Shadow Aspect Quotes

Maybe the only thing each of us can see is our own shadow. Carl Jung called this his shadow work. He said we never see others. Instead we see only aspects of ourselves that fall over them. Shadows. Projections. Our associations. The same way old painters would sit in a tiny dark room and trace the image of what stood outside a tiny window, in the bright sunlight. The camera obscura. Not the exact image, but everything reversed or upside down.

I pray for you, that all your misgivings will be melted to thanksgivings. Remember that the shadow a thing casts often far exceeds the size of the thing itself (especially if the light be low on the horizon) and though some future fear may strut brave darkness as you approach, the thing itself will be but a speck when seen from beyond. Oh that He would restore us often with that 'aspect from beyond,' to see a thing as He sees it, to remember that He dealeth with us as with sons.

Carl Jung called this his shadow work. He said we never see others. Instead we see only aspects of ourselves that fall over them. Shadows. Projections. Our associations.

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

Ironically, when we own the shadow aspects of our self and put down our masks - this is when we become truly lovable.

On moonlight nights the long, straight street and dirty white walls, nowhere darkened by the shadow of a tree, their peace untroubled by footsteps or a dog's bark, glimmered in the pale recession. The silent city was no more than an assemblage of huge, inert cubes, between which only the mute effigies of great men, carapaced in bronze, with their blank stone or metal faces, conjured up a sorry semblance of what the man had been. In lifeless squares and avenues these tawdry idols lorded it under the lowering sky; stolid monsters that might have personified the rule of immobility imposed on us, or, anyhow, its final aspect, that of a defunct city in which plague, stone, and darkness had effectively silenced every voice.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

The Taoists realized that no single concept or value could be considered absolute or superior. If being useful is beneficial, the being useless is also beneficial. The ease with which such opposites may change places is depicted in a Taoist story about a farmer whose horse ran away. His neighbor commiserated only to be told, "Who knows what's good or bad?" It was true. The next day the horse returned, bringing with it a drove of wild horses it had befriended in its wanderings. The neighbor came over again, this time to congratulate the farmer on his windfall. He was met with the same observation: "Who knows what is good or bad?" True this time too; the next day the farmer's son tried to mount one of the wild horses and fell off, breaking his leg. Back came the neighbor, this time with more commiserations, only to encounter for the third time the same response, "Who knows what is good or bad?" And once again the farmer's point was well taken, for the following day soldiers came by commandeering for the army and because of his injury, the son was not drafted. According to the Taoists, yang and yin, light and shadow, useful and useless are all different aspects of the whole, and the minute we choose one side and block out the other, we upset nature's balance. If we are to be whole and follow the way of nature, we must pursue the difficult process of embracing the opposites.

The personal aspects of which one is ashamed are often felt to be radically evil. While some things truly are evil and destructive, frequently shadow material is not evil. It is only felt to be so because of the shame attached to it due to its nonconformity with the persona.

embrace and fully ‘excavate’ our Shadow, the seeming darkness within. Only by fully honoring all aspects of our journey (every wound, every person, every trauma) can we begin to accept and eventually honor all of who we are.” —JOHN POLLARD,

The long poem of walking manipulates spatial organizations, no matter how panoptic they may be: it is neither foreign to them (it can take place only within them) nor in conformity with them (it does not receive its identity from them). It creates shadows and ambiguities within them. It inserts its multitudinous references and citations into them (social models, cultural mores, personal factors). Within them it is itself the effect of successive encounters and occasions that constantly alter it and make it the other's blazon: in other words, it is like a peddler carrying something surprising, transverse or attractive compared with the usual choice. These diverse aspects provide the basis of a rhetoric. They can even be said to define it.

The tendency to see one’s shadow “out there” in one’s neighbor or in another race or culture is the most dangerous aspect of the modern psyche. It has created two devastating wars in this century and threatens the destruction of all the fine achievements of our modern world. We all decry war but collectively we move toward it. It is not the monsters of the world who make such chaos but the collective shadow to which every one of us has contributed.

I don’t think you’ve ever realized how strong, how necessary the bond is between Warlord Princes and Queens. We need you to stay whole. That’s why we serve. That’s why all Blood males serve.” “But it’s always seemed so unfair that a Queen can lay claim to a man and control every aspect of his life if she chooses to without him having any say in the matter.” Saetan laughed. “Who says a man has no choice? Haven’t you ever noticed how many men who are invited to serve in a court decline the privilege? No, perhaps you haven’t. You’ve had too many other things occupying your time, and that sort of thing is done very quietly.” He paused and shook his head, smiling. “Let me tell you an open secret, my darling little witch. You don’t choose us. We choose you.” Jaenelle thought about this and growled, “Lucivar’s never going to give that damn Ring back, is he?

According to the new pastoral, sex must not be named imprudently, but its aspects, its correlations, and its effects must be pursued down to their slenderest ramifications: a shadow in a daydream, an image too slowly dispelled, a badly exorcised complicity between the body’s mechanics and the mind’s complacency: everything had to be told.

The Other Side of a Mirror I sat before my glass one day, And conjured up a vision bare, Unlike the aspects glad and gay, That erst were found reflected there - The vision of a woman, wild With more than womanly despair. Her hair stood back on either side A face bereft of loveliness. It had no envy now to hide What once no man on earth could guess. It formed the thorny aureole Of hard, unsanctified distress. Her lips were open - not a sound Came though the parted lines of red, Whate'er it was, the hideous wound In silence and secret bled. No sigh relieved her speechless woe, She had no voice to speak her dread. And in her lurid eyes there shone The dying flame of life's desire, Made mad because its hope was gone, And kindled at the leaping fire Of jealousy and fierce revenge, And strength that could not change nor tire. Shade of a shadow in the glass, O set the crystal surface free! Pass - as the fairer visions pass - Nor ever more return, to be The ghost of a distracted hour, That heard me whisper: - 'I am she!

Sexual role play provides a creative platform for us to safely express certain aspects of our shadow self.

The culture that a founder creates is one of the most durable aspects of the company, outlasting the founder itself and carrying on the tradition of the firm.

And so we learn the Mystery: the feared Shadow, the Guardian of the Threshold, is none other than the God, who is named Guardian of the Gates, in his aspect of Death.

Every aspect of the multipronged legal system even today is dominated by males: police, prosecutors, judges, probation officers. In addition, the state legislatures that make the laws are still disproportionately male. So how does the abuser come to the far-fetched conclusion that women are somehow lurking in the shadows, pulling strings to cause him to suffer consequences for his actions when he thinks there shouldn’t be any? This absurd leap occurs for two reasons. One is that he already has wellentrenched habits of blaming women for his own behavior. So when society sends him the message that he is responsible for what he does, he just widens the scope of his blame-projecting machine to target all women. The second is that if he didn’t blame women, he would have to accept the fact that a large proportion of men are opposed to what he is doing. Cultural values are changing, slowly but surely, and abusers cannot always count on other men to back them up anymore—a fact that makes them feel betrayed so they close their eyes to it.

But he was one of those weak creatures, void of pride, timorous, anaemic, hateful souls, full of shifty cunning, who face neither God nor man, who face not even themselves. It is disagreeable for me to recall and write these things, but I set them down that my story may lack nothing. Those who have escaped the dark and terrible aspects of life will find my brutality, my flash of rage in our final tragedy, easy enough to blame; for they know what is wrong as well as any, but not what is possible to tortured men. But those who have been under the shadow, who have gone down at last to elemental things, will have a wider charity.

