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M I   

Copyright ©  2012,  Mythic  Imagination  Institute™   All  Rights  Reserved     659  Auburn  Ave,  Suite  266   Atlanta,  GA    30312    

It might  be  said  that  we  owe  the  fairest  flowers   of  our  love-­‐life  to  the  reactions  against  the   hostile  impulse  which  we  divine  in  our  breasts.     SIGMUND  FREUD  

Fall & Winter 2012 Why Does  Venus  Love  Mars?   Honora  Foah   Exploring  the  relationship  between  beauty   and  brutality.  

War, Peace  and  the  American  Imagination   Jean  Houston   Dr.  Houston’s  introductory  remarks  from  a   debate  held  at  Emory  University.  

War, Peace  and  the  American  Imagination   James  Hillman   Dr.  Hillman’s  introductory  remarks  from  a   debate  held  at  Emory  University.  

War, Peace  and  the  American  Imagination   Deepak  Chopra   Dr.  Chopra’s  introductory  remarks  from  a   debate  held  at  Emory  University.  

And Ceasar’s  spirit,  ranging  for  revenge,   With  Ate  by  his  side  come  hot  from  hell,   Shall  in  these  confines  with  a  monarch’s  voice   Cry  ‘Havoc!’  and  let  slip  the  dogs  of  war.     WILLIAM  SHAKESPEARE  

War is  the  father  of  all.     HERACLITUS  

Being reveals  itself  as  war.     EMMANUEL  LEVINAS  

We reflect  on  this  war  because  it  causes  us  to  rise  into   another  aspect  of  our  being.    It  calls  us  into  being.     JEAN  HOUSTON  

If it  is  a  primordial  component  of  being,  then  war  fathers   the  very  structure  of  existence  and  our  thinking  about  it:   our   ideas   of   the   universe,   of   religions,   of   ethics;   war   determines   the   thought   patterns   of   Aristotle’s   logic   of   opposites,   Kant’s   antinomies,   Darwin’s   natural   selection,   Marx’s  struggle  of  classes,  and  even  Freud’s  repression  of   the  id  by  the  ego  and  superego.     JAMES  HILLMAN  

Never, believe  me,  do  the  Gods  appear  alone.     FRIEDRICH  VON  SCHILLER  

Where war  is  Venus  will  be.     JAMES  HILLMAN  

That’s the   archetypal,   mythical   explanation   that   we   have   Mars   inside   us   and   Mars   is   betrothed   to   Venus   and  you  can’t  have  romance,   you  can’t  have  eroticism,   you   can’t   have   seduction,   you   can’t   even   have   sensuality  unless  it  is  part  of  our  violent  nature.         DEEPAK  CHOPRA  

Why Does  Venus  Love  Mars?  

Why  Does    Venus  

Love Mars?  

Honora Foah   President,  Mythic  Imagination  Institute    

Often people  say  to  us  at  

experience of  being  

Mythic Imagination,  as  they  

alive…that we  actually  feel  

said to  Joseph  Campbell—We  

the rapture  of  being  alive.’  

all are  seeking  a  meaning  for   life.    Campbell  answered,  ‘I   don’t  think  that’s  what  we’re   really  seeking.    I  think  what   we’re  seeking  is  an    

This hunger  is  so  powerful   that  we  will  seek  it  even  in   destructive  ways,  because  it  is   precisely  in  danger  and  duress   that  we  are  most  likely  to  

become aware  of  the  life   force  itself  and  the   preciousness  of  it.    Drugs,   speed,  war.          

This experience  is  often  an  

A moment  of  peace,  of  rest,  

quickening of  beauty  and  the  

experience of  beauty.    Beauty  

of completion,  of  stopping.    

quickening of  a  sense  of  

in any  form  seems  to  quicken  

Beauty can  help  us  experience  

purpose and  consequent  

the spirit  while  calming  at  the  

‘enough.’  Beauty  can  create  

valor can  feel  similar.    We  

same time.    Or  perhaps  not  

silence.  But  oddly,  it  can  also  

need to  face  this.    What  is  the  

calming exactly,  but  creating  a  

create the  opposite,  

relationship between  beauty  

sense of  rightness,  of  finally  

insatiable desire.  

and brutality?    Why  does  

being in  the  right  place,  there   is  no  where  else  to  be.    To  see   this  sunset  is  enough.    

The quickening  of  sex  and   violence  can  feel  alike.    The  

Venus love  Mars?    

Ah—who can  resist  those  bad  boys?       She  doesn’t  marry  him  though.    No,  Venus   marries  the  maker,  the  magical  maker  of   things,  the  master  of  the  forge,   Hephaestus,  Vulcan.    For  the  long  term,  it  is   art  not  war,  creativity  not  destruction.    But,   Oh,  those  bad  boys.   Despite  my  extreme  discomfort  at  having  to   put  myself  in  the  company  of  hedge  fund   managers  and  the  Wall  Street  Masters  of   the  Universe  who  fancy  themselves  the   Śivas  of  our  time,  they  have  a  point.    They   have  taken  to  justifying  themselves  through   the  doctrine  of  ‘creative  destruction.’    As  a   student  of  Śiva,  I  can  only  acknowledge  that   destruction  is  necessary,  death  is  necessary,   for  life  to  be  renewed.    This  much  I  will   concede—the  MOTU,  while  often  hailed  as   the  creators  of  opportunity,  are  in  fact  the   grim  reapers.   Look  at  the  speed,  the  danger,  the  power  of   the  Wall  Street  life.    When  you  are  moving   that  fast,  everything  feels  pared  to  an   exhilarating  essential  drive—and  moral   nuance  is  for  pansies.  

In a  television  program  I  was  watching  the  other  night,  the  FBI   was  trying  to  take  down  some  insider  traders.    The  sting  involved   penetrating  the  25,000  dollar-­‐entry  fight  club  the  brokers  had   put  together.    The  winners  of  the  fights  were  given  illegal  inside   trade-­‐worthy  information.    The  portrayal  of  the  boxing  and  the   portrayal  of  the  competition  on  the  trading  floor  were  all  of  a   piece.    You  beat  someone  bloody,  you’ve  earned  the  right  to   bloody  the  law,  you  win,  you’re  given  a  leg  up  to  win.    For  the   storywriter,  the  equivalents  were  clear,  as  they  are  to  any   American  viewer.   Fight  Club,  one  of  my  favorite  movies,  works  with  a  deeper,   darker  picture.    Fight  Club  is  about  materialism  and  capitalism   and  what  that  does  to  the  soul.    One  of  the  reasons  I  like  it  so   much  is  because  someone  has  tried  to  take  on  this  subject.    It  is   especially  about  the  losers,  specifically  the  men  who  are  not  the   Masters  of  the  Universe.    They  also  form  a  fight  club,  which  is   some  kind  of  cathartic,  desperate  assertion  of  manhood,  in  the   midst  of  a  soulless  world.  

A few  years  ago,  Mythic  Imagination  and  The  

home to  roost  is  considered  blasphemous.    

Alliance for  a  New  Humanity  held  a  

And I  mean  that  in  the  religious  sense.    These  

conversation between  James  Hillman  and  

images of  ourselves  are  held  as  sacred  and  to  

Deepak Chopra,  moderated  by  Jean  Houston  

ask questions,  to  attempt  other  images  is  

called War,  Peace  and  the  American  

treated as  a  burning  offense.  


In the  highly  recommended,  A  Terrible  Love  of  

As he  stepped  to  the  podium  James  Hillman  

War that  Hillman  wrote,  one  chapter  is  

asks, why  am  I  here?  and  answers  himself  by  

specifically about  War  as  Religion  and  Religion  

saying, lately  it  seems  that  it  is  not  so  much  

as War.  

for the  sake  of  war  and  peace,  as  much  as  it  is   for  the  American  imagination.  

Deepak, in  his  opening  remarks  chooses  to   paint  an  imagination  of  what  it  would  be  like  

He places  our  violence  and  soullessness  in  the  

to escape  the  diabolical  imagination,  the  

realm of  the  flatland  of  materialism,  in  the  

creativity that  dreams  up  exotic  weapons  and  

inability to  imagine  the  lives  of  others,  in  our  

fantastical tortures,  and  enter  a  realm  of  

inability to  imagine  and  therefore  to  care  

consciousness where  these  opposing  forces  

about the  consequences  of  what  we  do.    Our  

melt away  under  the  power  of  a  wider  and  

failure to  imagine  is  a  willful  thing.    We  do  not  

deeper experience  of  connection  and  joy.  

want to  imagine  what  the  rollout  of  our  war   machine  actually  does.    We  don’t  have  to—we   are  too  busy,  we  are  moving  too  fast,  we  have   to  get  on  with  business.    We  are  happy  in  the   story  that  we  are  the  good  guys,  that  we  are   innocent  and  after  9/11,  that  we  are  the   victims.    Any  mention  of  chickens  coming  

Jean Houston  begins  by  placing  us  inside  an   American  story  of  division,  calling  the  Civil   War  our  American  Mahabharata.    She  also   says,  “We  reflect  on…war  because  it  calls  us  to   rise  into  another  aspect  of  our  being.”    

To make  a  suggestion  as  you  enter   this  world,  this  other  aspect  of  our   being,  which  is  described  in  these   opening  remarks  by  Hillman,  Houston   and  Chopra—it  is  beautiful  and   necessary  to  hear  what  Deepak   pictures  for  us.    If  there  are  not   profound  imaginations  of  a  way   forward,  that  reality  cannot  come  into   being.    But,  consider  resisting  the   impulse  to  run  into  the  arms  of  this   vision  too  quickly.    Linger  to  do  the   hard  and  necessary  work  which   Hillman  asks  us  to  do.    What  is  utterly   remarkable  about  this  conversation  is   how  necessary,  and  in  the  end   complementary,  both,  very  different   points  of  view  are.  

So, perhaps  rather  than  asking  why,  it   is  more  important  to  simply  accept   and  begin  from  the  fait  accompli  –   Venus  loves  Mars.    Now  what  do  we   do?    Hillman  asks  us  to  own  our   Martial  desires.    If  we  do  so,  we  may   then  as  the  rightful  owner,  offer   them,  surrender  them  into  the   keeping  of  the  vast  ocean  that  is  the   source  of  the  great  life  force  that  we   long  to  feel  coursing  through  us  with   power  and  grace.  

