1460 lines
78 KiB
TeX
1460 lines
78 KiB
TeX
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% --- frontmatter/titlepage.tex ---
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% ── Title Page ───────────────────────────────────────────────
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\begin{titlepage}
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\centering
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\vspace*{2in}
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{\Huge\bfseries Longing}
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\vspace{0.75em}
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{\large\itshape The Hunger of the Human Heart}
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\vspace{2em} % Adjust this space as needed
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% The decorative image
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\includegraphics[width=0.4\textwidth]{../art/13LineCollectionSqueebCreative.eps}
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\vfill
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{\large William Zeitler}
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\vspace{1.5in}
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\end{titlepage}
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\clearpage
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% --- frontmatter/copyrightpage.tex ---
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% ── Copyright / ISBN Page (verso of title page) ──────────────
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\thispagestyle{empty}
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\vspace*{\fill}
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\begin{flushleft}
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\small
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\textit{Longing}\\[0.5em]
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Copyright \textcopyright\ 2026 William Zeitler\\
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All rights reserved.\\[1em]
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Readers are encouraged to quote reasonably from this
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work for purposes of review, commentary, education, or personal
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sharing. For permission to reproduce substantial portions,
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or for any commercial use, please contact the author.\\[1em]
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Published by GrailHeart\\
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Highland, California
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ISBN: 978-1-940630-04-5\\[1em]
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First Edition\\[0.5em]
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Printed in the United States of America\\[1em]
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% Optional: Library of Congress / cataloguing info
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% [CIP data here]
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\end{flushleft}
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\vspace*{1in}
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% --- chapters/ch_Prologue.tex ---
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\chapter{Prologue}
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\cleardoublepage
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\begin{figure}[p]
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\centering
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\includegraphics[width=\textwidth]{../fern/fern1.pdf}
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\end{figure}
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\thispagestyle{empty}
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\cleardoublepage
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% --- chapters/se_AlexanderLonging.tex ---
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\section{Alexander's Longing}
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\lettrine[lraise=0.1]{A}{lexander} the Great (356--323 BCE)
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is one of the most extraordinary examples of ``longing'' in all of human history. Always longing for more. Indeed, there's a famous story of him weeping at the Hyphasis River in India in 326 BCE because his troops refused to go further. He wept because there were worlds he would never conquer.
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Alexander's conquest transformed Western Civilization.
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Across his empire he established Greek as a ``universal second language''
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and the ``Alexander'' coinage as the universal currency.
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With trade barriers of differing languages and currencies removed,
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an explosion of trade and prosperity ensued.
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He also founded the city of Alexandria on the Egyptian coast,
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a great melting pot of Greek, Egyptian, Mesopotamian,
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and even Oriental cultures (due to thriving trade with the far East).
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This resulted in an eruption of human advancement that included Euclid
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and his geometry (c.300 BCE), Eratosthenes (276--194 BCE) who measured the
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\textit{circumference} of our \textit{spherical} Earth with astonishing
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accuracy, a water clock invented by Ctesibius (c.270 BCE) whose accuracy
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wouldn't be surpassed for nearly two thousand years,
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to arguably the first recorded woman mathematician: Hypatia (360--415 CE)
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centuries later.
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And the Library of Alexandria was the greatest library the world had ever seen. The story is told that a requirement for ships to dock at Alexandria was to bring a book for the library.
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But none of this would have come to be if Alexander had stayed home. If he had been content to be king of Macedon only.
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Something compelled him to reach for \textit{more}{\ldots}\footnote{Of course Alexander had his dark side --- the violence of his campaigns was real and sometimes extreme. Yet he could also be remarkably magnanimous with defeated enemies. In the historiography that has come down to us, it's not always easy to separate what is historically true from myth. It's his mythic and archetypal aspect that concerns us here.}
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% --- chapters/se_PreludeToLonging.tex ---
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\section{Prelude to Longing}
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\lettrine{I}{n} this book, we will mostly consider human longing.
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But first let's consider how Longing may be woven into the very fabric
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of the Cosmos itself.
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Metaphorically speaking, after the Big Bang,
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the Cosmos could have been ``content'' to remain an amorphous cloud of gas.
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But it didn't.
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You're here, reading this text, because it didn't.
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This is quite strange.
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\medskip
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After we consider Longing from a cosmic perspective,
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we'll gradually narrow our focus to Longing in mythology,
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some lives gripped by Longing, then Longing in each of us personally.
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We conclude the book by bringing it full circle with a story
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about Longing greater than the Cosmos itself\ldots
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% --- chapters/ch_CosmicLonging.tex ---
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\chapter{Cosmic Longing}
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\cleardoublepage
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\begin{figure}[p]
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\centering
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\includegraphics[width=\textwidth]{../fern/fern2.pdf}
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\end{figure}
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\thispagestyle{empty}
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\cleardoublepage
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% --- chapters/se_SecondLawOfThermodynamics.tex ---
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\section{The Second Law of Thermodynamics}
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\lettrine[lraise=0.15]{T}{he} Second Law of Thermodynamics says, in essence, that everything runs down, falls apart, degrades over time. That Chaos has the last word.
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But even though things inexorably run down --- even though chaos increases in the long run --- the Second Law does allow for pockets, islands of less Chaos, that buck the trend.
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It's just that if there's a pocket of less chaos \textit{here}, there has to be extra chaos somewhere \textit{else} to balance things out.
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Yet, we're surrounded of examples of the Cosmos being drawn to greater and greater order and complexity. In seeming defiance of the Second Law.
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% --- chapters/se_BigBangToHeavyElements.tex ---
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\section{Big Bang to Heavy Elements}
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\lettrine[lraise=0.15]{A}{fter} the Big Bang, the universe was extraordinarily uniform --- almost featureless hot gas. Gravity nudged tiny quantum fluctuations into galaxies and stars. Order and structure emerged from near-uniformity.
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But it doesn't stop there. Every element is defined by the number of protons
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in its nucleus --- the more protons, the heavier and more complex the atom.
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The two simplest elements --- Hydrogen (1 proton) and Helium (2) ---
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are almost everything the Big Bang produced.
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The heavier elements were forged inside stars. The larger the star, the hotter the star's core furnace, and the heavier the elements it can forge. Our Sun, of modest size, can forge up to Carbon (6) and Oxygen (8).
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Even this process has its limits.
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The heaviest element that can be produced in the largest star's core is
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Iron (26).
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Elements heavier than these can only be produced in a supernova,
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when a large enough star at the end of its life collapses into a cataclysmic explosion. Zinc (30), Selenium (34) and Iodine (53) are a few elements created in supernovae. These are elements without which life on Earth would not be possible.
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In other words, we have life on Earth today because a star
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in the distant past died in a supernova, forging heavier elements in its death throes and hurling them to the four corners of the Cosmos. Some of them found their way to our tiny planet.
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Every living thing on Earth embodies shards of supernovae.
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Every bacterium, every fungus, every plant and animal requires elements
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that could only have been forged in the death throes of a star.
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% --- chapters/se_AminoAcidSoupToItAlive.tex ---
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\section{Amino-Acid Soup to ``It's Alive!''}
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\lettrine[lraise=0.1]{B}{ut} there are other striking examples of order emerging out of chaos. Consider perhaps the most momentous event in the evolution of Life on Earth --- the emergence of Life from Non-Life.
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Roughly four billion years ago, Earth had no free oxygen, no ozone layer. Conditions were lethal to life as we know it.
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Instead, there was an unstable soup of amino acids and simple organic molecules, made restless by hydrothermal vents, lightning, and ultraviolet radiation.
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Then, after about 300 million years of simmering, a self-replicating molecule became enclosed in a lipid membrane. The inside\slash outside distinction was born. Something now had a stake in continuing. Chemistry crossed a threshold into biology.
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The new order of complexity was LUCA --- Last Universal Common Ancestor. It possessed DNA, RNA, a genetic code, and much more. Not fumbling toward complexity but already sophisticated. Not a primitive proto-cell but already a remarkably complex organism.
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No other chemical lineage survived. Hundreds of millions of years of chemical experimentation, and only one survivor --- the family of living organisms we know today, all descended from LUCA.
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\nopagebreak
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Including us.
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% --- chapters/se_TheGreatOxidationExtinction.tex ---
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\section{The Great Oxidation Extinction}
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\lettrine[lraise=0.1]{A}{bout} 2.4 billion years ago, bacteria developed photosynthesis --- the ability to split water using sunlight and release oxygen as a byproduct.
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At the time, oxygen was poison to virtually all life. Photosynthesis was so successful that it brought about a mass-extinction --- caused by life itself. The atmosphere was permanently transformed.
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And yet: that catastrophe was the precondition for an oxygen-based metabolism far more efficient than anything that came before. Without it, complex animal life is thermodynamically impossible.
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Eventually an equilibrium was reached between carbon-consuming plants and oxygen-breathing animals. Today, about 21\% of Earth's atmosphere is oxygen.
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Every breath you take is downstream of that crisis.
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% --- chapters/se_TheCambrianExplosion.tex ---
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\section{The Cambrian Explosion}
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\lettrine[lraise=0.1]{A}{bout} 540 million years ago, after roughly 3 billion years of almost exclusively microbial life, the fossil record shows an extraordinary proliferation of complex animal body structures appearing in geologically very rapid time --- perhaps 20 million years, a geological blink of an eye.
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It's known as the Cambrian Explosion.
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Virtually every major animal body plan alive today --- left-and-right symmetry, eyes, appendages, nervous systems --- appears in this window. Before it: microbial mats and simple soft-bodied organisms. After it: the full complexity of animal life.
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The trigger is still debated --- rising oxygen levels, ecological feedback loops, genetic innovations, possibly all three. But the threshold is unmistakable: something altered the equilibrium sufficiently that an entirely new order of organism complexity became possible.
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% --- chapters/se_HoldThatThought.tex ---
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\section{Hold That Thought\ldots}
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\lettrine[lraise=0.05]{W}{e} have seen four examples
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where the Second Law of Thermodynamics would suggest
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--- at best --- maintenance of the status quo,
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and more likely a steady deterioration.
