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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

November 11, 2009

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

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

=======================

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.

September 18, 2009

GEORGE ADIE on the Creator-in-me

Filed under: GEORGE ADIE on the Creator-in-me, JOSEPH AZIZE PAGE — Tags: , — ccwe @ 6:41 pm

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

George Adie on the Creator-in-me

[These two pieces were read to us at a combined meeting in Newport. Mr Adie simply read them one after another, yet I feel that he sensed a connection between them. He made an ex tempore comment, which appears at the end, in quote marks. I have added the titles (Joseph Azize, Joseph.Azize@googlemail.com, 18 September 2009)]

creator sun

I. The Sense of the Creator-in-me

So I go about, greatly occupied by turning thoughts. Yet, as I attend to my many duties, am I aware of the great unknowable, the infinity of the Creator-in-me?

“I waited on the Lord. He inclined unto me. He heard my complaint.”1

What can be more important than this? But for my field of consciousness to receive the ceaseless influence of this divine level, I have to be aware of my aim, of the purpose for my life on the level of the external world. I must both contribute and receive on that level also. After all, it is my life, the very life in which I must actualise my possibilities of becoming conscious.

As I go, as I work, let me not allow this awareness to be merely a background, obscured by every occurrence or influence. Let me primarily be aware of the Creator-in-me, of God-in-me. Let the Creator-in-me not be forgotten, so that I may enter the great realm of knowledge and self-certainty.

And now as I remember myself, I increasingly sense a strange self-certainty. I direct attention outwards as may be necessary in payment for my life. I voluntarily manifest this process in me with all that it implies. So let me also live and fulfil my external duties so as to benefit my fellow creatures.

This is the great life of the ceaseless sunrise of creation: may the sense of the Creator-in-me as I move leaven my being, and may my labour be also for my neighbour.
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calm-sunrise

II. Lost Loves: Repairing the Past

When I look back I see a wasteland of lost opportunities, and of repeated failures to understand life’s offerings. There have been so many moments offering possibilities for the rarest exchanges: possibilities lost through indifference, self-importance, coldness. The lost love of friends, of people who made sacrifices on my behalf. All moments of flowering love, but without response from me, so that they withered and died in pain and disappointment.

I collect myself, and I attempt to stop thought, and yet these recollections come and distract me. In the past, it seemed, I could stop thought. It seemed I could turn inside, and find myself. Then I had refreshment so as to continue, but now? How can I understand what is necessary?

Life and creation never cease. I must find my way anew, in this fresh creation of the present moment. I have often proved for myself that the way always mounts before me. It is always there and it always demands more of me, by lawful demand. And so now, more effort is necessary.

Now I have to repair these very bitter past failures which are pressed upon my consciousness in continuing process. I repair them now: now in the present.

In this state I can see and realize with an unimagined clarity that the ghostly pictures which lie behind the recurring memories, just because they still return, can be repaired now. So now I can and must recompense for the past.

At once time vanishes.

I AM, and time is no longer. All is One and I am That.

I look on the ocean, calm after endless days of storm, stretching now blue and serene to the horizon, and I hear in me the words: “Peace, be still, I AM”.2

Now I give thanks for my present pain, which awakens me and tells me just how to fill the void through reparation. I deal with present deeds in the presence of the all-merciful presence, the all-merciful present.

“You know how he spoke about the merciless Heropass? In the now, it’s merciful.”

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Editor’s Comments

Mr Adie assumes that we know both what he means and what he does when he “repairs the past”. This was a reasonable enough assumption with that audience. Besides, if someone did not understand, they could ask. These pieces can possess the power that they do only because so much background material is lift unstated. To fill it in, where necessary, only adds to one’s understanding.

I have already gathered some of his more detailed material on repairing the past for the book George Adie: A Gurdjieff Pupil in Australia. To try and put it simply, without suggesting that this is the only way to approach this mystery, I can repair the past because I am the past, although I am not just the past. The past lives on in me, but it only dominates and determines the man-machine. In so far as I am conscious, I can introduce a new element which is not utterly determined by the past into myself. So, in a way, my direct effort is to repair myself, and yet there is still this indirect result that the past is no longer as it was, because I am always emerging from it, and I am now more conscious.

I can experience states where I stay present before memories. I do not run away or “squirm” – a word Mr Adie used more than a few times, with artistic justice. I remain, and I cognize with the whole of myself, that it could not then have been different. I acted as I did because that was how I was then: less responsible, less understanding, less capable. I feel pity for those whom I have pained (pity, I would say now, is a form of love in which we share the sufferings of others through the legitimate faculty of imagination). In, through and by my presence, the pain is received consciously. Perhaps this is something of what Gurdjieff meant by being-remorse.

Even in ordinary life, past events are seen differently depending on the long-term outcome. In Shakespeare, for example, no good came from Lear’s impulsive and short-sighted actions in Act I. In Cymbeline, however, the king’s folly, and with it the past, was redeemed by the acts of true and faithful Imogen and others, who, although not on her level, yet possessed something of these virtues. They never deserted King Cymbeline’s best interests, although he thought all three of them to be his worst enemies. In repairing the past, Leonatus and Belarius, in particular, worked both for themselves and for others. Perhaps it must always be that way: so bound up are our lives with those of others.

Next, I am particularly struck by the truth of Mr Adie’s saying: “In this state I can see and realize with an unimagined clarity that the ghostly pictures which lie behind the recurring memories, just because they still return, can be repaired now.”

This, to me, is a perfect truth. Usually, I have a painful memory, and I identify with the pain. I react emotionally when I should be using my reason. But, as he says, precisely because the past recurs it can be repaired. After all, I cannot repair the past if I am oblivious of it. Perhaps one can even say that these painful past memories bring a certain “consciousness” with them. If so, okay, let me expand that consciousness. And then, as Gurdjieff said: “By as much as one is conscious, there is no more suffering.”

When Mr Adie says “… now I can and must recompense for the past”, he is referring to another truth, that I am responsible for what I have received. It is the parable of the talents.

Finally, at the Prieure, Gurdjieff taught a movement known as “Lost Loves”. Some notes of it have been preserved. The movements as drawn are very evocative. This fortifies me in the feeling which I have received from this piece that there is something in this concept which is not just silly sentimentality. It is really very hard to face this sort of personal tragedy. But the example of people like Mr Adie both urges those with sufficient understanding, and proves that it is possible.

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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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September 3, 2009

DISCOVERING GURDJIEFF: Dorothy Phillpotts 2008

JOSEPH AZIZE BOOK REVIEWS

Joseph.Azize@googlemail.com

Dorothy Phillpotts

Discovering Gurdjieff, Dorothy Phillpotts, 2008, AuthorHouse, Central Milton Keynes, ISBN 9781434388711 (soft cover), 9781434388728 (soft cover)

Overview

This worthy addition to the Gurdjieff bookshelf is the memoire of a lady who joined Bennett’s groups during WWII, and thus had the good fortune to meet Gurdjieff in 1948, and to study with him until his death. It falls into two parts, the Bennett years, and then in Paris with Gurdjieff. Throughout, the book is full of instruction, insight and delights. Some slender biographical details hold the storyline together. However, the emphasis is placed not on her life, but on the discovery of Gurdjieff’s ideas, initially as theory with practice, and then as practice with theory.