Sometime the witch hunting takes on atrocious dimensions — the Nazi persecution of Jews, the Salem witch trials, the Ku Klux Klan scapegoating of blacks. Notice, however, that in all such cases the persecutor hates the persecuted for precisely those traits that the persecutor displays with a glaringly uncivilized fury. At other times, the witch hunt appears in less terrifying proportions—the cold war fear of a "Commie under every bed," for instance. And often, it appears in comic form—the interminable gossip about everybody else that tells you much more about the gossiper than about the object of gossip. But all of these are instances of individuals desperate to prove that their own shadows belong to other people. Many men and women will launch into tirades about how disgusting homosexuals are. Despite how decent and rational they otherwise try to behave, they find themselves seized with a loathing of any homosexual, and in an emotional outrage will advocate such things as suspending gay civil rights (or worse). But why does such an individual hate homosexuals so passionately? Oddly, he doesn’t hate the homosexual because he is homosexual; he hates him because he sees in the homosexual what he secretly fears he himself might become. He is most uncomfortable with his own natural, unavoidable, but minor homosexual tendencies, and so projects them. He thus comes to hate the homosexual inclinations in other people—but only because he first hates them in himself. And so, in one form or another, the witch hunt goes. We hate people "because," we say, they are dirty, stupid, perverted, immoral.... They might be exactly what we say they are. Or they might not. That is totally irrelevent, however, because we hate them only if we ourselves unknowingly possess the despised traits ascribed to them. We hate them because they are a constant reminder of aspects of ourselves that we are loathe to admit. We are starting to see an important indicator of projection. Those items in the environment (people or things) that strongly affect us instead of just informing us are usually our own projections. Items that bother us, upset us, repulse us, or at the other extreme, attract us, compel us, obsess us—these are usually reflections of the shadow. As an old proverb has it, I looked, and looked, and this I came to see: That what I thought was you and you, Was really me and me.

At the present time there still exist many doctrines which choose to leave in the shadow certain troubling aspects of a too complex situation. But their attempt to lie to us is in vain. Cowardice does not pay. Those reasonable metaphysics, those consoling ethics with which they would like to entice us only accentuate the disorder from which we suffer.

I went first. The card I drew was "Watergate." "Oh, come on," I said. "This is ridiculous." "Don't whine," said Carter, his grin annoyingly smug. "We all take a random chance here." They started the timer. I drew some remedial waves that immediately got a "Water!" from Cody. That was promising. Then, I drew what I hoped looked like a wall with a door in it. Apparently, I did too good a job. "Wall," said Hugh. "Door," said Cody. I added some vertical lines to the door to emphasize the gate aspect. After a moment's thought, I drew a plus sign between the water and wall to show their connection. "Aqueduct," said Cody. "A bridge over troubled water," guessed Hugh. "Oh my God," I groaned. Unsurprisingly, my time ran out before my teammates could figure it out, though not before they guessed "Hoover Dam" and "Hans Brinker." With a groan, I flounced onto the couch. The other team then got a shot at it. "Watergate," said Carter right away. Hugh turned on me, face incredulous. "Why didn't you just draw a gate?

How Rhythm Beautifies.- Rhythm casts a veil over reality; it causes various artificiality’s of speech and obscurities of thought; by the shadow it throws upon thought it sometimes conceals it, and sometimes brings it into prominence. As shadow is necessary to beauty, so the “dull” is necessary to lucidity. Art makes the aspect of life endurable by throwing over it the veil of obscure thought.

I had to first overcome the nightmares: my dreams were populated by menaces, shadows, murderous persecutions, disgusting events and objects, ambiguous sexual relations that excited me while also making me feel guilty. Here, I was a character inferior to my level of consciousness in the real world, capable of misdeeds that I would never have allowed myself to perpetrate while awake. I repeated many times, like a litany, “It is I who dream, just as it is I who am awake, and not a perverse and vulnerable child. The dreams happen in me; they are part of me. All that appears is myself. These monsters are aspects of me that have not been resolved. They are not my enemies. The subconscious is my ally. I must confront the terrible images and transform them.” I often had the same nightmare: I was in a desert, and a psychic entity determined to destroy me would come from the horizon as a huge cloud of negativity. I would wake up screaming and soaked in sweat. Now, tired of this undignified flight, I decided to offer myself in sacrifice. At the climax of the dream, in a state of lucid terror, I said, “Enough, I will stop wanting to wake up! Abomination, destroy me!” The entity approached threateningly. I stood still, calm. Then, the immense threat dissolved. I woke up for a few seconds, then peacefully went back to sleep. I realized it was I myself who had fed my terrors. I now knew that what terrifies us loses all its power in the moment that we stop fighting it. I began a long period during which whenever I had dreams, instead of running I would face my enemies and ask them what they wanted to tell me. Gradually, the images transformed before me and began to offer me presents: sometimes a ring, other times a golden sphere or a pair of keys. I now understood that just as every devil is a fallen angel, every angel is also a demon that has risen.

Nothing is what you imagine. Her mind hovered above this simple and alarming thought. The variables were too great, the particularities too distinct, life a flood of translations from the shadow-edged yearnings of the heart to the immutable aspects of the physical world.

Few western wonders are more inspiring than the beauties of an Arizona moonlit landscape; the silvered mountains in the distance, the strange lights and shadows upon hog back and arroyo, and the grotesque details of the stiff, yet beautiful cacti form a picture at once enchanting and inspiring; as though one were catching for the first time a glimpse of some dead and forgotten world, so different is it from the aspect of any other spot upon our earth.

And so it is that through playing our opposites, through giving the Shadow equal time, that we eventually extend our identity, and thus our responsibility, to all aspects of the psyche, and not just to the impoverished persona. In this fashion, the split between the persona and Shadow is "wholed and healed.

You only know the universe according to the amount you know the shadows, and you are ignorant of the Real according to what you do not know of the person on which that shadow depends. Inasmuch as He has a shadow, He is known, and inasmuch as one is ignorant of what is in the essence of the shadow of the form which projects the shadow, he is ignorant of Allah. For that reason, we say that Allah is known to us from one aspect and not known to us from another aspect.

Besides, those whose suffering is due to love are, as we say of certain invalids, their own physicians. As consolation can come to them only from the person who is the cause of their grief, and as their grief is an emanation from that person, it is there, in their grief itself, that they must in the end find a remedy: which it will disclose to them at a given moment, for as long as they turn it over in their minds this grief will continue to show them fresh aspects of the loved, the regretted creature, at one moment so intensely hateful that one has no longer the slightest desire to see her, since before finding enjoyment in her company one would have first to make her suffer, at another so pleasant that the pleasantness in which one has invested her one adds to her own stock of good qualities and finds in it a fresh reason for hope.

The Shadow Self is a personal aspect to each of us. It acts as a trixter-psychopomp, who if we listen carefully, can reveal to us the untold richness of the liquid gold that burns in the deepest realms of the collective unconscious; and it is the Shadow Self who can show us that we are who we think we are not, who we think we cannot be.

We often seek the companionship of others who display aspects we've repressed to the depths of our shadow.

Regardless of when and how it happens, the dark night of the soul is the transition from bondage to freedom in prayer and in every other aspect of life.

Awareness, I take to be one aspect-the passive aspect-of the phenomenon of consciousness. Consciousness has an active aspect also, namely the feeling of free will.

We hear every day of murders committed in the country. Brutal and treacherous murders; slow, protracted agonies from poisons administered by some kindred hand; sudden and violent deaths by cruel blows, inflicted with a stake cut from some spreading oak, whose every shadow promised—peace. In the county of which I write, I have been shown a meadow in which, on a quiet summer Sunday evening, a young farmer murdered the girl who had loved and trusted him; and yet, even now, with the stain of that foul deed upon it, the aspect of the spot is—peace. No species of crime has ever been committed in the worst rookeries about Seven Dials that has not been also done in the face of that rustic calm which still, in spite of all, we look on with a tender, half-mournful yearning, and associate with—peace.

