Hold the Line by Tamara Lich, a review

                                                         

Hold the Line, My story from the heart of the Freedom Convoy

Tamara Lich

Rebel News Network, Ltd., 2023

ISBN: 9781990583025

 

If you don't write down your story, no one will write it down for you, or if they do they might leave you out or change what really happened. Tamara Lich's Hold the Line is both her story and the story of the Freedom Covoy, it's about her participation in organizing the Freedom Convoy, travelling across Canada in winter, the arrival in Ottawa and several weeks of demonstrations against Covid-19 mandates, then being arrested and incarcerated. This is Tamara Lich's version of what happened; it isn't the mainstream media's version of this historical event, or the government's version, or Justin Trudeau's versio, they all vilified the Freedom Convoy from the beginning.   

    What was the Freedom Convoy protesting? It began by opposing vaccine mandates and vaccine passports but, I suspect, it soon grew to opposing Justin Trudeau and how he was transforming the country into something unrecognizable to average Canadians. Among other things, Covid-19 mandates restricted our freedom of movement, promoted mandatory vaccinations, required a vaccination passport if you wanted to travel by air or rail, and required a period of quarantine when returning to Canada from outside of the country. In Quebec Covid-19 mandates included a nightly curfew, the streets were deserted between 8 p.m. and 5 a.m. the following day; what did Quebec's curfew achieve? Nothing at all. 

    The day after the Freedom Convoy arrived in Ottawa the mainstream media began demonizing the Convoy. The Canadian Broadcasting Corporation began its daily misinformation about the Convoy; this included the alleged "desecration" of the Terry Fox statue that Tamara Lich mentions in her book. On the second day of the protest the CBC interviewed various people on what they thought the Convoy was all about. One elderly man was on the verge of supporting the Convoy until the announcer said that members of the Convoy had "desecrated" the Terry Fox statue and that they had Nazi flags, none of it true; of course, he then opposed the Freedom Convoy. This is only one example of how the mainstream media let us all down with their biased reporting. Tamara Lich writes:

We exposed the Liberal friendly mainstream media for its agenda and its lies. People across Canada, and around the world, could see how the CBC, the Toronto Star, CTV, The Globe and Mail and many others were working to vilify peaceful protesters in servicc to a corrupt prime minister who writes their bailout cheques. For every honest journalist -- and there were some -- there were a dozen or more who were out to call us Nazis or violent criminals, or claiming we were foreign agents or trying to overthrow the government. (218)                           

    Every evening during the Freedom Convoy I watched live streaming of the demonstration on YouTube; I wanted to know as much about it as possible. Every evening I watched as someone walked the downtown streets of Ottawa interviewing people, and what I saw didn't correspond with what the legacy media was reporting; but it did give an idea of what the truckers and the Convoy were all about. The first night there were perhaps a few hundred viewers of these live streams, by the end there was a nightly audience of fifty thousand, that shows the scale and importance of the Freedom Convoy; it was an event of worldwide interest. I was very impressed by what I saw; I didn't see any violence, I didn't hear much or any horn honking by truckers, I saw what I came to think of as a Freedom Festival. And where was Justin? He was hiding in his country home north of Ottawa.

    I wonder what would have happened had Justin walked among the protesters? This is not a rhetorical question or an attempt at humour. I doubt Justin would have been physically accosted, he would have been yelled at, but after the Emergency Act was enforced protesters were physically accosted and knocked to the ground by police officers on horseback. The police were following orders. Maybe, in the early days of the Convoy, Justin could have shown some courage and people would have been truly impressed -- go out and meet citizens with a grievance against the government -- but he doesn't have it in his makeup, and no one is impressed by Justin's relentless publicity seeking, his dancing onstage in India, his black face, his costumes, his bungee jumping, his relentless selfies, his singing a Queen song the evening before the Queen's funeral, his apologies, his taking the knee, his inviting illegal immigrants to enter Canada at Roxham Road, and lots more. It's disingenuous, it's all fake with this man, and it's obvious to the average person how false it is. 

   I always thought one of the hidden reasons for enacting the Emergency Act were the Fuck Trudeau flags; I even saw them in Montreal. Justin is narcissistic and the Emergency Act was his revenge for these many flags. It's not as though there was rioting in the streets as we saw recently in Paris after a young man was killed by the police; the demonstration in Ottawa was inconvenient for many local residents of Ottawa, but there was no violence. And then things got worse, despite their peaceful assembly, the police attacked the demonstrators; they broke car windshields with impunity, they arrested people, including Tamara Lich and others. The government froze people's bank accounts, and this is one of the most egregious acts committed by this bogus use of the Emergency Act; how are mortgages and rents to be paid, groceries purchased, life to be lived with no money? We also saw the banks colluding with and supporting the government. The Emergency Act was as bogus and unnecessary as the Covid mandates were, all a scam testing the public's tolerance for government intervention and control of average people's lives. All of it a scam.

    Hold the Line is an important book and I recommend it, buy a copy and read it! Tamara Lich is not self-promoting, she is giving us, the reader, her true story, and I believe her. On one of the night's of the live stream the man behind the camera entered a tent where a meeting of Freedom Convoy members was just ending. And at the end of the meeting the people assembled stood and said a prayer. I can tell you it was unexpected and deeply moving; these demonstrators that the media and politicians demonized are our fellow Canadians. I doubt there were any meetings of Justin, Freeland, Lametti, Joly, and Mendocino, all government ministers, who have lied to us, betrayed us (especially the English-speaking population of Quebec) that ended with a communal prayer and a statement affirming what they were doing and looking for guidance other than the shallow leadership of Justin Trudeau. 

 

Notes and After Thoughts: 

1. The other event that is similar to the Freedom Convoy is the 1935 protest against Depression conditions and the Trek across the country from Vancouver where unemployed men boarded freight trains; they were stopped in Regina and negotiations with Ottawa began but when the RCMP tried to arrest the leaders they were met with protesters and the Regina Riot began. The site of the Regina Riot is now a historic site. One day the Freedom Convoy will be similarly looked upon and Tamara Lich and the other Freedom Convoy organizers and participants will be recognized as national historical figures; there will be a plaque or statue located on the site of the demonstrations.

