News from the Muse: The Muse of Jungian Memoir

[from the Tarot of the Sephiroth]

When inner work is brought out into the world—a poem, a memoir—it’s as though something has been constructed in the soul. The inexpressible finds expression; the unsayable is said. I’ve been reflecting on this experience, which feels magical to me—transformative. It’s not just the writing down of inner experience, the process of tracking dreams or engaging in active imagination. It is how it feels to go public with it, to present it to a live audience, or to see its transformation into print. An imaginal space is opened up and something is created there—a temple deep in the woods, past the swinging bridge, or perhaps an altar by the banks of the river, a chupah for the sacred wedding, a teepee in the meadow. This is a holy place to which one can return. It is both an expansion of inner space and creation of something substantive. Is this what the alchemists mean by the Lapis? The Kabbalists by the “Work of the Chariot?” The Hindus by Shakti? The Jungians by the Subtle Body?

The Sister from Below, my muse, informed me that I was writing Jungian memoir when I was working on her book. She told me that Jungian memoir illuminates the inner world, follows the Jungian tributaries of dreams, conversations with inner figures, synchronicities. It is the grandchild of Jung’s great memoir, Memories, Dreams, Reflections. Its ancestors include the alchemists and the saints, whose spiritual autobiographies, like the Confessions of St. Augustine, connect us to the Spirit of the Depths, and to the Wisdom Traditions.

Since the publication of the Red Book it’s become clear how Jung’s direct confrontation with inner figures cracked open the walls of rationality and allowed the uncanny, the unfathomable back into western consciousness. Jungian memoir attends to those strange unfathomable experiences that shape our souls.

I was privileged, last April, to participate in a conference put on by the C.G. Jung Institute of San Francisco, called C.G. Jung and the Jewish Connection. This was the swan song of our beloved Baruch Gould, who had been the creative and innovative Director of Public Programs for ten years, and was preparing to end his service. He’d been incubating the idea for the conference for years.

I was among a group of Jungian analysts and scholars approaching the subject from very different vantage points. There were historical papers, papers on Jung and Jewish mysticism, and papers I would call Jungian memoir, telling personal stories from inner lives. Several spoke as Jews struggling with Jung. I spoke as a Jungian struggling with Judaism. The Jungian memoir I wrote for that event has opened an important space in my soul, a deeper and more open connection to myself as a Jew and to Jewish mysticism—a Chupah for the sacred wedding of Tifereth with Malkuth— male and female energies in the Kabbalistic worldview—which Jung saw in a vision of the “Garden of Pomegranates” and described in Memories, Dreams, Reflections.

Now, thanks to the Jung Journal, all the papers given at the conference are available in print (Volume VI, Number 1). I hope you’ll take a look at them.


Here are some excerpts from my paper.

The Rabbi, the Goddess, and Jung

You cannot grasp these things unless you stumble over them.

The Zohar

Spiritual Exile

How does a Jew to whom God never spoke in a synagogue, who has wandered the world and the paths of other religions seeking direct experience of the sacred, stumble upon it in her own tradition? How does a spiritual exile, whose life was transformed by the Goddess, get past her issues with the patriarchal God of the Jews.

With Jung’s help…

This is the story of how Jung, or the Jungian worldview, helped me find my meandering way home to Judaism. As is my fashion I will weave in poetry, dreams, a journey and a conversation with a ghost.

I have always longed for myth, for mystery, for those moments when the world cracks open, when something uncanny, wild, awesome, enters. I have glimpsed it in Hindu temples, in Catholic churches, in Pagan rituals, in poetry, everywhere but in the Jewish world I knew as a child…

*******

The Ten Commandments of My Childhood

It was a proud thing to be a Jew in my family of origin; it was also a difficult thing. We Jews had responsibilities. We had suffered as a people. We needed to be eternally vigilant, on the look out for tyranny, oppression, discrimination— whether against us Jews or others. There were unspoken instructions for how to be a good Jew below the surface of dinner table conversations, and in social gatherings in the very Jewish neighborhood in post war Queens, New York, we lived in during the early 1950s. These are the commandments I heard:

I. Thou shalt vote Democratic.
II. Thou shalt take a stand against injustice and inhumanity.
III. Thou shalt believe in the innocence of Ethel and Julius Rosenberg.
IV. Thou shalt support unions and the ACLU.
V. Thou shalt love Paul Robeson, Roland Hayes, Marian Anderson and the Weavers.
VI. Thou shalt sing folk songs, spirituals, and union songs with gusto.
VII. Thou shalt know all the famous Jews in the culture, and speak of them with pride, from Albert Einstein to Sammy Davis Jr.
VIII. Thou shalt love the state of Israel, but not forgive it its trespasses.
IX. Thou shalt know the stories of the Hebrew Bible, for thy father will tell them to you as “great literature.”
X. Thou shalt never forget “what happened.”


Upside Down Tree

I was given a gift of a dream. I am shown an image. It is an upside down tree—whose branches touch the earth, whose roots are in the sky. The tree is filled with Hebrew letters. I did not recognize what it was, at the time, though the image stayed with me, tugged at me…[It took me some time to realize that I had] been shown the Tree of Life—the symbolic expression of Jewish mysticism. I [had] stumbled into the esoteric aspect of my own tradition, which I had thought lacked a mystical, contemplative side.…

[Upside Down Tree of Life by Robert Fludd]

Black Fire Written on White Fire

It must be She, the Shekina, who is behind what happens next. In September of 2004 I find myself in Girona, Spain. My husband Dan and I have come here because it was a center of Jewish life and Kabbalistic thought before the expulsion of the Jews …

*******

I sit on the tiny balcony of our hotel room, and try to focus…despite the sounds of passing people, cars, motorcycles, water being poured, conversations in Spanish, Catalan, Italian, English, despite the bells of the Cathedral. I imagine the rabbis meditating—making contact with God amidst donkey piss and roosters crowing and children running about and bed pans being emptied.

*******

In my wanderings in the old Jewish section of Girona I happen into the Nahmanides Institute of Jewish Studies. I learn that Moses ben Nahman (nicknamed Ramban by the Jews, called Nahmanides in the Greek fashion of the day) was a leading Kabbalist in the 13th century in Girona. He was of the generation before the Zohar was written down, and one of those who influenced its writer, Moses de Leon.

[from Tarot of the Sephiroth]

*******

I am filled with the presence of this Rabbi. Later, in my readings, I will stumble upon a reference to a Jewish myth in which “the soul of a great sage who has died binds his spirit to one of the living in order…to guide a person through a difficult time of transition.” This spirit is called an ibur, in contrast to the malevolent spirit known as a dybbuk.

I find myself talking to him: Ramban, I walk the Roman walls of your city and your light walks with me. I walk the narrow streets of the Call de Jueu and the light you received from Moses at Sinai walks with me. You speak in my heart. This light, you tell me, is not of memory, not of the history of our people, not the word remembered and written down. This light is now…

*******

I wonder why it is you who have come to guide me, you who are at once a mystic and a learned Rabbi of the tradition. You say it is because I need to learn your teaching, that “Everything that is done in the mundane sphere is magically reflected in the upper region…” You say I listen too much to my fears. I need to open all my senses to the Shekina. You say I need to contemplate the mystery of “black fire written on white fire —the tension between the oral tradition and the radiance, between manifest wisdom and the transcendent. Because you want me to understand that the Goddess is alive in you, that The Sister from Below is your familiar, you tell me a stanza of your mystical hymn about the birth of the soul.

He radiated light to bring her forth,
In hidden well–springs, right and left.
The soul descended the ladder of heaven,
From the primeval pool of Siloam to the garden of the King.

You say our souls stand in eternity, they are forever, we spend our lives finding our way back to them, for we are in exile from our beginnings. You say the light is now, here in this place where we meet.

