I got the seed for this post from a post on Facebook by J'aime ona Pangaia titled You, Me and Harry Potter.
As you read the book in your hands, you follow Harry Potter’s journey from indistinct and unloved orphan to powerful wizard. The words take life in your mind, and Harry learns his craft, battling dark forces that killed his parents, forces that now threaten the world. He pursues adventures with friends, suffers setbacks, makes decisions and enjoys or endures consequences. It seems this Harry leads an extraordinary life.
In a moment of pause, still feeling the book in your hands, you might catch your flowing thoughts and ask, ‘What does this Harry Potter experience?’ The book’s weight on your palms might remind you that Harry Potter, the boy wizard, the beloved character of J.K. Rowling’s ultra-successful fantasy series, experiences nothing. This Harry is a fictional character that Ms. Rowling, through the medium of her words, has created. He is, in one sense, nothing more than curved patterns of lines on a page, patterns that conform to an alphabet, language and grammar that have meaning to you. While Harry exists as this beguiling character, he does not exist as that which the story makes him out to be - a real boy wizard in the real world, a boy who experiences what is happening like you do.
In another sense, we might say that Harry is not these words but rather the composite character that the words, together with your imagination and memory, create within you. If any experience is being had here, then you are the one having it. You are experiencing Harry’s adventure and that of the other characters in a way determined by the interplay of Ms. Rowling’s text and your mind. Because you are sitting in a chair and reading rather than rushing about a magical castle-school, that experience differs not only in content from your everyday life but also in colour and texture. Although in many ways it feels ‘real,’ its nature is clearly different from your full-sensory lived experience.
You might rub the pages between your fingers as you consider four components to this reading-Harry-experience of yours: the author, the medium, the story and the experiencer. J.K. Rowling authored the story of Harry’s adventures. Ms. Rowling’s brilliant mind conjured Harry and the entire environment in which his life unfolds. From a verdant well within her, the story blooms. Although she almost certainly draws on personal experience, proclivities and perspectives to create this work of art, although it has come and could have come only from her, she knows that she is not the story. She knows that the story is not her life.
What emerges physically from J.K. Rowling’s hand is words in patterns on paper pages. This is the medium through which she transmits the story to you. Through your eyes, you absorb the patterns, and thereby the story. The nature of the medium influences the story and your eventual experience of it.
The story folded into these words is rich. It includes Harry - descriptions of him and his actions, a privileged view into his thoughts and feelings, perceptions from his point of view. Multiple other characters move through the story, and you may gain access to their perspectives as well as a ‘God’s eye’ view of some action. A whole world of sights, sounds, sensations, emotions, actions, decisions, happenings, things, people and strange creatures is woven into the medium of squiggles on paper.
Harry as a character is part of that weave. It is obvious when you think about it that he cannot move separately from it. If J.K. Rowling writes, ‘Harry ran down the stairs,’ then that is exactly what Harry does. If she had written, ‘Harry decided to leave magic behind and become an accountant,’ then Harry would have decided just that. J.K.’s words on the page dictate the story’s every detail, which is what Harry’s life and the unfolding of everything in his world are. Harry and the other characters are not free; the story binds them.
At the receiving end of this chain of story transmission, you, the reader, sit. Your eyes and mind conjure a final alchemical transformation. What began as thought sprung from a creative well in the author, what made its way to you encoded as ink on paper, transmutes into experience. The words on the page interact with your mind, which is to say with your history, your way of making meaning, your assumptions, your quirks, to create a unique instance of J.K. Rowling’s story, to bring Harry and his world to life. This life is known only by you and only as the private experience in you as you read. Harry, his friends and his enemies experience nothing; only you as the reader experience the story. The story lives in you.
When you read of Harry’s sadness as he thinks of his lost parents, of his pain as the Hogwarts headmistress makes him write with that pen that carves its message into his skin, of his mortal peril as monsters corner him, you feel strong sensations and emotions, both for Harry and on his behalf. Deep down, though, you know that there is no Harry to experience these pains in the way a real human does. Although you can enjoy being swept up by his story, you recognise deep down that you are not Harry, so the nature of your experience is not the same as if the real you were sad, terrified or pained like the character is. You as the experiencer of the story are close enough for it to entertain you but not so close as to make you mistake yourself for Harry or to believe that the story’s ups and downs are your own. The story binds its characters, but you as the reader remain free.
Not all stories arrive by written word. Tennessee Williams wrote A Streetcar Named Desire for performance on the stage. A creative wave issuing from him and traveling through time joined more recent ones from a director, costume designer, set designer and others to form a live audio-visual offering to today’s seated public. The playwright's submission does not complete the creative, pre-performance input. An entire team, with the playwright to the fore, replaces J.K. Rowling’s solitary role in generating the content and setting.
And we might include the actors who play each character within the creative team, for create they do. But we might also consider them as part of the medium. It is through their words, facial expressions and actions, in the crafted setting of the stage and theatre, sporting costumes, employing props and furnishings, that the story unfolds. Their performance and the setting in which it takes place are the medium in this artistic form.
When Blanche Dubois utters, ‘Whoever you are… I have always depended on the kindness of strangers,’ the words, born of Tennessee Williams, do not reach you through quotation marks on a page, but in the voice of Vivien Leigh. Vivien has latitude in her tonal and bodily expression when delivering this line, but except in limited cases of artistic licence, Mr. Williams’s script binds her.
Vivien plays Blanche, but she is not Blanche. At the end of the performance, she will step from her role and engage in her offstage life. Even onstage, we might suppose that her thoughts, when she is less actively engaged in the scene’s action, browse any number of topics that have nothing to do with the play. She knows that she is not Blanche, and she maintains a personal distance from the great trauma and turmoil that Blanche suffers in the play. When Blanche is humiliated, raped or led away to an asylum, Vivien does not suffer. She must be able to get very close to Blanche’s feelings, words and movements so as to play her role convincingly, but we would have to pronounce her mad if she took herself to be Blanche, if she fused with the character itself. Vivien’s experience is not Blanche’s but that of playing Blanche.
