Tag Archives: consciousness

Beltane and the Lovers

Since today is Beltane, I thought I would share my thoughts on a short essay published in Llewellyn’s Witches’ Datebook 2020.

Beltane is the celebration of union and fertility, a symbolic wedding of the God and Goddess. During this holiday, we celebrate the things that delight our hearts as well as our bodies. We do things for the joy of them and not out of obligation or any other unhealthy reasons. The Divine Masculine and Divine Feminine join to create the Great Divine. In the Lovers card, some see a man and woman’s union blessed by a higher being. Another way to see it is that their union creates the presence of the Divine. While the Lovers card does suggest passion, sex, and romance, it is, at its root, about the joy and beauty of choosing wisely. In particular, it represents the act of choosing that which most satisfies the heart. Connect with this card to remember that it isn’t that the Divine has a “plan” for you but that you, through your choices, help create how the Divine is expressed in the physical world. When we realize that, we realize that we have so much power, and consequently, so much responsibility.

(Barbara Moore)

I am a firm believer that the Divine One is a dyad consisting of masculine and feminine. I would go so far as to assert that this concept is supported by Judeo-Christian text. If you read Genesis closely, God creates man in his image, which is both male and female: “So God created man in his own image, in the image of God created he him; male and female created he them.” (Genesis 1:26-28 King James Version)

Now, I have to stop myself before I get too deep into theological discussion, because that is not really what I wanted to focus on. I do want to call attention to what Ms. Moore asserts at the end of her essay: “… you, through your choices, help create how the Divine is expressed in the physical world.” This statement is a truth that cannot be overemphasized. Every act that we engage in—in fact, every thought we have—directly impacts our reality. Nothing that we do is trivial. Everything is of great consequence. I try my best to remain mindful of this fact at all times, understanding that each choice I make has far-reaching implications and should be treated as such. Just my decision to write this blog post instead of watching Netflix affects the world, in the same way that your decision to read this also will have an impact on our reality.

Having said that, I hope you will take some time to consider what is important and what is not. These weird times have caused many of us to reevaluate what we should focus on and what is a waste of time and energy. Our days are limited in this incarnation. Don’t waste a moment.

Many blessings.

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Spring Equinox: Ostara and Temperance

Today is the Spring Equinox, symbolic of balance and rebirth, themes that seem even more important as we grapple with the rapid changes that COVID-19 is bringing to our world. Anyway, after my morning meditation and journal writing, I read a short essay entitled “Ostara and Temperance” published in Llewellyn’s Witches’ Datebook 2020, and figured I would share part of it in today’s post.

At Ostara, the Goddess returns from the underworld, bringing with her a celebration of miracles, spring, new life, and balance. The Temperance tarot card beautifully represents these themes. Birth is considered a kind of miracle, a mixing of life and death (for the minute anything is born, it begins to die) that creates our experience on this planet. The angel in Temperance holds two cups, their liquid blending at a scientifically impossible angle, representing an alchemical mystery. Although equinoxes represent balance, and at this time life and light are becoming stronger than death and darkness, each equinox contains the seed of its opposite. Like an eggshell—which is strong enough to protect new life but at the right moment is weak enough to be broken through—something is destroyed and the old existence of the newly born creature dies.

(Barbara Moore)

For me, it is evident that our old way of life has cracked like a fragile eggshell, and is dying to make way for something new. It is a scary time, because all birth and all things new are scary. None of us can envision what our new world will look like. But clearly, our consumer-driven capitalist society is the thing that is actually dying right now as a result of this virus. That said, we all have a role in manifesting what will rise from these ashes. It is crucial that we nurture the new growth, and not let fear and self-centeredness dictate our actions in the coming days.

Have a blessed Equinox, and may you be a conscious participant in the change to come.

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The Last God: Book 1 of the Fellspyre Chronicles – Chapter Five

I’ve been reading this arc since its inception and have been enjoying it, even though I have not written about any of the previous issues. It is a great graphic fantasy, reminiscent of Game of Thrones and Lord of the Rings. The artwork is intricate and stunning, and the writing is fantastic.

