In a previous essay (not on this blog), I briefly profiled architect Christopher Alexander and alluded to his magnum opus, the four book Nature of Order. In this essay, I’ll be reviewing the first two books of the set, The Phenomenon of Life (TPoL) and The Process of Creating Life (PoCL). The prominence of the word life highlights the importance of this concept in Alexander’s thinking. For him, life is a quality inherent in all things, not solely a property of plants and animals. This is not a particularly radical belief. It’s a tenet of Buddhism and Taoism, and is beginning to find adherents among some scientists. The thing is, it’s hard to define life in a way that includes creatures like animals and insects, but excludes things like crystals or complex computer programs. Viruses are a good example of the difficulty; are they intricate crystals that self replicate in certain animals, or are they living beings in their own right? Ask a biologist sometime, and see what he says.

In any event, Alexander defines life very broadly, and believes that it exists in the world around us in varying degrees.

So, right away, we find that he is tackling some big questions: What is Life? What is Space? What is the Nature of Order? These are questions that occupy mystics, and there are some who see Alexander that way. I don’t. He is too practical and hardworking, and he is not too concerned with individual spirituality; his focus is on reforming the built environment but, yes, he addresses… spirit.

Spirit is always threatening to disrupt our lives

I wish I could talk about Christopher Alexander without getting into questions about the meaning of life, but it’s no use; the man continually and infuriatingly will point out the 600 pound gorilla in the room that we’re all trying to ignore – humans are spiritual beings, and the world is a spiritual place. We make demands on our buildings that aren’t satisfied by profit and efficiency. That we so successfully avoid this reality so much of the time explains much, Alexander contends, about the often unsatisfactory nature of the world we’ve made for ourselves.

Spirit is always threatening to disrupt our lives; seen in a certain light, the bureaucratization of our society’s large institutions seems designed to prevent such troubling eruptions—see Franz Kafka, Charlie Chaplin, Michael Moore, et al. It is axiomatic that no priest wants a saint in his parish, but then, neither does the mayor, or the factory owner.

Alexander points out that structure, too, can work against human wholeness and spirituality and this seems logical enough. After all, no one leaves nature to get ‘back to the city’ when seeking peace and enlightenment. There are, of course, exceptions. Beautiful gardens or soaring cathedrals can be engines of transcendence. But these are exceptions that prove the rule; generally speaking, the built environment is perceived to repress human wholeness. Why? Why don’t humans create beautiful living structure as readily as do bees, clouds, trees, or termites?

Nature of Order is a work of great detail and great force that attempts to answer this question. That the question of Spirit comes up, implicitly but insistently, is the work’s strength and weakness. The force of Nature of Order is derived from Alexander’s fearless exploration of the structure of the world, and the proper place of humans in that structure. But it also makes his philosophy threatening… a lot of people just want to build a better house, not wrestle with questions about the ontological grain of the universe.

Alexander’s confidence can resemble hubris; and sometimes he seems to rely overmuch on intuition when making his points. To read his books well, one must surrender to them. Not abjectly, and not forever, but a certain suspension of skepticism, while reading, helps enormously when trying to absorb the material.

The Phenomenon of Life
In Book 1, The Phenomenon of Life, Alexander gives his fullest and deepest explanation of his conception of life, and why it is more deeply felt in some places and things than in others.

Early in TPoL, Alexander describes an incident from his teaching career that succinctly captures many of the themes of his work, and the reasons his ideas meet resistance. He asks his students to compare two things: a picture of a 7th century illuminated manuscript (the Durham Gospel fragment) and the wall of the very auditorium in which the lecture was being held. Then he asked a simple question – which of the two had more life?

The question met enormous resistance. Not because it was hard—nearly every student agreed, albeit reluctantly, that the graceful, calm-yet-intricate manuscript held more life than the postmodern, brass-detailed wall. The question itself was what created resistance. Just admitting that one artifact can have more life than another was disturbing. If it is possible to enhance the life of a building, then it is important to do so; but the question of life is not being addressed in today’s architectural curricula—except by Alexander.