Details

There is a dedication to her late husband, George, a portrait photograph of Gurdjieff (one of the famous set which was taken, I am told, by Michael Currer-Briggs), a page of acknowledgements, a list of photographs, then a table of contents, a two page foreword by Peter Brook, a two page preface, 239 pages of text, about 26 pages of further thoughts on topics touched in the text (‘Origins’, ‘Movements’ and ‘Behaviourism’), and reviews of three books: MacKenna’s translation of Plotinus, Man & Time by Priestley, and Icons and the Mystical Origins of Christianity, by Richard Temple. Finally, there is a short but useful bibliography which takes one beyond Gurdjieff related literature.

The volume is nicely presented. My copy is a paperback, 6 by 9 inches. The left hand side (about two fifths of the cover) depicts five Russian dolls. The lowest and smallest doll is in the clearest focus, and the top doll is largest, but is also the haziest. This wide margin is separated from the balance of the cover by a firm scarlet border which picks up the scarlet of the dolls. On the right hand side, the names of the volume and the author are clearly presented, in different colours (white for the title and a spearmint green for the author) over a rich, almost olive, green background. The back cover has a handsome photograph of Phillpotts as a young woman in the 1940s, once more, upon an olive green field. The right hand side, probably the right sixth, is plain white, once more, with a scarlet border. The spine is the same shade of white, with the title of the book in scarlet and the author’s name in olive green. It is simply and elegantly conceived.

There are some six photographs, including the splendid portrait of the author on the back cover, and at p. 240, a photograph of her shortly before her death in 2008 at the age of 92. This photograph is no less striking than the one on the back, lacking only its antiquarian charm, but compensating in conveying something not ephemeral. The book would, indeed, be a worthwhile purchase if all one did was read those two photographs taken 60 years apart.

Background

Dorothy and George Phillpotts were in Group IV in London in the early 1950s. Mr Adie was one of those who regularly sat in front of Group IV, and their names appear in some of his papers. I do not recall that he ever mentioned them to me, but he always had a special affection for the old group, and significantly, he had too much respect for them to ever speak of the group as ‘his’. Other than that, all I know of them is what appears here. The Phillpotts founded a continuing group in Bristol and Cardiff, and I gather that one of those group members greatly assisted Phillpotts over the 18 years it took her to get it to this form. Phillpotts had been a sort of secretary for Bennett before the Gurdjieff years. If I read her discrete account correctly, after Gurdjieff’s death her major contributions were to the London group. So I guess that she did not remain with Bennett, who rather shortly left the inner sanctum, let us say, of that association.

The Contents

The book opens with a question: “Who was Gurdjieff?,” and then launches into the discovery which yielded the title. Phillpotts builds from the ground up, describing Gurdjieff’s appearance, then his speech, his nationality and his background. She lightly, but correctly, stresses that he was a Greek of Asia Minor (a fact which, I think, says more about the origin of his system than is realized). Phillpotts mentions his education as “physician for the body and confessor for the soul”, and then she answers her own question: “Gurdjieff was to become a great religious teacher and healer – not in his own country, but in the countries of the West” (italics added). This is the essence of that first discovery. The balance of the book develops this illumination through the prism of her personal experience, and yet, details of her life which are not pertinent to her search and discovery are not mentioned. It is not so much that she is silent or reticent about these topics as that her perspective is focussed elsewhere.

Then follows a chronological account of how she came to discover herself, beginning with the desire for understanding of the universal issues which gripped her as a child. This second discovery, of her own true voice, is the subject of the epilogue:

One of the most difficult things Gurdjieff had brought me to, which was ultimately more useful than anything else, was the necessary capacity to doubt. … I had looked for adequate answers to partial questions, and instead I found myself facing an abyss. I leaned over, I shouted, and a voice came back from the other side. It was not another voice that came back, it was my own.

Trying to reconcile the irreconcilable, to reject and compress the parts that would not fit into my idea of an ideal life, I nearly lost what life I had. But he had turned me around. Pulling the string of my awkward perseverance sharply, and to the limit, he had then walked away for ever, secure in the certainty that I would indeed never give up until I had inherited at least an echo of his truth, of his impeccable inner life, and a fragment – infinitely small – of his unquenchable courage and daring. [239]

These simple words hearken back to chapter “Russian Easter” (of 1949), where she recounts how she first came to Gurdjieff’s apartment, and Gurdjieff remarked: “Guest here for the first time … see how she doubt, what she doubt?”[198]. On the next page, she remembers how, at that Easter, Gurdjieff said that he would give her a present (cadeau). The gift, he said, was half of what she needed, but that she must obtain the other half of it later. What happens next sheds, for me, a great light on Gurdjieff, his method and his manner of teaching:

“You come back soon, you remember. Maybe one month. Maybe one year, maybe two. You persevere. You never give up. You not satisfied till you get other half.”

It was very quiet in the room. Aware that the conversation had left me while I needed silence to accustom myself to the challenge of the cadeau, little by little I began to listen to Gurdjieff talking about Easter Mass at the Russian Cathedral. He asked a question. “Some of us would be going to the Rue Daru tomorrow? This feeling experience – such good thing … [198]

So that is, I think, the secret of this book: it is the story of how through discovering Gurdjieff she discovered her essential self.

But while this tells us about the whole of the volume, there is much to be found in the parts which make it up. For example, the texts of Bennett’s lectures on the seven brains are a revelation: as an introduction to the work of the centres I am not sure that they rank very far below Ouspensky’s, if at all. Further, Bennett included otherwise unknown quotes from Gurdjieff such as this one: “in the work of the Emotional Part, you always have the sense of discovering America.” [36] And the allegory of the election of Deputy Steward is a masterpiece, improving the one in Miraculous. Listen, if you will, to this:

It is through the Emotional Centre that the Steward appears. The Intellectual Part of the Emotional Centre is the seat of conscience. Without conscience we should never be able to work by ourselves without help. … This means that, until the Intellectual Part of the Emotional Centre wakes up, we have no infallible sense of values by which to judge ourselves as a whole. Conscience has been called by Mr Gurdjieff the voice of the Steward. The Steward speaks to us in a quiet voice, which we cannot hear amid the vociferous clamour of the many ‘I’s … [53]

Each single sentence casts a light for me on something I had seen partially, or confirms an experience which I had not fully understood. But of course, this material is the ground for the fullness of the Gurdjieff chapters, which seem to fill more than the limited space allotted to them. And I am sure that this was even truer of the role of Gurdjieff in their lives. That year and two months with Gurdjieff must have been fully a half of the plenitude of their life of awareness.

I have mentioned those chapters, and while I could go on quoting from them, I actually feel that this review has now done its work, and it is time to move on. I mean that for both of us. I could expand this review, but I would not be deepening it, and you could go on reading that expanded material, but you now have enough to decide whether the book sounds like one which you might buy.

In the end, this volume introduces us to a wonderful and wise woman, and deepens our admiration of Bennett’s almost innate understanding.

Joseph.Azize@googlemail.com
2 September 2009, corrected for accuracy on 22 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.

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August 19, 2009

CARLOS CASTANEDA Recalled and Reconsidered


The John Robert Colombo Page

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New Mexico Desert

New Mexico Desert

carlos-castaneda

Carlos Castaneda

Carlos Castaneda Recalled and Reconsidered

A Short Review of William Patrick Patterson’s “The Life & Teachings of Carlos Castaneda” by John Robert Colombo

Carlos Castaneda (hereinafter CC) and William Patrick Patterson (hereinafter WPP) are names well known to students of consciousness studies.

