensky nor G.I. Gurdjieff ever visited Toronto – or Canada for that matter. Even Niagara Falls held no attraction for them, although it did fascinate Aleister Crowley the occultist who in 1904 travelled across the country and wrote in his memoirs he wanted to spend the rest of his life meditating beside the mighty cataracts. (The falls “thunder” about 130 kilometres from here – you can see the spume or at least the spray from the top of the CN Tower.) Crowley visited Toronto and called the city “a calculated crime against humanity.”

T. Lobsang Rama (remember him of “Third Eye” fame?) also delighted in the Falls, though he chose to live in Montreal’s Habitat and then spend his last years in a high-rise in Calgary. The Madame – Blavatsky this time, not de Saltzmann – visited Quebec City where she pow-wowed with Indian elders about their “wisdom tradition” – she complained they told her nothing but instead absconded with her newly purchased pair of expensive leather boots.

You have now looked both North and South. Now I want you to do more than look West and East. In fact, I want you to board the bus that I have chartered and take a journey with me.

All aboard the bus. We drive along the Highway 401 and in about thirty-five minutes we note that exit for Guelph, Ontario. We do not take the exit, but I want to point out that here was born the IMAX projection system with which I am sure you are all familiar. It has developed here though its roots go back to Expo 67 in Montreal and to the National Film Board of Canada where Tom Daly was its leading producer-director. You will hear Tom’s name again, soon.

The next exit is for Kitchener. Again, we do not stop, though if we had the time I would take you into the city and show you the childhood homes of my wife Ruth and myself. But let us continue. It’s an hour since we left Toronto behind, but ahead of us is Kitchener’s twin city of Waterloo. Here we will turn off the highway and pause in front of the campus of the University of Waterloo, which boasts the largest computer science department in the world, not just in Canada. It is sometimes said that there are more IT millionaires under the age of thirty in Waterloo than anywhere else on the globe. I think that is an overstatement, but what follows is not.

Waterloo is the birthplace of the BlackBerry, developed here by Mike Lazaridis, who then went on to found the outstanding Perimeter Institute of Theoretical Physics. Here there are twenty or so resident scholars who are determined to understand the formation of the cosmos. Health permitting, Stephen Hawking has agreed to spend the summer in residence here. I find cosmological thinking like this exciting, though I can make no contribution to it.

Back on the bus. In twenty-five minutes we are on the outskirts of Brantford, Ontario, which is known as the birthplace of the greatest-ever hockey player, Wayne Gretzky. But Brantford is distinguished in the world of communications, too. Brantford is described as “the birthplace of the telephone,” though Alexander Graham Bell, its father, denies this. He said, “The telephone was conceived in Brantford but born in Boston, Massachusetts.” Yet we will visit his family home and examine the exhibit that celebrates the fact that here was placed the world’s first long-distance telephone call, between Brantford and nearby Galt via the telegraph line that runs through Toronto, just as today’s telephone calls are bounced off geostationary telecommunication satellites.

The telephone is indicative of the world of communications. What is indicative of the world of traditionalism is what we will find on the outskirts of Brantford. As Northrop Frye noted, “In Ontario the Precambrian and the Postmodern are side by side.” Here is the Six Nations Indian Reserve. Clayton Jacobs who is here lives on this Reserve’s sister Reserve of Caughnawaga just outside Montreal in Quebec. He will attest that the Christian Mohawks lives at Caughnawaga, whereas the pagan Mohawks live at the Six Nations.

I use the word “pagan” but I really mean “shaman,” because here are preserved ancestral traditions from the remote past. Here is recited the traditional Great Peace. Especially honoured is the world’s most famous Indian. His name is … Hiawatha, and he is believed to have been a real person, born near Deseronto, Ontario. He dedicated his life to the service of his great but semi-mythic chief, Dekanahwideh, who instituted the Great Peace. It lasted four hundred years, until the arrival of the White Man. Its oral laws influenced the U.S. Constitution. The American Eagle, perched at the topmost branch of the Great Tree of Peace, comes from Dekanahwideh’s constitution.

It is with reluctance that we cut short our visit to this Reserve and reboard our bus, but we are heading now for our last stop: London, Ontario. In the nineteenth century, it was known as “London the Lesser.” We are now about three hours west of Toronto. See that cemetery? It holds the moral remains of one of the world’s leading metaphysical writers: Richard Maurice Bucke. We will drive past but only to pay homage to this remarkable man at the London Psychiatric Hospital which has a treaching centre named in honour of Dr. Richard Maurice Bucke.

In the late nineteenth century he was one of the continent’s leading “alienists” or psychiatrists. He died in 1902, the Superintendent of the Asylum for the Insane. He is the author of the first biography of Walt Whitman, whom he knew personally and brought to Canada for a three-month visit, and he is the author of that classic in the world of mysticism known as “Cosmic Consciousness: A Study in the Evolution of the Human Mind.” It is a comprehensive anthology of first-person accounts of mystical experiences.

Dr. Bucke was a friend of the English socialist Edward Carpenter, and I had the honour of typing out fair copy of Carpenter’s original letters written to Dr. Bucke. Between them the two men may lay claim to having coined the term “cosmic consciousness” to refer to what Freud memorably referred to as “the Oceanic Experience.” Ouspensky devoted the final chapter of his book “Tertium Organum” to the theories of Carpenter and Bucke, and in those pages he argues that Bucke was on the right track but the mistake that he made was in assuming that the evolution of “the cosmic consciousness sense” was automatic and mechanical, whereas Ouspensky argued it was the fruit of “conscious evolution.” Bucke was a Darwinian; Ouspensky a Skinnerian.

Our bus will now speed us back to Toronto, where we will head north again, past York University, just north of here, where Dr. Graham Reed in its Department of Psychology popularized the term “anomaloous experience.” It is now now embedded in consciousness studies, and is used by psychiatrists in place of “abnormal experiences.” It is too bad Dr. Bucke did not have access to Dr. Reed’s book, published in 1988, called “The Psychology of Anomalous Experience.” But let us drive on.

Our next stop is just outside Orangeville, where I will point out to you the world’s largest Daoist Tai Chi centre. Beside the Daoist temple, the big building is a rehearsal and demonstration hall where 1,000 people may perform the 108 steps of Tai Chi at the same time. Ruth and I are students of the discipline and hope one day to perform the set there.

Now settle back in the bus for we have a drive of at least four hours to take us to Sudbury, Ontario, the site of the world’s largest neutrino laboratory, which Stephen Hawking once visited. Sudbury is set in a crater and here the Apollo astronauts rehearsed the geological portions of their moon walk. We are headed to Laurentian University where we will meet Michael Persinger, a cognitive psychologist, who will show us a device he invented: his so-called Magic Helmet. It is a hockey helmet (a Canadian touch!) with electro-pads – to reproduce these “anomalous experiences” on demand. Specifically, his low-frequency wave-generator can generate “the entity experience” in the mind of the participant. One participant was Susan Blackmore, the psychologist, parapsychologist-turned- sceptic, who has written at length about the experience and even appeared in a television special that culminated in her appearance at Dr. Persinger’s psychology laboratory.

Back to Toronto! This time we turn East and drive about twenty minutes into the suburb of Scarborough where we will climb a hill, Taber Hill Park, a powerful Ojibwa Vision Site. The city considers it a municipal park. But it is clearly a vision site, on the hill of which young men spent nights under the stars, met their spirit-guides, and returned to their people as warriors. Its magic works, even today.

If I had the time I would describe the site in detail, but we have to board our bus again and in an hour and a half we will pass through the city of Peterborough and then past the Indian reservation at Curved Lake and beyond it where we will behold the magnificent Peterborough Petroglyphs, where there is an outcropping of rock that is carved with perhaps eight hundred fascinating images. Here is the domain of “rock art.” This too is a vision site, though not so described in the tourist literature.

If that is not enough, on to Rice Lake where we will visit the peculiar land-forms at Serpent Mounds Provincial Park which is under excellent First Nation management. I think these low-lying mounds are a maze or a labyrinth where thanksgivings were made to the spirits of nature. Shamanstrvo is alive and well in Ontario.

That is as far east as we will go, so let our bus sprout wings and fly us back to Toronto, a city with a population of 3.3 million, one-tenth the population of the country. Every second person who lives in Toronto is foreign-born, and many more were born elsewhere in the country. It has been called the city that gave the word “multiculturalism” to the world.

Toronto has one Anthroposophical society, two Theosophical Societies, and four Gurdjieff groups. (There was a saying, popular during the Cold War, that went like this: “God loved Germans so much he made two Germanies.”) I can understand why there might be four separate groups, but it makes no sense, to an outsider like myself, that they should not work together. For instance, I exchanged emails with Joseph Azize; he could have visited the city and spoken here, had the groups been able to work together to invite him. (It is usually said there are three societies, – but only at the price of excluding those working in the Bennett tradition.)

The history of group work in Toronto is an interesting one. There were followers of Bennett, including Sheila and Paul Bura, who were active in the city in the very early 1950s. But the Toronto group per se was founded by Madame Olga de Hartmann with her husband Thomas in 1954, one year following the foundation of the Gurdjieff Foundation in New York City.

At the time the couple were residents in Rawdon, Quebec, where they were waiting for their U.S. immigration papers. There they met members of the Daly family, including young Tom Daly, who brought them to Toronto on a visit. It is said that Madame de Hartmann wanted to lead the Toronto group, but the Foundation was responsible for shifting that burden onto the shoulders of Mrs. Louise Welch. Once a month for thirty or so years, she flew between New York City and Toronto, sometimes in the company by her husband Dr. William Welch. I met them in 1957 and dedicated my earliest book of poems to her – as well as my latest book of essays to her memory.

Here is a rundown on the groups: One, “The Gurdjieff Foundation of Toronto: The Experimental Group.” Two, the publishing group (officially “Toronto Gurdjieff Group”). Three, “The Society for Traditional Studies.” There is also a fourth, non-affiliated group, taking into account the active Gurdjieff Bennett Group. To confuse matters still more, there is also Dolmen Meadow Editions, a fine publishing imprint. The main group owns property: a two-storey midtown building as well as a farm at Tyrone. There does seem to be some element in “wisdom traditions” and “universal brotherhoods” that gives rise to turf-wars.

Traditional Studies Press (which is incorporated within “The Society for Traditional Studies: The Gurdjieff Foundation”) issued the first-ever “Guide and Index” to “All & Everything.” This was an immense undertaking, especially in pre-computer days, work and one that is in line with the spirit of scholarship. We Canadians have a genius for mammoth mosaics. At the present time there are massive editorial projects underway, including the multi-volumed collected works of Samuel Taylor Coleridge, Erasmus of Rotterdam, John Stuart Mill, Benjamin Disraeli, Florence Nightingale, Bertrand Russell, Bernard Lonergan, A.M. Klein, Northrop Frye, and every text ever written in Early Middle English.

Another huge editorial project was the typesetting and the publication of the Russian-language edition of “All & Everything.” This undertaking is particularly astonishing given the fact that the Russian text was keyboarded by computer indexer Jack Cain who knows not a single word of Russian. But he did learn the Cyrillic alphabet and hunted-and-pecked his way through the work. It took him three years of part-time, conscious labour to keyboard the text for the future benefit of the book’s Russian readers.

Many of us have benefitted from another major undertaking, J. Walter Driscoll’s mammoth “Bibliography.” I have yet to meet Walter, who though Toronto-born lives on the West Coast, but I admire his work of assembly and commentary, which makes it possible to have between the covers of one thick tome all the serious English-language references to the Work.

Let me look at some living people. The country’s ranking Gurdjieffians – if I may describe them in this way – are three in number: Ravi Ravindra, Tom Daly, and James George.

Ravi is a charming Hindu-born scientist and humanist who lectures widely on the Work, Krishnamurti, Theosophy, Yoga, and comparative religion. He has written a wonderfully warm book about Madame de Saltzmann titled Heart without Measure. He is based in Halifax. I covered one of his addresses and described him as bearing a marked resemblance to Mohandas Gandhi, but I backed down when I realized that what he really looks like is the Mahatma as played by Ben Kingsley.

Tom Daly is the distinguished producer of documentaries for the National Film Board of Canada. I mentioned him in connection with IMAX. One of his many films is a masterpiece with a cosmological sense of wonder – Universe is its title, and the thirty-minute documentary takes the viewer on a tour of … the Ray of Creation.

It was Tom’s mother who brought the De Hartmann’s to Toronto. Tom subsequently settled in Montreal where he is the executor of the estates of the De Hartmanns. He has done much to preserve their memory and arrange for the recordings of the musical compositions inspired by Mr. Gurdjieff. A Toronto friend of Tom’s, Peter Colgrove, oversaw Madame de Hartmann’s final years near Santa Fe, New Mexico.

Last September about sixty of us helped to celebrate James George’s ninetieth birthday, and as you can see the elder statesman remains hail and hearty. I will spare Jim the embarrassment of praising him in his presence. But in the 1960s he served with distinction as Canada’s High Commissioner to India. There he befriended the present Dalai Lama and helped His Holiness with the pressing problem of preserving the precious manuscripts that he had brought with him from Tibet into exile. They could not to be read by anyone but a high lama. Jim convinced His Holiness that surely they would go unread in the hands of a Canadian microfilm technician who knew neither Sanskrit, Tibetan, nor Hindi. So the documents were copied in the official Canadian residence in New Delhi. This may constitute a world first!

A lively account of this incident appears in Jim’s fine memoir “Asking for the Earth.” His current work, about which he spoke so movingly earlier today, is called “The Little Green Book of Awakening.” Jim George is married to Barbara Wright, whom I always describe as “dynamic” for that is what she is. No man should describe any woman as “experienced,” I guess, but she is “experienced” in the ways of the work, having enjoyed a long association with the work in San Francisco. Barbara and Jim make an impressive team!

A few other names could be mentioned: Ian MacFarlane, one of the organizers of the Conference, was born at Niagara Falls. I am meeting him for the first time. Bernard Courtney-Myers, born in Vancouver and a McGill medical graduate, has enjoyed a long work history, and at one point served as Gurdjieff’s personal physician. Paul Bura was active with Bennett at Coombe Springs before carrying on that work in Toronto well before the arrival of the De Hartmanns. Peter Colgrove, whom I knew when he taught at Forest Hill Collegiate here, cared for Olga de Hartmann during her last years in New Mexico. I am ever anxious to learn of the contributions of other Canadians who are involved in the Work.

Is there strength in numbers? I have no certified information about the numbers of students of the Work in the country. (I am not one of them myself, for I regard myself as a “fellow traveller” – if pressed, as “an unreconstructed Ouspenskian.”) There are groups or centres associated with the Foundation in New York City in at least seven Canadian cities. Here is an estimate of their numbers.

Vancouver has about 35 members. Edmonton perhaps 15. Toronto over the decades has always had about 100 members. Ottawa, the nation’s capital, perhaps 15 members. Montreal maybe 40. Saint John likely 20. Halifax perhaps 40. There is some activity in other cities like Victoria. With the adding machine at hand, I come up under 300 people. Add say 100 “fellow travellers” like myself – Sputniks is the Russian word for them – and we have a population of perhaps 400 scattered across a country with a general population of 33 million people. I do not know whether this is “bad” or “good.” It is probably not a saving remnant.

Let me conclude with my gift to you. I gave a book to Ian; I have a present for each one of you. As the author of the “Book of Ecclesiastes” counsels us, “There is nothing new under the sun.” But there are a few new things under the moon. The one new thing that I will share with you is an old word – the one, quintessential, all-purpose, all-Canadian word. I doubt that you have yet heard it here, though it could prove to be useful in social occasions in the future.

The word is “Chimo.” Chimo is a word of mixed Indian-Eskimo origin that has a goodly number of meanings, including “hello,” “greetings,” “to your health,” and “goodbye.” For the purposes of this audience and for this evening, let me suggest that the word C-H-I-M-O is actually an acronym, an acronym that stands for five key concepts: “Conscious … Harmonious … Inner … Meetings … Octaves.”

So my final word to you is … “Chimo!”

John Robert Colombo is a Toronto-based author and anthologist who is known for his dictionaries of Canadian quotations, his collections of Canadian jokes, and his anthologies of told-as-true ghost stories. Type his full name into Google and it will will take you to his two websites.

May 10, 2009

KATE BUSH: THE SONG OF SOLOMON (1)


JOSEPH AZIZE PAGE



Joseph.Azize@googlemail.com

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kate 3

Kate Bush: The Song of Solomon (1)
The Kick Inside

There should be an annual holiday in celebration of her birth, when the community allows the springs of business and commerce to wind down, and the machines of industry to lie idle for 24 hours. On that glad day, families will be reunited to their ancestral hearths from all ends of the lands, and after feast and thanks, will gather around their stereos, in communal silence before their heirloom recordings of the exalted one, she who was sent to us in the evening of the world, Kate Bush.

But such a holiday there is not. Popular as her work is, it is still not esteemed at its true worth. To a significant extent, her music is still, as Shakespeare said, “caviar to the general”. Yet, for my money, of all the contemporary recording artists whose work I have heard, she is among the very greatest and the deepest. Interestingly, she is also the only modern “pop star” I know who has referred approvingly to Gurdjieff in recorded song (“Them Heavy People” from The Kick Inside). But it isn’t as if I think she’s insightful because she has referred to Gurdjieff: it’s because she is deep that she has been interested in his ideas, if not his methods (I shall return in future blogs to “Full House” from Lionheart, and “Sat in your Lap” from The Dreaming). I am not simply identified with her music because she wrote some “Gurdjieff songs”, to coin a rebarbative phrase. Indeed, I think that “Full House” fails not only because the melody seems pedestrian, but because it is too much a frontal assault on something which is too subtle to survive such an approach; and those songs which I consider to be her very best (“Wuthering Heights”, “Lionheart” and “Some Moments of Pleasure”) do not seem to be at all indebted to Gurdjieff.

She is extraordinary for another reason: she is the greatest prodigy I know of in modern music. Stevie Wonder was younger, and even more talented as a musician, but not even he, or Donovan, ever matched her for the extraordinary work of art which was her first album, The Kick Inside, released in 1978 when she was 19 years old, although some of the songs were written when she was yet younger. In fact, I still consider that to be her best record, rivalled, but not surpassed, by The Dreaming and Aerial. And it’s with that album that I’ll begin.

The striking, almost the stupendous thing about The Kick Inside, is the consistency of its quality, and the integrity of the album. It has an overall sound, an aural signature, based around Bush’s distinctive vocals, and the basic ensemble of piano, guitars and drums. Side one, containing six songs, is dominated by the supernatural. For example, the last four tracks on side one are “Strange Phenomena”, “Kite”, “The Man with the Child in his Eyes” and “Wuthering Heights”. They deal with psychic phenomena, transmogrification from woman to kite, a phantom visitor, and the star-struck Cathy from Bronte’s novel Wuthering Heights. So, side one effectively closes with two songs about wraiths. Side two, with seven songs, is largely given over to romantic love. However, each side features some of the themes of the other side. For example, while side one closes with Cathy, side two ends with the tale of Lucy Wan, who suicides when she becomes pregnant to her own brother, vowing: “I shall come home again, but not until the sun and the moon meet on yon hill.”

So the last image which Bush impresses upon us, on each side of this record, is a woman desperate in love, whose passion has led her to her premature death, but will also bring her back from beyond the grave. Perhaps teenage life in England was not so terribly idyllic back then.

Kate Bush’s voice was distinctively high at the time of this album: when her voice deepened she re-recorded “Wuthering Heights”. The newer version has a certain depth, but the very pitch of her singing on the original possessed an inimitable natural eeriness. Oddly, when I hear it now, the manner in which that young voice embodies the spectre of Cathy, is reminiscent of a tale she would tell on Never Forever, the possession of a boy and a girl in James’ “Turn of the Screw”. So convincing is her precocious performance on “Wuthering Heights” that it is as if she is haunted.

To an extent which, to my ear, she did not match again until the triumph of Aerial, Kate Bush as a person dominated The Kick Inside. It is as if her very spirit was infused into the grooves of the record. The intimacy commences on the very first track, “Moving”. “Moving stranger, does it really matter, as long as you’re not afraid to feel?”, she sings, seemingly inviting us to drop our fears and open ourselves to an experience of emotion. She continues: “… how my open arms ache … how you move me with your beauty’s potency … You crush the lily in my soul.” In the next track, “Saxophone Song’ she is “a surly lady in tremor”, telling of “the stars that climb from her bowels”. These lyrics are more intimate, by light years, than any vulgar assault with terms for genitalia could ever be.

The extent to which her body and bodily sensations feature in these songs is almost amazing. The list continues: on “Strange Phenomena” she mentions how “every girl knows about the punctual blues”, and on “Kite”, “Beelzebub is aching in my belly-o”, while she feels “a rush along my body like a bullet”. In “L’Amour Looks Something Like You”, she is “dying for you just to touch me, and feel all the energy right up-a-me … The thought of you sends me shivering … All the time I’m living in that evening with that feeling of sticky love inside”. And I won’t even bother quoting “Feel It”, but, if you have heard it, you know that she is not referring to a sensory encounter with fabrics and materials.

Bush is fond of the genre of the ‘story song”, where she adopts a persona and narrates a story or a scene from some tale. Sometimes, I think, she is too fond. The most glorious successes of course, were “Wuthering Heights” and “The Man with the Child in his Eyes”, where she turns stories into opportunities for apparently intimate self-disclosure. In “Man with the Child”, the brilliant but simple piano accompaniment conjures the waves rolling in to the shore, while she sings of a man “Telling me about the sea, all his love, ‘till eternity”. Once more, love is not bound within the fence of earthly life. And, as in “Wuthering Heights”, it is ambitious but believable: she has made us believe from the first lines with the most innocuous yet individual of details:

I hear him before I go to sleep
And focus on the day that’s been.

Who else has ever spoken in song of reviewing the day? It is no stock phrase: it suggests a real person. “But I feel him hesitate”, she sings. Once more, have you ever heard that in any other song? However, I have to say, that by the time I come to “James and the Cold Gun”, I am getting tired of the succession of story songs (“Remember Genie, from the casino? She’s still a-waiting in her big brass bed.”) And it is not necessary for Bush to rely on stories: she does first person so well.

Probably the best example of speaking as Kate Bush on Kick Inside is “Them Heavy People”. It opens with a the phrase “rolling the ball (rolling) … rolling the ball to me” tossed around in air, as it were, with her voice and piano, echoing the word “rolling”, to musically establish a sense of the ball being airily passed to and fro. It’s almost a prelude rather than a part of the song. Then the other instruments kick in, and we’re into the first verse:

They arrived at an inconvenient time,
I was hiding in a room in my mind.
They made me look at myself.
I saw it well: I’d shut the people out of my life.
So now I take the opportunities,
Wonderful teachers ready to teach me.
I must work on my mind, for now I realise that
Every one of us has a heaven inside.

Once more, for the chorus there is a change of pace: “Them heavy people hit me in a soft spot, them heavy people help me …” and we’re back to the “rolling” theme, and then the final verse:

They open doorways that I thought were shut for good,
They read me Gurdjieff and Jesu,
Break me emotionally, it’s nearly killing me,
But what a lovely feeling!
I love the whirling of the dervishes,
I love the beauty of rare innocence.
You don’t need no crystal ball,
Don’t fall for no magic wand,
We humans got it all, we perform the miracles.

In one place, I believe, Bush described this song as “a prayer”, and one can see that. It is deliberately broad in its scope, including not only the two teachers but also the dervishes and innocence, which I take to mean openness to impressions. This is an important theme in Bush’s work, and shall achieve ever greater importance until it culminates in the triumph of disc 2 of Aerial. However, “Heavy People” does suggest a certain serious personal immersion in the techniques of Gurdjieff which, as I understand it, is not and never has been the case with Kate Bush. In an interview she stated that she had heard of Gurdjieff from one of her brothers, and read some books, but that he was far more concerned with it than she was. My own guess is that she had read In Search of the Miraculous, because if “G.” in “Strange Phenomena” is indeed “Gurdjieff”, then such an odd way of referring to him could only, I imagine, have come from reading that book.

I shall pull further ideas together in future Kate Bush blogs, but for now, I will wrap up on this album. The more I listen to it, the more I am impressed with its artistic unity. In addition to the features I have already mentioned, the very first sounds we hear are ghostly sounds, as if of spirits, presaging “Wuthering Heights”. The sounds which introduce “Moving” are in fact whale calls. And in case you didn’t know it, “wuthering” is an old word for the moaning made by high winds.

A feature of this album, distinguishing it from her others (or so it seems to me) is that even when she seems to be composing songs for the sake of composing songs, she composes good songs. For example, “Oh to Be in Love” strikes me, as it has other reviewers, as rather short on purpose (“I find it hard to face my face … Why did you have to choose our moment? … Why did you make it so unreal?”). And yet, the music is good: to my ear, very good indeed. The chorus with its marked rhythm “oh – oh – oh to be – e – e in love” is memorable and enjoyable, and in the last verse we are sprung a surprise:

All the colours looks brighter now …
Slipping into tomorrow too quick,
Yesterday always too good to forget,
Stop the swing of the pendulum, let us through!

We have seen these two ideas before: the joy of seeing everything with enhanced vividness, and the desire to escape from time (here represented by the clock). And we shall meet them again. That such ideas occur to her mind, however, is a tribute to her natural depth.

Another essential aspect of Kate Bush is her thorough English-ness. The two striking stories which close each side are based on an unmistakably English fiction: Wuthering Heights and the poem of Lucy Wan respectively, although Lucy is not named on “The Kick Inside”.

Then, the final matter for this blog, is Kate Bush’s individuality. She is not affectedly idiosyncratic, nor is she bound to fashion, the twin vices of “music celebrities” which Spinal Tap so accurately parodied. Consider “Room for Life”: she addresses a woman crying on account of her lover, telling her that men don’t care whether her tears are real or not, for the men it’s all part of the game. But, as for you, woman:

Like it or not, we were built tough
Because we’re woman!
No, we never die for long,
While we’ve got that little life to live for
Where it’s hid inside … Oh, woman two in one
There’s room for a life in your womb, woman …

Then, in the second verse, having consoled her friend, she tells her that she needs “a lover to free her desire” and urges her to “get up on your feet and go get it now.” It is unique, it’s personal, and yet it’s also public. I would not call this feminist, or, for that matter, any ideology. To me, it’s just wisdom.

Joseph.Azize@googlemail.com

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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July 19, 2009

KATE BUSH (2) Lionheart

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com
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Kate_Ivy

Kate Bush (2) Lionheart

After the arcane glories of The Kick Inside, the record buying public
found 1978’s Lionheart to be a disappointment, perhaps even a
substantial disappointment. Although I would place the title track
“Lionheart” in the same exalted class as “Wuthering Heights” and “The
Man with the Child in his Eyes”, I have to agree with the popular
assessment, for the album as a whole was too patently a rushed
follow-up. However, it had the good fortune to be released in the
golden afterglow of Kick Inside, and went platinum in the UK. It is
not just that people were keen to hear what Kate Bush had produced:
music actually sounds better if we are well-disposed towards the
artist (or to adapt Gurdjieff’s terms, if we are favourably identified
with the artist). This phenomenon of “the golden glow” is an
interesting one, and I shall return to it at the end of this blog.