As with most stories in this genre, it is about a quest to defeat a dark force, but what is cool about this is that there are parallel stories/quests unfolding at the same time, one in the “present” and another mirror quest from the past. The dual storylines work well, almost like a double helix, each one twining around the other and adding depth. As each tale unfurls, it adds to the other. As such, it is a complex tale and not one that is easily tackled in a short blog post, hence if you are a fan of the genre, I would just encourage you to check it out for yourself.

I will share a short quote from this issue, though, because it struck a chord in me.

All musics are magic. Some more so than others, though.

Music for me is unique among the arts because of its ability to communicate directly to the spirit, which is why music has been incorporated into rituals as long as people have practiced them. Whether it is shamanic drumming, Gregorian chants, ecstatic dance, or any of the other myriad forms of spiritual music, tones and rhythms have aided humans in shifting their states of consciousness and thereby snatching glimpses of the Divine.

Thanks for stopping by, and keep making time to read in these strange days.

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Thoughts on “The Impact of Awakening” by Adyashanti

I have been meditating on a daily basis for about three years now, and as part of my practice, I’ve been reading more books and listening to podcasts that are supportive of my practice. I had heard the name Adyashanti mentioned in some podcasts and when I was unpacking all our books, noticed this one. I asked my wife about it, since I had not bought it, and she said that she read it and that I would enjoy reading it too.

The short book teaches some profound Zen Buddhist concepts through dialogue, where the student is asking questions of Adyashanti, and the teacher conveys his wisdom through the responses. The format works really well, and it does not seem contrived, as is often the case with this style of writing.

While there is a lot of wisdom in these pages, and I encourage you to explore on your own if you have an interest, I figured I would share a couple passages that resonated particularly deeply for me.

If you choose Freedom, life will become magical. The life you’ll step into is one in which the Self is in hidden agreement with your humanness. The Self begins to harmonize with your life, and it may proceed in a way that you could never have predicted. The magical part is that the more you let go, the better it feels. The more you step into insecurity, the more you notice how secure and safe it is. Where you stepped out of was unsafe. Everyone is so miserable because they seek security in things that are always moving and changing unpredictably.

(p. 21)

We all want to feel secure, because we are conditioned to believe that this will increase our happiness. The problem is, as Adyashanti points out, is that we seek security in things that are ever changing. Relationships, jobs, money, etc. Like everything else in the universe, these are changing all the time. If we can loosen our grip on these things, and not rely on them for our happiness, then we are sparing ourselves from a world of anxiety and stress. It is freeing to embrace the uncertainty which is life.

The other passage I want to share is somewhat long, but I feel is incredibly important for anyone practicing meditation.

True meditation has no direction, goals, or method. All methods aim at achieving a certain state of mind. All states are limited, impermanent, and conditioned. Fascination with states leads only to bondage and dependency. True meditation is abidance as primordial consciousness.

True meditation appears in consciousness spontaneously when awareness is not fixated on objects of perception. When you first start to meditate you notice that awareness is always focused on objects: on thoughts, bodily sensations, emotions, memories, sounds, etc. This is because the mind is conditioned to focus and contract upon objects. Then the mind compulsively interprets what it is aware of (the object) in a mechanical and distorted way. It begins to draw conclusions and make assumptions according to past conditioning.

In true meditation, all objects are left to their natural functioning. This means that no effort should be made to manipulate or suppress any object of awareness. In true meditation, the emphasis in on being awareness; not on being aware of objects, but on resting as primordial awareness itself. Primordial awareness, consciousness, is the source in which all objects arise and subside.

(p. 25)

This reminds me of the famous quote by William Blake: If the doors of perception were cleansed every thing would appear to man as it is, Infinite. Our minds construct our realities, based upon our trained conditioning. It is only by letting go, not allowing the endless internal dialogue to dictate how we perceive the world around us, that we begin to see the true essence of all that is.