CC was a Peruvian-born American author who made a considerable reputation for himself with the publication of his first book of mystical, visionary, spiritual, or magical adventures titled “The Teachings of Don Juan.” It appeared in 1968 and was such a success that it was followed by eleven more such books, which further enhanced the author’s reputation as an apprentice of a “brujo” or sorcerer in the Mesmoamerican tradition of shamanism. The final book of this series, “The Active Side of Infinity,” appeared the year following the author’s death. CC’s vital years are 1925 and 1998. At the height of his fame he became a recluse and WPP tells us why.

WPP is an indefatigable researcher, editor, writer, author, publisher, public speaker, director and host of documentary films on the Fourth Way, and seminar leader – someone concerned with “esoteric perspectives” and “the ways of self-transformation” (to quote the pertinent words on the back cover of the current book). WPP may know more about the history of the Fourth Way than any other living writer, excepting, perhaps, Paul Beekman Taylor and James Moore. He was a student of the late Lord Pentland, who oversaw the Work in America, and the present book is dedicated to his memory (“To my don Juan”).

In my last contribution to this website, I outlined many of WPP’s accomplishments and achievements. In this review, I will focus on his book “The Life & Teachings of Carlos Castaneda.” It appeared in cloth in 2008 and in paper in 2009. Oddly, on the title page it is identified as “Volume 1.” Whatever will fill the pages of “Voume 2″?

The present volume is a handsomely produced, medium-sized trade paperback (xviii + 270 pages) with a Prologue (but no Epilogue), a Chronology, Notes, Bibliography, two Appendices (CC’s reply to R. Gordon Wasson, an academic critic; “Ouspensky on Dreams,” ten quotations from “A New Model of the Universe”), and an index. It also reprints anthropologist Daniel Brinton’s 1894 essay “Nagualism: A Study in Native American Folklore and History” (a source of some of CC’s conceptions). Brinton’s essay, about one-third the length of the book itself, remains a model of its kind.

The entire work was edited by Barbara Allen Patterson and published by Arete Communications, Publishers, Fairfax, California. (By the way, “Arete” is a word known to Aristotle. It means “inner excellence.” In English it is pronounced “A-re-tay,” and WPP regards it as “a working aim.”)

I gather that CC attended the University of California at Los Angeles where he was awarded a B.A. in Creative Writing and Journalism in 1962. Thereafter he switched his major to Anthropology and apparently that institution awarded him a Ph.D. in that discipline in 1973 for an dissertation on “A Yaqui Way of Knowledge,” which is the subtitle his first book, issued by the University of California Press, an academic imprint rather than a trade publishing house.

Thereafter the books were enthusiastically published and promoted by Simon & Schuster, a major trade publisher. (The above details appear in CC’s Wikipedia entry, and there are discrepancies between them and those that appear in WPP’s book which, on the whole, is thorough, appreciative, and non-critical. A critical biography of CC may never written; in the meantime, WPP’s is “as good as it is likely to get.”)

CC’s reputation was made by “The Teachings of Don Juan.” Is the book a work of Anthropology? Does it contribute to our knowledge of Shamanism? Or is it a work of creative writing, imaginative recreation, or “wishful thinking”? Perhaps it is both. CC says it is based on notes taken down in Spanish but the notes do not seem to have survived.

I know where I stand on what kind of book it is. I read it a year following its original appearance and had no problem concluding that it was an instance of “creative non-fiction,” rather than a contribution to field research in Anthropology, one of my minors at the University of Toronto.

CC’s book I found to be “a thrilling read,” like millions of other readers, but I also found it impossible to take it seriously – at least as seriously as I had in younger years taken Paul Brunton’s “In Search of Secret Egypt” and “In Search of Secret India.” (In passing, Brunton’s pretensions to Sanskrit scholarship were effectively and affectionately debunked by the Sanskrit scholar Jeffrey M. Masson in his memoir “My Father’s Guru.”)

CC’s work constitutes a romance of mystical thought (in this instance sorcery) in the same way that Erich von Däniken and Immanuel Velikovsky are purveyors of a science of the imagination. In no way did CC’s book resemble the Anthropology texts that I had studied. Nor have more recent contributions to the discipline begun to resemble his.

It did not surprise me that CC had opened a Pandora’s Box of insights into what he calls the “tonal” world (of ordinary reality) and the “nagual” world (of non-ordinary realities). Readers in the late 1960s were receptive to that distinction, a cornerstone concept of the New Age, and the times were ripe for a shaman (even if called a sorcerer) named Don Juan Matus, a Yaqui Indian, knowledgeable about the effects of the ingestion of psychotropic plants.

Later, I read with surprise Time magazine’s cover story on the man, “Don Juan and the Sorcerer’s Apprentice,” March 5, 1973, which referred to CC in facetious terms (“the man is an enigma wrapped in mystery in a tortilla”). Time’s editors had problems with the elusive CC, but they gave respectability to his work by granting a passing grade to his accounts of outlandish and otherworldy experiences.

No so the novelist Joyce Carol Oates, who penned a letter to “The New York Review of Books” on November 16, 1972. It was headed “Anthropology – a Fiction?” and it was followed by a flurry of critical reactions to the books as they rolled off the presses. The result was that CC retired from public life (rather like another touchy recluse, J.D. Salinger). The standards and integrity of the University of Southern California were called into question for dealing with a work of fiction as if it were a work of scholarship and even publishing it.

CC re-emerged in the 1990s, the last decade of his life, and what a life he had been leading! WWP is good on these details, which first appeared in his journal “The Gurdjieff Review,” for they describe an unconventional California lifestyle – a man driven by demons to the point of obsession – with his own coven of three witches (named Florinda, Taisha, and Muni) whom he sexually dominated. The women conducted popular seminars devoted to the practice of sorcery. Then there were seminars that promoted Tensegrity, a discipline of “magical passes” that adopts a term previously introduced by Buckminster Fuller.

At the same time CC was married to Amy Wallace, the talented daughter of the popular novelist Irving Wallace. She outlived the three witches and subsequently described CC as a “sexaholic” who near the end was afflicted with glaucoma and diabetes and died of the liver cancer that he boasted he would never have.

While he was alive, CC was adamant that there would be no Hollywood film version of the novels, as he did not relish the sight of Anthony Quinn playing the sorcerer-warrior Don Juan! CC did meet with Federico Fellini in Rome who described the author as “a smiling Sicilian.” The Italian director was intrigued and repelled by the vision offered by the novels – it was “as if I was confronted with a vision of a world dictated by a quartz! Or a green lizard!” He was not far wrong!

Why was WPP drawn to CC? “By the sheer force of his connection with intent, Castaneda brought to life and inseminated into Western culture an age-old sorceric perspective long ago rendered insensible by the modern world’s pursuit of rationality.” What I detect here is a rapidly emerging appreciation of the depths and dimensions of “magical thinking,” “as if,” “active imagination,” shamanic spirit journeys, hoaxes and hypnotism and dreaming, and the antics and adventures of the Trickster Hero of North American Native culture. Here we have “A Yaqui Way of Knowledge,” not “The Yaqui Way of Knowledge.” Indeed, it might even be said that what we have here is “A Yankee Way of Knowledge.”

WPP devotes many pages to early influences on CC: Aldous Huxley’s psychedelic trips and the phenomenology of Edmund Husserl. Then there was the person and literary effect on him of Anais Nin, the memoirist who spoke of “mensonge vital” and “déboublement.” WPP suggests “Don Juan Matus” was named after Nin’s father, Joaquín – if not after the Mateus brand of Portuguese wine so popular with beats, hippies, and New Agers!