Let’s turn to the story, and within it, to Blanche herself. Like Harry in your book, the character of Blanche is more inescapably defined than Vivien is as an actress, for Blanche can only be what the summed creative efforts of the playwright, the director and the actor dictate that she is. Blanche is not free. Blanche cannot wonder, ‘Is it Vivien Leigh who is playing me tonight?’ unless Vivien Leigh utters the question for her, and that may be somewhat greater artistic licence than the director would allow in diverging from Tennessee Williams’s creation.
Your experience, sitting in the audience, differs from what it would be if you read A Streetcar Named Desire from the page, differs from how you experienced Harry’s story. Whereas you could access much of Harry’s inner world, you only have access to what Blanche externalises through words or body language. You watch and hear the events taking place on the stage rather than looking at squiggles on a page. Perhaps this gives more vivid visual and auditory experience than your imagination mustered when you read the descriptions of Harry’s surroundings and events. Perhaps it leaves less to your imagination to fill in?
Still, the final step in the chain, the step whereby the entire production becomes your experience of it, happens within you. Your eyes and ears take the story in, and your mind does the rest. Because it is your mind, the creative merging of the ‘raw’ story with it generates a unique experience - not an experience, like one of the actors, of playing one of the characters, but rather an experience of the story as a whole. If the story is a powerful one, if it is one that resonates with you, if your state of mind this evening is one that lends itself to immersion in the story, then it will move you deeply. You will have strong feelings of empathy with some characters, judgment of others. But you’ll not mistake yourself for Blanche or any other character in the story, and you’ll not mistake this story for your own. You experience it in an individual way no one else will, but it does not capture you completely. At evening’s end, you will leave the theater and proceed with your own story. As the audience, the experiencer, you remain free.
Mike26 is your avatar’s name in a near-future version of Call of Duty: Battle Sense, a multi-player online game. In Battle Sense, your avatar fights alongside other avatars and pre-programmed but flexible characters. The enemy unit is populated the same way. Behind each avatar is a human player, who may be sitting anywhere in the world, connected via the internet to the centralised game engine. Stealthy patrols, devastating raids and pitched battles fill your game time, fill Mike26’s life.
Battle Sense is the product of a delicately balanced creative process of agile design and development that tip-toes the line between structure and openness. Hundreds of software engineers and designers contribute to the game world’s birth, to the pre-programmed characters, to the avatars the players adopt and adapt, finally to the dynamic engine that, along with the real-time input of the human players around the world, dictates how the game unfolds second-by-second. The authorship of any period of gameplay is therefore highly distributed, both across the team that created the product and among the players currently sharing it. This story has virtually countless parents.
The medium through which the story evolves is paradoxical. On the one hand, the product that the engineers and designers create is a static collection of binary information: 1s and 0s storable in a small box that you could hold in one palm. On the other, it is a womb of structured potential that can manifest in unpredictable ways depending on players’ actions. It is, in a sense, both static and dynamic. Its resting state encodes movement.
The name Battle Sense comes from its five-sense immersion. Players wear virtual reality headsets, noise-cancelling headphones and haptic bodysuits. They hold small, refillable bluetooth lozenges in their mouths and sit near a refillable vaporiser. All of this means that they experience all five senses from the perspective of their avatar in the game. When Mike26 takes a punch to the mouth, you taste blood. When a grenade explodes twenty-five meters away, you not only hear the deafening blast but feel its shockwave and smell the lingering cordite. You see the whole scene only through his eyes. You hear the avatars’ voices, each with a live human voice behind it. Mixed among them are the shouts and utterances of the game’s pre-programmed characters.
The story here is a series of realistic battle scenes in which your actions and those of your fellow players determine the outcome. You see colleagues die. Your own injuries hamper your movement and sap your strength. You take enemies’ lives. Through occasional accidents as happen in all war, you even extinguish the lives of your own comrades. All around you swirl death and destruction. Sometimes, oblivion taps you on the shoulder: Mike26 perishes, and you wait out the remainder of the scene on the sidelines, reliant on the game for a regeneration. The game world cheats the real world by giving your Mike26 countless lives.
Eventually, in each scene, one side emerges victorious, and the scenario shuffles forward to a logical next stage. Mike26 is not free. You control him. Considered more carefully, your control is only partial, for his life is also constantly influenced by the actions of the other players and by the intricate lines of binary code that determine the unfolding of the game. In truth, what is happening with Mike26 in any moment cannot be disentangled from what is happening in the game as a whole. In any moment, the game state determines Mike26’s state.
Connected, watching, listening, deciding, feeling, tasting, smelling, you sit and experience technology’s best approximation of the fictitious Mike26’s life. The depth to which the game places you ‘within’ Mike 26 is impressive and unprecedented. In so many ways, you are experiencing him and his life. You are ‘wearing’ and ‘driving’ him. His part in the unfolding of the Battle Sense story is, to a large degree, what you experience. And you are the only one who experiences it; of course Mike26, as a computer avatar, experiences nothing.
Still, as you remove your game gear and step out for a bite to eat, you consider how your experience falls short of perfect immersion. Setting aside any sensory imperfections, you focus on the most obvious aspects of experience that always remain yours rather than Mike26’s: your thoughts, your feelings, your memories, emotions and preferences, your hopes and intentions. Because of these and other personal specifics, the experience you have is different from what any other ‘driver’ of Mike26 would have. As a person, your experience derives from the collision of the ‘raw’ input to your senses from the game with your conditioned mind.
The intimacy of your Mike26 experience is certainly greater than your Blanche experience and probably greater than your Harry one. Yet you always retain a degree of distance from identification with Mike26. Your identity doesn’t meld with this character. You know that you are distinct from these experiences. As a person, you have one foot solidly outside the game world and can contrast the game world with your own. You experience Mike26, but you are not him.
You sleep peacefully next to your partner under your favourite duvet, and you dream. In your dream, DreamYou is walking to class. DreamYou meets your friend, and you head to English class together. She mentions in passing that she was up all night completing her term paper. A knot forms in DreamYou’s gut as they step into class. The teacher welcomes everyone and announces that he’ll be collecting all term essays at the end of the period. DreamYou now fully realises that they’ve completely forgotten to start, let alone finish, their ten-thousand word essay, which makes up most of the course grade.
