Friday, September 27, 2013

MOBY DICK and Nature's Depths

Buried in the middle of Richard Tarnas's masterful Cosmos and Psyche (Plume, 2007) is a short three page chapter from which this post takes its title. The chapter opens, "One of the most remarkable sequences of synchronicities I have ever observed was a dramatic convergence of events involving Melville, Moby Dick, and the two planetary cycles we have been examining in this book."

In Cosmos Tarnas analyzes the key spiritual, cultural, scientific, biographical, and historical developments of the past 2,000 years in the light of our solar system's five outer planets' movements relative to one another. 

For example, there's a remarkable correlation between alignments of Uranus and Pluto and epochs of rebellion and revolution. A look at the years 1643-1654, 1787-1798, 1845-1856, 1896-1907, and 1960-72, when Uranus and Pluto were in alignment, gives one something to think about. Just consider the period of 1960-1972 -- rebellion and upheaval everywhere you look: Cuba, Vietnam, Mississippi, Alabama, Chicago, San Francisco, Paris, Woodstock, the Moon; civil rights, women's liberation, gay liberation, rock 'n' roll, soul, Pop art; the space race, Earth Day, the Pill, plate techtonics, chaos theory, the Big Bang, quarks; the Second Vatican Council, liberation theology, Zen, yoga, the Maharishi. The list is long.

In a chapter entitled "A Larger View of the Sixties," Tarnas discusses the collective and diachronic (a new vocabulary word for me) nature of these upheavals. "It is as if everyone who was born after the 1960s actually in some way lived through the 1960s," he explains, invoking the sense of a collective unconscious. "They bear within themselves the effects of that era, they know its conflicts and struggles, its truths and revelations.... They then enter new eras with all those impulses and forces existing potently within them, both the epochal resolutions from the earlier era and all that is deeply unresolved.

"[T]he planetary movements have significance," he concludes, "that is, they bear an intelligible correspondence to particular archetypal principles, and their unfolding cyclical patterns are closely associated with the unfolding cyclical patterns of human affairs." (Emphasis in the original)

Moby Dick and Nature's Depths
In the chapter on "Moby Dick," Tarnas highlights the influence of the planets Saturn, Uranus, and Pluto, on nature and in the life of Herman Melville. The themes of this planetary interaction include "awakening and eruption of nature's forces ... the unleashing of the instinctual id ... titanic defiance, titanic power and creative intensity" combined with "punitive retribution against nature and relentless obsession with projected evil."

When Melville was born, the planets Saturn, Uranus and Pluto were all in significant alignment. Eleven days after Melville was born, the Essex, a whaling ship, left Nantucket Island off the New England coast and made its way to the South Pacific, where it was attacked by an 80-foot whale and sunk. One of the survivors, first mate Owen Chase, wrote an account of the attack.

Knowing nothing about the Essex, Melville found himself, in his early twenties, on a whaling ship in the South Pacific. During that voyage, he met Owen Chase's son, who loaned Melville a copy of Owen's narrative. A few years later, when Saturn and Pluto occupied the same part of the sky as when Herman was born, he wrote and published Moby Dick. As he was completing the final chapters, he was stunned to learn that a whaling ship, the Ann Alexander, was attacked and sunk by a sperm whale in the South Pacific. This time, the planet Uranus was also in the same part of the sky, in a configuration known as a triple conjunction -- the only time this has occurred in the past two hundred years. And according to Tarnas, the sinkings of the Essex and the Ann Alexander are the only two well-documented cases of such an event. "Some certain significance lurks in all things," wrote Melville in Moby Dick.

"Such powerful patterning," observes Tarnas, "working at so many levels of the human and natural worlds, strongly intimates the possibility that an anima mundi, an archetypally informed depth of interiority, lies within 'all things' -- in the depths of the human psyche and in the depths of nature."

Friday, September 20, 2013

What Have You Read Lately?

A literary agent I admire said recently, "I'm interested in knowing what the author reads for pleasure and also who their literary inspirations and influences are. It's very impressive when you get an approach from someone who has read a lot of contemporary fiction and can really place his or her work within a literary context."