2. Tamara Lich is an intelligent and articulate woman; listen to Jordan Peterson's podcast interview with her; she is brilliant! She could run for a seat in the House of Commons for the Conservative Party of Canada, but it may be a big mistake.

3.    Who opposed the Convoy? It included the Liberal and NDP supporters, it was the mainstream media, and it was the managerial class of Canadians who are quick to protect their elite position in society. As an example of this, Tamara Lich's Hold the Line is not for sale at Indigo Books, whether online or in their stores: this is more evidence for why we need to write down or record our own story and publish it online or in print, if you can't read about the Freedom Convoy then it's as though it never happened. Indigo, their book stores and online, a failing business, were quick to cancel Hold the Line by not selling it; but it is not up to a company selling books to decide what we can or cannot read, and the Canadian book industry should be ashamed by their silence on this issue of censoring a Canadian book. However, Tamara Lich's book is for sale on Amazon, a highly successful American company these same liberals love to condemn, in fact it is a bestselling, number one, book; to be a best seller on Amazon requires selling 3.5 thousand to five thousand copies of a book in a twenty-four hour period, and Holding the Line did this despite fake negative reviews on the Amazon website, they were fake because these negative reviews were written before the book was even published. Hold the Line has mostly five star reviews, this is based on over one thousand reviews and book sales. It is still the number one best seller in Canadian biographies on Amazon. I would estimate, conservatively, that Amazon has sold over 25,000 copies of the book.  It is a best seller in Canadian publishing despite the haters, those in the liberal media who pretend the book doesn't exist.

4. In a blog post (31 January 2023) on defunding the CBC, I wrote: 

CBC's biased reporting can slip over into being reporting of even greater dubious value; that is, news has become interpretation, bias, and even falsehood. An example: the second day of the Freedom Convoy in Ottawa, in January 2022, CBC announcers would mention that two monuments in Ottawa had been "desecrated" by the demonstrators and they've kept repeating this story; among other things, it effectively cowed people they were interviewing into opposing the Freedom Convoy. It was ammo they could use against the Freedom Convoy. But the CBC has a double standard, it has never referred to beheading, toppling, or throwing paint on statues of our first prime minister, Sir John A. Macdonald, or Queen Victoria, or Egerton Ryerson as "desecrating" these statues because the CBC sympathizes and agrees with the demonstrators who defaced, destroyed, and desecrated statues of these historical figures. The use of the word "desecrate" is also interesting, it is loaded with innuendo and exaggerates the demonstrators' action which was to drape a Canadian flag on the shoulders of the statue of Terry Fox. The CBC assumes an agreement in values between itself and its audience but I suggest that most Canadians are good and fair-minded people who don't identify as much with the values CBC promotes as the CBC thinks. The CBC wasn't always this way; the CBC used to help unify the country and be known for excellence in broadcasting. Now it's come to the point that the sooner they are defunded the better for the country.

5.  Back in 1968, some people at the St. Jean Baptiste Parade in Montreal threw bottles at Justin's father, Prime Minister Pierre Elliott Trudeau; what did Pierre do? The other politicians ran but Pierre stayed on the podium; he had some courage while his son, years later, had no courage; during the Convoy Justin was like Waldo, he couldn't be found, he was in-hiding in his country home.

6.    Those who supported the Freedom Convoy have been demonized by Justin Trudeau and the mainstream media as ignorant, extremist, racist and biased, but to read Tamara Lich's book is to find a voice speaking the truth about the Freedom Convoy. We now live in a country where to say you are favour of freedom is to be labelled an extremist; in fact, Justin Trudeau is the extremist.

7. Cancelling someone used to be called character assassination; you can see the CBC and other media doing this regarding Premier Higgs of New Brunswick. 

8. My family was always Liberal; in the 1920s two relatives were Members of Parliament from New Brunswick; as a family we always voted Liberal, never Conservative. It was only when Justin Trudeau became prime minister that I began thinking outside of the Liberal box. The years of his administration have been a disaster for Canada and I am not sure we will recover as a nation from what he has done.

                                                     10 July 2023

Review of Edwin Varney's ineffable, The Mystical Poems

 

Review:

ineffable, The Mystical Poems, (2022)

Edwin Varney

The Poem Factory, Courtenay, BC

ISBN: 978-1-895593-57-0

Unpriced; 14 pages

by Stephen Morrissey

Back in 1977, I reviewed Edwin Varney's Human Nature (1974), published in CV II (Vol. 3, no. 2); it was my first published book review.  And here I am, so many years later, reviewing Edwin Varney's new chapbook, ineffable, The Mystical Poems (2022). Edwin has published over twenty books and chapbooks of poetry, and he is well known for his activity in the arts community, in Canada and internationally, as a poet, visual artist, publisher, and mail art artist.

In these poems Edwin writes of having mystical experiences and although these experiences are ineffable this is exactly what he does, he writes of "that which cannot be spoken about aloud . . ." Many people have been interested in mysticism, including myself; it is defined by W. T. Stace as an experience of the "undifferentiated unity of the universe." Stace's book, The Teachings of the Mystics (1960), which I read in the early 1970s, is mentioned in the bibliography of ineffable, The Mystical Poems. But read Edwin's poems for a less intellectual and more immediate description of this experience. Mysticism is a spiritual experience common to all religions; but, ironically, it is also without the need for the accoutrements of organized religion.