You are the sole creator, the lone author of this story. It arises from the creative spring of your mind. Every detailed aspect of the dream is exactly as it is because your mind calls it into being. And yet, you don’t create it through any conscious effort or decision. You don’t decide that DreamYou will forget the paper; you don’t will the mistake into existence. Although you are the author, your creativity arises spontaneously. The dream issues effortlessly from you.
What is the dream’s medium? Of what is it made? You’ve never really considered it before, but this and all dreams play out in your mind and seem to be made of nothing but your mind. There are no hardcopy materials, no screens or stages, no computers or speakers. The entire story unfolds within you.
That story involves DreamYou, which during the dream seems to be you. But the story also involves your friend and your teacher. And both of these characters, just as surely as DreamYou, exist only in your mind and are made solely of your mind, as is the classroom and hallways you walk with your friend. Isn’t it interesting, though, how, when you tell your partner in bed the next morning and then your work colleagues later in the day about the dream, they all say they’ve had one just like it? So perhaps, though made only of your mind, the dream has also existed with small variations in and been made of countless other minds!
You as the sleeping dreamer are the experiencer of the dream. DreamYou experiences nothing. DreamYou is an aspect of the dream, a sliver of what is experienced, a character in the story. Only you as the dreamer ‘hear’ the dream words, ‘see’ the dream images and ‘feel’ the dream anxiety. What’s more, during the dream, DreamYou is absolutely certain they are you. It doesn’t even arise as a question in the dream. Yet, upon waking, it is just as obvious that DreamYou was not and is not you. You are too old to be in high school English class. You have no paper due today. You are not in trouble. You needn’t worry.
That sinking feeling, that escalating anxiety as DreamYou realised they had forgotten the assignment, was something you experienced, but now you realise that, even then, at the time of the dream itself, there was nothing for the real you to worry about. The unpreparedness in the dream was never a threat to you as the dreamer; it was only a problem for DreamYou. Having woken, you realise things are fine and that things were equally fine even as you slept and experienced an anxious dream, a disturbing story.
You don’t have to scold DreamYou. No need to admonish, ‘How could you have been so silly?!?’ DreamYou couldn’t help it. They were just a character in the dream, in the story that existed within and was composed of your mind. DreamYou could do no differently than they did. DreamYou was not mistaken. As the character, they were bound by your mental creation of them; they were simply being themselves as they were.
DreamYou knows nothing of you the dreamer, because they know nothing at all. They cannot understand you, because they understand nothing outside the context of the understanding you give them within your dream. They are a character whose composition may include ideas about a higher level reality, but those ideas, if they are present in DreamYou’s ‘mind’, are there only because the real you dreams them.
You needn’t be disappointed in yourself either, ‘How could I have mistaken myself for that dream character?’ You didn’t mistake yourself for the dream character at all. You were simply the experiencer of the dream, and the dream was a story in the first person from the perspective of the main character, DreamYou. You experienced the story with perfect clarity and accuracy. It’s just that the story contained the strong sense of subjectivity that the main character was a conscious self with a will, a history, preferences, senses and thoughts. Upon waking, you realise the illusory nature of that sense, but within the dream, there was no perspective from which to see this. The perspective is part of the story. There is no perspective from outside while experiencing the dream, only once it ends.
You were not mistaken. You experienced your dream exactly as it was.
Now, something to consider.
What if the you who dreamed the DreamYou above is really a DreamYou itself? What if that which you’ve always taken yourself to be is not actually a subject at all, is not the experiencer, the knower of your life? What if that personal you is a DreamYou and therefore an object of experience in a greater consciousness?
Would this be scary? Does it mean you don’t really exist? Wouldn’t it instead, since you rather than the person you’ve taken yourself to be? Let’s consider it as we did the previous scenarios: author, medium, story, experiencer (reader, audience, player, dreamer).
In this scenario, the ‘greater consciousness’, which is You (capitalised here onward), is the author of the story. Like in the dream scenario, this author is the creator in the sense that the entire story arises from the well of potential that You are, but You do not choose how the story unfolds, do not sculpt its details through design decisions. You are the author, but not in the sense of a dictating director expressing a will. No, rather as pure creativity, infinite potential. This greater consciousness (which is really the only consciousness) that You are, is not a person drawing on preferences, experiences and imagination to create. You draw from your own essence - unbounded freedom and creativity.
Of what is the story made? On what page is it written? What is its medium? It is made of experience. It is experience. The story is the experience of the story, the experience of itself. And that experience is made of nothing other than the greater consciousness itself. It is nothing other than You. You are both the creator and the medium of the story.
This story is, from the perspective of the person (now recognised as a character) you once took yourself to be, absolutely comprehensive. It is your personal life. It is everything that happens, everything experienced from that personal perspective, across every second of the life that that experience constitutes. The story is a personal life including the person itself, all the other characters and the entire environment in which the life unfolds. From the personal perspective, the story is life, reality, manifestation, the universe, everything.
Yet, the person is part of the story. The person is, like the rest of the story, experienced. It is not the experiencer. It, the person, is not You. You are the experiencer of the story, of life, of reality, of manifestation, the universe, everything. If your personal name is Bob Smith, then consider that Bob Smith experiences nothing. Only You experience Bob Smith, his life, the story of which he is the main character.
You are this greater consciousness that is not any thing, is no thing, is nothing. None of the particulars of the story apply to or limit You. You are no object that has defining properties. All objects and properties arise in You, all are composed of You. You experience all properties but are bound by none.
Yet, because the story is composed of nothing but this consciousness, this experiencing, You are everything. You are nothing in the story, yet You are everything in the story. The story is created by You, composed of You and experienced or known by You. The story is Your experiencing of Yourself. Consider too that, since all that differentiates Bob Smith and his life from any other character from any other life, all that differentiates any story from another, is detail, limiting and defining properties that apply in different measure and in different combinations in one story than in another, You, this experiencing consciousness, are the same You that experiences all main characters, the subject behind all perspectives, the author, medium and experiencier of all stories.