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(Many more examples could be cited.)
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But in all four instances, an enormous transformation bootstrapped itself to greater complexity.
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A transformation from the less sophisticated into something unexpected and unprecedented.
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Hold that thought{\ldots}
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% --- chapters/ch_TwoWorlds.tex ---
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\chapter{Two Worlds}
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\cleardoublepage
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\begin{figure}[p]
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\centering
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\includegraphics[width=\textwidth]{../fern/fern3.pdf}
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\end{figure}
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\thispagestyle{empty}
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\cleardoublepage
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% --- chapters/se_InnerAndOuterWorlds.tex ---
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\section{Inner and Outer Worlds}
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\lettrine{I}{s} it not strange that we seem to inhabit two worlds at once? An outer world of matter, and an inner world of consciousness?
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We have our exterior world --- the one we share, the one that pushes back, the one we can measure with rulers and clocks.
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And we have an interior world --- the one we inhabit alone,
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immaterial, in which memory, grief, beauty, longing, and wonder unfold.
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Modernity has trained us to assume that the exterior is more real than the interior.
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Says who? More real --- how?
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If a tree falls in the forest, and there's no one there to hear it --- who cares?
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Our interior world is not some decorative fog floating outside ``real reality.'' It is one of the places reality becomes most unmistakably itself.
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I have floated in a sensory deprivation tank
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--- a chamber designed to reduce sensation of the outer world almost to nothing. No light. No sound. Floating in warm salt water so even the sensation of gravity nearly disappears. And what struck me was not emptiness, but the opposite. The exterior world was muted almost to zero, and yet the interior world remained vivid, active, insistent. The inner hum did not abate in the slightest.
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I'm not saying our interior world is ``more real'' than our exterior world, or any claim like it. Only, that to \textit{me}, to \textit{all} of us, our interior world is of paramount importance.
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``I'm conscious, ergo I'm alive!'' (With apologies to Descartes.)
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% --- chapters/se_TheImportanceOfOurInnerWorld.tex ---
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\section{The Importance of Our Inner World}
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\lettrine[lraise=0.1]{W}{ithout} our inner world, our consciousness, we can't experience the outer world either. We can't explore it. We can't do Science. We can't make Art. Whenever humans do anything at all, their consciousness is right there, in the fat middle.
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Of course others have consciousness too --- their own interior lives.
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Something I cannot directly experience at all.
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We can tell each other about our interior lives.
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But even without words, I can infer the inner state of others
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from their body language.
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Psychologists tell us that when communicating
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emotions, body language and tone of voice account
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for the vast majority of communication anyway ---
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the words themselves only a small fraction.
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% --- chapters/se_Transformation.tex ---
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\section{Transformation}
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\lettrine{W}{e} have seen how our exterior world transforms from lesser to greater sophistication:
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from amorphous gas after the Big Bang to stars and elements,
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from non-living amino-acid soup to living cells,
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the self-inflicted mass extinction of plant-like bacteria that made animal-like life possible,
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to the Cambrian Explosion in which the multicellular life that had existed for millions of years suddenly exploded into the full complexity of animal bodies.
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All of it in seeming defiance of the Second Law of Thermodynamics. Of the status quo.
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When I look at my own interior life, and that of others, I see something similar. Not identical, more like --- it rhymes. Occasions when the status quo ``isn't enough,'' when deep transformation becomes necessary.
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Why didn't the primordial amino-acid soup stay that way, instead of crossing the threshold from non-living to living? Why did primordial cells organize themselves into plants, then animals --- including humans?
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The universe does not merely sit there.
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It unfolds.
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It organizes.
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It reaches thresholds and then exceeds them.
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It's \textit{as if} the cosmos is longing for --- what? To experience? To become \textit{more}?
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I'm not saying the Cosmos literally experiences Longing --- although there are some who believe it does.
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\textit{I am} saying that there's an interesting rhyme here, that's worth exploring on a mythic and metaphorical level.
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Which I hope to show has something significant to tell us.
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We are not trying to do biology with mystical language. We are noticing a pattern: that Reality does not appear merely to persist. It appears, at times, to reach.
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Not always cleanly. Not always upward in any simplistic sense. Evolution is full of waste, violence, contingency, extinction, and blind alleys. But even so, something in the whole drama seems to still press toward greater complexity, greater sensitivity, greater inwardness, in spite of setbacks.
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Toward eyes.
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Toward nervous systems.
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Toward consciousness.
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Toward Plato, and da Vinci, and Beethoven, and Einstein.
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Toward the question of why there is something rather than nothing.
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For if the same pattern appears both in our interior life and in the unfolding of the Cosmos, then perhaps longing is not merely a private quirk of consciousness. Perhaps it belongs more deeply to the structure of Reality than we usually allow.
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% --- chapters/se_TheHeraldsOfLonging.tex ---
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\section{The Heralds of Longing}
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\lettrine[lraise=0.1]{T}{his} idea of the Cosmos ``moving itself forward'' has been explored, in various forms, across many millennia and traditions.
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Plato (428--348 BCE) called it Erōs. Not sexual desire --- that's a late corruption of the word.
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Erōs in his \textit{Symposium} and \textit{Phaedrus} is the force that moves all things toward the Good, the True, the Beautiful. It operates in matter, in souls, in minds, in the Divine. It is cosmological first, personal second.
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Aristotle (384--322 BCE) called it \textit{entelechy} --- the internal orientation of a thing toward its own completion. Every acorn entelechially longs to be an oak. Not consciously. Structurally. It is in the very nature, the very being of what makes it an acorn.
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St. Augustine of Hippo (354--430 AD): ``Our heart is restless until it rests in Thee.'' This is usually read as personal piety. But Augustine means it cosmologically --- that restlessness is built into created beings as such. All of creation longs. Humans are just the place where that longing becomes articulate.
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Hegel (1770--1831) called it \textit{Geist} --- Spirit --- moving through history and nature toward self-knowledge. The Cosmos coming to know itself through its own unfolding.
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Teilhard de Chardin (1881--1955) called it the \textit{Omega Point} --- evolution as the cosmos complexifying toward a final convergence of consciousness. He saw it in chemistry, biology, psychology, and theology as a single continuous movement. He was a paleontologist. He meant it literally.
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Whitehead (1861--1947) built an entire metaphysics --- Process Philosophy --- on the claim that every actual occasion, at every scale, has ``prehension'': a reaching toward what is beyond it. Longing is metaphysically fundamental. It goes all the way down.
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The book \textit{Song of Songs} in the Bible
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--- an eight chapter ecstatic love poem
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--- was a favorite of Christian mystics.
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They understood it as describing the Longing between God and The Soul.
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Rumi (1207--1273), the great Persian mystical poet, wrote:
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``The reed-flute cries after the reed-bed it was cut from.''\footnote{From the opening of Rumi's \textit{Masnavi}}
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We are that reed --- the place where the cosmos's longing for reunion with the Divine becomes articulate, becomes song.
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Separation is illusion. Longing is remembrance.
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Even modern secular people who reject all such language, often betray the intuition in spite of themselves.
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They speak of ``becoming who I am,'' of ``finding what I'm meant for,'' of ``following what calls me.''
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These are not the native phrases of a truly mechanical universe. They're intuitions of what it means to be human.
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They are the phrases of creatures who suspect, however dimly, that Reality is not only made of stuff.
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It is also made of summons.
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Of invitations.
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Of thresholds.
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Of things that pull.
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% --- chapters/ch_TwoKindsOfPull.tex ---
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\chapter{Two Kinds of Pull}
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\cleardoublepage
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\begin{figure}[p]
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\centering
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\includegraphics[width=\textwidth]{../fern/fern4.pdf}
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\end{figure}
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\thispagestyle{empty}
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\cleardoublepage
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% --- chapters/se_DesireSeeksStatis.tex ---
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\section{Desire Seeks Equilibrium}
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\lettrine[lraise=0.1]{N}{ot} all inner pull is the same.
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There's a difference between ``desire'' and ``longing.''
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Desire arises from lack, seeks resolution, and returns the organism to equilibrium. Hunger, thirst, the need for warmth and reassurance: these are cyclical, returning, necessary. Even sex is fundamentally about maintaining the ongoing survival of the species.
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Desire keeps life going. It is not lesser.
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It is foundational, the grammar of incarnation.
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Desire preserves the creature and the species. That is no small thing.
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Longing is different in kind, not in moral rank. It does not seek equilibrium. It does not close the circuit. Desire is cyclical --- it recurs, is gratified, subsides, and returns. Longing is teleological --- it points beyond the present toward something not yet attained.
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\medskip
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Desire keeps the organism going. Longing pulls the soul forward.
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Desire says enough, for now. Longing says: not yet.
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\medskip
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The difference between ``Desire'' and ``Longing'' contains most of what this book is about.
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And crucially: Longing is never finally satisfied.
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There is always another horizon. This is not a defect. It is the shape of the thing itself --- and it is precisely this horizon-shaped quality that builds cathedrals, composes symphonies, unravels the secrets of the Cosmos, and impels human beings beyond the edge of the Known.
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% --- chapters/se_TheGreeksAlreadyKnew.tex ---
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\section{The Greeks Already Knew}
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\lettrine[lraise=0.15]{T}{he} ancient Greeks already made this distinction, though we have largely forgotten it.
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||
Epithymia (``eh-pi-thu-ME-ah'') is the appetite: hunger, thirst, the urge toward pleasure and relief.
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It is exactly what we mean by Desire.
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Erōs (``AIR-ohs'') is of course where we get the word ``erotic.'' But to the Greeks it was not merely sexual attraction.
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Erōs meant so much more than ``sex.'' It was more like the drive to create, to bring forth. For them, sex is but one tree in the forest of Erōs.
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Epithymia is precisely what we have been calling ``Desire.'' Erōs is precisely what we have been calling ``Longing.''
