Notes on The Mystic Beast (1997)

The Mystic Beast, 1997

I first discovered the sculpture that I call “The Mystic Beast” (The Mystic Beast, Empyreal Press, Montreal 1997) around 1994 at Vancouver’s Museum of Anthropology, a museum that is largely dedicated to the art of First Nations people in British Columbia. He (the sculpture) was in a room just after the main hall as one enters the museum, placed off to one side near a window, so he is easily missed. In fact, the sculpture is a Northwest coast Nimpkish wood sculpture of a human figure, made around 1893. When I first saw him, I felt as though I had met my doppleganger; however, instead of a human double, it was an inanimate object.

I think CZ and I both immediately recognized the facial similarity that I shared with the Mystic Beast, but it was more than the expression on the face, it was also spiritual. I knew the meaning of his expression—so indicative of how I felt in life—for it showed my inner being: it was the face of an introvert trapped in a room full of extroverts; it was the face of one who is more at home being alone than with other people. It is a curious and rare experience to find a visual expression of one’s inner being, of one’s identity as a human being; he did not represent my persona, but the private face of the condition of my soul, he was the face of my Shadow.

The “Shadow” contains the aspects of our psychology that we reject, deny having, are afraid to face, and so on. They may be parts of our psychology too hurtful for us to deal with, that we would prefer to forget, or it might consist of taboo behaviour, or other aspects of ourselves that we consider too dark and disturbing to acknowledge. What we forget is that the Shadow is full of energy, think of the energy we’ve all used to deny or hide our Shadow; we sometimes project what we don’t like about ourselves onto other people and demonize them; we may go to great lengths and spend many years avoiding the Shadow; we may adopt a new persona (for instance, one that is light and lively) to hide behind, rather than investigate our own inner darkness. I am reminded of the phrase, “the bigger the sun, the bigger the darkness” and how this so often gives an accurate insight into some of the people we meet. However, there is gold in the Underworld; there is light in the darkness; there is redemption from our past; there is a voice of witness reminding us what we need to remember; there is poetry in life’s journey. So, it was epiphanous to find a sculpture, in a museum in Vancouver, representing my inner being, and I associated my Shadow with the sculpture.

                                

At the time when I visited the Museum of Anthropology, I was working on a manuscript of poems entitled The Mystic Beast, the final book in my Shadow Trilogy, and I thought of the sculpture as my twin Mystic Beast. I thought of him as having a similar psychology as myself and there he was, staring at me, or staring off into space. He is physically larger than life size, in fact much larger than he appears in most photographs, and the artist who made him caught perfectly an expression of psychological depth that, I feel, is rare in art found anywhere. When The Mystic Beast was published in 1997, the cover art was by Ed Varney who made an incredible drawing of the face of this sculpture, as can be seen above. A French translation by Élizabeth Robert, entitled La bete mystique (Editions Triptyque, Montreal, 2004) has an equally remarkable cover image, but it is not of the Mystic Beast in Vancouver. (You can see a photograph of The Mystic Beast on the home page of my poetry website, as well as elsewhere in this blog.)

In the prologue to The Mystic Beast, I refer to Edvard Munch’s famous painting “The Scream,” which is a work of art of depth and profound anguish, and iconic, but different than the Mystic Beast. On one hand, Munch’s painting is a scream of life denial emanating from the human soul in the darkness of a world that seems to lack redemption and grace. On the other hand, the Mystic Beast is more of a subversive presence, one that is apparently resigned to the way things are but is also aware that there is epiphany and grace, and life affirmation, in the very midst of a society and life gone wrong:

Here is darkness,

here the place

where waves are black

and the wind howling

through trees is a cry:

one thinks of Edward Munch,

the soul become a sheet

in the wind; have I left

a pile of skulls,

a dying heart

where it lies in my chest

as in a desert, tormented

by the sun and wind?

Here is title poem of the collection:

The Mystic Beast

1. The Invention of the Mirror


How could this be me

what I see as myself,

meeting what is

not me

but someone else:

a doppleganger passing

in the street, a twin

I was separated from

at birth, a part

of me divided

and gone,

as though

I lost my shadow

and must stay indoors

to avoid the sun.

The mirrored image

of my right hand

as I raise it

seems to be

my right hand,

but in the mirror

if my right hand is holding a book

the words are reversed—

who we are,

we never see

what we’ve become—

unless a mirror

in which nothing

could be invented

is reversed, words

read as words,

then we could see

for the first time

in human history

our true selves;

meeting ourselves

as others see us

not reversed or backwards.