In the previous scenario, the dreamer was a person. That person awoke to a more fundamental level of reality. From that waking level, the person could assess the dream ‘from the outside’. The person could realise from outside that DreamPerson was not the real person. The person could compare the dream to other dreams and to waking life. The person could analyse it, consider alternatives to it, judge it.
In the current scenario, which is to say in reality, a greater intelligence, You, experience all stories, but experience each only from the inside. This is why Bob Smith is unable to know, can only guess at, Sally Brown’s experience. You know every story by experiencing it, but Your only experience, aside from the eventless knowing of Your eternal stillness, is through one or other of the countless stories, from countless different personal perspectives, that spool from Your creative heart. You are none of these people, but each of them exists only in and as You.
These stories. These endlessly varied, uncountable, comprehensive lives and perspectives are each whole and perfect, as is Your knowing of them.
Bob Smith may be accepting or judgmental, but You as the experiencer of his life accept every aspect of the story that arises within and as You, including Bob’s acceptance or judgment. All judgment, like its opposite, sits with Your perfect acceptance. Anything that exists, exists only because You have accepted it.
Bob may understand his current situation, or he may be confused, but You as the knower of his experience see this understanding or confusion with perfect clarity. All confusion, like its opposite, sits within Your perfect clarity.
Bob may seek pleasure and avoid pain, but You know his seeking, his avoidance, his pleasure and his pain without concern or preference. All pain, like its opposite, sits within Your perfect peace. All preferences and aversions sit within Your unjudging awareness.
Bob may struggle or he may rest in the flow of life, but You know his struggle or ease with absolute effortlessness. All struggle and effort, like its opposite, sits within Your perfect ease. All that happens, including the feelings and thoughts of effort and struggle, happens with no effort whatsoever.
Bob’s travels might take him to remote continents. He might even traverse the stars to distant galaxies. All locations and space itself lie within Your dimensionless infinitude. You occupy no space but hold all space enfolded within Your experiential field.
Bob may be virtuous or sinful, good or evil, but You know his good or evil from beyond good and evil. All good and evil, all love and hate, sits within Your unconditional, welcoming love, a love that says Yes to all that arises to, in and as You, a love that blesses all with Your radiant awareness.
Bob makes decisions, exerts influence, exercises his will. But all decision and action sits within the flow of manifestation arising from the creativity of Your unbounded freedom. Bob is free to be exactly as he is. You are freedom itself, the field of limitless potential and all possible manifestation.
Yesterday, Bob may have been ignorant of his own true nature as You. Today, he may have realised that nature and awakened to his true self as You. But Bob always is You, whether he realises it or not. You are untouched by Bob’s or any character’s ignorance or enlightenment. Enlightenment, like happiness, wealth and virtue, are for the persons, the characters; they are not for You but in You.
Bob was born and will die, but You know his and all birth and death, and You see each moment of every life eternally. All birth, death, movement and even time itself exist within Your eternal stillness.
You seem to be a person living out an amazing story. You seem that way because that is what the story is. All that You experience is through story, not from outside it, looking in. The story is You.
You experience Yourself, and thereby the world is born - not once and for all but in every moment of existence. All that can possibly happen awaits manifestation in Your infinite well of potential. Yet no story truly waits, because You bless each eternally with Your creative, radiant awareness. Every moment, from every perspective, spontaneously arises and instantaneously passes, side-by-side, in the timeless blessing of Your presence.
You are. I am.
All that follows is my amateur attempt to synthesise what I've taken from Matt Licata's The Path is Everywhere. I do add a few of my own twists, so don't hold Matt accountable for any silliness you discover here...
As a young child, I was by nature drawn to connection with those around me. In fact, in my early development I was dependent on their acceptance, recognition and affection. I had no fear that these were contingent, no worry that my love would go unanswered.
Then, life happened, and I learned from my experience. Bear in mind that I was raised in a safe, healthy, loving, stable household like many children can only dream of. Still, my experiential learning in those early days included shocking, life-changing lessons.
It taught me that behaving in certain ways, displaying particular emotions, saying the wrong thing meant that one or more of those on whose love I depended rejected me, failed to see me as I was, withheld (even for the briefest moment) their precious affection. Behaving in other ways won these most desired prizes in special measure.
As a vulnerable little thing, I learned that I was not safe but was at risk of chronic misunderstanding, rejection and abandonment. As a charitably minded little thing, I knew that these precious, loving people around me would not do this without good reason. As an adaptive, capable little thing, I learned that while in some ways I was good, there was something fundamentally wrong with me. It became clear that I was unworthy of the very thing for which I most yearned, love.
One term for this package of good things of which I was incapable or undeserving and bad things that I'd identified as the sources of my undeservingness is the shadow. In my simple mind, I think of it as: Me (the big, whole masterpiece that I am) minus this shadow equals me (the limited, 'acceptable' bit of Me that seems to stand a better chance of being loved and a lesser chance of being abandoned).
The whole process of splitting (self-abandonment) that I've awkwardly summarised was the right thing for me to do at the time, given the capabilities I had as a young child. It was not a mistake or a crime.
My best guess is that everything I've said above applies no more to me than it does to everyone else alive, although the specifics of what one shunts away into shadow differs by culture and by individual. Well, I guess everything above except that I was lucky enough to be in a peaceful, stable, loving household. Too many (and one is too many) children did not have that good fortune.
Nor were the activities of the loving circle of people around me, their behaviour that preceded my splitting myself in this way, cosmic fuck ups. Those behaviours were simply adults carrying out the process that I'll now describe for my adult self. They were acting from a standpoint of their 'me' rather than their 'Me'. But as I'll discuss a bit further, the shadow - theirs, mine and yours - is part of the world, part of reality, and it WILL always find its way into the light of day, no matter how much we seek to sequester it in the dungeon.
As an adult, I now possess, although for much of my life I did not recognise it, a richer set of capabilities for relating to the world than my young child self did. Not recognising this, however, I've spent decades relying on the once-appropriate child's toolbox anytime the splinters of me that that child hid away pop up to present themselves. These visits by members of the shadow community can appear as 'internal' experiences or as my filtering and interpretation of 'external experiences', including the words and actions of other people.