Edwin uses a format in this chapbook that is similar to several other chapbooks he published with The Poem Factory, a press that he founded with my wife Carolyn Zonailo. The format is a running prose statement, or a single sentence, in the header of the page or several pages, and the poems are placed beneath this header. This format gives a unity to the book as well as, in this case, a description of the mystical experience in both prose and poetry; however, in describing a profound experience, poetry often trumps prose; poetry is the experience, prose describes the experience. He writes, "Poetry, because of its use of metaphor, simile, paradox, and generative use of language, is the most evocative, precise, and highly charged form of communicating these experiences." (7)

While this chapbook offers only eight of Edwin's poems, he has notebooks full of unpublished poems; I have seen his notebooks and diaries lined up on library shelves in his former Vancouver home, and Carolyn Zonailo edited Solar Eclipse, (The Poem Factory, 1994), a chapbook of some of these notebook poems. The simple, direct, style in ineffable, The Mystical Poems is the product of a lifetime of writing and also of a particular type of personality, one who values truth and authenticity over obscurity, one who values the human dimension. He writes, "I was there, completely there./ A door opened to somewhere else/ and I entered into the world."

In "The Field" Edwin remembers a summer day when he saw a snake shedding its skin, "leaving behind a dry husk", and this image becomes a metaphor for his own life; "I too will shed my skin/ and flesh, too soon." Life is short, it is an experience of chronological time in the timeless cosmic zone. This poem is about the transience of life and our life in this world, in which every phase of life—childhood, adolescence, adulthood, old age— is an incarnation and a gateway to the next incarnation, we shed lives as the snake sheds his old skin; "There is only the present", he writes, so don't worry about the future.

Edwin's poem, "Angel", describes our common spiritual/psychological journey in life. It is the archetypal fall from innocence into experience, as described by William Blake, and perfectly expressed, succinctly expressed, in Edwin's poem. "A man fell from eternity into time.// In another age,/ he might have been called an angel/ but that was when people/ knew more about these things." And then life unfolds and one "wandered thru work,/ relationships, money, love/ politics, health, and all the things/ we share as occupiers of this planet." The final two lines of the poem illuminate the experience for us; he writes, "When I hit the ground,// I was broken but I remembered." And what did the narrator remember? He remembered the eternal, his metaphorical angelic origin, the divine inspiration of nature, and that while we are in the world we are not necessarily of this world. It is where ". . . all contradictions vanish,/ a point where love is the only motive." ("Point of No Return", p. 12)

The authenticity of Edwin Varney's poems bridges definition and the thing defined; his work is an achievement of expression, his work is authentic. He writes,

                                    So look around and listen, be present,

                                    If you look deep enough inside yourself,

                                    you see the world.

                                    You will be at home wherever you are

                                                "Lighthouse Park", 5-6

 

ineffable, The Mystical Poems may be ordered by writing to The Poem Factory, 4426 Island Highway South, Courtenay, BC, Canada V9N 9T1

 

Notes:

One

All poets should know something of mysticism in poetry, whether in Rumi, Rimbaud, Whitman, William Blake, or other poets who have been "inspired", which means they have had spirit breathed into them, by God or nature or serendipity. Poetry can be an expression of a mystical, cosmic, experience; prose rarely is.

Two:

It benefits poets if they publish chapbooks; with desk top publishing it is very easy to self-publish, or publish others, at low cost, in editions of any number you want, and distribute these chapbooks free of charge, or at any price you want, to other poets in order to keep in touch with our small community of poets, to build relationships, and share current work. The message is: keep a dialogue going. It is also more important now than ever to publish in print, poetry is a print medium, print on paper. Reading on a screen is not the same as reading something printed on paper.

Three

Two other books I would add to Edwin's bibliography on mysticism are Colin Wilson's Poetry and Mysticism (1969) and R.M. Bucke's Cosmic Consciousnmess (1901). Colin Wilson writes about individual poets, for instance Wordsworth, and discusses examples of mystical experience in specific poems.  R.M. Bucke describes cosmic consciousness as a mystical experience that he claims all great poets and artists experience, including his personal friend Walt Whitman; Bucke's book is a compendium of poets and artists whose work has been an expression of cosmic consciousness and how it finds its expression in their creative work. For Bucke this is part of the evolution of consciousness, moving away from an isolated consciousness to unity with life, nature, other people, and even the universe. Anyone interested in this subject might read all of the books Edwin lists in his bibliography.

Four

Another book, of less importance but still interesting, and not for inclusion in Edwin's "Selected Bibliography About Mysticism", is Timothy Leary's The Politics of Ecstasy (1998); Leary's book is about the LSD experience and I mention it because psychedelic drugs seem to offer some promise for healing psychological problems; psychedelic pharmaceuticals offer a analogous mystical perception of life, but it is not a mystical experience.

 

Review of GEC's J'Accuse (Poem versus Silence)

Here is my review of George Elliott Clarke's J'Accuse, in which GEC fights back against the kancel kulture that tried to destroy his literary career, and could have succeeded. 

Go to https://poets.ca/review-gec-jaccuse/

Review of Janet O. Dallett's The Not-Yet-Transformed God.

Review of Janet O. Dallett's The Not-Yet-Transformed God. 

Nicolas-Hays, Inc. 1998. 

146 pages. 

By Stephen Morrissey

After hearing Janet Dallett speak before an audience of the C.G. Jung Society of Montreal last November 2001, I knew that this was an author and lecturer whose books would be important for me. Dallett's The Not-Yet-Transformed God is both engaging and moving. Indeed, as with the work of some other Jungian writers, the experience of reading Dallett's work is that it becomes a part of the reader's personal meditation, a part of the reader's life. Written from the urgency of personal insight and experience, Janet Dallett's The Not-Yet-Transformed God offers a perceptive insight into "depth psychology and the religious experience," which is the sub-title of her book.

Dallett begins with C.G. Jung's observation that "every patient over the age of 35 who had come to him for help during the preceding thirty years was suffering from a religious problem." Framing the psychological need for help as a religious problem immediately changes it; we are not then dealing with pathology but with the need for a religious perception that may transform the individual. Dallett suggests that we begin by examining what we find "numinous." Indeed, what we find numinous is an opening or a gateway into the psyche and self-understanding. She writes, "If you want to know what is numinous to you, consider what you find fascinating, compelling, thrilling, mysterious, horrifying, gripping, tremendous, terrifying, dreadful, or awesome. Think about the things with which you are preoccupied in spite of yourself."