It is assumed that Don Juan Matus (described as being born in Arizona of Yaqui and Yuma parentage) was not a single person but an amalgam of various teachers both spiritual and academic who were meaningful in CC’s life. WPP devotes ten interesting pages (pp. 65-75) to outlining the dynamic universe occupied by Don Juan and then five pages to pointing out “difficulties” with his accounts of the “sorceric” universe. Five further pages (98-103) are devoted to CC’s exchanges with Swami Muktananda with parallels between the world of sorcery and Hinduism.

There are ten pages (81-91) that measure the trace elements of Fourth Way material to be found in these books. “Awareness of the total body – this is the foundation to everything Castaneda is saying,” writes WPP. “Many of the fundamental ideas Castaneda puts forth can be seen to have a correspondence with Gurdjieff’s teaching. It is not in the province of this book to summarize it, but the following are some examples of the cross-referencing.”

Thereupon WPP offers twenty-nine instances of dynamic parallels in the sorceric and Fourth Way traditions. Here are five parallels:

* “‘Shifting the assemblage point’ is moving the specific gravity of attention so that one is in a higher stage of self-consciousness or self-remembering.”

* “‘Buzzing’ is an initial inaudible frequency which prepares for reception of the Niroonossian-World-Sound.”

* “‘Real mind’ is the higher intellectual center connected with the higher emotional center.”

*”‘Human mold’ is founded in self-love and vanity, i.e., Kundabuffer.”

*”‘Energy body’ is the Kesdjan body developed through practices of self-sensing and the impartial observation of the functioning of the physical body.”

WPP writes, “Castaneda did have an actual, as opposed to simply a theoretical, connection with the Work, as it is sometimes called. His first direct encounter was in 1970 when he attended Movements demonstrations in Los Angeles. Later, he accepted an invitation from Lord John Pentland, the man Gurdjief appointed to lead the Work in America, to spend a weekend at St. Elmo, the home of the Gurdjieff Foundation in San Francisco. There Castaneda met Kathleen Pohlman, aka Carol Tiggs, a student of Pentland’s. He is said to have also attended meetings at the Los Angeles Foundation for some time.”

Carol Tiggs played an active role in CC’s life, less so Claudio Naranjo. WPP concludes, “The teaching Gurdjieff brought is based on sacred science; what Castaneda brought is based on sorcery. Both aim to awaken one from the dream of ordinary life, but while Gurdjieff rejects working with the dream state and insists on grounding consciousness in ordinary life in order to come to real life, dreaming for Castaneda is the basis of sorceric exploration.”

WPP sees CC’s life in terms of “octaves,” but I will leave the interested reader to turn to “The Life & Teachings of Carlos Castaneda” to appreciate these phases. Overall what he finds absent from CC’s cosmology is “a spiritual appreciation and valuation of the scale of Being and the duty to serve and offer ‘help for God,’ as Gurdjieff says.”

The author concludes, interestingly but somewhat debatably, “In the end Castaneda’s significance and value rest on his ideas and sources, not the strangeness of his story.”

John Robert Colombo has yet to find any Canadian references in the work of CC or in the writings of WPP, but he keeps searching. On August 9, 2009, he delivered the academic keynote address at the Worldcon, the convention for 3,500 fans of fantastic literature held in August in Montreal. His address was called “Up! Up! And About!” For more details, check his personal website: www. colombo-plus. ca.

John Robert Colombo
Colombo & Company
42 Dell Park Avenue
Toronto M6B 2T6 Canada
vox 1(416) 782 6853
fax 1(416) 782 0285
email jrc@ca.inter.net
professional website www.colombo.ca
personal website www.colombo-plus.ca

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See Also Osho on Castaneda

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Osho on Reading Castandeda: first read Gurdjieff

Castandea in 1949

Castaneda in 1949

See

http://www.messagefrommasters.com/Psychic-World/carlos_castaneda.htm

Osho on Castandeda

‘First you should read ALL AND EVERYTHING of George Gurdjieff and then you can read Carlos Castaneda’s books. It is a very difficult training to read Gurdjieff; in fact no more than a few dozen people exist in the world who have read his book ALL AND EVERYTHING completely. It is difficult. It is a one thousand-page book and Gurdjieff is a master of hiding things. He goes on saying irrelevant things, useless things, spinning tales within tales — hundreds of pages and then one line of truth, but it is worth seeking, it is a diamond. A hundred pages of rubbish, but then comes a diamond — it is worth it.

If you can find the diamonds in Gurdjieff it will be a great training for you. And then you can find in Carlos Castaneda what is true and what is not true. Otherwise you can become a victim of a fiction’.

quoted from:
http://www.messagefrommasters.com/ message from masters site

See also The John Robert Colombo page for a Review of Patterson on Castaneda.

August 17, 2009

Reveiw of JANE HEAP/NOTES

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

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jane Heap

Jane Heap

Jane Heap / Notes, Jane Heap, anonymously edited by Annie-Lou Staveley and David Kherdian, 1983 and 2002, Two Rivers Press, Aurora, ISBN 089756023X

Overview
This is an edition of the notes Jane Heap prepared before delivering her talks to her pupils in the Gurdjieff ideas and methods. They are not ‘to introduce the ideas’, but ‘towards practical application of the ideas’. Her pupils had already learned the theoretical outlines, and were now participating in groups (the Gurdjieff schools generally organize pupils into ‘groups’ for collective study of the applied methods). The fact that these notes were not written for publication makes them more valuable, because we eavesdrop, as it were, on Jane thinking to herself about how she can address the practical needs of her pupils.

Gurdjieff’s ideas can only ever be superficially understood without an attempt to apply them to oneself. One finds in this volume, to an extraordinary degree, evidence of knowledge and practice united in work – which I would define as ‘informed action directed to a constructive aim’ (see George Adie p. 28). Although written as a number of chains of thought, not as one thematic exercise, the contents of this book are probably the greatest exposition of the ‘technique of techniques’ we will ever have.

Details
There is a table of contents, a two page introduction by Michael Currer-Briggs (whom Dr Lester, Jane’s pupil and physician, described to me as Jane’s ‘right hand man’), a large number of extracts from Jane’s private notes, with minimally intrusive editing by Mrs Staveley (one of Jane’s pupils, whom Jane effectively ‘graduated’ from her group before her death), and David Kherdian (Mrs Staveley’s pupil, and an acclaimed literary talent). Pages 87-95 comprise a collection of Jane’s aphorisms. The text is organized into readings of between one and ten pages, with italic sub-headings at various points. This is good, because the presentation is intense and compressed, so the sectioned layout assists the reader to select and study integrated units of related thoughts.

The volume is an attractive hard cover, with thick paper cover and plastic protection, approx. 6 ½ by 8 inches, with oil print on the endpapers. It comprises 95 pages printed on a slightly creamy, textured, top quality paper. The original 1983 edition was handset. Except, I think, that the first edition had leather trimmings, the 2002 edition is an exact facsimile reproduction of the first. Information about Jane, her style of teaching, and the publication of these notes and others, is found on the fly-leaves. The excellent choice of the paper, print and binding were the work of David Kherdian and his wife Nonny Hogrogian, a celebrated artist. However, the entire group at Two Rivers Farm were concerned in various aspects of its compilation and printing. To see and hold it, one feels that one is in the presence of a product of respect and careful attention, even down to the good use made of the fly-leaves.