To my ear, the stand out track on this album, and one of Kate Bush’s
greatest triumphs, is the title song “Oh England, My Lionheart”. This
under-rated piece strikingly, even poignantly, conjures up “merry
England”, once more evidencing the Englishness we saw on Kick Inside:

Oh, England! My Lionheart!
I’m in your garden, fading fast in your arms.
The soldiers soften, the war is over,
The air-raid shelters are blooming clover.
Flapping umbrellas fill the lanes,
My London Bridge in rain again.

Oh, England! My Lionheart!
Peter Pan steals the kids in Kensington Park.
You read me Shakespeare on the rolling Thames,
That old river-poet that never, ever ends.
Our thumping hearts hold the ravens in
And keep the Tower from tumbling.

Oh, England! My Lionheart! Oh, England! My Lionheart!
Oh, England! My Lionheart!
I don’t want to go.

Oh, England! My Lionheart!
Dropped from my black Spitfire to my funeral barge.
Give me one kiss in apple blossom,
Give me one wish and I’d be wassailing,
In the orchard, my English Rose,
Or with my shepherd, who’ll bring me home.

Oh, England! My Lionheart! Oh, England! My Lionheart!
Oh, England! My Lionheart!
I don’t want to go.

The song tells the story of a Spitfire pilot who has been shot down.
As his plane hurtles towards the earth and his death, he sings his
love to the green land beneath him (hence, although it’s a little
macabre, he serenades England that he is “in your garden, fading fast
in your arms”). Through this story, an esoteric idea or reality is
touched: the transcendent reality and preciousness of conscious
experience. Later in her career, Bush returned to this theme, notably
in “Some Moments of Pleasure” from The Red Shoes, and on record two of
Aerial.

The insight, an insight which I think can only ever come from
experience, is that in a moment of self-consciousness, our experience
is transfigured. There is a sort of scale of conscious experience: it
can range from a slightly more vivid sense of oneself through to an
illuminated state where it is as if heaven is present right here, as
if the supernatural breaks through into and illuminates the natural
world. The reality of the moment is often felt to have a quality which
is more than the reality of other moments, hence it is often called
“transcendent”. However much we may have read or heard of this, the
understanding of it can only come through experience: otherwise, even
if we read about it, we do not comprehend what we read. This is the
realisation which Hopkins referred to when he wrote that: “The world
is charged with the grandeur of God.” I am not saying that Kate Bush
expresses this concept in what I might call “all its fullness”, but
then who could? Yet I do find that there is, to a substantial degree,
an approaching to the transcendent in her work.

We tend to have experienced something of this as children. Usually, it
is when we are children that our lives are lived at their most vivid.
To children, there is magic in the night time and glory in the
daylight. In childhood we are more prone to the simple, direct vision
of the joy of creation and the universal adoration offered up to God
by all life (see p.26 of the George Adie book). It is not just a
question of the “being-ness” of life, one can also sense its goodness.
This, I think, is why children so often bring an affirming force of
feeling in the face of really big hardship.

I can add that, as a child, and I do not believe that I was alone in
this, I had an inarticulate sense of human tragedy. In fact, my feel
for sadness and pain was at the same time both clearer than it is
today, and also less given to melancholy. As children, we are not so
hampered by judgmental attitudes, or by guilt, self-accusation or
self-pity. Thomas Traherne described the mystical insights of
childhood very well in some of his poetry which resonate with most of
us:

All appeared new, and strange at first, inexpressibly rare and
delightful and beautiful. I was a little stranger, which at my
entrance into the world was saluted and surrounded with innumerable
joys. … Everything was at rest, free and immortal. …. I saw in all
the peace of Eden; Heaven and Earth did sing my Creator’s praises …
All Time was Eternity, and a perpetual Sabbath. (from The Third
Century, pt. 2).

I have elsewhere suggested that, in Gurdjieff’s terms, a further part
of the reason for this is the fact that in children the work of the
centres or brains is less demarcated: feeling, thought and sensation
are far closer together. The intellects of children are not so
divorced from their feelings and instincts, and not having yet fully
learned the gamut of negative emotions, their positive feelings enter
into their perceptions – and so they should, for it follows from
Gurdjieff’s ideas that the natural state of our feelings is positive
and affirming. Being more in the higher parts of centres, children
also have a different experience of time, closer to what Traherne has
described. And most importantly, in children, the feeling of being
present to oneself (an ineffable but unmistakable feeling with no
colour of changeable emotion), is more common than it is among adults.

I am not suggesting that Kate Bush’s “Lionheart” stands on the same
level as Traherne or Hopkins. Yet, consider some of the lines, such as
the one about flapping umbrellas and viewing London Bridge during
rain, and when I say “consider”, I mean to experience their poetic
impact in the song. As adults, we’re too bothered to really take these
impressions in. But children do, and these impressions feed them, as
Gurdjieff said, surely under inspiration. When I was young, I was
almost entranced by the reflection of traffic lights on wet roads.
Even the being-reality of residential lanes, which Kate Bush mentions
here, possesses a fascination for children. This “being-reality” of
objects, a sort of inherent wordless affirmation of their reality,
nourishes, I feel, an unsophisticated sensitivity in children. In
“Lionheart”, Bush refers to umbrellas in the lanes, not the streets,
but lanes, those humble, human and unhurried passageways. That small
touch is the touch of art. The song possesses clarity, and yet one can
peer deeply into its crystal simplicity, rather as if one were looking
into a stream of bright water which ran a hundred feet deep, and could
see to its bottom.

Now, before I read of what was undoubtedly Kate Bush’s own intentions in the narrative, I simply took it as the poignant declaration of a young woman, in love with England, and with the idea of romance in England. She sounds wistful yet not sentimental; romantically
possessed by the green land which Shakespeare celebrated. Something
about the light and optimistic attitude to rural lovemaking makes me
think of The Merry Wives of Windsor. Read as lyrics, “Lionheart” is
good poetry. Whether she was the first to call Shakespeare an “old
river poet” or if she only aptly used the phrase, it seems perfect
here. Those three words evoke iconic aspects of English life:
Shakespeare, poetry, the Thames and a cultured life on the river
banks. Even the little word “old”, more than just a term of affection,
reminds one of the enduring English tradition, its continuity and its
depth.

I refer to the pilot of “Oh England, My Lionheart” as a male, but I am
not sure I should. There is a video clip, now available on YouTube,
where Kate Bush sings this song dressed as a sort of air pilot. I say
“sort of”, because, but for the goggles, the coat looks rather
feminine to me. But who am I to dictate anything to Kate Bush? If she
wants to recast the expected male pilot as female, or if she makes
herself the sole female Spitfire pilot in history, and to sing about
wassailing and her shepherd, that is her prerogative. That the song
was about a pilot at all was not obvious to me: after all, in the very
first verse, she sings: “The soldiers soften, the war is over, the
air-raid shelters are blooming clover.” To go on later to mention a
black Spitfire and the funeral barge, would seem odd. Further, it is
difficult to imagine a pilot addressing England as “Oh England! My
Lionheart!” But then, she is Kate Bush, an Englishwoman avowing that
she wishes to stay forever in the heart of “This precious stone set in
the silver sea … this blessed plot, this earth, this realm, this
England”, to quote John of Gaunt from Shakespeare’ Richard II (2:1).
Who are we to dictate to her?

The music is simple, and yet it sounds like the only music which could
have gone with those words. There is nothing antiquarian about either
the melody or the sound, yet the woodwind and the simplicity evoke the past, and a quiet style of English folk music. There is a sadness, but also a strength in the dignified line of the melody. Kate Bush has
been accused of “over-singing” on occasions: she does not do so here.
The gentle movement of her voice is just right for the piece. Overall,
as I have said, I find it one of her masterpieces. It strikes me as
flawless in itself. But, to my taste, at least, it stands head and
shoulders over every other track on this album.

There are good pieces of music here: I would single out “Symphony in
Blue”, “Wow” and “Kashka from Baghdad”, and there is one song which is in parts excellent, and in parts all too mediocre: “Hammer Horror”. I
only wish that this album had been an EP. “Symphony in Blue” opens the album, and like “Lionheart”, but unlike most of the tracks, has one
even tempo throughout. “I spend a lot of my time looking at blue”, she
sings, referring to blue in her room, her mood, in the sky, and “the
sort of blue in those eyes you get hung up about”. She goes on to
speak about red (“the colour of my heart when she’s dead”), and sex
(“the more I think about sex the better it gets; here we have a
purpose in life”). But the heart of the song is the second verse and
the chorus:

When that feeling of meaninglessness sets in,
Go blowing my mind on God.
The light in the dark with the neon arms …

I see myself, suddenly, on the piano, as a melody.
My terrible fear of dying no longer plays with me,
For now I know that I’m needed for the symphony.

She was not more than 20 years old, and yet she sang of her “terrible
fear of dying” and of rising above it. Is this a sign of remarkable
maturity, or of pretentiousness, or of both? When one listens to the
piece and its assured, steady tempo, one would be harsh indeed to
accuse her of over-reaching.

But what is more remarkable about the contents, is that there are two
polarities in the song: the personal and the impersonal, or
transcendent, and these are brought into artistic balance. There is
the acute receipt of impressions and also the sense that she is a part
of a larger harmony: this is why she ceases to feel accidental and is
liberated from her personal fear. Something of this polarity can,
perhaps, also be sensed in “Oh England, My Lionheart”, which is a song
about the individual and their relationship to something larger than
themselves. This precocious woman managed, on her second album, to
say something new about the relationship of the small-s self to the
capital-S Self of the organic cosmos, and to express it in a fresh and
convincing manner.

The only reason, perhaps, that “Symphony in Blue” is not one of her
great songs is that the melody, competent as it is, does not little
more than present the lyrics. The melody, in itself, lacks power.
“Wow”, the third track on side one, boasts more power, but its
deficiencies run deeper. It seems to be made up of two different
songs, both addressed to an older actor by up-and-coming actors. The
pairing is held together by the chorus, a simple “Wow! Wow! Wow! Wow!
Wow! Wow! Unbelievable!” The first song within a song describes the
mixed feelings of the younger actors for the formidable veteran with
whom they are working. The second half is to an actor who will not
achieve the success he years for. As she sings: “He’ll never make the
screen … or be that movie queen, he’s too busy hitting the
Vaseline.” This actor is feted with insincere praise (“you’re amazing,
we think you are really cool”) but he is denied a role, because he’d
have to “play the fool”. The lyrics are clever, and the pocket
portraits from the world of acting are, I am told, accurate. The music
of the chorus is quite strong. Each “wow!” leaps out at you, aided by
the vocal gymnastics, where Bush sings low at just the right time. The
music of the verses is good, and the shift of tempo and feel at the
chorus brilliantly sets up and illumines the hyperbolic exclamations.
This is an instance where the gear change in a song works. Sad to say,
I do not think the same tactic works too well on the rest of the
album, and is, to my taste, overdone. The effect of the time change is
jagged on “In Search of Peter Pan”, “Don’t Push your Foot on the
Heartbrake”, “Fullhouse”, “Kashka”, “Coffee Homeground” and “Hammer
Horror”, fully six songs on an album of only ten.

Also noteworthy is the evocative “Kashka from Baghdad”, the third
track on side two. It tells the story of a man who lives “in sin” with
another, but has no other apparent friends or acquaintances: he lives
alone, visited by his lover, and remains inside the light of their
love (the metaphor she uses). Kashka’s Middle Eastern origin is nicely
conjured by the initial music, which is mysterious without sounding
like a caricature. The sentiments are beyond sympathetic:

I watch their shadows, tall and slim in the window opposite.
I long to be with them, ‘cos when all the alley cats come out,
I can hear music from Kashka’s house.

When the verse stops, the chorus erupts in a different tempo:

At night they’re seen, laughing, loving.
They know the way to be happy.

The track closes with a fade out. I cannot make out the words, but
they seem to something like: “Don’t you recognize? Don’t know you know the scene? … Let me in your love.” However, a lyrics web-site
offers: “Watching every night. Don’t you know they’re seen? Won’t you
let me laugh? Let me in your love.” Mmm. Overall, the piece is
something of a success, even if the sound of the chorus seems a little
contrived. It is not a great song, but it is a good one. I only wish
that I could have said the same for her “Gurdjieff” piece,
“Fullhouse”, which opens side two:

I am my enemy, mowing me over, and towing the light away,
… Imagination sets in, then all the voices begin,
Telling you things that aren’t happening.
(But they nig, they nag, ‘til they’re under your skin).

The rhythm is disrupted, as she hurries: “You’ve really go to ..”, and
then does she shriek: “Remember yourself, you’ve got a full house in
your head tonight! Remember yourself, stand back and see emotion
getting you uptight.” To “remember oneself”, in Gurdjieff’s terms, is
to be present to oneself as a whole: one’s thoughts, emotions and
organic instinct. The effort to remember oneself allows one to be
present to the turning thoughts which make up so much of our psychic
life, and to make them passive, so that they no longer bother, and
even cease. Despite the pointless screaming, the ideas here are good.
In verse two she sings:

My silly pride, digging the knife in,
She loves to come for her ride.
Surely by now I should know I can control my highs and my lows
By questioning all that I do, examining every move …

Once more, she is too accomplished to be pretentious: she is, as I
suggested in the first blog, the true prodigy of modern popular music.
But here, also, is the problem: the ideas are way too good for the
music. It just does not work as a song. The sudden change of pace at
the chorus does not help the song, as it does in “Wow”, it interrupts
and fragments it; and the singing is too fierce, almost hysterical,
for the chorus’s message.

Later, on The Dreaming, she attempted what may well be another
“Gurdjieff” song, “Sat in your Lap”. That effort was more successful,
at least to my ear. The last track to mention in any detail from
Lionheart is another worthy failure, the first single, and the last
track on the album, “Hammer Horror”. The opening is splendid, almost
scarlet with grandeur. The massive piano and synthesizer theme lasts
only 15 seconds, but it almost justifies the entire track. Then a
high-pitched vocal appears, eldritch and unearthly:

You stood in the bell-tower, but now you’re gone.
So who knows all the sights of Notre-Dame?

Just as the lyrics make a puzzling detour to the second line, the
music now changes completely: “They’ve got the stars for the gallant
hearts”, and then, after another 15 seconds, another complete change
of pace for the chorus: “Hammer Horror, Hammer Horror, won’t leave me alone.” The music never continues in one course, or at one tempo long enough to get into the feel of it. The song makes a picture of an
actor who has taken someone else’s role, and is now shadowed by the
former star. But the picture is a shattered one, it is too diverse to
even be a mosaic. It sounds jack clever, but clever as it is, it
doesn’t cohere. The other tracks on this album make me wince,
especially “Coffee Homeground” (which to me is pantomime of an
unconvincing type) and “In the Warm Room” (like an attempt to milk
“Feel It”).

There are some themes on this album: for example, film and theatre
appear in “Wow” and “Hammer Horror”, and “Coffee Homeground” is a
variation on the theme of Arsenic and Old Lace.

But the oddest theme on this album is that of blurring gender
boundaries. I have already noted this in respect of “Lionheart”. She
seems to be male, too, on “Hammer Horror” (it is easier to imagine a
man in the role of stalking another who has taken his role) and “Peter
Pan”, a fitting song for such confusion, for he, too, was somewhat
androgynous. Peter Pan also appears in the title track, and on the
liner notes: “Special thanks … especially to Mr. P. Pan whose tricks
keep us on our toes.” Does that mean that Our Kate, the doctor’s
daughter, was flirting with transgendering? “Wow” and “Kashka” both
deal with gay culture, and on “In the Warm Room”, a sort of an ode to
a seductress, she speaks of the woman in terms such as:

She’ll touch you with your Mamma’s hand,
You’ll long to kiss those red lips …
You’ll fall into her like a pillow,
Her thighs are soft as marshmallows,
Say hello to the soft musk of her hollows.

I cannot imagine what the masculine equivalent would be of “Say hello
to the soft musk of her hollows”, but could you imagine any male
singer, say Bruce Springsteen, saying something similar about another
male, even if he were addressing a female? There is something so
voyeuristic as to be discomforting about this song. Even its lack of
crudity adds to this sense: when Kate Bush uses measured phrases like
these it’s as if she’s serious.

Yet, this theme fades out from her later work. It is as if the album
were not only hurried, but also transitional. This brings me back to
the question of its initial reception, which I think was warmer than
deserved: how is it possible that we like one song, or several songs
by an artist, and then hear the rest of their work in what I have
called “the golden glow”? To an extent, it is a question of acquiring
a taste: it may take a while before one becomes used to hearing
something like, for example, the music of Emerson, Lake and Palmer.
But once one has acquired the taste, it is as if one hears emotional
nuances one was previously unaware of.

Surely, however, there is more. Surely, the main feature in this
phenomenon is what Gurdjieff called “identification”, where we
associate our own self-image with the music. To the extent that we are identified with an artist, we have no objectivity. I recall being
identified with Bowie when I was younger, to the point that I
purchased Lodger when it came out, and persuaded myself that I liked
it. Now there are only two tracks on it which I can even bear to
listen to (“African Night Flight” and “Move On”).

It is not just that our taste changes. I am asking why does our taste
change? Why do we sometimes like the work an artist produces to a
certain point, but are fairly indifferent to them after that point? I
recall one reviewer who was a big fan of Bowie’s earlier work, but
wrote that they wouldn’t serve pizza on his latest offerings. What
happens?

There are two obvious answers which, in the case of Lionheart, we can
dismiss at once: first, there was no change of idiom or style, such as
when an artist switches from, say, playing rock and roll to playing
jazz. Second, Kate Bush did not simply re-record Kick Inside with
different lyrics. By that I refer to the way that certain artists
repeat their first triumphs, sticking to a safe formula. For example,
I personally find that from the time of Zooropa, just about everything
U2 have produced has been virtually the same songs with minor, barely
significant, variations. Bono continues to metaphorically position
himself in the imagined abyss between being and nothingness, and to
sing about love as if the idea were entirely original to himself.

Why is it that we tend to like the songs by one artist more
consistently than the songs of another? It could be, for example, that
one artist sings big ballads, or country and western, and we don’t
like that style. To an extent, this is a question of what one is used
to , the way that Vietnamese music sells well in Vietnam, and Arabic
music is popular in Arabic countries, but not so popular to those who
were not raised in a Vietnamese or Arabic culture, respectively.
Again, some people cannot stand a certain singer’s voice, or the speed
at which they sing, or their orchestral arrangements.

But I think that there is something deeper than all of this. For
example, I like much of the music Stevie Wonder produced between
Talking Book and Hotter Than July, but, five or six songs apart, I
don’t like Michael Jackson’s music. Yet, their styles and arrangements
were similar enough, although of course there were differences, and my
distaste is not based on Michael Jackson’s voice or his tempo. I just
like Wonder’s songs better than Jackson’s, the way that some people
like Paul McCartney’s music, but not John Lennon’s. Why is this?

We tend to think, and to talk of, one writer being better than
another, but “better” in what respect?

In future blogs, I shall explore this in more depth later, but to
anticipate: I think that we are assessing not only the music but the
person who is manifested through the music. This is not necessarily
illegitimate. Music is like the eye: just as one can tell something
about the whole of the person and their state just by looking at their
eyes, one can do something the same with their music. The state of all
of our being-functions (intellect, feeling and physical) is subtly
mixed in and apparent in the visible state of the eyes. So, too, music
is a mixture of these three functions. Even if there is not a single
word in three minutes, there is a sort of thought behind it, and of
course it is obvious that music includes emotion and physical
instinct.

One feels that one comes to know the person behind the music. The
feeling of contact is even greater, perhaps, in the case of
singer-songwriters. Although, in the case of artists like Bing Crosby,
Frank Sinatra and Elvis Presley who wrote little or none of their
work, this is qualified by the way that the music they chose to sing
was tailored to them, their style and their image. In other words, the
relationships we have with recording artists are akin to the
relationships we have with acquaintances.

These thoughts arose not from Lionheart, but from pondering it, and my
response to it. Next, we will consider Kate Bush’s third album, Never
For Ever, which did, to a certain extent, rehabilitate her reputation.
Yet, I have to say, that I do not think the promise of The Kick Inside
has yet been realised, or at least satisfactorily realised, in her
career. She is still, I feel, underachieving, and the reason is a
certain self-indulgence, which we shall further explore in the next
blog.

Joseph.Azize@googlemail.com

Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

—————————————————</stron

January 25, 2010

THE CYNICAL IDEALIST: A Spiritual Biography of John Lennon

JOSEPH AZIZE BOOK REVIEWS

Joseph.Azize@googlemail.com

=======


Book Review:
: A Spiritual Biography of John Lennon, by Gary Tillery (Quest Books, 2009, 6” x 9”, 169 pp. plus chronology, notes, bibliography and index.)

The cover photograph of a wintry Lennon, with the Statue of Liberty ghostly in the background, is appropriate and eloquent for this excellent book. Its subject, John Lennon (1940-1980), was one of the greatest songwriters of the 20th century, and, beyond any sensible argument, one of the most profound songwriters ever known to us. Its author, Gary Tillery, is intelligent, well-informed, sympathetic, and writes very well indeed. I could have greedily finished it in one day, had I had the leisure.

The contents are methodically laid out in four parts: the first three mix biography and philosophy in a readable blend, while the fourth part weaves all the philosophical strands together. This way, we’re introduced to the concepts in a narrative setting before they’re briefly reprised in a more abstract manner. So, although the last section is more recondite, the ideas are familiar. The effect of Part 4, then, is not of density but of convergence.

Reading it, I entered into Lennon’s world. I couldn’t help but engage with the issues Lennon engaged with: life in society, life as a child and as a parent, wanting and giving love, our responsibility to use our influence and power constructively (we all have these, to various degrees extents), religion, politics and art. It’s a book to make and to help you think, thanks in no small part to the quotations from Lennon.

Tillery’s thesis is plausible: Lennon correctly saw himself as a philosopher (as well as a rock’n’roller, a writer and an “artist”). His philosophy was more a developed outlook, based on his experience, than it was an academic philosophy drawn from reading and University discipline. It was not expressed in treatises, but in music, a few short books, some sketches, and perhaps most importantly, his life. Yet, as Tillery notes, Lennon did some serious reading, especially in English nonsense, literature and poetry (and, we should note, history). So far as I know, he didn’t read philosophers like Plato, Aristotle or those in the Western tradition subsequent to Descartes.

Lennon never sat down to work out a consistent system, the way a modern academic like, say, D.M. Armstrong does. Nor did he develop his philosophy by reference to classic problems such as materialism, or the problem of universals. The issues he dealt with were delivered to him as he rose from the lower middle class to the privileged caste of super-wealthy celebrities and tried to make sense of his multiple worlds. Having said that, Tillery finds five principles in Lennon’s philosophy:

(1) it was fundamentally humanistic and secular (p.50),
(2) with a faith in individuals to find their own best natures,
(3) through their love to combine,
(4) through their power to change the world, and
(5) through their altruistic aim to give life meaning (p.101).

That is Lennon’s philosophy in a nutshell, and along the way we have a fascinating account of his life and intellectual development. I could have started with the three principles on pp. 7-8, but they come to the same thing. The account is necessarily brief, but Tillery has a spaniel’s scent for the essential, and the very conciseness of the biography brings out some critical features in sharp relief. Lennon realised he was responsible for his actions, in fact responsible for his influence, and struggled to becomingly discharge that responsibility. Tillery is not the first to grasp this, but his understanding of it is extremely clear and well put (“we owe it to ourselves …”, p. 7; and “Lennon came to see it … as their responsibility to make a positive contribution”, p. 56, see also pp.100-101).

I am most impressed by Tillery’s ardent desire and ability to sum up large issues in pithy statements, e.g. in speaking of how Lennon came to rock’n’roll, Tillery says “he was groping to define himself” (p.23). At p.80, in respect of the Maharishi and Janov, he summarises Lennon’s conclusions by saying: “Leaders were substitute fathers” (p.80). At p.130, he observes that Lennon learnt, from his “lost weekend”, that “… freedom without a foundation is an abyss”. These lapidary phrases don’t come about by accident: a writer has to work to coin them. It is so much easier to just throw words at your subject. Tillery can be justly proud of his achievement, especially in this respect. It is one of the engagingly Lennonesque features of his style. It’s almost a book to hold a conversation with, and the comments below can be taken as my side of the discussion.

Tillery coins a Lennonesque phrase, “cynical idealist”, to describe Lennon (see the explanation at pp.71-4). Personally, I would have said “street-wise” or perhaps “hard-nosed”, and described Lennon as a “songwriter-philosopher”. There is something harsh or dismissive implied in the word “cynical”, and, for me, importing that nuance is rather a high price to pay for the pleasure of the paradox.

Overall, I would be inclined to see Lennon as “sceptical” rather than “cynical”. Yet neither word is really correct, because, whether sceptical or cynical, he was also, by turns, trusting, extraordinarily optimistic, and even gullible (as with some of his advisers). Steven Stark quotes an unnamed critic as saying that of all the celebrities interviewed in a series of t.v. shows in 1969, only Lennon had “a gospel, a hope and a belief” (Meet the Beatles, p.272).

He was all of those things on a cinemascope scale, and as Maharishi experienced, the turn from suggestibility to hostility could come very quickly. In that instance, Lennon had surely been seeking a father figure whom he could trust (p.80), and when Maharishi disappointed him, he lashed out. Is this cynicism, scepticism or something else? Henriette Lannes once said that no one can be adequately described by reference to one characteristic. Such as we are, we’re too divided, too psychologically diverse for that. Shortly before he was murdered, Lennon said that he knew that he wasn’t always positive, but that when he was, he tried to project it (p.155). Lennon’s insight and frankness is touching, and because he saw his fluctuations, it meant that he had the possibility of becoming more consistent.

So although the title is witty, I would quibble with it. Even the sub-title: “A Spiritual Biography of John Lennon”, raises an issue: while Tillery does deal very well indeed with Lennon’s attitude to religion, his use of meditation, and his approach to the book Mind Games, the emphasis in this book is on philosophy rather than spirituality. That is, the primary thrust of the book is with Lennon’s ethical and political philosophy. Spirituality is really the secondary stream here, as the five points of Lennon’s philosophy show.

While Tillery’s approach to Lennon is not at all like mine, neither is it inconsistent. I think that, by comparison, I probably pay more attention to what I hear in the music. The difference in methods is, I often found, stimulating. Tillery looks at what Lennon said in his songs and elsewhere, and deduces a philosophy from that. I am oversimplifying a little bit, because Tillery is quite aware of the need to consider Lennon’s life as an expression of his philosophy: he even quotes Lennon as saying: “Our life is our art” (p.100), referring to Yoko and himself, but also, perhaps, to every human being. To me, this is critical. As Gurdjieff showed, one cannot really divorce a person’s philosophy from their life. They are two related aspects of the one larger reality: their being. I shall return to this below.

