Spirit in the City
Urban shamanism in the 21st centuryDream: Nuking Iran to Buttercups
This dream has many themes which I am still exploring. As well as personal motifs, it seems also to be speaking directly about the mundus imaginalis itself, and to contain a considerable amount of theology. It’s all a bit worrying…
I have a discussion with R about my leaving London because there’s a war starting. It’s to protect our daughter. He warns me that the government will be using nuclear weapons to attack Iran, and that I will see the mushroom clouds far off in the mountains, but that they won’t be bombing the place where we are. Frightened, I leave the city, but alone, and start living rough on an island, green and mountainous, which is “Cyprus”, with a group of other people. They are all modern, fairly middle-class professional types who have deliberately cut themselves off from anything to do with modern life. This is because they are fairly sure that the government will use the war as an excuse to remove all their remaining civil liberties, and so they have taken to camping in the woods on the edge of town, and cooking over a campfire. All mobile phones have to be switched off, and the battery removed, because otherwise they could be used to locate the individual. Goods have to be paid for by cash, not plastic, and care must be taken to avoid CCTV cameras, so they can’t use face recognition software to find us. During this time, I can see nuclear explosions happening in the distance, grey mushroom clouds in the mountains, in Iran. I point these out to the others in my group. Then I write a story. It’s a fiction story written on a computer. It isn’t connected to the Internet. But as soon as I fill in my name (almost like an exam paper) at the top of the page, my mobile switches on, and I am shown a GPS map of my exact location. The government has found me. I realise they have been sending information by text to everyone about the war, and that now I will be able to return to the city and be a normal human being again. Then, I get taken on a bombing run to bomb Iran. The area that is being bombed is mountainous, culturally very rich, and greeen. It is beautiful. They drop the bombs, two or three of them, and I see the flash, and feel the upsurge of air as the plane outruns the explosion. I look down, expecting to see charred desolation, but instead the place is covered with fields of buttercups.
History of Neurosis or Neurosis of History?
I thought I’d post this because it contains plenty of references to spirits, and to the conception of the Unconscious as an-Other place, in which psychic energy, or libido, resides, breaking through the veil to trouble us as neurosis if we leave it unattended. It formed one of the papers in my Jungian exams, known as Dialogues, or Propadeuticum, which enable the trainee to progress to working with clients under supervision.
Olive Groves and Rock Spirits
When I first got as far as this farm track on my bike, I was pleased to see olive groves, bee hives, and citrus, as well as rock and chalk formations that seemed to bear evidence of water carving and erosion. I’m not sure when. I can’t imagine it was recent. There would have been nowhere for water to flow from, as the valley isn’t high or steep enough to have a turbulent water flow that high up its sides.
As well as the cultivated olives and citrus groves, there was a large carob tree and a eucalyptus, as well as the usual scrubby bushes that I can’t identify. The soil here is pretty chalky.
It’s easy to see that this island was at the bottom of the sea not so long ago in geological time. It used to be home to miniature elephants which got cut off from Africa, Cyprus’ geological home.
The first settlers on the then heavily forested island were amazed to find these ‘baby’ pachyderms. They had a natural response. They ate them. Later, came the Orthodox Church, which has ruled the spiritual life of the island since. I have heard, though am not sure, that fortune-telling and tarot are illegal here.
I was surprised to see, in one of the olive groves, symbolic birthplace of Hellenic civilisation, thanks to Athene, piles of stones. In threes. Just balancing. Later they were gone, so on several more trips I simply added to them, answering the bees in their hives and the rockfaces in the chalk.
Blessed Be(e)!

The Spirit of the Horse
I did these paintings nearly two years ago, following a trip to the White Horse at Uffington.
I made a small offering at the nose of the Horse, after an eight-mile walk along the Ridgeway.
The spirit of the Horse is still very obviously in evidence around here, as you can see from the racehorses out in the fields near Lambourn, Berks.
The connection between the spirit of the Horse and the spirit of the land in England is a long one, and was pointed out by the Romans.
When I made the paintings, I spent the whole of one Saturday on them, embodying the spirit of my power animal, the Horse, and painting them in a deep trance induced by smudging and drumming.
Matsu gets recognition by UNESCO

I was encouraged to see this item from Xinhua news agency. I have long had a connection with Tin Hau/Matsu from my days on Lamma Island, in Taiwan, and from my connection with the sea (being surrounded by it in Britain).
Xinhua reports:
Matsu worshipping, a folk custom prevalent in China’s southeastern coast, has been approved as an intangible heritage in need of urgent safeguarding by the UNESCO’s intangible heritage committee at an ongoing meeting at Abu Dhabi, United Arab Emirates.
This is great news for animism, for goddess worshippers, and pagans everywhere. It is the first belief-related custom to make the UNESCO heritage list. That feels to me like a ground-breaking achievement.
