Sublime

But sometimes, as in the tale, a woman’s creative life is taken over by something that wants to manufacture things of and for ego only, things which have no lasting soul-worth.

the great work before us is to learn to understand what around and about us and what within us must live, and what must die. Our work is to apprehend the timing of both; to allow what must die to die, and what must live to live.

They only need to be set in the right direction, which is always down, down into one’s own work, down into one’s own inner life, down through that tunnel to the lair.

The Four Rabbinim

In my “farthest-back” culture, although we bridge the modern world, there is at the root a timeless storyteller legacy, wherein one teller hands down his or her stories and the knowledge of the medicine in them to one or more las semillas “seed” persons. “Seeds” are people “who have the gift from birth onward.” They are the future story-keeps whom

I am a strong supporter of those who bring back the stories of their heritages, preserving them, saving them from death by neglect. Of course, it is the old people who are the bones of the entire healing and spiritual structures everywhere on the face of the earth.

the hag-maiden, she shows us what it means to be, not withered, but wizened. Babies are born wizened with instinct. They know in their bones what is right and what to do about it. It is innate. If a woman holds on to this gift of being old while she is young and young while she is old, she will always know what comes next. If she has lost it, she c

I have been studying archetypal patterns for some twenty-five years, and myths, fairy tales, and folklore from my familial cultures for twice as long. I have learnt a vast body of knowledge about the bones of stories, and know when and where the bones are missing in a story.

The Scapecoat