Background
At the outset, I should observe that there is another book of Jane Heap’s notes, The Notes of Jane Heap, which, although also published by Two Rivers Press, was edited by Michael Currer-Briggs and others of Jane’s London pupils, not by Mrs Staveley. That is different from the book I am reviewing, although almost everything I say about the contents of this volume would apply to it, too. There is a significant overlap between the contents of the two books. The chief difference is that the ‘London notes’ lack even the subtle editing of this volume, and that, I think, is advantageous in that the notes are even more concise, but then, sometimes they’re almost impenetrable. That volume is a nice hard cover, but as an artefact, it is not in the same league as this masterpiece.

I have seen the typed transcript of all Jane’s notes, and it’s fairly apparent from their contents that some of them, especially the “Black Book”, can only have been meant for her own purposes, and not even in preparation for addressing her groups. But this book does not include those most private notes: this volume consists of notes which Jane wrote in longhand when preparing to give talks to her groups.

In August 1973, some nine years after Jane’s death, some of her pupils, having already provided Jeanne de Salzmann with a complete copy of the typed transcripts, met with her in Switzerland to discuss what use they might make of the material. And it is fortunate that they did, because Madame challenged them to produce their best. I do not just mean that she issued a challenge: anyone can do that. De Salzmann helped them probe deeply for their truest, best effort, as is apparent from the extracts below. It must have been an intense two days for these people. The notes of the meeting with Madame de Salzmann record her as saying on the first day:

This is something none of the other books have. There is plenty published about Ideas but not about How to work. Perhaps the thing to do is to prepare a small volume on this. Then Mme Salzmann will show it to the older ones – Tracol, Mme Lannes, Deselle – to see if it would help. We must be more DYNAMIC.

The capitals are as in the notes of that meeting, provided to me by the late Dr Lester. De Salzmann went on to say:

We must remember that what we do will be for the benefit of Jane – editing and shortening – and not hold back or hold on to the old memories because we were there – were taught by her. We must remember that the book will be read by people who never knew or saw Jane. For this reason we must remember that we have to insure that the book has IMPACT. (Jane’s sayings – need to be worked up and brought on).

I am not sure whether this last sentence represents de Salzmann’s aside, or was placed there by someone else. She made the point, which I feel the London notes bear out, that unedited, these notes incline towards being too dense. Thus, while I do not know if Madame ever gave approval of Mrs Staveley’s and Kherdian’s book prior to publication, it is that one which more closely accords with her advice:

As they are – Jane’s Notes – we would have to shorten them – edit them for reading. When they were given they were spoken – they were for that group to hear – for that moment – that meeting. They were spoken to be listened to. At a meeting – when spoken – the formulation does not matter so much because of the people there – they could be explained – elaborated – questions could be answered. But for reading by other people – people on their own – at home and not in meetings or groups – it would have to be different – and very carefully formulated – absolutely right.

One can sense the high demand which de Salzmann made, and the quality of thought which she brought (I am told she used to quote Gurdjieff as having said: “Very good is not good enough”). Other of de Salzmann’s comments, as recorded in these notes, illustrate the initial impulse which went into the production of this volume:

We must remember there is never enough MENACE in ourselves – never enough hard confrontation. If there is a true confrontation there is an agony – a horror – in that moment of balance. This way or that? Whichever way we go is an escape. We have to pay. If we give up then we are lost. … We meet someone – read a book – it arouses our interest – we feel that person has something. Even at a very early age that possibility of interest is there. This arousing of interest happens in our ordinary lives. We become aware that there is a hunger in us and because of that we follow that interest – we put our energy into that and no longer just as always before on everyday things. In doing that we put our energy onto a new and different level in ourselves.

We meet someone – like you met Jane – who has something different – that meeting raises your interest to this other level – it calls you to give your interest and energy in that direction. That person remains special for you – will always remain so – has become permanent. They have altered the direction of your life. Then later you will meet something else which will do the same and again raise you to another level. Gradually something becomes your own – what you have received is available to you. And you are in danger. There is a menace for you – a trap. You do not go on – you stay there. It has become too easy and you fall down and allow life to take you away. You do not stay there with that danger, that menace. You do not find your place. If you lose that position of danger it is hard to come back again.

Then there is TIME. Gurdjieff used to give work of a certain kind, for a time only. And just when people were getting used to that work – beginning to be able to do it – to find it easy, he would sweep it away – destroy it – because of that danger – the danger of it becoming too easy. Life changes – some of the things we still hear about – read about are now old fashioned. The time has gone for them, and this is inevitable and according to Law. There is a different way to call people to work now – a way that has to be used today. This we must always be searching for – and at the same time we must remain faithful to the Work – the Ideas – as we received them.

It is easy to make grand efforts – big efforts – to work extra hard on this or that, with terrific energy. This also can be an escape – can be a danger too. But if your work is related differently – if it is not just in one part – your mind or your feelings or your body – if everything in you is related and related to that danger – that menace – so that a true confrontation can take place – a confrontation that brings you up with a jerk – then that is different.

That, then, is how Jeanne de Salzmann came to be the godmother, as it were, of this volume. Now for the two other key players. Jane Heap and Annie-Lou Staveley were two of Gurdjieff’s most accomplished, and most faithful pupils. Unfortunately, there has not yet been any study of either of these most redoubtable persons which does them justice. Jane (1887-1964) was with Gurdjieff from about 1924, I believe, although at some point he sent her to London to commence her own groups. Initially, I understand, he asked her to join Ouspensky’s London group, but he refused to accept her. If I remember correctly, Moore says that his stated reason was that she was an ‘incorrigible lesbian’. Apart from wondering what a ‘corrigible lesbian’ would look like, and how Ouspensky would go about correcting one, I would need to see some evidence before I could believe that Ouspensky had made the comment: it seems an odd thing to say knowing that it could be reported, and that she had been a pupil of Gurdjieff’s.

The Contents
This book is direct and powerful to an extent I have never seen matched: “Only what we actually experience is valuable” [page 8]. As De Salzmann said, these notes tell how to apply the Gurdjieff method. They do not expound the ideas, but they operate from the ideas in such a way that certain important ones are highlighted; and when they are, their setting, which is a practical one, illuminates them in fresh ways. For example, she says that ‘I’ is a ‘power of emanation’ [12], and that it is a ‘potentiality of essence’ [13], and so opens a new perspective on these ideas. Then, the piece “I Am my Burden” draws on the Law of Seven, and yet develops it in a direction contemplated, but not executed, in Miraculous:

To finish everything you begin! We rarely finish anything completely – always something is lacking. How to see clearly in ourselves the cause of this! I may be unable to finish because I have decided but have not understood. … Or you may take the habit of finishing – but it will not give anything because the same habit may turn into something else. [3]

From these notes we can glimpse something of the teaching, and of the ‘technique of techniques’. I first heard this phrase from George Adie: both he and Helen Adie had been close to Jane, and they perhaps learned it from her. Mr Adie used it as a description of the Gurdjieff method, a technique which is not like any other we have known. It’s a technique which comes from a higher level, so that even in its form it is under fewer rules than our ordinary methods. The heart of this ‘technique of techniques’ is the preparation, and so, the preparation itself can also be called the ‘technique of techniques’. And yet, Jane says that “Every time I have to remind myself that it has to be the first time I ever tried the exercise” [16].

Can the use of a technique and the imperative to continually reinitiate fresh efforts be reconciled? They can be, and they often are, in practice. We see this even in the world where employing techniques in trades, arts and crafts, far from inhibiting freshness, makes it more possible. The great innovators like Leonardo da Vinci and J.S. Bach devoted great attention to the fine details of their arts. They can be reconciled in theory, too, because mastering the platform skills requires that the three platform functions (intellect, feeling and organic instinct) are trained, as a vine is trained to a trellis, and harmonized at least in respect of that art, which may explain why many people who master a craft, an art, a science or a skill, come to appreciate it with something in the direction of love.