2. The Mystic Beast

Arriving on the west coast,

I find the perfect image

of myself, a wooden

statue staring

at nothingness

in a museum:

he is the mystic

beast—not reversed

in a mirror,

not divided by life—

but the single

essence of who

I am. This image

is not reversed

by fortune or glass,

silver or animation,

but the inner being

so long separated:

my own face

and body frozen

in time and regret.

It is the unreconstructed

self found at last,

like finding a cousin

or brother, the true

brother of light

and camaraderie

who holds

my arm and announces

the birth of poetry,

the beginning of light,

the conclusion of silence.

It is my self

I find, my lost twin,

the inner being

I was and am,

who escaped

long ago and

disappeared,

a face encountered

in a mirror without

distortion by depression

or a concave in which

I slip into silence;

not the face seen

reflected in store

windows, the one

caught in peripheral

vision looking afraid

and alone, but an image

of one born in Heaven,

who fell to earth

from the clouds

and landed among

strangers. I searched

almost half a century

until now

when I meet myself,

I finally step out

of the mirror

as out of my body

my skin like clothes,

my face a mask,

my shadow

disappearing in light,

my true self

before and after

my birth and death.


(Stephen Morrissey, The Mystic Beast, Empyreal Press, Montreal 1997;


ISBN 0-921852-16-9; The Shadow Trilogy, including The Compass (1993) and The Yoni Rocks (1995), was published by Empyreal Press in Montreal.)

Notes on The Yoni Rocks (1995)

The Yoni Rocks, 1995

Ed Varney’s cover art for The Yoni Rocks (Empyreal Press, Montreal, 1995) is an image of the Venus of Willendorf, a small sculpture of a round shaped woman with big breasts and braided hair that is approximately 25,000 years old; this artifact from our prehistoric past has become famous since it was discovered in Austria early in the 20^th Century. The quotation at the beginning of The Yoni Rocks, taken from H.I. Austen’s fascinating book, The Heart of the Goddess, will better help to define the meaning of Yoni: “In Sanskrit, Yoni means ‘womb, vulva, place of birth source, origin, abode, home, nest; family, race, caste.’ It derives from a root word which means ‘to join together.’... For how can we love life if we do not love the yoni, the doorway through which all life passes?”

The Yoni Rocks has two sections, “The Yoni Rocks” and “The Heart of the Goddess.” These poems are concerned with the anima, the feminine part of the male psyche. The whole book is a hymn to the feminine, to the Yoni, to the unifying aspect of life. The title comes from a photograph in which some rock formations became a natural visual representation of the Yoni, so there was also the juxtaposition of something hard and ancient, rock, with something living, giving birth to life, and sexuality, the Yoni.

The Yoni Rocks begins with the funeral of one of my aunts, and then moves to memories of my paternal grandmother and her home, and the many things “home” represents: the feminine, nurturing, comfort, and so on. This is the divine feminine, but the feminine can also be dark, constrictive, and destructive; just read some poets’ work on their mothers. There is also the river, and the metaphorical qualities of rivers, that the same river cannot be stepped into twice, and so on. The second section of the book deals almost exclusively with romantic and sexual love, the meeting and relationship of the two sexes. Romantic love is, indeed, one of the most profound experiences that humans can have, whether it is ultimately positive or negative, for we abnegate our ego when it happens.

Another poem in The Yoni Rocks is about my paternal grandmother who will always have a special place in my heart and psyche. I often visit my grandmother’s home—on Girouard Avenue in Montreal, where she lived for forty years—in dreams or drive passed on my way to work. When I was a child my family lived for two years at Grandmother’s Girouard Avenue flat because my father was not well. Later, I had many happy days when I would visit my grandmother and her two old sisters, my great aunts Essie and Edna. Her home is the psychic center of my imagination and she, herself, is someone I loved dearly. For me, Girouard Avenue is the home of the Grand Mother, a place of ancestors, love and kindness, and the beginning of my journey in life.

As well, and of enormous importance in my life, has been my relationship with CZ who returned me to life, who animated me, after years of not being fully alive. The Yoni Rocks is dedicated to “the three important women in my life: my grandmother, my mother, and my wife.” Whether for good or otherwise, knowing these three women has made my life the journey that it has been and still is. Knowing CZ, my wife, is something that doesn’t need to be discussed here but is celebrated in the following poem, also in The Yoni Rocks:

Reincarnation

1.

