From Why Religion Matters: The Fate of the Human Spirit in an Age of Disbelief by Huston Smith:
The traditional worldview is preferable to the one that now encloses us because it allows for the fulfillment of the basic longing that lies in the depth of the human heart. . . .
There is within us — in even the blithest, most lighthearted among us — a fundamental dis-ease. It acts like an unquenchable fire that renders the vast majority of us incapable in this life of ever coming to full peace. This desire lies in the marrow of our bones and the deep regions of our souls. All great literature, poetry, art, philosophy, psychology, and religion tries to name and analyze this longing. We are seldom in direct touch with it, and indeed the modern world seems set on preventing us from getting in touch with it by covering it with an unending phantasmagoria of entertainments, obsessions, addictions, and distractions of every sort. But the longing is there, built into us like a jack-in-the-box that presses for release. Two great paintings suggest this longing in their titles — Gauguin’s Who Are We? Where Did We Come From? Where Are We Going? and de Chirico’s Nostalgia for the Infinite — but I must work with words. Whether we realize it or not, simply to be human is to long for release from mundane existence, with its confining walls of finitude and mortality.
From a 1930 letter by H. P. Lovecraft to Clark Ashton Smith:
My most vivid experiences are efforts to recapture fleeting & tantalising mnemonic fragments expressed in unknown or half-known architectural or landscape vistas, especially in connexion with a sunset. Some instantaneous fragment of a picture will well up suddenly through some chain of subconscious association — the immediate excitant being usually half-irrelevant on the surface — & fill me with a sense of wistful memory & bafflement; with the impression that the scene in question represents something I have seen & visited before under circumstances of superhuman liberation & adventurous expectancy, yet which I have almost completely forgotten, & which is so bewilderingly uncorrelated & unoriented as to be forever inaccessible in the future.
From a 1930 letter by Lovecraft to James F. Morton:
It is never any definite experience which gives me pleasure, but always the quality of mystic adventurous expectancy itself — the indefiniteness which permits me to foster the momentary illusion that almost any vista of wonder and beauty might open up, or almost any law of time or space or matter or energy be marvellously defeated or reversed or modified or transcended . . . that sense of expansion, freedom, adventure, power, expectancy, symmetry, drama, beauty-absorption, surprise, and cosmic wonder (i.e. the illusory promise of a majestic revelation which shall gratify man’s ever-flaming, ever-tormenting curiosity about the outer voids and ultimate gulfs of entity) . . . the illusion of being poised on the edge of the infinite amidst a vast cosmic unfolding which might reveal almost anything.
From Smith, Why Religion Matters:
Release from those walls calls for space outside them, and the traditional world provides that space in abundance. It has about it the feel of long, open distances and limitless vistas for the human spirit to explore — distances and vistas that are quality-laden throughout. Some of its vistas . . . are terrifying; still, standing as it does as the qualitative counterpart to the quantitative universe that physics explores, all but the fainthearted would switch to it instantly if we believed it existed. . . . Our received wisdom denies its existence, but that wisdom cannot prevent us from having experiences that feel as if they come from a different world.
From Lovecraft, in his essay “Notes on the Writing of Weird Fiction”:
I choose weird stories because they suit my inclination best-one of my strongest and most persistent wishes being to achieve, momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis. These stories frequently emphasize the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of Nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear.
Remember: You must conform.
Better yet: Doughnut thing. (Watch for explanation.)
Film critic A. S. Hamrah on the life, mind, and work of David Lynch, including his pursuit of a fearsome disease and darkness lurking in the heart of everything, including America:
A nicotine fiend and a coffee addict who mixes existential dread with sadomasochism in all-American settings, Lynch is that rare director who makes subversive films without a chip on his shoulder, seemingly without any will to provocation. He is at home with his neuroses and obsessions. His secret is that he proceeds as though he is acting from the most impossible condition of all: normalcy. While directors like David Fincher and Lars von Trier explore similar terrain with grim determination, only Lynch enters nightmare worlds like the Eagle Scout he was, as inquisitive about the depths of human psychology as he is about bugs and twigs.