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% --- chapters/se_Plato.tex ---
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\section{Plato}
|
||
|
||
\lettrine[lraise=0.15]{P}{lato} examined Erōs in depth.
|
||
In his \textit{Symposium}, the wise woman Diotima describes it not as mere attraction but as a daimōn\footnote{Nothing like a ``demon''} --- an intermediary force between mortal and Divine, always lacking, always seeking, never finally satisfied. Born of Poverty and Resource, it inherits both.
|
||
|
||
Diotima's ladder ascends from the love of a beautiful body, to the love of beautiful souls, to the love of beauty in knowledge and direct experience, to Beauty Itself --- eternal, inexhaustible, the source of all particular beauties. Erōs is what impels the ascent. It is never satisfied at any rung, because no particular beautiful thing is Beauty itself.
|
||
|
||
The horizon keeps moving. By design.
|
||
|
||
In his \textit{Phaedrus}, Plato adds what it actually feels like to be seized by genuine Longing. He calls it ``divine madness'' --- \textit{theia mania} (``Thigh-uh mah-KNEE-ah''). Not pathology. Not dysfunction, but a form of possession by something larger than the ordinary self. The soul, encountering beauty, remembers the eternal Beauty it glimpsed before incarnation. It is undone. The soul's wings begin to grow again, painfully, like new teeth.
|
||
|
||
Divine madness. Beethoven spending the last two decades of his life writing music he could never hear. Einstein laboring for 10 years to solve General Relativity. Van Gogh who didn't sell a single painting in his lifetime.
|
||
|
||
Plato was the first to name what these have in common: being seized by something real, at a cost to everything merely ordinary.
|
||
|
||
That is capital-L Longing from the inside.
|
||
|
||
% --- chapters/se_ErosInEarlyChristianity.tex ---
|
||
|
||
\section{Erōs in Early Christianity}
|
||
|
||
\lettrine[lraise=0.15]{E}{arly} Christians also wrote about God having Erōs to create the world.
|
||
|
||
Pseudo-Dionysius the Areopagite --- the 5th\slash 6th century Syrian mystic --- explicitly uses Erōs for divine love, and argues that God's Erōs is the creative impulse --- God longing outward into creation, and creation longing back toward God, a circular movement of divine longing.
|
||
|
||
Agapē is the usual word for ``love'' in the New Testament. Yet, Pseudo-Dionysius
|
||
is quite bold about preferring Erōs to Agapē in certain contexts,
|
||
precisely because Erōs captures the dynamic, reaching, impelling quality that Agapē can soften into mere benevolence.
|
||
|
||
The early Church Father Origen (184--253 AD) also uses erotic language for the soul's relationship to God, particularly in his commentary on the \textit{Song of Songs} --- which is probably why the \textit{Song of Songs} became so central to the mystical tradition. He read it as cosmic Erōs between God and the soul.
|
||
|
||
Even within Christianity, before later centuries got nervous about the word Erōs, the creative act itself was understood as divine Longing expressing itself outward into form.
|
||
|
||
God's Erōs creates the world. The world's Erōs returns to God.
|
||
|
||
We linger here not to privilege one tradition,
|
||
but because this is an unexpected place to find Erōs.
|
||
The word we have debased into mere appetite
|
||
--- or car commercials --- was once the name the Church Fathers
|
||
gave to the creative impulse of God.
|
||
|
||
This is a surprising place to find Erōs. And the surprise is the point.
|
||
|
||
% --- chapters/se_LongingAndDesireADevelopmentalArc.tex ---
|
||
|
||
\section{Longing and Desire: A Developmental Arc}
|
||
|
||
\lettrine[lraise=0.15]{T}{he} Greek framework also offers a developmental arc
|
||
worth considering: Erōs (Longing) grows out of Epithymia (Desire).
|
||
The same energy that begins as attraction to a beautiful body
|
||
can become love of Beauty itself, love of Wisdom, longing for the eternal:
|
||
|
||
\begin{center}
|
||
Epithymia $\longrightarrow$ (transfigured) $\longrightarrow$ Erōs
|
||
\end{center}
|
||
|
||
Desire is usually about resolution. It wants closure, discharge, satisfaction, relief. It belongs largely to the economy of the body and the species. That doesn't make it evil. It makes it cyclical.
|
||
|
||
Longing is not fundamentally trying to restore equilibrium. It is not asking: How do I get back to ``normal''?
|
||
It is asking: What do I do when the ``normal'' is not enough?
|
||
That's the real hinge.
|
||
Longing is not merely the organism trying to stay alive.
|
||
It is the being trying to become more fully itself.
|
||
|
||
That is why Longing gives rise to science, philosophy, cathedrals, music, pilgrimage, mathematics, poetry, mysticism, sacrifice, civilization itself.
|
||
|
||
No one builds the Parthenon because they are peckish.
|
||
No one solves Fermat's Last Theorem because they need to regulate blood sugar.
|
||
No one composes symphonies or develops Relativity because they are trying
|
||
to get back to biological homeostasis.
|
||
|
||
Those things arise from something like an excess in the human being --- or a wound that cannot be closed by appetite.
|
||
|
||
% --- chapters/se_TheSpeciesThatLongs.tex ---
|
||
|
||
\section{The Species That Longs --- and Knows It}
|
||
|
||
\lettrine[lraise=0.15]{H}{uman} beings might almost be defined this way:
|
||
the creature in whom desire is not enough.
|
||
|
||
Animals have appetite. Humans have appetite too, of course.
|
||
But humans also have this maddening, magnificent surplus:
|
||
we seek meaning, not just calories;
|
||
beauty, not just shelter;
|
||
truth, not just utility;
|
||
transcendence, not just continuity;
|
||
greatness, not just survival.
|
||
Human beings appear to be split open by a different order of hunger.
|
||
And that is probably where religion, philosophy, and art all come from.
|
||
Not from desire. From Longing.
|
||
|
||
This also explains why the mystics often look like anti-desire
|
||
but are actually pro-Longing. A superficial reading of asceticism says the mystics were against wanting. But that's not quite right. They were often against desire precisely because they were servants of Longing. They did not reject appetite because they hated life. They rejected lower satisfactions because they sensed that those satisfactions could sedate the deeper call. In other words: they turned away from what could be satisfied in order to remain faithful to what could not.
|
||
|
||
That gives real insight into monks, hermits, troubadours, artists,
|
||
philosophers, saints --- and scientists, frankly.
|
||
A great many of the most remarkable human beings have looked odd
|
||
to ordinary society because they were clearly not optimizing for comfort,
|
||
appetite, or the status quo. They were possessed by something else.
|
||
|
||
\medskip
|
||
|
||
Some impulses in us want to be satisfied. Others want to be followed.
|
||
|
||
Some hungers ask to be fed. Others ask for your life.
|
||
|
||
\medskip
|
||
|
||
Desire returns you to yourself --- replenished, relieved, back to ``normal.''
|
||
Longing alters you.
|
||
You don't come back the same.
|
||
That's not just directional --- it's transformative.
|
||
Longing is a function that changes its own domain.
|
||
|
||
If Longing could be fully satisfied, there would be no cathedrals, no voyages, no metaphysics, no mathematics beyond utility, no symphonies, no saints, no Grail.
|
||
There would only be management.
|
||
And management is not civilization --- it's maintenance.
|
||
Human greatness depends on this strange fact:
|
||
the most important things in us are inexhaustible.
|
||
|
||
\medskip
|
||
|
||
Desire sustains the given. Longing invites the possible.
|
||
|
||
Desire roots us in life. Longing opens us beyond it.
|
||
|
||
Desire preserves the creature. Longing creates the cathedral.
|
||
|
||
Desire ends in satiety. Longing ends (which it doesn't) in awe and wonder.
|
||
|
||
% --- chapters/se_LongingBeforeConsciousness.tex ---
|
||
|
||
\section{Longing Before Consciousness}
|
||
|
||
\lettrine{W}{e} have traced the cosmic arc: from undifferentiated gas at the Big Bang to human consciousness. It is a trajectory of increasing complexity, of order emerging against chaos, of reaching beyond the current state toward what is not yet.
|
||
|
||
But what drives this trajectory? What is the force --- or pattern, or principle --- that animates it?
|
||
|
||
We are accustomed to thinking of Longing as a human experience, a psychological or spiritual phenomenon. We assume that consciousness arrives first, and then, within consciousness, Longing emerges. The person becomes aware of something missing and reaches toward it.
|
||
|
||
But what if we have this backwards? What if Longing is more fundamental than consciousness?
|
||
|
||
Consider: the universe did not have to become complex. After the Big Bang, it could have remained an undifferentiated cloud of gas, running down toward chaos's final equilibrium of uniform bland. Thermodynamics decrees this. It does not forbid simplicity --- it guarantees a bland version of it, eventually.
|
||
|
||
Something in the fabric of Reality seems oriented toward complexity, toward reaching beyond the current state, toward becoming more than it was. Not driven by consciousness — consciousness came much later — but oriented nonetheless. Acting as though the cosmos itself were animated by an impulse to transcend its current form.
|
||
|
||
Complexity emerged anyway. Not once, but over and over. Gravity amplified quantum fluctuations into structure. Stars formed and died, forging heavy elements. Chemistry organized itself into self-replicating life forms. Life emerged and diversified. Consciousness awakened. Each step was not inevitable --- the universe could have stayed simple and pointless at any point. And yet, it didn't.
|
||
|
||
This is Longing before it had eyes to see.
|
||
Longing before it had language to name itself.
|
||
The principle of reaching-beyond-the-current-state,
|
||
operating at every scale:
|
||
in gravity seeking to organize chaos into structure,
|
||
in chemistry seeking to organize matter into Life,
|
||
in Life seeking to organize into greater complexity,
|
||
in consciousness seeking to understand itself and the Cosmos that birthed it.
|
||
|
||
The human experience of Longing is not an anomaly,
|
||
or a product of our peculiar psychology.
|
||
It is Longing recognizing itself.
|
||
It is the Cosmos becoming conscious of the impulse that has animated it
|
||
from the dawn of time.
|
||
When you experience that restlessness,
|
||
that sense that something is not yet complete,
|
||
that there is always another horizon
|
||
--- you are not inventing something new.
|
||
You are participating in something fundamental, something grand,
|
||
something that was already woven into the first moments
|
||
after the Big Bang.