We meet again, again flesh

and blood, again bone, tendon

and memory. Events of old lives,

clothes divested as I divested

the past in meeting you,

in meeting you again

and again and again

into infinity.

Forty years of waiting for you,

a dark delirium of the soul;

we met apparently for the first time

but home is where we are together

in this room, this house,

the two square feet we occupy

in a single embrace. The embrace

of memory, bred in muscle, eating

or favouring one side in sleep,

falling asleep in your arms.

The arms of many births,

deaths, incarnations of

gods and goddesses,

Bardic voices, Druid's potion.

Listen, we share the sounds and sights

of a summer's evening, fireflies

across a field seeming

distant but as close as

a hand before your eyes,

breath on the back of your neck,

or is it the darkened field

and firefly lights

repeating their journey

between this life and that?

With you I have

returned home, not a place

walls enclosing silence,

but soul meeting soul

in the ancient movement of time.

I lie asleep on the floor

ear pressed to the darkness

and hear the hum of earth,

the generations of families, priests,

and existence of all living things

like listening, ear to a pregnant

woman's belly, baby's rapid

heart beat; shadows fall hundreds

of feet, listen into the soul

of man preparing for its journey

of final sleep, we came

from here and return, forgetful

of our origins, or of the

father and mother who created us.

Here is the title poem of The Yoni Rocks:

The Yoni Rocks

Who would deny us the Yoni rocks,

who would keep us from

hearing Mother's voice?

Who would deny us death,

the rocks that are tombstones:

father's grave lies bare,

a rectangle of grass where

soil separates us; it is more

than soil, but time,

sorrow, and grief.

The men I never knew, Father,

stepfather, my father's father,

the others distant.

So now I return to mother,

returning home, the hidden dream

of home. It is from the mother

that we come, to the earth

that we return. Cleft-divided,

rocks in the hot sunlight

by the ocean, where the iguana

are motionless.

I am drawn to her presence, to

a hymn to woman,

birth, death, the goddess

coming from the earth

and moon, held captive

in moonlight, a perfect

roundness of completion.

She is my seed and bone, my

entrance into life; age four

I lay between my parents,

Father asleep, and Mother,

smiling, said "kiss your

father." Later I slept

with Grandmother and Aunt Mable

at their country home,

lay between them, my head

at their feet making room

for three in one bed. We are three,

a trinity of man, woman,

and child.

Vulva shaped rocks,

the Yoni Rocks, shells,

clams moving on the river's

sandy floor leaving

a trail twisting, straight,

or circular in the sand;

the sun entering the sky

from beneath trees

on the horizon. Mother

is the most beautiful

woman I remember thinking,

long brunette hair, as I lay

in a pram on Girouard Avenue

just a hundred feet

from Grandmothers's flat,

living there when Father

was ill. Mother

was the most beautiful woman

to the child who lay

staring at her as though

only we existed, no other existed

in that enclosure of mother, father

and child. So now I seek to lie

beside you, fear losing you,

as I have been left before.

Now the Yoni Rocks

are a doorway

to the inner life,

as before conception

and birth, before emerging into life

in blood and salt and air;

always fearing the return,

dissolution into nothingness

and fear.

2.

Our ship did not break like waves

on these rocks, rocks that gave us

life; these rocks were stars,

meteors fallen in the night

waiting to cool from their

entry to our world, we saw

them lie almost invisible

half buried in sand and water

cooling in the summer night.

White caps are an old

woman's white hair, twisted

and tied into a bun, faces

seen in clouds when a child,

a horse pulling a milk wagon

on Oxford Avenue in 1957,

Archibald Lampman's:

Tonight the very horses springing by

Toss gold from whitened nostrils,

moved by these lines age sixteen.

Who would deny us the Yoni rocks,

who would deny us poetry, the intimate

square feet we inhabit,

a rectangle of grass, a triangle

of birth, the brown mouse

and codfish, separation

and reunion, sky and earth,

northern lights in July when sailing

at 2 a.m., fireflies on a June evening

when out for a walk with you?

We return to ourselves, to the

woman a man is always beside, or

the man the woman is beside.

Who would deny us hearing Mother's

voice, your touch, or the silent

presence of Grandmother

always with me, always close

with her white hair, cotton

print dress and black shoes,

not a farewell

but this presence ending grief.

