Сборники Художественной, Технической, Справочной, Английской, Нормативной, Исторической, и др. литературы.

Carlos Castaneda

1.Carlos Castaneda Bibliography v1.3.3

2. Carlos Castaneda Speaks, An interview
  by Keith Thompson.

3. CASTANEDA'S CLAN (An interview with
  Florinda, Donner-Grau, Taisha Abelar,
  and Carol Tiggs by Keith Nichols.)
  Magical Blend Magazine (c) 1994

4. Carlos Castaneda Overview (v0.4uc)

5. Notes on a talk by Taisha Abelar '92.

6. Notes on a talk by Taisha Abelar '94.

Carlos Castaneda Bibliography

Version:      1.3.3
Last-Updated: Wed Jul  6 14:09:51 CDT 1994

The many contributors have my sincerest thanks.

Items marked with | are new or updated since version 1.2.

"The Books"

   Abelar, Taisha , "Sorcerer's Crossing". 1992.

   Castaneda, Carlos,  "The Teachings of Don  Juan: A Yaqui
   Way of Knowledge". 1968.

   Castaneda,   Carlos,   "A   Separate   Reality:  Further
   Conversations with Don Juan". 1971.

   Castaneda,  Carlos, "Journey  to Ixtlan:  The Lessons of
   Don Juan". 1972.

   Castaneda, Carlos, "Tales of Power". 1974.

   Castaneda, Carlos, "The Second Ring of Power". 1977.

   Castaneda, Carlos, "The Eagle's Gift". 1981.

   Castaneda, Carlos, "The Fire from Within". 1984.

   Castaneda, Carlos, "The Power of Silence". 1987.

   Castaneda, Carlos, "The Art of Dreaming". 1993.

   Castaneda, Carlos, Psychology Today, Dez. 1977, "The Art
   of Dreaming". (That's not the book, it's an article from
   C.C.;  mostly  adapted  from   "Second  Ring".  but  the
   introduction is new and contains new information.)

   Castaneda,  Carlos, "Seis  propositiones explicatorias".
   Mexico 1985. (In the Mexican version of "Eagle's Gift" -
   "El  don del  Aguila" -  there is  an appendix, 25 pages
   long with  a structural analysis by  C.C. himself. There
   he  talks about  secrets  of  the assembledge  point and
   about how stopping the dialog  is connected to the rings
   of  power. Things  that are  missing in  the rest of his

   Castaneda,  Carlos, "Preface  to the  Mexican edition of
   Donner's _Being-in-Dreaming_". (Short but interesting)

   Donner, Florinda, "Shabono". 1982.

   Donner, Florinda, "The Witch's Dream". 1985.

   Donner, Florinda, "Being-in-Dreaming". 1991.


   ?, Magical  Blend #14, "A conversation  with the elusive
   Carlos Castaneda".

   ?, Magical Blend #15, "Carlos Castaneda, part II".

   ?, Magical Blend #35, "Interview with Florinda Donner".

|   Blair-Ewart, Alexander, DIMENSIONS, Vol. VII No. 9, 1992

|       "The Art of Stalking True Freedom - Taisha Abelar in
|       Conversation with Alexander Blair-Ewart".

|       This is a pretty good interview with TA. Discussions
|       about  why all  the books  are being  published, the
|       "new  configuration",  the  recapitulation,  energy,
|       Carol Tiggs' return, etc. More hard information than
|       usually appears in interviews.

|   Blair-Ewart, Alexander, DIMENSIONS, 1992?

|       "The Sorcerer's Crossing - Taisha Abelar in
|       Conversation with Alexander Blair-Ewart (Part II)"

|   Blair-Ewart, Alexander, DIMENSIONS, February, 1992

|       "Being-In-Dreaming - Florinda Donner in Conversation
       with Alexander Blair-Ewart"

|   Burton,  Sandra,  Time  Magazine,  "Magic  and Reality".
   1973.  Interview with  C.C.  (A  horrible thing  - quite
   awful and really boring...)

|   Corvalan, Graciela, "Der Weg der Tolteken - Ein Gesprdch
|   mit  Carlos Castaneda",  Fischer, 1987,  ca. 100p., ISBN
|   3-596-23864-1

|       An  interview  with  Carlos  Castaneda  dating  from
|       1979/80 in the form of a book; most interesting. The
|       original is in Spanish  and has been translated into
|       German by Joachim A Frank.