Tillery nicely brings out how Lennon was concerned to be able to reach people, all people, and not just a large audience. Lennon did not see himself as over and above the working people he had come from. He never lost his sympathy. I recall an anecdote from the Beatles years, where he was being driven in London, and they’d stopped at traffic lights. Some girls who noticed him perversely scratched the paintwork of the car (I think it was the Rolls). The driver got angry, but Lennon calmly said: “It’s alright, they paid for it”. That is impartiality. Lennon was also his own most perceptive critic. I hope to get to this in the forthcoming blog on “Memory” and “Living on Borrowed Time”.

Lennon was an extraordinary mix, and this book is so interesting partly because Tillery communicates his own broad interest in Lennon’s life and work. This sympathetic interest provides many incidental reading pleasures. For example, I appreciate the story of how Lennon told the students of a university, who were protesting the University’s refusal to turn a vacant lot into a “People’s Park”, that there was no park “worth getting shot for”. Although they had sought his opinion, they rejected it, and in the event, one hundred were injured, one fatally and one blinded. Lennon’s response was equally incisive: the students had been used by an administration which had provoked them into protesting so that it could come down hard on them (p.103)

Not only was Lennon an “extraordinary mix”, he also had something of the English eccentric about him, a type Tillery may not have mixed with, but which is far more benign than the American version which becomes obsessed with conspiracy theories and the Federal Government. This English eccentricity showed partly in Lennon’s faddishness, his love of the exotic (I think this partly explains his fascination with Maharishi), and in his puzzling willingness to entertain weirdos and weird ideas.

One of these was fads, and a weird one, too, was the book Mind Games. I did read it a few years ago, but I can’t say I found anything deep or even interesting in it. Despite Lennon’s quondam enthusiasm for it, I am unpersuaded that it had any lasting effect on him. I thought it might shed light on the powerful song, but it didn’t. The imagery of “Mind Games” the song is not at all drawn from the book, from what I could see. I suspect that Lennon projected into the pretentious volume things which weren’t there, and then lauded what he saw in his fertile brain. So, although Lennon once said that it ranked with Yoko’s Grapefruit and another book, perhaps Janov’s, he seems to have moved beyond it by the time he wrote the song of the same name ( see pp.144-8). The excellent Lennonism which I quote below from p.148 did not need Mind Games, it is a well-known idea which he could have deduced for himself, and would have heard from Maharishi and, especially, from Yoko Ono. As pellucidly expressed by Mr Lennon, it reads:

If you speak, what you say doesn’t end here. … vibrations go on and on infinitely, and therefore every action goes on and on infinitely and has its effect. If you think carefully about the effect you’re going to create, there’s more chance for all of us. It’s hard to think of your every move. But your attitudes to life will have an effect on everyone – and thereby, the universe.

This, of course, dovetails with Lennon’s philosophy as expressed in “Instant Karma”, “You Are Here”, and “Imagine”, to name but some.

At this point, I should mention a matter which can be corrected in future editions: Tillery often cites Lennon interviews, but rarely dates them. For example, the above quotation is referenced, and so I can check the date if I can find the book he drew it from. But the deeper point is that Tillery does not seem to think that the interview dates are important. As a historian of some feeble description, I think that they are: when did key themes emerge, and how did Lennon’s philosophy develop? What twists and turns did it take? It isn’t so easy to conceive things in a sound historical perspective and to soberly evaluate one’s sources. But Tillery is not an amateur writer, he has all the intellectual tools, and wrote the first three chapters in chronological order. As stated, I hope that this book sees a second edition where Tillery can revise the book upwards, so to speak.

Another example of Tillery’s sometimes ahistorical approach to Lennon, is his reference to fasting, prayer and meditation, without noticing (or so it seems to me), that Lennon’s fondness for them was sporadic (p.70). I am unaware of any evidence that Lennon fasted in his Dakota years, although he did to some degree follow a macrobiotic diet (and yet, he also smoked and drank coffee). The question of meditation and prayer is trickier. Lennon referred to meditation in Skywriting by Word of Mouth, but I know of no evidence that he did more than endorse meditation at that time (pp.69-70), or that he ever meditated consistently, except when he was in India. And if he did meditate in the 1970s, how did he do so? Did he use a method, no method, or a mixture? Did he continue to use TM?

As for prayer, Lennon redefined it in pantheist, almost occult terms (as David Katz uses that word in The Occult Tradition). Also, as I mentioned in the “Beautiful Boy” blog, prayer is an important concept in that song, and impromptu prayers turn up, for example, in “Grow Old With Me”. But Tillery refers to prayer in the context of Jesus, Buddha and Milarepa and “time-tested methods of inspiration”. I do not think that that sort of prayer was significant to the mature Lennon, much as I might like to think it was. Indeed, as Tillery notes at pp.4 and 11, Lennon had tried prayer as Jesus recommended, and nothing productive came of it. (As Gurdjieff said, Jesus was speaking to his apostles, people who had been prepared. The effectiveness of prayer depends upon who is praying and how, and the attitudes of certain people upstairs.)

I don’t wish to make too much of this, it’s maybe a good fault to have, but a conscientious reviewer should mention it: Tillery seems to me sometimes to be too positive about Lennon, almost excusing his faults. Thus he downplays the self-indulgence of Lennon’s impertinent letter to the Queen returning his MBE because among matters “Cold Turkey” was slipping down the charts (p.106). I cannot credit, when the short letter is read as a whole, that Lennon was really trying to “lighten” its tone. The tone of that letter was all of a piece. Further, however Lennon may have rationalised the full frontal on Two Virgins, it carried eccentricity to a point which was bizarre, despite Tillery’s best defence advocacy (p.94). Lennon’s modesty before Mintz establishes nothing: he may have changed, he may have been shy in person, or had some personal reason for being apologetic before his friend – anything. Again, it is ahistorical to take incidents separated by the years and say that that was Lennon, as if he were a monolith. And one cannot seriously say of Lennon, by any criterion, that “perhaps he was a Buddha we can all relate to …” (p.137). Yet to be fair, Tillery does mention Lennon’s notorious violence to women (p.115).

As I said above, I don’t wish to make too much of this, because it is only a minor aspect of the book. But precisely because of the extraordinarily high opinion I have of Lennon, I feel that we must be careful not to lost perspective and slide into idolatry and identification.

The true point of my study of Lennon is that sometimes, perhaps very often, it is easier to see reality in the lives of other people than it is to see it in our own. Because of the depth of his insight, and his candid expression of what he learned at each step, Lennon’s life is the richest field I have come across of any figure in the second half of the 20th century. One of the things we see clearly in Lennon’s life is that simply wanting to love is not enough: we cannot love on demand. Something else must come first before the commandment to love can be reliably fulfilled. Just before his death, Lennon himself said:

The hardest thing is facing yourself. It’s easier to shout ‘Revolution’ and ‘Power to the people’ than it is to look at yourself and try to find out what’s real inside you and what isn’t, when you’re pulling the wool over your own eyes. That’s the hardest one. (p. 124, and that interview is dated!)

Earlier in the book, Tillery sums up this attitude, saying how Lennon came to realise that we have to act both “individually and in concert”, but that the “first key … is self-transformation. When considering how to improve the world, people almost always focus their attention outside themselves, which too often leads to resistance, confrontation, frustration and defeat. Actually, the only thing over which we have control is our own attitudes and behaviour” (p. 7).

This is true, at least as I see it. I mean both that Lennon’s insight is true, and that Tillery has correctly formulated Lennon’s view. So Lennon saw that we must begin with self-transformation, and he made some sterling efforts in this direction. It is an art which is expressed in and over a lifetime. But how can this insight be made practical? Tillery suggests meditation, prayer and fasting. Apart from the question of whether Lennon did use these methodically and consistently, it would be even fuller and more practical to say as Gurdjieff did, that if this is our aim, then our being must change before we can achieve that aim (what Gurdjieff calls “doing”).

To change our being, we need to transform negative emotion (a major part of the second conscious shock). That transformation begins not with a direct attack upon hatred, or a direct incitement to love, but with self-consciousness, with the first conscious shock, which comprises: “Efforts to remember oneself, observation of oneself at the moment of receiving an impression, observation of one’s impression at the moment of receiving them, registering, so to speak, the reception of impressions and the simultaneous defining of the impressions received …” (In Search of the Miraculous, p.188). And Lennon had one of those rare glimpses of the reality of self-remembering: I referred to this in the first Lennon blog.

That Lennon did not come up with a practical system like Gurdjieff’s is not a criticism. That he had so many elements of reality in his philosophy is stupendous. Lennon’s insights were astounding. But we cannot without violence separate a person’s philosophy and their behaviour: both express their being. Some of these issues are difficult, and I don’t raise this to condemn Lennon, but I feel that his apparent cruelty to Cynthia and Julian should not be swept under the carpet. It seems to me that Lennon’s cool and aloof paining of Cynthia is typical of someone who knows that he has acted unconscionably, and, incapable of making amends, transfers the blame to the other. No one behaves so maliciously as someone with a guilty conscience.

What Lennon knew and even what he felt, he could not always put into practice. This is one of the morals of Lennon’s life, rather like the lessons of Aesop’s fables.

Along the same lines, Lennon was almost fanatically competitive, especially with Paul McCartney first, and Bob Dylan second. Tillery’s comments at pp.32, 57 and 155 seem to me to be much understated. I think that it’s in MacDonald’s Revolution in the Head, where Lennon’s sabotage of McCartney’s music on what became the Let It Be album is documented. If I remember correctly, MacDonald called it an “act of bastardry”. The first time I read it, I didn’t want to believe it. After all, the motive was clear enough. I think few would dispute that Paul’s songs on that record (especially the title track, “Long and Winding Road” and “Two Of Us”) far outshone John’s. No, I think that if one is going to give an overview of Lennon’s life by way of background to his spirituality, his treatment of his first family, his insecurity and egotism, should probably be acknowledged.

Another possible example of being overkind to Lennon is the way that Tillery mentions philosophers like Descartes, Kant, Hegel and Wittgenstein. Is that praise by association? I am not quite sure. Tillery doesn’t mention Nietzsche, so far as I recall or as the index discloses. But if any philosopher should be mentioned in the company of Lennon, I think that it’s Nietzsche. Of course, he was not so respectable a philosopher as Kant, but then neither was Lennon. Even if it is right to mention Hegel and so on, yet I feel that Tillery pays disproportionate attention to those academic philosophers, as compared with others of an artistic variety like G.B. Shaw, Tennessee Williams (whose work Lennon idolised, see my “Tennessee” blog) and, of course, Bob Dylan.

A few books are missing from the bibliography. Goldman’s book is dirty, but it should be read, even if only to critique it, which, incidentally, I would like to do, but I lack the time. If you are a John Lennon fan, and know Yoko One, persuade her to pay me a stupendous amount of money to write a critique of it: she will be so satisfied she’ll wish she’d paid me more (and I won’t knock it back). Similarly, Dakota Days by John Green should be considered (from fallible memory, Green was one of Goldman’s sources, but he is not responsible for that). Green may have exaggerated certain matters, but I am by no means convinced everything he wrote was inaccurate. His diagnosis that Lennon had a sort of writer’s block during most of the Dakota period may be at least partly correct (see p.130). Once more, I don’t think he should be ignored.

Cynthia Lennon’s book John, is much fuller than A Twist of Lennon, which Tillery does use, and was, I would have thought, available in time for Tillery’s research. It presents a decidedly less flattering picture of Lennon, but my sense is that she has been scrupulously honest. Julian Lennon made some important points in the foreword to his mother’s book. I did not notice them here.

When books present negative images of Lennon one can try and maintain a dignified silence, lest they be given undue credibility by paying attention to them. Or one can answer them, squarely and analytically. I think that given Lennon’s fame, and the nature of the world, the first option is, finally, counter-productive. People will be coming back to Goldman (and even that weird book by someone who’d interviewed him once, and whose name I thankfully forget). If their views of Lennon are not answered, later critics will take this as a sign of their unassailable veracity. Sometimes silence can encourage, or at least facilitate, shouting.

But then, May Pang is positive about Lennon and the “lost weekend”, and I don’t recall that she’s even mentioned in this book. I find that odd, because she was an important figure in Lennon’s life. As I recall, she says that the LA period “wasn’t so lost”, and I found her memoirs intelligent and sensitive. Of course there was a personality clash (if that word is not too weak) with Yoko.

Another book which was missing, is Steven Stark’s Meet the Beatles: A Cultural History of the Band that Shook Youth, Gender and the World, published in 2006. It could have added another dimension to Tillery’s treatment, because it shows, to an extent I had never appreciated, how the Beatles’ popularity was related to their fresh approach to youth and gender, an approach which Lennon developed as he grew older. Which reminds me that the role of the female in Lennon’s spirituality, as opposed to his politics, seems to me to be missing from Cynical Idealist. Stark could also have helped Tillery to an increased appreciation of the importance of the Lennon/McCartney rivalry.

By the way, Quest Books please take note: I performed a spot check of the index, and found an error one of the 30 tests: where the index has p. 172 for the film Hard Day’s Night, it should be 170. That error was the only one I found, but the index should be revised if you go to a second, revised edition.

And I hope you do, because this book, deep and thought-provoking as it is, was a damned good read (to use a phrase Americans gave to the world).

Joseph.Azize@googlemail.com

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

“Maronites” is pp.279-282 of “The Encyclopedia of Religion in Australia” published by Cambridge University Press and edited by James Jupp.

January 13, 2010

J R COLOMBO REVIEWS the anthropology of magic


The John Robert Colombo Page

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An eye-opener of a book written by Susan Greenwood is reviewed by John Robert Colombo

There is an amusing story that is told about the Danish physicist Niels Bohr who was showing a colleague the barn behind his chalet which he had converted into a study where he undertook his calculations. The colleague pointed out that above the barn door someone had nailed an inverted horseshoe, a symbol of good luck. He asked Bohr if he believed the horseshoe would bring him good luck. “No,” Bohr replied, “but I understand it works whether I believe in it or not.”

I was reminded of this tale when I began to read “The Anthropology of Magic” written by Susan Greenwood. It came to mind because the moral of her book – I am not offering a “spoiler warning” here so much as I am “cutting to the chase” – seems to be that “thinking makes it so” or “if you believe you can do something or if you believe you cannot do something, you are right.”

The two statements seem to be platitudes – indeed, the first is a cliché, and the second is a paradox – yet these truisms are … well … true. There is a kind of knowledge that results from “magical thinking” as there is a kind of knowledge that results from “scientific thinking.” This in a nutshell I assume to be the argument of Dr. Greenwood’s study. As for the nutshell mentioned in the previous sentence, it was Prince Hamlet (who has been called the first modern man) who boasted, “I could be bounded in a nutshell, and call myself king of infinite space …. “

It occurred to the biologist Stephen Jay Gould while he was in Vatican City that there are two forms of authority (if not knowledge) and that these two forms are derived from “the magisterium of science” and “the magisterium of religion” and that the two magisteria do not overlap. At the time of this formulation Gould was in Rome, accompanied by Carl Sagan, the sceptical astronomer, who had a deep “sense of wonder.” They were there to participate in a scientific conference. Sagan derided Gould for his suggestion (or concession) there is any knowledge in religion, knowledge at any rate that resembles the “real” knowledge that results from the work of scientists, that produces measurable results, and that can be falsified. Gould was miffed and wrote an essay about the disagreement.

Aleister Crowley practised ritual magic the way Dorothy Clutterbuck practised the ceremonial magic of wicca. The Great Beast used to call what he did “magick,” and I seem to recall that he defined this practice as “causing change to occur in conformity with Will.” Crowley conformed to the image of the Black Magician. The White Witch may be seen in the person of Clutterbuck, who inspired Gerald Gardner, who gave much of the characteristic form and feel to the contemporary practice of Wicca, which is at home with the subtle forces of the natural and supernatural worlds. Both Crowley and Clutterbuck worked in “imaginal” realms.

These ideas and notions were rattling around in my brain (or mind) when I began to read “The Anthropology of Magic,” which is a serious contribution to both anthropology and magic written Dr. Susan Greenwood, who is Visiting Senior Research Fellow of the University of Sussex, Brighton, England. She is scheduled to deliver the keynote address at a seminar to be held at Girton College, Cambridge, England. It takes place on May 13, 2010, and the title of the session is “Legitimate Forms of Knowledge?” (I imagine that the question mark is important in her address.) So Dr. Greenwood is a scholar. She is also a practitioner of magic.

First, a note of “disambiguation.” Susan Greenwood is not to be confused with her near-namesake, Susan Greenfield. The former is an anthropologist; the latter is Baroness Greenfield, an Oxford scholar and a biomedical writer of considerable ability and media-savvy and the author of numerous works, including The Human Mind Explained, and other popular and not-so-popular texts. The two Susans are very able people, but the Baroness does not profess to be a magician.

The Anthropology of Magic, written by the scholar who professes to read tarot cards and to practice the healing arts, is a big book in that it is an oversize trade paperback that measures 6 inches by 9.5 inches. It is only viii + 164 pages long but the type is quite small so there are many sentences. It was issued in soft and hard-cover editions in 2009 by Berg Publishers, an academic house based in Oxford that publishes books and journals in a great variety of fields with a specialty in modern design. Its website lists and describes its serious publications, including the present one.

I imagine Dr. Greenwood to be a fine lecturer because she is a fine writer. I am tempted to say that for an anthropologist she writes with great clarity. Her sentences are crystal clear and the diagrams that she has added to the text to display contrasts between scientific and non-scientific modes of thought are ideal for PowerPoint presentations. She is one anthropologist who is interested in communicating with a public that is academic though not limited to fellow anthropologists or magicians. In this regard she reminds me of Susan Blackmore, who in her shift from espousing parapsychology to embracing scepticism has never ceased to be a psychologist and a scientist.

Like Dr. Blackmore, Dr. Greenwood is an enthusiast and a participant who is willing to advance atypical views. But the two academics are unalike in that Dr. Blackmore works as an experimental psychologist and follows the trail of the evidence (or lack of it), whereas Dr. Greenwood is a theorist and not a scientist who is concerned with finding a place in intellectual discourse for what is regarded as the irrational. Dr. Greenwood is arguing a case, and she argues well, but after a while the reader – this reader anyway – begins to feel that he is being led to face a series of foregone conclusions.

In the next paragraphs, I will summarize the contents of Dr. Greenwood’s book and thereafter offer an evaluation of her approach. Now I will begin with the Table of Contents which neatly outlines the subject – which I take to be how an anthropologist argues that we could look at magic as a source of knowledge, and if knowledge is a form of power, then as a source of power too.

There are four sections. The first section is titled “Explaining Magic” and it describes what used to be called the “participation mystique” (it sounds better in French) and the structure and operation of magical thinking (through connections and associations). The second section is called “The Experience of Magic” and it presents what the author considers “magical consciousness” and “a mythological language of magic.” The third section is labelled “Practical Magic” and it deals with “webs of beliefs,” basically how being human we can never escape this way of experiencing the world. The fourth section is termed “Working with Magic” and deals with what might be called consilience but which the author describes in the phrase “Not Only, but Also.”

So much for the arrangement of the contents of the book. I will now try to abridge the author’s Introduction, introducing some of my own impressions along the way, but downplaying to some extent the author’s great strength: her knowledge of and respect for the theories and insights of the great anthropologists of the past and the present. She argues that the discipline has always had to deal with the subject of magic and that the approaches that anthropologists have taken in the past have told their readers more about themselves and their societies than about the theory and practice of magic itself. As well, it seems, the conception of the nature magic has changed with the times.

There are two main problems: the “ultimate irrationality of magic” and its “inferiority … when compared to science.” Nevertheless magic lies “at the heart of anthropology” because of “the issues it raises in relation to human experience.” If it lies at the “heart” of anthropology, it lies at the “heart” of men and women too. We seem to be creatures who are able to respond to the world both magically and scientifically.

The author writes, “The time has come to propose another understanding of magic, and it is the aim of this book to examine magic as an aspect of human consciousness.” She is prepared to show how it affects “everyday conceptions of reality” and how it can be “an analytical category as well as a valuable source of knowledge.” Perhaps I am taking this further than the author does when I suggest that to her magic offers a way of knowing about ourselves in the world through the imagination, a way of knowledge that augments the way we generally know the world of matter through measurement.

“When I first started my doctoral research in the 1990s, I made the decision to study magic from the inside, as a practitioner of magic as well as an anthropologist. I wanted to discover what could be learnt through direct experience.” She explored the ramifications of this approach in her two previous books, both published by Berg: “Magic, Witchcraft and the Otherworld” (2000) and “The Nature of Magic” (2005).

A dozen pages of Introduction follow in which she discusses cultural assumptions and contrasts the experiences of magical practice in our own culture with those in other cultures. She notes the effects of “a detraditionalisation of mainstream religions”and limns the changing face of magic in Western occultism. In the process, I acquired two new words that have recognizable meanings: “Celticity” and “Druidry.” She amusingly compares traditional “African witch-doctors with Western political spin-doctors” (like those employed by prime ministers and presidents and other political leaders to create new “narrative”). She concludes, “Magic is alive and well as an analytical category in a whole range of new ethnographies.”

She writes, “The approach taken here focuses on _magical consciousness_, a term that I use to describe a mythopoetic, expanded aspect of awareness that can potentially be experienced by everyone …. ” Despite the importance of this mode of knowledge, magic has been marginalized in what she calls our “Western rationalist culture.” The writings of Tylor, Kroeber, Freud, Durkheim, and others are mentioned to demonstrate how magic has been dismissed as deluded, dangerous, deceitful, or dumb.

Yet shamanism is not so easily dismissed because it does produce a change in consciousness in the sense of a transformation of sensations, impressions, emotions, and conceptions. These in turn affect values. The transformation of consciousness immediately brought to my mind the following lines from the poem “Vacillation” in which Yeats describes the illumination of a fifty-year-old man:

While on the shop and street I gazed
My body of a sudden blazed;
And twenty minutes more or less
It seemed, so great my happiness,
That I was blessed and could bless.

Many people feel (at times anyway) blessed, but anyone who is able to bless is a magician. It would seem the poets are there with the magicians.

A consideration of the truths or insights that come to us through the medium of poetry is offered through a brief but relevant discussion of Donne’s poem “A Valediction: Forbidding Mourning.” Yet only one page is devoted to the nature of consciousness itself, despite the advances recorded in the 1990s by neurologists and philosophers into the mind / brain division in the field of “consciousness studies.” I guess these are not subjects regularly discussed by anthropologists, nor should we expect them in a book about the “anthropology” of magic.

Some subjects do not yield their secrets to logic and this is one of them, so with relief she switches into a visionary mode. She begins one paragraph, “I remembered a dream I had had previously in which I was climbing down a deep tunnel in the middle of the earth …. ” The dream continues and it involves a loss of skin, a round space, swimming in water, narrow tunnels, bones being picked by a large crow, etc. This is a fertile field for a Freud or a Jung!

I have maintained a daily dream diary for the last five years, so I can attest that one’s dreams are significant to the dreamer but seldom meaningful to anyone else. These motifs in the dream world may or may not be relevant to the waking world. She concludes, “This experience had a profound effect on me,” and I do not doubt her, but was it an “imaginal experience” as she suggests? Not in Corbin’s meaning of that word. A dream is an experience, but it is the experience of an illusion, and no special effects necessarily issue from it. Are any such illusory experiences meaningful and significant? I doubt it but the subject may be debated and Dr. Greenwood does debate it well.

Psychology is not much to the fore. I read Tanya Luhrmann’s Persuasions of the Witch’s Craft when it appeared in 1989, but in the intervening years, I have found little reason to recall its argument. Luhrmann found magic or Wicca to be rich in psychological insight, period. Dr. Greenfield finds it to be rich in many other fields as well.

The author is concerned to square insights from the practice of magic with the understanding offered by her discipline. “The difficulty is that anthropology is a discipline with theoretical and methodological understandings located firmly in the material world, despite attempts to value all human orientations as valid.” Yes, but is there communicable knowledge beyond the confines of the material world? She would answer Yes. I am inclined to agree with her, but I prefer to hedge my bet, like the majority of scholars and scientists, and take refuge in the Scots verdict “not proven.”

The great anthropologist Frazer is given his due, limitations and all, for he was the Darwin in his field. One upon a time, à la Frazer, there was magic which gave way to religion which gave way to science. Given the paradigm shift proposed in these pages, it seems science may now yield to religion and religion to magic. Perhaps “paradigm shift” is the wrong phrase to use here, for there are no references in the text to Kuhn and his theory of just such a shift.

Dr. Greenwood much prefers what has been called the “interpretive drift.” This is part of the mythopoeic faculty which has always been inherent in the nature of man and woman and been granted at least some recognition in every human society (except, according to convention, that of ancient Sparta). Denis Saurat saw it explained as “philosophical poetry.”

The author discusses the views of the “mystical mentality” adopted by the philosopher Lévy-Bruhl and the psychologist Evans-Pritchard. She even writes an imaginary dialogue for them to debate their points of view. She feels their views hold promise today for they agree that “mystical mentality was universal to all human beings.” The savage of the past was no less rational than is the scientist of today. The anthropologist or psychologist is on safe ground in making this observation for the statement challenges neither of these disciplines. I recall reading somewhere that a researcher once said, “Superstition is superstition. But the study of superstition is science.”

The profession of magic is very much part of the author’s life, as is the profession of anthropology. “This book tells a story about my journey to discover the anthropology of magic; it feels like a patchwork quilt or a jigsaw of pieces of information that I have picked up over the years, both in trying to make sense of my fieldwork experience and also in teaching ideas about magic in anthropology of religion courses at Goldsmith’s College, University of London, and shamanic and altered states of consciousness courses at the University of Sussex.”

So much for the Introduction. If I continued to try to paraphrase and comment in such detail on the balance of the book, I would produce a tedious review too long to be read in a single sitting, and I would do the author’s thesis less than justice. Instead, I propose to do something unusual and allow the author to make her major points in her own words. I will do so by quoting the four paragraphs that the author has written to outline her argument section by section. These are well handled.

Summary of Section One:

“This section sets out to explain theories that help an understanding of magic: not the explanations that somehow reduce magic to its effects on human behaviour or society, but the essence of magic as an intuitive process of mind. Magic is a holistic orientation to the world that is essentially relational and expansive; it is not irrational or confined to the thought of so-called primitives, nor is magic the preserve of non-Western, exotic societies. Rather, it is an aspect of human consciousness, and therefore it is especially appropriate to study magic in modern, Western societies, where it often manifests as an undercurrent.”

Summary of Section Two:

“Using my own experience, in this section, I focus on breaking down the barrier between researcher and researched to show how magical consciousness flows through emotion and the mythological imagination.” (Added to this summary are two quotations. The first one has Dr. Greenwood quoting herself about the “uncomfortable process” of “self-examination and exploration.” The second one is an observation of Jo Crow, a British shaman, who alludes to the “multidimensional” nature of this experience.)