An example of numinosity Dallett refers to is the death of Princess Diana. Many of us who previously had no interest in Princess Diana were so deeply moved by her death and funeral that we wept as though a much loved friend or family member had died. The extent of our grief suggests that something more was happening than the death of a priveleged young woman thousands of miles away. Dallett writes, "As I see it, the former princess was destroyed by the dark side of the spirit, which she let out of the bottle by leaving the royal family and setting out to live an individual life." Dallett offers a fascinating discussion of the phenomenon of Princess Diana, but since the writing of Dallett's book the horrendous events of September 11th must also be included, not only as a tragedy but also as a significant numinious experience for many people. Dallett writes that "the energy of divinity is rarely where we expect it to be." We are like Jacob in Gauguin's painting "The Vision after the Sermon" reproduced on the cover of Dallett's book. We struggle in darkness with events that seem to overwhelm us, but like Jacob, when we finally become more conscious, we discover that it is the angel or the numinous with which we are wrestling.

What is 'the not-yet-transformed God'? Dallett writes, "When he (Jung) refers to God...he means the image of God in the psyche, which at other times he calls the Self." She explains the Self more fully; Jung, she writes, "speaks of it paradoxically as both the center and the circumference of the total personality, including both conscious and unconscious aspects. The Self is an archetype that carries the numinosity of the image of God. It is often used as a synonym for the God within." When Dallett writes about God, she is always, "strictly speaking, referring to the image of God in the psyche" and "does not in any way preclude the existence of a God outside the psyche."

At some point in our lives many of us are called to reflect on the inner life, to begin the process of individuation. Dallett writes, "the instinct to individuate often appears first in a negative form: life-threatening illness, severe depression, an extramarital affair, a psychotic episode." Individuation is not only self-transformation, it is also the transformation of our concept and experience of the divine. Dallett discusses Jung's "description of historical changes in the Western God-image", moving from how "Yahweh displaced the ancient nature gods and goddesses" and later the God-image changed again by incarnating in Christ. Dallett writes, "Today, says Jung, the incarnation wants to take place in many people through the process of individuation."

In the final chapters of The Not-Yet-Transformed God Dallett gives the reader some insight into how the process of individuation takes place. She writes, "the process of individuation entails the gradual discovery, through trial and error, of exactly how much and what kind of power rightfully belongs to a particular individual, in the course of which the unconscious God-image inside becomes conscious and is tempered until it can be lived in a mature and responsible way." Helping the individual with the "gradual discovery" of the Self are Jung's important concepts of the Shadow, the complementarity of opposites, and so on. These concepts form the foundation of Dallett's discussion of individuation and it is always rewarding to hear Jung's key concepts discussed from a different author's perspective.

Janet Dallett's The Not-Yet-Transformed God is a significant book. In light of the events of September 11 we ask: How are we to live? What are we to do? Many of us can still turn for comfort to the old image of the divine, but we know that we must also look within ourselves, that we can change in a fundamental way, that we can become conscious individuals. The alternative is that "everything suppressed, repressed, denied, or simply unseen in a person will eventually come out." Dallett writes: "By carrying my portion of untransformed God-energy consciously, I believe that I remove it from the general supply, thereby reducing the collective pressure toward war, terrorism, mass murder and other out-of-control forms of violence." Every age is important, but each age feels that the urgency of change is now more pressing than any preceding it. We feel traumatized since September 11, and it is the duty of all people of good will to begin or continue the important work of individuation. The alternative, unfortunately, is a future of conflict, turmoil, and suffering.

Published: The C.G. Jung Society of Montreal Newsletter, March 2002.

Indigenous Poems and Stories from Quebec

Here is my review, published in The Malahat Review, issue 197, winter 2016:

Indigenous Poems and Stories from Quebec

Languages of Our Land, Indigenous Poems and Stories from Quebec,

Langues de Notre Terre, Poèmes et Récits Autochtones du Québec 

Susan Ouriou, ed., and Christelle Morelli, trans., 

Banff Centre

Banff, 2014

I

f you read Languages of Our Land / Langues de Notre Terre with any preconceptions about Indigenous writing, then you will be surprised by these twelve writers from Quebec; they are all unique and talented voices. All of these authors write in French and for the most part they live either north of or in the Quebec City region.

            I suspect that many readers of this book will be English-speaking. What might be interesting for them is to read the English translation and the French text together. Don’t just ignore the original text; even with thirty-year-old high-school French you can benefit from this reading. With no offense to Christelle Morelli, who translated this book into English, you will see the limitation of translation. There is an almost ineffable quality to a text in its original language that can elude even the best translator. For instance, here is the beginning of Mélina Vassiliou’s wonderful poem “Birthing/Writing.” In English the text is flat: “birthing / writing // writing / my future.” But in the original French you have the wonderful sound of the words, as Mélina Vassiliou wrote them; they have a vigour not found in the English translation. Here is the same passage in French: “progéniture / écriture // écriture / mon futur.” These are powerful words in French, and you can get the full force of the words by reading them out loud several times, “écriture / mon futur”—“écriture / mon futur.” It becomes mantra-like, an inspiring motto reminding poets that the profundity of our existence lies in communicating our vision, it is our present and our future.

            In “Roadblock 138–Innu Resistance,” the Innu poet Réal Junior Leblanc asks, “How can we / defend our heritage / and our children’s future / against the moneyed giants?” I used to live near the New York state border on Route 138, the highway that Leblanc refers to. It is mostly a secondary highway that runs its 1400-kilometre length slightly diagonally east and west through country and city across the province of Quebec. In some ways, this road is an asphalt soul of the province connecting, linking, joining people from north to south. I am reminded of the Mohawk blockade of the Mercier Bridge, on Route 138 as it enters Montreal, back in 1990, and the reaction of the majority of the population against this manifestation. Any answer for Leblanc’s question, “how can we defend our heritage?” is both difficult and complicated; however, Leblanc writes, “I weep / for all the rivers / they will divert / for all the forests / they will plunder / for all the lands / they will flood / for all the mountains / they will raze // To them, I will say always / from the depths of my soul / No.”