   Eagle Feather, Ken / Kramer,  Carol, Body, Mind & Spirit

       "Being-in-Dreaming".  An   Interview  with  Florinda
       Donner.  (Reveals  what  happened  to  La Gorda, the
       Genaros and the Little Sisters, Soledad, et.al.)

   Fort,  Carmina, "Conversationes  con Carlos  Castaneda".
   Madrid (Spain), 1991.

       Carmina,  Carlos,  and  Florinda  Donner met several
       times in 1988.

       Carmina   wrote   this   book   about   the  events,
       conversations  and revelations.  Quite good.  (about
       130 pages.)

   Keen,  Sam, Psychology  Today, "Sorcerer's  Apprentice".

       An  interview  with  C.C.  (Of  some  size and quite
       interesting.  Timeframe: Shortly  before nagual Juan
       Matus' departure = 1973, perhaps February)

   Leviton, Richard, Yoga Journal, March/April 1994 #115,

       "The  Art  of  Dreaming".  Part  book  review,  part
       inquiry                 on                 dreaming.

   Nichols,  Keith, Magical  Blend #40,  Oct 1993,  "Taisha
   Abelar on Sorcery: Sorcery  and reality in the Castaneda
   clan".  Interview.  A   good  introduction  to  sorcery,
   recapitulation, dreaming, the  Assemblage Point, and the
   energy body.

   Nichols,   Keith,   Magical   Blend   #42,  April  1994,
   "Castaneda's Clan".

       Interviews with Taisha Abelar, Florinda Donner-Grau,
       and     Carol      Tiggs.     gopher://cscns.com/00/

   Thompson,  Keith,  New  Age  Journal,  March/April 1994,
   "Carlos  Castaneda  Speaks:  Portrait  of  a  Sorcerer".

   Wagner, Bruce, Details, March  1994, "The Secret Life of
   Carlos   Castaneda:  You   Only  Live   Twice".  A  most
   interesting interview.


   Cox,  Murray,  "Notes  from   the  New  Land:  Join  the
   expedition at the Monroe Institute where researchers use
   the  science  of  sound  to  explore  altered  states of
   consciousness". Omni, Oct 1993.

   Magical Blend #5, "A  comparison of Aleister Crowley and
   Carlos Castaneda".

   Magical Blend  #40, Oct 1993,  "Carlos Castaneda on  don

       This is from a transcript  by way of David Christie,
       not an interview.

   Gnosis     #2,      Spring/Summer     1986,     "Magical

   The  New Thunderbird  Chronicle vol  1, no  3, Oct 1989,
   "Taking  the  Fifth"  et  passim.  The  threshold of the
   Eagle's spiritual Aerie. Drawing  of Carlos on the cover
   (with sombrero covering head).


   de Mille,  Richard, "Castaneda's Journey:  The Power and
   the Allegory". 1976.

   de Mille, Richard, "The Don Juan Papers". 1980.

|   Fikes,   Jay  Courtney,   "Carlos  Castaneda:   Academic
|   Opportunism  and  the   Psychedelic  Sixties",  Millenia
|   Press, 1993, ISBN 0-9696960-0-0. The gist of this one is
|   that  CC's  works  are  fabrications,  although  the  DJ
|   character is  based on a  real-life sorcerer. Much  info
|   about the Huichol Indians.

   Noel,   Daniel  C.,   "Seeing  Castaneda".   1976,  ISBN

       Collection of critical reviews, large bibliography.

|   Williams, Donald Lee, "Border Crossings: A Psychological
|   Perspective  on Carlos  Castaneda's Path  of Knowledge",
|   Toronto: Inner City Books,  1981, ISBN 0-919123-07-04. A
|   Jungian  interpretation of  Castaneda's books  up to The
|   Second Ring of Power. Dry and scholarly.

Related Books

   ?, "Food of  the Gods: The Search for  the Original Tree
   of Knowledge:  A Radical History  of Plants, Drugs,  and
   Human  Evolution". 1992,  ISBN 0-553-37130-4.  Chapter 1
   ("Shamanism: Setting the Stage").