Summary of Section Three:

“Magic is often said to be about the purported art of influencing the course of events through occult means; it is a practice that is said can bring about certain effects such as causing harm or healing. It can be conscious or unconscious as well as rational and mystical, but above all, magic involves an immaterial psychic dimension to everyday reality; this is widely described as spirit. In this section, we will explore everyday magic, from the classical ethnographic work of Evans-Pritchard on Azande witchcraft, magic and oracles (Chapter 6) to divination and healing in various cultural settings (Chapter 7).” (Also included are three quotations from Evans-Pritchard, Tedlock, and Parrish which add little to the above description.)

Summary of Section Four:

“Anthropologists working in the field encounter specific challenges when confronted with the gap between informants’ accounts of spirit beings and their own position as researchers within the essentially rationalistic academic anthropological discipline. Magic poses problems for many anthropologists; this is due to the fact that its spiritual nature conflicts with Western notions of rationality, as we will see in Chapter 8. A more inclusive scientific framework is needed that overcomes the theoretical tendency to devalue magical experience and to recognize magical knowledge as a valuable aspect of human consciousness. Chapter 9 builds on ideas developed by Gregory Bateson and Geoffrey Samuel to just this end.” (Also included are short quotations from Turner, Lévy-Bruhl, and Bateson.)

I should add that the book includes extensive source notes and an index. There is no general bibliography but there are short bibliographies for “further reading.” There is no section called Conclusion, but I soon came to the conclusion that none is required for what the author would have to say in any final section is a foregone conclusion.

Dr. Greenwood is appreciative of the anthropologists of the past who devoted their lives to fieldwork. I imagine she regards her own experiences and the effects they have caused in magical circles as a form of fieldwork. She sees the great anthropologists’ insights into shamans and magical journeys as transferrable to today’s witches and their imaginative encounters. In this undertaking, she wins on points because she is what the French describe as “parti pris.” She knows where she stands and that is where she is heading. The reader is not taken on a journey so much as allowed to explore the intellectual ground already claimed. So her study does not add to human knowledge but it does examine some of our preconceptions of the nature of that knowledge.

There is a short but interesting section devoted to the relationship between mythos and logos. I wish it were longer and that it took into account the conception of that connection in the analysis of Northrop Frye who found the relationship to be one of “interpenetration.” But to do so would have required Dr. Greenwood to enter into the woods of the archetypal world of Nemi that is more frequented by literary critics and analytical psychologists than by anthropologists and ethnologists. As well, the author spends some time with phenomenology, she never really exorcizes its demon of subjectivity, even misspelling that word on page 141.

Yet I find “The Anthropology of Magic” to be an eye-opener of a book, not so much because of what or how it argues, but more because of the position for which it argues: the postmodern notion which is rapidly gaining ground that it is not necessary to believe in anything.

Near the end of the book she writes, “Whilst participating in a magical aspect of consciousness, the question of belief is irrelevant: belief is not a necessary condition to communicate with an inspirited world.” What works, works. William James’s contribution to the notion of multiple consciousnesses – not just to multiple layers of consciousness – is acknowledged, and as a pragmatist he would have agreed. So would Niels Bohr with his horseshoe.

John Robert Colombo, an author and commentator who lives in Toronto, is an anthologist, not an anthropologist (although he did pass two “anthrop” courses at the University of Toronto in the late 1950s). His latest publication (co-edited with Dr. Cyril Greenland) is an expanded edition of “Walt Whitman’s Canada.” He is currently writing an introduction to an omnibus edition of the five Sumuru novels written by Sax Rohmer (the mystery story writer who created Dr. Fu Manchu). Colombo’s personal website is www.colombo-plus.ca

January 12, 2010

GEORGE ADIE: a task on hurry from 1981

A Task on Hurry, from 1981

On 24 February 1981, Mr Adie gave this task to one of the Newport groups. His statement of the task comprises Part I. Over the next week, the groups attempted to use the task to help their line of work. Then, the next week they brought their observations. Some extracts from one of those meetings, that of 3 March 1981, taken by Mrs Adie, is Part II.

Part I

Mr and Mrs Adie were in front of the group. Mr Adie introduced the task:

“How are we going to approach work more practically?

“The tasks that are given are only there as a help to work. The actual work, the actual choice is my own responsibility to do what I think is best for me. I may be wrong, but it doesn’t matter. I shall find that out. If I try, and then bring my experience to the group, I shall find it out. If I don’t try, I shall find nothing out.

“And the exercise is given, and has to be done as near as possible as said. I don’t have to think about that. Or at least I don’t have to think it out, it’s already presented. I do have to try and fulfil it and relate it to my own line of work. I must have a near aim, I must be going against something. I must be trying to achieve some change in my being state. Now how?

“Again, want to see how I am. Again, I may already know that certain habits, certain tendencies are unquestionably against my aim. Whatever my own individual aim, it takes me away. So that’s a thing I have to try and work against. Maybe I need to see more in regard to that. Alright then, in that case my aim is to see more in regard to that. And I have to relate that aim to this exercise given, and see how the connection is, and how it can be supported. I know that if I do make a resolve, and do my preparation, I shall get more reminders.

“Now this week, there’s a particular exercise given, which will be gradually expanded. But this week, I have to choose when. I have to do my preparation. It’s my own responsibility how I prepare myself, to sense myself, to relax, to become centrally placed, I know that. And I have to try and remind myself of the kind of work I’m going to do: where I’m going to be impatient, where I’m going to be irritable, where I’m going to be afraid, what habit I’m going to try to get over, laziness or gluttony or irritation, or I don’t know what.

“And in relation to that, what is going to remind me? I choose in the morning. I must do my preparation early, first thing, first thing on awakening. Then, I choose in the morning for one half hour during which I will not hurry. That doesn’t mean to say I do things slowly. I may find I do them much quicker, but I will not hurry. I will try and do everything without hurry.

“Hurry is terribly costly, it produces tension, fear and consternation and flurrying, throwing things, and catastrophes. Nothing can be done with hurry. How can any artist work in a hurry? Impossible. That’s an artist, and our work is on another plane. We cannot work if we’re in a hurry.

“The central idea of this half an hour is that I wish to observe myself. I am going to be in life: if I have an interview, a job, cooking, accounting, carrying, whatever it is. I know that this is the kind of work I shall be doing. I choose that half hour, but in that half hour I am not going to hurry. As said, it doesn’t mean to say that I have to slow down.

“Is it clear to everybody?

“Do you smell the possible result that might come from that? That one is always in a hurry, either in a hurry to escape doing something, or to get a result with less effort, or to get onto something more pleasant. Try and see. See what is required. You have some data now. See how it goes. Make a note of what you find.

“Of course you have to try and be present. And I shall need my feeling of myself. See how the requirements expand? Does it seem possible? For the whole week I try not to be in a hurry, but to do twice as much. Mm?

Mrs Adie prompted Mr Adie: “You also suggested that if they succeeded, they could …”

“Yes, thank you, I forgot that. If I make the appointment and I remember, then I am entitled to choose another half an hour in the second half of the day. But if for some reason I don’t remember, and I don’t have that half an hour, then I must leave it until the next day. It’s not like an ordinary appointment; this is something for half an hour where you’ll be working in a special way. If you fulfil, it doesn’t matter how successful you were, but as long as you fulfil it, you can then try again in the second half of the day. But if you don’t, then you miss the second half of the day. Try and see what use you can make of this to help your own line of work, your own aim.

“In the preparation, it’s a question of ten or 15 minutes, as early as you can in the morning, if you wish on one or two occasions to have a considerably longer one, you can, but at the same time, don’t just sit in a dream and think it’s work.

“If this is productive, the exercise will be built upon, so see what we can find. Don’t forget to make a note.”

Part II

When Mrs Adie came down to the meeting, perhaps 25 minutes after it had started, Ivan, who had been taking the meeting, said: “One of the things people brought, Mrs Adie, was that they couldn’t maintain the exercise for half an hour.”

“What do you mean by ‘not maintaining it’? Of course you couldn’t maintain it without any lapses.”

Pauline spoke: “I had sort of a moment … I can’t remember times.”

“But you mustn’t be too identified with the time. Can you say what happened? What your experience was?”

Pauline had a good deal of trouble even stating what had happened. After several questions and Pauline’s responses, it appeared that she had had a few moments of presence, but felt discouraged because they were so few. She had noted a tension in the stomach, and saw what she called a “boorishness” manifesting. It reminded her of something Mr Adie had reminded her of, but all she could feel “was a wall”. Her question was: “When I found it so difficult, do I keep trying to continue for half an hour?”

“If at that moment of difficulty, you realise how unstable your attention is, you have a chance. Don’t let that just slip away. You have less than half an hour before you. Can you somehow or another approach to the wish to do it?

“At first, you find there’s no wish there, because really, what can wish? However, even if you’re not fully present, but you have a feeling that there’s something lacking in your presence, then there is something there that can lead you on. Take advantage of that moment. Don’t let it go too quickly. You can’t hold it indefinitely, but if you want to, if you feel it enough, your weakness, that inability, you are working. What else could one ask for?

“You may not be able to maintain it unbroken, but it will come back, and much more often. And that is what we hope for. Everything depends on having more moments of this presence. Yet it’s no good working directly for the wish. You can’t produce a wish like that, by just saying “I want to wish. I wish.” It’s not there. It comes as a result of something. It comes as a result, sometimes, of making an effort in spite of the fact that you haven’t a wish.

“It can come when your head understands that it’s necessary. Although in many ways the head is a great obstacle, or at least the lower part of it is, we also rely on it. The head understands. The body doesn’t understand, and the feeling doesn’t understand: they have to be disciplined.

Pauline asked: “Can you say more about the different parts of the head?” You can hear, even over the tape, that the person asking this was a lot simpler and clearer than the one who had been speaking earlier.

“Well, you’ve read it of course, but until one has a real question, people forget. One wants to be careful not to become formatory in your understanding, but it’s important to know that your head is divided into three. There’s lowest part, which is completely mechanical, where really you could say there is no attention. Your attention is dragged out of you, so to speak. Then there’s the middle part, which has some feeling, and is not completely mechanical; there’s an interest, you’re attracted to something, and you find it easy apply your mind to it. And then the highest part requires a big effort, because you’re not attracted to it, it’s something you’re obliged to put your attention on. Some people find that with Beelzebub, for example [reading Beelzebub's Tales to his Grandson]. There has to be an effort, you read in spite of the fact that your inclination is not to read it. Many people in their accounts spoke about the lack of wish, and it’s perfectly true, but the practical question is how do I produce it? What is going to help me feel it more?

“I’m nearly all the time in my personality, and my personality does not wish, because personality is in my head, very largely. And the feeling is in my essence, and my essence is what is real. Yet, sometimes something in personality can realise that. We couldn’t live without personality. Without the help of the more real part of personality, we should not be here: it’s largely personality that takes the initial interest in the ideas. So we to be careful not to confuse that.

“But very often personality is completely imaginary, and apart from not wishing, it’s very much against it. There’s nothing in it for that part of me, and some have seen how much that operates – that’s a very big discovery. It takes a long time sometimes. You don’t get upset about it, you can’t help it, this imaginary part is going to try to come in and spoil everything. But if you just don’t believe it, it loses some power, you’ve seen that now.

“So what else? Have there been many questions?

Gerry spoke: “Mrs Adie, there’ve been moments where I’ve known that I need to be watchful to observe myself and really try to see what’s happening, but when those moments come, and they are such that I know when they’re likely to come, but when they come, I don’t seem to be able to observe, I seem to be caught. I know in my head, anyway, that I need to plan for these.”

“Yes,” replied Mrs Adie, “you’ve spoken about that before. It certainly is a thing which seems to bother you. Of course with your present exercise something is very much more possible. In a way it doesn’t matter which time you choose, if I have an intention. You can choose a particular time when you know you’re going to have that tendency to hurry, but it’s much easier to see, I think, don’t you? It’s more restricted, in a way. It’s more specific, and a lot can be seen from it apart from the fact that whether you do or do not hurry in that time. But any other line of work should go on at the same time. It can help it.

“Yes, I feel there’s a necessity for me to care more about these moments, but when I do try and look, it seems a futility.” Gerry continued: “I feel a futility, in that when I try to observe, when there’s a negative process happening in me.”

“Did your effort not to hurry commence before that process began, or did you awake in the middle of it?”

“I wake up in the middle, or even after it.”

“If it awakens you, then that’s a moment of possibility. If you weren’t there at all, you’d have forgotten it, but if you’ve remembered it, that’s a great gift. At that moment you actually have some choice.”

“A moment of choice is a terrific thing, which has to be worked for. But what is aware of your state isn’t caught up in it. So, how can it serve you? You need to hang onto that awareness, even if the process apparently goes on. The force goes out of it. Some force is available for myself. And at the same time, it’s very difficult but you can actually observe what is taking place.

“It can’t last very long without a break. Maybe the impulse is too weak, but any kind of recollection is a moment of choice nevertheless. You have a certain choice at that moment. Your head will understand that something is possible at that moment. But it hasn’t enough power, the head hasn’t enough force. Those moments have to be cherished and fostered, and I agree, as it were, that the fact of my experience makes an impression on me at a moment when I’m a little bit more impartial, less lost. If you have that valuation, something may grow up in you.”

After a pause, Mrs Adie advised: “Don’t concentrate so much of your attention on whether I can do the exercise it or not. It’s what can come out of it. If I try, quite unexpected things can follow. I shall see many things I had not known. Does anybody have any interesting observations about it at all?”

John spoke: “I think just from being given the exercise to do, I’ve seen a lot clearer the running around, and the sort of madness going on inside. It’s even the time of the day outside of the half hour appointments. It began as soon as Mr Adie gave it, before I’d even made the first appointment. I felt: “ I need this”.

“It’s quite true”, said Mrs Adie. “ An intention has an effect. I make a plan, and if I have any presence, it has an effect, it isn’t restricted to the time planned for. Especially with something like hurry, because even if I’m not doing anything. I’m never at peace, never quiet inside.”

Jethro brought his problem: “Mrs Adie, I find that I just go at two speeds, flat out or not at all. and really there’s no half way. Maybe I misunderstood the point of the exercise, and gave way, but I found that to interfere with the speed at which I operate, my machine operates, results in real failure of coordination.”

“But you’re not asked to interfere with the speed at which your machine operates. You’re asked to not to hurry, which means not to force it to go faster. What would you say hurry is?”

“It’s putting a kind of nervous energy into normal movements …”

“Yes, and it doesn’t make you any faster, just more hectic. It can even make you do things more slowly, because everything’s chaotic, you drop something, or … all the centres are completely in chaos. Hurry is a state, a sort of agitation. The mind isn’t working, the mind is in confusion. But Mr Adie did not suggest that you interfere with the speed at which your machine operates.”

“I’m in a situation where I’m under pressure from my boss to do quite complicated repair jobs, to help get musicians and artists out of trouble. I work with a firm of specialists, so I’ve achieved a kind of concentration which enables me to do sometimes quite complex work, at a high speed, while the customer is waiting, while they should really be sort of …”

“And you find you do it quicker if you do it in a hurry?” Mrs Adie asked.

“Much quicker, yes.”

“No, that’s not right.”

Jethro was not to be moved. “Well, the job gets done somehow, and the customer is delighted.”

“Yes, but if you were not in a hurry you could probably do it quicker. If you’re in a hurry, your attention is either dispersed or completely identified with one thing, getting it finished.

“Oh, well, yes, that always happens, that always happens. I curse the phone and I curse the intercom.”

Mrs Adie laughed. “Alright. You say it’s the only way you can do it, yet you haven’t tried any other way. To do something without hurry doesn’t mean to slow down. It doesn’t mean that at all. On the contrary, it means not to hurry inside. It’s inside that all this hurry is going on, in your so-called feelings.

“This hectic, agitated feeling that you’ve got to get on with it, get it done quickly, is the resistance. You can try times when it hasn’t got to be done in half an hour, or whatever it is. But try to do it with your head operating in the right way, and your emotions quite quiet. Your emotions have got nothing to do with it. They’re not needed at that time. You need your head and your moving centre. Maybe a certain amount of instinctive centre, too, to do with tuning the instruments and that sort of thing, but it’s the emotions that interfere and make you hurry, that get in the way. If my feeling can then appear, that will even ground me.

Ivan made an appropriate remark: “May I give an example? I think if you consider a concert pianist who plays something very very fast. He’s never in a hurry: he’s extremely relaxed. I went to the Opera House the other evening, and the pianist was playing some tremendously fast passages, but his hands just went … there was absolutely no hurry about it. I think that’s what we’re trying to convey.”

“Yes, it’s quite true,” said Mrs Adie, who was herself a concert pianist as well as a composer. “I remember that was a very vital thing, always, it was even impressed on me, by my professor, to take my time beginning, for example, never to be in a hurry.” She addressed Jethro directly: “You’re a pianist yourself, if you hurry, you’ll play a lot of wrong notes.”

After a pause, Mrs Adie added: “I think you’re rather settled, you’ve taken rather a stand about this. Try and be a little more flexible in your understanding. Make an experiment at a time when you can afford to make an experiment.

“You know this about your nature that you are a very tense person, and it’s not only physically tense, you’re tense in your feelings. You agree that you’re rather tense?”

“Mm!”

“It’s not a sin. Many of us are. I think it is very largely in your feelings. It means that you should sometimes, when you have a moment’s peace, just watch your breathing without changing it. Your breathing indicates your emotional state, very much. If you’re calm, breathing is calm. Directly you get excited, the breathing gets quicker and more shallow. Remember that when you’re doing something. It can be anything, just for a moment put your attention on that area, it’s the area of your feeling. Where you breathe is the area of your feeling. Try and quieten it a little bit, and when you do that your body will also relax more.

“You need to put a little more attention on that, I think. It’s one of your big difficulties. But you’re not as tense as you were, in any case. It is already better than it was: much better. But it would help you with everything that you’ve been mentioning, especially with the particular job that you have, which is very demanding in a certain way, and needs a sort of sensitiveness, doesn’t it? If you’re dealing with musical instruments and that sort of thing, you need to be free from this sort of turmoil that goes on. I think you agree that it does go on? That you’re in a turmoil a lot of the time, and it doesn’t serve any useful purpose?”

“Oh yes!”Jethro was emphatic.

“It really is your enemy. Well, I think you need to choose your half hour very carefully, to being with, to start with, anyway. Choose an occasion when you’re doing some quite simple thing, and see if you can do it when your feeling’s absolutely quiet, and your movements very measured, and intentional, with the assistance of your head.”

Silvio brought an interesting cameo: “One day this week I did my preparation, and I made the appointment for 11.00 o’clock. As I was typing, I kept saying to myself, “I’ve got an appointment at 11.00 o’clock.” And I did that until 1.00 o’clock in the afternoon.”

“Then learn from that. Something in me gets very frustrated. But I accept that that is how I am. And then I need to be patient. I accept the fact that that is how I am, but I am not satisfied with that. I accept it, but not passively. From that there can come a wish. The realisation of that. It’s necessary to see how completely powerless I am.”

“What I wonder is, what in me was saying to myself: “I’ve got an appointment at 11.00 o’clock”?

“No one can say, only you can know. It is suspect, but maybe it is the best I have for the moment. Something in me always wants to do: to succeed in doing what I set out to do, which is nothing to do with my real wish at all. I’ve decided to do something and I’m going to do it. But it isn’t like that, a real wish. It’s a very subtle thing, and very difficult to put into words exactly.”

I have omitted a few questions. At the end of the meeting, a woman brought this last question of general application: “Should we keep the same time each day?”

“It depends on what you find,” answered Mrs Adie. “If you find it’s a practical time, no need to change it. If not, then you change it. Sometimes it’s good to change it, it depends on what you find. But if you know there’s something that you tend to spoil by hurrying, make more mistakes, choose that time, certainly.

“If the quality of the effort seems to fall off, better to make a change. It will always run down unless I apply some sort of a shock to it. And also, one becomes rather lazy about it: taking the same time saves a lot of thought, so choosing another time can be good, giving plenty of opportunity. You judge by the result. Try something, then you try it again, if it seems to yield less, change it.

“Good night.”

Joseph.Azize@googlemail.com
11 January 2010

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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December 18, 2009

JACOB NEEDLEMAN: two new books reviewed John Robert Colombo


The John Robert Colombo Page

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Jacob Needleman


Two New Books by Jacob Needleman

I have long admired the books written by Jacob Needleman who is Professor of Philosophy at San Francisco State College in California. During his productive career, the scholar and writer, now in his seventies, has devoted books to a variety of subjects of relevance, including the nature of democracy in America, the object of philosophy, the role of the physician in society, the characteristics of money, the features of goodness, new religions, ancient and modern technologies, etc. He has been the director of the Center for the Study of New Religions at The Graduate Theological Union in Berkeley, California, and he has served as general editor of the Penguin Metaphysical Library and the same for Element Books.

He has been a busy man, and the above activities do not take into account his work in the domain of the Work itself. Among his most useful publication is “Gurdjieff: Essays and Reflections on the Man and His Teaching” (Continuum, 1996) which he compiled with George Baker. He has now produced two more books in this field — or might I say one full book and one booklet? The book is “The Inner Journey: Views from the Gurdjieff Work” (2008) and the booklet is “Introduction to the Gurdjieff Work” (2009). Both are published by Morning Light Press of Sandpoint, Idaho, which has a fine catalogue of books about modern-day spirituality. That catalogue is accessible through Google.

Let me describe the little book titled “Introduction to the Gurdjieff Work.” It measures four inches wide by five inches here and it is only 62 pages long. So it is a gift book, the kind of miniature publication like those displayed beside cash registers in book stores. It consists of Needleman’s necessarily brief essay on the Work along with a useful, annotated bibliography that lists books, music, and a feature-length film. (Yes, the film is Peter Brooks’s “Meetings with Remarkable Men.”) There is nothing remarkable about Needleman’s essay, though it is written with clarity and concision and it focuses on the pivotal role of conscience in the life of modern man. It downplays what has been called the “psychology” and the “esoteric” sides of the Work. It is a conscientious introduction to the Work.

The appearance of the essay in this form is an instance of how Needleman recycles his material because the essay is based on two earlier essays of his, one of which he included in “Modern Esoteric Spirituality ” (1922) which he compiled with Antoine Faivre, the other of which he wrote as an entry for “Dictionary of Gnosis and Western Esotericism” (2005) edited by Wouter J. Hanegraaff. More to the point, the essay is reprinted verbatim as the Introduction to the principal book to be examined here: “The Inner Journey: Views from the Gurdjieff Work.”

As I mentioned, Morning Light Press publishes fine books, and the present volume is no exception. It is especially sturdy. It measures 6″ x 9″ and in length consists of xxxii + 356 numbered pages. The design and layout are a delight for the pages are easy to read and it is a handsome package to hold. It includes a surprise. It begins with the above-mentioned essay and it ends with the above-mentioned bibliography — along with a DVD of a film. (Yes, it is Brooks’s “Meetings with Remarkable Men.”)

“The Inner Journey” is one of eight books in Morning Light Press’s “Parabola Anthology Series” under the general editorship of Ravi Ravindra. Many readers of this review will be familiar with “Parabola,” the quarterly publication that is now celebrating its twenty-fifth anniversary. Founded by the late D.M. Dooling in New York City in1976, it is published by The Society for the Study of Myth and Tradition. It is the locus (it says) “Where Spiritual Traditions Meet.”

The series has volumes devoted to the “traditions” of Buddhism, Christianity, Hinduism, Islam, Judaism, as well as “Views from the Gurdjieff Work,” “Views from Native Traditions,” and a post-pourri titled “Myth, Psyche & Spirit.” It seems the general editor, Dr. Ravindra, a retired professor of both Physics and Religion from Dalhousie University, Halifax, N.S., has been busy overseeing this mining operation of the last twenty-five years of quarterly issues for relevant texts. It is quite a job.

For a year I held a subscription to “Parabola,” and while I admired and still admire the spirit and style of each issue of the well-illustrated periodical, I felt and feel the “mosaic” approach to be rather static and essentially bland. It consists of reprinting “snippets” from the standard books in the fields, though some original essays essays are commissioned and informative interviews are conducted. Pictorially issues are well illustrated, but outright contradictions are denied and rough edges are smoothed over.

The “transcendent unity” of religions is one thing, but one often learns more about spirituality by probing the elements of man and society that are not “transcendent” and are unrelated to “unity.” So I find “Parabola” to be very much a quality general publication, rather New Agey, not really more than that. Nobody ever said to me, excitedly, “Did you read such-and-such an article in the latest issue of ‘Parabola’?”

It fell to Jacob Needleman to compile “The Inner Journey: Views from the Gurdjieff Work” and given the chunks of prose he has had to work with, he has done a decent job of erecting a reasonable structure. In all there are sixty passages, and all of them are reprinted from well-known texts known to serious students of the Work. They were written by twenty-three contributors, including the editor. Here is a rough breakdown of the contributors.

The first tier of contributors consists of G.I. Gurdjieff, P.D. Ouspensky, A.R. Orage, Maurice Nicoll, and Jeanne de Salzmann. The second tier includes Peter Brook, Rene Daumal, John Pentland, Henri Tracol, and Michel de Salzmann. On the third tier we have Pauline Dampierre, Margaret Flinsch, Chris Fremantle, Jacob Needleman, and Ravi Rabindra. That leaves the fourth tier: Henry Barnes, Martha Heyneman, Mitch Horowitz, Roger Lipsey, Paul Reynard, Laurence Rosenthal, William Segal, P.L. Travers, and Michel Waldberg.

Here are the names of some people who go unaccounted for (almost at random): J.B. Bennett, Henriette Lannes, Patty de Llosa, James Moore, C.S. Nott, Fritz Peters, Paul Beekman Taylor, Jean Vaysse, James Webb. I guess their writings did not appear in the pages of “Parabola.”

The sixty passages of prose (and some of Daumal’s prosey poetry) are arranged in six sections. These are called chapters and given headings. For the record here they are: Chapter 1: Man’s Possibilities Are Very Great. Chapter 2: Remember Yourself Always and Everywhere. Chapter 3: To be Man Who Is Searching with all his Being. Chapter 4: That Day … the Truth Will Be Born. Chapter 5: Only he Will Be Called and Will Become the Son of God Who Aquires in Himself Conscience. Chapter 6: The Source of That Which Does Not Change.

Try as I might I could not find much of a relationship between the chapter headings and the contents of the chapters, but try as I might I could not come up with a better plan of organization. (I find it odd that the book ends with Ouspensky’s outline of “the food factory.”) We have here a “mosaic” (not a “collage”) and individual voices predominate. It is no surprise that the two leading contributors (with eight pieces apiece) are Gurdjieff and Ouspensky with familiar passages from their familiar books, though if the books have yet to be read the passages are unfamiliar to the novice rather than to the veteran reader.

The editor did the best he could with the material at hand, yet the overall effect is that of reading “Reader’s Digest” (which used to plant wordy articles in popular publications so its editors could “digest” them) or present-day issues of “Harper’s” whose editors selected excerpts from current books and periodicals. So the present book is a box of all-sorts.There is material here aplenty for sermons and talks. If the Gospels are “good news,” these are “good thoughts.”