Dominance. It’s a key aspect of nature and a driving force in society. It separated the working class and the elite, the rich and the poor. In nature, it’s. Lack and white - predator versus prey - but humans have a false sense of right and wrong. They believe in shades of gray. They’ve deluded themselves into thinking there’s such a thing as equality. Segregation is wrong, they say, yet only a hundred years ago, they were cracking the whips. Hypocrisy at its finest.

All these aspects of the anima have the same tendency that we have observed in the shadow: That is, they can be projected so that they appear to the man to be the qualities of some particular woman. It is the presence of the anima that causes a man to fall suddenly in love when he sees a woman for the first time and knows at once that this is “she.” In this situation, the man feels as if he has known this woman intimately for all time; he falls for her so helplessly that it looks to outsiders like complete madness. Women who are of “fairy-like” character especially attract such anima projections, because men can attribute almost anything to a creature who is so fascinatingly vague, and can thus proceed to weave fantasies around her.

As useful as some of these insights have been to the cause of both feminine and masculine liberation from patriarchal stereotypes, we believe there are serious problems with this perspective. In our view, patriarchy is not the expression of deep and rooted masculinity, for truly deep and rooted masculinity is not abusive. Patriarchy is the expression of the immature masculine. It is the expression of Boy psychology, and, in part, the shadow—or crazy—side of masculinity. It expresses the stunted masculine, fixated at immature levels.

Jung called the Shadow ‘the seat of creativity’. Embracing the Shadow means opening yourself up to possibilities, letting go of fixed certainties about the Self and the world. It means engaging with complications and conflicts, which are necessary aspects of all creative work.

The best way to handle shadow aspects is to know about them and form an alliance with them. Up to now I have been upbeat about HSPs, speaking of our conscientiousness, loyalty, intuition, and insight. But I would do you a disservice if I did not also say that HSPs have as much or more reason to reject and deny parts of themselves. Some HSPs deny their strength, power, and capacity at times to be tough and insensitive. Some deny their irresponsible, unloving parts. Some deny their need for others or their need to be alone or their anger—or all of the above.

Mappo frowned. 'I have not heard that phrase before. Lost Elementals?' 'Scholars tend to acknowledge but four, generally: water, fire, earth and air; yet others exist. (...) Life, death, dark, light, shadow…possibly, but even that seems a truncated selection. What of, for example, time? Past, present, future? What of desire, and deed? Sound, silence? Or are the latter two but minor aspects of air? Does time belong to light? Or is it but a point somewhere between light and dark, yet distinct from shadow? What of faith and denial? Can you now understand, Mappo, the potential complexity of relationships?' 'Assuming they exist at all, beyond the notion of concepts.' 'Granted. Yet, maybe concepts are all that's needed, if the purpose of the elements is to give shape and meaning to all that surrounds us on the outside, and all that guides us from within.

The moon seemed to veil herself before the bold looks of Satan. The night was cold. All the doors were closed, all the windows darkened. and the streets deserted. From their appearance, one would have imagined that, for a long time past no foot had traversed those silent streets. Everything around us bore a death-like aspect. It seemed as if, when day came, no one would open their doors; that no head, of woman or of child, would look out of those dark, dull windows; that no step would break the silence which fell, like a pall, upon all around. I seemed to be walking in a city which had been buried some ages. In truth, the town seemed to have been depopulated, and the cemetery to have grown full. Still we went forward, without hearing a murmur, or meeting even with a shadow. The street stretched for a long way across this fearful city of silence and repose. At last we reached my house. 'You remember it?' said the fiend. 'Yes,' replied I, sullenly, 'let us enter.' 'First,' said he, 'we must open the door. It is I, by the way, who invented the science of opening doors without breaking them in. In fact, I have a second key to all doors and gates - with one exception - that of Paradise!

It will be one of my purposes, in later arguments, to show that there is indeed an aspect of 'genuine understanding' that cannot be properly simulated in any computational way whatever. Consequently, there must indeed be a distinction between genuine intelligence and any attempt at a proper computational simulation of it.

Like most of our conditioning, our Shadow Selves began to develop in childhood. As children, the moment we began to separate the world into “good/bad,” “nice/nasty,” “right/wrong” was the moment that we learned how to divide ourselves. The more we divided ourselves, the more we rejected and repressed certain aspects of our personalities and characters, and thus, the bigger our Shadow Selves grew.

But there is a great difficulty that I have mentioned only indirectly up till now. This is that every personification of the unconscious—the shadow, the anima, the animus, and the Self—has both a light and a dark aspect. We saw before that the shadow may be base or evil, an instinctive drive that one ought to overcome. It may, however, be an impulse toward growth that one should cultivate and follow. In the same way the anima and animus have dual aspects: They can bring life-giving development and creativeness to the personality, or they can cause petrification and physical death. And even the Self, the all-embracing symbol of the unconscious, has an ambivalent effect, as for instance in the Eskimo tale (this page), when the “little woman” offered to save the heroine from the Moon Spirit but actually turned her into a spider.

We’d thought the same, once. We’d deceived ourselves into thinking we were the masters, that every force bowed to our command. And what happened? They destroyed everything!’ ‘I don’t-’ ‘Understand! I see that! They are conjurations — manifestations — they exist to warn you. They are the proof that all that you think to enslave will turn on you.’ And it backed away. ‘The end begins again, it begins again.’ Cotillion stepped forward. ‘Light, Dark and Shadow — these three — are you saying-’ ‘Three?’ Tulas Shorn laughed with savage bitterness. ‘What then of Life? Fire and Stone and Wind? What, you fools, of the Hounds of Death? Manifestations, I said. They will turn — they are telling you that! That is why they exist! The fangs, the fury — all that is implacable in nature — each aspect but a variation, a hue in the maelstrom of destruction!

Heaven to be the spirit’s joy and nutriment. To the untrue man, the whole universe is false,—it is impalpable,—it shrinks to nothing within his grasp. And he himself, in so far as he shows himself in a false light, becomes a shadow, or, indeed, ceases to exist. The only truth that continued to give Mr. Dimmesdale a real existence on this earth, was the anguish in his inmost soul, and the undissembled expression of it in his aspect.

Apophis the god of Chaos Anubis the god of funerals and death Babi the baboon god Bast the cat goddess Bes the dwarf god Disturber a god of judgement who works for Osiris Geb the earth god Gengen-Wer the goose god Hapi the god of the Nile Heket the frog goddess Horus the war god, son of Isis and Osiris Isis the goddess of magic, wife of her brother Osiris and mother of Horus Khepri the scarab god, Ra’s aspect in the morning Khonsu the moon god Mekhit minor lion goddess, married to Onuris Neith the hunting goddess Nekhbet the vulture goddess Nut the sky goddess Osiris the god of the Underworld, husband of Isis and father of Horus Ra the sun god, the god of order; also known as Amun-Ra Sekhmet the lion goddess Serqet the scorpion goddess Set the god of evil Shu the air god, great-grandfather of Anubis Sobek the crocodile god Tawaret the hippo goddess Thoth the god of knowledge

You do believe it,' he said. 'You do believe everything. We all believe everything, even when we deny everything. The denyers believe. The unbelievers believe. Don't you feel in your heart that these contradictions do not really contradict: that there is a cosmos that contains them all? The soul goes round upon a wheel of stars and all things return; perhaps Strake and I have striven in many shapes, beast against beast and bird against bird, and perhaps we shall strive for ever. But since we seek and need each other, even that eternal hatred is an eternal love. Good and evil go round in a wheel that is one thing and not many. Do you not realize in your heart, do you not believe behind all your beliefs, that there is but one reality and we are its shadows; and that all things are but aspects of one thing: a centre where men melt into Man and Man into God?' 'No,' said Father Brown.