I read a lot for pleasure. Just as I like to write, so I like to read. This blog includes a few mentions of literary inspirations and influences: Peter Matthiessen and Julio Cortázar, for example. They are old friends. But, what about some of my new friends? In other words, to paraphrase Janet Jackson, "What have you read lately?"

Below is a curated list of books I've read in the past few years. The categories are: contemporary fiction, not-so-contemporary fiction (before 1990, let's say), historical research, and plot and character inspiration. Books are listed in order of publication or copyright, most recent to most distant.

CONTEMPORARY FICTION
2001 to the Present
Hari Kunzru, Gods Without Men, 2012
Steve Lawhead, The Spirit Well*, 2012
Charles Frazier, Nightwoods, 2011
Umberto Eco, The Prague Cemetery, 2011
Don DeLillo, Point Omega, 2010
Isabel Allende, Island Beneath the Sea, 2009
Stieg Larsson, The Girl Who Kicked the Hornets' Nest*, 2009
Kate Mosse, Sepulchre, 2008
Jeffrey Hantover, The Jewel Trader of Pegu, 2008
Charles Frazier, Thirteen Moons, 2006
Luis Alberto Urrea, The Hummingbird's Daughter, 2005
Salman Rushdie, Shalimar the Clown, 2005
Neil Gaiman, American Gods, 2001

1991-2000
Robin Hobb, Assassin's Quest*, 1997
Tony Hillerman, Dance Hall of the Dead, 1991

*Each of these is the third in a series: Bright Empires (Lawhead), Millennium (Larsson), Farseer (Hobb). I've also read Books One and Two in these series.


NOT-SO-CONTEMPORARY FICTION
Louis L'Amour, The Haunted Mesa, 1987
Marion Zimmer Bradley, The Mists of Avalon, 1983
Mark Helprin, Winter's Tale, 1983
Louis L'Amour, The Lonesome Gods, 1983
Louis L'Amour, The Californios, 1974
Ursula K. LeGuin, A Wizard of Earthsea, 1968
Zane Grey, Lost Pueblo
Robert Louis Stevenson, Kidnapped, or, The Lad with the Silver Button, 1886

HISTORICAL RESEARCH
Patrice Chaplin City of Secrets, 2008
Lynn H. Gamble, The Chumash World at European Contact, 2008
Ian Record, Big Sycamore Stands Alone, 2008
Luis Alberto Urrea, The Devil's Highway, 2004
Brian Fagan, Before California, 2003
Daniel Richter, Facing East from Indian Country, 2001
Vine Deloria, Red Earth, White Lies, 1997
Keith Basso, Wisdom Sits in Places, 1996
Jerry Mander, In the Absence of the Sacred, 1991
Vine Deloria, Custer Died for Your Sins, 1988
Thomas Blackburn, December's Child, 1980
T. C. McLuhan, Touch the Earth, 1971


PLOT AND CHARACTER INSPIRATION
Catriona MacGregor, Partnering With Nature, 2010
Peter Coyote, Sleeping Where I Fall, 1998
Paul Shepard, The Others: How Animals Made Us Human, 1996
Ronald Chepesiuk, Sixties Radicals, Then and Now, 1995
David Korten, When Corporations Rule the World, 1995
Russell Means, Where White Men Fear to Tread, 1995

Friday, September 13, 2013

THE SHELL


At a naval base sixty miles off the California coast, Hawk records a blue whale’s cries of agony during a sonar test. He is accused of downloading classified information. While fleeing his accusers, the young man stumbles into a hidden world. Before he knows it, he’s running for his life with two Indians called Hummingbird and Mountain Lion.

Hawk’s disappearance and reappearance several days later in the Santa Barbara foothills comes to the attention of a billionaire who fears the young man has uncovered a forbidden path to happiness. Convinced the young man could destroy the financier’s empire as well as his psychological stability, the billionaire hires a lonely and sadistic mercenary to track Hawk down. Spurred on by the young man’s activist grandfather, his family takes cover in a sanctuary in the Redwoods. The move Hawk makes at the last minute expands the horizons of what’s possible and forces each character to decide how she or he will respond.

THE SHELL (80,000 words) draws upon the myths and magic of ancient cultures to tell the tale of a young man who is initiated into the deeper mysteries of the natural world and forced to confront his own capacities for survival and transformation. This is the first of four books in my Turtle Island Rising series.