I believe we all read what we need to read at certain stages in our lives. I opened this book at exactly the right time.

Thanks for stopping by, and have a blessed day.

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The Symbolism of the Doors in “The Starless Sea” by Erin Morgenstern

This was probably my most anticipated book of 2019. A while back, I read The Night Circus by Morgenstern, which instantly became one of my favorite books and the one I most frequently recommend to people asking me for suggestions regarding books to read. I actually preordered this book so I could get it the day it was released. Now, with books that you have high expectations for, sometimes it is hard for them to meet those expectations. But while The Starless Sea is not as good as The Night Circus (a difficult book to surpass, in my opinion), it was still excellent and well worth the read.

The book is a tale rich with symbolism that traces a young man’s discovery and journey into a subterranean realm populated with stories.

Far beneath the surface of the earth, hidden from the sun and the moon, upon the shores of the Starless Sea, there is a labyrinthine collection of tunnels and rooms filled with stories. Stories written in books and sealed in jars and painted on walls. Odes inscribed onto skin and pressed into rose petals. Tales laid in tiles upon the floors, bits of plot worn away by passing feet. Legends carved in crystal and hung from chandeliers. Stories catalogued and cared for and revered. Old stories preserved while new stories spring up around them.

(p. 6)

This image symbolically describes the human collective unconscious, that vast repository populated with all the stories and myths that have existed or will come into being. Every writer, poet, artist, and musician seeks to tap into this reservoir of inspiration, and some, like Morgenstern here, attempt to describe it. But it can only be described symbolically, since the wellspring of artistic creativity is something that exists beyond our comprehension. But we all sense its presence, just below the surface of our psyches.

While art can be a reflection of the mystical source of consciousness, it also has the ability to draw the audience into the realm of the mystical through the use of symbols. The door is one of those symbols, representing the transitional space between ordinary reality and the deeper realms of the subconscious.

The son of the fortune-teller knows only that the door feels important in a way he cannot quite explain, even to himself.

A boy at the beginning of a story has no way of knowing that the story has begun.

He traces the painted lines of the key with his fingertips, marveling at how much the key, like the sword and the bee and the doorknob, looks as though it should be three-dimensional.

The boy wonders who painted it and what it means, if it means anything. If not the door, at least the symbols. If it is a sign and not a door, or if it is both at once.

In this significant moment, if the boy turns the painted knob and opens the impossible door, everything will change.

(p. 13)

Doors to the subconscious exist not only in art, but they can manifest spontaneously anywhere in the world, instantly transporting an unsuspecting individual into the proverbial Wonderland of an altered state of consciousness.

There are numerous doors in varying locations. In bustling cities and remote forests. On islands and on mountaintops and in meadows. Some are built into buildings: libraries or museums or private residences, hidden in basements or attics or displayed like artwork in parlors. Others stand freely without the assistance of supplemental architecture. Some are used with hinge-loosening frequency and others remain undiscovered and unopened and more have simply been forgotten, but all of them lead to the same location.

(p. 61)

There is a very subtle yet extremely important warning hidden in this passage. Morgenstern writes that some doors “are used with hinge-loosening frequency.” I interpret this as a caution to those who use consciousness-expanding drugs as a portal to glimpse the hidden realms of the subconscious. Just as doors can become unhinged, the human psyche can also become unhinged when thrown open too frequently through the use of certain chemicals. While it can be difficult to seek out the undiscovered doors in remote locations, it seems a much more prudent path for those seekers of deeper knowledge.

As William Blake famously asserted in The Marriage of Heaven and Hell: “If the doors of perception were cleansed everything would appear to man as it is, infinite.” The Starless Sea is yet another door for us to enter into the infinite and ineffable expanse of the human creative spirit. And now the wait begins for Ms. Morgenstern’s next novel.

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“Death” by Neil Gaiman

I actually finished reading this book a few weeks ago, but I’ve been in the process of moving so the book got packed and I have also been way too busy to sit down and write up a post. But, alas, I’m settled in, so here we go.