Lying in bed with his eyes open, he searched the shadows around him, trying to find some steadying, reassuring objects. But the reality was at least as threatening as the nightmares. Having swallowed up all of the familiar shapes of the furniture, the darkness took on the aspect of some unearthly challenge: within this nothingness something monstrous and unknown was surely being spawned. The room had become a kind of breeding ground for monsters.

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

Our egos divide the world into positive and negative, good and bad. Most aspects of our shadows, these qualities that we see as “negative,” would in fact be valuable strengths if we made them conscious. Characteristics that look immoral, barbaric, or embarrassing to us are the “negative” side of a valuable energy, a capacity we could make use of. You will never find anything in the unconscious that will not be useful and good when it is made conscious and brought to the right level.

About Donne there hangs the shadow of the impure motive ; and impure motives lend their aid to a facile success. He is a little of the religious spellbinder, the Reverend Billy Sunday of his time, the flesh-creeper, the sorcerer of emotional orgy. We emphasize this aspect to the point of the grotesque. Donne had a trained mind; but without belittling the intensity or the profundity of his experience, we can suggest that this experience was not perfectly controlled, and that he lacked spiritual discipline.

The castle is situated at the terminus of a long and upward-winding mountain road. It presents a somewhat forbidding aspect to the world, for there is little about it to suggest gaiety or warmth or any of those qualities that might assure a wayfarer of welcome. Rather, this vast edifice of stone exudes an austerity, cold and repellent, a hint of ancient mysteries long buried, an effluvium of medieval dankness and decay. At night, and most particularly on nights when the moon is slim or cloud-enshrouded, it is a heavy blot upon the horizon, a shadow only, without feature save for its many-turreted outline; and should the moon be temporarily released from her cloudy confinement, her fugitive rays lend scant comfort, for they but serve to throw the castle into sudden, startling chiaroscuro, its windows fleetingly assuming the appearance of sightless though all-seeing orbs, its portcullis becoming for an instant a gaping mouth, its entire form striking the physical and the mental eye as would the sight of a giant skull.

The black shadow is a burden every black person carries, whether or not we are conscious of it. It lives deep in our unconscious minds and influences us all the time, and we are neither aware nor mindful of its profound influence on every aspect of our lives. What is the black shadow? It’s the running inner dialogue we have with ourselves all day long about our fears of being inferior as black people. It is our internalization of the white man’s lie that blacks are inferior to whites – the very lie that was the foundation of our ancestors’ enslavement.

This life is only a passing flicker of the flame, a shadow. You will cast it off and soar to a new plane, a new level of understanding, where you will realise that what you perceive now as reality is no more than a prison of the senses. You will look, and it will be as if you see with the eyes of the maker. You are within creation. Creation is within you. You are an aspect of the first breath that made the universe, your body is made of the dust of bodies that have gone before, and when you die, your body and your deeds give life. You, yourself, are God.

In order for Claudia to grow peacefully towards womanhood, she needed to gradually accept not only her physical blindness but also her inner depression and anger, the scars, even open wounds, that flowed from her experience of rejection and lack of love and understanding during the years in the asylum. It was important that Claudia discover her shadow areas, even if she could not name them, and that she learn that it was acceptable to be less than perfect. It was for Nadine to show Claudia that we are all subject to a higher, more profound law, one that we do not make but which is given to us, hidden in the heart of every human being, to reveal that life is all about growth and that it is possible for each one of us to evolve out of darkness and chaos into light and into a new order of love. Claudia’s growth was subject then to Nadine’s growth. How could Nadine accept Claudia in all her chaos or madness if Nadine refused to accept the chaotic aspects and shadow areas in her own life? How could she trust in Claudia’s growth if she did not trust in her own growth? In the case of Claudia, there was a place where much of this spiritual struggle and growth occured: in prayer.

And while [we] do have possibilities that are vast and magnificent and almost infinite in scope, it's important to remember that our choice-rich lives have the potential to breed their own brand of trouble. We are susceptible to emotional uncertainties and neuroses that are probably not very common among the Hmong, but that run rampant these days among my contemporaries in, say, Baltimore. The problem, simply put, is that we cannot choose everything simultaneously. So we live in danger of becoming paralyzed by indecision, terrified that every choice might be the wrong choice...Equally disquieting are the times when we do make a choice, only to later feel as though we have murdered some other aspect of our being by settling on one single concrete decision. By choosing Door Number Three, we fear we have killed off a different -- but equally critical piece of our soul that could only have been made manifest by walking through Door Number One or Door Number Two. ...Two of anything brings the automatic possibility of uncertainty to our lives. Now imagine a life in which every day a person is presented with not two or even three but dozens of choices, and you can begin to grasp why the modern world has become, even with all its advantages, a neurosis-generating machine of the highest order. In a world of such abundant possibility, many of us simply go limp from indecision. Or we derail our life's journey again and again, backing up to try the doors we neglected on the first round, desperate to get it right this time. Or we become compulsive comparers - always measuring our lives against some other person's life, secretly wondering if we should have taken her path instead. Compulsive comparing, of course, only leads to debilitating causes of "life envy": the certainty that somebody else is much luckier than you, and that if only you had her body, her husband, her children, her job, everything would be easy and wonderful and happy. All these choices and all this longing can create a weird kind of haunting in our lives - as though the ghosts of all our other, unchosen, possibilities linger forever in a shadow world around us, continuously asking, "Are you certain this is what you really wanted?" And nowhere does that question risk haunting us more than in our marriages, precisely because the emotional stakes of that most intensely personal choice have become so huge.

When Jung called one aspect of the unconscious personality the shadow, he was referring to a relatively well-defined factor. But sometimes everything that is unknown to the ego is mixed up with the shadow, including even the most valuable and highest forces. Who, for instance, could be quite sure whether the French desperado in the dream I quoted was a useless tramp or a most valuable introvert? And the bolting horses of the preceding dream—should they be allowed to run free or not? In a case when the dream itself does not make things clear, the conscious personality will have to make the decision.

The development from the Shadow to the Lapis Quaternio illustrates the change in man’s picture of the world during the course of the second millennium. The series ends with the concept of the rotundum, or of rotation as contrasted with the static quality of the quaternity, which, as we have said, proves to be of prime importance for apprehending reality. The rise of scientific materialism connected with this development appears on the one hand as a logical consequence, on the other hand as a deification of matter. This latter aspect is based, psychologically, on the fact that the rotundum coincides with the archetype of the Anthropos.

When what stays in our mind is the vivid flash of a bold glance, inevitably what will take us by surprise in our next glimpse, almost solely strike us, that is, will be a look close to languid, a gentle and pensive expression, overlooked in the former memory. It is this which, in our comparison of memory with the new reality, will color our disappointment or our surprise; and by its notifying us that our memory had been defective, it will seem to be reality itself that was in need of refocusing. Then the aspect of the face that was recently overlooked, having now become for that reason the most unforgettable, the most real, the most accurately corrective, will itself become an object for us to dream about and recall.

Maybe the affecting aspect was that Madame Ko's tanukis sparked in an onlooker's muscles a kinetic memory of the innocent freedom of early childhood, when one could let one's body go all akimbo on the slightest whim, could bounce, flop, and skip about in pure corporeal joy without embarrassment, judgement, or restraint. Or maybe there was a more "mature" associations, memories, say, of being falling-down drunk at the company picnic-but now crazy little animals were serving as surrogates, allowing one to vicariously relive those deliciously liberating and rebellious moment while maintaining one's veneer of civilized respectability, protecting in the process, one's marriage, one's standing in the community, one's job. Or maybe, on a strictly subconscious level, circusgoers recognized in the antics of the tanukis-antics that appeared goofy and bumbling yet, at the same time, brave and successful-an analogy to their own blindly hopeful gyrations in a complex, impermanent universe where every happy dance was danced in the lengthening shadow of death. And maybe they were inspired, if only for a night, to emulate the tanuki capacity for self-enjoyment, a gift that ought to be the birthright of every Homo sapiens. or maybe not. Maybe all those interpretations are just so much god-fodder (The God-Fodder, The God-Fodder II), the very sort of bullshit responsible, some say, for keeping alive a modicum of divine interest in our discredited race.