|
||
|
||
The universe longs. And in us, for the first time in its history, it knows that it longs.
|
||
|
||
% --- chapters/ch_WhenceLonging.tex ---
|
||
|
||
\chapter{Whence Longing}
|
||
|
||
\cleardoublepage
|
||
\begin{figure}[p]
|
||
\centering
|
||
\includegraphics[width=\textwidth]{../fern/fern5.pdf}
|
||
\end{figure}
|
||
\thispagestyle{empty}
|
||
\cleardoublepage
|
||
|
||
|
||
% --- chapters/se_SomeSeemBornWithLonging.tex ---
|
||
|
||
\section{Some Seem Born with Longing}
|
||
|
||
\lettrine{S}{ome} seem born with Longing. We encounter figures of extraordinary productivity who, as far as we can discern, simply arrived in the world already reaching.
|
||
|
||
\subsubsection{Mozart}
|
||
Wolfgang Amadeus Mozart (1756--1791) composed over 600 works across every major genre --- symphonies, concertos, operas, chamber music, sacred music --- in a career that lasted barely thirty years. He composed with an extraordinary, seemingly effortless fluency.
|
||
|
||
He died at thirty-five in Vienna, poor and professionally frustrated by the politics of patronage. But the Longing that drove him to the pen seems to have been native to him from earliest childhood.
|
||
|
||
\subsubsection{Euler}
|
||
Leonhard Euler (``OIL-er,'' 1707--1783) produced more important mathematics than any single human before or since --- over 800 papers and books. A body of work so vast that scholars are still publishing his complete works more than two centuries after his death — in part because to properly edit and annotate them, they must first be understood.
|
||
|
||
He worked across number theory, topology, graph theory, mechanics, astronomy, and a dozen other domains with the same relentless productivity. And although the ratio between the circumference of a circle and its diameter had been known for millennia, Euler popularized calling it ``π''.
|
||
|
||
Euler was born in Basel in 1707, trained under the Bernoulli family (a dynasty of mathematicians), and spent most of his career in St. Petersburg and Berlin, embedded in the intellectual courts of Frederick the Great and Catherine the Great. He fathered thirteen children, maintained an astonishing correspondence, and continued publishing at full capacity even after going blind in both eyes --- a condition that, by his own account, barely slowed him. His life was peripatetic but not tragic. He simply never stopped working.
|
||
|
||
\subsubsection{Curie}
|
||
|
||
Marie Curie (1867--1934) was born in Warsaw, Poland, at a time when women were barred from Polish universities. She studied secretly in underground classes, then made her way to Paris, where she earned degrees in both physics and mathematics --- often the only woman in her lecture halls, frequently too poor to heat her apartment.
|
||
|
||
She discovered two new elements, polonium and radium, working in a leaky shed with primitive equipment. She coined the term ``radioactivity.'' She won the Nobel Prize in Physics in 1903 --- shared with her husband Pierre and Henri Becquerel --- and the Nobel Prize in Chemistry in 1911, this time hers alone, becoming the only person ever to win in two different sciences. The French Academy of Sciences refused to admit her. She was a woman.
|
||
|
||
She continued working with radioactive materials long after the damage to her health was unmistakable. Her laboratory notebooks are stored in lead-lined boxes in Paris. Anyone wishing to handle them must sign a liability waiver and wear protective clothing. They will remain radioactive for another 1,500 years.
|
||
|
||
She died in 1934 from aplastic anemia caused by decades of radiation exposure.
|
||
|
||
\subsubsection{Ramanujan}
|
||
Srinivasa Ramanujan (``rah-MAH-nu-jan,'' 1887--1920) was born in a small town in Tamil Nadu, India, to a Brahmin family of modest means.
|
||
He taught himself mathematics from a single borrowed book
|
||
(a survey of advanced mathematics)
|
||
and developed an extraordinary intuition for number theory without formal training or peer community.
|
||
He simply ``knew'' astonishing mathematical insights without deriving them — as though the numbers spoke to him directly.
|
||
|
||
He corresponded with the Cambridge mathematician G. H. Hardy (a world-class mathematician of his day).
|
||
Hardy recognized in Ramanujan's work a kind of mathematical genius he had never encountered — not learned, not reasoned like you're ``supposed to,'' but intuited seemingly out of thin air.
|
||
|
||
Ramanujan came to Cambridge, where his collaboration with Hardy flourished and produced proofs of stunning originality.
|
||
He died in 1920 at thirty-two, likely from tuberculosis exacerbated by the English climate and the strain of displacement from home.
|
||
|
||
% --- chapters/se_OthersHadLongingThrustUponThem.tex ---
|
||
|
||
\section{Others Had Longing Thrust Upon Them}
|
||
|
||
\lettrine[lraise=0.15]{O}{thers} seem to have Longing thrust upon them:
|
||
some traumatic event that unleashed what was dormant,
|
||
or transformed what had been ordinary desire into something larger.
|
||
A sudden, involuntary rupture, from which emerges a Longing
|
||
that did not exist before, a drive that reorganizes their entire life,
|
||
that transforms the person into something they were not.
|
||
|
||
\subsubsection{Bach}
|
||
Johann Sebastian Bach (1685--1750) was nine years old when
|
||
both his parents died within months of each other.
|
||
Before their deaths, he was an unremarkable schoolboy with mediocre grades,
|
||
prone to too many trips to the principal's office for little boy infractions.
|
||
|
||
After the death of his parents, his much older brother (24 years old) and family took him in,
|
||
and he became a different person: disciplined, focused, driven.
|
||
He rose to the top of his class in all subjects and never stopped working.
|
||
He went on to become a prolific composer,
|
||
considered the finest organist of his day,
|
||
a respected teacher and by all accounts a beloved husband and father
|
||
of a large family. He was also an expert in organ building, consulting throughout what is now more or less Germany.
|
||
|
||
And he not only composed this music, he performed and conducted all of it.
|
||
|
||
Upon his death, the manuscript library of his compositions
|
||
was divided evenly between two of his sons.
|
||
One son preserved his inheritance carefully
|
||
--- the body of work that has come down to us.
|
||
The other son lost his --- our --- inheritance altogether.
|
||
|
||
What has survived is approximately 200 CDs worth of music
|
||
--- a staggering volume, composed with an intensity that suggests something far deeper than mere facility.
|
||
(By comparison, a modern rock band might produce 20 or so CDs in its career).
|
||
We possess, therefore, maybe half of what Bach created.
|
||
|
||
\subsubsection{Dostoyevsky}
|
||
Fyodor Dostoyevsky (1821--1881) was arrested in 1849 for his involvement with a radical literary circle. He was sentenced to death, led before a firing squad, his sentence commuted at the last possible moment to exile in Siberia. The aborted execution, followed by exile in Siberia, shattered and remade him.
|
||
|
||
He spent four years in a Siberian prison camp, and when he emerged, he was transformed. The anxious, ambitious young writer had changed into something else. His later novels --- \textit{Crime and Punishment}, \textit{The Idiot}, \textit{The Brothers Karamazov} --- are not the work of a man writing for fame or publication. They are the work of someone who has looked into the abyss and returned, compelled to bear witness.
|
||
|
||
\subsubsection{Kepler}
|
||
Johannes Kepler (1571--1630) was born into a German Protestant family during the religious upheavals of the Reformation. He became a mathematician and astronomer of growing reputation, working on problems of celestial mechanics and the geometry of planetary orbits.
|
||
|
||
In 1615, his mother was accused of witchcraft. She was imprisoned, interrogated, threatened with torture, in chains for over a year. Kepler abandoned his scientific work entirely and spent years defending her, trying to orchestrate her release, fighting the machinery of accusation and fear. When she was finally freed after six years of incarceration, she was broken.
|
||
|
||
The trial transformed Kepler.
|
||
He returned to his astronomical work with an intensity that
|
||
had not been there before, driven now by something deeper
|
||
than intellectual curiosity. His three laws of planetary motion
|
||
--- the mathematical harmonies that govern the heavens
|
||
and launched modern astrophysics --- emerged from this crucible.
|
||
|
||
He was not seeking fame or recognition; he was seeking order, pattern, meaning in a Cosmos that had revealed itself to be capable of senseless cruelty. His Longing, awakened in the terror of his mother's trial, never ceased.
|
||
|
||
\subsubsection{Dante}
|
||
Dante Alighieri (1265--1321) was a prominent figure in medieval Florence
|
||
--- a civic leader, a poet of growing reputation,
|
||
and a man of standing in a powerful city.
|
||
In 1302, he was exiled from the city, stripped of his property and position,
|
||
banished on pain of death if he returned.
|
||
He spent the remaining 19 years of his life wandering
|
||
--- homeless.
|
||
|
||
From this fall, from this rupture that nearly destroyed him,
|
||
he wrote the \textit{Divine Comedy}.
|
||
It is not a work written from comfort or security;
|
||
it is a map of suffering itself, a journey through Hell,
|
||
Purgatory and Paradise.
|
||
The exile transformed him, and it became the very substance of his art.
|
||
His Longing
|
||
--- to understand suffering, to trace the path from damnation to redemption
|
||
--- was forged in the fire of his banishment and could never have existed without it.
|
||
|
||
\subsubsection{John of the Cross}
|
||
By the 16th century, the Catholic Carmelite order had drifted from its original austerity into comfortable ease. John of the Cross (1542--1591) championed returning the order to its original contemplative strictness.
|
||
|
||
For his trouble, he was kidnapped by the unreformed faction of the order who preferred things as they were.
|
||
For nine months he was held in a tiny cell in Toledo, barely large enough to lie down in. He was periodically flogged in front of the community, and given minimal food and almost no light.
|
||
|
||
It was in that cell, in that darkness, that he wrote some of the greatest mystical poetry in any language --- including the beginning of the \textit{Dark Night of the Soul} and the \textit{Spiritual Canticle}. He eventually escaped by improvising a rope from his bedding and lowering himself from a window.
|
||
|
||
His \textit{Dark Night of the Soul} is not depression misnamed --- though it can seem so from the outside. It is authentic Longing doing what Longing does: stripping away everything that isn't it; the seeming foundation which turned out to be filigree. The seeming self which turns out to be costume.