This book is an offshoot of Gaiman’s classic Sandman saga. Death is Dream’s sister, depicted as a somewhat hipster woman with a touch of goth. I’d seen this on the shelves, but hadn’t bothered to buy it since I (wrongly) assumed it was nothing more that vignettes from Sandman that featured Death. While there were a few of those, most of what is in the compilation is stuff I had not read before. Anyway, I had donated a nice filing cabinet to the local comic store prior to my move, and as a show of gratitude, the owner offered me a book, so I chose this one.

As always, Gaiman’s writing is brilliant and evocative. And the rich storytelling is augmented by the rich artwork, which makes this book something worthy of a re-read.

One of the areas where Gaiman’s knowledge excels is in mythology, so it’s not surprising that he does a little bit of myth exploration in this book.

Mythologies take longer to die than people believe. They linger on in a kind of dream country that affects all of you.

(p. 55)

This is true. The thing about myths is that they enter into the subconscious, as well as the collective. Once embedded there, they may “die” in the sense that they fade from our ordinary state of consciousness, but it still lies hidden beneath the surface, affecting our thoughts, beliefs, and actions in ways we are not usually aware of.

Possibly my favorite passage in the book is when Death explains life to a person. I found the whole thing symbolic, that it is only through an understanding of a thing’s opposite that you can fully understand the thing itself.

Well. I think some of it is probably contrasts. Light and shadow. If you never had the bad times, how would you know you had the good times? But some of it is just: if you’re going to be human, then there are a whole load of things that come with it. Eyes, a heart, days and life. It’s the moments that illuminate it, though. The times you don’t see when you’re having them… They make the rest of it matter.

(p. 217)

While it would certainly help to have read at least some of the Sandman saga before reading this, it is by no means necessary. I think anyone can pick up this book and get something out of it. Highly recommended, as is everything Gaiman wrote, in my humble opinion.

Cheers!

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“The League of Extraordinary Gentlemen” by Alan Moore

I watched the film adaptation of this graphic novel many years ago, before I even knew about the graphic novel. I liked the film a lot. It spoke to my interest in science fiction, adventure tales, and 19th century literature. All of these things are brilliantly blended together in this book, which is lavishly illustrated by Kevin O’Neill.

This omnibus edition includes two full volumes, as well as a wealth of supplemental material that is all worth exploring. There are coloring pages, games, instructions for crafts, everything that an intrepid nerd could ask for.

In addition to all the fun material and the brilliant artwork, there is Moore’s incredible writing, which flows effortlessly while focusing a lens on human nature, and also touching on the mystical and unusual in experience.

Moore uses the character of Miss Mina Murray as a voice of criticism against the male-dominated society of the 19th century.

Mina Murray: “Why are men so obsessed with mechanisms that further nothing but destruction?”

Here she is not only speaking out against patriarchy, but she is also making a bold comment on the industrial revolution, and the negative impacts that it had on society. She then goes on to express how challenging it can be for women in positions of authority.

Mina Murray: “The point is that I’m supposed to be the person organizing this… this menagerie! But that will never do, will it? Because I’m a woman! They constantly undermine my authority, him and that Quatermain…”

Shifting the focus away from social criticism, I want to share a well-written passage describing Allan Quatermain’s drug-induced altered state of consciousness.

Quatermain had felt the consciousness torn from his body, gripped by the drug’s phantasmal diamond fist. He’d heard Marisa scream and then the awareness was dashed from him by a cold, obliterating light. Now he was lost. As sensibility returned, he found himself afloat, a ghostly form amidst a shimmering violet limbo. What had happened? This was not the breathtaking immersion in past incarnation that the drug had hitherto provided. All about him dream-like forms congealed from viscous twilight, half-materialized before once more dissolving into opalescent nothing. Smoldering ferns and mollusk spirals, scintillating on the brink of substance.

Describing the experience of a shift in consciousness is not an easy task for a writer, since the nature of this experience is generally beyond words. But Moore does a great job is conveying the experience.