“There is goodness in blue skies and flowers, but another force—a wild pain and decay—also accompanies everything,” Lynch has said. “There’s this beautiful world and you just look a little bit closer, and it’s all red ants.” Like the ones on the severed ear in Blue Velvet. Lim connects Lynch to the dark forces that drive the American psyche, the same ones D. H. Lawrence analyzed in his Studies in Classic American Literature, and there is more than a touch of “Young Goodman Brown” in Lynch’s homespun American surrealism. Like the character in Hawthorne’s story, Lynch is drawn to the woods at night, where ordinary people confront the demonic. The Black Lodge in Twin Peaks houses America’s violent soul.
Riveting and unsettling: Here’s Robert Stolz, Associate Professor of History at the University of Virginia, drawing on a recent interview with nuclear engineer and anti-nuclear activist Dr. Hiroake Koide to write in The Asia-Pacific Journal about the truly cosmic-horrific implications of radiation exposure in our present nuclear age, as related not just to events like Fukushima and Chernobyl but to the entire unfolding of this new era that began with the extensive nuclear tests that were conducted in the middle decades of the twentieth century. And he writes in ways that recall the dark musings of, say, Eugene Thacker on the literal unthinkability of the forces we have now unleashed, complete with references to the deep tradition of cosmic and supernatural horror fiction, including a direct quote from Ligotti’s The Conspiracy against the Human Race.
Because of the very nature of radiation, namely its spatial and temporal scales, in many ways we lack a language adequate to a world lorded over by radiation. The literary genre called Cosmic Horror of Algernon Blackwood or H. P. Lovecraft has long attempted to grasp the frightening realities of unleashing a force that operates on such a-human scales and temporalities as plutonium-239 (half-life over 24,000 years) or uranium-235 (half-life over 700 million years). The Horror writer and arch-pessimist Thomas Ligotti perhaps comes closest to describing the implications of unleashing truly astronomical forces into human everyday life when he writes:
“Such is the motif of supernatural horror: Something terrible in its being comes forward and makes its claim as a shareholder in our reality, or what we think is our reality and ours alone. It may be an emissary from the grave, or an esoteric monstrosity. . . . It may be the offspring of a scientific experiment with unintended consequences. . . . Or it may be a world unto itself of pure morbidity, one suffused with a profound sense of doom without a name — Edgar Allan Poe’s world.”
In our present of 2016 the sense of doom does have a name: Hoshanō sekai — Radiation’s World. Radiation’s World announces that the earth — or at least large parts of it — is no longer exclusively ours. We have rendered huge spaces of the planet off-limits for time periods beyond any scale of recorded history. Parallel to but different than the rapacious depletion of the natural world from forests to cod stocks to fossil fuels that took millennia to build up but are consumed in decades, as we mine deeper temporalities in pursuit of open-ended consumption we have also unleashed anti-human temporalities incompatible with continued production or consumption. It is these spaces that are now ruled by radiation and are no longer part of human society. Like the old Horror trope, we have unleashed forces that we cannot contain. But unlike Horror, there is no discrete monster to kill at the end. Pessimism is surely called for.
— Robert Stolz, “Nuclear Disasters: A Much Greater Event Has Already Taken Place,” The Asia-Pacific Journal, Vol. 14, Issue 16, No. 3 (March 5, 2o16)
A few months ago I discovered that my entire Daemonyx album has been uploaded to YouTube by CD Baby. This is the same album that accompanied my Dark Awakenings collection when people bought it directly from the publisher, Mythos Books.
In case you’d like to hear it:
The whole thing seems strangely alien to me now. Although playing music is still a very important part of my life, the four-year burst of inspiration and creative obsession / possession that resulted in this particular body of music feels, in retrospect, rather like a dream. I regard such an impression as pretty appropriate given the music’s dominant focus on themes of daimonic inspiration and possession, filtered and refracted through multiple musical styles and emotional wavelengths (primarily beauty, sadness, darkness, and sublime exhilaration). I know these same themes are important to many reader of The Teeming Brain, so maybe you’ll find that the music resonates with you.