(Stephen Morrissey, The Yoni Rocks, Empyreal Press, Montreal 1995; ISBN 0-921852-07-X; The Shadow Trilogy, including The Compass (1993) and The Mystic Beast (1997), was published by Empyreal Press in Montreal.)

Notes on The Compass (1993)

The Compass (Empyreal Press, Montreal, 1993) is the first book of the Shadow Trilogy, books I wrote between 1989 and 1997. I had several titles before I decided on The Compass, which is also the title poem of the book. It is possible that I considered "The Home Front," because of the irony that it can refer to both a war between countries being fought on the home country’s border and to “home” with its suggestion of the promise of love, comfort, and happiness; I think, as well, of the title of the novel All Quiet on the Western Front, of World War One, and of the unhappily married caught in a War of the Roses scenario. However, now I wonder if this was one of my working titles, or was it for a book that was either never written or for a possible title for a previous book, Family Album? I don’t remember

    Just today, I reread the poems in The Compass and the book is not quite as I remembered it. If anything, it is much more affirmative and positive than I had thought. It is divided into three sections: “The Whip,” “Hades,” and “The Compass.” “The Whip” is a continuation of Family Album (Caitlin Press, Vancouver, 1989), my book immediately preceding The Compass. The poems in “The Whip” are poems of family life, memory, observation; they are a continuation and development of the poems in Family Album. “Hades,” the second section, is made up of post-divorce poems, the outcome of the emotional and psychological experience of the divorce-- which was an emotional journey to Hades--and it is this section that is "confessional." The final section, “The Compass,” celebrates rebirth, sexuality, marriage, and romantic love.

    I would like to explain the psychology that leads one to write three books on the human Shadow, the Jungian archetype encompassing the psychology of shame, projection, taboos, and self-loathing. I was always intrigued by Shadow content of consciousness; I always wrote with the intention of what C.G. Jung called individuation even before I had heard of Jung, that was always my concern in my writing, from when I began writing in 1965. I knew for many years that the way I was living was not right, but I was incapable of changing myself or the circumstances of my life. Fortunately, the soul will not allow stasis, we can not escape for long the demand of the soul for an authentic life. Thus it was, that after many years of avoiding life, events conspired to do for me what I could not do for myself, as will be explained below. I wrote about the avoidance of transformation in the following excerpt from a poem in The Mystic Beast (Empyreal Press, Montreal, 1997):

            Lines From Magritte:

        The Forbidden Universe (or Olympia)

A man refused

transformation—"not

yet" he argued "too busy

with family, job, mother,

no time"—always he held

back, remained in

a chrysalis state,

like putrefied matter, undigested

food, or a giant tumour

in his body

clogging all arteries

that lead cosmic

energy into the central

nervous system.

For forty years

a giant organic blockage

grew in the middle

of his body

until he bulged

at the waist;

it was a tumour

on his soul

or the soul

itself expanding

disproportionate

and constricted

by its cage of ribs

and internal organs.

He was sick

with undiagnosable

illnesses, his face anguished,

even walking across

a room became difficult.

In my experience big changes in the soul do not happen because of a series of insights and epiphanies; nor do they happen in a linear progression, or build to a final perfection. The soul does not care about time and space, or even about talking and discussing; change is not an evolution, not even a convoluted evolution, but something that happens to us, something that is beyond our conscious insistence, or desire, that we change into something that is unknown to us and of which we have no experience. I am not referring to the kind of insights we all have with some regularity, but to “the development of the soul,” to the kind of profound change that seems to seldom happen and can’t be made to happen.

    The ways in which we attempt change are hit and miss: years of prayer result in nothing; years of meditating in a cave result in nothing; years of therapy result in nothing. These activities have a nobility to them, perhaps they lay a foundation for change, but there is no causal guarantee that they will result in the desired change. Indeed, I am not saying that these methods for changing the soul are without value or always fail to effect change, only that in my experience the kind of change that I am talking about comes, as it did for me, through what might be called “Divine intervention,” through fate or Providence, or something that comes to us without invitation and by its own volition.

    Around 1986-1987, I was beginning a Pluto transit over my ascendant, which is when my marriage began to unravel and finally collapsed in the winter-spring of 1989. There were other terrible events around the same time, but they must wait for another discussion. A Pluto transit over the ascendant devastates and wipes out one’s life; this was my experience. It was a time when my old life was wiped away so that a new life could be created.