All these aspects of the anima have the same tendency that we have observed in the shadow: That is, they can be projected so that they appear to the man to be the qualities of some particular woman. It is the presence of the anima that causes a man to fall suddenly in love when he sees a woman for the first time and knows at once that this is "she." In this situation, the man feels as if he has known this woman intimately for all time; he falls for her so helplessly that it looks to outsiders like complete madness. Women who are of "fairy-like" character especially attract such anima projections, because men can attribute almost anything to a creature who is so fascinatingly vague, and can thus proceed to weave fantasies around her.

Clearly historical events have varying degrees of intensity. Some may almost fail to impinge on true reality, that is, on the central, most personal part of a person's life. Others can wreak such havoc there that nothing is left standing. The usual way in which history is written fails to reveal this. '1890: Wilhelm II dismisses Bismark.' Certainly a key event in German history, but scarcely an event at all in the biography of any German outside its small circle of protagonists. Life went on as before. No family was torn apart, no friendship broke up, no one fled their country. Not even a rendezvous was missed or an opera performance cancelled. Those in love, whether happily or not, remained so; the poor remained poor and the rich rich. Now compare that with '1933: Hindenburg sends for Hitler.' An earthquake shatters sixty - six million lives. Official academic history has nothing to tell us about the differences in intensity of historical occurrences. To learn about that, you must read biographies, not those of statesmen but the all too rare ones of unknown individuals. There you will see that one historical event passes over the private (real) lives of people like a cloud over a lake. Nothing stirs, there is only a fleeting shadow. Another event whips up the lake as if in a thunderstorm. For a while it is scarcely recognisable. A third may, perhaps, drain the lake completely. I believe history is misunderstood if this aspect is forgotton (and it is usually forgotton).

Souls are simply aspects of ego splintered off from Mae and Jin, the two original gods. They began with no ego at all, you know. But as they gained awareness of themselves, each affirmation of something they were created a denial of something they weren’t. This created a polarity, a split between themselves and something that became a new ‘soul’—an un-being that gave that shadow voice. One god, declaring himself to be good and denying that he was evil, split into two parts—one good and one evil—because each god is both good and evil. Each part, as it gained awareness of itself and declared itself this or that but denied that it was the shadow of each new identification, split into more and more pieces—creating an exponential birth of new souls.

Jung also said that in the unconscious there was an aspect of ourselves called the “shadow.” The shadow is all the repressed thoughts, feelings and concepts about ourselves that we do not want to face. One benefit of a crisis is that it often brings us into familiarity with our shadow. It makes us more human and more whole to realize what we share with all of humanity. All the stuff that we thought “they” were guilty of is equally in ourselves. Thus, when it is brought up to conscious awareness, acknowledged, and surrendered, it no longer unconsciously runs us. Once the shadow has been acknowledged, it loses its power. All that is necessary is merely to recognize that we have certain forbidden impulses, thoughts, and feelings. Now, they can be handled with a “So what?

Over the lives borne from under the shadow of death there seems to fall the shadow of madness. When your ship fails you, your whole world seems to fail you; the world that made you, restrained you, took care of you. It is as if the souls of men floating on an abyss and in touch with immensity had been set free for any excess of heroism, absurdity, or abomination. Of course, as with belief, thought, love, hate, conviction, or even the visual aspect of material things, there are as many shipwrecks as there are men, and in this one there was something abject which made the isolation more complete—there was a villainy of circumstances that cut these men off more completely from the rest of mankind, whose ideal of conduct had never undergone the trial of a fiendish and appalling joke.

Shadow of Immaturity is rooted in the human tendency to see ourselves as separate from nature. The human mind has enormous difficulty seeing itself as a collective organism that is deeply embedded in nature and the earth. If one of us commits a selfish act or an act rooted in fear, it reinforces that act throughout the totality, which in turn strengthens its vibration in the world. This is what immaturity is — an aspect of the whole that does not yet realise that it is the whole. However, human beings have always sensed the inherent balancing force woven into creation. It is reflected for instance in the Buddhist and Hindu doctrine of karma — the law that every cause results in an effect that directly influences our own future. A common oversight here is that it is not only we as individuals who affect our future, but we as a collective.

At the top of (or beyond) the Kabbalistic Tree of Life is found three mysterious 'veils of negative existence (unmanifestation).' These veils contain and conceal the unmanifest aspects of the entire Tree of Life. The veils are traditionally not illustrated on the Tree of Life. When they are, they are drawn as three semi-circles above Keter. The most remote veil is Ain, which represents absolute negative existence. Complete darkness is a symbol of this state. The seed grows in the darkness of the earth and the fetus develops in the darkness of the womb. Each Sheikh has a woman that develops him into a Sheikh. Therefore, in this seemingly patriarchal mystery tradition (Sûfîsm), we see that woman is the Hidden Initiatrix, the Shadow Guide, the Blackness that births the Light. "Da tariki, tariqat" - 'In the darkness, the Path,' is a Sufic maxim.

A merrier baby than he had never been seen. Everything he glimpsed around him roused his interest and stirred him to joy. He looked with delight at the threads of rain outside the window, as if they were confetti and multicolored streamers. And if, as happens, the sunlight reached the ceiling indirectly and cast the shadows of the street's morning bustle, he would stare as it fascinated, refusing to abandon it, as if he were watching an extraordinary display of Chinese acrobats, given especially or him. You would have said, to tell the truth, from his laughter, from the constant brightening of his little face, that he didn't see things only in their usual aspects, but as multiple images of other things, varying to infinity. Otherwise, there was no explaining why the wretched, monotonous scene the house offered every day could afford him such diverse, inexhaustible amusement.

There was an epoch in the course of the general sentiment when the comet had attained, at length, a size surpassing that of any previously recorded visitation. The people now, dismissing any lingering hope that the astronomers were wrong, experienced all the certainty of evil. The chimerical aspect of their terror was gone. The hearts of the stoutest of our race beat violently within their bosoms. A very few days suffered, however, to merge even such feelings in sentiments more unendurable. We could no longer apply to the strange orb any accustomed thoughts. Its historical attributes had disappeared. It oppressed us with a hideous novelty of emotion. We saw it not as an astronomical phenomenon in the heavens, but as an incubus upon our hearts and a shadow upon our brains. It had taken, with unconceivable rapidity, the character of a gigantic mantle of rare flame, extending from horizon to horizon.

How many lazy men's truths have been admitted in the name of imagination! How often has the term imagination been used to prettify the unhealthy tendency of the soul to soar off in a boundless quest after truth, leaving the body where it always was! How often have men escaped from the pains of their own bodies with the aid of that sentimental aspect of the imagination that feels the ills of others' flesh as its own! And how often has the imagination unquestioningly exalted spiritual sufferings whose relative value was in fact excessively difficult to gauge ! And when this type of arrogance of the imagination links together the artist's act of expression and its accomplices, there comes into existence a kind of fictional "thing"—the work of art—and it is this interference from a large number of such "things" that has steadily perverted and altered reality. As a result, men end up by coming into contact only with shadows and lose the courage to make themselves at home with the tribulations of their own flesh.

It was a quiet revolution. Most downshifters dressed quite a bit like everyone else and lived in ordinary neighborhoods rather than communes or cabins in the woods. Seattle emerged as the nexus of voluntary simplicity as the growing tech industry-Microsoft's headquarters were there-made the city synonymous with the overworked, conspicuously consuming yuppie, while many other residents were still mixed in a lingering recession. The result was perhaps the most deliberate experiment in stopping shopping in modern times: a whole city in which the rejection of consumerism entered the mainstream. For nearly a decade, few aspects of daily life in Seattle were left unchanged by its shadow culture....For a few rare years, the consumer lifestyle was uncooled. 'We were sure in the '90s that we were the up-and-coming lifestyle choice,' Vicki Robin, coauthor of the downshifting classic 'Your Money or Your Life' told me....Then the global economy came roaring back to life, Seattle became better known for billionaires than plain living, and downshifting faded.