I once had a dream in which I was shown that in the part of the world where I currently live (Cyprus), my shamanism would only become socially acceptable if it was given recognition as a CULTURAL enterprise. This would mean that people got to see contemporary cultural activities which stemmed from shamanic practice. I took this to mean not that I have to ‘pretend’ that I don’t really ‘mean’ it, but that I need to communicate about shamanic experience with others through cultural means. We need a set of devotional paintings, of religious writings, of practices that are publicly available, that are good enough for people to want to see or read or music that they want to hear, and we also need to draw the attention of artists and poets and painters and photographers, not as some sort of ‘primitive’ look at an anachronistic anthropology, but as a real, living tradition, in our own space and time (for me, that means as Westerners.) The Chinese seem to have managed this, somewhat, with the Matsu cult. Perhaps you can speculate about the amount of tourist dollars that will be made, as China redevelops the show on offer on Meizhou Island. But who will be next? The orixa? How about the Lady of the Fishes, Yemaya? It has been my desire for the longest time to have more obvious expressions of animism in the British landscape. Shrines, to the ocean, to the spirit of certain sacred places, roadside shrines along the Ridgeway. The sort of thing that already sits well in the land, in the psyche. Moderately, and metaphorically expressed. But there. So real offerings can be made, and seen, and left for others to see.
Matsu, Matsu…Tianshang Shengmu!
Shamanic Training
Intent: To ask for advice about the shamanic training I am planning to apply for.
I go to the Upp
er World, and Lark is there, and leads me into the classroom. I sit on a wooden desk. She says, you like being in a classroom don’t you? I say yes. She says, well the classroom you are about to enter isn’t in the head, and we go out into the garden. I see Jungian analysts catching and trapping animals (images) for food, but at the edge of the garden there’s a forest whose contents are unknown. She shows me a drawing of the spirit world and reminds me that the drawing and the experience are’t the same thing. I ask
my question: could I have some advice about the shamanic training? She says, well it’s obviously a good idea. You have a spiritual calling which it would hurt you to ignore. You would lose power, which is life force, not political power. I see an image of a woman (priestess?) in meditation, veiled. She shows me a drawing of a snake to show to the people running the training:
She tells me to tr
y to draw it myself, and we go to the blackboard where I try to reproduce it. But it comes out slightly differently when I do so. Lark doesn’t seem to think this is a problem. So I produce the next drawing. Then, she asks, ‘and what about a third snake? Where would that go?’ I try to draw the same thing again, wondering what it means as I do so. She ‘hears’ me think this and she points to
the hexagonal loop and says ‘that’s the feminine’ and to the snake on the left-hand side and says ‘that’s the masculine’. So I draw it again, this time with a third snake. She points at it and says I have drawn it there at this time because ‘my power is concentrated in the Lower World’. I’m not sure if this is good or bad, but she asks how it might weave a whole with the other two. I draw the image again, but this time bringing it to a fuller shape. When she is satisfied, it is time for me to go. I thank her and return to my starting point.
Sea Songs (2)
Sea Songs (1)
This tune speaks to connectedness and exile, both of which are embraced in the spirit of the sea.
It came to me at home in front of my shrine, where I had just made an offering to Mazu.
The seas at my door
Embrace the shores I leave behind
Salt winds of memory
Waves in the mindPoseidon’s grass is swaying
And I play an unheard song
For those who wander far from home
On journeys wide and long.
Black Fish, Guilt and the Sea
Dream: I am trying to find a way to get my daughter on a plane at the end of term. There is a bus which connects the schools to the airport, and it runs on a day which is marked in the calendar as “Removals Day”. I decide she should go on this bus. Then I feel bad for shunting her off and decide I should go myself. I will visit my mother in Spain. After that, I am in a cut off place, alone. There is a packet with some chalky material in it and I know somehow that this is a sort of face paint for pretending that one is dead. People do this, I realise, because they want to know what it’s like to be dead. I ask myself, my dream self, that is, if this is what it’s like to be dead. And if so, will I still be able to speak to my friends, who are like shades, gathered around me but untouchable.
There are various personal interpretations for this dream. But the purpose of this project to is write about things from a shamanic perspective. The dream was accompanied by a feeling of disembodiment and guilt. It is a traditional shamanic activity, to journey to the land of the dead. I can accept that this curiosity is part of my desire to work shamanically. I trust the feeling as being the terrible tension that is generated between the body and the soul as the soul explores its relations with death. I have experienced it already in deep trance states.
Later, I got up and went to the sea. It seemed terrifying to me, and I began to interpret everything in terms of my imminent, personal death. Part of me was aware that the sea was coming alive for me in a strictly symbolic sense: that it was fully embodying its terrifying, deadening aspects, the loss of land, of ground under one’s feet, the loss of the dead in the land, in the soil, in the earth itself. The loss of place. I reminded myself, as I stepped into the waves, that this was Mare Nostrum: the Mediterranean, and yet the sea of alchemical tradition: a psychological sea, but one with its own spirit, not limited to human subjectivity.
