Tuesday, September 28, 2021

Dream Archaeology and Vanishing Smoke

In 2012 I was honored to be invited to present the third annual lecture in memory and celebration of John G. Neihardt, the remarkable poet and scholar who gave us Black Elk Speaks, the classic and essential work on spiritual vision in Native American tradition. I spoke about how Neihardt's dreams were his passport to the Lakota holy man, just as my dreams have been my passport to wisdom keepers of other cultures, from the Mohawk to the Mununjalli of Queensland

Dreams guide us to the necessary past, to the history we need to know and use. Dreams may also trigger and direct specific lines of research. Dreaming, we have direct access to the realm of the ancestors. Sometimes they reach to us, in dreams, as an ancient priest of Nippur appeared to the Assyriologist Herman Hilprecht when he was puzzling over the meaning of two fragments of agate or as an ancient atetshents (“dreamer”) and clanmother of the Mohawk people called me to work that required me to study her language and reconstruct the shamanic dream practices of her tradition. We can choose to reach to the ancestors through dream incubation and by developing the skills of shamanic dreaming.

The practice of dream archaeology involves reclaiming authentic knowledge of ancestral traditions, including those that may have been buried or suppressed in the course of history, through a combination of careful research, active dreamwork and shamanic journeying across time and between dimensions. The dream archaeologist combines the skills of the shaman, the scholar and the detective.

We let dreams set us assignments. Secrets of the past, of which the waking mind may know nothing or very little, come to us in dreams because we are ready for them, and because the ancestors speak to us. As dream archaeologists, we work with such dreams through focused investigation, tracking that strange word, looking again at the fragments of that figurine.

We also carry our exploration into the dream space, by learning to go back inside a dream, wide awake and conscious, as an archaeological team may penetrate to previously hidden levels of a site, or the inner caves where the great revelations are to be found. I call this technique dream reentry. It is practiced wide awake and conscious, and may be a joint venture by a whole group of active dreamers. We use shamanic drumming to fuel and focus our expeditions, using a dream image as a doorway to harvest more information, open direct dialogue with the ancestors, and go to the deeper levels of reality where the meaning of things can be found.

We are open to the phenomenon that Yeats, with poetic insight, called the “mingling of minds”. This means that when we give our best efforts and passion to our chosen work or study, we draw the support of intelligences beyond the everyday world, including those of past masters in the same field.

Dream archaeology guided my research and writing, at every turning, in the creation of the three novels that comprise my Cycle of the Iroquois - Fire Along the Sky, The Firekeeper and The Interpreter - and in the retelling of Iroquois cosmology and the reclaiming of ancestral methods of shamanic dreaming in my nonfiction Dreamways of the Iroquois.

At the Neihardt Lecture,  I spoke in the presence of the Four American Kings - portraits by Jan Verelst of three Mohawk chiefs, and a Mahican, who were received like visiting sovereigns when they sailed to England in 1710 and were received by Queen Anne. I found myself dreaming into the life of one of them in the late 1980s. His name was rendered in colonial documents as Sayenqueraghta, a name I translated as Vanishing Smoke. A Mohawk of the Bear Clan, he was the grandfather of Joseph and Molly Brant. His dreaming and his war magic are reflected in the extraordinary tatttoos on his face and chest, meticulously copied by the Dutch artist, who must have wondered at their meaning and perhaps at their energy as the Mohawk posed in the typical posture of an Old World grandee.

In my novel The Interpreter, I describe the London experiences of Vanishing Smoke and the Mohawk war leader and skilled politician called Hendrick by the Dutch and the English from their own perspective. This includes the shock of finding themselves in a roiling city of over 700,000 people, when the largest city they had previously seen (Boston) had a population of only 5,000, and the Mohawk population on traditional Mohawk land had fallen to just 580 thanks to smallpox and flight to Canada.

The historian in me required me to check every detail in the historical records of the trip. The dreamer and novelist in me then enabled me to add what is not in the documents - for example, how a Bear Clan Mohawk might respond to the torment of a chained bear being mauled by attack dogs for the pleasure of gamblers, when the four "kings" were taken to a bear pit in Hockley-in-the-Hole for what the Englishmen of the time considered fine entertainment.


Fire Along the Sky,  The Firekeeper and The Interpreter are now available in handsome new editions from Excelsior Editions, an imprint of the State University of New York Press. 

Return to the Mountain of Messages

From my travel journals, an adventure in shamanic lucid dreaming that demonstrates many of our core techniques: dream incubation, dream reentry, dreaming with the ancestors of the land, group shamanic journeying through the portal of a remembered dream.

Esalen Institute, Big Sur, California, November 11. 2012


With Rushing Wind at the Mountain of Messages

We discover a hill that seems be an enormous rounded boulder. Its surface is pitted with what may be cave openings. There are also native rock carvings and pictographs here. Trails to the great rock from either side are also marked with native carvings.
    I am very excited. We have found a way to access the ancient spirits of this land, both spirits of the First Peoples and spirits of nature. I may give everyone the assignment to go this hill and bring back their own message, by entering a cave or copying and inscription or even by imagining what message they would inscribe as a symbol if they belonged to the ancient ways of this land. Through all of this,  a native elder watches over us, initially wary, wanting to check my intentions, then very willing for us to learn, at the price of respect and careful study and attunement. His voice is like the wind. His name is Rushing Wind.

I return from this dream excursion to my bed in the Big House overlooking the Pacific,excited and feeling blessed by an encounter with the ancestral spirits of this land. I had asked for this dream. On the first night of a workshop at the Esalen Institute, I set the intention of dreaming for the group, and it seemed I was answered. 