            It might be difficult to maintain a “No” when the force of modernity and so-called progress surround one. So much is political in Quebec: French, English, First Nations. We who live here know that our identity is in the language, or languages, one speaks; it is our endless conversation, our endless dance. Even though writing in French, Manon Nolin, in her poem “The Land of My Language,” is referring to her Innu-aimun—her Innu language:

           

                                    Roots of our ancestral lands
                                    a word, a language
                                    that of my ancestors
                                    bear my promised land

                                    The language of my cradle
                                    becomes my land
                                    and so the territory of my tongue
                                    remains my life’s Innu-aimun.

            If poetry is the voice of the human soul, as I believe it is, then these Indigenous writers are the voice of the soul of their community. As editor Susan Ouriou writes in her Introduction, they bring to us a “reinterpretation of history and a rediscovery of spirit.” There is so much of interest in Languages of Our Land / Langues de Notre Terre that I regret not being able to discuss each author in some detail. However, perhaps the poet Johanne Laframboise speaks for all of the writers in this book when she writes, “One cannot kill / poetry // it withstands all / for us // we owe it to ourselves / to be poets / in this century” (“Emergence”). “One cannot kill / poetry” is a statement of survival and transformation and a wonderful affirmation of the creative spirit. These writers bear witness to their vision and their community in this excellent anthology.

Review of The Archetypal Imagination by James Hollis

This review was originally published in The Newsletter of the C.G. Jung Society of Montreal, February 2017.

The Archetypal Imagination

James Hollis

Texas A&M University Press, 2000

By Stephen Morrissey

             If you have time to read only one of James Hollis's books, The Archetypal Imagination is the book to read. Published in 2000 by Texas A&M University as part of the Carolyn and Ernest Fay Series in Analytical Psychology, the book is a part of Hollis's mission to explain Jungian psychology to a contemporary audience, often referring to literature and the arts in this endeavour. Hollis's erudite discussion of the archetypal imagination is brilliant; he writes, "It is the archetypal imagination which, through the agencies of symbol and metaphor and in its constitutive power of imaging, not only creates the world and renders it meaningful but may also be a paradigm of the work of divinity." (p. 7) Each chapter of Hollis's book begins with the same statement: What we wish most to know, most desire, remains unknowable and lies beyond our grasp. But what is it that we wish to know, what is it that we most desire, and why is it out of our grasp? There is a possible answer, it is found in the archetypal imagination.

            Hollis states that the archetypal imagination is similar to the Romantic poets' concept of the imagination. For the Romantic poets the "imagination is our highest faculty, not our reason, which is delimited by its own structure." (p. 7) There is a place for the intellect and rational thought in understanding the unconscious mind, it is to lay a foundation of learning and knowledge about the way our psychology works. The archetypal imagination has a different place in understanding the complexity of the unconscious mind; Hollis writes, "What Coleridge called the secondary imagination was what Jung means by the archetypal power; the capacity to echo, perhaps to replicate, the original creation through the regenerative power of an image... " (p. 6) Coleridge posited and differentiated between a primary and secondary imagination; both concepts elaborated by Coleridge are more complex than Wordsworth's idea of the imagination but the essential idea of the Romantic imagination remains similar in both poets. The English Romantic poets found ultimate meaning not in reason—consider William Blake's criticism of those proponents of rationalism, Newton, Voltaire and Rousseau—but in the imagination; for the Romantics "the imagination was the door to divinity." (p. 7)

            The feeling that life is meaningless is one of the existential dilemmas that many people experience at some point in their life; meaninglessness carries with it despair, hopelessness, alienation from the community, and anxiety. We question the purpose and value of our existence when our traditional supports, whether religious, social, or economic, are no longer present. Hollis writes, "The recovery of meaning not only relocates a person in a larger order of things but also supports a sense of personal identity and directs energies in life-serving ways." (p. 16) How do we discover a meaningful existence, how do we reconcile the conflict between the inner and outer world? Indeed, how is the wounded psyche or soul healed (for "neurosis is suffering without meaning and the flight from authentic being." (p. 16)? Jung maintains that there is no individuation without meaning or intentionality and meaning can be discovered in the archetypal imagination. Hollis writes,

            ... perhaps life is meaningless, but we are meaning-seeking creatures who are driven to understand it. Failing that, we attempt to form some meaningful relationship to life. We learn from archetypal psychology, from the core of primal religious experiences, from quantum physics, and from the artist's eye that all is energy. Matter is a dynamic, temporary arrangement of energy. Apparently, a religious symbol or a prayer, a work of art, or an expressive practice can so act on our psyche as to move that energy when it has been blocked, deadened, or split off. (p. 10)

            The answer to how meaning is discovered is the crux of Hollis's book; he quotes Jung, writing in his memoir Memories, Dreams, Reflections: "'Meaninglessness inhibits fullness of life and is therefore equivalent to illness. Meaning makes a great many things endurable—perhaps everything... For it is not that "God" is a myth, but that myth is the revelation of a divine life in man.'" (p.15) The archetypal imagination is a part of the transcendent function; in the imagination we discover aspects of the soul, of our psychology, and thus one sees the importance of active imagination, sand play, drawing mandalas, or other creative activities like writing poetry or painting pictures. Hollis quotes Jung again, "'Meaning only comes when people feel that they are living the symbolic life, that they are actors in the divine drama. That gives the only meaning to human life; everything else is banal and you can dismiss it. A career, the producing of children, all are maya [illusion] compared to that one thing, that your life is meaningful.'" (p.18)

            Of course, the purpose of all of C.G. Jung's life work is individuation, it is to help people live an authentic and meaningful life and to discover a greater consciousness and understanding of who and what we are. Hollis writes, "Consciousness is transformed by the encounter with mystery as invested in images theretofore foreign to it." (11) Individuation is the visionary transformation of consciousness, it is the discovery of a meaningful existence; whether in the paintings of Rene Magritte or the poems of Rainer Maria Rilke, all art is vision in its transformation of the complexity and depth of the unconscious mind into art.

