Interweaving...

 

Interweaving a New Future Together

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The weave of unity is infinite, ever flowing & creative. 

-Patricia Albere

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Words related to the ancient art of weaving are often used as metaphors, especially when expressing the deep, intricate nature of life and human awareness. My curiosity was peaked regarding that relationship of words when reading about the history of weaving — and learning that women were the first weavers. “The facts of women’s experience of life are primordial,” poet and author Barbara Mor wrote.

“The first God, Mother Earth, was the sign of a human response to an experienced fact,” Mor explained in The Great Cosmic Mother: Rediscovering the Religion of the Earth. “The first arts and religions, the first crafts and social patterns, were designed in recognition and celebration of her.” From earliest times — giving birth, sustaining life, and nurturing that life — women recognized themselves in Mother Earth. And women told their stories (were women also the first storytellers?) by communicating that innate, fertile connection to life through art — creating clay vessels, weaving fabric, making paint, and painting on rocks and structures around them — linking their experiences to the Divine. And they recognized themselves in Her reflection.  

Barbara Mor shares that “religious rites were combined with industry. Women’s religions were organic, a unity of body and spirit, of daily life tasks and cosmic meaning.” All of life was sacred, interconnected, shared. “The sacred is the emotional force which connects the part to the whole,” philosopher and poet William Irwin Thompson wrote.

 “Cosmic mind and human mind are not essentially different, or separate, nor are cosmic body and human body,” Mor emphasized. “Everything is interconnected in a vast webwork of cosmic being — a universal weaving — in which each individual thing, or life-form, is a kind of energy knot, or interlock, in the overall vibrating pattern.” The intimacy in Barbara Mor’s words here conjures the essence of nature’s magic. I stare into a spider’s web and lose myself in the interrelated universe she has woven, clearly guided by a Divine source. Following their own instinctual nature, did the women who invented spinning and weaving — twisting something raw into filament-like threads, then weaving them into something whole — do the same? Beyond the practical attributes of string and cloth for early humans, was there a desire to express something ‘sensed’ within themselves?

 (Click here to continue reading on Medium) 

{Goddess Journey} Part Three

The third and final part of the "Goddess Journey" chapter of my book-in-slow-progress, A Memory of Love: The Spiritual Mission of a Princess.

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Glorious Inanna

The Sumerians were one of the world’s first known civilizations, taking form in the fourth millennium BCE, and, according to Joseph Campbell, its mythology was the source of Babylonian, Assyrian, Phoenician, and Biblical traditions. The glorious Inanna, Sumer’s primary deity, was the goddess of love, sensuality, fertility, procreation, war, and rebirth. Throughout the centuries, as the world’s centers of power changed, she was worshiped in ancient Babylon as Ishtar, then identified with the Greek Goddess Aphrodite and, because she was seen as the morning and evening’s bright star Venus, Inanna also later became associated with the celebrated Roman Goddess.

Inanna has a rich, multi-dimensional legacy, celebrated as the Queen of Heaven and Earth. “She embodies the Divine Feminine in all its splendor: a sensuous courtesan and a timid virgin, a life-giving mother and an eternal child, merciful and wicked, wild, passionate, untamed,” wrote Lana Adler in “7 Goddess Archetypes of Empowerment.” “In other words, everything (with the exception of the mother, perhaps) patriarchy aimed to demonize and destroy.” (You only have to look as far as the Bible to see evidence of this.)

Inanna is synonymous with transformation. In The Hero With A Thousand Faces, Joseph Campbell wrote that “the oldest recorded account of the passage through the gates of metamorphosis is the Sumerian myth of the goddess Inanna’s descent to the nether world.” Abandoning heaven and earth, she “abandoned lordship, abandoned ladyship,” this goddess “from the ‘great above’ she set her mind toward the ‘great below’”—the hero’s journey. Her courageous descent and transformative return, the ultimate rite of passage, is legendary, her story told for thousands of years—with many faces and in many incarnations. “As we are told by the Vedas: ‘Truth is one, the sages speak of it by many names.’”