The technique of techniques is under the laws of a higher world: it is based on the understanding of higher mind. In addition, the preparation is done in quiet, away from electro-magnetic fields, in the light and air of morning, which, as Gurdjieff said, possess special properties. Very few principles are required to do the preparation, either for the contemplative part, or to complete it by making a plan for the day or, in the evening, to review it and perhaps make a sketch for the following day.

Although the preparation is made in a special environment, with special knowledge, nonetheless its fruits must be expressed in this world: which means the formulation and the fixture of plan, and the wish and resolve to keep one’s word to oneself. So there is definition and decision, and it has to be that way. To refuse to use any technique is idiocy, a recipe for delusion. This is true whether we’re speaking of carpentry, gardening, painting, music, or inner development.

This point deserves emphasis: this book presents the authentic Gurdjieff teaching of the ‘preparation’ (not the ‘sitting’), thus Jane says “All depends on your preparation” [63] , but see also pp. 10 (mentioning divided attention), 14-16, 31, 34, 38, 46, 48-9, 52, 54, 63, 69 and 81. It helps that Jane refers both to the evening preparation and to the connection between the preparation and one’s plan for the day [pp. 14, 55 and 70]. The Adies brought all of these methods, and I have concluded that they are critical to any possibility of accelerated development. I would say that I proved this to myself, because after their deaths, I gradually let those good habits run down, but I’ve returned, thankfully, to them just in accordance with the principles they gave.

The preparation is a sort of bridge between worldly and spiritual life, what Mr Adie called ‘life under the sun’ and ‘life under the stars’. Both lives go together, as Jane said: “We transport into work what we are in life. If I behave like a pig in life, I behave in the work like a pig also …” [58]. Another practical concept uniting the two lives in practices is the teaching of the good householder, whom she says is “the man who neglects nothing. The man that is faithful and accurate in small things and, at the same time, remembers that he has another life to care for and who tries to relate them” [21, see also p. 15].

So, Jane points us to a unitive discipline [39], pursued for an aim [80]. To speak of discipline, today, invites resistance. Dr Lester often said that Jane understood the importance and lawfulness of resistance. He said, for example, that if someone in their craft shop The Rocking Horse was hammering an object which was not sufficiently steady, she would call out “Not enough denying force!”. The same wisdom inhabits this book: “The No is to make the Yes remembered. No and Yes have to become more inseparable – one without the other is not profitable. … Yes without No – the angel without the devil – is impotence. … If it were not so it would not lead you to something. It would be romance – fallacious.” [10-11]. Later, we find this powerful comment: “Gurdjieff says the word ‘passive’ meant something very strong and concrete” [66].

Negative emotions can be used: hence her succinct advice: “Look over the top of being negative” [26]. And not only negative emotions: Jane understood the value of fasting, [73], something which one can harmlessly experiment with by following the traditional fasts of the Eastern Christian Churches (modern Catholic practice is arguably better than nothing, but it does not compare to the Eastern traditions).

A special feature of this volume is that Jane preserves in an organic context many sayings of Gurdjieff, some of which would otherwise have been lost. Here is my list:

“Try to be responsible for what you have understood” [19]
“We are always making requirements” [24]
“To believe is to make sheep” [36]
“Revalue your values” [40]
“Everyone has a dog in himself” [41]
“Not even an apparatus in us for negative emotions – but they use every part of us”[42]
“Your work is cheap” [44]
“You are a very naive person” [46]
“A good egoist is something very big – a man who becomes concerned for his own reality, then begins to be concerned for the reality of others” [50]
“Try to do what you do – just what you do – but do it!” [58]
“Use little reminding factors” [59]

At the end of the volume, as noted, are her powerful aphorisms. An earlier draft of this review cited some, but there were so many I ached to include that it became unworkable. So I have, instead, selected lines from the other part of the text which strike me as profound with an almost unearthly profundity: “A picture formation in the mind is one of the foods for attention. Think what is meant by this food – food for voluntary attention” [53]; “What you have lived in dreams is etched in you …” [26], and with that, “As long as you accept to feed on deception you will not be given better food” [17].

There are so many such master-teachings that I cannot do them justice. I will give a subjective list of a few: see [44] for her comments on blood and instinct, [45] on worry, [76] on death, and pp. 19, 22-23, 28-29, 32-33, 50, 69, 71 and 76-77 for her comments on reality, unity aim and cause and control. It seems to me that she gives the clue to a theoretical understanding of reality and unreality in oneself. One of Jane’s famous sayings about death is here, too [76]. Dr Lester was there when a woman, in a state of mild anxiety, asked Jane what death was like. Jane replied: “Don’t worry. You won’t notice much difference.”

Finally, the Notes of Jane Heap ends with a few extracts about death and recurrence. And that is a good way to end. But this volume ends with something I think is even better: a chapter titled ‘Here – Now’ which seems to me to sum up the entire book in a tour de force. I will end with just one sentence from that chapter:

Do not fear – it is stupid. Quieten your emotions – this is the first step – then collect a little.

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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August 16, 2009

2010 ALL & EVERYTHING CONFERENCE

gurdjieff

G. I. Gurdjieff (1886? – 1949)

CALL FOR PAPERS

Announcing the 15th International Humanities Conference

THE ALL & EVERYTHING CONFERENCE: WHAT IT IS AND IS NOT
The All & Everything Conference was originally conceived in 1996 as a meeting of the “Companions of the Book.” The conference has developed into a world forum that provides an open, congenial and serious atmosphere for the sharing of research and investigation of G. I. Gurdjieff’s literary legacy. The Conference seeks to keep the study of the teachings of Gurdjieff relevant to global, scientific, spiritual and sociological developments. The gathering is open to all serious students of All & Everything and is not under the auspices or sponsorship of any ‘Gurdjieff Group’ or umbrella organization. The Conference is not intended to be a ‘Group Work Event’ and thus does not include Work on Movements or Exercises that are related to personal or group Work. The Conference includes the presentation of academic papers, individual view papers, seminars on chapters and themes in All & Everything, and cultural events. The program is scheduled so as to encourage time for dialogue and the developing of personal relationships outside the structured meetings.

View the complete Conference Charter on our website:
http://www.aandeconference.org/faq.html

DATES
Wednesday, 24 March – Sunday, 28 March, 2010

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LOCATION
Hotel Pappas
Loutraki of Korinthia
Peloponnese, Greece
Tel. (0030) 27440/62782-4, 23936-8
Fax. (0030) 27440/23940
Email: pappasae@otenet.gr
Website: http://www.hotelpappas.gr/reservation.htm

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HOTEL RESERVATION INFORMATION
Bookings can be made by phone or via the Hotel website (see above).
Delegates are asked to book reservations early and directly with the hotel.

NOTE: The A&E Conference does NOT make hotel reservations for delegates.

HOTEL ROOM RATE PER DAY
Single – €55 per person per day (approximate rate on publish date: £47, US$78, CAD$84)
Double – €42 per person per day (approximate rate on publish date: £36, US$60, CAD$64)
Includes: Breakfast, Mid-Morning Coffee, Lunch, Afternoon Tea, full Dinners, and Banquet Dinner on Saturday evening.