Everyone will have his favourite familiar passages, but for my taste the most rewarding contribution to the anthology — the one most worthwhile to reread — is “Footnote to the Gurdjieff Literature” written by Michel de Salzmann. With great taste (and some distaste), he surveys the writings of students, scholars, and imaginative writers, and he finds most of them wanting. He takes as a given the principle and practice that the Work cannot be conveyed or even described in words, but that it must be experienced to be realized in one’s everyday life.

While Dr. de Salzmann’s words continue to ring true, if words may be described as rungs on the ladder of life, the pages of “The Inner Journey” offer the reader sixty rungs that go up that ladder. They offer “views” of the variety (though little of the contrariety) “from the Gurdjieff Work.” Yet they should assist the reader in attaining “views of the real world.”

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John Robert Colombo is the author, compiler, and translator of more than two hundred books, largely concerned with Canadiana. His most recent publication is a collection of 2,000 aphorisms called “Indifferences.” His essays on Canadiana and the Work appear in “Whistle While You Work.” He is an irregular contributor of reviews and articles to this news/blog.
His website is www.colombo-plus.ca

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December 3, 2009

John Lennon: Essence and Reality Part 15: “Mother”

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com
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John Lennnon c 1948

Part 15: “Mother”

Mother. “Mother” is the most harrowing song Lennon ever recorded, and
is the most harrowing piece of rock’n’roll I have heard or could
imagine being put down. There is even something confronting about its
stark title: it isn’t “Mother, You Had Me”, or “Goodbye, Mother” or
“My Mother”. It’s just plain “Mother”. It bears a mute challenge: what
does “mother” mean to you? The word utters a primal reality. Four
other songs on 1970’s classic John Lennon-Plastic Ono Band album also
had one word titles fired point-blank: “Isolation”, “Remember”, “Love”
and “God”. With nothing but single words, Lennon evokes divinity, a
parent, a terrifying state of existence, a poignant faculty of the
psyche, and the most powerful feeling-impulse we know. This is a
record of essential experiences. All artifice, all glossy surfaces,
are sanded back, and the heart, the raw matter of life is presented
through the vehicle of an art so perfectly mastered as to appear
artless. On this album, Lennon means and does business. Yet, it is
also the moment of his greatest apparent hypocrisy, his most signal
failure to live up to his own standards.

Mother. Our relationships with our parents are always in flux, even
after they have died. Nothing seems to remain static for very long:
not how we feel towards them, not what we think of them, not our
dominant memories, and not our overall assessments of them. And it
must be so, because our relationship with our parents is essential,
and as long we change, so will that relationship. This is neither good
nor bad; it is simply a fact. Good and bad become meaningful only when
we have an aim, and so a set of principles. If we are aiming for
conscious growth, then we must aim to become more loving, and this
will mean – at an absolutely fundamental level – to love our parents,
whatever issues we may have had. Until we can find love there, in that
relationship, we can only know passion and obsession mixed with
appreciation and esteem in varying degrees (and passion, I think, is
what passes for love with us).

When we speak about Lennon’s life a little further below, his mother
Julia and his father Fred, I shall mention the distortion which seems
to inevitably affect our memories of our parents. But just to briefly
make the point here, one cannot love while we are subject to these
distortions, irrespective of whether they are “favourable” or
“unfavourable” distortions. Love is impartial, or more accurately, it
includes impartiality, as George Adie said.

Of course, we cannot love anyone, not even mothers, on demand, and
anyone who thinks so doesn’t know. But we can do something in that
direction, and the need to do so becomes more urgent each day we have
not reached that state, because the longer it’s left, the harder it
gets. What we can do is prepare the soil for love by forming attitudes
which might foster or welcome love, by cultivating understanding, and
by striving to make negative emotions passive. Perhaps most
importantly of all, we can strive to acquire being, and with that,
individual will. As Gurdjieff is reported to have said: “Sometimes ‘it
loves’ and sometimes ‘it does not love’. … In order to be a good
Christian (and so to love) one must be. To be means to be master of
oneself. If a man is not his own master he has nothing and can have
nothing.” (In Search of the Miraculous, 102)

Being stands above emotion, and individual will is not just a power of
decision-making, but a manifestation of the real self which is based
on and understands my own unique makeup (so this will is not
experienced as tyrannical or even as an imposition, but more as a
return to home, to where I should be). Making effort, any effort for
being and individual will, allows more emotional control, so that we
can play a conscious role in forming the attitudes we want and need.
There are no guarantees, but we can make honest attempts. The road is
one of self-education, or self-agriculture. We know that if we want
anything to grow in a particular field we need to prepare the earth by
working it, adding substances to it, and removing impediments. And so
it is with loving our parents.

At some point in life, everyone will have issues in their
relationships with their parents, or so I see it. I am not speaking
about resentments, but about issues: ongoing attempts to reconcile
difference of opinion on important matters. I do not believe that it
is possible not to have some sort of serious issue, provided only that
you know your parents long enough and are sufficiently honest with
yourself. The more anyone argues otherwise, the more they convince me
that they’re in denial. So it is not just you, and it isn’t just me:
we’re all in the same position.

One can, of course, form theories about this: for example, that in
growing up in a world different from that which our parents knew they
must inevitably, to some extent, misunderstand us. Or one can theorise
and say that in acquiring our own individuality there must be a
reaction against our parents’ individualities. That is, there is an
inevitable tension between the infant’s natural impulse to imitate the
parents and the adolescent’s urge to become independent individual. We
could say that every action has an equal and opposite reaction, and
there’s a lot of truth in all that. However my assertion is not based
on either theory: it’s just an observation. But the observation is
good enough for me. It is based partly on introspective observation,
and also, wherever I’ve been close enough to someone to tell, there
have been issues.

I am not speaking about dislike. I am not saying that we are bound to
dislike let alone hate our parents. On the contrary, I think that what
is real in the relationship is the love. An essence relationship is
always and can only be one of love. My position is that the
differences and issues arise in personality, and can be handled
without rancour. It is an indictment of us that they too infrequently
are. One does sometimes see cases where beneath even the disagreements
and misunderstandings there is a current of certainty in love. True
affection is not given on condition or subject to recall.

The issues are more or less serious, and are more or less harmonised
or aggravated by the passing years, but they’re always there. To take
an example which struck me quite forcibly, one of my friends had the
not a-typical match of the “perfect mother” and the “perfectly awful
father”. In this case, I always found the beauty more puzzling than
the straight-forward beast. One day, when he was already in his 40s
and his mother had been dead for several months, my friend suddenly
said to me, in what was a mildly depressed explosion, that his mother
had silently consented to his father’s rages. She had effectively
collaborated with him. As stated, I think everyone has issues with
their parents.

More importantly for this article, John Lennon thought so too. When he
performed “Mother” at Madison Square Garden, he introduced it like
this: “… a lot of people thought it was just about my parents, but
it’s about 99% of the parents, alive or half-dead.” I only wonder why
he made an exception for one per cent. Was it just optimism? Yet, the
song itself is neither optimistic nor pessimistic. Lyrically, it is
almost clinical in its concise, naked statements of fact:

Mother!
You had me,
But I never had you.
I wanted you.
You didn’t want me.
So I,
I just got to tell you:
Goodbye.
Goodbye.

Father!
You left me.
I never left you.
I needed you so bad.
You didn’t need me.
So I,
I just got to tell you:
Goodbye.
Goodbye.

Children!
Don’t do what I have done.
I couldn’t walk,
And I tried to run.
So I,
I just got to tell you:
Goodbye.
Goodbye.

Mamma don’t go!
Daddy come home!
Mamma don’t go! Daddy come home!

I have allowed a separate line for each line of the song as it’s sung.
The lyric sheet doesn’t do justice to the measured barrage of short
addresses. The entire sound of the piece is funereal. It sounded like
that to me the first time I heard it, and it has never sounded any
other way. But the lyrics, when I set out then like this, read to me
like an indictment. Except for the emotion in Lennon’s verse, one
could imagine a clerk of the court reading them, methodically
ploughing on (so too, in “God”, the list of people and things Lennon
does not believe in sounds like a list of convicts read in a
Dickensian criminal court). And who does it indict? Lennon’s parents,
of course, but equally, also himself. Lennon does not preach at his
family from some easily assumed superiority. Even his singing of the
opening word of each verse – Mother! Father! Children! – sounds more
like a calling from island to island.

Another feature of the song is its extreme economy with words. Even
when Lennon sings: “I just got to tell you, goodbye”, he’s being
minimalist. He means that he has to say it, and that’s all there is to
say. He’s driven to impose finality. Even the word “just”, which I
recall Lennon and McCartney once said was a “filler”, to be avoided
where possible, is exactly the right word for the poetry.

Yet, there is no finality. After the prose of the verses bidding
farewell to mother, father and children, Lennon yells: “Don’t go! Come
back!” Which is it, goodbye or come back? It’s both. His mind and his
heart sing that he has to take his leave, and move on. But his
feelings scream that he wants more  of them, not less. The song is
made by this tension between the two poles of departure and return,
burying and retrieving the past. The tension cannot be maintained in
life, but only in the song.

The third verse is the key to the whole piece: he accepts that he is a
failure as a parent, and can do nothing more constructive than to warn
his “children” (although he only had Julian, at that point) not to
follow his example. The children are not part of the banshee grief.
Yet, we feel that this verse is related to the rest of the song. There
is a hope that the children may succeed where Lennon and his parents
have not. Lennon tells the children to learn from the pitiful examples
before them, and to this end, he’s prepared to let us see that he had
never recovered from his painful childhood. Was Lennon perhaps saying
that he tried to run too soon because he was running after his
parents? Maybe. Parents spend a bit of time encouraging their children
to take a few steps towards them, and anyone who has ever done this
knows how deep and purely joyous are the feelings evoked in both the
adult and the toddler by this simple play. No parent would dream of
coercing the child to run towards them, and yet, perhaps, they make
the demand that with their emotions the children race the wind. So
Lennon warned the children, and showed them where the dangers are. Of
course, we are the children, and so too, I think was Lennon. After
all, he did try again with Julian and later with Sean.

But here we come to the apparent hypocrisy I referred to above. At the
time Lennon wrote “Mother” he had a child, and had run out on him.
Lennon could have done more for and with his son, but it appears that
he was too selfish to do so. My own view is that he knew he could rely
on Cynthia, his first wife, and this made it easier for him to leave.
I am not seeking either to excuse or to condemn Lennon, but just to
state that whatever Lennon’s subjective culpability, there is an
“apparent hypocrisy”, and Cynthia’s book, with Julian’s forward
effectively says as much. This being so, no wonder he was so cool to
her on the few times they met in the 70s: she reminded him of his bad
conscience. You can even say that Cynthia carried the burden of his
self-centeredness.

Lennon did not use the word “selfish” on “Mother”, even though, if one
thinks it through, it’s tolerably obvious that selfishness is the
danger Lennon was pointing to. There are almost no bounds to our
selfishness, and yet, once we have risen above it, selfishness has no
strength at all. People will gladly sacrifice their health, their
money, and their own lives, once they have put selfishness beneath
them. Once again, I think of Dickens, and in particular, of Sidney
Carlton from A Tale of Two Cities. But it is not a case of “once
overcome, forever vanquished”. One of the real dangers in parenting,
as in life in general, but especially in parenting, is that while the
real me, the essential I, will make a sacrifice, personality will come
in later on and claim credit. Personality claims its “due reward”, it
speaks the language of entitlement. Obviously, an act of love can
never come with a demand for gratitude let alone recognition. Such a
demand proves that it is not and never was “love”. This requirement of
reciprocation – love me as I loved you – ruins many relationships.
It’s a commerce in the expression of affection, and it excludes love
because it swallows up everything real with selfishness.

Then love becomes mixed – not in itself, because in itself love cannot
be sullied. But love can become mixed in our psyches by an emotional
entanglement. The mother’s love is forever being offered, and then
withdrawn if her prior unstated conditions are not met. The child
becomes confused and hurt: “I thought you loved me for myself, but now
you’ll reject me if I cannot force myself to some display which to me
feels unnatural?”

And yet, I must admit that people who spend all their lives in
personality seem to be content with this state of affairs, or at least
not to question it. How can such situations persist? Surely one part
of the answer is that we do not confront these questions sufficiently,
and with sufficient being. We do not place ourselves before the
issues: we think about things, and our emotions pass over the fields
of our lives in a more or less intense shadow play. And then, with
time, the ordinary tempo of our existence reasserts itself, and the
tender pink membranes of scar tissue are buried deep. But the
“pondering” (or “being-logical-confrontation”, as Gurdjieff put it),
which could lead to a real change – to maturity – is rare.

If we could ponder, we would see the lies we tell ourselves. By
“lies”, I don’t just mean outright untruths, saying that I was there
at 5 o’clock when in fact I wasn’t. I chiefly mean self-deception and
distortion. These deceits always support a particular judgment: “My
mother was the greatest”, or the opposite, or something different. In
their turn, these moral judgments seem to always be that things were
or were not as they should have been.

It is hard not to judge our parents, after all, they teach us to
judge. The irony is that this lesson which we learn only too well,
then works against them. I knew a woman who effectively taught her
children to criticise and be embarrassed of their father. She did not
do it consciously of course, but that was the effect of her incessant
and vicious attacks. It was as if she thought that her children would
rely upon and esteem her all the more if she could alienate them from
their father. With one child, she succeeded, with another she failed,
and with the third the results were mixed. But what she never
appreciated was that if she taught them to criticise and to be
embarrassed of one parent, they could do the same with the other, and
would become suspicious of and hostile to most of the world.

These judgments support what Adie called “justified by God
grievances”, and as he saw so deeply, the more justification there is
for a grievance, the more dangerous it is. Gurdjieff showed that
negative emotions can never be justified. Further, as he said, many of
our grievances are based upon a false belief that matters could have
been different, when in fact, as he said, “If one thing could been
different everything could been different.” (In Search of the
Miraculous, 21-2).

Clearly, “Mother” is entirely founded on Lennon’s belief that his
parents should not have left him. The recent publication of Philip
Norman’s book on Lennon was important not least because it refocussed
the picture we had of Lennon’s parents. This piece is already long
enough, so I encourage anyone interested to read Norman. But the
bottom line is this: the fact of the matter was not so much that Fred
Lennon ran out on Lennon (although there is some truth in that, he
could have made greater efforts to speak to his son). It’s more that
Fred was weak: “just a pawn outplayed by a dominating queen”, as
Bernie Taupin said of Elton. Here the queen was probably Lennon’s Aunt
Mimi more than his mother Julia. Further, Norman also reveals that
Lennon knew that there were two sides to the story: one of Fred’s
brothers, John’s uncle, had written to him, setting out their side of
the story.

So Lennon’s view of the past had become garbled, and he seemed to be
wedded to the distortion. When we are subject to this distortion, we
can remember mostly those incidents which fit the twisted
world-picture. So, if for example, I have a grudge against someone,
then whatever unpleasant things they did come to mind quickly and
forcibly, and when they do, I feel at once the impact of my
accumulated dislike. Hatred is a feast for a glutton, and it is never
satisfied without revenge, which is why revenge seems so sweet. On the
other hand, if while I’m in the grip of this distortion I do manage to
remember the good things my parents did, they tend to come with less
power. In fact, they often call up with them an accuser, who will
explain them away. This is part of the spell of negative emotions:
they have this defensive quality that they attract similar negative
emotions and supporting memories, and subject reality to a selective
canon of interpretation. Being able to curse is a form of revenge, and
the gladness of cursing then seems to justify the resentment. And so
the fatal cycle unfolds.

There are two vitally important things here. First, we feel we must
judge, and in the rush to judgment, we introduce distortions.
Incidentally, U2 capture this very nicely in one of my favourite U2
songs, “Dirty Day” from Zooropa. Second, we are bound to these painful
untruths by the strongest bonds – our sufferings. As Gurdjieff said:
“Man is made in such a way that he is never so much attached to
anything as he is to his suffering.” (In Search of the Miraculous,
274)

I feel as if I could finish there, but one cannot leave “Mother”
without mention of Janov and the “Primal Scream” therapy he gave
Lennon and Ono. At the opening of this piece, I described the one-word
title “Mother” as a “primal reality”. In the Rolling Stone interview,
the question was raised as to whether John Lennon / Plastic Ono Band
might be the first “primal” album. As I recall, Lennon quite properly
deflected the question as a sterile curiosity about labels. “Was
George’s the first Gita album? It’s that relevant”, he said as I
remember, meaning that what you called it was irrelevant. But while
Lennon may not have been keen about such tags, the album is a record
of a man’s encounter with the first human things.

When I read Janov’s The Primal Scream, I was impressed by certain key
insights, but that was it. It struck me like having a black-tie supper
to celebrate painting the house. I’m not qualified to speak about
Janov’s therapy on Lennon, although I am suspicious. Lennon was quite
enthusiastic about it for a while. He had Janov come to England to
treat him, and when Janov had to return to the USA, he followed him
there. Although he soon left Janov rather abruptly, he retained a
sense of the importance of Janov’s ideas, at least for a while. Thus
in “Aisumasen” from Mind Games, he says “It’s hard enough, I know, to
feel your own pain”. Gurdjieff spoke of “intentional suffering”, but
also of “conscious labours”. There is a lot more to do than relieve
one’s past tortures. From what I can see, Lennon tried to move on. But
primal therapy did not seem to help him tremendously in the middle
term, if Lennon’s experiences in Los Angeles are any guide.
Shouldering the responsibility of raising a child, however, did: it
brought him to the clear-eyed sanity of “Beautiful Boy”, “Clean Up
Time”, “Living On Borrowed Time” and “Grow Old With Me”.

Also, the theory that all traumas go back to childhood, or even to
birth, leases a spurious credibility from a trick of the eye. When we
try to account for anything, we consider its history. An earlier cause
always seems to be a truer cause. So if a problem in an adult can be
attributed to something which occurred in childhood, we seem – by this
trick of the eye – to be really probing the depths. Janov’s idea that
childbirth was causative of later disorders may then seem persuasive
beyond what any evidence would warrant, simply any later conditions or
factors can be explained as derived from, or being potent because of,
the earlier problem – and it is difficult to prove the hypothesis
wrong.

To try and sum it up, I feel that there is a real danger of
identifying with the pain, and of manufacturing it in accordance with
expectations. Perhaps it’s something like the way that if you think
about headaches long enough, you’ll get one. I have a sense that there
is a good idea somewhere in the slick presentation which was Primal
Therapy, but that it was taken to an extreme, and that other good
ideas were blocked out by the seduction of the “primal scream” theory.
I am not saying that Dr Janov never helped anyone. I would be quite
certain that he did. But I cannot help but wonder if this had more to
do with his considerable personal powers than with the theoretical
value of his Primal Therapy.

As one learns to feel one’s own pain, one needs to learn be able to
bear it. One can proceed only by careful degrees. Perhaps this is part
of the reason why a teacher is necessary on the spiritual path, at
least in the beginning. My own view of people such as Van Gogh is that
they could not bear the force of their own impressions. To be able to
bear any influence, especially perhaps pain and suffering, being and
understanding are needed. There is no such thing as emotional
strength: the emotions do not have muscles of any description. If we
have being, then our emotions will not knock us over. But I cannot
believe that it is helpful to relive the pain and lie on the ground
screaming. The idea of being able to feel your pain is good, but the
idea of being able to feel your own presence is even better. As
Gurdjieff said in his last years, “by so much as one is conscious,
there is no more suffering.”

Lennon returned to some of these ideas later on in a song which was
never publicly released, and which I know as “Memory”. We come to that song next time, and continue this train of thought.

Joseph.Azize@googlemail.com
==================================
Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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November 29, 2009

John Robert Colombo reviews a new biography of Gurdjieff by Paul Beekman Taylor


The John Robert Colombo Page

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A New Life

John Robert Colombo reviews a new biography of Gurdjieff written by Paul Beekman Taylor

Here are the particulars: This book is called “G.I. Gurdjieff: A New Life” and the title is a pun. What we have here is a brand-new biography of Mr. G., a man who, by word and by deed, offered his disciples and his followers “a new life” or at least a new way of living. Neat title!

The author is Paul Beekman Taylor who as a youngster “knew Gurdjieff.” Born in London in 1930, he recalls the early years that he and his mother spent at the Priory at Fontainebleau-Avon. Thereafter he became a scholar of Old Norse and Old English; he is now a Professor Emeritus of the University of Geneva. Books that he has researched and written include the very useful and detailed volume titled “Gurdjieff’s America” (2004). I think more highly of that scholarly book, which seems to have been reissued with new written material (but without the photographs in the original Lighthouse Editions publication) as “Gurdjieff’s Invention of America” (2007), than I do of the less focused volume issued the same year called “The Philosophy of G.I. Gurdjieff.” My reviews of these two books are archived on this blog.

Eureka Edition, the publisher, gave this book a respectable and solid format, with a sturdy if somber, maroon-coloured card cover. The volume measures 6.5″ x 9″, the pagination is viii+247+iii, and there is or was a print-run of 250 copies dated August 2008. (ISBN / EAN: 978-90-72395-57-3) Included are a chronology, a bibliography, and an index, plus 18 black-and-white photographs, mainly unfamiliar ones – 19 if we count the full-page one which shows Mr. G. with his arms around Martin Benson and Rita Romilly, a photograph that is familiar and has been unaccountably reproduced twice in these pages.

Eureka Editions is the name of a specialty publishing house located in Utrecht, The Netherlands, It has in print close to fifty new or reprint titles devoted to the Fourth Way. Their authors include Bob Hunter, Maurice Nicoll, Beryl Pogson, and Solange Claustres. Check the company’s website for further particulars.

The knowledge of the life of Gurdjieff that most of us have is derived from P.D. Ouspensky’s “In Search of the Miraculous” (itself a marvellous work!), augmented by the contributions of the “two Jameses” – James Webb in “The Harmonious Circle” and James Moore in “Gurdjieff: The Anatomy of a Myth.” Although the latter book appeared in 1991, it has yet to be superseded, even by the present publication which benefits from the inclusion of fresh information from the archives of the former Soviet Union unavailable to Moore two decades earlier.

Taylor’s book offers the knowledgeable reader a harvest of new details. The reader who is unfamiliar with the literature of the Work will not find it appealing. But the more knowledgeable reader will find it quite engrossing, for it takes all the previous literature as its province and adds new information and evaluation. It is indispensable for students concerned with the evolution of the Work and the life of its founder.

There is something else. In the words of the blurb on the book’s back cover, “This biography stands apart from other biographical writings about Gurdjieff by emphasizing his relations with the many children for whom he played a fatherly role in the Caucasus, Fontainebleau, and New York City.” As in previous books, Taylor identifies with Gurdjieff’s immediate family. Indeed, the book is dedicated to three women, two of them Gurdjieff’s daughters. One of these is the author’s half-sister Eve, nicknamed Petey, who was born in 1928.

This book is very much the biography of a man along with the history of a movement. It will appeal to “completists” who have to know everything about these intertwined subjects. At the same time, the spirit of the book is revisionist in nature, in the sense that it tries to test every statement against the record. I am reminded of the adage that goes like this: “Superstition is superstition. But the study of superstition is a science.”

Rather than simply summarize the contents of the book – familiar ground all of it – this review will focus on what Taylor’s book has to offer the specialist reader – new ground or at least nearly interesting ground. In a sense I have had to hop, skip, and jump around, cherishing this morsel, ignoring that one. The text is dense with detail but written with great clarity of expression.

Taylor is generous in the Acknowledgements section, expressing his “incalculable debt” to Michael Benham of Melbourne, Australia, and Gert-Jan Blom of Amsterdam, The Netherlands, who supplied biographical information that is only now appearing in print. In fact, he refers to the present work as “a triadic collaboration.” In his short Foreword, Gert-Jan Blom hazards a guess that this book may be “the most accurate biography available at this time.” He is quite right.

Taylor is an historian of ideas by training, so his Introduction is subtitled “Gurdjieff and the Historian.” I smiled when I read those four words and I am sure most readers will do the same. One can only guess at the difficulties the historian faces in dealing with Gurdjieff, but there is no need to worry because the author alludes to those difficulties: “The best a biographer can do with the stories of his early life is to distinguish the possible from the improbable.” He does make distinctions, though he writes vaguely about probing further “by means of a critical hermeneutics.”

The first chapter begins with a discussion of names – the multiple forms of Gurdjieff’s family and given names. “One wonders why so many biographers cannot get the name of their subject into one accepted form.” He opts for Georgii Ivanovich Gurdjieff – G.I. Gurdjieff in short. Then there is that “bone of contention,” the year he was born. It is known that he was born in Alexandropol, renamed Leninakan, today’s Armenian city of Gumri. A website, accessible through Google, informs me that Gumri is “one of the oldest cities in the world.”

Information suggests Gurdjieff was born about 1866. “Though extant documentary evidence has his birth year as 1877, I continue to suppose that the man I knew in 1948 and 1949 was in his eighties, rather than in his early seventies.” Thus Taylor agrees with Moore (1866) and not with Webb (1874). As for his day of birth, the man himself celebrated New Year’s Day, whether Jan. 1 (Orthodox style) or Jan 13 (Gregorian style).Some evidence favours a less symbolic date: December 28.

Gurdjieff had no children with his wife or partner Julia Osipovna Ostrovska, but Taylor argues that by other women he had four sons and two daughters and Taylor names them. He also devotes some sentences to the suggestion that the young Joseph Dzhugashvili (later known as Stalin) was “his one-time school mate” and well known to the Gurdjieff family in the late 1890s. “It is difficult to extract any certainty out of the apparent contradictory accounts. We can posit the probability that Gurdjieff and Stalin were aware of each other sometime or another before the turn of the century.” It is also possible that he was personally acquainted with the young Maxim Gorky.

The twenty-one years from 1892 to 1913 correspond to Gurdjieff’s “wandering years” or years of quest, and Taylor spends almost as many pages as years trying to follow, to reconstruct his journeys, trying to balance accounts in the literature with those in oral and other traditions. “Gurdjieff measured out life events in cyclical pulsations of time rather than in a linear chronological flow of measured segments. His written recollections are quite purposely not fitted into a continuous flow of a total life experience.”

Everyone knows about the Seekers of Truth, whom he met accidentally near the pyramids in Egypt in 1893 or 1895. There were three seekers: Gurdjieff himself, Prince Lubovedsky, and Professor Skridlov. (The two men’s names bear symbolic meanings: “carriers of love” and “to hide, conceal” respectively.) As to the identity of the Seekers, “he is consistently a single quester, which makes sense considering that his quest is ultimately to discover himself.”

Taylor writes, “Gurdjieff paused for over two years in separate stays in a Muslim Dervish monastery somewhere in Central Asia.” There is no evidence that he ever passed as a Muslim. He claimed he visited Tibet, but evidence is lacking that he appeared as a Buddhist. Gurdjieff seems to have covered his tracks. It is a red herring to confuse him with Agwan Dordjieff or Ushe Nazunoff, secret agents who were conspirators in what is known as the Great Game.

