“Therein lies the secret of great hunters. To be available and unavailable at the precise turn of the road.
You must learn to become deliberately available and unavailable. As your life goes now, you are unwittingly available at all times. To be unavailable does not mean to hide or to be secretive but to be inaccessible. It makes no difference to hide if everyone knows that you are hiding.
We are fools, all of us, and you cannot be different. At one time in my life I, like you, made myself available over and over again until there was nothing of me left for anything except perhaps crying. And that I did, just like yourself.
You must take yourself away. You must retrieve yourself from the middle of the road. Your whole being is there, thus it is of no use to hide; you would only imagine that you are hidden. Being in the middle of the road means that everyone passing by watches your comings and goings.
The art of a hunter is to become inaccessible. To be inaccessible means that you touch the world around you sparingly. You don’t expose yourself to the power of the wind unless it is mandatory. You don’t use and squeeze people until they have shriveled to nothing, especially the people you love.
To be unavailable means that you deliberately avoid exhausting yourself and others. It means that you are not hungry and desperate.
A hunter knows he will lure game into his traps over and over again, so he doesn’t worry. To worry is to become accessible, unwittingly accessible. And once you worry you cling to anything out of desperation; and once you cling you are bound to get exhausted or to exhaust whoever or whatever you are clinging to.
I’ve told you already that to be inaccessible does not mean to hide or to be secretive. It doesn’t mean that you cannot deal with people either. A hunter uses his world sparingly and with tenderness regardless of whether the world might be things, or plants, or animals, or people, or power. A hunter deals intimately with his world and yet he is inaccessible to that same world. He is inaccessible because he’s not squeezing his world out of shape. He taps it lightly, stays for as long as he needs to, and then swiftly moves away leaving hardly a mark.”
‘Journey to Ixtlan’ by Carlos Castaneda
“I never noticed the noise in my head, until it stopped”.
“Now let us call that spirit of the water hole,” he said.
I tried to turn my head to look at him. He held me vigorously by the hair and said that I was in a very vulnerable position and in a terribly weak physical state and had to remain quiet and motionless. He had put all those special branches on my belly to protect me and was going to remain next to me in case I could not take care of myself.
He was standing next to the top of my head, and if I rolled my eyes I could see him. He took his string and tensed it and then realized I was looking at him by rolling my eyes way into my forehead. He gave me a snappy tap on the head with his knuckles and ordered me to look at the sky, not to close my eyes, and to concentrate on the sound. He added, as if on second thought, that I should not hesitate to yell the word he had taught me if I felt something was coming at me.
Don Juan and his “spirit catcher” began with a low-tension twang. He slowly increased the tension, and I began to hear a sort of reverberation first, and then a definite echo which came consistently from a southeasterly direction. The tension increased. Don Juan and his “spirit catcher” were perfectly matched. The string produced a low-range note and don Juan magnified it, increasing its intensity until it was a penetrating cry, a howling call. The apex was an eerie shriek, inconceivable from the point of view of my own experience.
The sound reverberated in the mountains and echoed back to us. I fancied it was coming directly toward me. I felt it had something to do with the temperature of my body. Before don Juan started his calls I had been very warm and comfortable, but during the highest point of his calls I became chilled; my teeth chattered uncontrollably and I truly had the sensation that something was coming at me.
At one point I noticed that the sky had become very dark. I had not been aware of the sky although I was looking at it. I had a moment of intense panic and I yelled the word don Juan had taught me.
Don Juan immediately began to decrease the tension of his eerie calls, but that did not bring me any relief.
“Cover your ears,” don Juan mumbled imperatively.
I covered them with my hands.
After some minutes don Juan stopped altogether and came around to my side. After he had taken the branches and leaves off my belly, he helped me up and carefully put them on the rock where I had been lying. He made a fire with them, and while it burned he rubbed my stomach with other leaves from his pouch.
He put his hand on my mouth when I was about to tell him that I had a terrible headache.
We stayed there until all the leaves had burned. It was fairly dark by then. We walked down the hill and I got sick to my stomach.
A Separate Reality: Chapter 11. [Carlos Castaneda]
At various times I’ve attempted to name my knowledge for your benefit. I’ve said that the most appropriate name is nagualism, but that that term is too obscure. Calling it simply “knowledge” makes it too vague, and to call it “witchcraft” is debasing. “The mastery of intent ” is too abstract, and “the search for total freedom” too long and metaphorical. Finally, because I’ve been unable to find a more appropriate name, I’ve called it “sorcery.” You consider if it is accurate or not.
I’ve given you different definitions of sorcery, but I have always maintained that definitions change as knowledge increases. Now you are in a position to appreciate a clearer definition.