Alexander finds this ability in humans consistently, and he also finds that resistance is common. When asked, people agree with amazing uniformity on the relative amount of life imbued in various objects. Although the question seems strange, it has an answer. But this is astonishing, because it tends to destroy the difference between the subjective and the objective. Science stoutly rejects data which cannot be measured. Human opinions, notoriously squishy, cannot be measured by any known instrument… but what if humans, in aggregate, are themselves effective measuring instruments?

There is another, deeper reason for resistance. Lurking beneath Alexander’s simple question is a much thornier question: if humans respond to the life of a place, and if life can be detected and worked with rather simply, how is it that so much of the built world works against life? Suddenly, the work of a developer or a surveyor moves beyond the question of profit, and into the realm of religion. Faced with this, it is much easier to fight against the question, and the person raising it. But this is denial.

Alexander makes his case for pervasive life thoroughly and with great cumulative force. He begins by discussing what he calls centers:

“In using the word center in this way, I am not referring at all to a point center like a center of gravity. I use the word center to identify an organized zone of space – that is to say, a distinct set of points in space, which, because of its organization, because of its internal coherence, and because of its relation to its context, exhibits centeredness, forms a local zone of relative centeredness with respect to the other parts of space. When I use the word center, I am always referring to a physical set, a distinct physical system, which occupies a certain volume in space, and has a special marked coherence.” (TPoL, p. 84)

Redefining a word as basic as ‘center’—or ‘life’—seems willfully inscrutable at first, but the idea is actually quite useful. Consider a pond in a clearing; it is not exactly a whole in itself, because it is part of a larger whole, the clearing, which is in turn part of a forest, and so forth. But the pond is something, and calling it a center does help us to see it as a locus of interest in the midst of a larger whole, a locus that influences that larger whole. And the idea is recursive; the clearing is itself one of many centers in the larger forest and influences that whole, which in turn is one center of a larger regional whole, and so forth.

Like Alexander’s earlier concept of a pattern language the value of the concept lies in its use. Learning to analyze wholes in terms of centers makes it easier to actually see how a whole is formed, and how it can be strengthened or how it is being weakened. It gives those who are trying to analyze space an effective analytical tool.

If it seems presumptuous of Alexander to redefine a word for his own use and to propose an entirely new way of analyzing the world, well, that is a valid criticism but it is also pretty much the point of TPoL. Alexander is proposing a new way of perceiving and analyzing space—he is proposing the basis for a new theory of the world’s geometric underpinnings. Whether he succeeds or not is for each reader to decide.

Living wholes, then, are made up of strong centers, and the life of a whole is increased by strengthening and increasing its centers. As I began to get comfortable with this idea, I indeed found it to be a useful way of looking at the world around me, a way to figure out why I like some places more than others. TPoL is copiously illustrated, and the illustrations do help to convey what Alexander is getting at. But ultimately, an interested reader will have to decide for himself how useful the idea is.

Alexander continues his argument by explaining why some centers have more life than others. And here, I think, he presents an idea that is extremely compelling and immediately useful. It amounts to a general theory of aesthetics, and will likely be adopted rather quickly in the field of visual arts.

Alexander proposes that there are 15 fundamental properties—structural features—that appear consistently in things which have life. Let’s just list them:

1) Levels of Scale
2) Strong Centers
3) Boundaries
4) Alternating Repetition
5) Positive Space
6) Good Shape
7) Local Symmetries
Deep Interlock and Ambiguity
9) Contrast
10) Gradients
11) Roughness
12) Echoes
13) The Void
14) Simplicity and Inner Calm
15) Not-Separateness

About a third of TPoL is devoted to a masterful exposition of this idea. The 15 properties are shown and discussed in manmade artifacts and in natural phenomena. The illustrations and text work together and gather force like Ravel’s Boléro, culminating in an essay titled A New View of Nature. Ultimately we realize that Alexander has done an amazing thing; he has made it possible to talk, really talk, about why we like some things and places better than others. Rather than falling back on vapid words like ‘pretty’ or ‘awesome’ we can speak with precision about the qualities that distinguish Yosemite Valley from, say, a gravel quarry, or why we are more moved by a giant sequoia than by a mall. His beliefs and accompanying language legitimize human feeling, validate our intuitive sense of value, and, without hubris or solipsism, make the world personal.