Group practice

Honoring the Ancestors of the Land

I opened the morning session by placing a tobacco pouch at the center of the circle and suggesting that everyone might want to make an offering to the First Peoples of the land. When we joined hands to sing together and set intentions for the group, I spoke of the ancestors.

Grandmothers, Grandfathers
we honor you, we remember you
we ask your blessing and protection for all our journeys

Later I proposed that we should make a group journey to the Mountain of Messages. This idea was eagerly received, and the journey was deep and fruitful. Here I'll report only on my personal experience, traveling in my dreaming mind while drumming for the group and watching over the other dream travelers.

Group Journey

Return to the Mountain of Messages

The trail is very physical seeming, dust rising underfoot, smell of chaparral. I can make out carvings on stones along the way, impressions of fish and wavy lines for water. The prayers in stone of a fishing people.
    At the base of the mountain, I find the entrance to a cave or tunnel. There is a fierce guardian figure, with a single eye, like a giant hairy cyclops. He is ordered back by a power – Rushing Wind, the elder from my dream – who asserts my right to enter. I realize that white wolf and mountain lion are with me, hawk overhead, and the energy of Island Woman, the dream shaman and Mother of the Wolf Clan who called me long ago. I am asked for my name, and I give one.
    Soon I am carried through a network of passages and caves by rushing winds, until I am deep in a great cavern in the presence of a giant bear. He is not friendly at first, but accepts the bear in me.
    I begin to inspect patterns on a cave wall. A light glows behind the stone until it looks like frosted glass. Then it becomes transparent, like a window. Now it is no barrier at all. I step through into a world of primal beauty and simplicity, where people are fishing and gathering fruits. They remind me of the people among whom I lived when I left my body at nine years of age. They welcome me, and I am full of joy to be with them.
    They tell me, “We are always here.”
    For the natives of this land, they are the Original People, ancestors of the ancestors.
    Whatever is done in the surface world, they are here.
    “When you get sick, you come here. When you get well, we send you back.”
     There is a deep sense of belonging, of home.
    “We are alive. We are here. The dead are alive. The living are dead.”
    I am reluctant to leave, but I am drumming for the group and responsible for them. I leave the caves and walk the trail on the other side. I see my radiant double. I know that, if things go well, we can finally come together and walk together through the sun, which is right ahead, on this trail leading beyond the Mountain of Messages.  

I have led many journeys to caves of the ancestors over the years, and provide a script for this kind of shamanic journey in Dreaming the Soul Back Home. The dream-guided Esalen group journey was especially thrilling not only because it seemed to open an authentic link to the First Peoples of the land where we were gathered but because - for me personally - it reopened contact with a world-behind-the-world I discovered during a near-death experience when I was nine years old.

Photo by RM

Monday, September 27, 2021

Lightly, lightly: Teachings of a Dancing God in Aldous Huxley's Last Novel


"Look at the great round halo, fringed with the symbols of fire, within which the god is dancing. It stands for Nature, for the world of mass and energy. Within it, Shiva-Nataraja dances the dance of endless becoming and passing away. It is his lila, his cosmic play. Playing for the sake of playing, like a child. But this child is the Order of Things. His toys are galaxies, his playground is infinite space."

I am quoting from a beautiful description of a statue of Shiva as Nataraja, Lord of the Dance, in Aldous Huxley's last novel, Island.
    In cast metal Indian figures of Shiva Nataraja, the oldest of which date from the 10th century, he is shown with four arms, which evoke the four cardinal directions. Each hand holds a a symbolic object or makes a symbolic gesture, a mudra.
    In the upper right hand is a drum shaped like an hourglass. It symbolizes the creation of worlds, which begin with sound. It is beating the patterns of making, and the rhythms of Shiva's dance as Kala, Lord of Time. In the shape of the drum - two interpenetrating triangles - we also see the union of dynamic opposites and of male and female, lingam and yoni. When they are separated, the universe ends.

In his upper left hand, Shiva holds fire, understood here to be the destroyer of worlds. In Hindu mythology, our present world will end in flame.
    Shiva's lower right hand is raised and the palm is turned outwards. The gesture signifies: "Don't be afraid." The Sanskrit name for this mudra is abhaya, meaning "without fear".
    Shiva's lower left hand points to his feet. What's going on down there? His right foots is planted on a horrible dwarf who is the embodiment of ignorance, envy and greed. The Lord of the Dance is stamping on this demon, breaking his back. But his finger is not pointing at the demon dwarf. It is pointing at his left foot, which he is raising high from the ground. That raised foot, lifted so high it seems to defy the law of gravity, symbolizes moksha, liberation from the cycle of birth and death and rebirth. The gesture of the pointing hand resembles the outstretched trunk of an elephant and evokes elephant-headed Ganesha, Shiva's son, the one who opens and closes the doors and paths of this world.

"For Nataraja it's all play," writes Huxley. "And the play is an end in itself, everlastingly purposeless. He dances because he dances, and the dancing is his maha-moksha, his infinite and eternal bliss."

"It’s dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you’re feeling deeply. Just lightly let things happen and lightly cope with them. I was so preposterously serious in those days… Lightly, lightly – it’s the best advice ever given me…So throw away your baggage and go forward. There are quicksands all about you, sucking at your feet, trying to suck you down into fear and self-pity and despair. That’s why you must walk so lightly. Lightly my darling…"


Image: Shiva as Lord of the Dance. Bronze, Chola dynasty (10th century) from Tamil Nadu. Now in Los Angeles County Museum of Art:




Friday, September 24, 2021

The Cave of the Nymphs

The Neoplatonist philosopher Porphyry wrote a commentary on a scene in Homer's Odyssey that offers a remarkable allegory of the soul's comings and goings from embodiment in this world. A translation of Porphyry's text, new to the English language at that time, inspired William Blake to paint a picture full of codes for the awakening spirit.

