crossing a border

He talked to Irish women on a Donegal bus.

“My family, while emotionally cold, distant and abusive yet well intentioned, kind and loving were rather dysfunctional, trying to understand my vagabond nature. They had no choice in the matter. By now they’re used to receiving strange word-strings full of mysterious symbolic metaphorical tragic truths from twilight zones. They receive illustrations as I transmit between crystals and gringsing decorated with universal binary codes.”

“Really now?” said Mary.

“Yes, I gave my folks a world map for their anniversary. They loved it, inviting friends, neighbors and strangers over for trivia games using postmarks, stamps, decals, flotsam, thread, needles, bark, cactus fiber, beads, charts of tributaries, topographical maps, animal skins, hieroglyphics, and Tibetan prayer wheels with Sanskrit characters. They caressed burned broken shards of Turkish pottery, Chinese bamboo brushes dripping blood, torn out pages from esoteric Runes, Paleolithic fertility symbols, vitreous writing, and one of my favorites, a Quetzalcoatl image full of written narration based on the oral performances of myths in Central America.

“Fascinating,” said Deirdre.

Mythstory

Shovels plow into archaeological deserts reflecting passion and curiosity.

An archaeologist inside a tomb waving Diogenes’s lamp yells, “Every bit we dig out tells a little more about the story.” They unearth fragments of a story revealing institutions, customs and cultures.

A bird presses her breast to a thorn to make herself sing. There is an old fable about a bird and an ogre telling his daughter where his soul lived. 

“Sixteen miles from here is a old gigantic tree. Around the tree are tigers, bears and scorpions. On top of the tree is a huge snake. On top of the snake’s head is a small cage and inside the cage is a bird. Inside the bird is my soul.”

I am the thorn, bird, wing, feather and air. My thorn is a claw, a sharp definitive talon for tearing meat from white bones. Satisfying my hunger along the Tao.

I am a cognitive psycho-neurolinguist. My specialty is languages. Lost tongues.

“Every language is an old-growth forest of the mind, a watershed of thought, an ecosystem of spiritual possibilities,” according to Wade Davis, anthropologist.

Wandering deep into the Tarim Basin along the Silk Road in Central Asia I discovered the Tokharin language and Afansievo culture dating back 4,000 years. It was a proto-Indo European language with Celtic and Indian connections established by trade caravans and explorations. I suspect it is Qarasahr or IA, based on an Iranian dialect.

Mircea Eliade, a historian of religions, once stated, “Myths tell only of that which really happened.”

Myths suggests that behind the explanation there is a reality that cannot be seen and examined. Myth has been defined as truth trying to escape from reality. A myth is a story of unknown origins, sacred stories based on belief, containing archetypical universal truths. They are in every place and no particular place. The world is a sacred story.

starvation

A man came to their village. He arrived on foot. It was on the Marmara Sea. Olive orchards dressed hills. 

A white butterfly skimmed blue sea. It’s wings created a gentle wind passing the traveller sitting on a stone in the shade of shale. His feet pushed pebbles. Waves washed shores returning to their source, rolling millions of pebbles in the current creating a gentle musical interlude. 

The soft machine of media’s old cultural myths broke down. Desperate people tried the remote. The batteries were expired. 

They created fire sending smoke signals across the reservation to Anasazi, Navajo, Apache tribes. Flying clouds acknowledged them.

An imaginary fear of poverty and starvation gripped them. White butterflies skimmed over a cresting white wave tumbling along blue water.

Kindness and compassion eased suffering. They may or may not have been really listening.

ancient ones

A young Anasazi girl shared her wind note vision.

My name is Kokopelli the humpbacked flute player. I am 1,000 years old. My image is found on petrogyphs or rock carvings near here. My image is also on rock paintings or pictographs in kivas, ceramics and woven baskets.

The ancient ones, the Anasazi, regard me as a symbol of fertility, a roving minstrel or trader. People also call me the rainmaker, a hunting magician, trickster and seducer of maidens.

In the Pueblo myths my hump carries seeds, babies and blankets to maidens. I wander along the upper Rio Grande between villages carrying seeds and bags of songs on my back.

Because I represent fertility I am welcomed during the corn planting season and sought by barren women but avoided by maidens. If you listen well, you will hear my flute music echoing through canyons playing traditional songs.

She disappeared along fault lines in long undulating dry washes full of sagebrush playing her flute near rainbow mesas strewn with geological strata.

Detach

Namaste,

They needed masks.

They needed to understand the underlying unconscious animist mysteries inside their masks of death. They confronted the realm of spirit. They bought masks in open air markets on their pilgrimage, masks signifying the dignity of their Being, thwarting demons, Being demons and ghosts dancing in light. 

It was all light in their shamanistic interior landscape. They learned to let go of the ego, detach from outcomes, eliminate the need to control, trust their spirit energies and remain light about it.

Inside light with slow fingers and long thin ivory nails they turned clay into pots. Spinning circles danced turning on a Wheel of Time.

They finished throwing them, used them for tribal ceremonies and smashed delicate clay pots to earth. They exploded into air creating volcanic ash coating everything in a fine dust.

Metta.