I learned the Western Canon at school and from various teachers during my youth; all along, I was yearning for something other, different, and, possibly, truer. Since my early twenties I've been exploring another canon, which exists in opposition to the Aristotelian-Euclidean-Cartesian-Newtonian-Darwinian/Spencerian one. While the western world in the 21st century is free from alacritous canon-enforcing enterprises such as the Holy Inquisition, it nevertheless operates by a canon that remains very much the mentioned Aristotelian-Euclidean-Cartesian-Newtonian-Darwinian/Spencerian one, inculcated into us all from kindergarten to the grave, echoed not only by schools of all levels, but by governments, the media, official institutions and nonofficial entities, and, last but not least, by the entertainment industry.
More on the wacky side, and far more entertaining, is Terence McKenna’s True Hallucinations: Being an Account of the Author’s Extraordinary Adventures in the Devil’s Paradise. For those who will never try “heroic doses” of psilocybin mushrooms deep in the Colombian jungle, this is a wild, vicarious ride, an amalgam of science, literature, myth, and exotica from an adventurer whose genuine inquisitiveness in things psychedelic goes hand in hand with mythomania—what an exuberant explosion of literary and philosophical high kitsch! If not persuaded, there follows the endorsement from The New York Times: “The polysyllabic sentences he lards with intellectual references are an attempt to lend credibility to the otherwise debunked subject of drugs.” Yes, a hatchet job from The New York Times could not make for a more valuable endorsement.
I started writing fiction and writing aboutfiction at about the same time. My novels and stories tend to be about solitary characters pulled into the maelstrom that is contemporary Indian urban life and trying to make sense of it. I’ve always believed that to be an effective observer of your society you need to stay in tune with what your peers are doing and the last two decades in which I’ve been writing and publishing have been some of the most exciting for Indian fiction in general.
A most affecting historical novel set in 19th century Assam as the British colonialists sought to push deeper into the country. I’ve read so many accounts of the early encounters between native and foreigner but what makes this one rare is Blackburn’s careful and tender individualising of his characters so that they can both be ranged against each other and yet in some human and mysterious and ultimately tragic way also be friends.
As the British Raj begins its expansion towards Tibet, the remote Apatani valley on the Indo-Tibetan border becomes a flashpoint. George Taylor, an up-and-coming officer in the Indian Civil Service, leads the first expedition into the valley and recommends setting
up a base nearby, as the Apatanis are a ‘friendly tribe’. During the expedition, a tenuous bond is established between him and Gyati,
the Apatani shaman who has long been anxious about the halyang outsiders creeping closer and closer to the ordered world of the valley. But this bond cannot survive. The increased British presence and
I became intrigued by Upper Paleolithic societies when I studied prehistory at the University of Bordeaux. Over time, I became more and more involved in trying to understand why some Upper Paleolithic societies produced such great art – both painted and carved. After years of studying hunter-gatherer cultures, I concluded that the Upper Paleolithic groups producing fine art were not simple egalitarian groups, but were almost certainly more complex types of hunter-gatherers like the ethnographic groups in California and the Northwest Coast with striking economic and social inequalities – and great art. I decided to put all these ideas into an adventure novel for young readers: The Eyes of the Leopard.
The use of deep caves for rituals and creating extraordinary paintings has provoked many discussions on why people did this so long ago. There are many theories, but one of the most discussed ideas is that the paintings were produced by shamans as records of their spiritual visions, or to connect with their animal spirit helpers. Lewis-Williams and Clottes are the leading proponents of this interpretation. They rely on comparisons of the Stone Age art with art produced in historic times by Bushman shamans in South Africa. This is an excellent introduction to Paleolithic art and arguments about the art. My own explanation shares some aspects of their model, but focuses on secret societies (shamans were usually members). This is also a main feature in my own book.
I’m not a genre purist. I adore combining classic forms in new and exciting ways to make stories that have never been told before. The novels on this list are like that. They refuse to obey genre rules. Detective fiction suggests our questions have answers. The truth is rational and we can discover it. The supernatural elements of occult fiction say otherwise. Human consciousness cannot comprehend the nature of reality. Our investigations fail to understand our lives—the best we can do is explain them away. When these perspectives collide, it can result in interesting ways to see the world, familiar but fresh, as we have never known it before.