The first  principle  of  psychological  method   holds  that  any  phenomenon  to  be  understood   must  be  sympathetically  imagined.     JAMES  HILLMAN  

War, Peace and the American Imagination Deepak Chopra,  author  of  Peace  Is  The  Way,  believes  it  is   possible  for  individuals  to  transform  their  consciousness  to   such  an  extent  that  humanity  will  bring  an  end  to  war.    James   Hillman,  author  of  A  Terrible  Love  of  War,  suggests  that  we   are  ceaselessly  driven  by  archetypal  realities  that  reveal   themselves  in  a  multitude  of  ways,  including  the  bloodlust  of   war.    He  wonders  if  we  can  tame  this  drive,  but  questions  if  it   can  ever  be  transformed.     On  September  20,  2006  in  Glenn  Memorial  Auditorium  at   Emory  University  in  Atlanta,  Georgia  these  great  minds   discussed  and  debated  the  causes  of  war,  examined  the   possibilities  of  peace,  and  explored  the  role  of  the   imagination.    The  renowned  philosopher  and  mythologist   Jean  Houston  moderated  the  evening's  conversation  hosted   by  the  Mythic  Imagination  Institute.   What  follows  are  the  introductory  remarks  made  prior  to  the   debate.    

Jean Houston


James Hillman


Deepak Chopra

War, Peace and the American Imagination 1st Speaker

Jean Houston I'd like  to  begin  where  we  are,  in  Atlanta,  but  not  now,   no,  one-­‐hundred-­‐and-­‐forty-­‐three  years  ago.    Perhaps   around  Peachtree  Creek  or  Nancy  Creek  or  in  Inman  Park.     It  seems  to  me  that  I  can  almost  hear  it,  the  shuffling  of   dusty  feet  of  men  in  tattered  gray  and  blue.    The  horses   neighing.    The  old  songs  picked  out  on  the  banjo  around   some  campfire  the  night  before  the  battle:  Tenting   Tonight,  My  Old  Kentucky  Home,  Just  Before  the  Battle   Mother,  When  the  Cruel  War  Is  Over,  Somebody's  Darling.     I  can  hear  the  soft,  southern  voices  reading  aloud  the   letters  from  home,  and  I  can  hear  the  quiet  tang  of  the   northern  ones  writing  the  utter  fullness  of  their  hearts  to   their  loved  ones.  

I can  see  what   happened  across  the   various  creeks   where  the  southern   soldiers  were  on  one   side  and  the   northern  on  the   other.   But  at  night,  as  many  of   you  know,  they  would   actually  cross  the  creek   and  sing  together  and  read   their  letters  to  each  other   and  share  tiny  bits  of  food,   or  a  chaw  of  tobacco.     Then  the  next  day,  across   the  creek,  they  would  have   to  be  enemies  again.   War  and  Peace.   It  has  been  called  the   crossroads  of  our  being,   this  Civil  War.    It  has  been   said  that  it  defined  us  as  to   what  we  are  and  it  opened   us  to  what  we  became   both  for  good  and   certainly  for  ill.    It  exists  in   our  minds  like  a  great,   great  passion  play,  a   mystery  drama  that  

forever beckons  only  to   recede  into  the  smoke  of   some  ghost  of  a  battle   when  we  think  we  have   actually  come  close  to  it.   This  Passion  Play  has   spawned  as  much   reflection,  artwork,  novels,   studies,  poems,  films,   plays,  and  music  of  the  last   hundred  and  forty  odd   years  as  has  the  Passion  of   Christ,  and  for  perhaps  the   same  reasons.    Whole   industries  exist  to   perpetuate  its  memory.     Ken  Burns’  PBS  series,  how   many  of  you  saw  that?    It   stunned  the  public  with   the  power,  the  truth,  the   mastery  of  its   presentation.

Letter to his wife Sarah, from Sullivan Ballou July 14, 1861 Camp Clark, Washington

My very dear Sarah: The indications are very strong that we shall move in a few days— perhaps tomorrow. Lest I should not be able to write again, I feel impelled to write a few lines that may fall under your eye when I shall be no more. I have no misgivings about, or lack of confidence in the cause in which I am engaged, and my courage does not halt or falter. I know how strongly American Civilization now leans on the triumph of the Government and how great a debt we owe to those who went before us through the blood and sufferings of the Revolution. And I am willing— perfectly willing—to lay down all my joys in this life, to help maintain this Government, and to pay that debt. Sarah my love for you is deathless, it seems to bind me with mighty cables that nothing but Omnipotence could break; and yet my love of Country comes over me like a strong wind and bears me unresistibly on with all these chains to the battle field. The memories of the blissful moments I have spent with you come creeping over me, and I feel most gratified to God and to you that I have enjoyed them for so long. And hard it is for me to give them up and burn to ashes the hopes of future years, when, God willing, we might still have lived and loved together, and seen our sons grown up to honorable manhood, around us. I have, I know, but few and small claims upon Divine Providence, but something whispers to me—perhaps it is the wafted prayer of my little Edgar, that I shall return to my loved ones unharmed.

If I do not my dear Sarah, never forget how much I love you, and when my last breath escapes me on the battle field, it will whisper your name. Forgive my many faults and the many pains I have caused you. How thoughtless and foolish I have often times been! How gladly would I wash out with my tears every little spot upon your happiness. But, O Sarah! If the dead can come back to this earth and flit unseen around those they loved, I shall always be near you; in the gladdest days and in the darkest nights . . . always, always, and if there be a soft breeze upon your cheek, it shall be my breath, as the cool air fans your throbbing temple, it shall be my spirit passing by. Sarah do not mourn me dead; think I am gone and wait for thee, for we shall meet again.

Sullivan Ballou

Yet my love of Country comes over

me like a strong wind‌ and bears me unresistibly on to the battle field.

War calls us into being.

We reflect  on  this  war  because  it  causes  us  to  rise  into   another  aspect  of  our  being.    It  calls  us  into  being.    It   chills  our  heart  with  its  horror—the  sheer  horror  of  war.     It  cracks  our  mind  by  its  enormity,  and  it  draws  us  into   myth  by  its  very  being.    It  is  our  Iliad,  our  Homeric  epic;   it  is  our  Mahabharata.   But  although  it  is  long  since  over  and  done  with,  it   continues  to  exist  in  a  between-­‐the-­‐worlds  place  where   on  some  forever  landscape  it  perpetually  plays  itself  out   and  there  it  remains  unresting,  relentless,  demanding   that  we  try  to  understand  it,  be  available  to  its  mystery,   incarnate  its  passion  and  redeem  its  yet  untold  vision.   As  Elliot  said,  "Redeem  the  time;  redeem  the  unread   vision  of  the  higher  dream."    What  is  in  this  higher   dream?    This  is  something  that  will  be  part  of  the   discussion  tonight.    What  is  there  beyond  the  polarity  of   war  and  peace?    Is  something  new  trying  to  emerge?    Is   there  any  saving  for  us  at  all?  

Redeem the time; redeem the unread vision of the higher dream. T.S. Elliot

We'll go  back  two  thousand   years  and  Virgil  i n  this  first   line  of  the  Aeneid  writes  "of   arms  and  the  man  I  sing."     Of  arms  and  the  man  I  sing.     The  warrior  is  Aeneas  who   proclaims  his  willingness  to   fight  to  death  for  his   country  and  what  it  stands   for.    This  line  became  the   call  to  arms  of  generations   of  English  schoolboys  as   they  were  sent  out  to  rule   the  empire.   Several  decades  later,  Jesus   is  reputed  to  have  said,   "Put  up  thy  sword,  for  they   that  live  by  the  sword  shall   die  by  the  sword."    The   image  of  the  man  without   armor.   Jonathan  Schell  has   observed  that  since  then   these  two  great  conflicting   traditions,  one  worldly  and   sanctioning  violence,  the   other  spiritual  and   forbidding  it,  have  existed.     Each  tradition  inspires   people.    Indeed,  as  James   Hillman  shows  in  his profound  and penetrating   study,  A  Terrible  Love  of   War,  war  has  inspired  both  

a sublime  as  well  as  a   religious  sensibility.   Many  attempts  have  been   made  to  reconcile  these   two  traditions.    St.   Augustine  writes  of  the   two  distinct  realms  of   existence:  the  spiritual   realm  of  love  and  peace   and  non-­‐violence,  called   the  Civitate  Dei,  The  City  of   God;  and  then  there's  the   public,  political  city  of  man   where  the  law  of  force   always  reigns.   Machiavelli  i n  The  Prince— now  Machiavelli  was  very   interesting  because  at   night  he  would  take  off  his   country  garb,  he  would  put   on  beautiful  robes,  he   would  go  into  his  study,   and  he  would  dialogue   with  ancient  men.    In  these   dialogues  he  would  speak   and  he  would  listen.    But  in   these  dialogues,  he  was   talking  about  the dualist   perception  between  what   is  good  for  one's  soul  and   what  is  good  for  the   Republic.  

Throughout history, we often find that the Call to Arms occurs simultaneously with the Call to Spirit and the regeneration of the heart. It's fascinating  isn't  it  that   when  we  consider  the   20th  Century,  often  called   the  century  of  total   violence,  it  was  also  the   century  of  the  rise  of   extraordinary  means  of   non-­‐violent  action:  Peace.   Gandhi,  and  his  movement   of  resistance  to  the  British   Empire  in  both  South   Africa  and  India—the   resistance  that  inspired   Martin  Luther  King's  civil   rights  movement  in  the   United  States,  as  well  as   the  non-­‐violent   movements  in  Europe,  in   Russia,  the  efforts  of   Anwar  Sadat  in  Egypt,  of   Nelson  Mandela  in  South   Africa,  Vaclav  Hovel  in Czechoslovakia,  Rosa  Parks  

in the  United  States,  as  well   as  the great  tides  of women  the  world  over  who   have  resisted  and  risen   above  the  seductive  and   clamorous  dogs  of  war.   I  myself  would  say  that   perhaps  the  most   important  movement  of  the   last  5,000  years  is   happening  now,  the  rise  of   women  slowly  but  surely  to   full  partnership  with  men  i n   the  whole  domain  of   human  affairs.    Which   might  just  change   everything.    In  fact,  it  might   even  result  in  the  soul  of   culture  no  longer  being  a   satellite  to  economics,  but   economics  becoming a   satellite  to  the  soul  of   culture.    (applause)  

Two very  ingenious,   inventive,  maverick  minds   here  having  written  two   very  potent  books   representing  this  great,   dual  tradition:  James   Hillman,  who  writes  from  a   lifetime  fascination  and   study  of  war;  Deepak   Chopra  did  that—this  is  it   for  many,  many  reasons,   not  only  the  rise  of   women,  but  the   technology—the  global   village—all  of  this   suggesting  that  perhaps   there  is  a  new  alliance  for   peace  that  is  possible  if  we   allow  consciousness  to   evolve.    Something  else   that  I'm  going  to  bring  up   between  these  two   gentlemen  is,  in  many   ways,  a  very  different  take   on  consciousness.  