   Blackmore, Susan J., "Beyond  the Body: An Investigation
   of    Out-of-the-Body     Experiences".    1992,    ISBN
   0-89733-344-6.  Published on  behalf of  The Society for
   Psychical Research.  Chapter 12 ("The  Physiology of the
   OBE"), et passim.

   Capra,  Fritjof, "The  Turning Point:  Science, Society,
   and  the  Rising  Culture".  1982,  ISBN  0-553-01480-3.
   Chapter 11 ("Journeys Beyond Space and Time").

   Classen,  Norbert,  "Das  Wissen  der  Tolteken". Berlin
   1992, ISBN 3-9802912-1-9. (My  poor little book... about
   the  Toltec  knowledge.  A  practical  and philosophical
   guide.   It  includes   a  German   version  of   C.C.'s
   ``propositiones   explicatorias'',  only   published  in
   Mexico before.)

   Coerper,  Hellmut,  "Der  Zugang  zum  Wissen". Fellbach
   1981.  ISBN  3-87089-310-9.  (C.G.  Jung, Psychology and
   C.C. Intellectual, but interesting...)

|   Corvalan,  Graciela  N.V.,  "Conversation  de  fond avec
|   Carlos Castaneda",  traduit de l'espagnol  et annote par
|   Eva Martini, Paris: Editions du cerf, 1992, 128p.

   Drury, Nevill,  "Don Juan, Mescalito  and Modern Magic".
   London  & New  York 1978,  ISBN 1-85063-015-1  (Arkana).
   (Old, but interesting, too...)

   Dubant,  Bernard &  Marguerie, Michel,  "Castaneda -  le
   saut dans  l'inconnu". Paris 1982,  ISBN 0-85-707-085-3.
   (They  wrote further  books on  C.C.. Something  for the
   French fans and readers...)

   Eagle Feather,  Ken, "Traveling with  Power". 1992, ISBN
   1-878901-28-1.  Apprentice  to   Don  Juan  talks  about

   Fikes,   Jay  Courtney,   "Carlos  Castaneda,   Academic
   Opportunism,  and the  Psychedelic Sixties".  1992, ISBN
   0-8191-8585-X. (The title disqualifies itsself. Somekind
   of a weird book in the tradition of de Mille...)

   Fox,   Oliver,   "Astral   Projection:   A   Record   of
   Out-of-the-Body    Experiences".   1962,    1990,   ISBN
   0-8065-0463-3. Expanded from original articles published
   in the "Occult Review"  in 1920. Chronologically ordered
   accounts of his experiences.

   Hutchison,   Michael,   "Mega   Brain:   New  Tools  and
   Techniques for  Brain Growth and  Mind Expansion". 1986,
   ISBN 0-345-34175-9.  Chapter 12 ("Tuning  the Brain with
   Sound Waves: Hemi-Sync"), et passim.

   Leary,  Timothy,  "Flashbacks:  A  Personal and Cultural
   History  of an  Era". 1990,  ISBN 0-87477-497-7. Chapter
   20, short "Biography" of  Castaneda, Leary's stay at 'La
   Catalina' hotel and run-in with a would-be sorcerer.

   L|tge,  Lothar R|diger,  "C.C.  und  die Lehren  des Don
   Juan". Freiburg 1983. (A practical guide. Frugal...)

   Monroe,  Robert A.,  "Journeys Out  of the  Body". 1971,
   1977,   ISBN   0-385-00861-9.    First   book:   initial

   Monroe,   Robert   A.,   "Far   Journeys".   1985,  ISBN
   0-385-23181-4. Majority  of the book is  a "tale" of the
   OBE journeys of ``AA'', and what he learns.

   Monroe, Robert  A., "Ultimate Journey".  Doubleday, ISBN

   M|ller,  Burkhard, "Castaneda's  Erben. Eurasburg 1991".
   ISBN 3-9802912-0-0. (A book  about experiences with C.C.
   and the Toltec knowledge.)

   Pearce, Joseph  Chilton, "The Crack  in the Cosmic  Egg:
   Challenging Constructs of Mind and Reality". 1971, 1988,
   ISBN 0-517-56661-3. Chapter 9  ("Don Juan and Jesus") et

   Pearce,  Joseph  Chilton,  "Exploring  the  Crack in the
   Cosmic Egg: Split Minds  and Meta-realities". 1974, ISBN
   0-671-80638-6. Chapters 15  ("Reversibility Thinking") &
   16 et passim.