Taylor surmises that Gurdjieff’s “wandering years” were punctuated in 1900-01 with a period spent in St. Petersburg where he was associated with the development of experimental therapies, applying Tibetan and Mongolian medical practices, partly to deal with common drug and alcohol dependencies. Here he would have met the designer Nicholas Roerich and Agwan Dordjieff. “It is easy to imagine Gurdjieff working with these persons, all of whom he knew personally at one time or another.”

A.R. Orage is the source of the suggestion that, in 1901-02, Gurdjieff “served the thirteenth Dalai Lama as collector of monastic dues, a service that gave him access to every monastery in Tibet.” Suffice it to say that there is no evidence for this suggestion. Also conjectural is Gurdjieff’s visit to St. Petersburg in 1909 where he is said to have established a quasi-Masonic lodge!

It is known that he established himself in Moscow where his mission to the West began. In a sense he “enters history” here. Gurdjieff’s Russian years, spent in Moscow and St. Petersburg, extended from 1912 to 1917, whereupon he left the country never to return. He seems to had gathered his first pupils by 1915, and among them were the sculptors Dmitri Sergeivich Mercourov and Vladimir Pohl. It was Pohl who introduced his friend P.D. Ouspensky to Gurdjieff.

In turn, Ouspensky brought into the circle the psychiatrist Leonid Stjernvall and perhaps the mathematician A.A. Zaharoff. It was the mathematician who introduced the musician Thomas de Hartmann and his wife Olga to the work. An exotic touch is that Gurdjieff may have moved in imperial circles and may have met not only Tsar Nicholas II but also the notorious monk Rasputin who may have been cured of his drug dependency by the aforementioned Tibetan medicines.

Well documented are the years 1917, 1918, and 1919, which take Gurdjieff from Moscow to Constantinople. There are references to “the memoirs of Elizaveta de Stjernvall” and there is a passing reference to “Jeanne de Salzmann’s unpublished memoirs” which presumably describe this restless period. There follows a mosaic of details of life in Sochi and Essentuki where they presented themselves as The Communal House of the International Philosophico-Worker Union of Essentuki, a name that name would appeal to the White Army. Another name used was “International Alliance of Ideological Workers,” which was designed to appeal to the Red Army.

The entire group – followers, emigrés, family members, all fleeing conditions in Russia – numbered some eighty-five persons. It was while at Essentuki, with its concentration on communal work, that Ouspensky began to distance himself. “Curiously, though Ouspensky moved away from Gurdjieff several times since arriving in the South, he kept coming back, even without Gurdjieff’s invitation.”

The group’s long trek across the Caucasus from August to October 1918 is described in great detail. It begins to sound like the long, character-testing marches of Mohammed, the Mormons, the Mounties, and Mao’s Long March. Character-building, indeed! “Gurdjieff, well past mid-life in the second half of 1918, had undertaken an extraordinary risk, but taking risks was the principal way of developing a higher being. What seems remarkable to one viewing this adventure from a distance is that Gurdjieff knew exactly what he was doing and what materials he need to do it.” Further: “Every step taken was an exercise in what he called ‘intentional suffering,’ doing what one does neither necessarily want to do, nor understand punctually the purpose of the doing.”

In Tbilisi in 1919, the rag-tag group was augmented by Alexander de Salzmann and his pregnant wife Jeanne, a student of the eurhythmics work of Emile Jaques-Dalcroze, as well as Valdemar Hinzenberg and his wife Olga Ivanovna Lazovich with their infant daughter Svetlana. They were joined by Elizaveta (Lili) Galumnian Chaverdian, a dancer, and they entertained Carl Bechhofer Roberts and Frank Pinder. Many flowers that came to blossom at Fontainebleau-Avon were planted in the rough terrain of the Caucasus. In the fall, “The Institute for the Harmonious Development of Man” was founded – or refounded, as it seems it was originally established in Russia in 1912.

The group spent from July 1920 to August 1921 in Constantinople, ostensibly as refugees from Russia. They became people of interest to John Godolphin Bennett who initially confused Gurdjieff with Agwan Dordjieff. Ouspensky, living in Constantinople, “confided to Gurdjieff that he was compiling his Petersburg and Essentuki notes into a volume tentatively entitled ‘Fragments of an Unknown Teaching,’ and Gurdjieff nodded assent.” Ouspensky’s lectures attracted Tchesslav Tchechovitch, not to mention Alphons Paquet and Boris Mouravieff. It was the latter who asked Gurdjieff where he had found his ideas. Gurdjieff replied, “I stole them.”

Established in Essentuki, the Movements were performed in public in Constantinople where performances were reviewed by dance critics familiar with Sufi movements in the press. To at least one commentator in February 1921 and to “other Sufi experts,” “Gurdjieff’s sacred dances were both projections of planetary movements and demonstrations of universal laws, whereas the Dervish dances played out a cosmic drama experiences [sic] by the human soul descending from the Absolute down to the material world.” The group was in Constantinople for just over a year. Ouspensky left for London, and Gurdjieff and his group for Germany.

The interlude in Germany, where the Salzmanns and the Hartmanns had friends and spoke the language, lasted from August 1921 to July 1922. It was punctuated by Gurdjieff’s three visits to London where he addressed groups assembled by Ouspensky which included Kenneth Walker and Maurice Nicoll. England proved insular and unattainable but ideal for Ouspensky. Gurdjieff resolved to re-establish his Institute in France.

Paris and soon Fontainebleau-Avon proved to be promising after difficult times in the Caucasus, Constantinople, and London. Paris was swarming with Russian emigrés as well as expatriate Americans fleeing isolationism and prohibition. The Salzmanns meet (accidentally on purpose perhaps) Jessmin Howarth, a Dalcroze instructor and ballet director at the Paris Opera, so the Movements begin again at the Dalcroze studio on Rue Vaugirard. They are joined by the editor A.R. Orage, who edits “The New Age,” and the psychiatrist James Carruthers Young.

On October 1, 1922, Gurdjieff took possession of the Priory at Fontainebleau-Avon where he was joined by a great number of pupils and acquaintances from the Continent. Orage arrived, followed by Katherine Mansfield, known as Katia at the Priory. Taylor lists the names of some two dozen people who arrived from England, and the roll-call is a familiar one: Pinder, Nicoll and his wife, Young and his wife, the Metz brothers, Merston, Lady Rothermere, Jessmin Howarth, etc. “In all, there seems to have been some fifty to sixty persons residing at the Prieuré at one time or another in the year following its purchase.” It seems there were no French people in attendance.

Memoirs of the exciting and exhausting life at the Priory are numerous, so Taylor is able to focus on events on a seasonal basis. He notes Gurdjieff’s ability to “step on corns” to shock people into self-observation and to act as a jack-of-all-trades. He is under surveillance as the French authorities learn that “he was a Mason who practiced hypnotism”!

Celebrities came into his orb and left it. “The American poet Ezra Pound, whom Orage had promoted in London, was in Paris on his way to a new life in Italy when he met and talked with Gurdjieff. They enjoyed each other’s company, and Pound volunteered to judge a cooking contest between Gurdjieff and the Romanian sculptor Constantin Brancusi, awarding the crown to Gurdjieff.”

Then the Americans arrived, an illustrious roster of famous names: Djuna Barnes, Peggy Guggenheim, Sinclair Lewis, and perhaps Gertrude Stein. The “Georgian toast tradition” was introduced as “toasts to idiots” with twenty-one levels of idiocy. Interestingly Taylor notes, “Gurdjieff refused to discuss the toasts except at the table.” Much information is supplied about the demonstration of the Movements at the ten performances at the Theatre of the Champs Elyseés in late December 1923.

Taylor has devoted an entire book to Gurdjieff’s nine visits to the United States, and while he has unearthed additional information for his new book, largely from newspaper coverage of demonstrations of the Movements, here the details will be glossed over in the interest of saving time. Taylor is able to synthesize the published accounts of the group’s movements and activities, even proving on that trip that there never was a demonstration in Philadelphia. Gurdjieff did say, “All must get to Philadelphia,” but Taylor suggests that in Gurdjieff’s mind the city in question is located “not in eastern Pennsylvania, but east of Ephesus in Asia Minor.” Gurdjieff regarded the United States in an odd way: “America is the backdoor to Asia.” His first visit for the entourage of two dozen people (all of whom are named) was a long one which extended from January 2 to June 15, 1924.

The result of the first American journey was the installation of Orage as Gurdjieff’s point man in the United States. Upon returning to the Priory on 15 June 1924, he faced “Mrs. Serious Trouble.” The immediate problem was that of the outstanding debt on the Priory, principally the sum of $2,000 owed on the mortgage. Americans, including Stanley Nott and Jean Toomer, begin to arrive, but they did not bring a flow of capital. The suggestion is made that Gurdjieff was giving some thoughts to closing the Priory when “the accident” occurred. The Citroën he was driving ran into a tree at a cross road near Chailly-en-Bière, north of Barbizon, between Paris and Fontainebleau-Avon.

The accident took place on Saturday afternoon, 5 July 1924. Or did it? There is evidence it occurred the next afternoon. Various and varied accounts of what happened and its consequences are duly credited and discredited. Except that there were no eye-witnesses to the event, there is an old Russian proverb that could be recalled: “Nobody lies like an eye-witness.” Apparently the sole witness – the victim himself – told Jane Heap and the author’s mother Edith Taylor, “I sick man, truth very weak, now institute die for everybody.” No longer did Gurdjieff plan to summer at the Priory and spend autumn or winter in the Untied States. Indeed, plans were put in motion in August to liquidate the priory.

A new direction was signalled when, five or six weeks following the accident, Gurdjieff told Edith Taylor, “I wish write book. Surprised? No? Some time in life every man must write book, but such book already I begin, and if you very much wish we can even English read.” Taylor is quite good at discussing the evolution of the text of “Beelzebub’s Tales” which Gurdjieff dictated and also drafted in pencil. It is usually said that tranches were dictated to his secretary Lili Galumnian in Armenian, which she translated into Russian, and Hartmann with the assistance of Bernard Metz translated these into English. Gurdjieff also scribbled notes in Russian at the Café Henri IV in Fontainebleau and at the Café de la Paix in Paris. Taylor says there is no evidence that Gurdjieff ever composed anything in Armenian, but solely in Russian, which Olga de Hartmann, the author himself, and Orage translated into English. In late 1925, Orage was entrusted with the task editing of the bulky manuscript and with the ordeal of contacting possible publishers and raising the sums required for this. All of this is worthy of a George Steiner, the polyglot scholar who regularly lectures in four languages!

The sums of money raised by Orage and Toomer in New York towards the publication of the manuscript and the work of the Institute, as well as the misunderstandings around them, must have caused Taylor to burn the midnight oil. He also offers detailed accounts of motor trips to Orleans and Vichy, then to Geneva, Contreville, Nevers, and Rouen. In the midst of all this coming and going, Orage was editing “Beelzebub,” the “first series,” and Gurdjieff was working on the “second series,” that is, “Meetings with Remarkable Men.” Rumoured to be in the works but sight unseen was the “third series.” Orage proposed that the three volumes be published at the same time.

As a Canada-watcher, I was surprised to read that early in 1926, “Orage was off in Quebec with Jessie Dwight, Sherman Manchester and Daly King, ostensibly to scout the possibilities for a group in Montreal.” Years would pass before the city would acquire a group. The original initiative took place as Orage was about to marry Jessie, to Gurdjieff’s consternation. Gurdjieff called her a “squirming idiot,” and her husband his “super idiot.” As well, Gurdjieff came to the conclusion that “Beelzebub” would have to be revised and rewritten in order to reflect “the peculiar form of my mentation” which would be otherwise lost to the average reader. He felt the loss of his voice in Orage’s version.

Taylor reminds us, “It is easy to lose sight of the person of Gurdjieff behind a banal chronology of the dates, events, and movements that fill a biography.” Yet nothing about this book is “banal,” though at the same time there is nothing about it that is “miraculous,” except the biographer’s need to mediate the truth of the various memoirs of participants and the reconstructions of various historians. Taylor is unique in that he is both a participant and an historian. In an interesting aside, he tries to account for his subject’s uniqueness as a human being.

“One can presume that he possessed certain virtues: mechanical inventiveness, artistic creativity, powers of persuasion, medical and psychological skills, but these fail to characterize the humanity of the man.” He continues, “One can wonder how he attracted so many people of diverse bloods and backgrounds. That he possessed hypnotic powers is obvious, that he used them for the good of others is apparent.”

The reader wonders where this is heading. Here is the heart of the matter: “One aspect of Gurdjieff’s character that is not recorded sufficiently, however, was his paternal comportment. Gurdjieff was father to all those children who ‘knew him in the sky.’ There were always at least a dozen about him at the Prieuré, and he enjoyed their company, just as they felt comfortable in this. There was a ‘purity’ of communication between him and the children.” I have cut the paragraph short in the interest of economy, but it is apparent that the author identifies with these children.

The Great Depression brought an end to transatlantic extravagance, and a sign of the times is that Lady Rothermere explained that she would no longer contribute to the support of the Institute. “Instead she was supporting Krishnamurti and T.S. Eliot’s ‘Criterion.’” Fund-raising would have to be done in America, hence Gurdjieff’s second visit on 23 Jan. 1929. It was difficult going and Orage said that he wanted to resume his literary career. The Hartmanns were pressured into leaving the Priory. The turning point seemed to be “after Gurdjieff told Olga her husband was a pederast.”

Americans did not flock to the Priory that summer but one woman who did was Mildred Gillars, who in later years became one of the broadcasters on Radio Berlin who was dubbed “Axis Sally” and subsequently convicted of treason. It is not known what effect her visit had on her, as she was a woman of many parts and no fixed resolve. Gurdjieff’s third American visit took place in February 1929, where he was greeted on the gangway by Louise Welch and Dorothy Wolfe. While in New York, Gurdjieff gave thought to restructuring the groups there in the absence of Orage. The visit did not entice many Americans to visit the Priory in the summer of 1930.

The fourth visit extended from 11 Nov. 1930 to 13 March 1931. Taylor gives hotel locations and even the text of the classified advertisement that appeared in the “New York Times” on 12 Nov. 1930. “Lost. Portfolio Brown marked G. Gurdjieff containing typewritten manuscript left in taxi Tuesday midnight. Reward offered for return to 204 West 59th Street.” Taylor writes, “One can assume that the manuscript was a draft of the third series.” That may be true but one wonders if the placing of the classified ad had some other undisclosed purpose.

It is on this trip that Gurdjieff staged his confrontation with Orage. What was the meaning of it? It was “a fascinating episode in the lives of two close friends and a mystery as to why they parted ways. I say ‘would appear’ because exactly what happened in the complex play between the two during those months, particularly during the first two weeks of January, could not be understood by those who did not know both men personally, and a puzzlement to even those who were close to both.”

Taylor calls the reversal “an axial turn in both their fortunes … an epiphany.” The author is at his best here, reconciling detailed accounts, but I will leave the matter with Taylor’s statement: “It is difficult from this distance to comprehend the extraordinary ‘power’ Gurdjieff exercised over those who came in contact with him personally. That he was held in awe by persons of various artistic and scientific persuasions is well documented. It is easy enough for current spectators to assume he was a charlatan with malefic hypnotic powers.”

Indeed, he quotes the literary critic Frank Kermode who wrote that “some gurus are wrong and others are dangerous: Gurdjieff is both wrong and dangerous.” Taylor finds no evidence for such a view among the dozen men and women who had first-hand knowledge of the events that ensued. He concludes, “Gurdjieff did not insist that his pupils should devote their lives to following him …. Gurdjieff made it a practice to send those people who have reached a certain stage in the work back into the world.” Yet his followers seemed to bounce back like India-rubber balls.

Taylor devotes ten closely reasoned pages to the breach in their relationship. He calls Gurdjieff’s version of the split a “fable” that eschews “fact” and describes it as a “morality play, or parable,” “post-modernist fiction.” In fact, he goes to some length to interpret Gurdjieff’s redaction of events of history as presented in the “third series” by contextualizing episodes, whether real or imagined, “into seven and three year periods, representing the Laws of Seven and Three that are the creative and maintaining forces of the cosmos.”

I find I am uncertain what to make of Taylor’s interpretation of Gurdjieff’s revision of the historical record (so much seems to be ad hoc), but I find it ingenious. As Gurdjieff told Ouspensky in St. Petersburg, “There is nothing that shows up a man better than his attitude towards the work and the teacher after he has left it.”

Apparently the traveller and artist Nikolai Roerich, who attended Gurdjieff’s meetings in 1930-31, had been a member of his “1909 lodge” in Moscow and that he was associated with Claude Bragdon, the architect (once described as a minor version of Frank Lloyd Wright) and co-translator of Ouspensky’s “Tertium Organum.”

The chapter titled “20 March 1931 – 4 June 1935: End of the Institute” has a cast of wholly new characters. There is Toomer’s colony at Portage, Wisconsin, Toomer’s bride Margery Latimer, Zona Gale, Katherine Klenert (sister of Georgia O’Keeffe), and others. It coincides with the semi-print production of one thousand copies of the 638-page mimeographed version of “Beelzebub’s Tales” sold to group members at $10 a copy. The fifth visit took place in 1931-32, and once in New York he was interviewed by Rom Landau in “God Is My Adventure.” Tall tales are told, some of them from Child’s restaurant on 57th Street, where Gurdjieff met with his followers and others.

The priory in its dilapidated state was vacated and seized for debt (owing was the sum of $17,000) in May of 1933, and Gurdjieff shifted his headquarters to Paris where he was joined by many Russian expatriates and he met with his pupils. Eventually he moved into an apartment on the second floor of Rue des Colonels Renard not far from the Arch of Triumph.

Taylor checked shipping records for a phantom “sixth visit” to the United States in 1932 but finds no evidence for such a transatlantic crossing. Orage refused to edit the text of “The Herald of Coming Good,” so the task was undertaken by Payson Loomis, who had willingly worked on “Beelzebub,” in the first half of 1933. As Taylor notes, this booklet was the only work of his to appear in print during his lifetime. It was issued at the time when Gurdjieff’s fortunes were the lowest: his American prospects were, like his British prospects, nil.

Yet he sailed for New York for the sixth time, on 20 April 1934, and remained in the United States longer than ever before. There is much to-ing and fro-ing, with Gurdjieff travelling to Chicago and then to Taliesin East, invited by Olgivanna and Frank Lloyd Wright. He had hoped to establish a group at Taos, but Mabel Dodge Luhan was inhospitable. He toyed with the idea of replacing Toomer as a fundraiser with Olgivanna, which seemed a senseless notion. After one of their dinners, with architectural apprentices present, Wright and Gurdjieff sparred: “Well, Mr. Gurdjieff, this is very interesting. I think I’ll send some young people to you in Paris. Then they can come back to me and I’ll finish them off.” Gurdjieff replied furiously: “You finish! You are idiot …. No, you begin, I finish!” Not as a devoted spouse but gracious as a host, Olgivanna sided with Gurdjieff.

Before he left for France, Gurdjieff broke off relations with Toomer who said, in despair, “I have reached the limit of my possibilities.” He became a fan of American movies, explaining, as Fritz Peters recalled, “The hopes, dreams and desires of Americans in general … were very accurately portrayed in films. In fact, he said that only in the movies was the prevalent attitude towards sex, for example, revealed for what it really was.” The visit ended, in a sense, with the airplane crash on 6 May 1935 that took the life of Bronson M. Cutting, a wealthy U.S. Senator who was reputed to be interested in committing funds to the revival of the Institute. There is no new information about this subject and the next chapter is appropriately called “4 June 1935 – 1 September 1939: Marking Time.”

Gurdjieff’s visit to Germany is well documented by Taylor who has access to his subject’s various passports and visas. It seems unlikely he visited Persia or Leningrad, as had been conjectured. There is information about Soviet government agents and bureaucrats, including Cheka officers – exploited some years ago by a Russian-language TV special produced in Moscow – but what passes for information is principally conjecture, speculation, hearsay, and rumour, the kind of “factoid” beloved of conspiratorialists who are now called “truthers.” Taylor concludes, “It is probable that Gurdjieff did not go there at all.”

The record is spotty for 1935. “What he was doing in Belgium during the weeks between 8 September and 4 October is still unexplained.” Back in Paris, his four-year association with the members of The Rope is described, as well as some of his quasi-medical practices that involve injections and the transfer of electrical impulses. With the ladies he conversed about many subjects, including language. He despised English: “I can pronounce 400 consonants for your 36 … America worst nation for sound-producing.”

In 1936, he moved into Apartment 6, Rue des Colonels Renard, a lovely flat maintained to this day in his memory. In 1938, through Jeanne de Salzmann, he met Vera and René Daumal the poet, Henriette and Henri Tracol, Philippe Lavastine who was married to Salzmann’s daughter Natalie, journalist René Zuber and writer Luc Dietrich, the advent of the belated interest of the French in the Work.

The seventh American visit, which commenced on 8 March 1939 and concluded on 19 May 1939, is covered in some detail, including the purchase by Louise and Walter March of Spring Farm in Bloomingburg, N.Y. Various other Work locations are described, including Toomer’s Mill House, Mechanicsville, Pennsylvania. In an uncharacteristic linguistic flair, Taylor writes, “Mother World War II, following Grandmother Russian Revolution, showed her face to Gurdjieff.”

The subtitle of this next section is “The Occupation of Paris.” Ouspensky and his family members moved to the United States. Gurdjieff, having just returned from that country, now gave some thoughts to returning there. Ouspensky’s pupils who remained in England joined groups led by Maurice Nicoll, Kenneth Walker, or J.G. Bennett, and not Jean Heap’s. In Paris, Gurdjieff’s pupils, either dead or dispersed by the vicissitudes of war and occupation, left him high and dry.

The descriptions of the comings and goings on two continents of these disciples recalls the celebrated paragraph in “Brideshead Revisited” in which Evelyn Waugh details the movements of families following the surprising decision made by Lord Marchmain, after decades of life abroad, to return to his family seat.

Conditions during the Occupation are interesting in themselves but somewhat peripheral to the biography. Indeed, Madame de Salzmann, from her hometown, Geneva, and on visits to Paris, directed students his way and kept the Movements going at the Salle Pleyel. “Most of the French were artists and writers who, for one reason or another, were exempt from military service or forced labor in Germany. The sole survivor from the Prieuré days was Tchesslav Tchechovitch, who had been with Gurdjieff in Constantinople twenty years earlier.”

Transcriptions of Gurdjieff’s talks to these groups “revealed a softened style of teaching resembling his Petersburg and Moscow manner During World War I.” Indeed, he survived the Occupation in some style. Taylor examines suggestions that he dealt on the black market and hoarded food, but concludes: “It is easier to suppose that Gurdjieff maneuvered among the Germans in the same manner he had managed with Bolshevik and White Russian administrations a quarter of a century earlier.”

Following the liberation, American friends and students sought him out. Former students who had now established their own groups reappeared – Stavely, Heap, Nyland, etc. – as did Pentland, Bennett, the Wolfes, Anderson, Caruso, the Herters, etc. In charge was Madame de Salzmann.

The biography proper ends with the chapter incongruously titled “16 December 1948 – 29 October 1949: Infinity and Finity Conjoined, Eighth and Final Visit to America.” English groups helped Gurdjieff with current expenses and American groups helped him to liquidate his debts. In New York, he revived the Movements with Alfred Etievant, and Jessmin Howarth did the same at Franklin Farms.

It is a period of grand reunions. “Many were surprised and pleased by Gurdjieff’s demeanor. He seemed to be on a peace mission to mend broken bridges to former pupils of Orage, Toomer and Ouspensky.” As Taylor notes, he paid particular attention to the youngsters brought to him by their parents. “On the whole, the children were in awe of Gurdjieff, and he treated them as ‘candidates for initiation.’” With the toasts, a child was an “unformed idiot” or “aspirant for ordinary idiot.”

I had long been curious as to why French students identified themselves as “adepts.” Taylor writes, “Gurdjieff had Pentland send out a circular letter under Gurdjieff’s Paris address to all his ‘adepts’ announcing the forthcoming publication” of “Beelzebub.” The sum of $25,000 was subscribed to Harcourt Brace to issue the book. Lord Pentland handled the negotiations. Apparently the publisher requested no subsidy for Ouspensky’s “In Search of the Miraculous.”

Interesting details about the work being done in Paris upon his return in February 1949 appears here, punctuated with automobile journeys around France. But he was not well, suffering abdominal edema associated with cancer of the pancreas. “On 27 October, thanks to Dr. William Welch’s intervention, he was admitted to the American Hospital of Paris.” He died two days later. “If he was eighty-three years of age, he died at the same age as his father thirty-one years earlier.”

A short chapter titled “Postscript: Gurdjieff and Meta-history” follows, in which Taylor notes, “Shortly before he died, as I was about to return to New York, he told me that I owed him stories, and I have been spinning stories about him for the past several years, but have not yet acquitted my debt.” He discusses the nature of “objective facts shaped into subjective designs.” He has certainly dispatched that obligation. “In my writings I have struggled to expose what I feel is not quite the truth in the process of elaborating what is, for the moment, what appears to be the truth.” This section is sobering in that limitations of previous memorists and biographers, including the “two Jameses,” are discussed.

“Were I to state my own general assessment of Gurdjieff’s career, I would say that he possessed and exercised an exceptional genius for influencing other people to work for their own ‘perfection of being.’ If there was a flaw in his method, it was an implicit conception of self as a model for emulation, whereas the man, in my opinion, could not be emulated. Perhaps he judged the intellectual, moral and physical possibilities of others too highly.”

It seems apparent to me at least that those men and women – those adepts – who knew the man personally were in no position whatever to separate the man from the message, so to speak: the movement, the system, the “special doctrine,” the Fourth Way, or the Work as it is now known. Much was gained, but at the same time much was contained.

Following such sober assessments as these there is the arresting chapter called “Excursus: Gurdjieff and Women.” It is three pages in length. Taylor neatly summarizes its argument in one sentence: “That man is superior to women is apodictic in his writings.” Feminists will find the instances of male chauvinism that appear here to be alarming. Taylor himself finds them disarming. He is to be congratulated for presenting them in print.

In the immediate aftermath of this line-by-line reading of Taylor’s biography, perhaps some stray thoughts of the reviewer are in order. This undertaking was neither an ordeal nor a romp, but an instructive experience. The author has created a giant, Byzantine-like mosaic that consists of colourful bits and pieces of stone selected for size and shape. The overall pattern makes greater sense viewed close up than it does viewed from a distance.

Taylor himself is ideally suited and situated to follow this life of Gurdjieff with a composite biography of “the women of the Work.” If he excludes the women of “the Rope,” who have already been well described by William Patrick Patterson, he could concentrate on the Madames – Ostrowska, Ouspensky, Saltzman, Hartmann, Hinzenberg – and fill a need, especially in light of his “Excursus.”

After I turned the final page – number 247 – of my copy of this book – which is itself mechanically numbered 185 – a short passage from a long poem came into my head, form where I am not sure. It expresses the sense I have of what hovers over the panorama of the amazing characters and personalities who have been described and analysed in these pages with all their actions and reactions projected over a period of a century.