For  Porphyry the Cave of the Nymphs is a “harbor of the soul”, a waystation between the worlds. Porphyry insisted that nous (mind, spirit) is never contained in the body, but only “acts in it” through affinity or gravitation. An affinity for what is moist and humid brings souls back into incarnation; a tendency towards what is dry and light and fiery carries the soul into the realms of the immortals. In the Cave of the Nymphs, Naiads (spirits of fresh waters and fountains) weave “moist envelopes” – “purple tissues” – on stone, and bees deposit their honey in stone urns. Images of taking on flesh, of coming into generation. 

The word-picture fascinated William Blake, who gave it visual form in a watercolor painting found only in 1947 in the clutter atop a cabinet in a stately home in Devonshire. The first experts to examine the picture decided to give it a title from one of Blake’s letters: “The Sea of Time and Space”. Kathleen Raine explains in fine detail that the picture is an illustration of the Cave of the Nymphs. It seems that Mystery rituals dedicated to Odysseus and the Naiads – and the soul? – were actually held in a cave near the beach of Dexa in Ithaca where Odysseus is said to have returned to his homeland, dreaming. 

Kathleen Raine discusses Blake's imagery in an essay in her book Blake and Antiquity. She finds ithat even with self-taught, self-driven Blake, it is true (as Yeats declared) that poetry is “the traditional expression of certain heroic and religious themes, passed on from age to age, modified by individual genius, but never abandoned.”  

In 1947 a stately home in Devonshire called Arlington Court was taken over by the National Trust. Among broken glass and junk on the top of a pantry cover was found a painting by Blake clearly dated 1821. The art experts provisionally titled it “The Sea of Time and Space”, after a phrase in one of Blake’s letters and in his poem “Milton]. Its actual nature – as an illustration to Porphyry and Homer – was not recognized for a long time because of the tendency to regard Blake as an “untaught original” rather than an autodidact who devoured and integrated huge bodies of literature. The symbols appear again and again in Blake’s own work, yet we see that they also have deep roots in mythic experience and Neoplatonist tradition. For Raine, 

Neoplatonism may be compared to an underground river that flows through European history, sending up, from time to time, springs and fountains; and wherever its fertilizing stream emerges, there imaginative thought revives, and we have a period of great art and poetry. [1] 

Blake was a contemporary of Thomas Taylor, who brought the Neoplatonists into the English language (and was often ridiculed for it). Taylor was a crusader for the philosophy of Plotinus, calling on the young men of his time to take up its “weapons of truth”. He published the first English translation of Porphyry’s De antro nympharum

Blake's picture gives s nymphs, weavers at a loom, a sea-god, souls entering incarnation, bright spirits reborn -  perpetual cycle of the descent and ascent of souls between an eternal and a temporal world. 

In Mystery traditions, the  voyage of Odysseus in its entirety was read as the type of such a journey of soul. The sea, in constant flux, is the world. The watery cave of Calypso is the world’s enchantments. The beggar’s rags in which Odysseus returns home are the body, which the soul discards when they are no longer needed. The sea crossing, as in many legends and myths, is the type of the soul’s journey to the Otherworld. 

Blake incorporates the image of Odysseus throwing something out to sea, his face averted. This borrows an image from Book V of the Odyssey where the  hero is washed up on the Phaeacian shore. Odysseus is the soul survivor of the wreck of his ship; the goddess Ino takes pity on him and lends him her girdle, urging him to swim to shore. When he lands he must throw her girdle back to her, turning his face away. In Blake’s painting, the hero has thrown the girdle; the goddess has caught it, and she is dissolving back into a spiral of radiant cloud.

Athena stands behind Odysseus, a figure of Divine Wisdom, pointing to the shining realm of the sun.

Things to look for in Blake's painting:

The source of life in the underground river or spring. 

The dry and the moist. Heraclitus sas “a dry soul is the wisest” although “moisture appears delightful to souls”. 

Womb and tomb: Birth into the cave is a death from eternity. The Cave of the Nymphs is the womb through which humans are born into the physical world. 

Bowls and urns: Blake shows them carried like water pots on the heads of winged nymphs in the depths of the cave. 

Bees: These winged nymphs are Porphyry’s bees, winged souls about to descend into the cave of the world through womb-like vessels. 

Weavers: Blake has borrowed from his own Daughters of Albion, who ply their shuttles to bind immortals into mortal bodies. In Homer, there are marble looms and purple garments. Porphyry’s gloss is that “the formation of the flesh is on or about the bones, which in the bodies of animals resemble stones.” There is a hint of cruelty in the faces of the weavers. 

The child enmeshed: To the right of the looms, in Blake’s image, a little girl is enmeshed in what the nymphs are weaving – she is being woven into a body. 

The tubs: borrowed from Porphyry (who in turn borrowed from the Gorgias and Hesiod): the tub or bucket of the evolved, temperate and “dry” soul that is intact and can hold its contents, and the one of the person ruled by passion that is pierced and spills everywhere. Seen in two figures in the right foreground of Blake’s painting: a resolute woman turns her back on the swirl and climbs the steps, holding a bucket in her right hand while her left is raised towards the heavenly world. She is opposed by the nymphs. Close to her, a “moist soul” lolls half-immersed in a tub which lies on its side, forever spilling and unfilled even as water streams into it; she looks happy but she disgusts Blake, because she is caught in the “deadly sleep” of physical life and is on her downward journey. 

The river’s mouth: the lowest stage of descent into matter in Blake’s painting. Here he introduces Fates who control the entry of souls into the Sea of Time and Space. Savage and cruel, one unwinds the thread, a second measures it, a third waits with shears to cut it off. Phorcys (who Raine sees as a variant of Proteus) bears the phallic distaff from which the thread is unwound. 