   Pearce, Joseph  Chilton, "Magical Child  Matures". 1985,
   ISBN0-553-25881-8. Chapter 18 ("Not Doing") passim.

   Rogo, D.  Scott, "Leaving the Body:  A Complete Guide to
   Astral Projection: A  step-by-step presentation of eight
   different  systems  of  out-of-body  travel". 1983, ISBN
   0-13-528026-5. Chapter  6 ("The Monroe  Techniques"), et

   Rucker,  Rudolf,  "Geometry,  Relativity  and the Fourth
   Dimension". 1977,  ISBN 0-486-23400-2. Chapter  4 ("Time
   as   a   Higher   Dimension"),   Annotated  Bibliography
   discussion of "A Separate Reality".

   Sanchez, Victor,  "Las Ensenenzas de  Don Carlos. Mexico
   1991". ISBN 968-6565-09-4.  (Practical guide. Very good,
   but in  Spanish. Victor is  working on a  second book at
   the moment. It seems to be very interesting. By the way,
   he knows C.C. and studied with him.)

   Smith,    Adam,   "Powers    of   Mind".    1975,   ISBN

   Timm,  Dennis, "Nagual  Junior". Anthologie,  1982, ISBN
   3-9800414-2-5.  (Anthology with  some dubious interviews
   and texts...)

   Timm,  Dennis,  "Die  Wirklichkeit  und  der  Wissende".
   Frankfurt   1989,  ISBN   3-596-24290-8.  (Philosophical
   study,  but   including  some  interesting   texts  from
   American  anthropologists  who  studied  with  C.C.  and
   comment on his work... mostly positiv!)

   Ulrich,  Hans  E.,  "Von   Meister  Eckhard  bis  C.C.".
   Frankfurt   1986,    ISBN   3-596-26541-X.   (Esoterical
   bullshit; boring...)

   Watson,  Lyall,  "Beyond   Supernature:  A  New  Natural
   History of the  Supernatural". 1988, ISBN 0-553-34456-0.
   Chapter 8 ("Description: Paranthropology").

   Wittman, Ulla, "Leben wie ein Krieger". Interlaken 1988,
   ISBN   3-7157-0120-0.   (Practical   intentions...   but
   sometimes boring, repeating, repeating, repeating...)


   MT (Michael Topper) Initiates' Class Tapes:

       #56 (8/10/91) Assemblage Point,

       #90 (4/18/92) Shaman's Path.

   NovaDreamer  -- Tools  For Exploration,  (415) 499-9050,
   (800) 456-9887.  signals when you  are dreaming to  help
   induce lucid dreaming. -- $245


   Details          ISSN 0740-4921  USPS 001707
   Box 58246
   Boulder, CO 80322 USA
   [They claim to be international]

   Magical Blend    ISSN 1040-4287  USPS 002-677
   Business Offices (916) 893-9037
   PO Box 600
   Chico, CA 94927-0600 USA
   [Back issues must be paid in advance, call for pricing]

|   [may be defunct--ed]
|   DIMENSIONS (Canada's New Age Monthly)    ISSN 0836 5059
|   Voice (416) 928-6730
|   Fax (416) 928-1446,
|   3 Charles St. W., Ste 300
|   Toronto, Ontario  M4Y 1R4

|   You can write to Castaneda and the rest of his clan c/o:
|   Toltec Artists
|   183 N. Martel
|   Hollywood, CA  90036
|   (213) 938-9500 (Tracy Kramer--agent)

|   Nagualist Newsletter
|   1057 E. Imperial Hwy., Suite #117
|   Placentia, CA 92670
|   [A high quality work published by people who prefer
|   to remain anonymous.]

|   Nagualist Network in LA.
|   John O'Neill <74631.1463@CompuServe.COM>
|   (213) 463-9062

From gong@redsun.cs.msu.su Wed Aug 24 19:26:57 1994
From: Petrovsky Aleksey  
Date: Wed, 24 Aug 1994 19:33:15 +0400
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Magazine: New Age Journal
Issue: March/April 1994
Title: Carlos Castaneda Speaks, An interview by
                                             Keith Thompson
Author: Keith Thompson