* * *
From where the average man stands, sorcery is nonsense or an ominous mystery beyond his reach. And he is right–not because this is an absolute fact, but because the average man lacks the energy to deal with sorcery.
Human beings are born with a finite amount of energy, an energy that is systematically deployed, beginning at the moment of birth, in order that it may be used most advantageously by the modality of the time.
The modality of the time is the precise bundle of energy fields being perceived. I believe man’s perception has changed through the ages. The actual time decides the mode; the time decides which precise bundle of energy fields, out of an incalculable number, are to be used. And handling the modality of the time–those few, selected energy fields–takes all our available energy, leaving us nothing that would help us use any of the other energy fields.
* * *
The average man, if he uses only the energy he has, can’t perceive the worlds sorcerers do. To perceive them, sorcerers need to use a cluster of energy fields not ordinarily used. Naturally, if the average man is to perceive those worlds and understand sorcerers’ perception he must use the same cluster they have used. And this is just not possible, because all his energy is already deployed.
Think of it this way. It isn’t that as time goes by you’re learning sorcery; rather, what you’re learning is to save energy. And this energy will enable you to handle some of the energy fields which are inaccessible to you now. And that is sorcery: the ability to use energy fields that are not employed in perceiving the ordinary world we know. Sorcery is a state of awareness. Sorcery is the ability to perceive something which ordinary perception cannot.
* * *
Everything a teacher puts his apprentice through, each of the things he shows him is only a device to convince him that there’s more to us than meets the eye.
We don’t need anyone to teach us sorcery, because there is really nothing to learn. What we need is a teacher to convince us that there is incalculable power at our fingertips. What a strange paradox! Every warrior on the path of knowledge thinks, at one time or another, that he’s learning sorcery, but all he’s doing is allowing himself to be convinced of the power hidden in his being, and that he can reach it.
I’m trying to convince you that you can reach that power. I went through the same thing. And I was as hard to convince as you are. Once we have reached it, it will, by itself, make use of energy fields which are available to us but inaccessible. And that, as I have said, is sorcery. We begin then to see –that is, to perceive–something else; not as imagination, but as real and concrete. And then we begin to know without having to use words. And what any of us does with that increased perception, with that silent knowledge, depends on our own temperament.
* * *
Now, I’m going to give you a different and more precise definition of sorcery.
In the universe there is an unmeasurable, indescribable force which sorcerers call intent. Absolutely everything that exists in the entire cosmos is attached tointent by a connecting link. Sorcerers, warriors, are concerned with discussing, understanding, and employing that connecting link. They are especially concerned with cleaning it of the numbing effects brought about by the ordinary concerns of their everyday lives. Sorcery at this level could be defined as the procedure of cleaning one’s connecting link to intent.
The task of sorcery is to take this seemingly incomprehensible knowledge and make it understandable by the standards of awareness of everyday life.
The guide in the lives of sorcerers is called “the nagual.” The nagual is a man or a woman with extraordinary energy, a teacher who has sobriety, endurance, stability; someone seers see as a luminous sphere having four compartments, as if four luminous balls have been compressed together. Naguals are responsible for supplying what sorcerers call “the minimal chance”: the awareness of one’s connection with intent.
* * *
Naguals school their apprentices toward three areas of expertise: the mastery of awareness, the art of stalking , and the mastery of intent . These three areas of expertise are the three riddles sorcerers encounter in their search for knowledge.
The mastery of awareness is the riddle of the mind; the perplexity sorcerers experience when they recognize the astounding mystery and scope of awareness and perception.
The art of stalking is the riddle of the heart; the puzzlement sorcerers feel upon becoming aware of two things: first that the world appears to us to be unalterably objective and factual, because of peculiarities of our awareness and perception; second, that if different peculiarities of perception come into play, the very things about the world that seem so unalterably objective and factual change.
The mastery of intent is the riddle of the spirit, or the paradox of the abstract–sorcerers’ thoughts and actions projected beyond our human condition.
The art of stalking and the mastery of intent depend upon instruction on the mastery of awareness, which consists of the following basic premises:
- The universe is an infinite agglomeration of energy fields, resembling threads of light.
- These energy fields, called the Eagle’s, or the Indescribable Force ‘s emanations, radiate from a source of inconceivable proportions metaphorically called the Eagle–the Indescribable Force .
- Human beings are also composed of an incalculable number of the same threadlike energy fields. These Indescribable Force ‘s emanations form an encased agglomeration that manifests itself as a ball of light the size of the person’s body with the arms extended laterally, like a giant luminous egg.
- Only a very small group of the energy fields inside this luminous ball are lit up by a point of intense brilliance located on the ball’s surface.