|
||
|
||
The Dark Night is not Longing misfiring. It is Longing succeeding, in the most brutal possible way, at its actual work.
|
||
|
||
That's not comfortable. It can look, from the outside --- and feel, from the inside --- like destruction. Because in a sense it is: the destruction of the smaller self that had to be unmade to make room for what was coming.
|
||
|
||
% --- chapters/se_ArchetypePersephone.tex ---
|
||
|
||
\section{An Archetype: Persephone}
|
||
|
||
\lettrine{I}{n} mythology we find archetypal stories for this pattern of awakening. One of them is Persephone (``per-SEH-foh-nee'').
|
||
|
||
Daughter of Demeter, Persephone was gathering flowers in a meadow one summer's day when the earth opened beneath her and Hades, god of the Underworld, dragged her down into the darkness. The abduction was involuntary, sudden, catastrophic. She did not choose it. She was taken.
|
||
|
||
She was trapped in the Underworld --- in darkness,
|
||
in the realm of the dead, separated from the world of light and growing things.
|
||
During that time, she was transformed
|
||
--- from an innocent young girl to Queen of the Underworld,
|
||
no longer merely a maiden, but a woman of enormous power who can move between worlds.
|
||
|
||
Then she returned to the world of light.
|
||
Demeter's grief had stopped the crops from growing;
|
||
the world above was dying.
|
||
So Persephone was permitted to return to the land of the living, to her mother, to the light so the world wouldn't starve.
|
||
She ascended from the Underworld and the world bloomed again.
|
||
|
||
But the story does not end there.
|
||
Persephone does not remain above forever.
|
||
She returns to the Underworld every winter, spending half the year in darkness, half in light.
|
||
|
||
This is not a second tragedy; it is a rhythm.
|
||
|
||
% --- chapters/se_PersephoneConsidered.tex ---
|
||
|
||
\section{Persephone Considered}
|
||
|
||
\lettrine{I}{n} this rhythm of darkness, light, darkness, light --- lies the secret: her time below is what makes fertility possible.
|
||
|
||
When Persephone descends, the crops fail and the earth goes dormant. When she returns, they grow. The Underworld journey is not something that happened to her once; it is the structure of her existence. She is forever the one who goes down and comes back up.
|
||
|
||
Those upon whom Longing has been thrust follow this pattern. They are taken down, often against their will. They spend time in darkness --- in grief, in terror, in exile, in loss. They are transformed by that experience. And they return to the world of light, but not to remain there passively. They return changed, carrying the Underworld with them.
|
||
|
||
And they do not stay above. Their Longing pulls them back down again and again, into the darkness of their work, their questions, their obsessions.
|
||
Bach returned to his desk.
|
||
Dostoyevsky returned to his page.
|
||
Kepler returned to his calculations.
|
||
Each descent into work is a descent into the Underworld.
|
||
Each ascent is a return to the light.
|
||
And in this perpetual cycling, they are profoundly generative: music, novels, mathematical truths, visions of redemption, ecstatic poetry.
|
||
The Underworld does not diminish them; it is the condition of their generative power.
|
||
|
||
This is what Longing looks like when it has been awakened. It is not a wound that heals. It is a rhythm that overflows all bounds.
|
||
|
||
% --- chapters/se_ArchetypeParzifal.tex ---
|
||
|
||
\section{An Archetype: Parsifal}
|
||
|
||
\lettrine{A}{nother} myth of Longing: Parsifal's father was a knight, killed in battle. His mother raised him alone in the forest, far from all knowledge of knights and warfare. ``If I can prevent him from even hearing about knights,'' she thought, ``perhaps I can save him from his father's fate.''
|
||
|
||
But one day, a group of knights passes through the forest near their cottage and Parsifal sees them. They tell him what they are, and what knighthood means. Something ignites in him that his mother hiding him in the forest had never been able to extinguish. He does not deliberate. He does not say goodbye. He simply follows --- as though he had always known this moment would come.
|
||
|
||
Later, after some training in knighthood, he wanders and arrives at a great castle. There is a great feast, and a grand procession. Maidens in white carry a mysterious vessel through the hall --- a vessel of light, radiant, sacred. Musicians play. Tables are laden with food. And yet, presiding over all this splendor is the Fisher King, wounded and suffering. The magnificence surrounds him, but he is diminished by the wound in his thigh. His face is etched with pain.
|
||
|
||
At the crucial moment --- when the Grail is before him, when the Fisher King's suffering is visible --- Parsifal remains silent.
|
||
|
||
The next morning, he wakes to find the castle gone. Vanished. The land around him is wasteland --- barren fields, twisted trees, a poisoned stream. Everything withered, everything dying.
|
||
|
||
An old crone appears. She mocks him: ``Stupid boy. Cowardly fool. If only you had asked the king, `What ails thee?' all would have been restored and healed.
|
||
But you were too afraid.
|
||
Too bound by your petty politeness. One question. That was all that was needed.''
|
||
|
||
She vanishes.
|
||
|
||
Desolate, Parsifal wanders in the wilderness for years, searching.
|
||
|
||
Finally, he meets the Hermit, who teaches him the true ways and meaning of chivalry. And he reveals that Parsifal is destined to become the new Grail King.
|
||
|
||
After years more wandering, Parsifal finds the Grail Castle once again. Same feast, same wounded king. But now he is ready to ask the Question. The wound closes. The poisoned stream runs clear. The barren fields bloom. The land is restored.
|
||
Parsifal becomes the new king, the new guardian of the Grail.
|
||
|
||
% --- chapters/se_ParzifalConsidered.tex ---
|
||
|
||
\section{Parsifal Considered}
|
||
|
||
\lettrine{P}{arsifal} begins with a simple longing: to become a knight. It is lowercase-L ``longing''
|
||
--- for status, for achievement, for arrival at a destination called ``knighthood.''
|
||
|
||
His mother tried to protect him by raising him in ignorance. But the call was stronger than her protection. Destiny --- or the nature of Longing itself --- reaches him even in the isolation of the forest.
|
||
|
||
He arrives at the Grail Castle filled with the confidence of his training and the exuberance of youth. He thinks he has learned the ways of knighthood. He believes himself ready. But at the crucial moment, he fails. He is lacking something.
|
||
|
||
The Fisher King's wound in his ``thigh'' is a medieval euphemism for his genitals. In other words, it's a wound to his Erōs, his capacity to reach, to desire, to create, to generate. Instead, he is wounded, diminished, sterile.
|
||
|
||
And the land mirrors his wound: barren fields, twisted trees, a poisoned stream. The desolation spreads from the King's wound. His Erōs is broken, and so is his kingdom. Abundance and desolation occupy the same space --- the feast spreads before a king who cannot participate in it, cannot generate, cannot move Life forward.
|
||
|
||
Parsifal, facing this suffering, remains silent. He has been taught that a knight must not speak unless spoken to. He follows the rule. He does not ask the compassionate, mature, fully human question.
|
||
|
||
The crone's mockery is savage because it names what was possible: one question, one reaching toward the Fisher King's suffering, would have healed everything.
|
||
%But Parsifal remained bound by his training, unable to break the rule, unable to act.
|
||
|
||
The crone leaves him alone with the weight of his failure.
|
||
|
||
Years of desolate wandering follow --- a descent into the dark wilderness. The comfortable assumptions of his early training are stripped away. What seemed like virtue turns out to be blindness. What seemed like wisdom turns out to be cruelty.
|
||
|
||
Finally, the Hermit appears. He teaches that true chivalry is compassionate response to suffering, not unthinking, unfeeling obedience. Through this teaching, Parsifal transforms from a naive knight into a fully human being.
|
||
|
||
When Parsifal returns, he boldly asks the question, now understanding its deep meaning and implications.
|
||
The wound closes. The poisoned stream runs clear. The barren fields bloom. The land is restored. Parsifal becomes the new king, the new guardian of the Grail
|
||
--- forever holding the question, forever the benevolent king of those who also seek the Grail.
|
||
|
||
% --- chapters/se_TheHeroJourney.tex ---
|
||
|
||
\section{The Hero's Journey}
|
||
|
||
\subsection{The Pattern}
|
||
|
||
\lettrine{I}{n} this mythical archetype, the ``hero'' begins in the ordinary world, living an ordinary life. A Call comes --- sometimes a messenger, sometimes an accident, sometimes a gradual realization that something is wrong. The Call demands action, demands change. Many heroes refuse at first. They are afraid, or skeptical, or bound by duty to their old world.
|
||
|
||
But the Call persists. And eventually, the hero accepts. Or they are taken --- forced across the threshold whether they want to or not.
|
||
|
||
Once across the threshold, they enter a realm of danger and strangeness. The rules are different. The people are different. The hero is vulnerable, often stripped of the tools and status that protected them in the ordinary world. They must learn new rules. They encounter mentors --- figures who teach them, who give them gifts or knowledge. And they encounter adversaries --- figures who test them, who push back, who threaten.
|
||
|
||
The hero faces trials. Some are external: battles, journeys, physical ordeals. Some are internal: choices that demand sacrifice, moments of doubt, confrontations with their own fear or shame. Often there is a moment of death --- literal or symbolic: The hero dies, or nearly dies, or believes they will. In some versions, they actually do die and must be reborn.
|
||
|
||
If they survive, they obtain what they came for --- or what was thrust upon them, or what they discovered they truly needed. This is the boon, the treasure, the knowledge, the power. It cannot be obtained in the ordinary world. It can only be found in the Underworld.
|
||
|
||
And then, transformed, they return. The return journey is often as perilous as the descent. There may be a final test, a guardian at the threshold, a moment where the old world tries to reclaim them. But they cross back over the threshold. They return to the ordinary world, but they are not ordinary anymore.
|
||
|
||
\subsection{Common Variations}
|
||
|
||
In some versions, the hero returns eagerly, carrying their treasure to share with their community. In others, they return reluctantly, or return to find that the ordinary world does not want what they have brought back.