Dr. Hillman,  with  his   extraordinarily  astute   archeology  of  mind  and   psyche,  really  having  taken   depth  probings  of  the   human  psyche.    Dr.   Chopra,  coming  not  only   from  a  medical   background  but  very  much   of  an  Eastern  background,   a  Hindu  background,  who   looks  at  consciousness  as   being  pulled  along  by  the   luminous  strange   attractor:  the  emergent   form.  

When I  was  very,  very  young,  I  had  the  good  fortune  to  walk  for   two  years  on  Tuesdays  and  Thursdays  with  a  man  whom  I  called   Mr.  Tayer,  but  who  turned  out  to  be  Teilhard  de  Chardin.    He  lived   across  the  street  from  me  and  he  was  saying:  Jean,  the  people  of   your  time,  they  will  be  taking  the  tiller  of  the  world,  but  you   cannot  go  directly.    You  have  to  touch  every  people,  every   consciousness.    It  has  to  be  a  great  weave,  a  newer  sphere,  a   sphere  of  mind.   I  said,  "But,  but  Mr.  Tayer,  how  is  it  going  to  happen?    There's  so   much  war?    How  can  this  happen?"    He  said,  "Oh,  don't  worry,  it  is   coming!"    But  he  never  told  me  how.   But  in  Peace  is  the  Way,  Dr.  Chopra  does  offer  the  ways  and   means  that  I  think  Teilhard  would  have  been  very  pleased  with— ways  and  means  to  move  consciousness  in  an  evolutionary   direction  toward  an  integral  to  peace.    So  we  have  here,  as  you   see,  the  possibility  of  an  extraordinary  conversation.    I'm  going  to   begin  by  asking  James  Hillman  to  speak  first.    Each  will  speak  for   about  fifteen  minutes  and  then  I  will  give  them  a  very  zany   question  to  open  up  the  conversation  for  another  forty  minutes.     Then  we  will  open  it  to  you.   So,  let  us  begin.  

The Goddess Liberty

War is  cruelty,  and  you  cannot  refine  it.     WILLIAM  TECUMSEH  SHERMAN  

C ntd


t ot heDeadl i es t Bat t l ei nAmer i ca

It is  well  that  war  is  so  terrible— otherwise  we  would  grow  too  fond  of  it.     ROBERT  E.  LEE  

God help  me,  I  do  love  it  so.     GEORGE  S.  PATTON  

I think   a   curse   should   rest   on   me   because   I   love   this  war.    I  know  it's  smashing  and  shattering  the   lives   of   thousands   every   moment,   and   yet   I   can't   help  it—I  enjoy  every  second  of  it.     WINSTON  CHURCHILL  

graffiti on a wall in Bethlehem

War, Peace and the American Imagination

2nd Speaker

James Hillman

In thinking about  this   program,  I  ask   myself  why  I  am  here?   I  think  I  am  here  for  a  different   reason  this  evening  than  I  thought   about  when  I  was  thinking  about  it   before.    (laughter)    These  last  days,   this  last  three  weeks,  I'm  here   because  of the  American   Imagination.    I'm  here  less  because  

of war  and  peace  I  think,  but  because   of  this  enormous,  tragic,  horror   which  is  the  American  imagination.     The  lack  of  it,  the  failure  of  it,  the   absence  of  it,  and  that  really  is  a  kind   of  esthetic numbing  in  the  country.   That  is  what  really  brings  me  and   what  really  moves  me.  

If we  don't  imagine,  we  get   Iraq.    We  get  New  Orleans.     We  get  criminal   irresponsibility.   McNamara  says  'the  failure  of   imagination.'    McNamara,  The   Fog  of  War,  who  ran  the   defense  department  under   Kennedy  and  then  under   Johnson,  the  Vietnam  War:   "We  can  now  understand   these  catastrophes  for  what   they  were.    Essentially  the   products  of  a  failure  of   imagination."  

Donald Rumsfeld,  talking   about  surprise  and  its consequence  said,  "It  is  due   to  the  poverty  of   expectations,  the  failure  of   imagination."   The  director  of  the  National   Security  Agency,  Michael   Hayden,  said  about  the  twin   towers,  "Perhaps  it  was  more   a  failure  of  imagination  this   time  than  last."    Meaning   Pearl  Harbor.   The  failure  of  imagination.    

What is  wrong  with  us?    What   is  this  failure  of  imagination?     Keegan,  one  of  the  great   writers  on  war,  said  that  one   of  the  essential aspects  of   war  is  deliberate  cruelty.     Deliberate  cruelty,  not   accidental  cruelty,  not  the   cruelty  of  near  misses  and  so   on,  but  deliberate  cruelty.   It  is  this  that  we  get  when  we   plan  and  we  don't  imagine.  

We know  how  to  plan.    We  had  plans  for  New   Orleans,  excellent  plans.    But  we  didn't  have   an  imagination  of  what  could  happen.    This  is   a  very  important  thing  because  where  does   imagination  go  to  school  in  the  United  States?     Where  is  our  esthetic,  artistic,  fantastic,   speculative  possibility?    That's  what's  missing.   We  know  how  to  plan.    We  can  plan  a  ten   thousand  carpet  bomb.    We  can  use  the  big,   conceptual  words  like  evacuation;  we  can  talk   about  the  bridge.    But  we  can't  imagine  what   goes  on  in  the  hearts  of  the  victims,  or  what   goes  on  in  the  hearts  of  the  actual people. For  example,  since  New  Orleans  is  in   everyone's  mind,  people  are  told  to  

evacuate—mandatory evacuation—but   does  anyone  imagine  that  you  may  not   have  the  money  for  the  gas  or  to  have  a   car?    That's  imagination,  not  planning.    We   are  excellent  at  planning  but  can  we   imagine? Can  we  imagine  the  lasting  consequences  of   war?    The  wanderings  of  people.    The   waste.    The  wasted  lives.    The  woundings   that  are  carried  ever  after.    And  the   numbers  of  psychic  damages  ever  after— each  person's  life,  body,  family,   neighborhood,  carrying  the  wounds.    We   are  still  carrying  the  wounds  of  Vietnam,   deeply,  heavily,  implacably.  

Something else  that  we  have   to  understand  is  that   command  and  control—which   is  fundamental  in  our  way  of   thinking  “taking  charge”—   command  and  control  broke   down  completely  in  regard  to   New  Orleans  and  is  clearly  not   working  in  Iraq.    So  one  has  to   think  not  how  do  we  reinforce   and  rebuild  command  and   control,  but  how  do  we  re-­‐ imagine  what  this  is?    Why  it   doesn't  work?    What  fails  in   regard  to  the  human  heart  in   regard  to  that?   Now  by  going  to  war—which   is  what  I  think  we  have  to  do,   we  who  are  here  partly   because  of  the  word  'peace'   in  the  title  of  this  event—that   is,  we  are  doves  in  heart,  we   do  want  peace  but  we  are  the   ones  who  must  turn  to  war   and  give  it  deep  thought.     Because  if  we  don't,  we  leave   war  to  the  hawks,  to  the  war   colleges,  to  the  war  planners.     We  leave  it  to  Kristal  and   Wolfowitz  and company.  

We leave  it  to  the   warmongers  if  those  who   are  dedicated  to  peace  and   long  for  peace,  don't  put   their  minds  into  the  depth   of  the  importance  of  war.   We  have  to  remember  now   that  Kant,  Immanuel  Kant   the  philosopher,  said,  "the   natural  state  of  human   beings  is  war."    The  French   philosopher  Levinas  said,   "Being  reveals  itself  as   war."    Perhaps  he  was   going  back  to  Heraclites  at   the  beginning  of  Western   thought  who  said,  "War  is   the  father  of  all  things."  

In other  words,  these   are  very  profound   thinkers  who  have  said   that  war  is  the  first   question.    War  is  the   first  question.    To  think   ourselves  into  its  truth,   into  its  reality.    If  we   don't  do  this  kind  of   thinking,  we  can  only   oppose  war  or  work  our   way  through  war  by   going  to  war.   We  have  to  go  to  war  in   our  mind.    That's  the painful  part  of  it.    So   that  you  yourself,  by   feeling  it  and  imagining   it,  are  hurt  by  it.    Not  

simply as  a  witness  on  TV   shows,  but  realize  the   implacable,  eternal,   archetypal  force  of  it  that   comes—that  there  are   more  wars  in  recorded   history  than  there  are   years  in  recorded  history.       The  fact  that  wars  have   been  with  us  since  the   beginning  of  time  and   continue  to  be  with  us  all   through  this  century.     Even  now  as  we  are   sitting  here,  there  are  I   don't  know  how  many   wars  going  on  in  different   parts  of  the  world.  

So as  I  am  saying,  the  American  imagination  is   interested  in  planning,  command  and  control,   and  fact-­‐finding.    Think  of  Columbine,  think  of   the  school  in  Colorado.    What  happened  with   Columbine?    They  sealed  the  place  off.    They   removed  the  bullet  holes.    The  study  of   Columbine  was  how  much  sooner  could  the   cops  get  there?    Why  did  this  happen?    How   many  bullets  holes  were  there  in  the  walls?     They  were  all  counted;  all  the  facts  were   gathered.    But  the  imagination  of  what  was   going  on  in  the  hearts  of  those  boys,  where's   that?    

Sartre said,  "He  who  begins  with  facts  will   never  arrive  at  essences."    It's  that.    It's   getting  to  the  essence  of  the  issues.    The  facts   don't  take  us  to  the  essences.    We  gather  the   facts.    We  have  fact-­‐finding  commissions  after   every  event,  but  do  we  imagine?   Then  the  imagination  continues  underground   as  conspiracy  theories.    The  Kennedy   assassination  was  dealt  with  in  fact-­‐finding  in   the  Warren  Report.    Every  bloody  possibility   of  how  the  bullets  entered  and  came  out  and   went  through  another  head  and  so  on  have   been  registered  and  recorded.    We  have  all   the  facts.    But  it  does  nothing  to  the   imagination,  which  continues  and  continues   and continues  in  conspiracy  theories.    