    I, myself, soon came to affirm what had happened to me; I soon affirmed the annihilation of my old life as I knew it; it was the only way that I could embrace life and grow into the person I was meant to be. I felt that my old life was like a giant tumour growing in my body and I was unable to do anything about it, I was unable to cut it out myself, and it was not possible for someone else to remove it, it was the tumour of a psychological complex. I know what an unrealized life is like, I know what it is like when the compass that guides our life does not read accurately the direction in which we must make our journey if we are to find spiritual and psychological wholeness.

    Change and transformation is also possible when we are loved by another, when the other focuses their love and attention on us and we reciprocate with love for the other. Love can move us closer to wholeness, change, and creativity. For many of us, what love means is to be animated, or brought to life, by another. This is a gift that must motivate us, who have been loved, to return to life the blessings of love that we have received.

Here’s the title poem from The Compass:

        The Compass

On the four corners of the bed

the body becomes a compass

describing the direction

of desire and passion. Months of desire

arrive at this destination,

rocking on a single almost silent

wave we are sheltered

by darkness. The body

is a compass needle;

you turned me from east to west,

awoke a sleeping giant

that moves between your mouth and breasts and legs;

the room illuminated by static electricity

thrown off by our bodies.

How many decades did I sleep

waiting for only you;

I lust after you in all the directions of space.

Meeting at the airport

your foot touching my leg

beneath the restaurant table,

we secretly entered an empty banquet

hall where the caterers chattered and

poured drinks behind a wall partition

then quickly leaving

finding a deserted hallway of

open office doors

where we embraced.

All the others in my life

fell away, I was ready

to abandon my old life for you,

for the touch of your hand

and mouth, the apple red and delicious

cut in half that I eat.

Tied to the four corners of love

as to a bed which becomes a compass,

I find you on your stomach,

on your back, in the morning

lying pressed against me.

It is not possible to return

to sleep now, it is not possible

to forsake your touch and love,

black lace, fingers, wetness,

your mouth, words. The compass's

needle turns finding north switched

to east and west to south, night

becomes morning; nothing remains

as it was. You pointed my life

in a new direction, towards a corner

of the world only dreamt of before.

Outside the sun is red

descending behind a row of trees,

shadows fade into the other

unexplored regions of night.

(Stephen Morrissey, The Compass, Empyreal Press, Montreal 1993; ISBN 0-921852-04-5; The Shadow Trilogy, including The Mystic Beast (1997) and The Yoni Rocks (1995), was published by Empyreal Press in Montreal.)

My Drive Home From Work (four)

Heading home, west on Sherbrooke, there's the Chalet-BBQ, so many happy memories there! Riding my bike as a kid and buying french fries in a brown paper bag and eating them as we rode up and down the lanes in NDG; then, just passed Girouard, the old Empress Theatre, later Cinema Five showing "I Am Curious Yellow" and "Rocky Horror Show" and many other films, with its pseudo Egyptian facade, and the present gallant effort to preserve and make this building useable again... no neighbourhood movie theatres are left in Montreal; then a forlorn building on the corner of Belgrave and Sherbrooke; and a Petro Canada gas station on the corner of Cavendish and Cote St. Luc Road.

My Drive Home From Work (three)

It's spring 2007, or is it fall 2007? Here I am heading home again: there's the St. Lawrence River to my right as I cross the Champlain Bridge heading into Montreal; there's Montreal and the mountain, and a bus and car ahead of me; not much traffic at this time of day; passing Bell Canada's new buildings that were empty fields before the construction:

My Drive Home From Work (two)

Now it's winter and I'm heading out to the Champlain Bridge, merging in with the other traffic; there's the sun setting on the left, dismal winter sun barely making it into the afternoon sky; we've had snow, relentless winter and cold; soon, commuter bus traffic will be heading out in the far left lane, driving against the traffic; home soon:

My Drive Home From Work (one)

From the top down: passing where the toll booths used to be after you've crossed the Champlain Bridge; slowing to rubber neck an accident...looks like she rear-ended him...; then the twin spires of a church in St. Henry (just at the top of Georges Etienne Cartier park on rue Notre Dame); then approaching the exit for Sherbrooke West and hang a left at the lights at the top before passing Girouard and memories of the past... This was maybe September 2007.