The passage comes from the philosophical poem “The Prelude” (1805) in which William Wordsworth wrote evocatively about the sense of the yet greater forms that lurk within the great natural forms around us:

” … o’er my thoughts / There hung a darkness, call it solitude / Or blank desertion. No familiar shapes / Remained, no pleasant images of trees, / Of sea or sky, no colours of green fields; / But huge and mighty forms, that do not live / Like living men, moved slowly through the mind / By day, and were a trouble to my dreams.”

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John Robert Colombo lives in Toronto and is a specialist in Canadiana. His most recent publications include “The Big Book of Canadian Hauntings” (an anthology of accounts of psychical experiences) and “Indifferences” (a selection of his own aphorisms). His website is colombo-plus.ca

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November 11, 2009

ELTON JOHN: The Songs of Self-Knowledge (Part 1)

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

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Elton and Bernie young

Bernie Taupin and Elton John

“It is on your own self-knowledge and experience that the knowledge and experience of everything else depend.”So spoke the anonymous author of The Cloud of Unknowing more than 600 years ago, in what is the greatest work of mysticism in the English tongue known to me (see ch 43 of Clifton Wolters’ translation). As I said in the first Elton John blog, it is through knowledge of this life and our selves that we come to knowledge of a higher life and, once more, our selves. But, of course, our experience of our selves on that other level is quite different.

And so it is that I return to Elton John, because I sense that sometimes something sublime comes from beyond and can be felt through the songs Of all their work, perhaps John and Taupin touch the sublime most often on these songs of self-knowledge, such as “Someone Saved my Life Tonight”, “We All Fall in Love Sometimes” and “The Sweetest Addiction”.

Other than John Lennon, I can think of no other artistes of their era like Elton John and Bernie Taupin for excelling in what I might call “songs of self-knowledge” or perhaps “songs of reflective biography “. Certainly, I do not know of anyone else in popular music who has developed such a sustained corpus of work over a period of 30 years. I think that Taupin’s work is marked by an impartiality and even fearlessness as much as Lennon’s was. After all, Taupin is writing lyrics for another person to set to music and perform, and not just anyone, but Elton John.

Meditating on the Captain Fantastic and the Brown Dirt Cowboy album led me to a discovery which really should have been apparent before, but had somehow escaped me. And that is that although we exclusively think of Taupin as someone who writes the words, he is in a very real way, a musician. His instrument just happens to be his words, an instrument few can master, and his great achievement is that he developed his art to the lofty degree where his words sing on the page with an unheard melody. Incidentally, much as I respect Dylan’s achievements, I don’t hear that much self-knowledge in his songs, although there is certainly tremendous insight and his lyrics often have the musicality I find in Taupin’s. But in the end, Dylan seems to me to hide behind his presentation, while John and Taupin reveal, and so whatever self-understanding he has remains in obscurity. Only outside of popular music, for example with Gerard Hopkins, do I find even more self-knowledge and musicality combined than I do in Taupin.

However, we must come back to this fundamentally important question of the search for self-knowledge. If one has been touched by the search, then the questions “Who am I?” and “What am I?” always demand a response, although – and perhaps even because – they can never be answered once and for all. If we speak of self-knowledge, then because it is self-knowledge, we can take no one else’s word for it. Self-discovery is only possible because a higher part of us is impartial. When I see myself, the lower self becomes transparent to a higher part in myself, and that higher part operates under entirely different rules, and has different powers.

Even if I am alone in my room, yet all of my learning takes place within a socially-constructed world, and I am forever learning from and with others. It is not just that we can compare ourselves to others, find similarities and draw distinctions. Neither is it just that we can get good ideas, or follow other people’s methods. We can also, to an extent, recognize ourselves in others. This doesn’t mean seeing that the details of our loves are identical, although this can occur. More deeply, it means seeing the human condition beneath the accidental facts and biographical details; seeing that we all share in this common humanity, and that we make it what it is in all its inexhaustible variety.

The essential self may be approximately described in words, and we can even figure out some things about ourselves with our intellects, but it’s only discovered through feeling, and, of course, there are levels of feeling and hence of self-knowledge. But affirmation of the goodness of life is a feeling impulse which will bring impartiality. This entails seeing myself without undue self-appreciation or self-hatred. Full and complete impartiality, however, is a function of the essential self, the soul. The soul brings something trans-personal in self-knowledge, an awareness of a call, a memory of something always just forgotten.

When I speak of songs of self-knowledge I am not speaking of narcissism. “My Way” is narcissistic and self-congratulatory, but as we shall see, the music I’m discussing is not. It is not spiritual, either, and yet it isn’t divorced from the spirit. Perhaps the first striking feature of these “songs of self-knowledge” is their quantity: John and Taupin entered the field in a convincing way with 1975’s Captain Fantastic and the Brown Dirt Cowboy, and updated this tour de force on 2006’s The Captain and the Kid. These were albums completely devoted to reflection on their own history as artistes. In addition, there are many songs of this genre on The Fox, Made in England, Songs from the West Coast, and Peachtree Road. The theme clearly means a great deal to them, and has meant more as they grow older, having both more material and more leisure for reflection. To really understand what I am writing about, you will need to hear the music, beginning with Captain Fantastic and the Brown Dirt Cowboy, which for my money (and I’m not alone in this) is their greatest achievement, surpassing even the magnificent Goodbye Yellow Brick Road. In the discussion, I’ll be referring to the tracks as they were on the record, five tracks on each of its two sides. We shall see why a little later.

The first track, the title track, is a good example of Elton John’s originality: it sounds like no song you’ve ever heard before. Until the chorus, it has no almost melody, although it has a sound and a rhythm, and the effect of the song seems perhaps even stronger for all that. You know that this song was not produced in a hit factory, because small clusters of words are broken into islands of sense by a jagged phrasing and oddly placed emphasis: “Captain Fan-tastic … raised and regimented … hardly a hero … Just someone his mother might know.” This works, partly, I think, because he’s telling a story, and an achingly beautiful tune like that of “Your Song” might distract from the narrative, while the strength of the lyrics is quite sufficient to hold our attention and interest. “Raised and regimented”: it is hard to imagine that any three less assuming words could be found to say so much about what in a later song they would describe as a “repressed” youth.

Elton, of course, is Captain Fantastic, while Taupin is the Brown Dirt Cowboy, turning brown in his ‘saddle’ even as the precocious Captain inhabits the stimulating but artificial city. They are painted not quite as opposites, but as contrasts united by a common aspiration for the “honey the hive could be holding”. In a wonderful expression, their pursuit of their art takes them “from the end of the world to your town”. After all, wherever they are seems to them to be the end of the world, while wherever you are, and no matter how small a target, they are infallibly delivered to you through the electronic media. And yet, for them, their careers have been a ‘long and lonely climb’, which they also describe as walking on a wire and as ‘stepping in the ring’.

In an artistic touch of considerable finesse, these two characters, our hosts in this autobiography-for-two, are distinguished by their food. The Captain has cornflakes and tea with sugar: the Cowboy eats “sweet chocolate biscuits, and red rosy apples in summer”. Later in the song, when they are struggling to establish themselves in their chosen careers, they share the same food, “cheap easy meals”, which as Taupin wryly notes, “are hardly a home on the range”. I am fairly certain that readers will be able to point me to many examples of autobiography rock, hitherto unknown to me. And I’m quite sure that some of these will prove to be considerable achievements. But I’ll be very surprised if any of these use simple references to differences in diet with anything like the symbolic force that Taupin does.

There is a lot of history in these lines: one couplet juxtaposes the ‘City Slick Captain’ with the ‘still green and growing’ Cowboy. Then we’re told of “weak winged young sparrows that starve in the winter” and “broken young children on the wheels of the winners”. The Captain and the Kid must have seen a lot of callousness and even bastardry. The lyrics for a song called “Dogs in the Kitchen” were printed with the lyrics, although the song is not on the album, if it was ever recorded. The sentiments seem so raw that if Elton did them justice, the product may not have been a palatable release for the average record company. The very first line is: “All our innocence gave way to lust”. And that was the sweetener:

Poor boys fight to stay alive …
Uncage us, we’re restless, snarled the dogs in the kitchen.
Howling in the heatwave, riding all the bitchin’ ladies.
Who got the first bite in on the greasy bone?
… the vultures belch in their swivel chairs,
And the vampires all wear ties.

It is unnerving to think of writers being likened to greasy bones and quarrelled over by cannibalistic entrepreneurs. This gives us a gritty perspective on the title track, where Elton sings: “We’ve thrown in the towel too many times, our for the count when we’re down”. This is why I say that this is fundamentally a universe apart, and two dimensions deeper than Sinatra’s “regrets, I’ve had a few, but then again …”.

However, even the most powerful missiles need to be launched and guided, and it’s the music which delivers these words. The real magic, for me, is in the combination. To start with, the simplicity of the title track is like innocence made audible. Then, at about 1’ 46” when Elton begins to sing about the Brown Dirt Cowboy, the music picks up. Steady country and western strumming effortlessly evokes an air of ‘childhood at home’ feel, but becomes ‘rockier’ as the song proceeds. This musical development naturally bridges the twin worlds of town and country, the passage from youth to adolescence, the fall from fruit to fat, and the journey from the idyllic woods to wherever we are. The important connection, of course, is between John and Taupin: “hand in hand went music and the rhyme”. One of the odd things is that while Elton is the city-slicker and is significantly called ‘the Captain’, he was, in some ways more vulnerable and innocent than Taupin: one has the feeling that the Cowboy was canny enough for the two of them. This masterly track nicely sets the stage, and introduces its heroes to the challenging world at the same time as it introduces them to us.

The very next track is the knowing “Tower of Babel”. Its first sounds are as ominous and resonant as two tolls on an undertaker’s bell: “Snow – cement – “ and we are immediately submerged in a world of barely speakable cynicism:

Were the darlings on the sideline
Dreaming up such cherished lies
To whisper in your ears before you die?

As with the title track, Taupin is not saying that their early years were tough. He is saying that they were facing starvation, and even the prospect of death. There is not much here about knowing yourself, but knowledge is demonstrated. Too often, we lie to ourselves about the past: we paint it in pictures either too black or too white. In each case we’re really trying to project an image of ourselves (“I understand and forgive all”, or the opposite). But there is no honesty without fearlessness. If someone was a bastard, why not say so? Here, someone has learned a lesson and tells the truth, let the chips fall where they may. Had he said it in those words, it would have sounded indulgent. But Taupin just tells it as it was, so we can take it or leave it. Then we’re into the chorus:

It’s party time for the guys in the Tower of Babel
Sodom meet Gomorrah, Cain meet Abel. …
Watch them dig their graves,
‘Cos Jesus don’t save the guys in the Tower of Babel.

The Biblical terms add a surprising solemnity, and universalise the experience of these two young men. Taupin will open his bible again, for example, on “Just like Noah’s Ark”, from The Captain and the Kid. It’s funny how often non-believers quote the Bible and appeal to Jesus and salvation. It’s also an odd image because the point of the Tower is that it was never completed. The ‘Babel’ here is both the ‘Babylon’ of John’s Apocalypse, the city of the harlot and unspeakable sin, and the Tower which is cast down and has became a symbol of false pride and arrogance. And it also fits the skyscrapers where the captains of industry lurk as if it were designed for them. So, even if it’s a rather anomalous metaphor, it’s nonetheless evocative and multi-dimensional. The crudity of their money-chase is underscored by the fact that, as even more than with the title track, there is no tuneful melodic line : it is as if the omen-like intensity of the words breaks their symphonic chains. But that changes at the chorus “It’s party time for the guys in the Tower of Babel. Sodom meet Gomorrah! Cain, meet Abel!”

So “Babel” is one raw and fiery song. The significance of its first black statement, the stark single word ‘Snow’, is obvious. The second verse opens with the knell of two words ‘Junk – Angel’, and takes us down beneath the floorboards into the company of cockroaches, where the dealers in the basement are “filling your prescription for a brand new heart attack”.

On track three, the tone softens with the beguilingly musical: “Bitter Fingers”. It opens in the voice of an entertainer addressing the songwriters:

I’m going on the circuit, doing all the pubs,
And I really need a song, boys, to stir those workers up,
And get their wives to sing it with me …

It isn’t that the entertainer is insincere, he’s just selfish, insensitive and second-rate. He’s been deeply dyed in the industry. After two bouncing verses of this blarney, the gears crunch, and Elton snarls:

It’s hard to write a song with bitter fingers,
So much to prove, so few to tell you why.
Those old die-hards in Denmark Street start laughing
At the keyboard player’s hollow haunted eyes …
No more long days hocking hunks of garbage.
Bitter fingers never swung on swinging stars.

I had to cite those last two lines if not just for the alliteration. Although it is the first track on side two, I shall deal here with “Meal Ticket”. It covers something of the same ground as “Tower of Babel” and “Bitter Fingers”, but this time, it directly reveals what “Fingers” had only implied: that the songwriters could themselves be mercenary. I take it that, in the very first line, Elton is aggressively addressing music industry power brokers:

I can hound you if I need to,
Sip your brandy from a crystal shoe …
While the others climb reaching dizzy heights,
The world’s in front of me in black and white:
I’m on the bottom line, I’m on the bottom line.

… While the Diamond Jims
And the Kings Road pimps
Breathe heavy in their brand new clothes.

So here are both sides: the boys’ desperation, and the cynical, selfish parasitism which has driven them where they never thought to go. We’re now removed from the innocence of the title track by a margin that can be crossed but not measured:

And I gotta get a meal ticket.
To survive you need a meal ticket,
To stay alive you need a meal ticket.
Feel no pain, no pain; no regret, no regret.
When the line’s been signed you’re someone else.

I took this song out of turn because these last three songs, like “Dogs in the Kitchen”, deal directly with an important issue: how we relate to being abused. Here the abuse is bloodsucking by professionals in suits and ties, but in life we find countless other examples. The starting point is to see it for what it is. Of course we have been taught to love our enemies, but this does not mean to pretend that they are not your enemies or have not harmed you. One can aspire to say “Forgive them for they know not what they do”, although to be candid, one can know that but yet be incapable of feeling anything which corresponds to it. As the late George Adie said, that sentiment is the ultimate in impartiality. We are still learning to be impartial for short moments. The ultimate is not yet within grasp, though we must not give up on that account.

What I like about these three songs, indeed, what I respect, is that Taupin states his disgust in all its bare ugliness without excuse, apology or evasion. He does not indulge in hatred, he just paints what he saw and felt. It isn’t pretty, but it is arresting. It has, to my mind, something of the quality of some of Tennessee Williams’ work, which is noteworthy, because Taupin mentions him at least twice, on “Lies” from Made in England, and on “Old Sixty Seven” from The Captain and the Kid. Of course, Taupin was attracted to Williams’ work because of a pre-existing similarity of disposition, just as Lennon was. You could, perhaps, call it a thirst for the truth, accepting that someone may be hurt. And I have to add here that I just don’t believe people who urge ‘love’ as if it were as accessible to the heart as money to the hand. This is one area where Taupin has never, from what I can presently recall, slipped in syrup. Even on an early piece like “Border Song” on the Elton John album, he is aware that the love which ends enmities must be sweated and prayed for. Perhaps I shall come to that in a future article. For now, we have the powerful and almost transcendent close of side one: “Tell me when the Whistle Blows” and “Someone Saved my Life Tonight”.

“Whistle Blows” is a story of the country boy going back home for a visit: “And I still feel the need of your apron strings once in a while”. The London railway is seedy, and he himself feels like “a black sheep going home”. Yet, he’s drawn back, and wonders whether the “street kids (will) remember”, whether he can still play pool like he used to, and whether “this country kid (has) still got his soul”. I hear something big in the music, rather as if Elton John also related to it, although it’s really Bernie’s story. What I hear in it, and in its inspired string arrangement, is “moving on to the moment of truth”, if I can put it that way. Has he changed? Who is he now? How will others, his family and his peers receive him? What it comes down to, perhaps, is this: has he been true to himself?

Perhaps questioning yourself is always the first step to seeing yourself, and thus to self-knowledge. This song is Taupin’s record of questioning himself. Great as this song is, it’s greatest value perhaps, is to set the stage and open the curtain for what may be the strongest song this duo ever produced: “Someone Saved my Life Tonight”. On the record, this track closes side 1 with the closure of a red curtain at intermission; and these two tracks are balanced by the last two tracks on side 2, which reprise them in a different emotional key. If “Whistle Blows” is a story of going back home, “Someone” is the same story, but in tragic-triumphant tones, of returning home, to light from darkness. Just quickly, the loss of the two-side album has not only spelled the effective end of the art of record covers, but has robbed the artiste and their audience of the dramatic opportunity to close one side and open another. This is why the record is different from, and superior to the CD.

The piano and cymbals of “Someone Saved my Life Tonight” take us to a world far from that the black sheep waiting at the station, however near it may be in miles: “When I think of those East End lights, muggy nights, curtains drawn in the little room downstairs.”It is not innocent, and its stolid respectability is barely skin deep. The woman Elton almost married is hardly painted in flattering terms: “Prima donna, lord, you really should have been there; sitting like a princess perched in her electric chair”. He gets drunk so that he can’t hear her, and his friends are as legless as he is. We know that this is all true, and that to escape a marriage he felt he could not disavow, he tried to gas himself, but was saved by Long John Baldry. This is the song of the man who came through:

And someone saved my life tonight, sugar bear.
… You nearly had me roped and tied,
Altar bound, hypnotised.
Sweet freedom whispered in my ear,
You’re a butterfly, and butterflies are free to fly,
Fly away, high away … bye, bye!

The lyrics are almost stunning in places: “A slip noose hanging in my darkest dreams. … Just a pawn outplayed by a dominating queen. … Saved in time, thank God my music’s still alive.”

This last line is the key to the album, that music equals life. Yet, as we shall see, there’s more. There is an odd kind of contemplative interlude, where he says “I would have walked head on into the deep end of the river”, almost as if he is somewhere above his body, watching it move. The same disembodied calm possesses the line “They’re coming in the morning with a truck to take me home”, the line which formally links this to “Whistle Blows”. Then the music swells until it is would be too intense to bear but for the band’s masterly restraint: “Someone saved my life tonight, so save your strength and run the field you play alone”.

Bear in mind that this is the man whom Bernie Taupin calls ‘The Captain’. And after Taupin wrote him these lyrics, he set them to music of singular potency and sang them. Somewhere or other, I came across that when it was being recorded, Gus Dudgeon asked Elton to put more emotion into his voice, until Davey Johnstone told him to let up: “he’s singing about an attempted suicide”, or words to that effect. That the Captain should submit himself to the ordeal is significant. It had a life purpose, it was written and recorded for a purpose, for fulfilment, not for money.

This is one of those songs where I feel that although the spirit is never mentioned, yet the music bears within itself something of the sublime. In the first blog, I wrote: “I call the ‘sublime’ that precious, subtle feeling of myself as if on the cusp of touching the mystery of eternity. It is the life of what Gurdjieff called the “higher emotional centre”, and its music is, as it were, music delivered through the flesh, but heard by the ears of the soul. … For example, when I listen, with quiet attention, to Elton John’s “Someone Saved My Life Tonight” or “Funeral for a Friend”, I feel that there is something majestic swelling in and above the music, which calls me on and upwards.” And I’m not alone in that.

Now, as mentioned, side two opens with the visceral “Meal Ticket”, but from there, the mood of the record changes. Track two is the startlingly original “Better Off Dead”. Driven by the piano, Elton sounds almost derring-do. If a song were to be written for the Scarlet Pimpernel, this could be it. It’s early morning in the grimy city, people are being arrested as the fag end of the night plays itself out: there’s vandalism, and there’s trouble. And yet, here is life! As in “Someone Saved”, music and life are linked:

‘Cause the steam’s in the boiler, the coal’s in the fire!
If you ask how I am, then I’ll just say ‘inspired’!
If the thorn of the rose is the fire in your side,
Then you’re better off dead and you haven’t yet died.

Life is acknowledged, accepted and affirmed with its thorns and all. The means to affirmation is the music, or to be more precise, the feeling of self which comes through their music. This feeling comes through clearly and warmly on the next track: “Writing”:

Inspiration for navigation of our new found craft.
… Will the things we wrote today sound as good tomorrow?
Will we still be writing in approaching years?
… Don’t disturb us if you hear us trying
To instigate the structure of another line or two,
‘Cause writing’s lightin’ up,
And I like life enough to see it through.

I don’t think the music of this song is particularly wonderful, but it’s pleasant, and it allows one a nice breathing space between the precocity of “Better Off Dead” and the symphonic triumph of “We All Fall in Love Sometimes” and “Curtains”, which really form one sustained statement. Here, the love we all happen to fall for is their music. Now not everyone writes music, but music here is a symbol of realising one’s potential, and love for what we have made of ourselves.

This is, I think, the manifesto of the album, if it has one. If the music is alive (not prostituted to the highest bidder), if it is your music, and you are true to yourself, everything life sends you can be accepted. We have seen how the preceding songs have provided the material of this ‘manifesto’, and it all comes together now on “We All Fall in Love Sometimes” and “Curtains”

The song opens with some simple descending piano lines. It’s as if someone has walked into the room. Then Elton starts singing, describing the two of them, late at night on a subway station, tired and aching, but believing that “it’s all worth it, we all fall in love sometimes”. Accidentally or not, Elton’s accent falls equally on the three words “all – worth – it”. Exactly what it conveys, beyond the intuition that ‘it’ is something special, is hard to say; yet I feel meaning in it. Now comes the romance:

Full moon’s bright, starlight filled the evening,
We wrote it, and I played it,
Something’s happened,
It’s so strange this feeling.
Naive notions that were childish,
Simple tunes that tried to hide it.
When it comes, we all fall in love sometime.

The melody is simple, and has a subtle sway which comes more to the fore in the chorus: “Did we, didn’t we, should we, could we …”. The evocation of close-of-day fatigue married with the discovery of the wonders of their “newfound craft”, is as accomplished as it is – to my best knowledge – unique. In a funny way, such is the achievement of this song that there I have very little to say about it. To my ear, at least, these songs of self-knowledge are amongst the greatest songs of the last hundred years, and “We All Fall” is perhaps the jewel in the crown. It segues straight into “Curtains”, once more, a strikingly original song in melody, lyrics and format. Like the total track, it practically has no tunefulness, and yet, as chimes softly toll, its slowly paced incantation gives the lyrics an almost oracular status:

I used to know this old scarecrow,
He was my song, my joy and sorrow.
Cast alone between the furrows
Of a field no longer sown by anyone.

As with the previous song, there are no illusions that everything they wrote was brilliant. Yet, the old scarecrow is not disowned, and in one concise phrase we have a generous spectrum of feeling: “He was my song, my joy and sorrow”. The next words are given poignancy by the bells which have been unobtrusively sounding:

I held a dandelion that said the time had come,
To leave upon the wind, never to return,
When summer burned the earth again.
Cultivate the freshest flower
This garden ever grew.
In between these branches
I once wrote such childish words for you.

We have seen these motifs above, the country imagery, and the naivety of some of their earliest songs. But the themes are now drawn together and bring a coherent, almost convincing power, as Taupin refigures them. We have come now from summers in the saddle to summers which will never be repeated, from aspiration to achieving. Yes, the lyrics were naive:

But that’s okay, there’s treasure children always seek to find,
And just like us, you must have had A Once Upon A Time.

This is an important insight: we can punish ourselves for the mistakes of childhood and adolescence, but we were learning and, we can punish ourselves beyond any sane reason for our ignorance. This understanding is allowed its full weight by the evenly chanted spell which Elton John casts. Finally, there is a lengthy “outro” in which Elton and the vocalists compete in bursts of “o-o-o-o-o” and “lum-de-dum-de-day-do” while the drums rumble and the bells ring. No wonder Elton John’s output went into a slump after this. Where else could he go? If it is a law that every force has an equal and opposite reaction, then the law applies to output (which makes me think of how the Beatle’s greatest triumphs, Rubber Soul, Revolver and Sgt Pepper were followed by the mediocre Magical Mystery Tour, and the splendid John Lennon/Plastic Ono Band and Imagine by the barely listenable Some Time in New York City).

Captains Fantastic is the most perfectly executed concept album I have ever heard, forming a satisfying thematically unified whole. I mean that it makes a better album because, being integrated, it leaves one with a sense of the whole which rounds out any uneven spots along the way. It’s as if the weak points are effaced by the strengths, because after the title track, no song is beginning from zero point. There is a building, an accumulation, and it’s all gathered and harvested in the almost spectacularly brilliant “We All Fall in Love Sometimes” and “Curtains”, two limbs of one musical statement.

More than I can recall in popular music, John and Taupin demonstrate the continuity between childhood and adulthood, acknowledge it, and understand that with the development there come also lawful changes. It is an album of metamorphosis. Although it’s never stated, there is something of the story of the Ugly Duckling here about Elton John: the nerd who grows up to reveal a soul of heroic steel.

The album is a statement of metamorphosis: the album cover, the work of Alan Aldridge and Harry Willcock, but conceived by Taupin, I believe, evokes a world of chimeras, unearthly combinations and familiar monstrosities. Once again, I have reason to mourn the passing of the album cover. Perhaps if CDs could be released within record sleeves? It is a manifesto of metamorphosis, because the message is that only if you are true to yourself and do not compromise on the music inside you (whatever form that music takes) can you realise your potential. This message is rather more explicitly developed on The Captain and the Kid, so I’m fortunate to have the advantage of hearing that music in my head as I consider this one.

While Captain Fantastic is about the lives of John and Taupin, it is also of almost universal relevance: it deals with ambition, love of life, sacrifice, great sadness, triumph, realism, creation, manipulation, excess, generosity of spirit, perseverance, and human existence. Ultimately, everyone can relate to its forceful artistic statement that life is worth living, despite the pain. And the statement is put all the more powerfully for not being put directly. If you let the music in, the enlightenment rises upon you, in all its splendour, and lives inside your feeling. Considering Captain Fantastic from that perspective, it’s clear why it is, at least in conception, superior to Yellow Brick Road.

But that’s not all. When I said that the message is that life is worth living, despite the pain, I think that there’s something else implied. And that is that you have to make it worth living. I would say that an aim is needed, and in Gurdjieff’s terms, this would be an aim to discover and develop your essential individuality. In Taupin’s terms, speaking about Elton and himself, it was the development of their musicianship. When he said “thank God my music’s still alive”, what was his highest gratitude for: himself or his muse? And yet, perhaps the two come down to the same thing.