So my  plea  is  for   imagining.    Now  how   do  we  imagine?    And   what  is  imagining?    It   isn't  simple  the  way  I   understand  it;  it's   entering  into  the   heart  of  the  Other.    It   is  an  activity  in  Islamic   mysticism.    It  is  an   activity  of  the  heart.     The  heart  imagines.     Now  that  isn't  simply   'feeling'  into  the   Other,  as  we  learn  in   psychotherapy:   empathy  or  sympathy   and  so  on,  or  kibbutz.     It's  even  something   other  than   compassion  because  it   has  not  so  much  to  do   with  the  feeling  as  it   has  to  do  with imagining  into  the   Other.  

Can we  imagine  into   the  Other?    Imagine   the  enemy?    Imagine   what  he  and  she  and   they  are  living  and   thinking  and   believing?   If  we  think  of  Iraq  then   we  have  to  think  why   the  insurgency?    What   is  in  the  heart  of  the   insurgency?    Then  we   would  step  back  and   think  about  where  are   we  in  relation  to   what's  in  their  heart?     Not  the  fear  in  our   heart,  but  what's  in   their  heart.    

If you  think  about—put   yourself  into  it—we  look   at  our  men  exposing   themselves  to  terrible   risks  in  the  streets  of   Baghdad  or  Fallujah  or   Nejaf  and  so  on,  but   imagine  how  they  look  if   you  are  an  Iraqi.    These   great  guys  with  their   uniforms  and  their  pieces   and  their  equipment  and   their  stuff.    There's  a  kind   of  aesthetic  insult  in  a  

culture which  has  an   esthetic  way  of  looking  at   the  world.    Something  we   don't  even  know  about.     We  don't  even  know  the   languages.    We  have  a   great shortage  of   translators.    You  know  all   this;  this  is  news.    But   what  I  am  trying  to  say  is   that  there  are  ways  of   imagining  how  we  appear   to  them.    Not  our   theories,  not  our  politics,  

not our  ideals,  that's  not   what  I  mean.    Our   esthetic  presentation,   ourselves  as  we  are,  what   that  is  to  someone  else.   We  have  to  think  as,  let's   say,  anthropologists  on  a   field  trip  in  order  to  enter   into  how  we  are   perceived,  seeing   ourselves  from  the  other   side,  that's  the  kind  of   imaging  that  I'm  calling   for.  

I don't  want  to  talk  yet   about  peace.    I  think  that   will  come  up  in  our   discussion.    But  I  do  want   to  say  something  about love  and  the  importance   of  love  in  war.    What  we   often  have  forgotten  is   the  fact  that  we  love  war.     There  is  love  in  war   among  the  soldiers,  there   is  love  for  war,  the   marching  off  to  war,  and   there  is  the  love  of  war   itself.    War  is  in  love  with   itself  and  wants  to  go  on   and  on  and  on  continuing.   There  is  a  certain  kind  of   love  that  belongs  to  war.     It  has  its  own love;  it  has   its  own  beauty.    There  are  

many examples  of  the   charity,  the  kindness,  the   nobility  of  soul,  the   sacrifice  of  one's  self  for   the  other,  the  relation  of   the  buddies  to  each   other—these  buddies  can   be  men  and  women,  it's   not  necessarily  only   men—this  kind  of   emotional  sweetness  that   some  say  they  have  never   felt  at  any  other  moment   in  their  lives  except  in  the   midst  of  battle. They've  also  felt  fear  and   horror  and  misery,  yes,  I   don't  deny  that,  but  what   we  need  to  remember  is   that  there  is  a  kind  of  love   there  that  surpasses  for  

some who  have  been  in  it   and  with  it,  surpasses  all   other  sorts.    I  don't  want   to  read  passages  of  that,  I   have  a  lot  of  that  in  my   book  called  A  Terrible   Love  of  War,  but  it's   there.    There  is  a  beauty,   a  love  for  the  beauty  of   war  that  overwhelms   people.  

As the  Allied  armada  moved  toward  the  North  African  beaches,  Ernie  Pyle,   one  of  the  great  writers  of  the  Second  World  War,  wrote,  "Hour  after  hour  I   stood  at  the  rail  looking  at  an  almost  choking  sense  of  beauty,  and  power   enveloped  me."    A  member  of  Patton's  staff  in  Sicily  wrote  to  his  wife  "and   speaking  of  wonderful  things,  the  high-­‐water  mark  and  perhaps  the  most   beautiful  as  well  as  satisfactory  sight  I  have  ever  beheld  was  a  flaming   enemy  bomber  spattering  itself  and  its  occupants  against  the  side  of  a   mountain.    God,  it  was  gorgeous."   That's  a  sense  of  beauty  that  people  don't  want  to  accept—that  they  are   thrilled,  that  they  find  something  superlative,  sublime  in  the  midst  of  war.     So  if  we  don't  understand  the  attraction,  if  we  don't  understand  the   attraction  of  war,  we  will  go  on  being  innocents.    That's  our  American   addiction,  the  addiction  to  innocence.    That's  our  only  addiction.    It's  not   drugs  and  it's  not  marijuana  and  so  on.    It's  the  addiction  to  not  knowing,   not  wanting  to  know.    (applause)  

So we  can  talk  about   ending  war  and  having   peace,  but  there  is   something  about  the  God   of  War  that  attracts.     Mars  was  always  paired   with  Venus.    Venus  is   beauty,  attraction,   seduction,  charm,   pleasure.    If  we  don't  get   to  that,  if  we  just  stand   back  and  say  'war  is   horrible  I  can't  look,'  we   remain  children.  

There are  many  kinds  of   war  and  there  are  many   kinds  of  love.    One  of  the   aspects  has  been  said  by   a  French  philosopher,   Foucault,  that  what  war   offers  is  a  maximum  of   intensity  and  a  maximum   of  impossibility  at  the   same  time.    That  is  very   close  to  an  intense,   esthetic,  mystical   experience.  

Maximum of  intensity. That's  why  when  they   come  back  they  can't  talk   about  it  because  they   were  in  another  plane,  in   another  state.    A   maximum  of  intensity  and   a  maximum  of   impossibility,  death  and   love  at  the  same  moment.     Eros  and  Thanatos  in   Freud's  language.    

message written  on  a  bunker  

So the  battle  engagement  for  some,   and  often  reported  by  many  in   different  cultures:  most  sublime,   romantic  moment  comparable  only  to   falling  in  love  in  the  sexual,  passionate.     In  other  words,  the  Venus  aspect  of   the  Mars-­‐Venus  pair.   The  mythic  imagination  that  seizes.  

Now the  third  part  that  I  want  to   stress  is  that  war  transcends   human  causes.   Moderator:  You  have  one  more   minute.   Okay,  we'll  skip  that.    We'll  go  to   something  else.    (laughter)    I   should've  had  two  minutes.   Anyway,  besides  the  fact  that  it  is   archetypal,  transcendent,  and  that   as  Barbara  Ehrenreich  says,  "War   wants  only  one  thing,  to   continue."    Therefore  they  are  so   unstoppable  and  so  ungovernable.     It  wants  to  go  on.   But  there  are  leashes  that  one  can   put  on  the  mad  dog  and  that  I   think  we  should  get  to  when  we   have  our  conversation.    What   human  leashes  can  you  place  on   what  Shakespeare  calls  "the  mad   dog  of  war?"    What  are  the  human   leashes,  not  the  human  causes,   but  what  can  we  do  to  slow  it  or   hold  it  in  check.   There's  my  minute.    Thank  you.     (applause)    

Why did   millions   of   people   begin   to   kill   one   another?     Who  told  them  to  do  it?    It  would  seem  that  it  was  clear   to  each  of  them  that  this  could  not  benefit  any  of  them,   but  would  be  worse  for  them  all.    Why  did  they  do  it?     Endless  retrospective  conjectures  can  be  made,  and  are   made,   of   the   causes   of   this   senseless   event,   but   the   immense   number   of   these   explanations,   and   their   concurrence   in   one   purpose,   only   proves   that   the   causes   were   innumerable   and   that   not   one   of   them   deserved  to  be  called  the  cause.     LEO  TOLSTOY  

You can't   rewind   war.     It   spools   on,   and   on,   and   on,   looping   and   jumping,   distorted   and   cracked   with   age,   and   the   stories   contract   until   only   the   nuggets   of   hatred   remain   and   no   one   can   even   remember,   or   imagine,  why  the  war  was  organized  in  the  first  place.     ALEXANDRA  FULLER  

Is it  war’s  fault  that  we  have  not  grasped  its  meaning?     JAMES  HILLMAN  

War Peace and the

American Imagination

War, Peace and the American Imagination 3rd Speaker Deepak Chopra I thought  I  was  here  to  disagree  and  debate  Dr.  Hillman   and  actually  I  have  no  disagreement  with  what  he  says,   that  war  offers  sublimation.    Violence  offers  many   purposes.    It  serves  theological  purposes;  it  is   entertainment;  it  is  economics;  it  is  eroticism;  it  is   empowerment;  it  is  morality;  it  is  rationality  for  we  are   going  there  and  killing  the  Iraqis  so  that  we  can  give  them   freedom.    (laughter)    It  is  ritual;  it  is  coming  of  age;  it  is   the  rite  of  passage;  it  is  a  psychological  transformation;  it   is  power  of  an  intoxicating  kind.    So  it’s  very  seductive,   there’s  no  question  about  it.  

That’s the  archetypal,   mythical  explanation  that   we  have  Mars  inside  us   and  Mars  is  betrothed  to   Venus  and  you  can’t  h ave   romance,  you  can’t  have   eroticism,  you  can’t  have   seduction,  you  can’t  even   have  sensuality  unless  it  is   part  of  our  violent  nature.       So  there’s  no   disagreement.    That’s  a   good  psychological,  very   deep  understanding  of   mythic  archetypes  and   how  these  invisible  forces   govern  our  very  being.   From  a  biological   standpoint  also,  violence   has  its  role.    You  know  the   planet  is  only  3.8  billion   years  old.    The  universe  is   about  14  billion  years old.      

Human being  have  been   around  for  only  200,000   years.    Of  those  200,000   years  maybe  the  last   10,000  years  we  have  had   some  kind  of  awareness.     Written  language  is  about   6,000  years  old,  oral   language  a  little  longer   than  that.    And  self-­‐ awareness  perhaps  goes   back  5,000  years  at  most,   to  the  time  of  the  axial   sages,  the  sages  of  the   Upanishads  in  India,  and   the  Greek  philosophers,   and  Lao  Tzu  and  Confucius   in  the  East,  the  emergence   of  axial  wisdom  around   about 5,000  years.