A few notes on Confessional Poetry

1. Over a three-day period in late April 1977 I wrote a long poem, “Divisions” (Divisions, Coach House Press, Toronto, 1983). I wrote about things that had deep emotional meaning in my life. I had married the previous summer, in August 1976, and the wedding was immediately followed by marital turmoil. Perhaps this was the catalyst for me to write a poem I had tried to write for many years. Writing “Divisions” was a catharsis, a purging of emotions; it is a poem of witness, of confession, of what I had seen and experienced. 

2. In the 1990s, I wrote “The Shadow Trilogy” (The Compass, 1993; The Yoni Rocks, 1995; The Mystic Beast, 1997; all published with Empyreal Press, Montreal), books that came from an awareness of the Shadow aspect of the human soul. The Shadow is an important archetype in Jungian psychology; it is made up of what we reject in ourselves and project onto other people. “Owning one’s Shadow” refers to being aware of one’s dark side and being responsible for one’s psychology instead of projecting it onto other people. Writing these three books was an important journey for me; it was a time when I tried to make sense of the first half of my life. 

3. There has always been a “confessional” aspect to my work. Confession is the Shadow’s autobiography. My work, before writing The Compass, was concerned with family, but with The Compass the work became even more intensely confessional, more directly revelatory. It was my Shadow, my darkness that I had to purge. 

4. In Frank Bidart’s essay on confessional poetry, found in Robert Lowell, Collected Poems (Farrar, Straus, and Giroux, 2003), Bidart writes that “Lowell winced at the term” “confessional.” Bidart writes that the common perception of what confessional poetry is suggests “helpless outpouring, secrets whispered with artlessness that is their badge of authenticity, the uncontrolled admission of guilt that attempts to wash away guilt. Or worse: confession of others’ guilt; litanies of victimization.” No poet would want to be identified with this definition of “confessional poetry.” However, Bidart continues, “there is an honorific meaning to the word confession, at least as old as Augustine’s Confessions: the earnest, serious recital of the events of one’s life crucial in the making of the soul.” The important point here is that confessional poetry, today so discredited among poets and critics, is concerned with “the making of the soul.” This is the definition of confessional poetry to which I subscribe.

Cote des Neiges Cemetery after a snowfall

"Scribble down your nakedness." -- Allen Ginsberg

Article from 11 November 1967

Back in 1967, two years after I began writing poems, I read the following article in the Montreal Star (published on 11 November 1967). This was around the time when I first heard of Allen Ginsberg and the other poets and artists who are also mentioned in this article. It was Allen Ginsberg's advice that was enormously important to me: "Scribble down your nakedness. Be prepared to stand naked because most often it is this nakedness of the soul that the reader finds most interesting." It was terrific advice--and certainly epiphanal--it gave a direction for my writing that was probably already present but not consciously thought out. The article also directed my reading to a generation of writers and artists who were an intellectual and creative community for many of us at the time. They inspired many of us in our life-work. Here, then, is the complete text of that article:

Scribble Down your nakedness, said Ginsberg -- and he did

By Peggy Polk

New York

Conrad Rooks, the rich boy who went from beatnik to alcoholic to drug addict to moviemaker, is going even further soon -- to the Indian province of Dharmasala, home of the exiled Dalai Lama.

His first film "Chappaqua," winner of the Silver Lion at the 1966 Venice film festival, opened at a New york theatre Sunday and is scheduled to make the rounds of art movie houses throughout the country, but Rooks is preparing to retire to the study and filming of Tibetan metaphysics.

"Chappaqua" -- named for the Indian burial place -- is a full color, baroque nightmare based on the cure which its 32-year-old author -- director-producer-principal player took in Zurich six years ago to rid himself of his addictions.

The Kansas-born Rooks traces his taste for narcotics to a series of operations he underwent at the age of 9. He says he began drinking when at 13 he started to frequent bars on New York's West 52nd Street to listen to jazz and at 14 he was an alcoholic.

Expelled from four prep schools, given a medical discharge from the Marines and arrested at 21 on a marijuana charge, he tried to learn the craft of writing from his beatnik friends. But it was not until his father died in 1961 that Rooks decided to take the 30-day "sleep cure" he was to tranbscribe to the screen in a rich melange of sound, color and stunning technique.

To make the film, Rooks assembled the patron saints of the beat and hippie world -- poet Allen Ginsberg, writer William Burroughs of "Naked Lunch" fame, French actor Jean-Louis Barrault, Moondog and Swami Satchidananda. Ornette Coleman played the saxophone and Ravi Shakar the sitar. Robert Frank, the avant garde photographer, was camerman.