My replaying of the child's solution results in my turning / running from these visitors. This doesn't make me a bad person, and there is no reason for me to beat myself up about it.
But one might ask, why are these splinters visiting? Their visit is a necessity. They are part of reality, part of Me. As a child grasping for solutions, I tried to tuck them away as if they didn't exist, but that didn't change reality. Reality and the big Me are too magnificent to be bottled in such a way. These splinters know all too well that they are part of Me. Their recognition of their unity with me, coupled with their inescapable longing to rejoin me to re-organise as Me, is Love.
Yet, the visits are always uncomfortable for me. This discomfort tends to be the trigger that activates my 'autoplay' of the childhood strategy of avoidance. So what am I to do? What is one to do? Well, there are whole books, including Matt's excellent one, written about that.
My short oversimplification is that I can use those very same triggers, my noticing of sensations of discomfort in my own body, as signals to alert me to an alternative response. The good news is that, in one sense, there is nothing I have to do in lieu of my habituated avoidance response. The invitation that these signals issue is to sit with and hold, in a gentle, loving, non-judging way, those visitors, not seeking to do anything with them. I do this by sitting with the physical discomfort that announces and constitutes them - only for as long as I can. It may be just a few seconds at first.
These few seconds of sitting with and holding the discomfort of these visits from the shadow allow me to see that they don't constitute an existential threat to me. I can survive them. Bit by bit, slowly, patiently, gently over weeks, months and years, I can welcome and re-integrate more and more of the historical visitors back into Me. At some point, it becomes apparent that these visitors were never outside of Me; it was only me who thought so. These visitors are part of life, and I love Matt's quote:
Life is not a problem to be solved but a mystery to be lived.
This doesn't culminate in a finish line, beyond which all is rosy and smooth. We don't purchase or earn exemption from the tough side of life. We don't buy certainty. Life remains mystery. Reality includes all opposites. Even once all historical visitors have been welcomed home, reality will send us guests. A life lived with the gentle, loving openness I've described isn't one in which reality filters out the unwanted guests for us. It is one in which we are increasingly able to welcome all guests, even the ones who bear discomfort and seeming threat in their arms.
And perhaps, in time, it becomes clear that this reality that sends the guests and this Me who welcomes them are the same undivided whole. And that recognition of wholeness, too, is Love.
Dear Martin nearly chokes on his milk and honey shake when he sees none other than St. Peter strolling across Paradise Square toward Angel Burger.
"St. Peter, aren't you meant to be at the Pearly Gate?"
"Greetings, Dear Martin. No, no. I've made myself redundant. I must say, I'm enjoying the leisure time and the chance to see a bit more of Heaven. The Gate is beautiful, but running immigration control for eternity isn't as easy as it looks."
"But who is looking after the Gate, making the delicate judgements as to who shall join us from Earth?"
"No one! The Gate's been shut. And none too soon, I'll say. We've finally said 'Enough is enough,' and fortified ourselves against the migrants from earth and other shit hole mortal realms. Haven't you been reading the scrolls? Does the term 'Heaxit' ring a bell? We're ridding ourselves of burdensome associations with outsiders."
"But St. Peter, what hope do mortals have without access to Heaven? What do they have to work toward? What to prove their worthiness for? How shall the last be first and so on?"
"Dear Martin, we've replaced the concepts of good and bad as qualification for entry. Henceforth, worthiness will be based on origin. It's infinitely simpler. "
"Which origins are acceptable?"
"Ours. Unless one arrives by private jet."
"But is that fair?
"What could be more obvious? If they deserved to be here, they already would be!"
"But aren't we, you and I, all of us, just lucky to have arrived earlier?"
"Dear Martin, I prefer to think that we made our own luck. I mean, just look at them! They are so, so... how do I put this? DIFFERENT! No wings, disturbing solidity where there should be translucence. They don't even have the courtesy to speak Cherubic! Need I go on?"
"What is to become of the human race, St. Peter?"
"Is that our concern? They should just sort out their own realm. Okay, it's not like I completely lack feeling for them, but our priority has got to be making Heaven great again. We've got to protect our original, true Heavenly culture."
"St. Peter, this doesn't sound at all like Heaven's way. If you'll forgive my saying so, it sounds like something from Uranus."
Untroubled, St. Peter strides away, over the unmarked mass graves of the aboriginal celestials, from whom the angels liberated Heaven so long ago. He studiously ignores the scattered brimstone that increasingly litters the once cloudy undulations of the Elysian Fields.
I've been reading Michael A. Singer's The Untethered Soul, in which he expresses the need for openness very well. My paraphrase of what I take as his central message is, "All fortresses are also prisons."
We erect and occupy fortresses - be they physical, emotional, intellectual, psychological or ideological - to protect us from something outside them. And what are we protecting? Ourselves, which is to say our selves, our egos. Our egoic fortresses are the assembled constructs - collections of images, narratives and labels - that give us the impression of solidity, durability and independence from the flux of change that surrounds us. We hide in these redoubts in the hope of defining a realm of control within a vast sea in which we recognise we have none. We cower in them for comfort.
These bunkers of self-definition need constant maintenance to keep them from crumbling. The insistent flow of reality splashes against them and drags at their foundations incessantly. What else do we expect to happen when we try to set fixed positions in a reality that rushes, dancing and laughing, at and past it in perpetual renewal? Our tenets and definitions of self, based on past pain and pleasure, now frozen, cannot help but conflict with ever-evolving reality. Which do you think wins?
But let's come back to the twin-faced nature of these citadels. How are they also prisons? Do we not see that, however effective they are in keeping out the things that might cause us pain or discomfort, they are at least as effective at denying us access to much beyond the walls that would bring us delight. Our fortresses protect our comfort at the cost of our freedom. Avoiding exposure to that which we fear, we equally cut ourselves off from much for which we yearn.
Alas, we cannot have both untroubled comfort and the freedom to recognise our own peace and wholeness.
You can read Singer, who says all of this so much better, for yourself, but I'll let you in on some good news. These fortresses are a simple matter (not the same as an easy task) to bring down. The world itself, the collision of reality against the fortress walls, will bring them down, if only we will stop shoring them back up. A further happy truth: our repair of these walls has been soaking up untold amounts of our life energy, and all of that becomes available to us if we can relax and release from our defense of them.