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CONFERENCE REGISTRATION FEES
5 Day Registration Fee is £50 per person.
(approximate rate on publish date: €58, US$83, CAD$90)
The Conference Registration Fees are due by February 1, 2010.
All registrants will receive confirmation by email or post.

ONLINE REGISTRATION
You may Register on-line with a credit card at our website:
http://www.aandeconference.org/register_online.html

MAIL-IN REGISTRATION FORM
A print and post Registration Form is available to download from our website:
http://www.aandeconference.org/register2010.pdf

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DRAFT PROGRAM FOR ALL & EVERYTHING 2010
Wednesday Evening: Getting to Know You Session.
Thursday Morning: Presentation of two papers, each followed by a question and answer session.
Thursday Afternoon Seminar: Chapters 29 & 31 from Beelzebub’s Tales.
Thursday Evening: Cultural Event
Friday Morning: Presentation of two papers, each followed by a question and answer session.
Friday Afternoon Seminars: Chapters 32 & 33 from Beelzebub’s Tales.
Friday Evening: Open Social Evening
Saturday Morning: Presentation of two papers, each followed by a question and answer session.
Saturday Afternoon Seminar: Ch. 6 of Meetings with Remarkable Men.
Saturday Afternoon Seminar: TBC
Saturday Evening: Conference Banquet.
Sunday Morning Seminar: TBC
Closing Session: Where Do We Go From Here – providing direction to the Planning Committee for future conferences.

Abstracts of accepted papers and seminars will be published in advance of the conference on the conference website so that delegates can prepare questions and comments. Writers who would like on-going feedback should contact
the Reading Panel.

A PDF version of this newsletter is available on the conference website.

Keep up to date on activities and changes at the conference website:
http://www.aandeconference.org

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Examples of previous papers as an indication of the variety of topics:
1996 – James Moore, A Reflection on the Obligolnian Strivings
1997 – Paul Beekman Taylor, Deconstruction of History in the Third Series
1998 – Harry Bennett, Approaching the Neologisms of the First Series
1999 – Dr. Keith Buzzell, The Biological Foundations of the Sacred Impulses
2000 – Dr. Sophia Wellbeloved, Numbers, the Zodiac and The Tales
2001 – Wim Van Dullemen, Principles of Gurdjieff’s Movements
2002 – Ana Fragomeni, Triads and Laws
2003 – Dimitri Peretzi, On the Third Line of Work
2004 – Terje Tonne, Art and the Six Processes
2005 – Sy Ginsburg, Gurdjieff and the Study of Dreams
2006 – Prof. M. W. Thring, The Message of Ashiata Shiemash
2007 – Jose Tirado, Beelzebub’s Buddhas
2008 – Anthony Blake, Beelzebub in a Ring
2009 – James George, What Does Great Nature Now Require Of Us?

CALL FOR PAPERS
You are invited to submit a paper relevant to the study of Gurdjieff’s literary heritage for consideration for A&E 2010. Time: 1 hour – approx 30 minutes for the paper and 30 minutes for questions and answers.
Deadline for submission of an abstract is 1st November 2009.

PAPER SUBMISSION & PUBLISHING RIGHTS RELEASE FORM
The paper submission form may be downloaded from our website:
http://www.aandeconference.org/Paper_Submission_Form_2010.pdf
The form includes submission guidelines for abstracts and papers as well as style guidelines for printed copy. Please note that you will be expected to transcribe the questions and answers for inclusion in the published proceedings. An audio MP3 CD of the recorded session is provided for that purpose.

CALL FOR SEMINAR FACILITATORS
You are invited to volunteer to facilitate a seminar on one of the book chapters listed above in the Draft Program for 2010 or one seminar on Sunday morning on a topic that you suggest.
Time: 1 hour 15 minutes – approx 15 minutes for your introduction and 1 hour for open discussion.
Deadline for submission of an abstract is 1st November 2009.

SEMINAR SUBMISSION & PUBLISHING RIGHTS RELEASE FORM
The seminar submission form may be downloaded from our website:
http://www.aandeconference.org/Seminar_Submission_Form_2010.pdf
The form includes submission guidelines for seminar introductions as well as style guidelines for printed copy. Please note that you will be expected to provide a written copy of your introduction as well as to transcribe the discussion period for inclusion in the published proceedings. An audio MP3 CD of the recorded session is provided for that purpose.

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PROCEEDINGS

The Proceedings of the 14th All & Everything Conference will soon be available.
Printed copies can be purchased from: http://www.amazon.com
ISBN: 9781905578269
The downloadable PDF eBook version will be available to purchase at our website:
http://www.aandeconference.org/proceedings2009.html

Printed versions of past Proceedings are available from Amazon.com.
Ebook versions of past Proceedings are available for purchase and download at our website:
http://www.aandeconference.org/proceedings.html

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August 3, 2009

JOHN LENNON 13: Instant Karma

JOSEPH AZIZE PAGE


Joseph.Azize@googlemail.com

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Instant karma

John Lennon: Essence and Reality
Part 13: “Instant Karma!”

“I’m only beginning to understand what this record was about”, said Lennon in 1972, more than two years after it had been released. I am sure that Lennon could have said the same thing in 1980, the last year of his life. “Instant Karma!” is, I feel, a song so large that it is difficult to take it in. I mean this the way that sometimes, by grace, one has a moment where one is struck with the reality of something: an animal, a person, the sky, the clouds, the wind, a reflection, or a street sign. Buddhists have referred to these illuminations as seeing the “suchness” of reality. It is a big thing when one can sense the “suchness” of one’s own reality, because to the extent that I can, I am able at will to sense myself in relation to other realities.

Such experiences need to be borne, meaning that they involve both “birth” and “bearing”: it is as if a new man is coming to birth, and an inner health or strength is needed to be able to bear the vision. When, in time, such moments have brought some quality of soul to birth, they can be supported for a longer period, so that the soul can do more than blink in the sunlight for a moment or two. The results of the experiences then work together, as Gurdjieff said, and one can even perhaps sense the face of God in creation, at once instantly immediate, yet also transcendent.

We shall return to this at the end of this piece, but I have said this much now because, grandiloquent as it may sound, I feel that some sort of experience along these lines is needed to receive the impact of “Instant Karma!”. Forget words like “heavy”, although for my money, it is far heavier than anything Led Zeppelin, Deep Purple or Judas Priest ever conceived. It may well be the most powerful song of the rock and roll era. For spiritual magnitude, the best polyphonic Western music to which I could compare it, would be the “Requiem Aeternam”, “Kyrie Eleison” and “Dies Irae” from Mozart’s Requiem, where, of course, he availed himself of words from the sacred tradition.

The secret of the power of “Instant Karma!” is not far to seek: the music and the delivery correspond with raw fidelity to its urgent message that judgment is sure, and glory is possible; that as we sow, we reap; and that we are responsible not only for our own lives but also for the lives of all those we affect and who we can affect.

The production of this song is now legendary: Lennon awoke on 27 January 1970, wrote it on the piano that morning, recorded it that evening with George Harrison (guitar), Phil Spector (producer), Klaus Voorman (bass) and Alan White (drums). On 6 February, it was available in stores, and on 11 February they performed it on Top of the Pops. For Lennon, the entire process was immediate, and this comes through in his voice and in the playing. Lennon keenly felt that he could, and even should, communicate directly with his audience. This idea was encouraged by Yoko Ono, whose own art sought, among other things, to forge an imaginative partnership between singer and audience.