I love the Jimmy Paz novels. I wish there were more of them. Gruber’s are the most conventional crime plots on my list—tightly-crafted, intricate, and intelligent. His detective is the archetypal hero: smart, resourceful, big-hearted, brave. But in this world, science and rational deduction are insufficient to solve the crime because reality is not just unknown. It is unknowable. This is the cardinal sin of the detective genre. Even worse, Gruber completely gets away with it. With forays into Siberian Shamanism and Santeria, Tropic of Night is as much an investigation of consciousness and perception as it is the hunt for a murderous warlock. When the orishas finally arrive for the climax, my hands trembled. I got some small inkling of what it means for the fear of god to be the beginning of wisdom.
Jane Doe had been a promising anthropologist, an expert on shamanism. Now she is nothing, a shadow. After faking her own suicide, she is living under an assumed identity in Miami, with a traumatised little girl to protect. Everyone thinks Jane is dead - or so she hopes.
Then the killings start: a series of ritualistic murders that terrifies the entire city. The investigating detective, Jimmy Paz, locates the witnesses to these events but they can recall almost nothing, as though their memories have been erased. As if a spell has been cast on them...
I grew up in Michigan where I was outdoors in the woods most of the time, running around with my imaginary friends. I built an entire world in my imagination where girls and women were powerful and ruled the world. I wrote stories about that world, and I’ve never stopped writing or reading myths, folklore, and fairy tales. Stories are the best way to bring the mythic and hidden realms of our existence out into the open. When I catch a glimpse of other worlds through storytelling, it always feels healing. It gives me hope that there is more to our existence than what we ordinarily see.
This is Paula Gunn Allen’s modern-day retelling of many Native American tales. They feature talking animals, shape-shifting bears, and creation stories. Here, we see how the underneath comes to the surface in wondrous and awe-inspiring ways. The ordinary walks with the extraordinary. In fact, the ordinary is extraordinary. Allen sees power in these tales for women, and that’s what I loved about this book. These stories are part of a female shamanic tradition; they are in many ways medicinal.
This extraordinary collection of goddess stories from Native American civilizations across the continent, Paula Gunn Allen shares myths that have guided female shamans toward an understanding of the sacred for centuries.
I've always been fascinated by non-linear ways of knowing. I moved to Boston in the ’80s and became a part of a dance community, and a friend invited me to join a dream circle. My immediate response was “Yes!”, followed by, “What’s a dream circle?” I said yes even before I knew what it was, and that decision formed one of my major life paths personally and professionally. (FYI, a dream circle is a group of people who get together regularly to understand their dreams.) Add this to my years as a trauma therapist, and you have the template for Modern Dreamwork and PTSDreams. My next book focuses on healing ancestorial legacy through dreamwork.
Kim is another colleague from IASD, and her work on dream medicine attends to altered states of consciousness, focusing on dreaming, and points out our potential to access healing from many realms. It looks at a wide variety of cultural and spiritual perspectives.
Mascaro walks us through shamanic and indigenous ways of knowing and healing as well as incorporating western styles of dreamwork. Her attention to detail allows the reader to easily try many of her suggestions that honor and include alter-making, plant and animal medicine, and nightmare healing that incudes soul recovery.
This book surveys both the scientific and the spiritual terrain of altered states of consciousness, highlighting how extrasensory encounters can be soul-healing balm. It explores a wide range of cultural interpretations of out-of-body experiences, from shamanistic practices to the importance of dreams in ancient world cultures. A dozen or more interviews with health-related professionals present unique, holistic glimpses of our inner lives.
Dreaming takes center stage, with the author presenting her most profound and insidious dreams. Part reference work and part guidebook, this book tells readers how to make the most of their dream experiences through a variety of techniques…
I came to discover the healing power of art, nature, and ritual while I was grieving the loss of my father a decade ago. I would go to the park and make impermanent and symmetrical art from found twigs, flowers, pine cones, berries, and leaves as a way to ground, heal my broken heart, and make sense of a chaotic time. Since then, I‘ve made over a thousand nature altars, written a book about it (Morning Altars), and have taught tens of thousands of people around the world to make meaning in their lives through a creative collaboration with the natural world. It still amazes me that something so simple and impermanent can bring such wonder and resilience.
Because my art is impermanent, I write and think about that subject a lot. And IMHO, no one speaks as beautifully and powerfully to the subjects of impermanence, life, loss, and beauty better than Prechtel. Prechtel's book is a well of indigenous wisdom on the living relationship between grief and praise. He says, "When you’re grieving for the thing you got, it's called praise. When you're praising for the thing you lost, it's called grief.” If the Earth is speaking her wisdom, this author is delivering it faithfully and beautifully to us.