The movie, from its inception as a poem, took four years and $750,000 of Rook's Avon Cosmetics fortune to film. It was one of the few such personal ventures to emerge from the underground to commercial distribution.

Rooks, who sports a Buster Brown haircut and a didactic manner, says he is delighted with the venture but has no intention of joining the filmmmaking establishment.

Business, he says, is corrupting and "businessmen have pretty much managed to run commercial moviemaking into a baloney factory.

"Of course I want to reach mass media. But I want to change mass media."

Hoping to avoid the baloney business entirely and to continue the process of self-education he began in the 1950s at the "baby end of the beat generation," Rooks, who has been married and divorced, says he will leave for northern India before Christmas with his young son, his girl friend and his crew.

There, he says, he will experiment with "pure film" under the aegis of the Dalai Lama. "He's interested in me," the movie maker said. "I've already spent some time with him in India. My guru took me. He wants me to come back; he is interested in my ideas of film."

One of those ideas is that filming should proceed like writing. A writer may experiment by constructing a paragraph a dozen ways. A film maker should do the same, Rooks says, by taking a variety of shots and putting them together in a variety of ways.

"Film isn't expensive," he says. The most you can spend if you shoot all day is $100,000.

Rooks is also convinced that the movie maker has no business trying to reproduce a novel on film. He must originate his own material.

"Chappaqua," he says, is a result of advice Ginsberg once gave him:

"Scribble down your nakedness. Be prepared to stand naked because most often it is this nakedness of the soul that the reader finds most interesting."

"Chappaqua" is autobiographical in the same way that Burroughs' "Naked Lunch," Ginsberg's "Howl" and Jack Kerouac's "On the Road" are autobiographical, Rooks says.

But in his next film, Rooks wants to go outside of himself and "through some sort of simplicity, reveal some of the teaching which Asia is about to let us learn.

"We are basically uncultured races that are now coming into contact with the vastly more subtle races of the east and their cutlural knowledge is beginning to conquer us," he says. "Look at the Beatles running after their guru. Look at Mia Farrow going to India for spiritual teaching.

Working with the Tibetan exiles also has its practical advantages.

"There are 90,000 refugees all willing to do this kind of labor," Rooks said. "There are 20,000 artists doing nothing but sitting in front of tents now waiting for the Indian government to feed them. We'll put them to work."

St. Michael's, exterior

Various views of St. Michael's Church, Mile End, Montreal. The church was copied from Hagia Sophia in present-day Istanbul. Except for the stained glass window, all are exterior shots.

Be Strong: Fight For Your Vision

You have to fight for this life, fight for your vision. Fight to stay alive and creative and breathing, filling your two lungs to capacity and then letting the air out in giant breaths of poetry; breathe in that life is good, life is good, life is good. Be grateful for each breath and feel life moving through your body; breathe out the great breaths of poetry, speak love, speak the words of your vision that keep you alive, and in all things it’s a fight for your vision, your voice, your love for this life.

John V. Morrissy and the self-named Morrissy Bridge in Miramichi, NB

John V. Morrissy, a former cabinet minister in the New Brunswick government, and later a Member of Parliament in Ottawa, can be seen in this photograph (seated, middle of three in first row, handle-bar moustache). Later, John Veriker Morrissy was a Member of Parliament (for the Liberal Party of Canada) in Ottawa. His son, Charles J. Morrissy, followed him in a political career, and also served as an M.P. in Ottawa.

The Morrissy Bridge, that John V. Morrissy named after himself, across the Miramichi River joining Newcastle with Chatham, NB. We always heard about family (especially Dr. Herb Morrissy) living in Newcastle. The bridge was built, prefabricated, in Lachine, Quebec, not far from where I live, and later installed in Newcastle.

E.R. Morrissey

A portrait of Edgar Morrissey, 1940s.

Edgar Morrissey and (possibly) his first car... maybe late 1920s.

Edgar Morrissey with his banjo, now owned by his great grandson Jake Morrissey. 1930s, early 1940s?

A cover photo for The Spanner, the employee magazine of the Canadian Pacific Railroad, of passengers in one of the new, comfortable passenger cars. E.R. Morrissey on the right side, five rows back (enlarge to see more clearly).

2226 Girouard Avenue, old photos

Stephen Morrissey and his grandmother, Edith Sweeney Morrissey, around 1953; taken on the back porch of 2226 Girouard Avenue in Montreal.