I have barely skipped a stone over the surface of this remarkable book. In 476 exhaustively illustrated and footnoted pages, Alexander rigorously makes the case for his new view of the world, and takes initial steps toward a mathematical statement of that view. It is an intellectual tour-de-force and fully supported by his real world work as a builder and architect. Such seriousness commands respect; dismissing Alexander casually will not do.

The Process of Creating Life
Defining life is a good start for Alexander, but the major theme of his career has been actually getting more life into modern buildings. And to do this, Alexander found, more than a definition is needed; the what of creation is pointless without the how. That is, a living building cannot be designed, then built. The life of a building comes from decisions made during the construction process. Design and construction turn out to be pretty much the same thing.

Alexander begins to talk about this by returning to one of Nature of Order’s fundamental questions: why is it that natural processes automatically create beauty and a feeling of rightness, and human methods so rarely do? What is the difference?

In a series of fascinating examples ranging from a wave breaking to a glass plate shattering to a fetus developing, Alexander shows convincingly that development processes in nature are a series of structure-preserving transformations. Each recognizable phase of development follows naturally from the preceding phase. Put another way, each phase of development preserves and extends the wholeness of the preceding phase—the wholeness is never destroyed, it unfolds into a new wholeness.

Consider the famous sequence of photos of a splashing milk drop. Though discrete phases of the sequence are startlingly different from each other, the changes from moment to moment are gentle and comprehensible. Alexander argues convincingly that this is a feature of all natural development.

Furthermore, the structure-preserving transformations can be analyzed in terms of the 15 fundamental properties introduced in TPoL. As extended here, the 15 properties become 15 transformations. Change that preserves wholeness is shown to be a product of transformation based on one or more of the 15 properties. Each transformation introduces, preserves, or strengthens one or more of the 15 fundamental properties. Again, one of the most useful things Alexander has done here is to provide good language, which makes good analysis possible.

He goes on to argue, with multiple examples, that humans can build in this structure-preserving fashion, but usually don’t. To do this, he juxtaposes traditional (or pre-modern) building processes with modern examples. He is getting at something deep here; humans love old places. We visit New England, or Europe, to see the old buildings, not the modern ones. We have a sense that the old cathedrals, the old city layouts, are somehow richer. Alexander contends that traditional building methods followed the structure-preserving process he finds in nature. For example, he presents a series of plans that show the development of Amsterdam from 1400 to 1800. It is easy to see how the steady development process took previous development into account. Patterns that were latent in 1400 are realized in 1800, building shapes echo each other, the relationship of the town to the water is consistent throughout. There is no sense of planned development—Amsterdam seems to have grown.

The structure-preserving process occurs in the modern world, but more rarely. Beginning about 1900, many forces—changes in banking, in zoning, in planning, in architecture, etc.—began to produce structure-destroying transformations. The wholeness of an existing structure was no longer considered. A classic example would be the extension of a freeway through an existing neighborhood. The freeway is designed and built without reference to its surroundings, and thereby destroys those surroundings. And similar examples can be cited ad infinitum: a skyscraper designed on one continent and built on another, a planned community laid out with equal precision on the drawing board and on the ground, a giant Wal-Mart box seemingly dropped from the sky onto its scraped pad… in every case, the previously existing whole is disregarded and destroyed.

Alexander uses these examples to define two kinds of structure: generated and fabricated. Generated structure creates life, and fabricated structure, nearly always, creates… the opposite of life.