Inspiring hope, solace, and courage in living through our losses, author Martín Prechtel, trained in the Tzutujil Maya shamanic tradition, shares profound insights on the relationship between grief and praise in our culture--how the inability that many of us have to grieve and weep properly for the dead is deeply linked with the inability to give praise for living. In modern society, grief is something that we usually experience in private, alone, and without the support of a community. Yet, as Prechtel says, "Grief expressed out loud for someone we have lost, or a country or home we have lost,…
I started my scientific career as an Astrophysicist. However, I have always been interested in Archaeology. This finally led me to conjugate the two passions when I started working in Archaeoastronomy, in 2003. Working in Archaeoastronomy first means having a direct experience of the sites (preferably, of every single stone, although in places like Giza they count in the millions…). So I have made fieldworks in Italy, Egypt, Cambodia, and, recently, on Chinese imperial necropolises. I currently teach Archaeoastronomy as a professor at the Politecnico of Milan. I have always been interested also in scientific communication on TV and social media, and my introductive Archaeoastronomy course is available for free on the Coursera platform.
Monumental architecture was thought up as an explicit manifestation of religious power, and for this reason, it was in uncountable many cases connected with the sky. The key to understanding Archaeoastronomy is therefore to understand the connections between astronomy, power, religion, and architecture. This is exactly the aim of this inspiring book, written by an outstanding astronomer and archaeoastronomer. The author describes from this viewpoint many fascinating places - from Giza in Egypt to Palenque in Mexico - using a narrative that is richly enhanced by more than 150 photographs and illustrations.
Discover the celestial myths and cosmic rituals of ancient priests and kings . . . Drawing on intimate knowledge of the more than 1,300 ancient sites he has visited, E. C. Krupp, acclaimed writer and preeminent researcher, takes you to the world's essential sacred places and celestial shrines. Join him on a rich narrative journey to see where the rulers of old communed with the gods of the sky. ""Highly recommended to everyone interested in the culture of astronomy and those peoples who practiced it in their own ways.""-Sky & Telescope ""A lively account of the ways in which our…
I am an archaeologist dealing with prehistoric societies for the last 30 years. For many hundreds of thousands of years, our ancestors worldwide practiced shamanism and altered states of consciousness. I think this is what makes us human and what allows the persistence and success of our genus. The more I learn about these two subjects, the more I understand their importance and relevance to us today. There is a lesson sent to us by past societies: Pay respect to the world. Respectful behavior is assisted by shamanism and altered states of consciousness. We can be better, feel better, and do better, and the books I recommended are the beginning of this wonderful way.
I read this wonderful book when I was a teenager, and it had a lot of influence on me. I still read it again and again and gain a lot from it.
This is one of the earliest descriptions available of a meeting with a Mexican shaman, and the teachings of that shaman. It vividly describes the way the shaman acts, thinks and operates, and this is so remote and alien from modern Western thinking that it made me realize that alternative ways of perceiving realities do exist.
Regardless of what some say, I am confident it really happened and that the descriptions are coherent and true. What a book! This is really a book for departure.
I became fascinated by westerns when my parents took me on vacation to Deadwood, South Dakota and I came home with a brace of toy six-shooters and a book called The Gunfighters by Lea F McCarty, which featured bios of various notorious westerners, from Billy The Kid to Calamity Jane. I eventually left Clayton Moore and The Cisco Kid behind for Sergio Leone. I had a strong interest in ghost stories, and it was Robert E. Howard that gave me the bug for the weird western genre. I wrote two straight-up western novels, Buff Tea and Coyote’s Trail, but I didn’t find an audience until I started injecting my stories with ghoulies.
If Howard is the father of the weird western, Joe Lansdale is the godfather. The trope of the wronged Native American shaman afflicting a frontier town with an undead plague has surely been used time and time again in the genre, but this is the original and best iteration. Joe’s Texas dialogue pops like a bullwhip cracking on a skeletal mule’s vertebrae and you can smell the iron and gunsmoke in his prose. He establishes his reputation with this book and in my opinion, cements it with the Jonah Hex weird western comics Two-Gun Mojo and Riders of The Worm and Such.
Dead in the West is the story of Mud Creek, Texas, a town overshadowed by a terrible evil. An Indian medicine man, unjustly lynched by the people of Mud Creek, has put a curse on the town. As the sun sets, he will have his revenge. For when darkness falls, the dead will walk in Mud Creek and they will be hungry for human flesh. The only one that can save the town is Reverend Jebediah Mercer, a gun toting preacher man who came to Mud Creek to escape his past. He has lost his faith in the Lord and…