Back when I was nearing the end of the project, I solicited a few comments and blurbs from friends and colleagues with similar thematic and creative obsessions. Some of you may have read these previously, but in case not:
Like a soundtrack to a fever dream, the music of Daemonyx plumbs an ever-changing world of mystery, mood, and melodic apparitions. Listen with the lights out and your imagination on.
– Brian Hodge
Daemonyx’s compositions conjure up images of eerie strangeness and awesomely alien worlds that nothing can evoke better than music.
– Ramsey Campbell
“There are many haunting and beautiful compositions that complement or completely make horror films — you know the ones — as well as appeal to listeners who are sensitive to the mystery and dread of life. In its debut album Curse of the Daimon, Daemonyx has offered us thirteen works of such quality.”
– Thomas Ligotti
The overall ambience of the music reminds me a little of the electronica of Klaus Schulze. There’s a similar powerful evocation of vast and terrifying soundscapes. In the song “Daimonica,” I very much like the way the haunting and oppressive music blends with the grim signal motif, “Is there someone inside you?” In “The Gates of Deep Darkness” the ominous martial nature of the music provides a real chill, as of some impending apocalypse.
– Mark Samuels
Intricate, haunting and complex pieces of music, richly creative and inspiring.
– Tim Lebbon
Here are some choice passages from an insight-rich essay by historian James McWilliams at The American Scholar, in which he discusses two major and complementary options for dealing with digital technology’s epochal assault on the stable self: first, take serious and substantial steps to humanize the digital world; second, retain (or return to) a serious relationship with the physical book.
The underlying concern with the Internet is not whether it will fragment our attention spans or mold our minds to the bit-work of modernity. In the end, it will likely do both. The deeper question is what can be done when we realize that we want some control over the exchange between our brains and the Web, that we want to protect our deeper sense of self from digital media’s dominance over modern life. . . .
The essence of our dilemma, one that weighs especially heavily on Generation Xers and millennials, is that the digital world disarms our ability to oppose it while luring us with assurances of convenience. It’s critical not only that we identify this process but also that we fully understand how digital media co-opt our sense of self while inhibiting our ability to reclaim it. . . .
This is not to suggest that we should aim to abolish digital media or disconnect completely — not at all. Instead, we must learn to humanize digital life as actively as we’ve digitized human life.
No one solution can restore equity to the human-digital relationship. Still, whatever means we pursue must be readily available (and cheap) and offer the convenience of information, entertainment, and social engagement while promoting identity-building experiences that anchor the self in society. Plato might not have approved, but the tool that’s best suited to achieve these goals today is an object so simple that I can almost feel the eye-rolls coming in response to such a nostalgic fix for a modern dilemma: the book. Saving the self in the age of the selfie may require nothing more or less complicated than recovering the lost art of serious reading. . . .
[A]s the fog of digital life descends, making us increasingly stressed out and unempathetic, solipsistic yet globally connected, and seeking solutions in the crucible of our own angst, it’s worth reiterating what reading does for the searching self. A physical book, which liberates us from pop-up ads and the temptation to click into oblivion when the prose gets dull, represents everything that an identity requires to discover Heidegger’s nearness amid digital tyranny. It offers immersion into inner experience, engagement in impassioned discussion, humility within a larger community, and the affirmation of an ineluctable quest to experience the consciousness of fellow humans. In this way, books can save us.
Full text: “Saving the Self in the Age of the Selfie“
Christopher Columbus fills the New World natives with fear and awe by predicting a lunar eclipse in 1504.
Over at Thomas Ligotti Online, someone has created a discussion thread that asks whether people believe in the paranormal. This has spawned an interesting conversation. It has also prodded me to reflect on the very terms of the question, as it my wont.