The sleeping sun god – when this world wakes, the other world sleeps.

1. Kathleen Raine, "The Cave of the Nymphs" in Raine, Blake and Antiquity: The A.E. Mellon Lectures in the Fine Arts (Princeton N.J.: Bollingen, 1977) 4


William Blake, "Sea of Space and Time" (1821)





Wednesday, September 22, 2021

Punch a Hole in the World: Listening to Children's Dreams

Young children know how to go to Magic Kingdoms without paying for tickets, because they are at home in the imagination and live close to their dreams. When she was very young, my daughter Sophie had adventures in a special place called Teddy Bear Land, where she met a special friend. I loved hearing about these travels, and encouraged her to make drawings and spin further stories from them.

One day Sophie sat down beside me and asked with great earnestness, "Daddy, would you like to know how I get to Teddy Bear Land?"

 "I'd love to."

 "Sometimes I take the Sun Gate. Sometimes I take the Moon Gate. Sometimes I take the Tree Gate. Sometimes I take the Rainbow Bridge. And sometimes I just punch a hole in the world."

I've never heard anyone say it better. To live the larger life. we need to punch a hole in the world. This is what dreaming - sleeping or waking or hyper-awake - is really all about. On our roads to adulthood, we sometimes forget how to do it, just as older children in the Chronicles of Narnia cease to be able to see Aslan as they approach adolescence and become more and more burdened by the reality definitions of the grown-ups around them.

When we listen, truly listen, to very young children, we start to remember that the distance between us and the Magic Kingdoms is no wider than the edge of a sleep mask. True listening requires us to pay attention; to attend, in its root meaning in the Latin, is to stretch ourselves, which requires us to expand our vocabulary of understanding. We owe nothing less to the young children in our lives. When we do this, we discover that they can be our very best teachers on how to dream and what dreaming can be.

Here's what we need to know about listening to children's dreams and supporting their imaginations:

1. Listen up! When a child wants to tell a dream, make room for that. Make some daily space for dream sharing. Listen to the stories and cherish them for their own sake.

2. Invite good dreams Pick the right bedtime reading or better still, tell stories. Help your child to weave a web of good dream intentions for the night - for example, by asking "What would you most like to do tonight?" Encourage children to sleep with a favorite stuffed animal (whether teddy bear or T-Rex) and make this a dream guardian.

3. Provide immediate help with the scary stuff If your child was scared by something in the night, recognize you are the ally the child needs right now. Do something right away to move out that negative energy. Get a frightened child to spit it out (literally) or draw a picture of what scared her and tear it up as violently as possible.

4. Ask good questions. When the child has told her story, ask good questions. Ask about feelings, about the color of the sky, and about exactly what T-Rex was doing. See if there's something about the future. Say what you would think about this if this were your dream. Always come up with something fun or helpful to do with this story. Open up the crayon box, call grandma, etc.

5. Help the child to keep a dream journal. Get this started as early as possible. With a very young child, you can help with the words while they do the pictures. When your child reaches the point where she closes the journal and says, "This is my secret book and you can't read it any more" do not peek. Give her privacy, and let her choose when she'll let you look in that magic book.

6. Provide tools for creative expression. Encourage the child to bring dreams come alive through art, dance, theater and games, and to draw or paint dreams. Gather friends and family for dream-inspired games and performance. Puppets and stuffed animals can be great for acting out dreams. This can also be dress-up time. It's such a release for kids to portray mom or dad or other grown-ups in their lives - be ready to be shocked!

7. Help construct effective action plans Dreams can show us things that require further action - for example, to avoid an unhappy future event that was previewed in the dream, or to put something right in a family situation. A child will probably need adult help with such things, starting with your help. may require adult help, starting with yours. This will eventually require you to learn more about dreaming and dreamwork (hint: you can start with my books).

 8. Let your own inner child out to play As you listen to children's dreams, let the wonderful child dreamer inside you come out and join in the play.

9. Keep it fun! When you get the hang of this, you'll find it's about the best home entertainment you can enjoy.

Notice two things that are not on this list, but would be at the very top of a list of what NOT to do with your children's dreams:
1. NEVER say to a child "It's only a dream". Children know that dreams are for real and that scary stuff that comes out in dreams needs to be resolved, not dismissed.
2. DON'T INTERPRET a child's dreams.You are not the expert here; the child is.

Text adapted from Active Dreaming by Robert Moss. Published by New World Library.