The discussion of generated structure begins with an analogy that struck me very powerfully. Consider a fairly complex origami construction. It is not built to a plan; that is, blueprints of the finished structure are not provided. Instead, a sequence of steps is provided. A plan of the figure would be quite complex—several pages at least. But a sequence—first do that, then do this—is relatively concise. This idea is then applied to the development of an embryo. DNA does not store a blueprint of the exact appearance of a particular animal, it stores a sequence of development which then takes place affected by attendant circumstances. Interestingly, this is proved by recent experiments in biology—cloned animals do not look exactly alike. Same sequence, different circumstances.

Brutally compressed into a nutshell, Alexander’s program for creating living structure is to generate a construction sequence that first, observes the whole, then, makes a change that preserves and enhances the whole while approaching the desired end state, then… repeats as needed. Or, in his more elegant language:

“A living process is any adaptive process which generates living structure, step by step, through structure-preserving transformations.”

These sequences can also be called patterns, harking back to Alexander’s early book, A Pattern Language. Here, they emerge as part of a comprehensive program for reforming human construction methods. As argued, the case for reform is convincing and ultimately hopeful. After all, the remaining remnants of traditionally built structure are good evidence that humans can build in a living fashion. As a species we have been unconsciously competent, are now unconsciously incompetent, but are beginning to notice deficiencies—to be consciously incompetent. It certainly seems possible that the human capacity for self-observation must eventually lead to conscious competence, and to a beautiful living world.

PoCL is a massive book, totaling 635 pages with appendices and notes. The illustrations are copious and superbly complement arguments put forth. I have, therefore, presented barely a skeletal outline of the book’s full force, but I hope I have adequately suggested that it is forceful.

In some ways, Alexander is the living human I most admire. He has, after all, come by his ideas the old-fashioned way… he’s earned them. He has poured his life into his writing and philosophizing and then he has done something harder. He has, for decades, tested his philosophy, often in difficult conditions in the poorest regions of the planet. He is, simultaneously, an idealistic ivory tower dreamer and a pragmatic contractor; that dirt under his nails is a mix of grit and ink and it’s been there for decades. When a man so rigorously tests his ideas in the real world, over such a span of time, and then adjusts his ideas to accord with the practical knowledge gained… well, he deserves a hearing.

Even before George R.R. Martin‘s seriously excellent series A Song of Ice and Fire (of which Game of Thrones is the first book) was turned into an equally excellent HBO show, it was already a big deal among fantasy readers. And it’s gratifying—to those of us who have been fans for years—that word is now getting out to a larger audience. But there is one critic’s trope that I find grating, and that’s the contention that Martin is ‘The American Tolkien.’ In fact, the comparison is not fair to either writer. For one thing, they’re not really working in the same genre; Tolkien wrote what I would call High Fantasy, a sort of conscious myth creation, and Martin is writing what has been aptly called ‘Realpolitik Fantasy,’ where plot and characters are driven by all-too-human motivations. Simply put, it’s hard to imagine anyone in Lord of the Rings actually having sex, and in ASOF readers are always aware of this, and other, ever-present basic urges.

Moreover, there is a far better comparison to be made, between ASOIAF and Jack Vance’s Lyonesse, a cult classic if ever there was such a thing.

Lyonesse is everything that ASOIAF is, writ slightly smaller. It too is set in a fantasy world something like our own. Like Westeros, Lyonesse is human-centric, with fantasy elements (like magick and dragons) that are compelling but not the whole story. Characters lust for power, money, and sex, and in them we easily see our neighbors, lovers, and bosses. Of the two series, Martin’s is clearly the greater: it’s bigger in every way, explores larger themes, and rises above genre to become great literature by any reckoning. But Lyonesse is, mayhaps, the sprightlier read and I, for one, love it no less.

All of which is by way of saying—if you like anything about Game of Thrones, be sure to give Lyonesse a try. Or anything by Vance; he was astonishingly prolific, and once you have read him you will see his influence everywhere.

Follow this BS on Twitter.

Follow this BS on facebook.

Did you like this essay? You’ll love my books!