If we’re talking about belief in the paranormal, then what are the standards for normal relative to which we judge anything in theory or reality to be “para” that? If we’re talking about belief in the supernatural (which is just the older name for what was rebranded as paranormal a century or so ago), then what are the standards for natural relative to which we judge anything to be “super” that?
Once we’ve isolated and identified those standards, then it’s necessary to inquire about their source. Where do our standards for “normal” and “natural” come from? Are these standards defensible? What philosophical assumptions do they embody and proceed from? Are those assumptions themselves defensible? Our entire current framework for talking and thinking about these things flows from the great revolution in consciousness that was the birth and cultural triumph of material science in the eighteenth through the twentieth centuries. Certain types of knowledge and experience were isolated from the totality of experience making up the human sensorium (both inner and outer), and were elevated and lionized as being exclusively accurate and allowable, while other types of knowledge and experience were disallowed and disavowed. What was — and is — the warrant for that? And in what forms might those disallowed and disavowed aspects of the totality of human experience return to confront us from time to time?
My own long-developing view is that reality as a whole is far more varied and strange than anyone, working within any paradigm or worldview whether old or new, has ever been able to conceive or is intrinsically capable of conceiving. We effectively create the paranormal / supernatural when we create a sacred canopy (to borrow Peter Berger’s famous metaphor) of cosmic meaning for ourselves both individually and collectively, to serve as an orienting framework for our experience of existence. Whenever rents in the canopy’s fabric are made by encounters with aspects of reality that we have not incorporated into this collective cosmos, we’re confronted by things for which we have no name and no context. We cannot readily handle them, process them, integrate them within our framework of meaning. These literal anomalies (things for which we have no name or category) inherently appear threatening, horrifying, and often fascinating all at once. Then we start to have conversations and arguments about what they might mean or whether they even really exist.
Obviously, by definition, such an anomalous occurrence might well be something as relatively mundane as a cross-cultural encounter. The arrival of Columbus in the New World was a paranormal event for the people who already lived there. A paranormal event doesn’t have to mean seeing a ghost, suffering a paranormal abduction, experiencing spirit possession, witnessing a feat of levitation, encountering the Mothman, experiencing supernatural healing (or wounding), receiving knowledge telepathically, or anything else of the classically paranormal sort. But it may well mean such things. My own more-than-suspicion is that the likes of Robert Anton Wilson, Charles Fort, and John Keel were right about the basic nature of things and our fundamental relationship to it all qua our combined biological, psychological, spiritual, and ontological status as human beings. There are more things in heaven and earth, as it were.
(It appears that the full introduction to my paranormal encyclopedia is readable through Google Books preview. The last part of it, where I summarize a new paradigm regarding the paranormal that has emerged out of religious studies, anthropology, and related fields in the past few years, pretty much states my own position in more detail and different terms than what I’ve written here.)
- This I Believe: An uber-agnostic on religion, psychology, consciousness, the paranormal, and the meaning of life
- The bias of scientific materialism and the reality of paranormal experience
- Liminality, Synchronicity, and the Walls of Everyday Reality
Image: L’éclipse de lune de Christophe Colomb. by Camille Flammarion (Astronomie Populaire 1879, p231 fig. 86) [Public domain], via Wikimedia Commons
Some neat thoughts on inspired creativity drawn from Lewis Hyde and Stephen King, and presented by Terri Windling, whose editorial and authorial contributions to modern fantasy and speculative fiction have been so very valuable:
As Hyde explained in his book, The Gift (1983):
“The task of setting free one’s gifts was a recognized labor in the ancient world. The Romans called a person’s tuletary spirit his genius. In Greece it was called a daemon. Ancient authors tell us that Socrates, for example, had a daemon who would speak up when he was about to do something that did not accord with his true nature. It was believed that each man had his idios daemon, his personal spirit which could be cultivated and developed. . . . According to Apuleius,” he continues, “if a man cultivated his genius through such a sacrifice, it would become a lar, a protective household god, when he died. But if a man ignored his genius, it became a larva or a lemur when he died, a troublesome, restless spook that preys on the living. The genius or daemon comes to us at birth. It carries with us the fullness of our undeveloped powers. These it offers to us as we grow, and we choose whether or not to accept, which means we choose whether or not to labor in its service. For the genius has need of us. . . .