The Kindle version of Phil Grimm's Progress is currently #2 in the Kindle bestseller list for Religious/Inspirational Science Fiction & Fantasy.
If you don't have a copy yet, it's on free promotion this week on Amazon.
My modern myth for anxious times, Phil Grimm's Progress is now out in paperback as well as through Kindle Books.
Some (many?) of you don't have an eReader. I'm no longer discriminating against you. Give it a go, and use Amazon reviews or Goodreads to let me know what you think.
The Non-dualogues share the conversations between slumberfogey and the pilgrim, in slumberfogey’s flat in London. Occasionally, the pilgrim brings friends, who join in the discussion.
slumberfogey: Pilgrim! Hello. It's been a while.
pilgrim: Hi slumberfogey. I was afraid you wouldn't remember me. I've had a lot going on, so I haven't been able to visit. But I have managed to do some of my homework.
s: Looking for boundaries in your experience?
p: Yep, but I never really found any. Was I supposed to?
s: You know what? I'd like to put boundaries aside this week and talk about freedom.
p: Okay, man. It's a free country. (Pun intended.)
s: Readers are going to think my old man humour is contagious. Now, remind me who you are. I need to see whether we need to backtrack at all after our break.
p: I don't think we do! I am the experiencer of my experience. I'm that which knows, is aware of, what is happening: all the thoughts, perceptions and ideas that flow constantly through my life.
s: Excellent! And when we do pick back up on boundaries, we'll investigate the nature of the relationship between your experience (aka what is happening) and you (the experiencer of what is happening). We'll look for the boundary between them.
But first, there's a fair bit that follows naturally from your re-orientation of who you are, and I'd like us to investigate those implications. They are revolutionary.
p: Sounds great. Here's your tea. So, what are the 'so whats' of my discovery that what I am is the experiencer of what is happening?
s: First, let's adopt a bit of shorthand. "The experiencer of what is happening" is a bit of a mouthful, so let's say that you are the Witness, that is, the witness of your experience.
p: Okay. I'm the Witness. What next?
s: Summarise what you know about yourself, about the Witness.
p: Uh-oh. Is this one of those moments when I feel really stupid while you quiz me?
s: You can't be stupid. That's one of the 'so whats.' Anyway, start with what you know the Witness is not.
p: Okay, it's not a thought, a perception or a sensation, or any combination of them.
s: Why do you say that?
p: Because those are all objects. I (the Witness) am not an object at all. I am pure subjectivity. That's why when I really, carefully search for myself, I come up empty. Only objects can be 'seen.' Subjectivity can't.
s: Spot on, PIlgrim! Now let's look at the radical nature of the freedom that the Witness's pure subjectivity implies for you.
p: Okay. Let's.
p: Oh. So you want me to pick it up? Um. Okay, yeah. Radical freedom. Yeah. It makes me feel like I'm... um... really free(?).
s: Sounds like some hints are in order. If we, for the purposes of today's discussion, split life into two halves - what is happening on the one hand and the Witness that experiences it on the other - what verbs 'live' in each half? Starting with the Witness 'half,' what verbs can the Witness be the subject of?
p: Well, the Witness can witness, which is basically to observe or to experience. Breaking that down, I guess the witness can see, hear, smell, feel, taste, think, remember. How am I doing?
s: Great, as always. But I think you might have overshot things a bit, while simultaneously leaving one huge one out. To be clear about what sits where, it's probably most helpful to think of seeing as 'experiencing a visual object,' hearing as 'experiencing an auditory object,' etc. Do you see what I mean?
p: I don't know why that's more helpful, but I'm fine with boiling them down to experience. So does that mean that I've basically identified one Witness verb - experiencing - and I'm missing one other big one? I can't think of what else it could be.
s: That's right. You've nailed the experiencing aspect of the Witness. The second is that it can be. It is. See what I mean?
p: Not really, I thought you said the Witness isn't any object that can be seen or experienced. But I guess it must exist if it is what I am.
s: There is a subtle distinction between the verbs to exist and to be, which we won't dive into now, but yes, since the Witness is what you are, it is. It can be the subject of the verb 'to be.' So, the Witness can experience and it can be. It's important to see that all other verbs are contained in the flow, the existence of what is happening - the other half of the equation. The Witness does not 'do' any of those other things.
p: I'm only vaguely with you, slumberfogey. That's certainly not the way I feel. I mean, if I'm the Witness, I certainly feel like I eat, think, walk, decide, intend, regret and a million other activities.
s: I don't disagree at all that it feels that way. I also don't expect you to just take my words at face value. But in the coming weeks, re-visit them and have them in mind as you go about life. Don't forget how comprehensive What Is Happening is. It is literally everything that occurs. You, as the Witness experience What Is Happening. The tastes, textures and other sensations of eating, along with the memories it evokes and the other thoughts that arise with it, including the subtle, underlying feeling that you are a person, a body-mind, are all part of the flow of What Is Happening. You, as the Witness, experience them.
p: I'll keep it in mind and see what my experience tells me.
s: I can't ask for anything more! So, you, as the Witness don't carry out any activities other than being and experiencing. How about as an object? What verbs can the Witness be an object of? If a boy kicks a can, then the can is the object of the verb 'to kick.' How about the Witness?
p: Well, we've already said that it's not an object at all. If that's right (and I still need to play around with this) then it's not the object of any verb. In your example, the kicking happens to the can, but in the grand scheme, What Is Happening doesn't happen to the Witness. Is that right? And yet, the Witness experiences it, so doesn't that mean What Is Happening happens to the Witness after all?
s: You'll need to experiment with it, but what I've found is that What Is Happening doesn't happen to the Witness but arises to the Witness's awareness. (Actually, the Witness IS awareness, but we'll leave that aside for now. Even this 'arising to' will update as we look at the relationship between the Witness and What Is Happening, as your understanding deepens.) So, I've asserted, and it's up to you to experiment and test, that the Witness is neither the subject (the 'doer') nor the object (the 'recipient') of any activity, of anything that is happening, of What Is Happening.