One of the characters in this book is Dr. Jekyll/Mr. Hyde. As the tale progresses, Jekyll fades out of the story and Hyde becomes the dominant character. This symbolizes what happens when the dualistic nature of humans gets out of balance. As Hyde points out, there has to be a balance. If the light becomes too strong, or the dark becomes too strong, then there are negative effects on the individual.

Hyde: “Anyway, what that silly bastard did , he thought is he quarantined all these bad parts, what was left would be a ****ing angel. huh-huh.”

Driver: “Hang on. If you’re this chap’s sins, how did you end up so bloody big?”

Hyde: “Good point [chlop]. That’f a very goob poimp. I mean, when I started out, good God, I was practically a ****ing dwarf. Jekyll, on the other hand, a great big strapping fellow. Since then, though, my growth’s been unrestricted, while he’s wasted away to nothing. Obvious, really. Without me, you see, Jekyll has no drives…and without him, I have no restraints.”

Overall, I really enjoyed this book. I will say, though, that the last section is very long, comprised entirely of small-type text and is intended to mimic a travel almanac. While you may be tempted to skip over this somewhat tedious part of the book, I found it worthwhile to read through it. It is brimming with literary and pop-culture references to fictional locations, and is done so in a very creative way. It is not easy to read, but I think it’s worth it. I found lots and lots of subtle allusions to books I had read in the past, which stirred some good memories for me.

Thanks for stopping by, and keep reading stuff.

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“The Unappeasable Host” by William Butler Yeats

The Danaan children laugh, in cradles of wrought gold,
And clap their hands together, and half close their eyes,
For they will ride the North when the ger-eagle flies,
With heavy whitening wings, and a heart fallen cold:
I kiss my wailing child and press it to my breast,
And hear the narrow graves calling my child and me.
Desolate winds that cry over the wandering sea;
Desolate winds that hover in the flaming West;
Desolate winds that beat the doors of Heaven, and beat
The doors of Hell and blow there many a whimpering ghost;
O heart the winds have shaken, the unappeasable host
Is comelier than candles at Mother Mary’s feet.

In this poem, Yeats expresses his inner struggle between his interest in the occult and his interest in Christianity. The Danaan children are the “children of the magical world of Faerie,” and as M. L. Rosenthal points out are considered “irresistible yet a threat to human love and security.” So the children symbolize mysticism and the occult, while Mother Mary represents Christianity.

In the poem, three of the twelve lines begin with the phrase “Desolate winds,” emphasizing the importance. Symbolically, the number three is likely meant to evoke the Christian trinity. Yeats sees Christian theology as opposed to the exploration of the psyche (symbolized by the wandering sea); as a hindrance to the human spirit returning to the Edenic state (symbolized by the flaming West – think cherubim with flaming sword at east of Eden, which would be west for those wanting to reenter); and finally as a doctrine of reward and punishment intended to keep people meek and subservient (Heaven and Hell).

Yeats knows that the host of Faerie cannot be appeased. Once a person steps onto the path of the occult, that person is on a journey that will never end. It is an all-consuming quest that will take precedence over all other aspects of a person’s life. But Yeats concedes that this is more attractive to him than following the Christian path, represented by the “candles at Mother Mary’s feet.”

One last thing I want to mention regarding this poem. I struggled a bit trying to figure out what the ger-eagle was. I’m not 100% sure, but I suspect that Yeats meant for this to be phonetic, where ger means gyre. This would then become a precursor to the imagery he would later use in “The Second Coming.” If ger does mean gyre, then Yeats is saying that the unappeasable host of Faerie will escape to the North following the apocalypse, or the great revealing of that which is hidden from our collective consciousness.

This is just my interpretation of this very difficult poem. If you have other insights into the hidden symbolism, please feel free to share them in the comments section below. Cheers!

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Symbolism in “The Buried Giant” by Kazuo Ishiguro

This book was a selection for the book club to which I belong. The friend who suggested the book only said it was about collective memory. Since that is a subject I find interesting, I was eager to read it.