********

I wrote a poem for Ramban, who became a beloved familiar in the writing of this paper. Here is the last section:

God’s Singing Tree
In Two Voices

Ramban
you are old magic with goddess eyes
you are warm fire in the dark of the cave
you gather me back to the breath of that mother
in the long long line of my great grandmothers
who picked up her baby her sack of food
and walked out of Catalonia in 1492

the vessels shattered there was contraction
there was exile you tell me
this is the nature of creation

they who listen will hear
they who open their eyes will see
there is a tree it grows from the feet
of Abraham and Sara its leaves catch the light
on this balcony where I sit with you

remember my daughter
wherever you are the poem is
black fire written on white fire
God’s singing tree

Frontpiece from the 1516 Latin translation of Gikatilla's Gates of Light 

News from the Muse: The Muse of Fire

Marked By Fire: Stories of the Jungian Way

This life is the way, the long sought after way to the unfathomable which we call divine

—C.G. Jung, The Red Book

Marked by Fire: Stories of the Jungian Way is a soulful collection of essays that illuminate the inner life.

When Soul appeared to C.G. Jung and demanded he change his life, he opened himself to the powerful forces of the unconscious. He recorded his inner journey, his conversations with figures that appeared to him in vision and in dream in The Red Book. Although it would be years before The Red Book was published, much of what we now know as Jungian psychology began in those pages, when Jung allowed the irrational to assault him. That was a century ago.

How do those of us who dedicate ourselves to Jung’s psychology as analysts, teachers, writers respond to Soul’s demands in our own lives? If we believe, with Jung, in “the reality of the psyche,” how does that shape us? The articles in Marked By Fire portray direct experiences of the unconscious; they tell life stories about the fiery process of becoming ourselves.

A Word from the Sister

The publication of “Marked by Fire” is exciting. I want to share a portion of Naomi's essay in the collection, especially the part where I show up and play a pivotal role. I hope you’ll want to read more....

Drunk with Fire
How The Red Book Transformed My Jung

Support me for I stagger, drunk with fire. . . . I climbed down through the centuries and plunged into the sun far at the bottom. And I rose up drunk from the sun . . . The Red Book

There has been a breach between C. G. Jung and me. How could that happen? I had no idea who I was until I met Jung, nor had I had a decent conversation with my soul. Jungian analysis showed me my way into the world, and into my inner life—it opened the door to the poet I'd left behind in my childhood. But when I encountered Jung's suspicious attitude toward artists—so like a Swiss burgher—the poet in me was offended.

Enter The Red Book. When I sat down with that enormous tome on my lap and leafed through its gloriously illuminated pages, its visionary poetry, its astounding paintings and mandalas, my heart opened to my illustrious ancestor—all was forgiven. I felt vindicated. Jung, as I'd always suspected, was a closeted poet.

What is this Red Book? During a difficult time in his life, after his break with Freud, Jung was deluged with powerful images and visions. He wrote them down and painted them. He created a strange and beautiful book—bound in red leather—to hold them. It looks like a medieval illuminated manuscript. The Red Book was not published, even after his death, because of concerns that its wild, prophetic tone would cause people to dismiss Jung as a mystic or a madman. When it finally came out in 2009, it surprised the Jungian world by creating a media sensation and selling out its first printing


With the publication of The Red Book my Jung has been transformed. He is "outed" as a poet and a painter. He writes directly out of his vulnerability, working out his relationship with his soul in the depths of the mythopoetic imagination, just as I do. In The Red Book Jung reclaims his soul—or rather she reclaims him. She appears to him and becomes his guide. She is an inner figure with a mind of her own. This honoring of the voice from within, which Jung would later call active imagination, is one of his greatest gifts to me. Instead of ignoring or dismissing voices that speak to me from within, Jung taught me to listen and to engage in dialogue with them. When "The Sister from Below" began speaking to me, telling me she was my muse, my soul, my writing life took off....


