When we were down in Portland for Thanksgiving, we visited Powell's Book Store, which is a dangerous thing to do for someone like me. We emerged relatively unscathed, with a mere 9 books. :) I had a good time trolling the mythology section. I found this great book called "The Marriage of Cadmus and Harmony", by Roberto Calasso. I've been reading it, and it's terrific! Check out my favorite quote from the first 50 pages or so:
"Mythical figures live many lives, die many deaths, and in this they differ from the characters we find in novels, who can never go beyond the single gesture. But in each of these lives and deaths all the others are present, and we can hear their echo. Only when we become aware of a sudden consistency between incompatibles can we say we have crossed the threshold of myth." (Calasso page 22)
Thursday, December 18, 2008
Inanna and the Hero's Journey Part 2
It's snowing here today, big white puffy flakes. Alex is playing with his toys, Ron is working from home, and it seems like a good day to follow up on my earlier post about Inanna. I can't find my copy of the Inanna myth, so I'll be retelling her story from memory. Any errors are solely mine.
Inanna (queen of heaven and earth) gets word that her sister, Ereshkigal (queen of the underworld), is about to give birth. She begins the descent into the underworld, only to be stopped at 7 gates during the journey. At each gate, she is required to give up another symbol of her status, from her crown and scepter to, at the last gate, her robes. She arrives at Ereshkigal's domain stripped of everything that she was, completely naked. Once she appears before her sister, Eriskegal kills her, and hangs her body on a meat hook in a corner of her throne room.
Apparently, before she left the upper world, Inanna suspected something might happen, and she sent a message to her grandfather, the king of the gods, that if she did not return in three days, that something has happened. When she does not return, Enki creates two sexless creatures from the dirt underneath his fingernails, who descend to the underworld in search of Inanna. Arriving at Ereshkigal's throne room, they find her in the throes of labor. She says "oh, my back!" They say "oh, your back!" They show compassion for her pain, and she is moved by this. She offers them anything they desire, and they say "we want the corpse hanging from the meat hook in the corner". Ereshkigal is not pleased with being tricked out of her sister's corpse, but she honors her promise and gives them the body.
They sprinkle the food of life and the water of life on Inanna's body, and are able to revive her. She ascends to the upper world, regaining all the regalia of her position at each gate on her return.
This is a very abbreviated version of the story. Please refer to Diane Wolkstein's translation of the myth for more information.
So, why is this story relevant to what we've been talking about in our last post? How can the creative artist gain inspiration from this story? There are many stories in myth about descents into the underworld, but the thing that I find interesting about Inanna's story is her death, and being hung on a hook. The translation is very specific on this point. It got me thinking about the business about the hook. So, what is a meat hook used for? Well, in a slaughterhouse, the carcass of the animal is hung on a meat hook to drain the fluids out, right? Not only was Inanna divested of all of her regalia on her descent, even as far as her clothing, but she gives even more to the underworld on her journey. It is my belief that, in order to return with the boon of authentic work, the artist must leave something of herself behind. She must be willing to make that sacrifice. The journey is a dangerous one, and if we look at the lives of our great artists throughout history, it is full of drug and alcohol addiction, insanity, and suicide. If you give too much, and are given much in return, the price to pay is large. The trick is in finding the balance on the descent, the path is a razor's edge.
Inanna (queen of heaven and earth) gets word that her sister, Ereshkigal (queen of the underworld), is about to give birth. She begins the descent into the underworld, only to be stopped at 7 gates during the journey. At each gate, she is required to give up another symbol of her status, from her crown and scepter to, at the last gate, her robes. She arrives at Ereshkigal's domain stripped of everything that she was, completely naked. Once she appears before her sister, Eriskegal kills her, and hangs her body on a meat hook in a corner of her throne room.
Apparently, before she left the upper world, Inanna suspected something might happen, and she sent a message to her grandfather, the king of the gods, that if she did not return in three days, that something has happened. When she does not return, Enki creates two sexless creatures from the dirt underneath his fingernails, who descend to the underworld in search of Inanna. Arriving at Ereshkigal's throne room, they find her in the throes of labor. She says "oh, my back!" They say "oh, your back!" They show compassion for her pain, and she is moved by this. She offers them anything they desire, and they say "we want the corpse hanging from the meat hook in the corner". Ereshkigal is not pleased with being tricked out of her sister's corpse, but she honors her promise and gives them the body.
They sprinkle the food of life and the water of life on Inanna's body, and are able to revive her. She ascends to the upper world, regaining all the regalia of her position at each gate on her return.
This is a very abbreviated version of the story. Please refer to Diane Wolkstein's translation of the myth for more information.
So, why is this story relevant to what we've been talking about in our last post? How can the creative artist gain inspiration from this story? There are many stories in myth about descents into the underworld, but the thing that I find interesting about Inanna's story is her death, and being hung on a hook. The translation is very specific on this point. It got me thinking about the business about the hook. So, what is a meat hook used for? Well, in a slaughterhouse, the carcass of the animal is hung on a meat hook to drain the fluids out, right? Not only was Inanna divested of all of her regalia on her descent, even as far as her clothing, but she gives even more to the underworld on her journey. It is my belief that, in order to return with the boon of authentic work, the artist must leave something of herself behind. She must be willing to make that sacrifice. The journey is a dangerous one, and if we look at the lives of our great artists throughout history, it is full of drug and alcohol addiction, insanity, and suicide. If you give too much, and are given much in return, the price to pay is large. The trick is in finding the balance on the descent, the path is a razor's edge.
Monday, December 01, 2008
Inanna and the Hero's Journey
One of the primary focuses I had in my years of study at Pacifica was in deepening my understanding of the importance of story to humankind, and in adding meaning to the process of creating art, particularly the written word. The hero's journey, as laid out by Joseph Campbell in his seminal work "The Hero with a Thousand Faces", illustrates beautifully the process that any creative artist must go through in order to create art. Phil Cousineau talks about this quite eloquently in his new book "Stoking the Creative Fires", and I would encourage anyone interested in the relationship between the creative process and the hero's journey to check it out.One of the primary issues that artists struggle with is, and should be, how to reach their audience in a meaningful way; how to be the book, or film, or performance that resonates, that touches the soul. It is the power of art to do this that sets the human race apart, and it is, in my opinion, the primary function of art. Carl Jung tells us that when the gods came down out of Mount Olympus, they moved into the body, at the level of the gut, the level of the third chakra. This is that place in the body that art that connects can be felt, that physiological reaction that the body has when art connects with soul. We've all had that experience of seeing a great film, a great performance, reading a great book where we feel the experience of it in our body, at that precise place that Jung describes.
So, the question is, how can an artist, in the process of creating her art, connect with that place? I believe the answer lies in the very descent that is described in the hero's journey. The hero makes a descent into the underworld, and returns with a boon that he brings back to his community. The artist makes that descent into the pool of the collective unconscious, that place where stories live, and returns with a boon as well. It is that descent that sets his work apart, his willingness to make the descent is the key, the thing that separates the great artist apart from those whose work is easily set aside and forgotten. How does this work? I believe this can be illuminated in the story of Inanna.
to be continued...
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