The tale is set in post-Arthurian Britain and depicts a country suffering from a form of mass amnesia, where a strange mist has caused everyone to forget much of their collective past. The story follows the quest of five individuals seeking to restore memory by slaying a dragon responsible for causing the collective forgetting.

What I love the most about this book is the abundance of symbols that Ishiguro uses to explore memory. Hence, I figured I would focus this post on some of the more prominent symbolic representations of memory.

The first memory symbol I would like to explore is a village. The specific village is described as labyrinthine, and reminded me of the city of Siena in Italy, which had strange streets that were confusing to walk.

Axl was puzzled that a village which from a distance looked to be two orderly rings of houses could turn out to be such a chaotic labyrinth now they were walking through its narrow lanes. Admittedly the light was fading, but as he followed Beatrice, he could discern no logic or pattern to the place. Buildings would loom unexpectedly in front of them, blocking their way and forcing them down baffling side alleys. They were obliged, moreover, to walk with even more caution than out on the roads: not only was the ground pitted and full of puddles from the earlier storm, the Saxons seemed to find it acceptable to leave random objects, even pieces of rubble, lying in the middle of the path.

(pp. 49 – 50)

In this passage, the city represents the way memories are stored in the mind and how one struggles in the search for forgotten memories. When trying to remember something that has been forgotten, it feels like you are wandering aimlessly through streets, trying to recognize patterns which will spark and illuminate the fragment of memory which the mind is trying to bring to the surface. As is often the case, the longer we wander the streets of the mind, the more difficult it becomes to find the lost fragment of memory. Other fragments seem to jut out from nowhere, adding to the frustration.

Trees are often used as symbols for memory, and Ishiguro makes use of that symbol also.

For a moment Wistan appeared lost in thought, following with his eyes one of the gnarled roots stretching from the oak’s trunk and past where he stood, before burrowing itself into the earth.

(p. 110)

Here, the oak tree represents the conscious mind, the part of the psyche that is readily accessible. But below the earth lies the subconscious mind, and the collective consciousness. The roots represent the mind’s attempt to reach into the subconscious and tap into the hidden regions of memory.

The tree symbol segues nicely into the next symbol, which is that of tunnels underground.

They all paused to recover their breaths and look around at their new surroundings. After the long walk with the earth brushing their heads, it was a relief to see the ceiling not only so high above them, but composed of more solid material. Once Sir Gawain had lit the candle again, Axl realised they were in some sort of mausoleum, surrounded by walls bearing traces of murals and Roman letters. Before them a pair of substantial pillars formed a gateway into a further chamber of comparable proportions, and falling across the threshold was an intense pool of moonlight. Its source was not so obvious: perhaps somewhere behind the high arch crossing the two pillars there was an opening which at the moment, by sheer chance, was aligned to receive the moon. The light illuminated much of the moss and fungus on the pillars, as well as a section of the next chamber, whose floor appeared to be covered in rubble, but which Axl soon realised was comprised of a vast layer of bones. Only then did it occur to him that under his feet were more broken skeletons, and that this strange floor extended for the entirety of both chambers.

(p. 170)

The tunnels and underground chambers symbolize the portals into the subconscious. Additionally, the bone fragments represent fragments of memory, pieces of ourselves and of those who lived before us that comprise the collective consciousness. I also interpret the moonbeams entering the chamber as an individual’s glimpse into the hidden regions of the psyche.

The last memory symbol I want to mention is the river.

It was bitingly cold on the river. Broken ice drifted here and there in sheets, but their baskets moved past them with ease, sometimes bumping gently one against the other. The baskets were shaped almost like boats, with a low bow and stern, but had a tendency to rotate, so at times Axl found himself gazing back up the river to the boathouse still visible on the bank.