Remember, Be Here Now, by Ram Dass

Even on the increasingly rare occasions that Timothy Leary’s LSD-popularizing antics are really discussed, the man known then as Richard Alpert appears as little more than a sidekick—Robin, to Leary’s Dark Knight—and his book, Be Here Now, a mere punch line to a forgotten 60s joke. But in the decades since, with Leary’s needle stuck at ‘groovy’ right up until his relatively early death, Alpert’s fully disclosed spiritual struggles, his open record of extreme growth and change, and of course his transformation into America’s own guru, Ram Dass, have left him, perhaps, the greater figure. By any reckoning, he is a scarred and worthy chronicler of a numinous time, and an interesting living experiment that still unfolds.

I had the good fortune to be handed Be Here Now in the midst of one of my very first acid trips, when I was still convinced that there was meaning beneath all the fireworks. I puzzled over it quite happily for hours, imprinted on it, and it has affected my subsequent spiritual life as surely as childhood religious instruction; and like childhood religious instruction, the influence has not always been positive and shaped me by my resistance at least as much as by my acquiescence. For example I, for far too many years, accorded Hindu-flavored spirituality far more respect than I now feel it deserves.

It is a concise classic of drug writing, a genre that deserves more respect than it gets

Be Here Now is actually three books in one. The introduction is Alpert’s tale of the years with Leary, his travels in India, and the encounters with the fabulous guru, Neem Karoli Baba, that remade Alpert as Ram Dass. It is a concise classic of drug writing, a genre that deserves more respect than it gets. The middle, longest, section is a hand lettered and illuminated attempt to convey, experientially, certain verities of the psychedelic experience. It is strange, strangely powerful, and I am not able to capture it in a net of mere words—take strong hallucinogens (or, if you prefer, entheogens) and read it for yourself. And finally, the book concludes with an adequate primer of the aforementioned Hindu-flavored spirituality—meditation, yoga, veganism, etc.—the efficacy of which is demonstrated by the easy competence with which India governs herself and cares for her people. Am I too cynical? Very well, paw through this section yourself and carry away the bits you find shiny… that’s certainly what I did, and I can’t say I regret it.

Separately, none of these parts is indispensable, but like the disparate, ridiculous books of the Bible (have you ever read the Book of Jonah?) when gathered together (along with an excellent bibliography) they amount to scripture. And, like scripture, they can remake your world to the extent you let them.

Alpert/Dass is, it must be said, a substantial spiritual fuck up, but I will always love him for this book, and for the way he once compared the way he figuratively fell on his face over and over to a man making his way to a holy city by means of continual prostrations—it was too apt a description of my own life to ever forget.

Promethea, by Alan Moore

Alan Moore is a literary titan whose medium happens to be comic books: deal with it. The fact is, Moore is positively Joycean in the way he packs layers of meaning into words and, unlike Joyce—or Pynchon, or Wallace—he has the whole playground of image to play with as well.

The substantial success Moore attained with his scripts for Watchmen, From Hell, V for Vendetta, and other titles—and the substantial disappointments he suffered as those graphic masterpieces were translated to the screen—both allowed him and drove him to focus on more insular, idiosyncratic work… one can almost hear him muttering, ‘make a movie of this you effing bastards,’ as he completed his pornographic masterwork Lost Girls, or the swirl of Cabala, sex magick, metaphysics, and superhero mythology comprising the work I extol here, Promethea.

Available in five volumes that collect the original comics, the spine of Promethea is conventional for the costumed vigilante genre: a young lady, Sophia Bangs (pay attention to those names, reader) finds herself blessed/cursed with the ability to transform herself into the curvaceous superheroine Promethea, who is able to fly, shoot beams of force from her caduceus, and so forth. In coming to terms with her new powers, she meets and beats assorted villains, and ushers in the end of the world.

Wait; what was that last part? End of the world? It’s hardly a spoiler to tell you so—from early on in Book One it’s clear that Promethea’s world faces the end of history.

But not by nuclear annihilation, as in Watchmen, but by Armageddon, Kali Yuga, Ragnarök, or some other name drawn from the end time theologies so often found in human spiritual systems. In her quest to understand her role as Destroyer, Sophie/Promethea thoroughly explores the Western esoteric tradition.