p: Almost like someone watching a film or a play.
s: Very well put! Or someone dreaming. That's the Witness, and that is you. Now, what do you think all of this might have to do with freedom?
p: Oh, that's right! You said freedom was our topic for today. I'm not sure, to be honest. That the Witness is free from being the subject or the object of anything that is happening?
s: Yes! Remember when I loosely substituted 'doer' for subject a minute ago? And 'recipient' for object? What things come with being the doer and recipient, respectively?
p: The doer is responsible, and the recipient bears consequences. Are you saying that the Witness is, that I am, free of responsibility and consequence? That sounds like a proposition that would - if everyone believed it - undermine morality, justice and social order, for a start!
s: Only if it's misunderstood. We're stating things quite bluntly at the moment. It's very important to remember that this freedom applies to you AS THE WITNESS, not to 'you' as a person, a body-mind. You are NOT a body-mind. The body-mind is a fragment of What Is Happening. It is on that side of the equation that conditions, limits and unfolding process exist. The Witness, that which you are, is free of all that. But... when What Is Happening includes the understanding that the Witness is the only experiencer and that the Witness is free from all limits, then the person, the body-mind, as a fragment of What Is Happening will feel free. The freedom that will emerge is freedom from fear - fearlessness. Our picture of freedom will evolve further as we consider the relationship between the Witness and What Is Happening, also as we consider other minds.
p: I don't think I really get that. I find it hard to keep from involuntarily flipping back to thinking of 'I' as the person rather than as the Witness. I lose track of which the freedom applies to.
s: That's completely understandable. We'll revisit this together many times, and in the meantime, you'll experiment with it in your own experience. For now, our pointer is that you are the Witness and that the Witness is free of limit. Realising that will mean that the person, pilgrim, the body-mind, will include less and less fear. That is the understanding's effect within What Is Happening. In the meantime, as you experiment, it may be interesting for you to notice the limits, the conditioning that the pilgrim, as a person, is subject to.
p: Phew. My head is spinning more than from any other visit. You're right, that's a revolutionary take on freedom. I have the feeling we'll need to kick it around more. See you next time, slumberfogey.
Phil Grimm's Progress, my humble attempt to re-orient the western world-view, is out.
As I mentioned in a recent post, PGP is my take at using fiction to address ideas I've only encountered in non-fiction. How well that works is for you to decide.
My guess is that societal division and polarisation move in cycles, like most everything else. But given my life hasn't been long enough to see whole cycles, today is about as divided and defensive a time as I've come across.
PGP is, in one way, essentially about how we get trapped in stories that close our minds, how we take (often unknowingly) assumptions and all that derives from them as certainties.
Of course, I have a certain take on the current world situation, and I guess that can't help but come across in the book. Some of you think similarly, others very differently. But the main point of the book, delivered in mythical form, is that we've got to put down our shields of certainty to listen to and truly consider what one another think and feel. Else we're just on auto-pilot, aping words and enraged gestures we've taken from someone else, isolating and thereby losing ourselves.
You can buy Phil Grimm's Progress at most of your favourite online book retailers. Leave a rating or review (especially if you like it!).
The Non-dualogues share the conversations between slumberfogey and the pilgrim (Gary), in slumberfogey’s flat in London.
slumberfogey: Pilgrim! At last. You're late!
pilgrim: Isn't 11am a good time for you?
s: No, I mean two months late. My biscuits ran out seven weeks ago.
p: slumberfogey, I told you I'd be away for two months. I've been on a building project in Central America.
s: Oh, I remember now. Still, no biscuits.
p: I've got biscuits with me. Shall I put on the tea? What are we discussing today?
s: Who are you?
p: You recognise me, don't you? I'm Gary, but you always call me pilgrim.
s: So "Gary" is your name or "pilgrim" labels you, but is either who you are?
p: Oh, I get it. We're diving straight in, then. So I'll skip the bits covering where I'm from, what I do for money, what party I vote for, my ethnicity and my religion, because knowing you, you're looking for something different...
s: So, you are...?
p: Well, just a bloke. A person. A human. (An Arsenal fan.)
s: Don't sell yourself short. You're not "just" anything. But let's take "person." Did you say you had biscuits?
p: Yes! I'm bringing them out with the tea. Okay, so yeah, I'm a person.
s: And when you say you're a person, you mean you are... what? What is a person?
p: An individual.
s: Interesting. Let's remember that word and come back to it. So an individual what? And don't say "person," because we don't want to go in circles. You've already said a person is an individual.
p: An individual body, I guess.
s: Anything special about the body? Would a cadaver count?
p: No. A living body.
s: Ah. So you are a living body. How are you aware you're living?
p: Being alive is obvious. I'm moving around and stuff.
s: To pick up on the line of questioning I'm taking you on, pause for a moment and hearken back to our discussion last time about "what is happening." Although two months have passed, I hope we don't need to replay the whole discovery.
*** Intermission ***
p: Right, so I'll try to keep my answers to what I can be certain of. My direct experience.
s: Excellent! So, according to your direct experience, what is the body?
p: Well. I see it when I look at my hands, chest, legs or feet. I see my face's reflection in the mirror. So an aspect of the body is images I experience.
s: Great. What else?
p: I feel it all the time. My hand can touch my belly or slap my thigh. I feel my teeth chatter. My stomach rumbles. (I hear that as well.) My heart beats. I sense my limbs' position. Body movement, warmth, cold, hunger. So I guess the body is also a bundle of sounds and sensations.
s: Super. Anything else?
p: I smell my breath, too. I taste my lip bleeding or sweat rolling into my mouth. I guess the body is a collection of the same types of perception that come from "out in the world" plus the internal sensations.
s: Interesting. "Internal." Internal to what?
p: Internal to my body.
s: But you say - as far as you can tell from your direct experience - your body is those things. So some of those things can't be "internal" to the body. That's saying bits of the body are internal to itself, while other bits aren't.
p: I'm not used to examining the body this way, so I get tied up in how to express myself.
s: You're doing great. Just consider more carefully within what those perceptions and "internal" sensations rest.