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her.

what about your new way of looking at things? We seem to have wandered rather a long way from that.’ ‘Well, as a matter of fact,’ said Philip, ‘we haven’t. All these camisoles en flanelle and pickled onions and bishops of cannibal islands are really quite to the point. Because the essence of the new way of looking is multiplicity. Multiplicity of eyes and multiplicity of aspects seen. For instance, one person interprets events in terms of bishops; another in terms of the price of flannel camisoles; another, like that young lady from Gulmerg,’ he nodded after the retreating group, ‘thinks of it in terms of good times. And then there’s the biologist, the chemist, the physicist, the historian. Each sees, professionally, a different aspect of the event, a different layer of reality. What I want to do is to look with all those eyes at once. With religious eyes, scientific eyes, economic eyes, homme moyen sensuel eyes . . .’ ‘Loving eyes too.’ He smiled at her and stroked her hand. ‘The result . . .’ he hesitated. ‘Yes, what would the result be?’ she asked. ‘Queer,’ he answered. ‘A very queer picture indeed.’ ‘Rather too queer, I should have thought.’ ‘But it can’t be too queer,’ said Philip. ‘However queer the picture is, it can never be half so odd as the original reality. We take it all for granted; but the moment you start thinking, it becomes queer. And the more you think, the queerer it grows. That’s what I want to get in this book—the astonishingness of the most obvious things. Really any plot or situation would do. Because everything’s implicit in anything. The whole book could be written about a walk from Piccadilly Circus to Charing Cross. Or you and I sitting here on an enormous ship in the Red Sea. Really, nothing could be queerer than that. When you reflect on the evolutionary processes, the human patience and genius, the social organisation, that have made it possible for us to be here, with stokers having heat apoplexy for our benefit and steam turbines doing five thousand revolutions a minute, and the sea being blue, and the rays of light not flowing round obstacles, so that there’s a shadow, and the sun all the time providing us with energy to live and think—when you think of all this and a million other things, you must see that nothing could well be queerer and that no picture can be queer enough to do justice to the facts.’ ‘All the same,’ said Elinor, after a long silence, ‘I wish one day you’d write a simple straightforward story about a young man and a young woman who fall in love and get married and have difficulties, but get over them, and finally settle down.’ ‘Or

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her. The fact that my view of them was devoid of demarcations, which I was soon to draw among them, sent a ripple of harmonious imprecision through their group, the uninterrupted flow of a shared, unstable and elusive beauty.

Whatever arises in and through the body does so, as we have seen, in accordance with the operation of karma. Karma holds our locked-up awareness, the larger buddha nature, of which we are only partially aware. Whatever of our karmic totality has not made its way into conscious awareness abides in the body. At any given time, a certain aspect of that totality begins to press toward consciousness; the totality intends that this come to birth now. It might not be pressing toward awareness until just now because, before this moment, it was not ready to do so, having been held at some deep level of enfoldment. Again, it may not have appeared in consciousness because, though ready to emerge at a certain moment as a step in our development, we have resisted it and pushed it back into the body. Either way, at a certain point, there is a pressure from the body toward consciousness, to communicate whatever, in the mysterious timing of our existence, is needed or appropriate. If we resist what is appearing in the body, at the verge of our awareness—and most of us modern people do habitually resist in order to rigidly maintain ourselves—what is trying to arise is pushed back, denied, and again held at bay in the body. There it resides within the shadows of our somatic being, in an ever-increasing residue—as that which our consciousness is in the continual process of ignoring, resisting, and denying. Residing in the shadows, all those aspects of our totality that are being denied admittance into conscious awareness continue to function in a powerful but unseen way, being reflected in the nature, structure, and activity of our ego. This process roughly corresponds to the psychological concept of repression, but there are some important differences. For one thing, the activity of the ego in “repressing” experience is seen here as ultimately not negative, but dynamic and creative in function. In our life, the ego emerges out of the unconscious as the field of our conscious awareness, the immediate domain in which our experience can be received and integrated. At the same time, the ego moderates what it takes in, resisting that which it is unready and unable to receive. There is much intelligence in this. An ego that is too rigid and frozen cannot accommodate the experience that is needed in order for us to grow. But an ego that is simply overwhelmed and pushed aside by experience cannot integrate the needed experience either. Spirituality, it would seem, depends on an ego—a field of consciousness—that can change and grow with the needs of our journey toward wholeness. Thus it is that spirituality is not about “getting rid of” or obliterating the ego, but rather about enabling the ego into a process of openness, increasing experience, death, and rebirth, as it integrates more and more of the buddha nature and itself becomes more aligned with and in service to our own totality. A buddha is not a person who has eliminated or wiped away his or her ego, but someone in whom the ego has integrated so much that there is no longer any room for individual identity at all.

One way to respond to these "sins" is found in The Divine Comedy, in which Dante is ultimately led to the vision of God by his guide, Beatrice. In first traversing through the Inferno, Dante reveals that the inhabitants of the Inferno are not there because they are sinners. Sinners also make up the populations of Purgatory and Paradise. Rather, those souls are in the Inferno because they are sinners who refused to admit to their own sins. They denied their faults and projected them onto others, blaming everyone around them. The lesson we learn is that only when our sins become acknowledged and deeply felt can they be integrated. Deep reflection and prayer are an important part of the integration of the [inner] shadow. Once we admit to our shadow with honesty and an open heart, the shadow has the potential to become transformed. Once the shadow is integrated, the Seven Deadly Sins can become aspects of a healthy self. Greed and lust become passion, imbuing our journey with heart and fire. Anger transforms into righteousness that acts compassionately for own and other's behalf. The healthy side to gluttony is self-care, something many women have to learn. Envy, once integrated, becomes an appreciation of others. And in a society where doing is valued over being, sloth turns into the ability to be still. Pride enables us to feel good about our accomplishments and grow in confidence and strength. But the path to authenticity is to admit these qualities are within us. It is shadow work that enables holy women to make their hidden struggles into levers with which to free themselves.

The questing, anxious, exacting way that we have of looking at the person we love, our eagerness for the word which shall give us or take from us the hope of an appointment for the morrow, and, until that word is uttered, our alternative if not simultaneous imaginings of joy and of despair, all these make our observation, in the beloved object’s presence, too tremulous to be able to carry away a clear impression of her. Perhaps, also, that activity of all the senses at once which endeavours to learn from the visible aspect alone what lies behind it is over-indulgent to the thousand forms, to the changing fragrance, to the movements of the living person whom as a rule, when we are not in love, we regard as fixed in one permanent position. Whereas the beloved model does not stay still; and our mental photographs of her are always blurred. I did not rightly know how Gilberte’s features were composed, save in the heavenly moments when she disclosed them to me; I could remember nothing but her smile. And not being able to see again that beloved face, despite every effort that I might make to recapture it, I would be disgusted to find, outlined in my memory with a maddening precision of detail, the meaningless, emphatic faces of the man with the wooden horses and of the barley-sugar woman; just as those who have lost a dear friend whom they never see even while they are asleep, are exasperated at meeting incessantly in their dreams any number of insupportable creatures whom it is quite enough to have known in the waking world. In their inability to form any image of the object of their grief they are almost led to assert that they feel no grief.