So if  you  were  to  say  the  history  of  the  planet  started  on   January  1,  then  about  June  1  the  first  life  forms  appeared.    On   December  31st  human  beings  showed  up.    About  15  minutes   ago  human  beings  learned  to  communicate  verbally  through   written  language.    Self-­‐awareness  is  about  5  minutes  ago.    The   Internet  and  modern  forms  of  communication  including   modern  warfare  are  about  half  a  minute  ago.   So  I  think  we  can  be  very  forgiving  if  we  want  to  be.    We  haven’t   reached  puberty.    We’re  not  even  in  our  infancy.  

Biologically, by  the  way,   that  part  of  our  brain   which  is  called  the  limbic   brain  is  known  as  the   fight/flight  response.     When  I  was  in  medical   school  the  way  we   remembered  the  functions   of  the  limbic  system  were   the  four  F’s:  feeling,   fighting,  fleeing,  and   procreation.    (laughter)     So,  we  became  good  at  it.     (laughter)    We  became  so   good  at  it  that  right  now   we  are  the  predator  on   this  planet.   There  is  some  wisdom  in   the  saying  that  “a   permanently  victorious   species  risks  its  own   extinction.”    A   permanently  victorious   species  risks  its  own   extinction.    That’s  where   we  are.    If  you  could  look   at  this  planet  from  some   vantage  point  in  outer   space  and  you  were  to  ask   yourself  who’s  the  most   dangerous animal?    If  this   planet  is  a  living  organism   then  what’s  the  cancer?  

The cancer  is  Homo sapiens,  metastasizing,   multiplying,  gouging,   plundering,  destroying  the   eco  system.    The  problem   with  that,  even  though  it’s   all  true,  is  that  when  you   combine  this  ancient  way   of  living,  this  ancient,   tribal,  atavistic,  primordial   aspect  of  human  nature,   and  you  combine  it  with   modern  capacities  then   the  outlook  is  very,  very   bleak  right  now.  

I would  disagree  in  one   aspect  with  Dr.  Hillman   that  there  is  lack  of   imagination.    I  think  we   have  tremendous   imagination.    But  our   imagination  serves   diabolical  purposes.    I  was   just  reading  the  other  day   that  there  is  now   technology  to  create  a   neutron  bomb  and  if  you   dropped  it  on  a  city  it   would  be  seeking  human   temperature  and  what   that  would  result  in  is   complete  vaporization  of   human  beings  through   radiation.    Every  other   living  species  would  be   spared,  only  human  beings   would  disappear.    Even   your  clothes  would  remain   intact.    You  could  walk  into   a  city  and  it  would  be   totally  intact  except  there   would  be  no  human   beings.   My  god,  that  is   imagination.    (uneasy   laughter)    I’m  reading  of   technologies  that  say  that   in  about  ten  years  from   now  we  won’t  even  need   these  neutron  bombs.    We  

won’t even  need  these   biological  weapons.    We   could  have  something  like   a  simple  handheld   computer  like  my  little   Trio.    We  would  move   electrons  here  and   interfere  with  air  traffic   signals  and  hijack  not  one   plane  but  all  the  planes.     We  would  be  able  to  cut   off  the  electricity  in  a  city   like  Atlanta  and  suffocate   it,  interfere  with  air   transportation  systems,   poison  the  food  chain,  

cause nuclear  plants  to   leak  and  wreak  havoc— enter  the  food  chain  with   things  like  depleted   uranium  and  cause   malformations  for   generations  to  come.   This  is  not  lack  of   imagination.    This  is   imagination  that  actually   spells  doom  for  our  planet   and  for  the  extinction  of  all   species  and  the  extinction   of  our  own  species.    And   imagination  will  do  it.  

I was  talking  to  an   anthropologist  friend  of   mine  and  he  said,  “Maybe   in  the  universe’s   imagination  the  thought   came,  you  know  human   beings?    They  were  an   interesting  species,  didn’t   work.    (laughter)    Was  a   good  experiment,  didn’t   work.    So  be  done  with  it   and  move  on.”    And  it   wouldn’t  make  a  bit  of  a   difference  to  nature.     Wouldn’t  make  a  bit  of  a   difference  to  the  

magnificence and   awesome  mystery  of  the   universe.    After  all,  we’re  a   speck  of  dust  in  a  huge   void.   In  our  self-­‐importance  we   may  think  we’re  more  than   that,  but  you  know  from   nature’s  vantage  point:  get   rid  of  this  species,  the   cancer  on  the  planet.    

Arrival of the Gods of War

But there’s  another  aspect  to  our   imagination  also.    I  think  the  imagination  is   not  lacking,  it’s  the  sense  of  Self  that’s   lacking.    If  we  could  answer  one  question   and  understand  what  our  real  identity  is,   then  perhaps  the  same  imagination  which   is  diabolical  at  this  moment  could  find  a   new  creativity,  a  new  inspiration,  a  new   insight,  a  new  imagination  that  would  for   the  first  time  in  recorded  history—we   cannot  go  by  the  example  of  recorded   history—but  for  the  first  time  we  could   understand  that  the  universe  is  becoming  

self-­‐conscious to  us.    We  are  the  only  species   that  has  a  nervous  system  that  is  aware—that   we  are  aware.    The  only  species  that  is   conscious  that  we  are  conscious.    And  now   we  are  beginning,  at  least  some  people  in  the   world  are  beginning,  to  understand  that   consciousness  is  the  ground  of  being,  the  raw   material  that  differentiates  into  biological   organisms,  into  environments,  into  behaviors,   into  cognitions,  into  perceptions,  into   emotions,  into  social  interactions,  into   personal  relationships,  and  into  the  web  of   creation  that  we  call  the  eco  system.  

The human soul is a place of ambiguity.

In that  self-­‐awareness  perhaps  lies  our  salvation.    I  have   imagined  for  you  the  diabolical  aspects  of  human   creativity  and  human  imagination.    But  perhaps  we  could   imagine  the  divine  aspects  of  human  creativity  also   because  the  human  soul  is  a  place  of  ambiguity.    It  has   the  sacred,  it  has  the  profane,  it  has  the  divine,  it  has  the   diabolical,  it  has  forbidden  lust,  but  it  also  has  love  and   compassion,  and  understanding  and  beauty,  and  intuition   and  nurturing  and  tenderness,  and  the  possibility  to   evolving  into  a  new  species  altogether.    (applause)  

So we  have  the  fight/flight   response  within  us  but  we   have  something  called  the   reactive  response.   We  have  something  called  the   restful-­‐awareness  response.   We  have  something  called  the   intuitive  response,  which  is  a   form  of  intelligence  that  is   contextual  and  relational  and   holistic  and  nurturing,  and   doesn’t  have  a  win/loose   orientation,  that  sees  the   interdependent  core  rising  of   form  and  phenomena  in  the   entire  universe.   We  have  the  creative   response  which  is  the  ability   to  create  something  that   never  existed  before.       We  have  the  visionary   response  which  says,  in   Martin  Luther  King’s  words,  “I   have  a  dream,”  and  we  know   immediately  it’s  not  a   personal  dream  but  a   collective  dream,  an   archetypal  dream  seeking   freedom  and  creativity  and   liberation  not  for  one  person   but  for  an  entire  humanity.     (applause)  

Then we  have  something  called  the  sacred  response.    The   sacred  response  is  waking  up  to  the  luminous  mystery  in   which  we  are  bathed.    The  fact  is  that  we  may  never  be   able  to  unravel  this  mystery,  but  it  certainly  is  a  mystery.     There  is  no  bigger  human  emotion  I  think  than  a  sense  of   mystery,  a  sense  of  wonder,  a  sense  of  awe,  a  sense  of   feeling  that  we  are  connected  with  the  sacred  powers  and   the  sacred  source  of  the  universe.  

Rumi, my  favorite  Sufi   poet,  says,  “When  I  die  I   will  soar  with  angels.    But   when  I  die  to  the  angels,   what  I  shall  become  you   cannot  imagine.”  

Because to  imagine  what   I  shall  become  you  have   to  have  the  imagination   of  an  angel.  

Evolutionary biologists  are  now  telling  us  that   evolution  is  not  a  random  adaptation  to   environmental  forces,  but  evolution  is  punctuated   by  periods  of  what  I  call  punctuated  disequilibrium   where  there  is  the  progressive  proliferation  of   chaos,  even  anarchy.   Within  that  chaotic,  anarchic  soup  of  ambiguity  and   confusion,  is  the  rising  of  a  new  emergent  property.     Nietzsche,  the  German  philosopher,  said  when   there  is  chaos,  there  is  the  possibility  of  the  birth  of   a  dancing  star.  

I would  say  to  you  that   perhaps  another  way  of   looking  at  our  times  is  that   we  are  in  that  phase   transition.    Phase   transitions  are  recognized   in  natural  systems  when   water  turns  to  steam— that’s  a  phase  transition.     All  phase  transitions  are   punctuated,  are  actually   an  expression  of  great   turbulence.    Right  now  we   see  that  turbulence  in  the   destruction  of  our  eco   systems,  in  the  wars,  in  the   terrorisms,  and  the   terrorist  activities  that  we   read  about  every  day,  in   great  social  injustice,  in   economic  disparities   where  8  million  people  die   every  year  because  they   are  too  poor  to  live.   We  obviously  don’t  see   the  relationship  between   say  something  like  Katrina   and  human  activity,  but   it’s  time  to  ask  those   questions.    Is  it  time  to  ask   questions  like  does  global   warming  have  anything  to   do  with  rising  tidal  waves   and  depleted  ozone   layers?  

Does the  fact  that  we  are  seeing   disappearing  shorelines  because  of  us  and   our  human  activity  by  dams  that  artificially   change  the  course  of  rivers?    Does   deforestation  in  Asia  and  Africa  have   anything  to  do  with  changing  weather   patterns  because  there  is  only  one   atmosphere?  

Does the  destruction  of  the  flora  and   fauna  have  anything  to  do  with  the   migration  of  birds,  with  the  natural   habitats  of  the  eco  system,  which  also   affects  weather  patterns  in  one  place,   affecting  them  globally?    