Art: Book Tree by a 10-year-old Romanian boy

Saturday, September 18, 2021

Shamanic lucid dreaming

In the practice of Active Dreaming, we do many of the things involved in what is popularly called "lucid dreaming", and a great deal more. However, I confess I have never been enthusiastic about the term "lucid dreaming" because it has often been associated with notions of "controlling" or "manipulating" dreams. This is why I called my first book in this field Conscious Dreaming.
     Through dreaming, we have access to a source that is infinitely wiser and deeper than the everyday ego, and we want to be available to that source. I am in favor of learning to choose where we go and what we do in dreams, as in waking life, but that requires discernment, not the fantasy of control.
     Another problem I have with the term "lucid dreaming" is that it is most often associated with techniques for waking yourself up to the fact that you are dreaming while you are asleep. However, the easiest way to become a lucid or conscious dreamer is to start out lucid and stay that way: in other words, to enter conscious dreaming from a waking or semi-wakeful state. 
      My preferred name for what I teach and practice is Active Dreaming. As the phrase suggests, we can be active in embarking on conscious adventures in dreaming, and we want to be active in bringing the energy and insight of our dreams into waking life. 
       Since I am often asked whether Active Dreaming is a mode of lucid dreaming, I am going to borrow a phrase employed by one of my friends in the lucid dreaming fraternity who refers to my "shamanic lucid dream adventures." I am using the adjective "shamanic" here to describe a method for shifting consciousness to enter nonordinary reality for purposes that include the care and recovery of soul. 
      How do you become a shamanic lucid dreamer? You start out conscious and you stay that way. To accomplish this, you only need three things: a clear intention, an image that can serve as a portal, and a means of focusing the mind and fueling the journey. All these things can become available naturally, in the twilight zone of consciousness that researchers call hypnagogia. You are between sleep and waking. Images rise and fall in your mindnd any one of those images can become the gateway for a conscious dream adventure. 
      An equally simple and natural way to become a shamanic lucid dreamer is to use a remembered dream as the portal for a journey. In your night dream, you went to a place, which may resemble a site in ordinary reality or may be a locale in a separate reality where the physics are utterly different. Either way, because you were in a certain place, you may be able to find your way back there, just as you could return to a house you once visited in regular life. 
      Why would you want to do this? Maybe you've been running away from something in your dream world that scares you - from the Bear, or the Tiger, or an unknown intruder or pursuer. If you can find the courage to go back inside one of those nightmares and face what frightened you on its own ground, you may find power and healing waiting for you on the other side of the terror. 
      You may want to go back inside a dream because you were with your dream lover in a tropical paradise but were interrupted by the alarm clock. You may want to talk to someone who appeared to you in a dream. You may need to clarify whether that auto accident could take place in the future, as either a literal and symbolic event, and what you need to do with that information (once you have it clear) in order to avoid an unwanted development. You may simply want to know more about a dream. The best way to understand a dream is to recover more of the experience of the dream. A dream experience, fully remembered, is its own interpretation. 
     Through the technique of dream reentry, you can pursue any of these agendas, or simply enjoy the fun and adventure of using a personal dream image as a portal to the multiverse. 
     The best time to attempt dream reentry may be when the dream is fresh and you are still closely connected to it, lingering in bed after waking. But if the dream has energy for you, you can go back inside any time, even decades after the original dream. 
      Shamanic drumming - a steady beat on a simple frame drum, typically in the range of three to four beats per second, but sometimes faster - will help you to shift consciousness and travel into the dreamspace. The steady beat helps to override mental clutter and focus energy and intention on the journey. The rhythms of the drum correspond to brain wave frequencies in the theta band, associated with the hypnagogic zone and its dreamlike imagery. If you want a physiological explanation of why shamanic drumming is such a powerful tool for shifting awareness, you could say that the "sonic driving" of the drum herds our brain waves into the theta band, opening us to its characteristic flow of imagery. I have made my own drumming recording for shamanic lucid dreamers. 
      The drumming will also help you to synchronize and focus shared adventures in dream travel. You can invite one of more partners to journey with you through the portal you have chosen and act as companions and trackers who can support you and bring you extra information. In my workshops, we frequently have 30 or more active dreamers traveling together on group adventures of this kind. Often we keep group logs, and you can read samplings from these in my book Dreamgates and in the epilogue to Dreamways of the Iroquois, where I describe how I led a group of frequent flyers on a group journey to meet the shaman-priests of the Kogi, on their sacred mountain, at the invitation of a Kogi elder. Through such experiments, we assemble truly scientific data on the reality of the dreamworlds, and what is possible within them. 
     Shamanic lucid dreaming is an adventure in navigating the deeper reality that we can share with a partner, with a group, or a whole community. Through practice, you can develop the ability to shift consciousness at will, travel in nonordinary reality, and bring back gifts, with or without drumming.

Photo: Leading a fire ceremony for a circle of active dreamers. Photo by Jeanne Cameron.

Wednesday, September 15, 2021

At the Stag Tree


At the Stag Tree

I am the antlered one.
I raise living bones
as taproots into the sky
to draw down the strength of heaven.

I am sure-footed, potent,
a warrior in love,
with power to read the land,
to see behind me and around me.

I grow my own crown, royal,
magnificent, and have the wisdom
to give up its burden
when the year grows old.

I come here, to the hickory,
to rub out my royalty,
to drop the burden of my crown
and grow again, stronger than before.

September 15, 2018

- lines composed in an exercise to become Animal Speakers in my "Writing as a State of Conscious Dreaming" retreat in the green fairyland of northern Bohemia

Monday, September 13, 2021

When it's time to cut the cords


We are linked to those with whom we have shared significant life experiences by cords of psychic and emotional attachment. The Hawaiian kahunas maintain that an aka cord of "sticky" etheric substance runs between us and everyone who has ever touched our lives unless it is detached. 