Like all disappearing forms, art seeks to duplicate itself by means of simulation, but it will nevertheless soon be gone, leaving behind an immense museum of artificial art and abandoning the field completely to advertising. A dizzying eclecticism of form, a dizzying eclecticism of pleasure - such, already, was the agenda of the baroque. For the baroque, however, the vortex of artifice has a fleshly aspect. Like the practitioners of the baroque, we too are irrepressible creators of images, but secretly we are iconoclasts - not in the sense that we destroy images, but in the sense that we manufacture a profusion of images in which there is nothing to see. Most present-day images - be they video images, paintings, products of the plastic arts, or audiovisual or synthesized images - are literally images in which there is nothing to see. They leave no trace, cast no shadow, and have no consequences. The only feeling one gets from such images is that behind each one there is something that has disappeared. The fascination of a monochromatic picture is the marvellous absence of form - the erasure, though still in the form of art, of all aesthetic syntax. Similarly, the fascination of trans sexuality is the erasure - though in the form of spectacle - of sexual difference. These are images that conceal nothing, that reveal nothing - that have a kind of negative intensity. The only benefit of a Campbell's soup can by Andy Warhol (and it is an immense benefit) is that it releases us from the need to decide between beautiful and ugly, between real and unreal, between transcendence and immanence. Just as Byzantine icons made it possible to stop asking whether God existed - without, for all that, ceasing to believe in him.

a Chinese poem says: Entering the forest, he does not disturb a blade of grass; Entering the water, he does not cause a ripple. For the image represents a number of qualities which are, in fact, aspects of the same thing. It represents the sage’s freedom and detachment of mind, a skylike consciousness in which experience moves without leaving any stain. As another poem says: The bamboo shadows sweep the stairs, But stir no dust. Yet, paradoxically, this detachment from is also a harmony with, for the man who goes into the forest without disturbing a blade of grass is a man in no conflict with nature. Like the Native American scouts, he walks without a single twig cracking beneath his feet. Like the Japanese architects, he builds a house which seems to be a part of its natural surroundings. The image also represents the fact that the way of the sage cannot be traced and followed, since no authentic wisdom can be imitated. Each man must find it for himself, because there is really no way of putting it into words, of reaching it by any specific methods or directions. But there is actually the most intimate connection between these two apparently separate uses of the metaphor—the way of the sage, on the one hand, and the impermanence of life, on the other. And the connection reveals the one deepest and most central principle of those Asian philosophies which so puzzle the Western mind by identifying the highest wisdom with what, to us, seems the doctrine of abject despair. Indeed, the word despair in a particular sense is the proper translation of the Hindu–Buddhist term nirvana—to “de-spirate,” to breathe out, to give up the ghost. We cannot understand how the Asians manage to equate this despair with ultimate bliss—unless, as we are prone to suppose, they are after all a depraved and spineless people, long accustomed to fatalism and resignation.

Then he went up to the window. His heart began pounding excitedly when he turned back the yellow linen of the curtain. An enchantingly beautiful spectacle was revealed before him — although today he immediately noticed that there was something strange in the entire aspect of this extensive and excellently arranged Garden. Precisely what amazed him he was still unable to say right away, and he began to examine the Garden attentively. What was there so unpleasant in its beauty? Why was the Youth's heart trembling so painfully? Was it that everything in the enchanted Garden was too exact. All the paths were laid out geometrically, and all were of the same width, and all were covered with precisely the same amount of yellow sand; the plants were all arranged with exaggerated orderliness; the trees were trimmed in the form of spheres, cones and cylinders; the flowers were arranged according to the various shades so that their composition was pleasing to the eye, but for some reason or other this wounded the soul. But giving it careful thought, what was there unpleasant in that orderliness which merely bore witness to the careful attention which someone paid to the Garden? Of course there was no reason for this to cause the strange apprehension which oppressed the Youth. But it was in something else as yet incomprehensible to the Youth. One thing was for certain, though, that this Garden did not resemble any other garden which the Youth had happened to see in his time. Here he saw giant flowers of an almost too brilliant color — at times it seemed that many-colored fires were burning in the midst of the luxuriant greenery — brown and black stalks of creeping growths, thick like tropical serpents; leaves of a strange shape and immeasurable size, whose greeness seemed to be unnaturally brilliant. Heady and languid fragrances wafted through the window in gentle waves, breaths of vanilla, frankincense and bitter almond, sweet and bitter, ecstatic and sad, like some joyous funereal mysterium. The Youth felt the tender yet lively touches of the gentle wind. But in the Garden it seemed as if the wind had no strength and lay exhausted on the tranquil green grass and in the shadows beneath the bushes of the strange growths. And because the trees and grass of the strange Garden were breathlessly quiet and could not hear the softly blowing wind above them and did not reply to it, they seemed to be inanimate. And thus they were deceitful, evil and hostile to man. ("The Poison Garden")

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

To give you a sense of the sheer volume of unprocessed information that comes up the spinal cord into the thalamus, let’s consider just one aspect: vision, since many of our memories are encoded this way. There are roughly 130 million cells in the eye’s retina, called cones and rods; they process and record 100 million bits of information from the landscape at any time. This vast amount of data is then collected and sent down the optic nerve, which transports 9 million bits of information per second, and on to the thalamus. From there, the information reaches the occipital lobe, at the very back of the brain. This visual cortex, in turn, begins the arduous process of analyzing this mountain of data. The visual cortex consists of several patches at the back of the brain, each of which is designed for a specific task. They are labeled V1 to V8. Remarkably, the area called V1 is like a screen; it actually creates a pattern on the back of your brain very similar in shape and form to the original image. This image bears a striking resemblance to the original, except that the very center of your eye, the fovea, occupies a much larger area in V1 (since the fovea has the highest concentration of neurons). The image cast on V1 is therefore not a perfect replica of the landscape but is distorted, with the central region of the image taking up most of the space. Besides V1, other areas of the occipital lobe process different aspects of the image, including: •  Stereo vision. These neurons compare the images coming in from each eye. This is done in area V2. •  Distance. These neurons calculate the distance to an object, using shadows and other information from both eyes. This is done in area V3. •  Colors are processed in area V4. •  Motion. Different circuits can pick out different classes of motion, including straight-line, spiral, and expanding motion. This is done in area V5. More than thirty different neural circuits involved with vision have been identified, but there are probably many more. From the occipital lobe, the information is sent to the prefrontal cortex, where you finally “see” the image and form your short-term memory. The information is then sent to the hippocampus, which processes it and stores it for up to twenty-four hours. The memory is then chopped up and scattered among the various cortices. The point here is that vision, which we think happens effortlessly, requires billions of neurons firing in sequence, transmitting millions of bits of information per second. And remember that we have signals from five sense organs, plus emotions associated with each image. All this information is processed by the hippocampus to create a simple memory of an image. At present, no machine can match the sophistication of this process, so replicating it presents an enormous challenge for scientists who want to create an artificial hippocampus for the human brain.