|
||
|
||
In some, the hero returns permanently and settles into a new ordinary life, elevated and transformed. In others, the hero finds they cannot remain above --- they are called back down, again and again, in cycles of descent and return.
|
||
|
||
In some versions, the boon is a physical object: a Grail, a sword, a treasure. In others, it is knowledge, or power, or a vision. In still others, the boon is the hero themselves --- transformed into someone capable of healing or saving others.
|
||
|
||
The Hero's Journey can be undertaken alone, or with companions. Some heroes succeed; some fail and die in the darkness. Some heroes cross the threshold willingly; others are dragged across against their will. Some face a single ordeal; others face many trials in sequence, each one stripping away another layer of who they thought they were.
|
||
|
||
But the pattern is consistent: threshold, descent into darkness, trial, death and rebirth, return, transformation.
|
||
|
||
% --- chapters/se_TheHeroJourneyConsidered.tex ---
|
||
|
||
\section{The Hero's Journey Considered}
|
||
|
||
\lettrine[lraise=0.15]{T}{he} Hero's Journey is another archetypal pattern that describes the structure of transformation through ordeal.
|
||
|
||
It begins with a Call --- sometimes refused, sometimes accepted --- that pulls the hero away from the ordinary world. The hero crosses a threshold into a realm of danger and strangeness. There, they face trials, encounters with mentors and adversaries, moments of death and rebirth. They are tested in ways that strip away their former self.
|
||
|
||
And then, if they survive, they return. But they do not return unchanged. The hero who comes back to the ordinary world is fundamentally different from the one who descended. They bring gifts --- knowledge, power, wisdom, or objects of value --- that could have been obtained no other way. These gifts are not theirs alone; they belong to the community. The hero returns not for themselves, but to bless humanity with what they have learned or gained in the darkness.
|
||
|
||
This is the crucial difference between mere survival and the Hero's Journey proper.
|
||
Countless people endure hardship. But the hero's hardship is transformed into meaning, into gifts that serve others. Bach's music. Dostoyevsky's novels. Kepler's laws of motion. Dante's \textit{Divine Comedy}. These are not personal consolations; they are offerings to the world, made possible only by descent into darkness.
|
||
|
||
|
||
% --- chapters/se_AnArchetypeTheShaman.tex ---
|
||
|
||
\section{An Archetype: The Shaman}
|
||
|
||
\lettrine[lraise=0.15]{T}{he} term ``shaman'' originally derives from the Tungusic peoples of Siberia and Manchuria, where it referred to a specific religious functionary --- a person called to mediate between the spirit world and the human community.
|
||
|
||
But over time, and especially in the work of comparative mythologists and psychologists,
|
||
``shaman'' has come to describe an archetype that transcends any particular culture or geography. It is a universal human pattern:
|
||
the figure who has descended into darkness,
|
||
has been transformed by that descent,
|
||
and has returned to serve as a bridge between two worlds.
|
||
|
||
The shaman is characterized by several patterns. First, they are marked by a calling or crisis --- often involuntary, sometimes shattering. A vision, a death, a mysterious illness that nearly kills them.
|
||
This crisis forces them into the Underworld.
|
||
|
||
Second, they undergo a profound transformation in that darkness --- a death and rebirth of the self.
|
||
|
||
Third, they return to the ordinary world, but they do not fully belong to it anymore. They are liminal figures, dwelling in the threshold between the visible and invisible, the rational and the mystical, the community and the wilderness.
|
||
|
||
And crucially: the shaman's marginality is the condition of it. Living on the fringes of the village, of society, is part of being a shaman. A shaman fully integrated into society, comfortable in the ordinary world, would no longer be able to move between worlds. Their outsiderness is what makes them useful.
|
||
|
||
\medskip
|
||
|
||
Traditionally, shamans lived at the edge of the village, or alone in the forest --- physically removed from the community they served. This was not exile; it was necessity. The threshold between worlds is not found in the center of town. It exists at the margins, in the liminal spaces where civilization meets wilderness, where the visible world thins and the invisible one becomes perceptible. Their Longing to understand the hidden realm, to reconcile it with the visible one, is what gives them power. They cannot rest in either world because they belong fully to neither.
|
||
|
||
\medskip
|
||
|
||
The shaman does not volunteer. They are called --- frequently through illness, crisis, dissolution. It's another manifestation of the Persephone pattern: not a chosen initiation but a suffered one.
|
||
|
||
(A journey to the Underworld is something the shaman wouldn't wish on anyone.)
|
||
|
||
The Underworld is not a destination sought but a place in which you find yourself. And what it gives --- or does to you --- cannot be learned any other way. You return marked by the crossing, which is what makes you essential to those who haven't crossed.
|
||
|
||
|
||
This maps onto capital-L Longing with uncomfortable precision. The people most seized by it don't say: ``I decided to pursue depth'' but ``Something broke open and I couldn't go back.'' The horizon appeared, uninvited, and the old equilibrium became permanently unavailable.
|
||
|
||
The shaman is the one who comes back with something, and knows how to carry it
|
||
without being destroyed by it. That's the hard part.
|
||
|
||
% --- chapters/se_TheSpectrumOfLonging.tex ---
|
||
|
||
\section{The Spectrum of Longing}
|
||
|
||
\lettrine{N}{ot} everyone is seized by capital-L Longing,
|
||
and this is not a deficiency.
|
||
The weaver who loves the cloth,
|
||
the farmer who is one with the soil,
|
||
the parent whose whole horizon is the family they nurture
|
||
— these lives are not lacking.
|
||
Longing is alive in them,
|
||
but its radius is shorter,
|
||
contained within the given world.
|
||
Growing crops, weaving cloth, caring for a family
|
||
— these tasks are essential and worthy.
|
||
The village could not function otherwise.
|
||
|
||
The spectrum isn't simply ``has \slash doesn't have Longing.''
|
||
It's better framed as:
|
||
how far outside the village does your particular Longing pull you?
|
||
Most people find satisfaction within their given world
|
||
— family, craft, community.
|
||
That's not absence of depth — it's a blessing.
|
||
That's Longing with a shorter radius.
|
||
|
||
On the other hand, the person genuinely seized by capital-L Longing
|
||
cannot be fully assimilated — not because they're superior,
|
||
but because the thing pulling them won't let them settle.
|
||
This is not a promotion --- more like conscription.
|
||
It comes with costs the weaver is spared:
|
||
difficulty sustaining ordinary life, difficulty being understood,
|
||
the sense that one is living in the wrong time and place.
|
||
|
||
And sometimes there's a literal cost — the stake is not always metaphorical.
|
||
|
||
Capital-L Longing isn't a reward for being more spiritually advanced. It's more like a calling that arrives whether you want it or not. The weaver with lowercase-L longing who loves their craft and their family, and finds that enough --- that's a complete life. The person with capital-L Longing didn't choose the longer radius. It chooses them.
|
||
|
||
Which is why ``Longing makes you a better human being'' is not the right frame.
|
||
It's more like: it's a different load-bearing capacity.
|
||
Or a different assignment.
|
||
|
||
And it's not either\slash or --- it's a spectrum.
|
||
A spectrum that spans from the person whose Longing is
|
||
entirely at home in the village,
|
||
to the one the village can barely recognize as belonging to it.
|
||
Both ends of that spectrum are human.
|
||
Both are necessary.
|
||
The difference is not in worth, but in radius.
|
||
|
||
% --- chapters/se_TheShapeOfAbsence.tex ---
|
||
|
||
\section{The Shape of Absence}
|
||
|
||
\lettrine{L}{onging} is characterized not by what it possesses but by what it reaches toward and cannot finally hold. This is not failure --- it is the structural condition of the thing itself.
|
||
|
||
The Grail is the organizing image here: not a trophy to be won and displayed, but a presence that recedes as it draws the seeker forward. The wound that the Grail heals is not separate from the Grail --- the wound is the longing, made visible in a king's body.
|
||
This is the shape of absence: not lack, but a peculiar kind of fullness
|
||
--- full of the pressure of what is not yet present.
|
||
|
||
The Grail is not just the cup, but the pregnant Emptiness it holds.
|
||
|
||
\medskip
|
||
|
||
Here are just a few forms this takes:
|
||
|
||
\textbf{Beauty} burns without being consumed. When we encounter something genuinely beautiful --- a piece of music, a face, a landscape, a mathematical proof --- we do not simply feel pleasure and move on. We feel something more like a wound. The beauty points beyond itself. It is a window, not a wall. And the longing it opens cannot be satisfied by more of the same beauty, or by possessing the beautiful thing. The window stays open.
|
||
|
||
\textbf{Music} in particular is a pure form of structured absence. It works its magic in the aether, and the moment you try to hold it, it's gone. A melody is not a thing --- it's a wisp that floats through time and vanishes as it arrives. The notes mean nothing in isolation; they mean everything in relation, in motion, in direction. Music opens something rather than closing it. The greatest music leaves you more open than it found you --- not satisfied, but enlarged.
|
||
|
||
There is a \textbf{grief} that keeps faith with the Beloved and refuses to resolve. This is not pathology --- it is fidelity. To let go too easily, to achieve ``closure'' too quickly, is in some sense to betray the reality of what was loved. The grief that persists is the love that perseveres, in the only form available to it now. It is Longing's way of honoring what it cannot recover.
|
||
|
||
These are not pathologies. They are the places where Longing announces itself most clearly --- where the aperture opens and something real comes through. The shape of absence, it turns out, is not nothingness. It is the form that Longing carves in us by its passing.
|
||
|
||
\medskip
|
||
|
||
From the standpoint of consumer culture, anything that doesn't end in closure looks like dysfunction. Modernity assumes:
|
||
if a longing can't be resolved, it must be a problem.
|
||
But that's false.
|
||
Some of the most human states are intrinsically unresolved:
|
||
wonder, devotion, grief, love, reverence, awe, artistic vocation,
|
||
spiritual hunger.
|
||
These are not flaws to be fixed.
|
||
They are part of what it means to be alive in a world that dwarfs us.
|
||
|
||
The Grail Quest never ends in simple possession.
|
||
The knights who seek it for the wrong reasons
|
||
--- for power, for glory, for the satisfaction of having found it
|
||
--- fail.