Part of their thinking was that by producing topical singles like “Give Peace A Chance”, “Power to the People” and “Karma!” with a minimum of fuss, music could be as alive to the moment as a newspaper. Personally, I am not fond of “Give Peace A Chance”; to my ear it aims high but delivers low, especially in the verses, which are self-important when not meaningless. Yet, formidable critics such as Johnny Rogan relish it, so perhaps there is something in it I cannot hear. However, in the case of “Karma!”, I agree with the critics that Lennon struck gold, if not platinum. Like newspapers announcing the outbreak of war or the signing of peace, this is a bulletin of permanent value.

Two steely notes on piano into the first words, delivered by a man who sounds like he means them: “Instant Karma’s gonna get you!” This means, of course, that the results of what we have done remain with us. It means that there is justice, and that we will get our just deserts. For most of us, the outcome will be mixed. As Newman, I think, once remarked, most of us are worse than we could be but better than we might have been. And so it is that for almost each one of us, the reckoning will be bitter-sweet. As an aside, this fact of life demonstrates the sheer good sense and realism of the teaching of Purgatory – a teaching shared by Gurdjieff and mainstream Christians. This is yet another reason why, the more I study Gurdjieff, I see the main influence on him as being Greek Christianity, which holds the concept of Purgatory while rejecting that Latinate word.

This is not such a detour from Lennon as may seem, for in “Karma!”, the law of cause and effect works as a sort of Purgatory. First, in the verses, there comes the judgment, and then in the chorus, the exaltation. This, it seems to me, is how the song hangs together. The verses are chiefly, but not entirely, given over to warning and admonition, until they invite the addressees to believe that they are superstars – if they believe it:

Instant karma’s gonna get you,
Gonna knock you right on the head:
You better get yourself together,
Pretty soon you’re gonna be dead.
What in the world are you thinking of?
Laughing in the face of love!
What on earth are you trying to do?
It’s up to you – yeah you!

Instant karma’s gonna get you,
Gonna look you right in the face,
Better get yourself together, darling,
Join the human race.
How in the world are you going to see,
Laughing at fools like me?
Who on earth do you think you are?
A superstar?
Well alright, you are!

And then comes the chorus, almost deafening in its intensity:

Well, we all shine on,
Like the moon and the stars and the sun.
Well we all shine on,
Ev’ryone! come on!

The third verse adds force to the message, by declaring that we cannot possibly be here to spend our lives suffering. And then, asks Lennon, why do you limit yourself to one small place, one groove, one role, when you are made for greater things? He says:

Instant karma’s gonna get you,
Gonna knock you right off your feet
Better recognize your brothers,
Everyone you meet.
Why in the world are we here?
Surely not to live in pain and fear.
Why on earth are you there,
When you’re everywhere?
Come and get your share.

Never before have I quoted much by way of repetitions, but I do so here so that one can at least see on the printed page how the hammer strikes the anvil:

Well, we all shine on,
Like the moon and the stars and the sun.
Yeah, we all shine on,
On and on and on, on and on.
Well, we all shine on,
Like the moon and the stars and the sun.

And then, in a masterful touch, at about 2’ 56”, the song softens rather than fades out:

Like the moon and the stars and the sun.
Yeah, we all shine on,
Like the moon and the stars and the sun.
Yeah, we all shine on …

Why masterful? Because the power is not lessened. One hears the decrescendo as a controlled performance. I repeat, it does not sound to me like a gradual fade: at the word “like”, Lennon lowers his voice for the rest of the piece. To me, the effect produced is, fancifully perhaps, as if the moon and the stars did not fade so much as they withdrew further back into the deeps of the sky.

My interpretation of the song as referring to judgment, justice, and mixed deserts, at least has this to commend it: it makes sense of the otherwise inexplicable gap between the condign punishment promised in the verses, and the celebratory chant of the chorus. Otherwise, surely, it would be contradictory to hurl thunderbolts, but then announce a general human apotheosis.

Commentators have noted that the chorus is based on the “Three Blind Mice” motif of three descending notes, which Lennon favoured in some of his greatest works, such as “All You Need Is Love”, “Imagine” and the poignant “My Mummy’s Dead”. The simplicity and the endless interest of the theme seem to me to be typical of Lennon’s genius. But there are more than just tricks in this song: there is depth. As Lennon explained later on:

… it occurred to me that karma is instant, as well, as it influences your past life or your future life. There really is a reaction to what you do now. That’s what people ought to be concerned about.

This insight that our actions affect the past as well as the future is an extraordinary one, involving as it does, the understanding that in each moment, our actions not only comprise the present, they determine the future by laying down the tracks upon which it will run, and they are the ever-changing connection with the past, for one knows the past by its effect, and we are that. To try and explain this, one could take Gurdjieff’s concept of “repairing the past”. I have dealt with this in George Adie, but to give an example which may clarify things: let us say that we have a neurosis, and we can say that the neurosis can be traced back to our parents’ behaviour. One could then say, “what the parents did was bad: it caused this neurosis”. But if the neurotic is healed, so that he is no longer neurotic, or at least not such a neurotic as he was, then one could say: “what the parents did was bad, but not as bad as we first thought, because the neurosis it caused was curable.” And so on: in this way we repair our past and even our parents’ mistakes, which is, as Gurdjieff said, an honour.

And so Lennon had this tremendous insight, that by taking action now we can remedy the crimes and errors of the past and build a better future. Taken as a whole, the song is a century of thought and wisdom in three minutes and about 23 seconds. It takes us from judgment and condign punishment to justification and exaltation.

But there is one more matter to mention before leaving: karma. Is karma in fact the notion of cause and effect, that one is one’s past and cannot escape it? What karma initially was, I don’t know, but Gurdjieff had an interesting view of it, retained (so far as I know) only in Ferapontoff’s Constantinople notes. This perspective states that the doctrine of karma was originally this:

Absolute conditioning of the smallest action. You have thought so far that you can do something. You can do absolutely nothing. You must understand that you are not, that you can change nothing (p. 29).

But, as with Lennon’s admonition that instant karma will hit us right in the face, this grim perspective is not the whole of the story, because if actions are totally conditioned, understanding is not:

To understand the situation is already a great thing and it is the first necessary step. Such understanding already includes a certain freedom. … What you call inaction would have been precisely a real possibility of action. In doing one must not create a new Karmic chain. … Unity means isolation from karma (pp. 29-30).

Now this was not quite Lennon’s understanding of karma, but it is, I think, a fuller one, and corresponds more perfectly to reality. We can see how the concepts are related. If karma is the conditioning of even the smallest action, then each action is the result of the past. If some freedom from karma is achieved by not starting a new karmic chain, then there is some sense in speaking of “good karma” and “bad karma”. But it is not so simple a thing as people imagine: good karma consists in consciousness, being, and doing for an aim, without identification. Bad karma is mechanical doing. So, in the end, while Lennon may not have understood all of this, he grasped, and he felt, that we are as we act, and this is a necessary corrective to an unbalanced emphasis on “being”.

Now, to return again to where we started, I had noted that even Lennon did not understand “Instant Karma!”. He was fortunate that something very fine came through him, that he was faithful to it, and served it. Something the same is possible when we have these moments of suchness. If I can sense my presence, I can bear the moment. If I cannot, it unsettles me, which is what I think happened with Van Gogh: he did not possess the inner strength to sustain what he saw. It is not enough to express these illuminations, although that certainly will help. They must be lived. And so the question is, then, how do we live?

This is an appropriate time to stop, but I shall pursue this in the next blog, when I look at two of Lennon’s uncompleted masterpieces, “Tennessee” and “Real Love”.

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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