In his personal life, Moore is an accomplished ceremonial magickian and here, like Philip Pullman in His Dark Materials, he uses an exciting, bawdy, page-turning tale to sugarcoat serious philosophical instruction. The attentive reader will come away from Promethea with a useful grounding in tarot, cabala and the tree of life, Crowleyan ritual, and will even get an intriguing and accurate glimpse of Goetic demonology.

More importantly, by reading this book and letting it’s glorious graphics seduce you, you will imbibe a certain mindset and realize at gut level that what we are pleased to call reality is merely an insubstantial scrim imperfectly concealing the actual nature of existence. And as Sophie—and her entire world—are forced to acknowledge, confronting an unveiled all-that-is is both terrifying… and thrilling.

Travels, by Michael Crichton

I’m a little embarrassed to admit it, but the fact is, I like Michael Crichton’s novels and have read most of them. And of course, I’m not alone in that—Crichton’s books have sold 150 million copies worldwide. But relatively few have read Travels, which makes sense because it’s pretty much the opposite of a ‘Crichton book’. It’s short not long, it’s a memoir not thriller fiction, and it’s written in a graceful, unaffected voice, not the thudding, heart-pounding! thriller prose that Crichton mastered long before writers like Dan Brown or David Baldacci began to hammer readers over the head with it. I think he missed his audience with this one; Travels is not for the average thriller reader.

As you might guess from the title, Crichton is here writing a travel memoir but, crucially, he includes inner journeys as well. Beginning with his experiences as a 6’9” medical student who put himself through medical school writing potboilers—and the The Andromeda Strain—and continuing with multiple world trips, and his experiences meditating, directing movies, learning to see auras, tripping intensely, bending spoons, diving with sharks, etc. etc. His clear exposition of the events experienced and of his own mental state while they unfolded is what makes Travels remarkable. Also, his motivation for writing Travels is unimpeachable; he certainly didn’t need the money, and must have known that this book wouldn’t make him much anyway. Nor would it exactly burnish his reputation… the questing, skeptical-but-believing Michael Crichton on display in Travels is not the Michael Crichton he would want Hollywood agents to negotiate with.

So ultimately, Travels is immensely credible. Crichton tells me that he learned to bend spoons one evening, and I believe him. He tells me that a weekend workshop gave him the gift of seeing auras, and I start looking for such a workshop to attend myself…

And thus is reality undermined.

His Dark Materials, by Philip Pullman

Just to get it out of the way, yes, these are Young Adult novels. And they’re based on Milton’s Paradise Lost… or so I’m told. But so what?—we must take wisdom where we find it, and in the three books of His Dark Materials—The Golden Compass, The Subtle Knife, and The Amber Spyglass—Pullman is not only wise, but brave, taking on, as he does, conventional religious thinking in general and the Catholic Church in particular. Most reviews of His Dark Materials focus on daemons, the animal-guised, familiar-like soul analogues that Pullman brilliantly fishes up from exceedingly deep archetypal waters and, yes, daemons are cool but for my money even more attention should be paid to his frankly anti-church agenda; read at the cusp of adolescence, these books will effectively immunize against excessive religiosity. I read them when I was struggling with my own religious addictions—I’m a recovering fundamentalist—and they were the kick in the ass I needed to actually change.

None of this would matter if Pullman was preachy or didactic, but fortunately—and unlike myself—he is neither. Instead, he couches his serious life lessons in a compulsively readable coming-of-age tale, set against a backdrop of witches, armored bears, dirigibles, and passages between worlds. As you are pulled from page to page, you will also be reordering your views on spiritual expression… so read with care.

My Life With the Spirits, by Lon Milo Duquette

Though I have cast spells, performed sex magick rituals, and worshipped my patron goddess Ostara under a full moon at Summer Solstice, the fact is I am a dilettante, not a practicing magickian. But even an armchair magickian must read astonishing quantities of written material, for surely it is the wordiest of hobbies, with tome after tome devoted to the arcana of divination, cabala, Crowleyan ritual, chaos magick, Enochian scrying, and so forth and so on, ad infinitum, ad nauseum. And in all this vast, mostly fascinating, swamp of literature there is one writer, Lon Milo Duquette, who stands apart because he sees himself with without illusion, and because he writes with exceptional clarity, self-deprecation, and humor.