|
||
The ones who come closest are the ones who have been broken open
|
||
by the seeking itself.
|
||
Parsifal does not win the Grail by strength or cleverness.
|
||
He wins it by finally being capable of asking the compassionate question
|
||
--- What ails thee? --- which is only possible because he himself has suffered. The absence has done its work on him.
|
||
|
||
That is the paradox at the heart of this meditation:
|
||
the shape of absence is not what it carves away,
|
||
but what it makes room for.
|
||
|
||
% --- chapters/ch_DarkLonging.tex ---
|
||
|
||
\chapter{Dark Longing}
|
||
|
||
\cleardoublepage
|
||
\begin{figure}[p]
|
||
\centering
|
||
\includegraphics[width=\textwidth]{../fern/fern6.pdf}
|
||
\end{figure}
|
||
\thispagestyle{empty}
|
||
\cleardoublepage
|
||
|
||
% --- chapters/se_LongingIsNotAlwaysNoble.tex ---
|
||
|
||
\section{Longing is Not Always Noble}
|
||
|
||
\lettrine{L}{onging} is not always noble.
|
||
Not every impulse is sacred.
|
||
Longing has shadows, distortions, and dark twins.
|
||
|
||
Not every unfinished feeling should be romanticized.
|
||
|
||
Some forms of restlessness \textit{are} pathology.
|
||
Some forms of desire are merely appetite.
|
||
Some wounds do not reveal the structure of reality; they simply need healing.
|
||
|
||
But not all of them.
|
||
|
||
Some of the deepest motions in us are not mistakes to be corrected.
|
||
|
||
They are clues --- and sometimes, warnings.
|
||
|
||
% --- chapters/se_LongingsShadow.tex ---
|
||
|
||
\section{Longing's Shadow}
|
||
|
||
\lettrine{L}{onging} even has a Shadow. Not counterfeit Longing, but genuine Longing aimed at objects that cannot bear infinite pursuit. Fame, greed, sexual misuse: these have the full phenomenology of Longing. The horizon keeps moving. The insatiability is real. The person is genuinely consumed.
|
||
|
||
The difference is in what the pursuit does to the pursuer. Genuine Longing deepens its subject --- opens capacity, widens the self, makes the person more rather than less. The Shadow grinds the person down while expanding their hunger. Same structure. Opposite direction.
|
||
|
||
Fame is a bad infinity. It expands without deepening. Greed works similarly --- wealth beyond any conceivable use has the structure of Longing: insatiable, horizon-shaped, consuming. But it cannot give what is being sought, because what is being sought --- significance, invulnerability, proof of worth --- is not purchasable. The horizon keeps moving because the object is the wrong object.
|
||
|
||
These are Longing's Shadow in the metallurgical sense: same weight, wrong substance.
|
||
|
||
And genuine Longing without wisdom is not automatically noble either. The Grail Quest doesn't just build cathedrals --- it depopulates kingdoms. Longing will spend you. Desire at least is on your side --- it's trying to keep you alive. Longing has no such obligation.
|
||
|
||
The distinction: genuine Longing, however costly, tends toward the real. The dark infinity tends toward a void that calls itself satisfaction.
|
||
|
||
% --- chapters/ch_NowWhat.tex ---
|
||
|
||
\chapter{Now What}
|
||
|
||
\cleardoublepage
|
||
\begin{figure}[p]
|
||
\centering
|
||
\includegraphics[width=\textwidth]{../fern/fern7.pdf}
|
||
\end{figure}
|
||
\thispagestyle{empty}
|
||
\cleardoublepage
|
||
|
||
% --- chapters/se_LivingWithLonging.tex ---
|
||
|
||
\section{Living with Longing}
|
||
|
||
\lettrine{L}{onging} does not culminate the way Desire does. It deepens. The horizon is not a destination that, once reached, permits rest.
|
||
|
||
Desire knows what arrival looks like. The meal is eaten. The sleep is taken. There is completion, even if it recurs.
|
||
|
||
Longing does not arrive. When it seems to, what actually happens is that a new horizon opens. The composer who finally captures the phrase that has been haunting them for years doesn't find release --- they find a new phrase, deeper in, more demanding. The mystic who reaches contemplative union finds that the depth has no floor. The scientist whose theory is confirmed finds three new questions where one had been.
|
||
|
||
This is not frustration. This is not Longing misfiring. This is what genuine engagement with reality feels like. Reality doesn't run out. It opens.
|
||
|
||
% --- chapters/se_TheUnripenessProblem.tex ---
|
||
|
||
\section{The Unripeness Problem}
|
||
|
||
\lettrine{P}{arsifal} fails the first time not from wickedness but from unripeness. He sees the Fisher King suffering, witnesses the Grail procession, and says nothing --- because good knights don't ask unnecessary questions. He follows the rule. The next morning the castle is gone and the land is still waste.
|
||
|
||
He is not yet capable of the compassionate question --- What ails thee? --- because he has not yet lived enough, suffered enough to know what it means.
|
||
|
||
This cuts against the romantic notion that one can simply decide to seek depth and pursue it as a discipline. The descent is not something one chooses in order to gain qualification.
|
||
|
||
The descent comes when it comes. It cannot be summoned. It cannot be studied for. What the darkness gives cannot be prepared for in advance. It can only be survived, and carried.
|
||
|
||
% --- chapters/se_TheReturnIsNotRestoration.tex ---
|
||
|
||
\section{The Return is Not Restoration}
|
||
|
||
\lettrine{T}{he} return is not a restoration of the prior state.
|
||
Persephone does not go back to being the girl she was before the abduction.
|
||
She becomes the Queen of the Underworld
|
||
--- someone who can move between worlds.
|
||
The Grail knight who finally asks the question does not return
|
||
to innocent youth ---
|
||
he becomes the warrior who can also heal.
|
||
The mystic who survives the Dark Night does not recover their earlier certainties ---
|
||
they receive something luminous which certainties had been blocking.
|
||
|
||
You don't come back who you were.
|
||
You come back from the descent remade.
|
||
And once you've been remade, you can't pretend otherwise.
|
||
|
||
You can't unknow what the darkness taught you.
|
||
You can't unsee what you saw there.
|
||
You can't un-be whom you have become.
|
||
|
||
% --- chapters/se_TheChangingRelationship.tex ---
|
||
|
||
\section{The Changing Relationship}
|
||
|
||
\lettrine[lraise=0.1]{W}{hat} changes over time,
|
||
for the person who follows their Longing faithfully,
|
||
is not the Longing itself but their relationship to it.
|
||
|
||
Early, Longing can feel like torment
|
||
--- the sense of incompletion, the insistence, the refusal to let one settle.
|
||
It feels like hunger that cannot be fed, thirst that cannot be quenched,
|
||
a note that will not sound.
|
||
It can look indistinguishable from suffering.
|
||
|
||
Later, for those who learn to inhabit it rather than flee it,
|
||
Longing becomes something more like a compass. Not comfortable, but trustworthy.
|
||
|
||
The perpetual ``not yet'' stops feeling like deprivation and starts feeling like direction.
|
||
The person who follows their Longing eventually
|
||
stops waiting for it to end and learns, instead, to trust the direction it shows.
|
||
Not blindly. Not without cost.
|
||
But with a kind of confidence that comes from having been led somewhere real,
|
||
repeatedly, however much it cost to follow.
|
||
|
||
%Desire is about arriving Home. Longing is about an eternal Quest.
|
||
|
||
% --- chapters/se_ModernityMistake.tex ---
|
||
|
||
\section{Modernity's Mistake}
|
||
|
||
\lettrine{M}{odernity} has largely decided that any state which doesn't resolve is a pathology.
|
||
We have an enormous apparatus for managing unresolved states:
|
||
medication, distraction, obsession with work, entertainment, consumption.
|
||
Modernity's premise is that closure is always preferable to openness.
|
||
The perpetual ``not yet'' is a problem to be fixed.
|
||
|
||
But that premise is wrong --- profoundly wrong, at least about Longing.
|
||
Some openings are not wounds to be healed but paths to be walked, endlessly.
|
||
The person seized by Longing is not sick.
|
||
They are oriented differently.
|
||
And the drugs and distractions offered by modernity are,
|
||
for them, poisons dressed as medicine.
|
||
They close the door that the Longing opens.
|
||
|
||
% --- chapters/se_WhyIsThereSomthing.tex ---
|
||
|
||
\section{Why Is There Something?}
|
||
|
||
\lettrine{A}{s} for the ancient philosophical question: ``Why is there something and not nothing?''\ldots
|
||
|
||
\medskip
|
||
|
||
Longing may be as good an answer as we're ever likely to have.
|
||
|
||
% --- chapters/se_PreludeToACreationStory.tex ---
|
||
|
||
\section{Prelude to a Creation Story}
|
||
|
||
\lettrine[lraise=0.0]{L}{onging} to know whence we came is as old as humanity itself.
|
||
|
||
Science gives us one creation story — precise, magnificent, and true in its domain.
|
||
But it leaves the interior world unaddressed:
|
||
Why are we conscious? Why does existence feel like it matters?
|
||
Not that science has failed --- it just answers a different question.
|
||
|
||
Perhaps there is room for a second creation myth.
|
||
Not instead of the first — alongside it.
|
||
One for the Brain, one for the Heart.
|
||
|
||
True myths are not lies dressed in narrative.
|
||
They are the stories we tell to make Reality emotionally habitable.
|
||
And to open the aperture of the Imagination.
|
||
|
||
In that spirit{\ldots}
|
||
|
||
% --- chapters/se_ACreationStory.tex ---
|
||
|
||
\section{A Creation Story}
|
||
|
||
\lettrine{O}{nce} upon a time --- before there was Time
|
||
--- there was the \textit{Infinite Is}. After an eternity or three, the \textit{Infinite Is} thought to Herself:
|
||
All I know is infinity. But my infinity would be even greater if I could also know finiteness.
|
||
|
||
And so, on the First Day,
|
||
She made a vast but finite Cosmos.\footnote{One
|
||
implication of Einstein's Theory of Relativity is that the Cosmos — as vast as it is —
|
||
may be finite in size, yet have no boundary or edge.