(p. 226)

The river, or stream, is a common metaphor for consciousness and memory, but what I like about Ishguro’s use here is his inclusion of ice fragments, which conjures similar symbolism from Mary Shelley’s Frankenstein and Coleridge’s Rime of the Ancient Mariner. These ice fragments are shards of memory that are formed from the collective consciousness, yet also melt back into the collective stream of memory and thought. It is the fluid made solid. The random bumping into the fragments suggest that the memories that move into our conscious mind are also random. We really do not have control over the memories which come to the surface. We move along the stream of consciousness, occasionally coming into contact with the shards of memory that also float along the surface.

There is a wealth of other symbols in this book, all woven together in a beautifully written and engaging story. I don’t want to give too much away. I highly recommend this book. It’s both thought provoking and a pleasurable read.

Cheers!

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“Fear: Essential Wisdom for Getting Through the Storm” by Thich Nhat Hanh

So I finished reading this book about a week ago, and today, the day I am writing my draft post, is the day after the shooting at the synagogue in Pittsburgh. I had picked this book for a book club which I started, for which tonight is the first gathering and we will be discussing this book. Anyway, I selected this book because it seemed important and relevant to the current paradigm, which is a fear-focused society. When I read the blurb from the back cover, I knew that this was a timely book to read.

Fear has countless faces: from the fear of failure to worries about everyday life, from financial or environmental uncertainties to the universal despair we all experience when faced by the loss of a friend or loved one. Even when surrounded by all the conditions for happiness, life can feel incomplete when fear keeps us focused on the past and worried about the future. While we all experience fear, it is possible to learn how to avoid having our lives shaped and driven by it. In these pages, Thich Nhat Hanh offers us a timeless path for living fearlessly.

There is such a wealth of wisdom in this short book. I took a lot of notes when I was reading through it. While I can’t cover everything here, I will share some of the passages that stood out for me.

We all experience fear, but if we can look deeply into our fear, we will be able to free ourselves from its grip and touch joy. Fear keeps us focused on the past or worried about the future. If we can acknowledge our fear, we can realize that right now we are okay.

(p. 4)

This is so true. Fear is essentially the disease of “what if.” We look at our past and see what went wrong, and then we look to the future and worry about whether these things will happen again, or if something worse will occur. Our obsession with the past and future causes us to lose touch with the present, which is truly all we really have. The past is gone, and the future is uncertain. Therefore, being present in the now is the best way to avoid becoming overwhelmed by fear.

If we allow ourselves to be overwhelmed by our fears, we will suffer, and the seed of fear in us will grow stronger. But when we are mindful, we use the energy of mindfulness to embrace our fear. Every time fear is embraced by mindfulness, the energy of fear decreases before going back down to the depths of our consciousness as a seed.

(p. 38)

As with everything, if you feed it and nurture it, it will grow. This is also true with fear. The more we feed our fears, the more fearful we become. It is really simple, but unfortunately not that easy. When in the grip of fear, it is difficult to step back, take a breath, accept that you are fearful, and then shift focus to the present, recognizing that at this moment, that which we fear is not an actuality. Something else to keep in mind, prolonged fear often leads to anger and/or despair, both of which are very dangerous mental states. For that reason, it is really important to address fear when it arises, and to do so in a healthy and positive way.

Everyone feels very much the same. Our planet is beset by so much danger. There’s so much violence and suffering in the world. If you allow the plague of helplessness to overwhelm you, you’ll go insane. You want to do something—first of all to survive, and then to help reduce the suffering. And we’ve seen, just as the Buddha saw, that is we don’t have a sangha, we can’t do very much. So we come together and we stick to the sangha through thick and thin, because we know that there is no way out of this situation except with a sangha.

(p. 122)

A sangha is, for all intents and purposes, a community. So what Thich Nhat Hanh is saying here is that being involved in community is the best way for us to deal with our collective fear and suffering. Isolation only breeds more fear. When we separate ourselves from our neighbors and our communities, we begin to look at people as “others,” and become suspicious of them. This leads to fear, which only deepens our isolation. It is a vicious cycle that can only be broken by open communication, acceptance, and community.

This book is a quick read (only 164 pages). I highly recommend reading it. Even if the ideas are already familiar to you, it is good to reinforce them.

Thanks for stopping by, and keep on reading!

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