     When our relations with the people close to us are strong and healthy, there is no problem in being joined to them in this way. On the contrary, we want to be connected to those we love, those with whom we are engaged in a common purpose, and our family of chosen life companions. We still need to notice that, linked in this way, we can very easily pick up other people's stuff. Dreams teach us about how this works. We can find ourselves, in dreams, in another person's situation, or receiving their imagery or their visitations across the psychic bridges that are open between us.
     The problem with the psychic cords arises when a relationship has gone sour, or become unbalanced, so that energy is moving only one way, draining one of those involved. A very common issue is that when we break up with a spouse or partner or close friend, the psychic cords between us remain intact. What flows along them now is no longer healthy emotional energy but bad feelings and rancor that can bring both members of the old relationship down. More seriously, the surviving psychic bridge can become a means by which a jealous or bitter ex comes calling, confusing night dreams and wakeful perception and energy.
      To maintain psychic good health, we want to learn to scan our energy fields and locate the psychic cords of attachment between ourselves and others.I recently had members of a training do this by the method explained in my book Active Dreaming in the chapter on "a low maintenance plan for psychic well-being". Our special interest was to determine the appropriate ways to "unplug" unwanted or unhealthy cords of attachment. Simply picturing yourself hacking away at a cord might not be the best way!
      For many in the group, color was a guide to the condition of psychic cords. Toxic attachments appeared black; old, energy-draining attachments appeared grey, sometimes the grey of used chewing gum. Some fresh and improvisational approaches to releasing or cleansing psychic links emerged.
      One woman pictured herself swimming in healing waters while little fish nibbled away gently at the psychic cords that needed to be released. A man found that an ally (a "Chinese doctor") entered the scene; he tiled "little bows" in the problematic cords, leaving them to wither and drop away gradually. For another member of the group, the ally appeared as a crow that pecked away at the root of a black cord of connection to a deceased friend, until all the stagnant dead energy drained away.
     Some found it possible to cleanse and restore proper flow in the cords of attachment involved in current relationships. A woman found that the psychic cord between her and her boyfriend was a very mixed picture; it was mottled grey, black and red. She did not like the deadness of the black and the drabness of the grey. She pictured herself drawing the energy of a waterfall to which she had recently hiked to cleanse and refresh the connection. She continued with this powerful and spontaneous mediation until the cord glowed red and gold, the black and grey gone.

drawing by Robert Moss

Dream Archaeology: The Columns of Siq

I returned this morning from an excursion to an archaeological site. I did not have to wait for my bags, clear customs and health checks, or catch an Uber home from the airport. Yet my travels were entirely real. I walked that site, studied it with the help of a guide and a little bilingual guide book, felt the sun and sand in my face, and gratitude for the warm water of that wadi. I felt goosebumps in the presence of stones that might be eidola, breathing images. My outing has given me a new research assignment in the field I call dream archaeology. I'm juiced, especially because I knew very little of the culture involved before my dream self traveled to Petra overnight.

September 13, 2021


The Columns of Siq

My guide is a younger woman, Arab or Turkish, wearing a hijab. We are walking around a vast archaeological site in the desert. We came through a dark, narrow passage lined with niches and columns, some natural, some carved from the rock. Some of the stones around us give the impression of humanoid forms, perhaps of gods or jinn.

“This place is protected by them,” she tells me. She gives the protectors a name I can’t quite understand. Is it “The Daniels”?

The place, or some part of it, is called Siq. I see it in a section head in a little bilingual guidebook. Between us and the barren mountains, on a rise, is a ruined colonnade. I have the sense that there is life in these stones, even the ones that may have belonged to a Roman marketplace. Perhaps holographic memories of what happened here.

She walks me up a hill. I feel sun and sand on my skin. I am getting very thirsty, in the dry heat. There is water below us, across a slope of fine greyish sand, apparently rich in metal content. I enjoy the walk down. She tells me, again, “This place is protected by The Daniels.” Again, I can’t quite get the key word.

The pool is very shallow, perhaps only the last of water that fell in the last rains. But we are now in welcome shade from the mountains and I long to drink. I reach down into the water with cupped hands.

I am surprised when she tells me that I need to go to Cyprus. She says she has family there. Is she also telling me that cousins of "The Daniels" are there? I know Cyprus is the island of Aphrodite. I tell my companion that I have always wanted to go to Cyrus, because “I have a relationship with Aphrodite.” Whoops. I must avoid provoking the goddesses again.


Feelings: Excited, intrigued. Just so: this was an entirely real experience, engaging all the senses.

Reality check : The word “Siq” was crystal clear but I did not recognize it. An online search told me instantly that it is the name of a long passage through a narrow gorge leading to the ancient city of Petra in Jordan.  Siq means “gorge”. It is lined with niches that once held “god-stones” called baetyls or betyls. Some were meteorites. It is speculated that the ancient Nabataeans thought they contained the energy of gods, and that contact with the stones could open a portal to other worlds. I suspect that what I heard as “The Daniels” was actually “The Betyls”. The Arabic is betel. Related to the Hebrew Bethel, “House of God” as in the place where Jacob had an immense night vision while sleeping on a stone he afterwards set up as a column. I see that Wendy Doniger, the religious scholar, thinks that the betyls in their niches – they have counterparts in many cultures - were the first of all altars.

If you want to know what I mean by "provoking the goddesses" read my story "How Much Ephesus Have You Had?" in Mysterious Realities.

Action: I love taking on the research assignments my dreams give me. In my memoir The Boy Who Died and Came Back I give detailed reports on the dream archaeology missions that have taken me into other times and other lives. I have barely started to follow up my visit to Petra and the magic stones. The dreamer and the independent scholar in me look forward to more discoveries.

Follow-up: Pillars of the Goddess

I had just started my research when a friend found a report by a German scholar who surveyed hundreds of betyls at Petra.  This added some interesting leads. The style of Nabataean religious art was basically aniconic; in other words, not figurative, though stones were sometimes given a hunt of anthropomorphic form. 

It was notable many betyls were dedicate to al-Uzzah, the mother goddess of Petra, or to Allat, the Great Goddess worshipped especially in the Arabian peninula. Some of these betyls had "eyes" in the form of simple rectangles, or twin stars. "The eyes can be interpreted as the morning and the evening stars, the two aspects of the planet Venus." [1] The betyls of Petra were typically set in niches on bases,. Quite a few were carved from free-standing stones and could be carried in procession. 

A relief carving from Bab al-Siq ("Gate of the Siq") shows a betyl being transported on the back of  horse of mule. Some betyls were simply carved from rock walls.

Where stone was quarried for such purposes, efforts were made to show respect to Dushara, Lord of the House among the pantheon at Petra, whose energy was strongly felt in sacred stones. Columns were left standing in his honor. Other standing stones around Petra were for the nephesh (the same word as in Hebrew). The nepheshes held spirits of the dead rather than the energy of the gods. 