No longer  can  we  separate   ourselves  from  nature  because  we   are  expressions  of  nature.    And  I   think  the  great  quantum  leap  that   we  need  to  make  right  now  with  a   sense  of  urgency  is  that  leap  in   imagination.    But  that  leap  in   imagination  coming  from  a  place  of   Self  that  says  I’m  not  a  skin-­‐ encapsulated  ego  that  is  squeezed   into  the  volume  of  a  body  in  the   span  of  a  lifetime—that  my   consciousness  transcends  my   physical  identity.    (applause)    And   that  when  that  consciousness   reaches  a  critical  mass  perhaps  we   will  see  an  age  the  even  Homer   never  dreamed  of.   (applause  and  cheering)  

Thehum a n s li sapl a c eo fa m bi gui ty.

ha sthes a c re d.

ha sthepro f a ne .

ha sthedi a b i c a l .

ha sf bi e nl us t.

ha sl ea nd c o m pa i .

ha sunde rs ta ndi ng a nd be a uty.

ha si ntui ti

a nd nuturi ng

a nd te nde rne .

ha sthep

i bi l i ty toe v vi n

i ngi ntoane w s pe c i e sa l t e the r.

War, Peace and The American Imagination Podcasts

Listen to   the   passion   in   their   voices   as   our   speakers   give   their   opening   remarks   prior   to   the   debate   in   a   series   of   podcasts   hosted   by   Honora   Foah.     The   podcasts   can   be   found   on   the   Mythic  Imagination  website  in  the  Magazine  Section.      

War, Peace and The American Imagination Now on DVD

Watch the  exciting   debate  between  James   Hillman  and  Deepak   Chopra  moderated  by   Jean  Houston.    Details  on   how  to  receive  this   limited  edition  DVD  can   be  found  on  the  Mythic   Imagination  Institute’s   website  in  the   Membership  Section.      

You can’t  say  that  civilization  don’t  advance,   however,  for  in  every  war  they  kill  you  in  a  new  way.     WILL  ROGERS  



Cover Art Dahna Lorrain  Koth  


Dahna Koth,  the  designer  of  the  artwork  for  the  cover  of  Guns  and  Roses  Part  I,  serves  as   Marketing  Director  and  Fellow  of  the  Mythic  Imagination  Institute.    In  this  capacity,  she  has   produced  and  co-­‐written  with  Honora  Foah  over  a  dozen  full-­‐length  podcasts,  served  as  a   creative  consultant  for  Mythic  Imagination  Magazine,  and  designed  and  implemented  the   layouts  for  the  collateral  material  in  the  Mythic  Imagination  online  store.   Ms.  Koth  is  Director  of  Creative  Services  for  the  international  business  group,  DLK  Ltd.    As  a   writer  and  creative  director,  her  clients  in  corporate  communications  and  business  theater   have  included  Fortune  500  companies  such  as  Coca-­‐Cola,  BellSouth,  Eli  Lilly,  SAAB,  Ritz-­‐ Carlton,  Delta  Airlines,  Cingular,  and  Nortel  Networks.   Prior  to  joining  DLK  Ltd.,  Ms.  Koth  was  Creative  Director  for  two  of  the  nation’s  top   corporate  communications  firms,  PGI  and  The  Jack  Morton  Company.    At  Conduit   Communications,  an  offshoot  of  Turner  Broadcasting,  she  served  as  Vice  President  of   Marketing  and  Development,  specializing  in  television  programming  and  joint  venture   relations  with  New  World  Entertainment.   For  seven  years,  Ms.  Koth  worked  as  Development  Project  Manager  for  the  Dollywood   Company  where  she  focused  on  the  development  of  a  world-­‐class  resort  for  Dollywood,  and   a  $4.5  million  themed  dinner  extravaganza  called  Dixie  Stampede,  as  well  as  Dollywood   theme  park  expansions.    After  leaving  Dollywood,  she  was  commissioned  by  Dolly  Parton  to   write  two  feature  film  scripts,  and  by  Dollywood  to  write  two  musicals.     Other  unique  projects  have  included  entertainment  zones  for  the  states  of  New  Mexico  and   Georgia,  a  major  expansion  of  Marineland,  Florida,  and  a  concert  series  for  the  United   Nations  Earth  Summit  Committee,  Ireland.   Ms.  Koth  is  the  guest  editor  of  Guns  and  Roses  Part  I.    She  is  currently  working  with  Honora   Foah  on  the  television  and  media  series,  The  Art  of  Myth.  

The Warriors Jacek Malczewski  


Title: Self-­‐Portrait  with  Muse   Artist:  Jacek  Malczewski  (1864—1929)   Location:  Lviv  National  Art  Gallery   Notes:  Jacek  Malczewski  is  considered  a  genius  of  Polish  Symbolism,  the  late   nineteenth-­‐century  art  movement  with  origins  in  France,  Russia,  and  Belgium.         The  first  period  of  Malczewski’s  rich  and  uneven  oeuvre  was  the  Siberian  cycle.     It  illustrated  the  torment  of  Polish  deportees,  which  he  portrayed   naturalistically  or  filtered  through  his  vision  of  the  mystical  poetry  of  Slowacki.     During  the  Young  Poland  period,  Malczewski  created  his  own  unique,  symbolic   vocabulary  in  which  robust  corporeal  figures  of  chimeras,  fauns,  angels,  and   water  sprites  appear  in  allegorical  portraits.    He  made  many  costume-­‐clad  self-­‐ portraits,  landscapes,  genre  and  religious  scenes  and  compositions  that  do  not   correspond  to  any  thematic  conventions.    The  muse  was  a  favored  element  in   many  of  his  paintings.   Malczewski’s  work  is  dominated  by  two  motifs:  the  vocation  of  art  and  the   artist,  and  death,  usually  in  the  form  of  the  god  Thanatos.    It  is  a  vivid  example   of  an  intermingling  of  folk  motifs  and  an  anti-­‐classical,  Dionysian  vision  of   antiquity  which  was  typical  of  Polish  modernism.    He  created  a  peculiar   polonisation  of  ancient  mythology,  not  only  by  placing  chimeras  and  fauns  in  a   Polish  landscape  but  also  within  historical-­‐national  context.  

Why Does Venus Love Mars?

Honora Foah    


Honora Foah  is  the  President  and  Creative  Director  of  Mythic  Imagination  Institute  as  well   as  a  member  of  its  Board  of  Directors.    She  headed  the  development  group  for  the  Mythic   Journeys  Conference  and  Performance  Festivals  held  in  2004  and  2006.         Ms.  Foah  is  a  multimedia  artist  whose  work  is  an  exploration  of  the  alchemists’  guiding   principle:  as  above,  so  below.    As  such,  she  is  interested  in  direct  experience,  intense   observation  and  science.    In  May  2013,  a  multimedia  opera  she  created  and  directed,  The   Birth  of  Color:  A  Marriage  of  Darkness  and  Light  will  premiere  in  Rome.     She  was  the  Chief  Designer  and  Producer  for  two  World  Expo  pavilions  for  the  United   Nations  (Italy  and  Korea)  as  well  as  exhibitions  for  Fernbank  Science  Museum,  Sandler-­‐ Hudson  Gallery,  and  video  art  installations  in  several  children’s  hospitals.      Ms.  Foah  is     currently  working  on  a  book  about  taste,  exploring  the  multi-­‐valent  experiences,  metaphors     and  myths  of  the  six  tastes  used  in  traditional  Indian  Ayurvedic  medicine:  sweet,  salty,   bitter,  sour,  pungent  and  astringent.       Ms.  Foah  received  her  Bachelor  of  Arts  and  Master  of  Arts  degrees  from  the  University  of   North  Carolina.    In  addition  to  her  university  education,  Foah  studied  dance  under  such   greats  as  Martha  Graham  and  Merce  Cunningham,  trained  extensively  in  drama  and  music,   and  is  an  accomplished  performer  in  each  of  these  areas.   As  co-­‐director  of  her  own  dance  theater  company  Schene  Hill  Dancing,  one  of  the  most   innovative  dance  companies  in  New  York  City,  which  was  known  for  combining  multi-­‐media   images,  set  design,  dance,  photography  and  voice,  Ms.  Foah  was  awarded  a  prestigious   grant  from  the  National  Endowment  for  the  Arts.    In  1987,  she  teamed  up  with  her  husband,   Dahlan  Robert  Foah  to  form  the  production  house,  Visioneering  International,  and  has   recently  become  a  member  of  Difference  Design  Lab.    

Why Does Venus Love Mars? Rubens and  Brueghel  


Title: The  Return  from  War:  Mars  Disarmed  by  Venus     Artists:  Peter  Paul  Rubens  and  Jan  Brueghel  the  Elder     Date:  About  1610  -­‐  1612     Medium:  oil  on  panel     Dimensions:  50  1/8  x  64  3/8  in.     Location:    The  Getty  Center  Los  Angeles       Notes:  In  a  corner  of  Vulcan's  forge,  Venus  stares  at  her  lover,  Mars,  who  is   transfixed  by  her  alluring  gaze.    Seized  by  her  beauty  and  paralyzed  in  the   seduction,  Mars  is  no  longer  capable  of  making  war.     In  the  1600s,  the  subject  of  Venus  disarming  Mars  was  understood  as  an  allegory   of  Peace.    Peter  Paul  Rubens  and  Jan  Brueghel  the  Elder's  interpretation  of  the   subject  emphasizes  the  fragility  of  peace.    Weapons  production  continues  in  the   background  at  the  burning  fires  of  Vulcan's  hearth,  signaling  that  love's  conquest   of  war  may  be  only  temporary.       Rubens  and  Brueghel,  who  were  close  colleagues,  collaborated  on  at  least   twenty-­‐five  paintings.    This  painting  displays  each  virtuoso's  talents:  Rubens's   robust  figural  style  and  Brueghel's  intricate  still  life  details.    The  luminous  figure   of  Venus,  the  reflective  quality  of  the  weapons  and  armor,  and  the  tactile  quality   of  the  lush  painting  are  a  testament  to  their  skills.    

War, Peace & the American Imagination

Jean Houston    


Jean Houston,  Ph.D.,  scholar,  philosopher  and  researcher  in  Human   Capacities,  is  one  of  the  foremost  visionary  thinkers  and  doers  of  our  time.     She  is  long  regarded  as  one  of  the  principal  founders  of  the  Human   Potential  Movement.    Dr.  Houston  is  noted  for  her  ability  to  combine  a   deep  knowledge  of  history,  culture,  new  science,  spirituality  and  human   development  into  her  teaching.    She  is  known  for  her  inter-­‐disciplinary   perspective  delivered  in  inspirational  and  humorous  keynote  addresses.     A  prolific  writer,  Dr.  Houston  is  the  author  of  26  books  including  “Jump   Time,”  “  A  Passion  for  the  Possible,”  “Search  for  the  Beloved,”  “Life  Force,”   “The  Possible  Human,”  “Public  Like  a  Frog,”  “A  Mythic  Life:  Learning  to  Live   Our  Greater  Story,”  and  “Manual  of  the  Peacemaker.”     As  Advisor  to  UNICEF  in  human  and  cultural  development,  she  has  worked   around  the  world  helping  to  implement  some  of  their  extensive  educational   programs.    In  September  of  1999,  she  traveled  to  Dharamsala,  India  as  a   member  of  a  group  chosen  to  work  with  the  Dalai  Lama  in  a  learning  and   advisory  capacity.    Dr.  Houston  has  also  served  in  an  advisory  capacity  to   President  and  Mrs.  Clinton  as  well  as  assisting  Mrs.  Clinton  in  writing  her   book,  “It  Takes  A  Village:  And  Other  Lessons  Children  Teach  Us.”    She  has   met  with  President  and  Mrs.  Carter,  and  with  leaders  i n  many  countries  and   cultures.     As  a  high  school  student,  she  worked  closely  with  another  First  Lady  of  the   United  States,  Eleanor  Roosevelt,  in  developing  strategies  to  introduce   international  awareness  and  United  Nations  work  to  young  people.  