- Perception occurs when the energy fields in that small group immediately surrounding the point of brilliance extent their light to illuminate identical energy fields outside the ball. Since the only energy fields perceivable are those lit by the point of brilliance, that point is named “the point where perception is assembled” or simply “the assemblage point.”
- The assemblage point can be moved from its usual position on the surface of the luminous ball to another position on the surface, or into the interior. Since the brilliance of the assemblage point can light up whatever energy field it comes in contact with, when it moves to a new position it immediately brightens up new energy fields, making them perceivable. This perception is known as seeing .
- When the assemblage point shifts, it makes possible the perception of an entirely different world–as objective and factual as the one we normally perceive. Sorcerers go into that other world to get energy, power, solutions to general and particular problems, or to face the unimaginable.
- Intent is the pervasive force that causes us to perceive. We do not become aware because we perceive; rather, we perceive as a result of the pressure and intrusion of intent .
- The aim of sorcerers is to reach a state of total awareness in order to experience all the possibilities of perception available to man. This state of awareness even implies an alternative way of dying.
* * *
A level of practical knowledge is included as part of teaching the mastery of awareness. On this practical level are taught the procedures necessary to move the assemblage point. The two great systems devised by the sorcerer seers of ancient times to accomplish this are dreaming , the control and utilization of dreams; and stalking , the control of behavior.
Moving one’s assemblage point is an essential maneuver that every sorcerer has to learn.
Sorcerers consult their past in order to obtain a point of reference. Establishing a point of reference means getting a chance to examine intent and nothing can give sorcerers a better view of intent than examining stories of other sorcerers battling to understand the same force.
* * *
In sorcery there are abstract cores, and then, based on those abstract cores, there are scores of sorcery stories about the naguals of our lineage battling to understand the spirit.
The only way to know intent is to know it directly through a living connection that exists between intent and all sentient beings. Sorcerers call intent the indescribable, the spirit, the abstract.
Some years ago I made the decision, I was going to get back into hiking and camping in a big way. I decided I wanted to go to Scotland, but felt slightly trepidations about heading straight for the highlands. I needed somewhere remote but wanted to test the water first. I found myself in a second-hand book shop, a copy of a map came into my hands. It was for an area of Scotland, called the Ochill Hills, near Perth. I decided I was going to try this area.
I arrived on the train at the place I was going to start my hike and headed off into the hills. Then next day, I was walking along a path near a train line. I noticed some woods just beyond. I crossed the railway line and found lying there the carcass of a dead Roe deer. It had one of its antlers missing, I suspected it had been hit by a train. Some distance from the body, I found the other antler. Then I noticed from where the deer must have come. There was a woodland directly in front of me, which seemed somehow familiar. I stood there for a moment looking into the wood assessing the situation. I suddenly realised, I had been here before in lucid dreaming.
The dream had been a protracted one. As I remembered it had been very intense in its vividness. There was someone in the dream I had known. A person who had been living with me for sometime. I was following him in the dream through various dreamscapes. Then toward the end of the dream, I found myself in another place entirely. This part was more lucid than the rest, it was like waking up in daylight. I climbed over a branch of a fallen tree entering this new location. I looked down on the ground and there was a zippo lighter. The most significant thing about this person I had been following; was that I had given him a zippo just the day before. I picked up the shiny metal object and studied it. I walked several more paces and there to my amazement, was another lighter nestling in the undergrowth. This was a gas lighter but just as shiny, I picked it up as well. It was at that point I looked up and realised, I was in the grounds of something like a stately home; I suspected there might be even a game keeper. I woke from the dream.
This dream had been weird on several levels. It was odd that this person I knew had been in the dream. It was also strange that he had been leading me and the lucidness of the dream was stunning and unforgettable, in particularly this last part. The lighters seemed significant as something I had recently given away. And the fact I was finding them again seemed to mean I was being given something in recompense. The phrase “a double portion of the spirit” reverberated round my head.
The concept of dreaming is an important aspect of Don Juan’s teachings. He set out the idea that there are different levels of dreaming and gates to be crossed. The first gate of dreaming is to gain control over ones attention in dreaming by finding the hands. This anchors the double in the second attention. The second gate of dreaming is to learn how to wake up in the dream into yet another dream – enabling the dreamer to change dreaming locations entirely. The third gate of dreaming is reached when you find you are staring at yourself in a dream. The fourth gate of dreaming involves learning to use the energy body to travel. This can be used to find:
“firstly concrete places in this world; two, to travel to concrete places out of this world; and, three, to travel to places that exist only in the intent of others.”
There are three further gates. The Fifth gate of dreaming is to be able to bring out the dreaming double in everyday life. The sixth is to be able to transport the physical body to another location entirely. And the seventh gate is to be able to transcend the world entirely and to step beyond this world with the totality of oneself.