I later found photos of an unusually anthropomorphic version of the "eye-betyls" of Petra. It stood in a niche in the wall of the temple of the Wnged Lions and is believed to represent al-Uzza or Allat. The eyes here are almond shaped and the nose and lips are formed naturalistically. The face is crowned by a wreath with an opening in the center that mikght have held a jewel or a horn. This iamge,carved from limenstone in the 1st or 2nd cetury of the common era, may reflect syncretism between Nabataean religion and the Isis cult.

1.Robert Wenning, “The Betyls of Petra” in Bulletin of the American Schools of Oriental Research 324, 2001, p.83.

Journal drawing: "The Columns of Siq" by Robert Moss

Wednesday, September 8, 2021

Naked adventure in the Arabian Nights


Notes from a Reading Life

Robert Louis Stevenson notes in "A Gossip of Romance" that the Arabian Nights are entirely amoral. "You shall look in vain for moral or intellectual interest. No human face or voice greets us among that wooden crowd of kings and genies, sorcerers and beggarmen. Adventure, on the most naked terms, furnishes forth the entertainment and is found enough." This is especially true of the stories delivered outside the frame of Scheherazade's nightly narrations. 

We are not told why Aladdin - a tearaway street kid who is the despair of his impoverished mother - is selected for favors and a potentially fatal assignment by the African magician who poses as his uncle. (This fools no one but the largesse he delivers gets him in.) Aladdin is to go down a well and through tunnels and overcome many obstacles to obtain a lamp the magician (for reasons unexplained) can't get for himself. In addition to directions Aladdin is given a ring that is a talisman. He finds the lamp, empties it as instructed, and wraps it inside his garment where it is soon buffered by all the beautiful balls of colored glass the boy plucks from the trees, not knowing them to be precious jewels. 

The magician's plan is to seize the lamp from Aladdin as he comes up the tunnel, and seal him below the stone lid to die. But Aladdin evidently has some street smarts. He won't yield the lamp before he gets out. In a rage, the magician seals the tunnel and leaves him to die. Rubbing the ring, he produces a genie (called a demon in Husain Haddawy’s recent translation), hideous but required to serve him without conditions. He wishes to be out and so he is. 

At home he discovers that rubbing the lamp produces a bigger and even scarier genie and a whole host of jinn (perhaps the best term for this genus)all bound to serve the master of the lamp. There is no limit to the number of wishes and their magnitude and no conditions for the user. Aladdin goes from ordering up a good dinner to demanding vast riches and armies of slaves that persuade the king to give him the beautiful princess in marriage. They live in a palace more splendid than the king's created by demons overnight. 

Things go on until the African magician returns, guided by his geomantic box of sand. Aladdin survives the first take back attempt but not the magician's brother, who takes possession of the lamp when Aladdin is away hunting and has the whole palace including the princess transported to Africa. The genie of the ring eventually enables Aladdin to locate them. When he has possession of the lamp he can move everything back to "China" where the main action is supposedly playing out 

Utterly amoral. Whoever owns the lamp has full control of the genie - in fact legions of genies - unconditionally. Things created by enchantment don't vanish. They stay solid in the world. A couple of quick prayers to Allah are said here and there but not a modicum of virtue or any appeal to higher powers or even personal intelligence are required for success. There are no threats to the immortal soul, not even a hint that - as in other tales of invoking captive spirits - there will be dire consequences if the genie escapes captivity, or even that he can escape.

This puts the story on a cruder level than Scheherezade's tale of a genie confined in a copper jar who has been made to wait so long that- having originally promised to reward his liberator with untold riches- he will now kill him.

When RLS develops the theme in "The Bottle Imp" he introduces conditions and concern for the state of the soul (though on a transactional rather than moral basis). An imp perceived as a mysterious white shadow inside the bottle will manifest your wishes but as a result you will be sent to hellfire when you die unless you can sell the bottle to someone else for less than you paid for it, after apprising them of the risk. The money must be paid in coin. Our protagonist pays the $50 he has in his pocket to the haggard owner of a mansion in Nob Hill who got his house from the imp. 

The drama now turns on a series of efforts to sell the bottle at ab ever lower price (after fulfilling a series of wishes) until we are down to one cent and hell for the owner is certain. Then it is recalled that there are places where there are coins worth less than a cent. And we are off to Tahiti and traffic in centimes. It ends with a drunken longshoreman, not afraid of hell, taking the bottle with its imp for one centime.


Illustration by René Bull' (1872-1942)


Tuesday, September 7, 2021

When dreams do a morning flit

Some mornings I have a dream – it might be a big one, full of romance and adventure – but it gets away before I can find any way to hold it. Then I am like a fisherman kicking his creel, stretching his arms to show the size of the one that got away, but not managing even that. Sometimes I know a night visitor slipped out the window in the instant I rolled over and turned my back..
     How do dreams do this vanishing act? Notice I am not talking about the absence of dreams, not at all. We can absent ourselves from dreams. We might even say, “I don’t dream” which only means “I don’t remember” or “I don’t want to remember”. Because dreams are never absent from us. We dream for hours every night. The guys in white coats in the sleep laboratories can show you the physiological evidence for that.
     I am talking about something more specific than a chronic or occasional lack of dream recall. That is a common condition and when it is protracted it is a real malaise, gravely injurious to your health and well-being, for which I have offered remedies, notably in my book Active Dreaming.
     I am talking, quite specifically, about how and why dreams get away. Waking, you have them. You may feel you have perfect recollection of what you were doing and with whom in another reality, just a raised eyelid ago. The next moment, all that is gone. Your memories have been erased, as if a Man in Black zapped you with a Neuralyzer
    What’s going on here?
     I’ve been going over some of my own experiences of dreams doing a morning flit. Here are some of my thoughts on how dreams get away:

It is hard to remember one world when you are in another world

Neuroscientists talk about how retrievable memories are established when data is passed from the cortex to the hippocampus. But what we experience in dreams is not just a matter of seeing movies between our ears. We enter an altered state of consciousness and then find ourselves in other realities. So the memory download is not just between areas of the brain, but between the nonlocal mind or the traveling dream soul and the brainbox receiver. The brain is an awesome organism that can handle far more than most of us ever imagine. But the download from multidimensional reality into forms and linear narratives we can recognize and use in ordinary reality is an awesome operation. We grasped something in the deep but it slips from our hand as we rise into the shallows and soon all that is left is a little froth, until that is gone too.