Stephen King takes a more irreverent approach to daemons and muses in “The Writing Life” (2006):
“There is indeed a half-wild beast that lives in the thickets of each writer’s imagination. It gorges on a half-cooked stew of suppositions, superstitions and half-finished stories. It’s drawn by the stink of the image-making stills writers paint in their heads. The place one calls one’s study or writing room is really no more than a clearing in the woods where one trains the beast (insofar as it can be trained) to come. One doesn’t call it; that doesn’t work. One just goes there and picks up the handiest writing implement (or turns it on) and then waits. It usually comes, drawn by the entrancing odor of hopeful ideas. Some days it only comes as far as the edge of the clearing, relieves itself and disappears again. Other days it darts across to the waiting writer, bites him and then turns tail.”
“On the care and feeding of daemons and muses,” October 13, 2015
N.B. I refer to the same sources in A Course in Demonic Creativity, and even include a portion of Hyde’s quoted words above as one of the book’s opening epigraphs.
There have been moments of insight in Stephen King’s work that legitimately qualify as sublime. This widely quoted passage from his foreword to Night Shift is one of them:
At night, when I go to bed I am at pains to be sure that my legs are under the blankets after the lights go out. I’m not a child anymore but . . . I don’t like to sleep with one leg sticking out. Because if a cool hand ever reached out from under the bed and grasped my ankle, I might scream. Yes, I might scream to wake the dead. That sort of thing doesn’t happen, of course, and we all know that. In the stories that follow you will encounter all manner of night creatures: vampires, demon lovers, a thing that lives in the closet, all sorts of other terrors. None of them are real. The thing under my bed waiting to grab my ankle isn’t real. I know that, and I also know that if I’m careful to keep my foot under the covers, it will never be able to grab my ankle.
King surely intended this as a witty illustration of the irrational or non-rational fears embedded in human psychology that account for our fascination with and responsiveness to supernatural horror stories. But I think it can also be taken as referring to much more. For those who are inclined toward meditation, inner work, and exploring the boundaries of the real — including, pointedly, those episodes and encounters of a Fortean or daimonic nature during which the nominally unreal becomes real, and also vice versa — I’m inclined to think those last two sentences could serve as a superb Zen koan.
What is real, anyhow? Erik Davis on visionary experiences and the high weirdness of the seventies counterculture
Last night I digitally stumbled across this:
It’s Erik Davis’s senior thesis, written as he was pursuing his Ph.D. in religious studies at Rice University, and submitted just last fall. You’ll recall that I mentioned Erik’s study of this same high weirdness last year (and that he and I, and also Maja D’Aoust, had a good conversation about daemonic creativity and related matters a few years ago). Now here’s this, the scholarly fruit of his several years of research and writing, and it promises to be a fantastic — in several senses — read.
For me, at least, it’s also laden with mild synchronistic significance. I’m presently teaching an introduction to world religions course using Comparing Religions by Jeffrey J. Kripal as the main textbook, so I’m spending a lot of time immersed in Jeff’s thoughtworld, and also helping undergraduate college students to understand it. In the past two weeks I have had a couple of email communications with Jeff in connection with the crucial networking assistance that he provided in the early stages of Ghosts, Spirits, and Psychics as I was attempting to locate suitable contributors for the book. And then just last night as I was staring at my laptop screen and realizing with pleasure that I had accidentally found Erik’s thesis on the UFOs, synchronicities, psychedelic visions, alien voices, and other crazy anomalistic weirdnesses that characterized the seventies counterculture, I scanned down the cover page and had another surprise when I saw Jeffrey J. Kripal listed as a member of his thesis committee. It’s not a synchronicity in the same league as, say, Jung’s seminal encounter with the scarabaeid beetle, but it was enough to give me a start and a chuckle.
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