War, Peace & the American Imagination George E.  Bissell  


Title: Scottish-­‐American  Soldiers  Monument     Designer:  George  E.  Bissell     Date:  unveiled  1893     Medium:  bronze     Location:    Old  Calton  Cemetery,  Edinburgh,  Scotland       Notes:  The  Scottish-­‐American  Soldiers  Monument  stands  in  the  Old  Calton   Cemetery  in  Edinburgh,  Scotland.    It  was  raised  in  remembrance  of  the   Scottish-­‐American  Soldiers  who  fought  in  the  American  Civil  War.     The  monument  presents  the  standing  figure  of  Abraham  Lincoln,  with  a  freed   slave  giving  thanks  at  his  feet.    A  bronze  shield  bears  the  old  American  flag,   and  is  wreathed  in  thistles  to  the  left  and  cotton  to  the  right.    Two  regimental   flags  lay  furled  since  the  battle  is  over  and  victory  attained.    The  freed  slave   holds  a  book,  indicating  that  he  is  not  only  free,  he  is  also  educated.   This  was  the  first  statue  dedicated  to  an  American  president  and  the  only   monument  to  the  American  Civil  War  in  any  country  outside  the  United   States,  as  well  as  the  only  statue  of  Lincoln  in  Scotland.    The  inscription,  "To   preserve  the  jewel  of  liberty  in  the  framework  of  freedom"  is  a  quotation   from  the  writings  of  Abraham  Lincoln.  

War, Peace & the American Imagination Mathew Brady  


Mathew B.  Brady  was  born  in  the  state  of  New  York  to  Irish  immigrants  in  1823.     He  is  arguably  the  father  of  photojournalism  and  rose  to  become  the  most   prominent  photographer  of  the  Civil  War.    Brady  mastered  the  art  while  in  his   twenties  and  by  1844  he  was  able  to  open  a  private  studio  in  New  York  City   displaying  photographs  of  famous  Americans  saying,  "From  the  first,  I  regarded   myself  as  under  obligation  to  my  country  to  preserve  the  faces  of  its  historic  men   and  mothers."     At  the  beginning  of  the  Civil  War,  Mathew  Brady  organized  his  employees  into   teams  and  spread  them  across  the  country.    He  provided  carriages  which  served   as  rolling  darkroom.    The  operations  cost  approximately  $100,000,  funded  by  his   savings.    The  First  Battle  of  Bull  run  offered  the  initial  opportunity  to  photograph   an  engagement  between  opposing  armies.    He  was  nearly  killed  at  Bull  Run  and  in   the  ensuring  confusion  became  lost  for  three  days,  eventually  making  his  way  to   Washington  nearly  dead  from  starvation.   Mathew  Brady  recorded  more  than  just  photographs.    Historians  studying  details   of  the  war  still  read  his  commentaries  from  his  travelling  journal.    One  of  these   commentaries  recorded  an  evocative  event:  on  the  night  before  a  battle,  a   Confederate  soldier  across  the  field  broke  the  silence  by  singing  patriotic  songs.    A   second  voice  was  heard,  followed  by  more  voices.    The  spirit  took  hold  and  both   armies  sang  in  a  spirit  of  fellowship.    At  dawn  they  recommenced  hostilities.   After  the  war,  his  savings  spent,  Brady  found  himself  living  off  the  generosity  of   friends.    The  United  States  government  bought  his  collection  of  5,712  plates  for   $25,000,  lower  than  the  $125,000  asking  price.    He  died  in  1896,  impoverished   and  isolated.    

War, Peace & the American Imagination Mathew Brady  


James Fennimore Cooper

War, Peace & the American Imagination Mathew Brady  


Daniel Webster

War, Peace & the American Imagination Mathew Brady  


Andrew Jackson

War, Peace & the American Imagination Mathew Brady  


Seth Kinman

War, Peace & the American Imagination Mathew Brady  


John C. Calhoun

War, Peace & the American Imagination Mathew Brady  


George Armstrong Custer

War, Peace & the American Imagination Mathew Brady  


Samuel Morse

War, Peace & the American Imagination Mathew Brady  


Nathaniel Hawthorn

War, Peace & the American Imagination Mathew Brady  


Mark Twain

War, Peace & the American Imagination Mathew Brady  


Robert Lincoln

War, Peace & the American Imagination Mathew Brady  


Abraham Lincoln

War, Peace & the American Imagination Alexander Gardner  


Alexander Gardner  was  born  in  Paisley,  Scotland  in  1821  and  later  became   Mathew  Brady’s  protégé  and  colleague.    Gardner  began  his  career  as  an   apprentice  jeweler  at  the  age  of  fourteen.    He  soon  found  that  his  interests  and   talents  lay  in  photography  and  journalism.    As  a  socialist,  Gardner  used  his  skills   to  publish  pamphlets  promoting  emigration  to  a  colony  called  Clydesdale  in  the   wilderness  of  Iowa.    He  persuaded  many  of  his  friends  and  relatives  to  settle  in   this  semi-­‐socialist  "Utopia."    He  intended  to  join  them,  but  because  of  an   epidemic  in  the  settlement,  never  did.    In  1856,  Mathew  Brady  paid  Alexander   Gardner  to  come  to  New  York  and  work  with  him.    When  hostilities  erupted,   Gardner  became  the  official  photographer  of  the  Union  armies.    He  took  one  of   the  most  renowned  pictures  of  the  war:  "Home  of  a  Rebel  Sharpshooter."   Gardner  also  photographed  the  men  and  women  arrested  for  conspiring  to   assassinate  Abraham  Lincoln,  as  well  as  the  execution  of  Henry  Wirz,   commanding  officer  of  the  infamous  Andersonville  Prisoner  of  War  camp  in   Georgia.   Following  the  war,  Gardner  became  one  of  Abraham  Lincoln's  favorite   photographers.    In  1865,  he  was  asked  to  photograph  Lincoln's  assassins.   Alexander  Gardner  published  his  classic,  two-­‐volume  work,  Gardner's   Photographic  Sketch  Book  of  the  Civil  War,  in  1866.    Each  book  contained  50   hand-­‐mounted  original  prints,  however  it  was  not  a  sales  success.    When  asked   about  his  work  he  said,  "It  is  designed  to  speak  for  itself.    As  mementos  of  the   fearful  struggle  through  which  the  country  has  just  passed,  it  is  confidently   hoped  that  it  will  possess  an  enduring  interest."    

War, Peace & the American Imagination Alexander Gardner  


“Home of a Rebel Sharpshooter”

War, Peace & the American Imagination Alexander Gardner  


“Bodies on the Battlefield at Antietam”

War, Peace & the American Imagination Alexander Gardner  



War, Peace & the American Imagination Alexander Gardner  


“Execution of Lincoln’s Assassins”

War, Peace & the American Imagination Alexander Gardner  


Abraham Lincoln

War, Peace & the American Imagination Timothy H.  O’Sullivan  


Timothy H.  O’Sullivan  was  born  in  Ireland  in  1840  and  at  the  age  of  two,  his   parents  immigrated  to  America  where  they  settled  in  New  York  City.    He  was   widely  known  for  his  work  relating  to  the  Civil  War  and  to  the  West.   Mathew  Brady  employed  O’Sullivan  when  he  was  still  a  teenager.    At  the  start   of  the  Civil  War,  he  was  commissioned  as  a  first  lieutenant  in  the  Union  Army   and  over  the  next  year,  O’Sullivan  was  present  at  Beaufort,  Port  Royal,  Fort   Walker  and  Fort  Pulaski.    There  is  no  record  of  him  fighting  and  it  is  likely  that   he  was  employed  in  civilian  work  as  a  surveyor  during  his  enlistment,  taking   photographs  only  in  his  spare  time.   After  receiving  an  honorable  discharge,  he  rejoined  Brady's  team.    In  July  1862,   O'Sullivan  followed  the  campaign  of  Maj.  Gen.  John  Pope’s  Northern  Virginia   Campaign.    In  July  1863,  he  created  his  most  famous  photograph,  "The  Harvest   of  Death,"  showing  a  field  of  soldiers  after  the  Battle  of  Gettysburg.   When  he  later  joined  Alexander  Gardner’s  studio,  his  forty-­‐four  photographs   were  published  in  the  first  Civil  War  photographs  collection,  Gardner’s   Photographic  Sketch  Book  of  the  Civil  War.        