            So, what do we now make of Hollis's statement that What we wish most to know, most desire, remains unknowable and lies beyond our grasp? Money won't buy happiness and you can't live forever. We ask: what is meaningful in life, can we find individuation? We err if we think that an individuated existence is an intellectual construct or a theoretical destination at which one might arrive in the future. Individuation is not that distant place on the horizon that is impossible to reach; in the archetypal imagination we find a greater consciousness of the conflict between our inner and outer life and the discovery and realization of this can lead to a meaningful individuated existence, one that is authentic to psyche. This also helps us to discover that which we wish most to know, most desire.  

Note: Read other reviews of books by James Hollis reviewed here, do a search on this blog.

Review of Sylvia Brinton Perera's Queen Maeve and Her Lovers: A Celtic Archetype of Ecstasy, Addiction, and Healing.

Review of Sylvia Brinton Perera's Queen Maeve and Her 

Lovers: A Celtic Archetype of Ecstasy, Addiction, and 

Healing. Carrowmare Books, New York, 1999, 490 pages. 

By Stephen Morrissey

Before reading Sylvia Brinton Perera's Queen Maeve and Her Lovers, I thought religiosity in my family was mainly found in three prominent and well known priests who were part of my Montreal-Irish family. My great-great-uncle, Father Martin Callaghan, was the first Montreal-born pastor of St. Patrick's Basilica, serving there from 1875 to 1908. His younger brother, Father Luke Callaghan, was the pastor at St. Michael's Church, which was built in the Byzantine style, after Hagia Sophia. Father Luke was largely responsible for raising the funding and overseeing the construction of this church. Their other brother, Father James Callaghan, served at several Montreal churches as well as being the pastor at Hotel Dieu Hospital and The Royal Victoria Hospital. All three of these priests came from a humble immigrant background, were educated at the College de Montreal, and served the community with distinction. Surely they are the kind of men who are models for the spiritual life. But there was also a darker side to my family tree, including some relatives who were alcoholics.

With this background I found Sylvia Brinton Perera's Queen Maeve and her Lovers insightful and provocative. In this book, Perera's thesis is "that modern addictions represent debased forms of ancient rituals." Of course, she is not the first writer to make the connection between alcoholism and a Dionysian-like spirituality. C.G. Jung was influential in helping the founder of Alcoholics Anonymous formulate a spiritual approach to addiction. In a letter to Bill Wilson, AA's co-founder, Jung pointed out that "alcohol in Latin is spiritus, the same word [used] for the highest religious experience." For Perera, addiction is a corrupted manifestation of the old divine energy that was, in its original form, ecstatic and life-affirming. But we have little place for the old gods, such as Queen Maeve, whom Perera refers to as "one of the grandest figures in Celtic lore." Maeve represents the life-energy, the multiplicity and abundance of life, the sacred force lying behind growth, fertility, and abundance.

It is not possible to return to the ancient gods, even if we wanted to. Maeve represents, for Perera, the psychological and spiritual need for wholeness and oneness with the divine, or with what Jung called the Self. For some people, this is a part of the process of individuation. Addiction, in its many forms, is only a shadow of a spiritual experience. Intoxication in itself is not a spiritual experience, it is merely being intoxicated. Within the context of Celtic society, Queen Maeve and other Celtic deities and the myths about them, provided a very deep sense of spirituality that permeated every aspect of Irish life. Perera writes,

The spirits of the dead revisited the homes of the living after dark and on the festivals marking the open cracks in the agricultural year, especially at Samhain and Beltane when the new winter and summer cycles beganŠcaves, mounds, trees and water [were] places where the veil between this world and the next [were] felt to be easily permeable.

This expression of numinosity in daily Irish life was eventually lost. Perera writes, "As the old ways trickled down through the millennia, they became secularized: rites became revels, gods became 'little people', and sacred wine became intoxicating booze. A similar fate happens to the old gods in each of us."

Perera describes the archetype of Queen Maeve, how Maeve provided a way to experience religious ecstasy that had a socially acceptable place in society. This was a part of the process of individuation for certain people at that time. Perera describes the Tara tests that were administered by the druids to the high king, and some of the points raised by this test are still of value to us today. Perera tells us "they describe what happens to confirm us when we are on our destined path." Although in today's society, we aren't high kings and we aren't druids, the tests are and can still be of value to us. Four points are made: We might ask ourselves if we are "traveling towards a goal that the Self supports?" Is there "a fit between the purposes of ego and Self or destiny?" Can we identify a "primeval unity" existing behind apparent opposites, a kind of yin and yang of daily life? The final test is whether one has entered a stage of authority in one's life. If one has, then "it conveys the deep sense of entitlement and charisma that others intuit and cooperate to support."

So far, I have dealt with Perera's description of the positive experience suggested by a belief in Queen Maeve and I have only touched on the negative consequences. Many people who know intoxication do not experience individuation. The book' discussion and description of the psychology of addiction is disturbing. Perera, who is a New York-trained Jungian psychoanalyst, has worked with many addicts and has an intimate knowledge of the psychology of addiction. Anyone wanting to know more about addiction, the behaviour and psychology of addicts, whether it is to alcohol, drugs, sex, or gambling, should read what Perera has to say. However, this is distressing material, as Perera describes manipulative behaviour and a psychology that is probably beyond the ability to be dealt with by anyone but a specialist.