His Chicken Qabalah is a useful and lucid explication of how and why a non-Jew might explore Cabala for spiritual purposes, Angels, Demons & Gods of the New Millennium is a perfectly acceptable primer for those interested in Western ceremonial magick, and should you decide to flirt with high strangeness and engage the Beast directly, you can have no better Virgil than Duquette in his books, Understanding Aleister Crowley’s Thoth Tarot, The Magick of Aleister Crowley: A Handbook of the Rituals of Thelema, and Aleister Crowley’s Illustrated Goetia: Sexual Evocation.

But before you read any of these (and even if you have no intention to read these, or any, books on magick) read My Life With The Spirits: The Adventures of a Modern Magician. Like three other books on this list, it is a memoir of alternative spirituality. Conventionally autobiographical, My Life With The Spirits follows Duquette from early childhood through delightfully rock-and-roll-and-magick infused hippie years, and into an adulthood as a sober and respected bishop of the Ordo Templi Orientis. Like all my favorite people, Duquette has a zest for direct experience and he exuberantly dives into yoga, communal life, magickal ritual, and whatever else captures his interest. And he writes up his experiences with the brio and humility that I associate with truth telling. His tales of Goetic evocation, for example, are masterpieces of immersion journalism: accurate, frightening, and funny.

Duquette’s writings undermine my grasp on conventional reality because they have the ring of truth. Based on my own (relatively trivial) magickal experimentation and his clear reporting, I am forced to accept that demons (and angels) are real and can act on our plane, that Enochian calls effectively summon visions of another world, and that a dead kitten can, under the influence of the right prana master, be restored to life.

Perhaps the most refreshing aspect of Duquette’s oeuvre is his attitude of, if you will, ‘dogmatic agnosticism’. He doesn’t insist that you believe him, doesn’t attempt to convert, and freely concedes that everything unusual that he experiences may well be ‘all in his head’. “But,” he continues (a little dogmatically), “you have no idea how big your head is!”

Living With Joy, by Sanaya Roman

I didn’t set out to become a fan of channeled material, and I can’t tell you how I came across Living with Joy: Keys to Personal Power and Spiritual Transformation, but in the six or so years that have passed since I abandoned fundamentalist Christianity no genre of literature has affected me more profoundly. Seth, I confess, is too intellectual for me, but Abraham and sometimes Kryon move me profoundly. And though he has a relatively small following—bad PR?—the entity who styles himself Oren, channeled by Sanaya Roman, has gradually and completely upended my world view, and Living with Joy is my bedside scripture.

There may be more to this world view than I am able to express, or I may be distorting it—I’ve been forced to admit in recent years that I am able to grasp only a small fraction of the data presented to me—but here is some of what I have gleaned:

• The all-that-is actively engages with individuals, reshaping itself to conform to an individual’s basic beliefs and expectations about reality. The all-that-is is like a nervous new lover, eager to conform to the beloved’s illusions.

• Our basic beliefs and expectations about reality are entirely within our control. Which is to say, the suite of beliefs we use to order and understand the all-that-is are choices, not understandings or deductions or inevitabilities. Likewise, we are free to expect whatever we like. Note: this is not to say that we control the all-that-is. It is more as if the all-that-is is an agreeable maestro, presenting itself in a way that is consonant with the observer’s disposition. But even so, certain verities persist, which is why day-to-day reality does not shift instantly to accommodate our fancies, as in a lucid dream.

• This being the case, it makes sense to deliberately choose our beliefs and shape our expectations so that we gradually create the most enjoyable life possible. We can also, incidentally, change our pasts by deliberately reinterpreting our memories.

• There are myriad techniques that accomplish this restructuring: prayer, spells, visualizations, drugs, ritual, are just a few effective examples. Different entities tend to focus on different techniques.