Elton and Bernie

Elton John and Bernie Taupin

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

Joseph.Azize@googlemail.com

October 19, 2009

John Lennon: Essence & Reality Part 14: “Tennessee” and “Real Love”

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

Lennon 1980

John Lennon

Tennessee_Williams

Tennessee Williams

Lennon took a rather high view of the artist’s role and mission in society. He not only preached it, he indulged himself (and his second wife) in living the life of the socially-conscious avant-garde artist, and living it rather expansively. There was a rationale, if not an ideology behind it. One could conceive Lennon producing a manifesto to the effect that the role of the artist is to animate people by mediating a cultural influence, and, in rare cases, at the tip of the flower of culture, a spiritual influence. This influence comes through in the artist’s work, but as the Lennons saw “art” as a river without banks, it also flowed through their lives. If artists have the privilege of being opinion makers, leaders and teachers, there are also responsibilities and prices. Artists are responsible to use their public profile to spread a positive message. But this profile exacts a price, the notorious down-side of living in the public eye, and being vulnerable to misunderstanding and abuse, especially from the jackals of the media.

As one would expect, Lennon’s relationship with his public and journalists was highly charged and strongly polarised in both directions – attraction and repulsion. He wanted people to love not just his work but also himself. Sometimes this was manifested in absurd extremes of self-importance, as, for example, when returning his MBE in protest to the Palace, he cited as one of his reasons that “Cold Turkey” had slipped down the charts. Even if this was meant to be humorous, it was a significant humour, because it is spun out of nothing but vanity. I doubt that it would occur to the average person to suppose that Her Majesty, or even the government of the UK, could have done anything about chart performance of 45 rpm records, let alone be rebuked for not having taken measures to ensure that “Cold Turkey” peaked at the metaphorical Everest. Much as I admire Lennon, he himself was the only butt of that joke, if indeed it was a joke. It was egoism to a delusional degree; and part of the reason I do admire him is because eventually took himself in hand and become humbler.

This conception of the artist’s noble social calling is a contributing explanation of many if not most of Lennon’s more bizarre actions in the late 1960s and early 1970s, such as the bed-ins. They said that they knew that they were going to get publicity whatever they did, and decided to use it in a manner which they saw as positive. We all see the point they were trying to make: the desire for peace should be a major value in everyone’s real life, and not just a camouflage for a profound apathy, or a tonic to placate the last remaining vestiges of conscience while engaging in war. At the time, important nations in the Western world were fighting the war in Vietnam, which, for everything I can see, was not a just war. Those who resisted the war must have felt frustrated to a point of madness. However, the self-importance and extremity of John and Yoko’s actions were of doubtful value, they were perhaps even counter-productive. A more measured protest, I suspect, would have been more effective. I think that, at that point and until his 1975 reunion with her, John and Yoko were so addicted to publicity and preaching that they did not consider that the wrong type of publicity could do damage to their causes.

After the tour de force of raw revelation which was the John Lennon / Plastic Ono Band album, Lennon cut the Imagine album. He once described the title track, his hymn for a believing atheism, as “sugar-coated”. After its critically acclaimed predecessor, yes “Imagine” does sound rather tailored for radio. And its sales far surpassed the previous one’s, which will not have displeased Lennon. It is
possible to entertain and spread a positive message at the same time. In itself that is not a serious problem: from what I can hear the very best music is played over radio together with everything else. Having fame and solo success, Lennon wanted to use it, and he and Yoko reverted to their favoured style: aggressive and preachy. And so they came to produce the disastrous Some Time in New York City album. Its chart and sales failure deeply upset Lennon, who was always competing with other musicians, especially, of course, Paul McCartney. I never heard, however, that he had acknowledged the record’s patent artistic failure.

But Lennon, being Lennon, could not sit still for long. Three years later, if you can credit it, these are lyrics Lennon was working on in the mid-70s, for a song in honour of Tennessee Williams, which showed how far he had come from the strident days of Some Time in New York City:

Tennessee, O Tennessee, what you’ve shown to me:1
Your words like water, pure and clear.
The sadness of your soul reveals the music of this sphere,
Conceal it behind your spirit mind, your poet’s love and feel.2

If I hadn’t heard Lennon singing these words, I wouldn’t have believed that he had written them, because nothing I’ve read about Lennon (and I’ve read whatever I can get my hands on) discloses the least reason to think that Lennon entertained such an exalted opinion of Williams. Lennon never finished this song, although he spent a lot of time working on it. When Lennon writes about “your words like water, pure and clear”, it is hard not to think of this of a case as one soul calling to another like soul, because Lennon too, aimed at clarity and directness.

On one take of “Tennessee”, the one I’ve most often heard, the opening verse is:

America, America, your heroes are alive.
Your faded men and glory will survive.
The madness of your soul supplies the all-consuming fire,
Beneath your spreaded chestnut lies A Streetcar Named Desire.

As with “Instant Karma!”, the writing is so intense, it is difficult to digest it. The final verse is no less compressed:

Tennessee, O Tennessee, your southern bell will ring.
Music travelled far from New Orleans.
Sling an arrowed mirror in the magic of your dreams
Reflect echoed harmony of the naked human being.
Reflect echoed harmony of the cold and lonely naked human being.

I am indebted to Peter Van Schie’s “Between the Lines” page for the lyrics. I must admit I could not make them all out from the recording. I have also heard another version of the song, where Lennon sings “Memory, O memory, release me from your spell”, and says that “today is really all I need to know”. I wonder whether Lennon wasn’t concerned that a song of homage to Tennessee Williams (who was then still alive and being covered in glory) would sound a little strange, and tried to find other lyrics. But these words, in homage to Williams and to the USA, are the only ones which work for me.

And they do work. The sentiments are so strange and almost forced as to be unsettling: what does it mean to sling an arrowed mirror, let alone to do the slinging in the magic of someone’s dreams? Yet, the anthemic quality of the music, the solemn almost gospel piano, and the patent unforced sincerity in his voice produce, in my opinion, one of Lennon’s greatest achievements. If Yoko Ono is reading this blog, it is the ideal moment for her to release every available version of this jewel, and in return I shall see to it that masses are offered for her and her intentions in every cathedral where I can have incense burned.

One of the important points here is that he seems to have learned something from Tennessee Williams: remember, Lennon’s opening sentiment is “Tennessee, O Tennessee, what you’ve shown to me” (my emphasis). What I think he learnt is that it is possible for the artist to be a poet, and to have a “spirit mind”, and to show people what their lives are like, without hopelessly antagonizing them and ridiculing himself as a fool.

Of course, in the past, Tennessee Williams had suffered more than his fair share of muck-throwing, and Lennon doubtless knew this. But by the mid 70s, Williams had come through, and his star had risen, fixed to if not in the constellation of the revered Marlon Brando (who had starred in the famous film version of A Streetcar Named Desire) and many other major stars with real credibility (e.g. Orson Welles) who had appeared in film versions of his plays. In his ability, in his mastery of his craft, his public penetration, in his history as a subject of abuse, and in his hoped for rehabilitation as an American icon, Lennon partly identified with Williams. Why else would he twice speak of Williams as producing “music”? One can wonder, too, whether Williams’ homosexuality and consequent outsider status may not also have appealed to Lennon.

But I think that the almost startling intensity of this song, and perhaps the fact that it was never completed and released, is eloquent of Lennon’s personal life in the last six years of his life. The significant elements are that Lennon sings of William’s words being “like water, pure and clear”, of the sadness of his soul, that this sadness reveals the “music of this sphere” (which I take to mean that as an artist he had access to higher level of insight), and that Williams could “conceal” the raw perception by virtue of his spirit mind of the love and feeling of a poet. All of these points are important. Lennon stated in one of his last interviews that many people were discomfited when he sang about himself, but if he made it a third person saga, such as Tommy, Ziggy Stardust or Sadie Schmuck (so it sounded to me), that could be accepted.

Could it be that at this point of his life, Lennon was starting to realise that sugar coating could be quite a useful commodity for a pill-maker? Sometimes I think that the vital fact is that both Williams and Lennon were appealing to America. Williams seems to me to have cherished an almost idolatrous love of the USA, after all, he changed his first name to “Tennessee”. But, it is also reasonable to suggest that Lennon’s reference to the country cannot be lightly dismissed. Lennon calls America by name, twice, almost like Elijah summoning the dead to rise. He boldly declares, prophet-like, that “your faded men and glory will survive.” By now the Vietnam war had been lost, and I think that this is Lennon’s theme. But he is not hooting in triumph: did he not mean that although he had opposed the war, he had never opposed the country and its people? He adored America, and he worshipped it partly because “the madness of (its) soul supplies (an) all-consuming fire,” and Lennon wanted fire (as perhaps we all do at some deep level). Be that as it may, the song abounds with soul, love and the value of honesty.

In these lyrics, Lennon see humanity on the slab, as it were, and declares that what Williams “reflects” and “echoes” is accurate. Lennon endorses Williams’ vision that on the marble is “the cold and lonely naked human being”. Can there be any doubt that Lennon saw himself and everyone he knew in Williams’ lines?

Incidentally, two images from this song were also found on the Walls and Bridges album. First, the liquid image (“all we need is water … cool … clear … water!) also recurs in “Old Dirt Road”, which he co-wrote with Nilsson not long before he began working on this song. Second, the “mirror in the magic of your dreams” reminds me of “# 9 Dream”, and the line “through the mirror go round”. Indeed, that song with its references to magic and spirits is close to “Tennessee”, in that both are visionary recitals.

This leads me, at last!, to the chief point of this blog, and that is this: while it is easy to criticise Lennon for not living his philosophy of love, he was, in my view, trying to transfer what he felt deeply as a reality in one state to his life when in another state. The higher, and truer state was, for Lennon, the one he experienced making and writing music. And yet he did not despise the world. Consider these words from the matchless “Real Love”, which he was working on about the same time as “Tennessee”:

All my little plans and schemes pass like some forgotten dream.
Seems that all I really was doing was waiting for you.
Just like little girls and boys playing with their little toys.
Seems like all we really were doing was waiting for love.
No need to be alone, no need to be alone.
It’s ree-yal love, it’s re-e-e-e-eal, yes it’s ree-yal love, it’s re-e-e-e-eal.
… No need to be afraid, no need to be afraid.
Thought I’d been in love before, but in my heart I wanted more …

Like “Tennessee”, the piano version has the simple dignified quality of the best of church music. The film “John Lennon: Imagine” opens with him playing it on acoustic guitar. Each has a disarming directness about it, and the Beatles’ edition from the third volume of the Anthology has an energy which adds an endearing vim, redolent to me of the early classics “I Want to Hold your Hand”, “She Loves You”, “I Feel Fine”, and so on. “Real Love” could, I think, well have fitted onto Rubber Soul or Revolver.

These lyrics, seemingly so naive, yet reveal so much: his plans and schemes have vanished like the merest of dreams. The occupations with which he kept himself so terribly busy were the pleasant bubbles of childhood. By stressing as he does that he has found real love, he is stating that there is an unreal love. He had always known it was possible, he says. It is as if he had been fooling himself. But no more. Beyond shadows to realities, as so many have said in different ways.

This, I think, is the key to both songs. Lennon was questing for the road to reality, and sometimes he found his feet on it. The way to the road lay, for him, through art and through love. So Lennon had had glimpses of this, but how to make it a part of his life? In a way, I feel that this was the theme of Lennon’s life and striving. What he wanted was reality.

Sometimes Lennon knew that reality lies not in personalities (as he sang in “God”), or in occupations or callings (such to the avant-garde), but in a change our internal states. As he sang in “Revolution” to all those agitating for political change, “you better free your mind instead”. But precocious as this understanding was, Lennon often forgot it. In fact, even when he wrote “Revolution” a part of him was not convinced of it.

One of Gurdjieff’s great insights was that we can know the truth, but the level of truth we can know depends upon our state. We cannot really speak of ourselves in an absolute way: to be more precise, and so freer of illusion, there is myself in this state, and myself in any one of the endless number of states we move from. Our state is always changing, but the range through which it changes can be higher or lower. The speed with which our state can fall is so bewildering that it can lead to despair. But with time, one can learn to raise one’s state just as quickly. And with time, too, our state will cease to fall so low as to sink into danger.

So that was John Lennon: he knew that there were certain states where love was real. That is what he wrote of in “Real Love”, and it supplied the fire that he then projected onto the USA and one of its greatest playwrights. The tragedy was that he was murdered while he was learning to bring something of this state to all the rest of his life, and to spread “The Word”, as he sang on Rubber Soul.

Note: Since I wrote the piece on “Imagine”, I have come to see one important matter: the song is actually addressed to believers. The famous opening words “Imagine there’s no heaven” can only make sense if spoken to those who believe in the existence of a heaven. “Heaven” is often a way of referring to “God”, just as “the White House” can often mean the President of the USA. Throughout the addresses those who also believe in hell and religion. Lennon does not outright invited us to imagine no God, but it comes to the same thing.

So what follows from this? To my mind it strengthens the impression that “the song aspires to ideals usually associated exclusively with religion.” Lennon was correct to say in 1980 that he was a religious person. It strengthens my sense that a spiritual or even mystic interpretation of Lennon’s life and work is fitting, and is potentially productive of good clear light.

Joseph.Azize@googlemail.com
27 September 2009

Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

September 27, 2009

Keith A. Buzzell: Man – A Three Brained Being

JOSEPH AZIZE BOOK REVIEWS

Joseph.Azize@googlemail.com

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Dr Keith A. Buzzell

Dr Keith A. Buzzell

Review
Keith A. Buzzell, Man – A Three Brained Being (Resonant Aspects of Modern Science and the Gurdjieff Teaching), 2nd edition, edited by John Amaral, Marlena Buzzell, Bonnie Phillips and Toddy Smyth, Fifth Press, Salt Lake City, 2007

139 pages, including a glossary of specialist terms, full colour llustrations and a coloured book mark.

Overview        
This book is unique in the Gurdjieff tradition. It is an original contribution to the study of man, and a stepping stone to further study. The quality of thought displayed is so high as to itself provide a subtle and powerful impression. It could have been subtitled “how and why the brains in man form images, what those images do, and how this can be done in either a healthy or an unhealthy way”.

Dr Buzzell’s avowed aim is to “blend a scientific perspective on the physical Universe and on human biology with a perspective on the possibility of self-transformation as taught by G.I. Gurdjieff.” (p.131) These two domains, physical science and Gurdjieff’s teaching (perhaps a species of metaphysical science), have both practical and theoretical applications. It is Dr Buzzell’s privilege (hereafter
“Buzzell”) to explore and relate the practical and the theoretical aspects of each. Buzzell was educated and trained as a physician, musician and scientist, and has put his good fortune to good use, understanding as he does that “the broad spectrum of human experiences that must be lived …” (p. 131, all italics in quotes are found in the original).

Buzzell invites the reader to “probe deeper”; not just to study his (i.e. Buzzell’s own ideas) but to individually apply what they understand in the light of their own lived experiences. His vision is one where many individuals will strive to apply Gurdjieff’s system and method in the groups or alone. Then, on the basis of that experience, they come into relation with each other to “share, to commune with, to support and to come into abiding relationship with each other.” (p.131)

Art and Illustrations  
The cover is thicker than is usual with paperbacks. On the front, a blue netting design stretches over a light grey background. The centre is filled by a diagram in thin white lines, being a large circle with a slightly smaller circle concentrically inside it, filled with an set of interlocking triangles. The three corners of the largest upright triangle are each marked by a blue cluster, roughly circular, but with soft edges. It is as if the blue netting of the background is gathered into the white outlined circles and concentrated at these three corners. The design is redolent of space/time not being uniform, but concentrated by massy objects. We sense harmony, geometry, law, manifestation and peaceful transition in its imagery of simple forms meeting to cause more complex forms and concentrations to arise.

The page before the table of contents bears one of many full colour illustrations. Below it lies the dedication “For All Our Children and Grandchildren”. The ideas in this book are links in a chain which began even before Gurdjieff. The book as a whole fills a place in, and carries forward, a broad tradition which flows down from a great horizon. In a deft manner, the illustrations for this book, but especially the front cover, reflect the insight that both the perspectives of modern science and Gurdjieff’s ideas “herald a startlingly new view of our Universe.” (p. 3).

The book is organized into an introduction and four chapters. Each of these is preceded by a page bearing a few short quotations. Each of those pages is grey with a geometric figure, perhaps one could call it an unfolded triangle, ghosted in white lines. Numerous diagrams, some in colour, are provided. One has only to open the volume to see that the publisher does not just keep a commercial eye on the packaging: as one can fairly say of most presses. Rather, the press, its artists,
editors, author and staff, have collaborated in an endeavour at once
scientific, artistic and crafted.

Contents        
The introduction asks: what is new since the time of Gurdjieff? The answer is found in the “technological application of the principles of relativity and quantum mechanics”, what Buzzell calls “new motions” (pp.3-4). This makes possible, among other things, the new imaging technologies of television, computer terminals, video games, internet and so on. These pump out images which the brain must take as real (pp.5-6), and present reality in a manner and at a speed which is not natural to our three brains. One result is that seeing everything available we want everything now (as stated at p.6). I had already thought that the “entertainment” industry, compressing the events of days, weeks and even years into an “action-packed” 90 minutes has had a part in making us impatient of process (e.g. in
learning). Gurdjieff made similar observations in his chapter on “Art”, but the situation has deteriorated since his time, and Buzzell illustrates how and why. As he states, the ideal or natural “time-of-relationship” for people is slower than what we presently allow (p.7). As Buzzell indicates, the possibility of personal transformation depends upon how the brains intentionally digest the images they form (p.8). And like every process, this has a time. If we squander it, if that time is not respected, nature does not give us that period over again. For example, if the fingers of the developing foetus are not differentiated in time, the body “continues its surge towards overall completion and makes compromises around uncompleted parts”, and each brain does the same (p. 6).

Chapter 1 is titled “New Concepts”. In 1915 Gurdjieff’s idea of man as a three-brained being was, “revolutionary”(p.11). In the 1950s, the idea of the triune brain was independently introduced to contemporary science by MacLean, who used the term “mentation” for “a brained process”, just as Gurdjieff did. However, MacLean’s work is not influential in today’s neuroscience (p. 12). The appearance of “brained” beings represents “the Great Turning” (p. 13):

This turning consisted of the evolution of biological mechanisms (one-brained beings) which could construct sensory images of a resonant portion of the forms and energies of the world external to itself. (p. 13)

Both Gurdjieff’s theory of “hydrogens” and modern chemistry recognize the significance of electromagnetic bonding energies in holding “states of matter” together (p. 14). As Buzzell correctly notes, the existence of other galaxies was not recognized until the late 1920s (p. 15), yet other galaxies are acknowledged in the Ray of Creation (e.g. Miraculous p. 80). I agree with him that these anticipations of
modern science are extraordinary. Buzzell takes the study of hydrogens further than I have elsewhere seen, and explains how H48 and 24, can now be seen to represent neural impulses and associative neural nets, respectively, unknown substances in 1915 (pp.16-7). With H12:

… the procreative (or germinative) matter/energy enters. It can also be understood as the first of Gurdjieff’s “spiritual” matters. … At the physical body level of procreation, it is the higher force at the essentially solar level of new creation – in the new, hydrogen-bonded linkages of our DNA. (p. 17)

The role of H12 in the development of individuality gives an objective basis for the analogy between sun and “real I”. It also provides a startlingly concrete dimension to Gurdjieff’s concept, passed on orally, of  “creating sun in oneself.” A table of matters on p. 18 shows how each hydrogen relates to the substances known to science,
for example, H6 corresponds to galactic “cloud” interaction, and H12 to the state of plasma. My study of the ancient solar theology had already shown me that Gurdjieff’s many references to the sun were intended literally as well as metaphorically.

Buzzell also studies one of the most sadly neglected aspects of the ideas, the triads. In particular, he has an illuminating passage about the triad of transformation, 2-1-3 (pp.24-5). I have been collating the diverse indications on the triads, and Buzzell’s exposition absolutely confirms and extends what I have been able to piece together. His insight that “presence has a distinct and unique quality within each of the three forces of the triad …” explains something which is missing in Ouspensky’s account, and which I sensed had to be missing – but I could not see where the gap was. Now I can. This ends chapter 1.

Chapter 2 deals with “The Triune Brain”. Buzzell brings a new perspective to faith and hope, explains “wholing” (pp.30-1), images and resonance (pp.32-3), and while he does not refer to Gurdjieff here, his comments on vision (p. 34) elucidate why Gurdjieff privileged sight (Beelzebub at pp. 468-75, the white ray of light corresponds to the ‘common-integral vibration of all sources of actualizing’, etc). Buzzell goes on to deal with the other senses, both outer and inner, and his treatment of smell is particularly fascinating (pp. 36 and 43). He writes of the “sense of I”, the Great Traditions and their ossification, and the scientific method, summing up the chapter with “life” (p. 59).

Chapter 3, “Consciousness as the Coalescence of Images” shows how “awareness of various aspects of the world at and beyond the body surface is the most elemental or simple conscious state” (p. 70). In doing so, Buzzell adds further layers to what he has written about the brain and the senses; noting the sense of smell at p. 66. This chapter brings one to a sense of wonder at the image-making capacities of brained beings, the workings of association, memory, time, and the development of language. Buzzell’s pregnant comments on language at p.75 open new vistas on Gurdjieff’s remarks in Beelzebub and Remarkable Men. Over several pages, Buzzell describes how each brain receives impressions, forms images and associations, contributes to a different experience of time and to the development of human capacities. Then,
at pp. 78-9, he shows how although PET and MRI can show how different parts of the brain act when listening, nonetheless, we are not aware of that process but of the “coalescence of image”. When that image is one of lawfulness in the external world, the scientific method is possible (pp. 79 and 81, and illustrations 8 and 10). At the end of the chapter, Buzzell treats of “attention” and “will”, of which he says:

The Will, when understood as a truly independent source of decisioning … is higher (in potency) than impulse, image, consciousness or attention. We assign the potency of the Will to the em-force itself. (p. 87)

One has the feeling by now, that the black and white outline of the Ray of Creation we know from Ouspensky is being coloured in. Chapter 4 is headed: “The Digestion of Food, Air and Impressions: A Metaphor for Human Transformation.” Perhaps the nub of the book is here. Buzzell stresses that Gurdjieff’s discussion of these topics is metaphorical, and that even the Ray must be understood in such a way. I received a
shock for my understanding when I read Buzzell’s comment on the note SI, “freedom from the past, blending of outer and inner” (p. 94). Then follows an important elaboration of In Search of the Miraculous. First, the magnificent colour diagram on p. 96 does something I should have done for myself long ago, and charts the development of the air and impressions octaves beyond what is in Miraculous. The lengthy treatment of the foods, the processes to which they correspond, and which cosmic phenomena relate to the hydrogens at each level is, to my mind, an essential direction for anyone trying to make Gurdjieff’s ideas practical for themselves. What Buzzell does is clothe the abstract black and white lines of the food diagram from Miraculous in flesh, blood, oxygen, vitamins, hormones, and other things besides.
The treatment of impressions as food probably does not say so much which many of us have not already suspected: but it is put together and explained concisely and with authority.

This last chapter includes some interesting points and quotations, such as one from Tracol (p. 108). It holds together rather nicely, while covering many aspects of food ingestion and digestion, and relating it to the conscious evolution of man, this triune-brained being. One thing which I think might supplement the treatment of breathing (p. 112) is a reference to the subtle pauses in breathing. These pauses, and indeed, the entire rhythm of the breath, are important in the digestion of the air, one’s emotional state and indeed the tempo and state of one’s body. Further, Buzzell appreciates
the importance of Gurdjieff’s exercises (see pp. 112-3 for details). One will not persevere with the exercises, even if one has the good fortune to receive them, unless one knows of their significance and so values them.

Once the three foods have entered the body (and I suspect that the ingestion of impressions actually begins in the atmosphere of the body) the digestive products of the three foods are blended within the body’s inner circulation (pp. 116-7, pointing directly to Gurdjieff’s “blending” exercises). The three food octaves can, with the aid of the first conscious shock, come to the triad RE24, FA24, LA24 (p. 118). Conscious images are made of H24, once can even say that for us H24 is conscious images (extrapolating from pp.119-20). With this shock and its conscious images, there appears a presence or inner witness (p. 119). This leads to the critical point:

The effort to maintain the separation of a presence from the created images is the key to the potency inherent in self-remembering. If one loses this state of separation, identification with the image instantly takes place … (p. 119)

Without this separation, the Sacred Dances, which Buzzell says can represent “attentioned movement” (p. 121) would be gymnastics. The book then moves on to what may be the most important part, the treatment of the second conscious shock.

Corrigenda      
Of course, there are some typographical errors, but not many. The contents reads “coalition” for “coalescence”; p. 55 line 6, read “in” before “vention”; p. 62 paragraph 1, place a full stop after “independently”.

Comments        I consider this an important book. I think that to come to the best practical understanding of Gurdjieff’s ideas and methods possible we must engage with these issues: thus the third Being-Obligolnian-Striving. If this book is found difficult, and it is difficult in parts, that is a challenge. What would be the value of a book on this topic which was easy? Although Buzzell has qualified himself as an Oskianotsner (Beelzebub p. 1122), he cannot fulfil this role without readers who will study not just the book but develop the legacy and apply it.

Some people affect to despise theories, they say they just want practice. This is juvenile. Could one imagine any scientist, let alone a Pooloodjistius, who had never studied theory, had no maths no physic no chemistry, but said “let me loose in the laboratory”? Of course both are needed. In fact, even to dismiss theory is to create a theory as to why other theories are useless. As Chesterton said in another context, it is like declaring: “Away with diagnosis, medicines and exercise: just give me health!”

This is a book which makes connections and invites further study and research. For example, what about the role of fasting? Another interesting field lies with this idea that it is the mark of a master to be able to refrain from acting. One of Mr Adie’s former pupils has told me that physiological evidence shows that the “action” of refraining from acting aborts the processes which usually dominate our psyches, and allows new and beneficial processes to take place. Perhaps someone who is qualified shall research it. Another field for Dr Buzzell?

Postscript on the triads (26 September 2009): It is significant that the triads of psycho-transformism are 2 1 3 and 2 3 1 (P.D. Ouspensky, A Record of Meetings, 163). They each begin with 2. The involving triads of destruction are 1 3 2 and crime 3 1 2 (A Record of Meetings, 161 and 185) both end on 2. They can then repeat with great ease, because they proceed mechanically. But, at the same time, precisely
because they end with 2 they offer exactly the right opportunity for commencing one of the triads of psycho-transformism, that is, construction 2 1 3 and self-remembering 2 3 1. I think that with this insight the doctrine of the triads becomes practical, and the understanding of it can then tip the balance when struggles seem unavailing by entering as the third force.

Joseph.Azize@googlemail.com

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Joseph Azize has published in ancient history, law and Gurdjieff studies. His first book The Phoenician Solar Theology treated ancient Phoenician religion as possessing a spiritual depth comparative with Neoplatonism, to which it contributed through Iamblichos. The second book, “Gilgamesh and the World of Assyria”, was jointly edited with Noel Weeks. It includes his article arguing that the Carthaginians did not practice child sacrifice.

The third book, George Mountford Adie: A Gurdjieff Pupil in Australia represents his attempt to present his teacher (a direct pupil of Gurdjieff and Ouspensky) to an international audience.The fourth book, edited and written with Peter El Khouri and Ed Finnane, is a new edition of Britts Civil Precedents. He recommends it to anyone planning to bring proceedings in an Australian court of law.

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