When Jung implores, "Support me for I stagger drunk with fire," I feel a tug and am deeply moved. Why is this? They are wildly poetic words—in the Dionysian mode. They take me down to that primal level of religious feeling—worship of the sun, our source. I know the states he describes. To be drunk with fire tells it all—the creative ecstasy—at once wildly enlivening and demonic—fire as Dionysus, fire as Shiva, fire as Pele. Certainly being a poet can mean being drunk with the sun from the bottom of time. One finds oneself climbing "down through the centuries" pursuing a word, an image, a phrase of goat song.

It has been essential for me to write directly out of the experience of being in other realities, rather than describing such states from a safe distance. In The Red Book Jung contains his intense and overwhelming experiences by writing them down, by painting them. I recognize that urge. I have shelves and shelves of journals in which I've worked to contain my own fire, to follow inner figures, to work with poems and with dreams, to dive below the surface of the times to what is moving in the depths. And I always feel better, more grounded, more real to myself after I do.

Enter, the Sister from Below. She's got an idea:

Why don't you take your own advice? Do an active imagination with Jung, now that you feel this warm glow of kinships libido for him? Imagine you two are sitting by the primordial fire, as he puts it in The Red Book:

An old secret fire burns between us. . . . The words uttered at the fire are ambiguous and deep and show life the right way. . . .
[We] will respect the holy fire again, as well as the shades sitting at the hearth, and the words that encircle the flames.

This makes me nervous. Jung is the master of active imagination. Is it hubris to invoke him? But I have learned to listen to the Sister. So I sit down, with my notebook. Jung, I discover, is reluctant. He is not at all sure he wants to engage in this exercise...



Marked By Fire: Stories of the Jungian Way
Volume 1 - Inaugural Edition, Edited by Patricia Damery and Naomi Ruth Lowinsky. Available Spring 2012

Contributors to Marked by Fire: Jerome Bernstein, Claire Douglas, Gilda Frantz, Jacqueline Gerson, Jean Kirsch, Chie Lee, Karlyn Ward, Henry Abramovitch, Sharon Heath, Dennis Patrick Slattery, Robert Romanyshyn, Patricia Damery, and Naomi Ruth Lowinsky.

Paperback & eBook editions - Advance Orders Welcomed

Product Details
Paperback & eBook editions: 150 pages (estimate)
Large Page Size Format 9.25" x 7.5"
Publisher: Fisher King Press; 1st edition (April 2012)
Language: English
ISBN-10: 1-926715-68-3
ISBN-13: 978-1-926715-68-1

The “Jahrzeit” Muse

Take pains to waken the dead.
C.G. Jung in The Red Book


Honoring the dead is an ancient and essential practice. Feeding the ancestors is a religious ritual across cultures -in China, in Africa, in Mexico. In Judaism there is a simple ritual: we light a candle on the “Jahrzeit” -the death day- of the departed. Jung says we must “waken the dead.” I think he means that it is psychologically important to wake their spirits within us.

My father’s “Jahrzeit” has just passed. I lit a yellow candle for him. I gave him an orange chrysanthemum. I always associate his death with fall colors. That fall, 26 years go, when I went to see him just before his death, in a hospital in Chicago, the colors of the leaves near Lake Michigan were intensely yellow, orange and red.

The photo of him and my mother, hanging out of a window in Cuba -newlyweds, the sun kissing their faces -graces my altar.


They were so young, just escaped from the horrors of Europe -the brown shirts, the yellow stars, the shattered glass of “Kristalnacht.” Here they are in Havana, with my mother’s family, waiting for visas to get into America. There is sweetness between them, a tenderness that I did not see much growing up.

My father died before the Internet, before blogging. But I offer him this blog posting, as part of my “Jahrzeit” ritual. I want to waken his spirit in me, to honor him with these reflections, and with poems.

In life, I was afraid of my father. We children all were. He could be full of rage, ferocious, cruel. We all quaked when we heard him thundering down the stairs shouting “Potfadorry, jezt hab ich aber eine Wut.” This means something like, “Now I’m really angry.” “Potfadorry," however, is mysterious. It seemed to my child’s ear to be a magical German expression, half curse, half joke, but always a sign of great danger.