This didn’t help. I didn’t really expect it to. I formulated an intent. It had to be simple. There wasn’t much left of my ego functioning in the wake of that dream. I was consumed with regret and guilt. So my intent was: to swim out to the artifical reefs (about 200 yards out, on a fairly windy day, with white horses) and to see if there are any fish for me.
The journey: I swam, and I had brought my goggles. Every time I dipped my head under the water, I felt more split between two worlds. I am a very experienced swimmer and usually feel very peaceful and at home in the sea. Today was quite disturbing, by contrast. There was a small black fish hiding behind a rock, but mostly the bottom was sand, grasslike weeds, small rocks, black spiky sea-urchins and stuff that looks like the fungus Jew’s ear, but silvery beige, not black. I kept swimming, feeling as if the water was somehow resisting my body. Usually I feel that I cut through it easily, silk and oil on my skin. I got to the gap in the reef and looked down. Nothing. I swam a few more strokes, and washed the steam off the inside of my goggles. A brief glimpse of two grey fish with a black bar near the cloaca that I hadn’t seen before. Gone again. Rinsed goggles again. Trod water. Waves were coming in from passing power boats. I stuck my head down again and spotted some small fish with a hunchback look and fins like the tails of house-martins. They approached me. I took more breath, swam a few feet to keep a healthy distance from the reef, and ducked under again. They completely surrounded my body. Whichever way I swam, they followed. They approached my toes when I wasn’t looking and then darted coyly away. If I stuck my toe out towards them, they would be able to feel the wave of pressure that my movement produced, and swim out of the way effortlessly. Indeed, they were almost pushed away by it. I felt their lack of guilt, and realised that the dead are sometimes referred to as food for fish. I realised that we also feed on the fish and also the dead. I thanked the fish and swam back.

Chinese spirit money
Looking back on the experience, I feel that perhaps the imaginal world keeps its perfect distance from the thrusting mind that tries to grasp it. I could grasp some of my guilt, but I thought of all the mothers who had died young in both my materal and paternal lines, leaving their children too young. I formulated a ritual of burning Chinese spirit money for those maternal dead, as I rode home on my bike, remembering a recent dream in which my ancestor stick was floating in the sea, and I had to go and pick it out of the water and plant it in the ground.

Geordie's Wood Clackmannanshire, where you can dedicate trees to the dead or the living
The act of ancestor rituals puts the dead in their place and the living in theirs, and ensures that we carry the burden which is proper to us. This shared burden means that the unborn, the future, can come into being.
It is my belief that the dead appreciate being taken care of in this way. A dream I had about a year ago went thus:
I am looking for the grave of my grandmother (father’s mother) Angelici. I know it is in a Catholic churchyard or cemetery in North London. In the dream I am cycling down the road to JF’s house and see a church and wonder if that is where her grave is. So I stop on the left hand side of the road and ask my father, who looks strangely changed, like Adolph Menjou but with ginger moustache and eyebrows. He shows me that he has been sending flowers to her grave every week, and has kept a careful ledger of all the expenditure; money paid out, the name of the florist, the cemetery location and even the plot number. He says she is buried in Sauchiecarnoustie (or some weird Scottish name). It is a very bright sunny day and there are daffodils and fresh flowers in fields beside the road.
This dream followed about two years of regular burnings of Chinese spirit money for my father and other ancestors.
The Christian tradition made a radical move in taking the dead out of the tomb, and enabling Christians to cast their burdens on Christ, who is oppositionally crucified on the sort of pain I would be asking the dead to share with me, to make room for my daughter, for all the daughters. These are very different positions theologically, but psychologically they do the same job. They ground shadow, stick it in the earth, honour and feed love, and transform the future.
Robert Harrison makes the point that the Christian tradition is eminently portable; it partakes of a universal spirit, freed from the close physical ties to the tomb, which doesn’t tie people to one village, to their dead, or the making of a name as a warrior. Modern paganism, in my view, is built on this legacy, and consists of a compensatory ‘growing down’ at the roots, and a search for the light within the earth. I don’t see how we can reconstruct the same relationships with the land and the dead that pagans long ago had. We can’t keep still long enough. But we can construct relationships nonetheless, using our intent, and we can adopt lands, and ancestors, too, and weave them into our contemporary lives, and stories.
Post script: I have since discovered that two women drowned in the sea in separate incidents a few miles further up the coast from where I made this journey, probably on the same day. I have also read a review of Kathryn Wood Madden’s book about the Dark Light of the Soul.
In it, she writes that the soul yearns to return to a
“psychoid, archetypal layer of the collective unconscious as a deep layer of existence in which a breakthrough experience of the numinous points to a pre-differentiated reality” (2008, p. 241).
Her reviewer in the journal Quadrant, Pacifica Graduate Institute professor, Denis Patrick Slattery, also points out that she links this experience of the abyss to Sophia. As do I. As I link my sea journey above to Jung’s explorations of the pleroma. And as the whale image in my recent dream links me to all of these.
