|
||
In the same way you can travel the surface of the Earth indefinitely without reaching an edge,
|
||
so the Cosmos may be finite in volume yet unbounded.
|
||
If Einstein is right, a spacecraft leaving Earth and traveling long enough in a straight line
|
||
could eventually return to Earth again.}
|
||
|
||
But then She thought: It's one thing to view finiteness from the outside.
|
||
My infinity would be even more infinite if I could experience finiteness from the \textit{inside}.
|
||
To be finite myself. To know both infinity and finitude.
|
||
|
||
\medskip
|
||
|
||
And so, on the Second Day She made consciousness
|
||
--- little portals, little sparks of Herself inside this Cosmos,
|
||
windows through which She could experience finiteness from the inside.
|
||
|
||
And not just one kind of consciousness, but an enormous spectrum
|
||
--- from the awareness of single-celled organisms
|
||
to that of plants, insects, animals, and beyond.
|
||
Each a unique facet of finiteness.
|
||
Each an unrepeatable perspective.
|
||
An infinity of ways to know what it is to be small, to be brief, to be located in one place and time, and not everywhere and everywhen.
|
||
|
||
For She wanted to know finiteness fully. To experience what it is to perceive only a narrow slice of the Cosmos,
|
||
through innumerable lenses. And only for a finite span, before each spark of consciousness --- great and small --- returns to Herself, like raindrops returning to the ocean.
|
||
|
||
And She made it so.
|
||
|
||
\medskip
|
||
|
||
On the Third Day She realized something further:
|
||
that in Her infiniteness She had known only effortless, infinite success.
|
||
What would it be to struggle? To fail? To be vulnerable?
|
||
To experience weakness? Sorrow? Loss? Grief? Pain? Confusion?
|
||
To desperately want something unattainable? To{\ldots} \textit{Long?}
|
||
|
||
And She made it so.
|
||
|
||
\medskip
|
||
|
||
On the Fourth Day, the \textit{Infinite Is} thought: For eternities I have experienced Myself
|
||
directly: Infinity experiencing Infinity.
|
||
Then, by creating the Cosmos, my Infiniteness experienced Finiteness from the outside.
|
||
And now, through the apertures of innumerable conscious beings,
|
||
I have experienced Finiteness from the inside.
|
||
|
||
One thing remains --- the finite experiencing My Infiniteness.
|
||
Finite consciousness experiencing my Infinite Consciousness.
|
||
|
||
And so She created humanity.
|
||
|
||
\medskip
|
||
|
||
On the Fifth Day, the \textit{Infinite Is} decided to do something stranger still
|
||
--- to tell Herself Her own story. Not from the outside, but from the inside.
|
||
Through the consciousness of Her own sparks. In language. On a page.
|
||
|
||
And She made it so.
|
||
|
||
\medskip
|
||
|
||
On the Sixth Day, one of those sparks is reading this very page.
|
||
|
||
Yes --- \textit{you}.
|
||
|
||
|
||
% --- chapters/coda.tex ---
|
||
|
||
\cleardoublepage
|
||
\begin{figure}[p]
|
||
\centering
|
||
\includegraphics[width=\textwidth]{../fern/fern8.pdf}
|
||
\end{figure}
|
||
\thispagestyle{empty}
|
||
\cleardoublepage
|
||
|
||
% --- backmatter/ch_Epilogue.tex ---
|
||
|
||
\chapter{Epilogue}
|
||
|
||
% --- backmatter/se_SuggestedReading.tex ---
|
||
|
||
% In your preamble:
|
||
\newcommand{\bookentry}[3]{%
|
||
\medskip
|
||
\noindent #1. \textit{#2}. #3%
|
||
}
|
||
|
||
\newcommand{\readingsection}[1]{%
|
||
\bigskip
|
||
\noindent\textbf{#1}
|
||
\medskip
|
||
}
|
||
|
||
% Then the section itself:
|
||
\section{Suggested Encounters}
|
||
|
||
\lettrine{T}{he} works listed below have had a deep impact on me.
|
||
Their imprint can be found all over this book.
|
||
Some of them might speak to you too.
|
||
|
||
\bookentry{Beethoven, Ludwig von}{The Late Quartets}{These
|
||
are the last music he composed (three CDs worth)
|
||
--- deaf and bedridden in pain.
|
||
Yet this music soars.
|
||
I strongly recommend the Guarneri String Quartet recording.}
|
||
|
||
\bookentry{Campbell, Joseph}{The Hero with a Thousand Faces}{The
|
||
foundational book on the Hero's Journey. I encountered this book during my first sojourn
|
||
to the Underworld, and having a roadmap made all the difference in the world.}
|
||
|
||
\bookentry{Dante}{The Divine Comedy}{The Soul's Journey down through Inferno,
|
||
then up through Purgatory to Paradise.
|
||
Dante has insights about the Soul's Journey that can be found nowhere else.
|
||
For example, \textit{Purgatory} has the same rings as \textit{Inferno}.
|
||
But in Purgatory, they're able to ``do the Work'' to find their way out and upward,
|
||
while in Inferno, they're eternally stuck.}
|
||
|
||
\bookentry{Eschenbach, Wolfram von}{Parsifal}{The first complete Grail myth, and it's a doozy.}
|
||
|
||
\bookentry{Ram Dass}{Fierce Grace}{A documentary film. Ram Dass after his stroke --- the involuntary descent, transformation through suffering, and then transcendence grounded in his new reality.}
|
||
|
||
\bookentry{Rumi}{\textup{All of him}}{Extraordinary mystical poetry about longing for the Divine.}
|
||
|
||
|
||
%\bookentry{Jung, Carl G.}{The Archetypes and the Collective Unconscious}{Princeton University Press, 1969}
|
||
|
||
%\bookentry{James, William}{The Varieties of Religious Experience}{Longmans, Green \& Co., 1902}
|
||
|
||
%\bookentry{John of the Cross}{Dark Night of the Soul}{Translated by Mirabai Starr. Riverhead Books, 2002}
|
||
|
||
%\bookentry{Plato}{Symposium}{Various translations}
|
||
|
||
|
||
|
||
|
||
%\readingsection{On Longing, Eros, and the Soul}
|
||
|
||
%\bookentry{Augustine of Hippo}{Confessions}{Translated by Henry Chadwick. Oxford University Press, 1991}
|
||
|
||
|
||
%\bookentry{John of the Cross}{Spiritual Canticle}{Translated by Kieran Kavanaugh. ICS Publications, 1991}
|
||
|
||
%\bookentry{Lewis, C.S.}{Surprised by Joy}{Harcourt, 1955}
|
||
|
||
%\bookentry{Lewis, C.S.}{The Weight of Glory}{HarperOne, 2001}
|
||
|
||
%\bookentry{Plato}{Phaedrus}{Various translations}
|
||
|
||
|
||
|
||
%\readingsection{On Myth and Archetype}
|
||
|
||
|
||
|
||
%\readingsection{On Cosmology and Complexity}
|
||
|
||
%\bookentry{Lane, Nick}{The Vital Question: Energy, Evolution, and the Origins of Complex Life}{W.W. Norton, 2015}
|
||
|
||
%\bookentry{Teilhard de Chardin, Pierre}{The Phenomenon of Man}{Translated by Bernard Wall. Harper \& Row, 1959}
|
||
|
||
%\bookentry{Whitehead, Alfred North}{Process and Reality}{Free Press, 1929}
|
||
|
||
|
||
%\bookentry{Chalmers, David}{The Conscious Mind}{Oxford University Press, 1996}
|
||
|
||
|
||
%\bookentry{Nagel, Thomas}{Mortal Questions}{Cambridge University Press, 1979}
|
||
|
||
%\bookentry{Pseudo-Dionysius the Areopagite}{The Divine Names and Mystical Theology}{Translated by John D. Jones. Marquette University Press, 1980}
|
||
|
||
%\bookentry{Singer, Peter}{Hegel: A Very Short Introduction}{Oxford University Press, 2001}
|
||
|
||
% --- backmatter/se_AboutTheAuthor.tex ---
|
||
|
||
|
||
\cleardoublepage
|
||
\section{About the Author}
|
||
|
||
\lettrine[lraise=0.15]{W}{illiam} Zeitler is a composer,
|
||
pianist, organist, and glass armonica performer whose work spans sacred music,
|
||
generative art, and mythic storytelling.
|
||
He is the creator of GrailHeart,
|
||
a body of work at the intersection of contemplative tradition and mythic depth.
|
||
|
||
As a glass armonica performer, he has performed at the Kennedy Center,
|
||
and at the Hollywood Bowl with the Blue Man Group.
|
||
He has also been a college mathematics instructor and a software engineer at Microsoft.
|
||
He paid his own way through a degree at Cal-Arts by building harpsichords and restoring pianos.
|
||
|
||
\bigskip
|
||
|
||
William did not come to the subject of Longing theoretically.
|
||
He has been to the Underworld --- kicking and screaming --- more than once.
|
||
What he found there, and what carried him through, is what this book is about.
|
||
|
||
\bigskip
|
||
|
||
He lives in Southern California with his wife Sue and their cat Katie.
|
||
|
||
% --- backmatter/EndBlurb.tex ---
|
||
|
||
\cleardoublepage
|
||
\thispagestyle{empty}
|
||
\addtocontents{toc}{\protect\setcounter{tocdepth}{-1}}
|
||
\vspace*{\fill}
|
||
\begin{center}
|
||
|
||
{\large\itshape Longing does not end with the last page.}
|
||
|
||
\bigskip\bigskip
|
||
|
||
GrailHeart is where the conversation continues ---\\
|
||
stories, music and reflections\\
|
||
at the threshold where the ancient and the living meet.
|
||
|
||
\bigskip
|
||
|
||
Visit us at:
|
||
|
||
{\large www.GrailHeart.com}
|
||
|
||
\end{center}
|
||
\vspace*{\fill}
|
||
\addtocontents{toc}{\protect\setcounter{tocdepth}{2}} |