The legend of Inanna, encompassing a mythological journey, intersected with Diana’s life, even beyond its end. Well-known British astrologer and author Nicholas Campion made some profound royal observations following Diana’s death. But first, a little background: “After the second world war,” Campion explained, “Carl Jung [founder of analytical psychology] wrote that the phenomenon of Nazism could be partly explained by the eruption of the archetype Wotan, the Teutonic god, into the German collective unconscious.” After watching the funeral service for Princess Diana, Campion made this declaration: “I would say that what we have just witnessed was the eruption of the archetype of Inanna, the archaic Venus, into the contemporary collective unconscious.”

Campion, also a historian of cultural astronomy, believed there were people who would doubt him and found it “astonishing” that it had not been realized before, but it was his “contention that monarchy has never lost its magical, mystical functions, merely that the steady creation of a constitutional monarchy with a determinedly ordinary royal family, has concealed it.” During the last two decades of the twentieth century, Campion saw that “from the moment Diana appeared she constellated the archetype of Inanna. She was connected far less to the contemporary royal family of good works and middle class values than to the ancient magical monarchy of ancient cosmology of life and fertility; sacrifice and resurrection. Her life and death were unique in our lifetime, though perhaps not in British history.”

“As an archetype,” Lana Adler added, “Inanna symbolizes the powerful seductress who uses her considerable female persuasion to her advantage.” However, we’re reminded that “sensuality is a gift; but it can also be a powerful weapon. When we trade on it or use it to control others, we give away a part of ourselves.” Women don’t have to look to history to know how easy it is to give away our power, whether we’re being manipulated or we are the manipulator. And when it’s through our sensuality, through sex, Adler believes that it can be seen as a “symptom of deep self esteem issues and subconscious fears.” I sensed that Diana was waking up to this awareness at the very end of her life, perhaps in the last hours. Frustrated with being in the throes of a superficial affair, she was unhappy and ready to be home with her children, to get back to her newfound passion for her work in service to others; to restore her inner power and, with divine guidance, find love within. But her bigger mission took over, and her life moved into legend. ~ 

{Diana As Messenger} Book-in-Progress Excerpt {1}

There are times when someone’s influence and contributions are less in how they lived their life and more in what that life revealed about ourselves. Was Diana Spencer Mountbatten-Windsor’s life, in Shakespeare’s princely words, about “cracking open a noble heart”—and with her death, our own?

Diana—charismatic, photogenic and clever—came onto the scene in the explosion of celebrity-focused mainstream media (celebrity gossip was not just for the tabloids anymore) and began breaking rules immediately. Perhaps it was her easy beauty and princess glow that first drew us in, yet there was something deeper, even mythological, that had us linger.

Looking back at Princess Diana’s complex life and impact of her early death, to really see her true mission, I looked to “the poet’s way.” This is how documentarian Phil Cousineau explained the remarkable Joseph Campbell’s way of reading and understanding the inner depths of the ancient myths: “symbolically, metaphorically, soulfully.” And this set my course.

Following this thread, I was reminded of an On Being radio interview with author, pastor and biblical interpreter Eugene Peterson. He considered it important to know that the old prophets of the Bible were poets, so you would read scripture with your imagination, listening in the storytelling rhythm of how they communicated in their day, and in turn, learning the nature and meaning of metaphor. In other words, so you wouldn’t “try to literalize everything.” The beloved teacher considered the metaphor “a remarkable kind of formation because it both means what it says and what it doesn’t say. Those two things come together, and it creates an imagination which is active. You’re not trying to figure things out; you’re trying to enter into what’s there.”

If we use this poetic framework and view Diana’s life and death as a metaphor, a mythical allegory that played out on a world stage—with it meaning what we saw and what we didn’t see, what we heard and didn’t hear—then her unique contribution to the world is not about figuring out her life story, but entering into the now unlocked heart-space her death opened in us. And it is only then that we can see the world with the imagination of the heart. ~

[Excerpt from the Introduction, "Diana As Messenger," of my book-in-progress, tentatively titled, A Memory of Beauty: The Spiritual Mission of a Princess...more excerpts to come.]