So, I understood that this is wood now in front of me in some way represented the woodland within my dream. The concept for me was that this was reaching the fourth gate of dreaming. I had found a “concrete places in this world”. The concept then in stalking relative to the dreamed experience, meant I had entered a state of awareness called “Dreaming Awake”. This is finding the location of your dreaming in waking life and dreaming the location again.
I had a moment’s deliberation, then set off into the wood. It all seemed very familiar. I took the zippo out of my pocket and inspected it looking down at my hands. I heard a noise which startled me and which made me look up. There some distance in front of me stood a huge stag. He was staring at me. The moment lasted for a while then he turned and lumbered heavily off into the woods. I went to follow him but realised there was a huge ravine that separated us, one more step and I would have fallen in.
I went back to the railway line. I understood then that I had been in the location of my dreaming. That the dream itself had meant reaching the fourth gate of dreaming and I had crossed it. The Antler was a power object – I took as my spirit catcher. In the dream the friend I had known must have been a Scout, even the shiny lighters I took must have been Inorganic Beings – hiding in the fabric of the dream. But most importantly, I had found in my waking experience the place which I had dreamed (the realisation of stalking)/and within the dream, I had found a real location of the world (the culmination of dreaming).
I had also through this state of ‘Dreaming Awake’ found my spirit animal. I looked up sometime later the significance of the deer and the stag. In terms of the systems of the indigenous Peoples of North America; the Deer is regarded as my spirit animal in connection with their horoscope. Also, especially in relation to the Mayan calendar; my Ahua Kin, is “Manik” which means ‘deer’ and the glyph for Manik shows the hand of the hunter. Manik is the powerful and transformative seventh face of the Ahau Kin and is associated with accomplishment and the Craft of Life. The successful hunt requires that the hunter fully understands – even becomes one with – the life energy of the prey. This balance between hunter and hunted is imagined as wholeness rather than opposition and expresses the character of Manik. Manik is the knowledge and transformation manifested by the sacrifice/forgiveness of Cimi(death).
“Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path, and there is not affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition.
I warn you. Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself, and yourself alone, one question. This question is one that only a very old person asks. My benefactor told me about it once when I was young, and my blood was too vigorous for me to understand it. Now I do understand it.
I will tell you what it is: Does this path have a heart?
All paths are the same, they lead nowhere. They are paths going through the bush, or into the bush. In my own life I could say I have traversed long, long paths, but I am not anywhere. My benefactor’s question has meaning now. “Does this path have a heart?” One makes you strong; the other weakens you.
The trouble is nobody asks the question: and when a person finally realizes that they have taken a path without heart, the path is ready to kill them. At that point very few people stop to deliberate and leave the path.
A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it.
For my part there is only the travelling on paths that have heart, on any path that may have heart. There I travel, and the only worthwhile challenge is to traverse its full length.
And there I travel looking, looking, breathlessly.”
– Don Juan
The Teachings of Don Juan: A Yaqui Way of Knowledge
“The nature of ruthlessness is that it is the opposite of self-pity. All sorcerers are ruthless.”
“As I have said, the fourth abstract core of the sorcery stories is called the descent of the spirit, or being moved by intent . In order to let the mysteries of sorcery reveal themselves it is necessary for the spirit to descend. The spirit chooses a moment when a man is distracted, unguarded, and, showing no pity, the spirit lets its presence by itself move the man’s assemblage point to a specific position. This spot is known to sorcerers as the place of no pity. Ruthlessness becomes, in this way, the first principle of sorcery.”
“The place of no pity is the site of ruthlessness. Let’s say that ruthlessness, being a specific position of the assemblage point, is shown in the eyes of sorcerers. It’s like a shimmering film over the eyes. The eyes of sorcerers are brilliant. The greater the shine, the more ruthless the sorcerer is.
When the assemblage point moves to the place of no pity, the eyes begin to shine. The firmer the grip of the assemblage point on its new position, the more the eyes shine.”
“For sorcerers to use the shine of their eyes to move their own or anyone else’s assemblage point they have to be ruthless. That is, they have to be familiar with that specific position of the assemblage point called the place of no pity. This is especially true for the naguals.”
“When the assemblage point moves and reaches the place of no pity, the position of rationality and common sense becomes weak.
Silent knowledge is something that all of us have, something that has complete mastery, complete knowledge of everything. But it cannot think, therefore, it cannot speak of what is know.”
“Continuity is so important in our lives that if it breaks it’s always instantly repaired. In the case of sorcerers, however, once their assemblage points reach the place of no pity, continuity is never the same.”
“The place of no pity is a position of the assemblage point, a position which renders self-pity inoperative.”
Don Juan Matus (The Power of Silence)