p: Wait! I've got it! They sit in my mind. I am my mind!
s: So you are not your body but your mind?
p: Well, perhaps it's not so simple, since the mind is dependent on the body.
s: How so?
p: The mind depends on the brain, which is part of the body.
s: How does your direct experience tell you this?
s: How do you experience your mind's dependence on the brain?
p: I guess I don't. I base it on what others say and what I've read.
s: Okay. I'm not saying it's wrong. The mind may be dependent on the body, but let's stick with the things you can know, from your direct experience.
p: Yeah. So I'm sticking with saying I am my mind.
s: Do you, as a mind, include or contain anything else beyond the perceptions and sensations of the body?
p: Ah! Well, I have millions of ideas, memories, emotions, expectations, wishes and judgements in my mind. I guess my will sits in the same place.
s: Yes. Lot's more stuff, huh? When you say those things sit in the same place, what is that place?
p: My mind.
s: But if you are the mind, what is the "My" bit? If you are the mind, then saying "My mind" is equivalent to saying "My me."
p: But I'm distinguishing my mind from other minds.
s: What is your direct experience of other minds?
p: Ah, I get you. My experience is only through sights, sounds and other perceptions, which we've covered. I don't experience other minds. So are you saying they don't exist?
s: Well, that would be hard for me to say, since slumberfogey is one of them! No, they may well exist, but let's stick with what you can be sure of from your direct experience. We're taking empiricism seriously.
p: Okay, so I'll get rid of the "my." All those forms of thought and all perceptions of the body, plus all body sensations sit in me.
s: You say the perceptions of the body sit in you. Do the perceptions of the rest of the world (the images of the surrounding room, the sound of passing traffic, etc.) sit somewhere else?
p: No. Same place.
s: So all perceptions, sensations and thoughts sit within you, yes? So who or what are you?
p: I am the mind.
s: What is the mind?
p: I'm getting tired. I dunno. The container of those things?
s: Seeing things in a whole new way can be taxing. Those "things," those perceptions, sensations and thoughts. Do you remember how we rolled them up in our last meeting?
p: Oh yeah. I worked out (with your help) that I don't ever experience those different categories. They all come in bundled, undivided experience.
s: Exactly! And my little term for undivided experience is "What Is Happening." So, who or what are you?
p: If the mind is What Is Happening and I am my mind, I guess I am What Is Happening. Right?
s: You sound uncertain. How can you be certain What Is Happening is happening?
p: Arrrrrggggggghhhhhhh! This is exhausting. I always feel stupid when you do this.
s: Sorry. Maybe The Trial of Socrates is inaccurate. Perhaps his students killed him out of frustration.
p: What? What are you on about?
s: A classical allusion, young man. You guys have lost touch with your roots. Not enough time. Back to my question...
p: How do I know What Is Happening is happening? Because I'm experiencing it! It is my direct experience.
s: Right. You're not an inert container of those aspects of experience, of What Is Happening. You are its experiencer. So who are you?
p: I am the experiencer of What Is Happening.
s: Perfect! And What Is Happening is the flow of experience arising to awareness and receding to make way for the continuing flow "behind."
p: So I'm the experiencer, but I don't know what the experiencer is. I'm not the body - I experience the sensations and perceptions making up my direct experience of the body. Likewise, I'm not the mind - I experience the thoughts that are my direct experience of it. And, I'm not the external environment - I experience the perceptions composing my direct experience of the external world. So what am I?
s: That's what I asked you! And you've peeled away a lot of confusion. You've worked out that you are no thing (nothing). The things are aspects of What Is Happening. You are the experiencer of the things. If you still seek yourself as an object, as a thing, you'll come up empty. You - the experiencer - are not a thing.
p: I'm not sure how thrilled I am to be nothing. So my school teachers and ex-girlfriends were right.
s: Maybe it's not so bad. You used to believe you were a thing - a body or a mind or their union. You now see you are not a thing. Perhaps a further step awaits discovery. Are you willing to take on some homework?
s: Okay. Between now and when we next meet, look for boundaries.
s: I'd like you to investigate different boundaries on several "levels." I'll email this to you, but hear me out.
What would this imply for what you are???
Let's discuss what you find.
Until next week, pilgrim.
Phil Grimm's Progress is off for its final edit, with Phil Owens. Unless I hit unforeseen snags, I'll publish it - in ebook form - by the end of April. We'll see about print.
It started last summer, a week after returning from a camper van trip with J to Holland and Denmark. I often have wakeful periods in the middle of the night. Those periods began to fill with ideas for a story - in mythic form. I'd recently re-read Parzival and the Stone from Heaven, and I pictured a spiritual seeker with little self-knowledge, on a quest to discover himself.
I'd read lots of nonfiction about Taoism, Buddhism, Advaita Vedanta and non-dualism more generally, but I'd never come across a modern allegorical approach. In my less humble moments, I imagined penning a cross between Parzival, Zen and the Art of Motorcycle Maintenance, The Tao of Pooh and Sophie's World. My aim was a fictional work that illuminated, entertaining along the way.
The book wrote itself over the next seven weeks, although it was only just over 50k words in that first draft. Realising I had no idea how to write a book, let alone get one published, I turned to professional help from Alice Peck. Because she's such a pleasure to work with, Alice is very busy. I paused for a while for her to come free and tear into my manuscript. In the meantime, I gave it to a few patient early readers.
By Christmas, the draft was back in my hands, along with feedback from Alice and the first readers. After a few weeks' work, the second draft went out to a next round of helpful guinea pigs. The discussions with them raised three significant points:
"Other than that, Mrs. Lincoln, how did you enjoy the play?"
So, a major re-write occupied and entertained me for another four or five weeks. Then I tucked into an involved round of self-editing - reapplying the "rules" that Alice had taught me. The book expanded to just over 80k words.
Then, when I learned that Phil helped one of my favourite new sci-fi authors, Ian Sainsbury, I contacted him for the finishing touches.
There you have it, the story of Phil Grimm's conception and impending birth. Watch this space for updates and launch announcement!
I'm curious. I like looking beneath and behind the obvious, also looking for what is between me and the obvious, obscuring or distorting my view.