Your dream was so real you didn’t think you could forget it

On the other hand, our experiences in dreams may be so very real, engaging our inner senses, that – whether or not we become aware we are dreaming – we may feel no need to lay down a memory trace. Few of us would feel the need to write down that we took a certain road to work, or that a lover’s kiss tasted of wine or raspberries, at least not right away. These are actual events, they happened, how could we forget about them moments later? Well, it can be the same with dreams. They happened, they were real – and so we let them slip away.

You haven’t been taking action to honor your dreams

If we do not take action to honor our dreams, we do not dream well. Our dream producers may become so disgusted by our lazy neglect of what they have been giving us that they actually close down their movie-making, or pull a heavy curtain after a screening. As a writer, I am grimly aware that I have been given far, far more ideas for all kinds of new productions – novels and screenplays and novellas and short stories, as well as new nonfiction – than I have developed. When I have a patch where I can’t hold onto my dreams (or the dreams I do snare seem paltry) I often ask myself: Is this because I have not been doing enough to create from the scenes and scripts I have already been given?

You got zapped

Sometimes it feels like something intervenes to erase dream memories. When I write this, I remember the Neuralyzer used by the agents in the Men in Black scifi movies to make sure that regular people are not freaked out by memories of alien life forms.
    We are all subject to inner censors, and maybe sometimes to psychic interference.
     However, I like the idea that sometimes there may be a benign agency at work that seeks to ensure that we don’t bring through too much from other worlds before we are ready to integrate the knowledge.
     I gained insight about this from a good friend who is usually a prolific dreamer. She is also one of those who rarely fails to take action to embody the guidance and energy of dreams. Even so, she entered a period when her dreams were doing that morning flit. She willed herself to stay present, alert and conscious, in that moment when she felt herself stepping through the door between the dreamworld and her ordinary reality. When she did this, she noticed there was a figure standing beside a doorway, with a large timepiece in his hand, a pocket watch as big as a clock.
    “Who are you?” she demanded.
    “I am the Timekeeper,” he told you. “I decide when it is time for you to remember what happens over here.”

So, what can we do if we want to prevent our dreams doing the vanishing act?
    I like to visualize a door-stopper, that holds the door between the worlds open, just a chink, when I come back to this side, with dreams fluttering all around me. This gives me a chance to reach back in and grab a few before they have flitted away entirely. In my house, we use an old flat iron and a brick, and a stone the shape of Africa as door stoppers. In my imagination, the door stopper is sometimes a black dog, generally bigger than this little cutie I acquired from an antiques store.

Please Note: This article is not about the general problem of lack of dream recall, a widespread malaise in our society which is partly related to the absence of social reinforcement for the practice of sharing and working with dreams. You'll find my thoughts on common causes for a generalized dream drought n my book Active Dreaming, together with many fresh and effective suggestions for restoring your dream flow. This book also explains the Lightning Dreamwork process I invented, which gives us a safe and fun way to share dreams, get helpful feedback, and be guided towards actions to apply the guidance from a dream and embody its energy. This gives us a strong incentive to bring more from our dreams to the table of life.

Monday, September 6, 2021

Dream interpretation by mating birds


Jung was a master of navigating by synchronicity. His practice in this field is, to my mind, far more impressibve and instructive than his theory. He practiced pattern recognition, noticing what was going on in his field of perception as he wrestled with an idea or tended to a patient, following the wind and waves on the lake, the rustle of leaves and the cries of animals and birds in the woods near his house. 

I came upon a choice example of how he used coincidence to get a second opinion on dreams - and sometimes to get a point across to a dreamer who seemed to be missing the point.

A patient whose dreams seemed to Jung to be full of strong sexual imagery declined to look at this aspect of her dream life, drifting off into associations that seemed to Jung to be far removed from what the dreams contained. His efforts to get her to look at the possible sexual content did not prosper until, on the day of the woman's next appointment, a pair of sparrows fluttered to the ground at her feet and "performed the act" right in front of her.-

This incident, recorded in the notebooks of Jungian analyst Esther Harding, recalls the famous epiphany of the scarab that Jung recorded in Memories, Dreams, Reflections. He felt stuck in his analysis of another female patient until the session in which she recounted a dream of a scarab, vitally important to the Egyptians as a symbol of rebirth. At that instant, Jung heard something scraping at the window of his consulting room. He opened the window and caught in his hands a flying beetle known as a rose-chafer, the closest thing to the Egyptian scarab that was likely to be found in Switzerland. He presented the golden-green beetle to the woman, saying, "Here is your scarab" , and noted this as the breakthrough point in her analysis.-

These episodes are fine examples of how (to borrow from Richard Tarnas in Cosmos and Psyche) "spontaneous archetypal resonance" can act as "a healing solvent on the hardened polarities - between self and world, subject and object conscious and unconscious - of the person experiencing the synchronicity."

Attend to synchronicity, as Jung did every day,and you may become a magnet for it.