This is an over-long book that would have been well served by the work of an editor. Perhaps there are two shorter books here, one on Queen Maeve as a Celtic archetype with some importance for people today; and a second book on addiction. The book grew out of Perera's insight that "the archetypal form patterns supporting the myths still resonate in deep and embodied layers of the human psyche and affect our modern response." With this in mind we see expressions of spirituality, whether truncated by addiction or in those who have done the work of individuation, all around us. This book helps us to understand more deeply this important aspect of life today; as well as what our ancestors might have experienced; and of the life of some of those we love, who struggle with addiction.

Published: The C.G. Jung Society of Montreal Newsletter, August 2002.

Review of The Irish Bull God by Sylvia Brinton Perera

The Irish Bull God: Image of Multiform and Integral Masculinity
Sylvia Brinton Perera, Inner City Books, Toronto, 2004, 155 pages
ISBN 1-894574-08-7

Review by Stephen Morrissey

The Irish Bull God is Sylvia Brinton Perera’s most recent book exploring Irish mythology. Perera is a pre-eminent Jungian thinker on this subject. In a previous book, on Queen Maeve, and now in this book, on the Dagda, she has helped bring attention to the relationship of ancient Irish mythological figures to our contemporary society. While her work on the Celtic Queen Maeve dealt with the problem of addiction, The Irish Bull God deals with defining a more balanced, whole, and sophisticated concept of the masculine.
     Perera’s book evolves from a period of her life in which she dealt with personal crisis, “the deaths of my brother, father, former analyst, and life partner.” At a less personal level, and as a resident of New York City, Perera also struggled with the “massacres of 9/11”. What helped her during this period of her life was the image of the Dagda, a male figure from ancient Irish mythology. Perera writes from her “personal sense of loss as well as my Western culture’s dishonoring and dismemberment of much that the Dagda represents.” This book, then, is Perera’s endeavour to restore the Dagda, or “the Good God”, the “Great Father”, the “Father of All”, and what he represents as an archetypal masculine figure, to public awareness.
     It is too complicated to recount the many stories that make up the legend of the Dagda, but the general theme has to do with his exuberant appetite for food, sexuality, and life. The Dagda is the High King of the Tuatha de Dannan, the fairy folk and supernatural beings who inhabited Ireland before the arrival of the Celts. His famous harp is made of oak, a magical tree for the Celts, that when played puts the seasons in their proper order. He is a figure of immense power who has a magic club with which he is able to kill nine men with a single blow, as well as return them to life if he desires. His cauldron is capable of feeding innumerable numbers of people. He is a protector of his tribe and his family, a father figure, but a figure who is large enough, and comfortable enough in his masculinity, that he is able to embrace equally the feminine. Placed in the context of contemporary American society, it is no wonder Perera finds solace in the Dagda; America has been attacked by terrorists from outside of the country and the masculine archetype is being redefined, and not necessarily for the better, by people inside the country. Placed in the context of her personal life, Perera has suffered the loss of the male presence that was so important for her. The urgency of her message is that we need a renewed image of the masculine and to this end she suggests that the Dagda provides such an image.
     For Jungians, one of the central qualities of the Dagda is that he unifies opposites. Perera writes,

[The Dagda] embodies a primal wholeness that vividly encompasses some of the mutually dependent polarities that humans are consciously struggling with today: life and death, nurturance and war, containment and rejection, creativity and destruction, ugliness and beauty, chaos and order, wisdom and ineptitude, male and female, receptivity and aggression, grief and comedy, refined sensitivity and lusty coarseness, ruling and submitting, abundance and deprivation spiritual enlightenment and chthonic power. (143)

     Perhaps the Dagda is a kind of ideal archetypal figure. He is neither a puer
aeternus nor a Senex in his archetypal role. In some ways he is a trickster, but if he is a
trickster then it is the kind of amorality suggested by the trickster who ends up revealing
a deeper message or lesson for the one on whom the trick was played. The Dagda’s
lesson is one that unifies opposites and suggests a subtlety to our awareness of truth.
Honour is the Dagda’s morality, and maintaining his honour in the collective
consciousness is important to him. But he is not solely an avatar of power and
destruction; he can restore life to those he has defeated, and he does this. This dual role of
masculine energy, creative and protective, is missing in geo-political conflict today.
     The Dagda is, of course, an idealized representation of the masculine archetype. If
one accepts archetypes as a template or pattern for the unfolding and realization of the
dynamics of life—something basic, essential, and preconscious—then the Dagda
provides a very powerful and authoritative ideal of the masculine. The Dagda’s authority
is not restricted to the mundane but encompasses the cosmic. Perera writes, “The Dagda
is master of all the arts that made up druid lore—the technical and magical control of
natural forces, music, poetic incantations, healing and prophecy.” (126)
     Perera assumes in her book that the reader has some familiarity with Irish
mythology. Of course, this is not usually the case, and perhaps Perera could have given
more back ground information on the Dagda. Some readers will have to do additional
research to get the full meaning of Perera’s book; however, this research is well worth the
time it takes. An objection to the book might be that the Dagda is really an old fashioned
father figure, albeit an ideal one. I don’t think this is the case at all; Perera writes,

The grandeur of the Dagda offers us a perspective to refocus and enlarge our sense of what masculinity could be. We can see that his attunement with relational, flowing process has a very different quality than it holds in patrifocal models. (141)

     In mythological figures such as the Dagda we find a life affirming and dynamic
vision of what it means to be truly masculine. It is through Perera’s work—by returning
the Dagda to consciousness—that she restores the masculine to its archetypal definition,
one that contains opposites, nurtures, protects, creates, and recognizes without fear an
equal partnership with women.
 
                                                                          St. Patrick’s Day, 2004

2004

Published: The Newsletter of the C.G. Jung Society of Montreal, 2004.