My brother Si was talking about this the other day. He told a story of coming to me and our brother Ben for advice when he had to choose a musical instrument. Playing an instrument was a requirement of membership in the family. My mother played the violin and the viola. My father was on his way to becoming a concert pianist before life intervened, and he became a musicologist. Ben and I both played the piano and had been the objects of many a “potfadorry” rage. We advised Si against taking up piano. Play something Dad doesn’t play, something unfamiliar to him. Flute, for example. That worked pretty well until the day Si left his flute on the bus coming home from school.

Sketch: Dad at the piano, mother on violin, Aunt Ilein on cello.

by Emma Hoffman, (my grandmother)

But Si, who caught more of our father’s rage than anyone, was always the one who saw the good in him: his brilliance, his passion for music and art, his intensely liberal politics.

It has only been in the years since his death that I’ve been able to open my heart to my father, to see the beauty of his burning intelligence, to see how he lives in me.

Father, I have hated you and I have loved you. I have written many poems about you. I offer you two poems for this Jahrzeit. In “the great fugue of my father” I begin to understand how my relationship to you is changing since your death, that in many ways I am your ”spitting image.”

“at 19 before she became my mother” is written in the voice of my young mother. I imagine how she felt as your bride. Both poems are in my poetry collection “Adagio & Lamentation.” I wonder what you’d make of it. Your spirit, which lives in me, reminds me that your music, your knowledge of cultures and the arts, your passion for beauty, inform my poetry. And though you wandered away from my mother with another woman, I also know that in your way you always loved her and she always loved you. As she, now 91, wends her way out of this life, I want to honor your early love.


the great fugue of my father

I look for my father
who has been dead eleven years
i do not miss his lacerations
or how he pounded golden nails
into my brain

but death is changing us both
I feel him shifting
in my bones

I look for my father
in the usual places
steeping a Russian cup of tea
his aroma arises
his mother his father
I watch the flaming of the
red and yellow trees
his death day candles
each October

I see him in the swoop
of the hawk
the grace notes of wings
the melody of flight

I see his narrow fingers
strike the piano keys
each note his perfect child
each takes its place
in the great fugue

this morning he surprises me
in the way my eyes
take carnal knowledge of the valley
see the last gray ribbon
of fog

a sensuous woman’s peignoir
flung teasingly over the edges
of brooding hills
is it true
are we actually
laughing together
my father?

they say I am
your spitting image

stone walled
lion eyed
inward listening

a woman with a lute
is singing from another time

at 19 before she became my mother
Havana, 1939

I still like to play with my sisters even
when we’re cooking cleaning making
the beds how quickly we can make
each other laugh and when we go out
in the afternoon after the worst

of the heat to take photographs
of palm trees dark skinned
people how bananas grow
I skip like a school girl in my summer
dress surprised to find us all

alive on this tropical island
in a bright blue ocean far
from the grim trains the grieving
skies of northern
Europe is it really me

who is the first of three sisters
to be married and is he really
mine the elegant man in the panama
hat the light summer suit playing
piano accompaniment to my mother’s

melancholy Schubert lieder
you wouldn’t believe how
seriously he can speak on and on
about the flow of light and shadow
in the portrait my mother is painting

of my sister in white among
flowers it makes me giggle
is it really me whom he sends
those tender looks across the dining
room table where we sit with the rabbi

and talk about Moses is it really me
in the night when he makes it magic
soft touch of his fingers sweet
whisperings will it really be me
when we get to the promised

land will I live
far from my parents will I really
be his American wife
and bear him
American children?

(First published in Patterson Literary Review)

Red Book Dialogues

The C. G. Jung Institute of San Francisco has been hosting a series of dialogues between Jungian Analysts and leading teachers, writers and artists in the community--all inspired by the recent publication of The Red Book.

The final event in the series will take place Friday, March 25, 2011 at 7:30 PM and will feature Maxine Hong Kingston in dialogue with Naomi Lowinsky and Rhoda Feinberg. The venue is the Unitarian Church at 1187 Franklin Street in San Francisco.

Tickets are available at www.sfjung.org. [$25 General Admission ($10 Student)]