Months later, Time magazine would run its now infamous article bragging about how it had been done. Without irony or shame, the magazine reported that “[t]here was a conspiracy unfolding behind the scenes” creating “an extraordinary shadow effort” by a “well-funded cabal of powerful people” to oppose Trump.112 Corporate CEOs, organized labor, left-wing activists, and Democrats all worked together in secret to secure a Biden victory. For Trump, these groups represented a powerful Washington and Democratic establishment that saw an unremarkable career politician like Biden as merely a vessel for protecting their self-interests. Accordingly, when Trump was asked whom he blames for the rigging of the 2020 election, he quickly responded, “Least of all Biden.” Time would, of course, disingenuously frame this effort as an attempt to “oppose Trump’s assault on democracy,” even as Time reporter Molly Ball noted this shadow campaign “touched every aspect of the election. They got states to change voting systems and laws and helped secure hundreds of millions in public and private funding.” The funding enabled the country’s sudden rush to mail-in balloting, which Ball described as “a revolution in how people vote.”113 The funding from Democratic donors to public election administrators was revolutionary. The Democrats’ network of nonprofit activist groups embedded into the nation’s electoral structure through generous grants from Democratic donors. They helped accomplish the Democrats’ vote-by-mail strategy from the inside of the election process. It was as if the Dallas Cowboys were paying the National Football League’s referee staff and conducting all of their support operations. No one would feel confident in games won by the Cowboys in such a scenario. Ball also reported that this shadowy cabal “successfully pressured social media companies to take a harder line against disinformation and used data-driven strategies to fight viral smears.” And yet, Time magazine made this characterization months after it was revealed that the New York Post’s reporting on Hunter Biden’s corrupt deal-making with Chinese and other foreign officials—deals that alleged direct involvement from Joe Biden, resulting in the reporting’s being overtly censored by social media—was substantially true. Twitter CEO Jack Dorsey would eventually tell Congress that censoring the New York Post and locking it out of its Twitter account over the story was “a mistake.” And the Hunter Biden story was hardly the only egregious mistake, to say nothing of the media’s willful dishonesty, in the 2020 election. Republicans read the Time article with horror and as an admission of guilt. It confirmed many voters’ suspicions that the election wasn’t entirely fair. Trump knew the article helped his case, calling it “the only good article I’ve read in Time magazine in a long time—that was actually just a piece of the truth because it was much deeper than that.

Now archetypes are no more than ‘rules of thumb’, ideas that are linked to the innate aspects of our minds. Personas, shadows, hero archetypes and so on are just ways of describing and thinking about different aspects of ourselves. In fact, psychologists are constantly debating and researching how best to describe and understand the interactions of what is innate in us and how our innate potential turns into lived experiences. The point here is to think about the ways that archetypal processes live in all of us and can be harnessed, often without our full awareness.

Ironically, when we own of shadow aspects of our self and put down our masks - this is when we become truly lovable.

We often say that the perpetrator was living a double life. I often call it the “quadruple life,” however. There is the public self we present to the world, the private self we share selectively with others, the blind self that is clear to others but which reminds hidden to us, and the undiscovered self which, like the shadow, contains unseen and unconscious aspects of ourselves.

Your soulmate is your mirror for both your love and fear. Your partner mirrors your wounds, exposes your shadow parts, and points out all the ways that you are blocked to love. It's only in recognizing those aspects that you can grow towards love, wholeness and Oneness,

There is no escaping what is contained within our field of memory, be it of the victim or perpetrator. Collective trauma serves humanity and its expansion, because it forms a bridge into different aspects of consciousness, light and shadow. Holding an internal belief that there is only light, disengages the soul from part of the cosmos. The shadow is part of us.

The Second Middle Passage was the central event in the lives of African-American people between the American Revolution and slavery's final demise in December 1865. Whether slaves were themselves marched across the continent or were afraid that they, their families, or their friends would be, the massive deportation traumatized black people, both slave and free. Like some great, inescapable incubus, the colossal transfer cast a shadow over all aspects of black life, leaving no part unaffected. It fueled a series of plantation revolutions - cotton across the immense expanse of the Lower South, sugar in the lower Mississippi Valley, hemp in the upper valley - that created new, powerful slave societies. Although the magnitude of the changes and the vastness of the area effected - from the hills of Appalachia to the Texas plains - encouraged an extraordinary variety of social formations, no corner escaped the experience of the staple-producing plantation. Its presence resonated outside the region, eroding slavery on the seaboard South to such an extent that some portions of the Upper South - most prominently the border slave states of Delaware, Kentucky, Maryland, and Missouri - devolved from slave societies into societies with slaves. Finally, it accelerated the North's evolution from a society with slaves to a free society.

He believed that ostracizing any aspect of the human experience, however ugly, created a "shadow" of our rejected bits that we drag behind us. If we do not see that the shadow belongs to us, we project it onto others, both individually and as a culture. To face and own what most disturbs you about yourself, Jung believed, is among the central moral tasks of being human.

She recalls Achamian’s description of Nonmen Erratics, how their memories of mundane life fade first, leaving only archipelagos of spectacle and intensity, the confusion of a soul hanging without foundation. And how their redemptive memories gradually follow, stranding them more and more with disconnected episodes of torment and pain, until their life becomes a nightmare lived through mist, until all love and joy sink into oblivion, become things guessed at through the shadows cast by their destruction. This, she realizes. This is the prize the Captain has cast upon the balance of their transaction. Cleric yields up his power, and Lord Kosoter offers him memory. Men to love. Men to destroy … Men to remember.

When we look back at our journey, we discover the choices we made that shaped the life we are living. We often forget that although many aspects of life are out of our control, our power of choice is not one of them. Behind the many choices we make (unconsciously or consciously) are wounds that can blind us to how we abandon love and kindness, sometimes taking us and others into shadowy tailspins. Unfortunately, when we are immersed in environments full of shadow, it can take a long while to unteach ourselves the methods learned there. But it’s okay. We can make different choices with better outcomes. We can have remorse and we can atone—without forgetting that sometimes we have to live who we’re not in order to know who we are.

We live, however, in a grief-phobic and death-denying society. Consequently, grief and death have been relegated to what psychologist Carl Jung called the shadow. The shadow is the repository of all the repressed and denied aspects of our lives. We send into the shadow the parts of ourselves that we deem unacceptable to ourselves or to others, hoping to disown them. Doing this, we feel we may be spared the discomfort of having to face what has been declared unwelcome.

Finding this true self can be a remarkably difficult goal. We lie to ourselves on a regular basis, often so well that we are completely deaf to certain aspects of our personalities until the day we die. Working with that shadowed side of ourselves can be rewarding, however, and maintaining a harmony between our darker aspects and our positive aspects brings our personal energy into balance.

Loss and death, unrequited love and abandonment, are all part of Aphrodite's realm. Indeed, only by these dark shadows does her golden brilliance become a complete creation, smiling its immortal smile as well as looking on death with immortal eyes. Permanence is of Hera's world, not Aphrodite's. What belongs to her is a deep acceptance that passionate love does not last forever; and an equally deep acceptance that man is made to love. All the myths of these goddesses emphasize the pain, the grief and the mourning they experienced over the death of the son-­lover. We know the range of this goddess' emotions—joy and pleasure, yet also pain and grief. Emotions engendered by love's process are an integral part of her being.

We were collectively defining our identities by what we would not do, and such an act of definition can be a strange, subtle sort of self-murder. I understand that such a radical act might be necessary, in the face of an intractable self-destructiveness, to save one's life. But I can't bring myself to embrace it, because in any such act of self definition (I'm Mark and I'm an addict) the other selves, some of whom are not named because they don't belong in this context, and some of whom aren't named because they cannot be, but remain phantoms, potentialities, shadows, little streams into the larger liquidity--well, all those aspects of oneself are more or less banished from the conversation, and they retreat a little farther away, and then a little farther again.

It is both about learning the language of the unconscious as I had said earlier, but also a question of building a relationship with ourselves, and the archetypal forces and our own aspects within the unconscious. Such a process is not easy, and often requires us to lay down our preconceived perceptions about facets regarding ourselves, without losing sight of our own inner morality. It requires as Jung himself said a real moral effort to face the shadow and integrate it. Thus to transmute the negative manifestation of it into a creative force.

The shadow work we do before, where we explore the contents of the unconscious through analysis is then also really a much easier part than Anima or Animus work, which connects to the emotional and relational aspects of individuation. The memories and emotions connected to these experiences are often far from what people perceive as pleasant. Yet an important aspect of this is then again also how we relate to the unconscious, our inner aspects and the archetypes, each other and the world itself. In that sense cultivating the necessary wind-horse, both in the sense of our connection to our instinctual foundation, and also an increased mindfulness of our mind and body are as much key in this.