War, Peace & the American Imagination Timothy H.  O’Sullivan  


“The Harvest of Death”

War, Peace & the American Imagination James Hillman  


James Hillman  was  born  in  Atlantic  City,  New  Jersey  in  1926  at  the  Breakers  Hotel,  one  of   the  numerous  establishments  owned  by  his  father,  Julian  Hillman.    After  high  school,  he   studied  at  the  School  of  Foreign  Service  at  Georgetown  University  for  two  years,  and  then   served  in  the  US  Navy  Hospital  Corps  from  1944  to  1946.    He  later  attended  the  Sorbonne  in   Paris,  studying  English  Literature;  and  Trinity  College,  Dublin,  graduating  with  a  degree  in   mental  and  moral  science  in  1950.    In  1959,  he  received  his  Ph.D.  from  the  University  of   Zurich,  as  well  as  his  analyst's  diploma  from  the  C.G.  Jung  Institute  where  he  was  appointed   Director  of  Studies,  a  position  he  held  until  1969.   In  1970,  Dr.  Hillman  became  editor  of  Spring  Publications,  a  publishing  company  devoted  to   advancing  Archetypal  Psychology.    His  magnum  opus,  Re-­‐visioning  Psychology,  was  written   in  1975  and  nominated  for  the  Pulitzer  Prize.    Hillman  co-­‐founded  the  Dallas  Institute  for   Humanities  and  Culture  in  1978.      His  1997  book,  The  Soul’s  Code:  In  Search  of  Character  and   Calling,  was  on  The  New  York  Times  Best  Seller  List  that  year.    His  works  are  housed  at  the   OPUS  Archives  and  Research  Center  located  at  the  Pacifica  Graduate  Institute  in  California.   Dr.  Hillman  refers  to  himself  in  his  last  major  work,  A  Terrible  Love  of  War,  published  in   2004,  as  “a  child  of  Mars”  writing:  “An  affinity  with  martial  rhetoric  is  natural  to  my  method.     My  path  in  life  and  way  of  being  calls  up  enemies.    I  like  to  sharpen  oppositions  and  set  fire   to  the  passions  of  thought;  I  take  pleasure  in  cracking  numbskulls.    It  is  as  if  there  is  a  native   need  to  be  at  war,  as  if  I  must  enact  Heraclitus  and  not  merely  consider  his  words   as   ‘ancient  Greek  cosmology.’”   Dr.  Hillman  served  from  2003  until  2010  as  Honorary  Chairman  of  the  Mythic  Imagination   Institute  and  was  instrumental  in  the  institute’s  founding.    He  attended  Mythic  Journeys  in   2004  where  he  gave  the  keynote  address  in  honor  of  Joseph  Campbell.    

War, Peace & the American Imagination Banksy


Banksy is  the  pseudonym  of  an  England-­‐based  street  artist,  political  activist,  film  director,   and  painter.   His  satirical  style  and  subversive  epigrams  combine  dark  humor  with  graffiti  using  a  distinct   stenciling  technique.    His  artistic  works  of  political  and  social  commentary  have  been   featured  on  streets,  walls  and  bridges  throughout  the  world.   Banksy's  work  evolved  from  the  Bristol  underground  scene,  which  was  rooted  in   collaborative  works  between  artists  and  musicians.    According  to  author  and  graphic   designer  Tristan  Manco  in  his  book  Home  Sweet  Home,  Banksy  was  “born  in  1974  and  raised   in  Bristol,  England.    The  son  of  a  photocopier  technician,  he  trained  as  a  butcher  but  became   involved  in  graffiti  during  the  great  Bristol  aerosol  boom  of  the  late  1980s."    Observers  have   noted  that  his  style  is  similar  to  Blek  le  Rat  who  began  to  work  with  stencils  in  1981  in  Paris;   Jef  Aerosol  who  sprayed  his  first  street  stencil  in  1982  in  Tours,  France;  and  members  of  the   anarcho-­‐punk  band  Crass,  which  maintained  a  graffiti  stencil  campaign  on  the  London  Tube   System  in  the  late  1970s  and  early  1980s.    However  Banksy  stated  on  his  website  that  he   based  his  work  on  another  artist:  "I  copied  3D  from  Massive  Attack.    He  can  actually  draw."   Known  for  his  contemptuous  attitude  regarding  his  government’s  labeling  of  graffiti  as   vandalism,  Banksy  displays  his  art  on  numerous  public  surfaces.    He  does  not  sell  photos  of   his  street  graffiti,  however,  art  auctioneers  have  attempted  to  sell  his  street  art  on  their   locations  and  leave  the  problem  of  its  removal  to  the  winning  bidder.   Banksy's  first  film,  Exit  Through  the  Gift  Shop,  billed  as  "the  world's  first  street  art  disaster   movie,"  made  its  debut  at  the  2010  Sundance  Film  Festival.    In  January  2011,  the  film  was   nominated  for  the  Academy  Award  for  Best  Documentary.    

War, Peace & the American Imagination Banksy


“Wall and Piece”

War, Peace & the American Imagination Banksy


War, Peace & the American Imagination Banksy


War, Peace & the American Imagination Banksy


War, Peace & the American Imagination Banksy


War, Peace & the American Imagination Banksy


War, Peace & the American Imagination Deepak  Chopra  


Deepak Chopra  was  born  in  New  Delhi,  British  India  in  1946  to  Krishan  Chopra,  a  prominent   Indian  cardiologist  and  head  of  the  department  of  medicine  and  cardiology  at  Mool  Chand   Khairati  Ram  Hospital,  New  Delhi.      Deepak  taught  at  the  medical  schools  of  Tufts  University,   Boston  University,  and  Harvard  University.    He  became  Chief  of  Staff  at  the  New  England   Memorial  Hospital  (NEMH)  in  Massachusetts  before  establishing  a  private  practice.    In  1985,   Chopra  met  Maharishi  Mahesh  Yogi,  who  invited  him  to  study  Ayurveda.    Chopra  left  his   position  at  the  NEMH  and  became  the  founding  president  of  the  American  Association  of   Ayurvedic  Medicine,  and  was  later  named  Medical  Director  of  the  Maharishi  Ayurveda   Health  Center.     In  1996,  Chopra  and  neurologist  David  Simon  founded  the  Chopra  Center  for  Wellbeing,   incorporating  Ayurveda  in  its  regimen.    The  University  of  California,  San  Diego,  School  of   Medicine,  and  the  American  Medical  Association  have  granted  continuing  medical   education  credits  for  a  variety  of  programs  offered  to  physicians  at  the  Chopra  Center.    In   2009,  Chopra  established  the  Chopra  Foundation  to  advance  the  work  of  mind/body   spiritual  healing,  education,  and  research.   Dr.  Chopra  has  written  more  than  65  books  with  19  New  York  Times  bestsellers.    His  works   have  been  translated  into  35  languages  and  sold  more  than  20  million  copies  worldwide.   During  the  preparations  for  his  presentations  at  Mythic  Journeys  2006,  Dr.  Chopra,  who  had   just  published  Peace  Is  the  Way,  helped  to  create  War,  Peace  and  the  American   Imagination.    It  was  a  joint  effort  with  The  Alliance  for  a  New  Humanity  which  held  its  board   meeting  in  conjunction  with  the  event.    Soon  thereafter  he  became  president  of  the   Alliance,  which  produced  several  events  and  projects  with  Mythic  Imagination  including  The   Human  Forum.  

War, Peace & the American Imagination Edward S.  Curtis  


Edward S.  Curtis  was  born  near  Whitewater,  Wisconsin  in  1868.    After  moving  to  Minnesota,   Curtis  quit  school  in  the  sixth  grade  and  soon  built  his  first  camera.    It  was  in  St.  Paul  that  he   began  his  career  as  an  apprentice  photographer.    When  the  family  moved  to  Seattle,  Curtis   joined  two  different  photography  and  photoengraving  companies  as  a  partner.   Subsequently,  Curtis  met  and  photographed  Princess  Angeline,  the  daughter  of  Chief   Seattle.    This  was  his  first  portrait  of  a  Native  American.    In  1898  while  photographing  Mt.   Rainier,  Curtis  chanced  upon  a  small  group  of  scientists.    One  of  them  was  George  Bird   Grinnell,  an  expert  on  Native  Americans.    Both  Grinnell  and  Curtis  were  invited  to  join  the   Harriman  Alaska  Expedition  in  1899  where  Grinnell  became  interested  in  Curtis'   photography  and  invited  him  to  photograph  the  Blackfeet  Indians  in  Montana  in  1900.   In  1906  J.P.  Morgan  provided  Curtis  with  the  funds  to  produce  a  series  on  the  North   American  Indian  to  consist  of  20  volumes  with  1,500  photographs.    Curtis'  goal  was  to   photograph  and  document  Native  American  traditional  life.    He  made  over  10,000  wax   cylinder  recordings  of  Indian  language  and  music,  took  over  40,000  photographic  images   from  over  80  tribes,  and  recorded  tribal  lore  and  history.   In  1928,  desperate  for  cash,  Curtis  sold  the  rights  to  his  project  to  J.P.  Morgan’s  son.    In   1935  the  Morgan  estate  sold  the  rights  and  remaining  unpublished  material  to  the  Charles   E.  Lauriat  Company  for  $1,000.    This  included  19  complete  sets  of  The  North  American   Indian,  thousands  of  individual  paper  prints,  the  copper  printing  plates,  the  unbound   printed  pages,  and  the  original  glass-­‐plate  negatives.    Lauriat  bound  the  remaining  loose   printed  pages  and  sold  them  with  the  completed  sets.    The  remaining  material  remained   untouched  in  the  Lauriat  basement  in  Boston  until  they  were  rediscovered  in  1972.   This  body  of  work  was  exhibited  at  the  Rencontres  d'Arles  festival  (France)  in  1973.    

War, Peace & the American Imagination Edward S.  Curtis  


Princess Angeline

War, Peace & the American Imagination Edward S.  Curtis  



War, Peace & the American Imagination Edward S.  Curtis  


Canyon de Chelly

War, Peace & the American Imagination Edward S.  Curtis  


Theodore Roosevelt

MYTHIC Imagination

president, publisher    

Honora Foah


Mary Davis

guest editor  

Dahna Lorrain  Koth

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Board of  Directors   chairperson      Jacqueline  Damgaard   Ari  Berk,  Maureen  Eke,  Dahlan  Robert  Foah,  Honora  Foah,  Michael  Karlin   Mythic  Imagination  Institute™              659  Auburn  Ave,  Suite  266                Atlanta,  GA    30312  

If war  is  normal,  then  it  has  been  and  will  always  be  no   matter  what  we  do.     If  war  is  inhuman,  then  we  must  counter  it  with  humane   structures  of  love  and  reason.     If  war  is  sublime,  we  must  acknowledge  its  liberating   transcendence  and  yield  to  the  holiness  of  its  call.     The  practical  consequences  drawn   from  any  one  of  these   propositions  prevent  awakening  to  the  real.    The  real,  the   truth   of   war,   is   its   insoluble   perplexity,   philosophically,   psychologically,  theologically.     JAMES  HILLMAN  

James Hillman       1926  -­‐  2011  

Every life  is  a  story.    And  a  story  can  change  the  world.  

I am  become  death,  the  destroyer  of  worlds.   J.  ROBERT  OPPENHEIMER    

Join us  in  The  Year  of  the  Roses   Our  next  issue  will  be   Guns  &  Roses  Part  II   Please  submit  articles,  poetry,  artwork,  music,  or   suggestions  to:  

Guns &  Roses  Part  I   Copyright  ©  2012,  Mythic  Imagination  Institute™   All  Rights  Reserved  

Guns and Roses Part I  

A debate between James Hillman and Deepak Chopra moderated by Jean Houston

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