• You can start now.

By dipping into Living with Joy regularly, my thinking has gradually taken on this world view. I now pay attention to the tenor of my thoughts, state my goals in positive language, assume responsibility for my circumstances, etc., etc. And consequently, reality is now different for me. Delightful synchronicities abound, I live in freedom, experience joy, and no longer feel that I am a victim in a hostile environment. My fundamental belief about the way the world works is that the all-that-is is a wish granting machine, and that it dances with me every day.

Cosmic Trigger, Robert Anton Wilson

I didn’t realize until compiling this list that I have read a lot of spiritual memoirs, and have been largely remade in their image. None have affected me more profoundly than Robert Anton Wilson’s (PBUH) Cosmic Trigger I : Final Secret of the Illuminati, the essential first volume of his three volume autobiography.

For me it has always been books, not teachers, that appeared when I was ready, and Cosmic Trigger showed up when I first decided in my heart—where it mattered—that I could no longer abide the fundamentalist Christian cult I had faithfully espoused for the first 17 years of my adult life. I knew others who had left what I was then pleased to call, “The Truth.” Some were always sad or bitter, some fairly groveled in their efforts to reinstate themselves, some gave themselves over to unattractive dissipation, and at least one—a smart fellow, like me—was dead of suicide. I didn’t know of any, at the time, who had made a success of their heresy and infidelity, none who had attained the happy, creative heathenism that I so craved.

Cosmic Trigger broke me open like a thunderbolt, like the divine bolt of lightning that is seen in the tarot’s Tower card, redefining an individual existence. It was Wilson’s contention that we all live in “reality tunnels,” self-manufactured existences made up of our beliefs, hopes, and fears about the way things ‘really’ are. Had he said only this, it would have been enough, for just the phrase and his explication gave me a way to understand and work with the morbid eschatology I had lived within for so long.

But Wilson went further, describing his experiments with “rapid brain change.” In his efforts to overcome a “normal” Catholic upbringing (and parenthetically, I have always found it fascinating that so many interesting writers have Catholic school in their past—might the need to assert themselves early against an ancient propaganda set them on the road to literature?) Wilson deliberately made use of the brutal shocks to consciousness available via psychedelic drugs, taboo violation, ceremonial (especially Crowleyan) magick, the books of James Joyce, Sufi exercises, and the like. And by writing constantly and surrounding himself with a good wife and good friends, he managed to integrate the inrush of change that resulted and ended up—at least by his own estimation—a happier and saner man.

I copied him. I ingested LSD and psilocybin and salvia divinorum and lots of pot, I donned ceremonial garb and performed pagan rites, and I attended Sufi dances. And I found my own way, as well; since the cult to which I had formerly been faithful especially reviled tobacco and tarot, I bought myself some fine cigars and learned to smoke them while laying out a Celtic cross, and since I had so repetitiously heard that the Boss of all-that-is hates extramarital sex I made sure to have some ASAP. And I’ve done other things, too, meditations and visualizations, group sex and odd sex, sought out strange places and strange companions, and through it all I wrote constantly and surrounded myself with good friends… the wives came and went. And of course I had the guidance of Wilson himself, via his many books, and I have to say that at the end of it all I am—by my own estimation—a happier and saner man.

Cosmic Trigger is, of course, more than an extreme self help program. Wilson’s thoughts on personas, for example, are revelatory and his insights into the writer’s life remain a guide for me. Most of all, he tells his tales of an interesting life and philosophy in the whiskey-warmed, unpretentious voice of an ideal barstool companion.

Buy it, read it, live it. You have nothing to lose but all your illusions.

Follow this BS on Twitter.

Did you like this essay? You’ll love my books!

About two years ago I recorded an interview with writer and extreme traveler (and personal friend) Craig Childs that focused on his recently released book, The Animal Dialogues: Uncommon Encounters in the Wild. The interview first played on KVNF in Colorado, and was subsequently picked up and played on PRX. I was very happy with the way it came out, and if you like you can listen to it here.

Did you like this interview? You’ll love my books!