Review of In the Writers' Words, Conversations with Eight Poets

Laurence Hutchman on Grand Blvd near Somerled, Montreal, March 2016

                                 

Laurence Hutchman 

In the Writers' Words, Conversations with Eight Poets

Guernica Editions, Toronto, 2011
ISBN: 978-1-5507-309-1

Conversations with Eight Poets

by

Stephen Morrissey

             Laurence Hutchman's In the Writers' Words, Conversations with Eight Poets is a valuable addition to our knowledge of modernist Canadian poetry. The poets interviewed in these conversations are Ralph Gustafson, George Johnston, P.K. Page, Fred Cogswell, Louis Dudek, Al Purdy, Anne Szumigalski, and James Reaney. All eight of these poets have made important contributions to Canadian literature—they are all distinguished members of the Canadian poetry canon—and several have also contributed as translators and publishers.

            There is an easy intimacy between Laurence Hutchman and the poets he is interviewing. It feels as though we are listening in on good friends having a friendly but serious conversation on a subject about which both of them are passionate. Each interview is prefaced with a vivid and detailed description of the poet's home or place of work where the interview took place. When Hutchman is invited into Ralph Gustafson's Eastern Township's home he sits by a warm fire in late December; he describes the "chilly November morning in Saskatoon" when he rode a borrowed bicycle to interview Anne Szunigalski and entered her home where he admired paintings "everywhere on the walls, mostly done by her own family."
            Just before the interview which takes place in James Reaney's university office, Hutchman notes, "We sit on a green couch for the interview. On the wall facing us there is a painting of Reaney's, of The Nihilist Spasm Band. Above us is a picture, 'A Well Organized Athletic Meet on Centre Island, 1907 two women carrying eggs on a spoon.' Above those are topographical maps representing Grand Bend, St. Mary's and Stratford." Hutchman's awareness of the minutiae and detail of the place where the interview takes place enhances each interview that follows. In these interviews we are invited to know the human side of the eight different poets. Indeed, these conversations are an invitation for new readers to explore each poets' work.
            Scholars will find In The Writers' Words, Conversations with Eight Poets a valuable source of insight into these poets' work; recent criticism I've written on Louis Dudek's major long poem "Continuation" has been deepened by reading the interview with him. I can hear Dudek's voice—engaging and inquiring—in his discussion with Hutchman; Dudek states,

                        In Continuation 1 and Continuation 2, I at last found a voice where

                        I could say exactly what I want to say, and everything I want to say,

                        in the most amazing fragmentary way... you have to take risks in poetry.

                        What is poetry trying to do on the page? It's trying to represent the

                        poet's thought.

                        Many of us have fond memories of having met these eight poets. I remember meeting James Reaney at a League of Canadian Poets AGM in Toronto; he was wearing a tie decorated with books that I liked so much it took me a year before finding a similar tie for myself. In Edmonton, a few years ago, Mark Abley's excellent keynote address at the League's AGM was on Anne Szumigalski and it brought her life and work to a new audience. Elsewhere, I heard Fred Cogswell and Ralph Gustafson read their poems and from time to time corresponded with them. I sat and talked with Al Purdy after one of the times I heard him read. Louis Dudek, besides being my professor, was a friend until the end of his life. I remember being a first year graduate student at McGill University and walking into the English Department's staff lounge and seeing Laurence sitting discussing his own poetry with Louis Dudek. Dudek's DC Books published Hutchman's first book, Explorations (1975). George Johnston was a good friend, we both lived in rural south-western Quebec after he retired from teaching at Carleton University. In addition to many discussions on poetry George taught me the basics of the art of bee keeping which I did for many years. George and his wife Jean were both good friends and warm-hearted people, over the years of knowing them I also got to know some members of their family. During their careers all of these poets that Hutchman interviews readily made themselves available to newer poets. Reading Hutchman's conversations with them reminds me of the generosity and welcoming spirit of this modernist generation of poets, many of whom made an indelible impression on me.
                  All eight of these poets began writing and publishing during the 1930s to the1950s. Individually and collectively they made a significant contribution to Canadian poetry. P.K. Page, reminiscing about when she lived in Montreal, reminds us of poets we may have forgotten but who are still important for their role in Canadian literature, they include Patrick Anderson and John Sutherland. She also remembers with fondness Montreal poet A.M. Klein; Page says,

            ... he was only nine years older than I but he seemed to belong to a different generation. This had to do with a series of things, I think, with the fact that he was married, had children, and a law practise. He was already established as a poet... I find him a  wonderful poet and can't think why people today don't see it. But they will again.

            In his interview George Johnston discusses the literary scene back in the 1930s when he was a student and had just begun writing; Johnston states, "To tell the truth, I was hardly aware of a literary life in Toronto, except at the university. There was one intellectual sort of magazine which came out once a month..." This comment by Johnston reveals to us how far Canadian literature has progressed over the last sixty or seventy years.

            The eight poets Hutchman interviewed spent a lifetime writing poetry and thinking about poetry; theirs was a life centered on literature and poetry. The New Brunswick-based poet Fred Cogswell, who did a tremendous service for poets across Canada during his many years of running the literary small press, Fiddlehead, makes this statement on "the philosophical nature of ... poetry":

           

The particular philosophical nature of poetry is that its function is to illustrate the  qualities of the human mind that are the basis for the attitudes we have as human beings. Keep going farther than you've already gone, or you become a victim of what you've written up until that moment.

            In the interview with P.K. Page, living at the west coast edge of the continent, in Victoria, BC, a clap of thunder is heard as the interview comes to an end. PK says to Hutchman, "You're conjuring up gods that we don't normally have." This is what Hutchman does in all of these interviews. He conjures the gods of poetry. Hutchman's interviews with each of these eight poets is an intimate conversation with each individual. We hear their voice, their commitment to poetry, and their example of a life lived for poetry. Hutchman's book stays vivid and lively and brings the reader directly into the personality and writing of each of the eight poets. For anyone of any age, either scholar or reader, who is interested in the modernist poets of Canada, this book is an indispensable companion to the poets' collected works. That is part of the magic of this book.

                                                                        Stephen Morrissey

                                                                        Montreal, September 3, 2013