What: A 90 minute workshop designed to enhance intuition, connect to natural cycles, and enhance creativity.
When: February 17, 1pm – 3pm, Full Snow Moon
Where: Morristown, NJ (details to follow upon registration)
Please join us for February’s Full Moon, the Snow Moon, to exercise our intuitive capacities and to co-create Lunar Mythologies. This workshop, designed as part of a monthly series, will heighten intuitive awareness and create clarity by collectively aligning our focus with the cycle of the moon and with the Snow Moon’s unique symbolism. In bypassing daily modes of thought and communication, we will find renewed sources of connection, creativity, and insight.
In this 90 minute workshop, we will practice a series of exercises based on guided meditations, repetitive actions, and process-based material strategies. These practices begin with an internal focus and move toward outward awareness and focused communal attention.
Through the exercises in the workshop, we will produce texts and images. These will be collected and published as a monthly manual. Each manual will contain within it the instructions for future manuals as well as all of the texts and images produced in this workshop. Each manual will also form part of an aggregate manual, the ongoing and collaborative Lunar Mythologies. This work will be published periodically by Female Background, digitally, in print, or both.
This Manual for Observers of the Wolf Moon serves as a guide for the creation of Wolf Moon ceremonies. It also bears witness to a particular Wolf Moon gathering on January 20, 2019 in Harlem, New York. It unfolds in parts for contemplation and practice. This manual is part 1 of the 12 part Lunar Mythologies, a companion for the observation of the Full Moon throughout the year.
and young children, who, as with heavy metals and certain other poisons of the body and spirit, capitalism and the like, become more susceptible to theft of the narrative kind. To be unnaturally frozen, and on the internet at that, without their consent.
A historian said he is obligated to tell the truth, even if it is ugly, to make sense of things for himself and others, as a service, a moral call. How can this making-sense be compatible with the kind of truth-telling he means? The act of making-sense is quite literally a manufacture, a creation for sense-apprehension, it is pulling from undifferentiated space with the tools endowed by curiosity, fear, joy, sadness, and anger, and carefully hoisting onto a platform, set free from the debris that would obscure the way to hosting and nurturing that feeling for as long as we can.
To show something, is it necessary to contrast it with something else, to disentangle it?
Female Background would be called history if it partook of time instead of space; it has no past.
You were with me in the passenger seat and I knew, as you did, that you were impervious to automobile accidents, perhaps because you were already dead, but so was I, I just didn’t know it yet. We were breaking up, which felt more difficult than dying. I felt as though I were trying to convince you to stay close by until I actually died, it would be soon.
The streets were so beautiful that day, sunny and treelined with red bricks and houses nestled together. They had been there for a long time and one could tell because the landscaping was lush and mature. Perhaps there was something about the proportions and the scale of houses to houses and houses to streets and pathways that suggested it had not been built for automobiles, although there was no particular problem accommodating them now. There is something about the sun in my eyes that changes the state of things, from waking to sleep or from life to death.
The officers came to pull me out of the car. I felt as though I would be fine to walk, although my legs felt weak and I knew that even if I could walk it did not signify living or dying. You were already out of the car, organizing things. The white Honda that had driven towards and into the front of my white van was apparently driven by someone who was already dead. The officer said there was a dead man in the car, but that he had already died before the accident, implying perhaps that his being dead was the cause of the accident.
I heard many birds, the way I like to, and I waited for what came next.
A calculus cobbled of wooden (vestigial) folding rulers lost in the basement, used-only-once fishing bobbins, maybe some tangled crab trap, a bit of public radio, and a red compact umbrella turned out to be the best-fit apparatus for the task. (Do these things all fold?) To some dismay, precision and clarity might, in every case, be at odds.
This calculus, being prone to impaction, requires expulsion for health (i.e., the persistence of the body via processes). It begins to feel like a lump in the throat, massed up and solid and legitimate.But in an expelled, and therefore attenuated situation, it can be most rightly understood as a best-fit apparatus of appropriated approximations. The truly interesting part is that there is no empty space left, but rather, a new calculus is already in place and this new calculus is similar enough to the old one that in most cases it is considered to be the same. And from this it is clear that what is said once is never true but only the repetition of the untruth begins to approximate truth. The lump is comprised of layers of the same thing (almost) instead of an undifferentiated semi-hard mass. Like a small onion-vegetable whose integrity is subject to immediate chemical-physical alteration upon interaction with words, most especially written words, but also spoken.
Realizing I cannot tell the truth, but not wanting to lie, I began to repeat. Which is not a new strategy at all, from a historical vantage.
If one says something it becomes untrue.
If one says something it then has the capacity for becoming true.
If one repeats something it achieves relevance.
Something cannot be repeated, but we understand repetition none-the-less.
I will practice replacing girls with other girls. With moving them into the background. All of them, so there is nothing to be distinguished between a landscape and a swath of hair. The hills around my house and the back of an animal.
A puppet theater in the bathtub: two twins moving back and forth between personalities with a simple incantation “you be me.” And then to switch, “ok, now you be me.” Mimicking each others speech and manner. Telling one another’s story. Becoming one another like jumping rope double dutch style.
Just the body sitting in for another body, learning to speak the language.
“We, however, are not prisoners. No traps or snares are set about us, and there is nothing which should intimidate or worry us.
We are set down in life as in the element to which we best
correspond, and over and above this we have through thousands of
years of accommodation become so like this life, that when we
hold still we are, through a happy mimicry, scarcely to be
distinguished from all that surrounds us. We have no reason to
mistrust our world, for it is not against us. Has it terrors,
they are our terrors; has it abysses, those abysses belong to us;
are dangers at hand, we must try to love them. And if only we
arrange our life according to that principle which counsels us
that we must always hold to the difficult, then that which now
still seems to us the most alien will become what we most trust
and find most faithful. How should we be able to forget those
ancient myths about dragons that at the last moment turn into
princesses; perhaps all the dragons of our lives are princesses
who are only waiting to see us once beautiful and brave. Perhaps
everything terrible is in its deepest being something helpless
that wants help from us. ”