       Literary agents are paid  to hype their clients, but
when  the agent  for Carlos  Castaneda claimed  that he  was
offering me  "the interview of  a lifetime," it  was hard to
disagree.  After  all,  Castaneda's  nine best-selling books
describing his extraordinary  apprenticeship to Yaqui Indian
sorcerer don Juan Matus had inspired countless members of my
generation to explore mysticism,  psychedelic drugs, and new
levels of  consciousness. Yet even  as his reputation  grew,
the  author had  remained  a  recluse, shrouding  himself in
mystery  and intrigue.  Aside  from  a few  interviews given
seemingly at random over the years, Castaneda never ventured
into  the public  spotlight. Few  people even  know what  he
looks  like. For  this interview,  his agent  told me, there
could be no cameras and  no tape recorders. The conversation
would have to be recorded  by a stenographer, lest copies of
Castaneda's taped voice fall into the wrong hands.

The  interview  --  perhaps   timed  to  coincide  with  the
publication  of Castaneda's  latest and  most esoteric book,
The Art of Dreaming -- took  place in the conference room of
a modest   office   in   Los   Angeles,   after   weeks   of
back-and-forth  negotiations  with  Castaneda's  agent.  The
arrangements were  complicated, the agent said,  by the fact
that he had  no way of contacting his  client and could only
confirm  a  meeting  after  speaking  with  him "whenever he
decides to call . . . I  never know in advance when that may

Upon my arrival at  noon, an energetic, enthusiastic, broad-
smiled man  walked across the  room, extended his  hand, and
greeted  me  unassumingly:  "Hello,  I  am Carlos Castaneda.
Welcome. We  can begin our conversation  when you are ready.
Would  you  like  coffee,  or  perhaps  a  soda? Please make
yourself comfortable."

I had  heard that  Castaneda  blends  into the  woodwork, or
resembles  a  Cuban  waiter;  that  his  features  are  both
European and  Indian; that his skin  is nut-brown or bronze;
that his hair is black, thick, and curly. So much for rumor.
His  mane is  now white,   or largely  so, short  and mildly
disheveled. If  asked to guide  a police artist  in making a
sketch, I would emphasize the  eyes -- large, bright, lucid.
They may have been gray.

I asked Castaneda about his  schedule. "The entire afternoon
is  available. I  should think  we'll have  all the  time we
need. When it's enough, we'll know." Our conversation lasted
four  hours, continuing  through a  meal of  deli sandwiches
that arrived midway.

My  first  exposure  to  Castaneda's  work  had been as much
initiation  as introduction.  It was  1968. Police  officers
were  clubbing  demonstrators  in  the  streets  of Chicago.
Assassins  had  taken  Martin  Luther  King  Jr.  and Robert
Kennedy.  Aretha  Franklin's  "Chain  of  Fools"  topped the
charts. All of this amidst  an ocean of sandals, embroidered
caftans, bell-bottoms,  jangling bracelets, beads,  and long
hair for men and women alike.

Into  all  this  stepped  an  enigmatic  writer named Carlos
Castaneda, toting a book called The Teachings of Don Juan: A
Yaqui Way  of Knowledge. I  remember how it  transformed me.
The book  I began reading was  a curiosity; the book  I held
when  I  finished  had  become  a  manifesto,  the  kind  of
delirious  cause  celebre  for  which  my  psyche  had  been
secretly training. What Castaneda  seemed to be affirming --
the possibility of awesome  personal spiritual experience --
was  precisely what  the Sunday-morning-only  religion of my
childhood had done its best to vaccinate me against.

Believing in Castaneda gave me faith that someday, some way,
I might meet  my very own don  Juan Matus (don is  a Spanish
appellative   denoting   respect),   the   old  Indian  wise
man/sorcerer  who implores  his protg  Carlos to  get beyond
looking  --  simply  perceiving  the  world  in  its usually
accepted forms. To be a  true "man of knowledge," Carlos has
to learn  the art of seeing,  so that for the  first time he
can  truly perceive  the  startling  nature of  the everyday
world. "When you  see," don Juan says, "there  are no longer
familiar   features  in   the  world.   Everything  is  new.
Everything   has  never   happened  before.   The  world  is

But,  really --  who was  this Castaneda?  Where did he come
from and  what was he  trying to prove,  with his mysterious
account  of  a  realm  that  seemed  to  be  of  an entirely
different order of reality?

Over the  years, various answers to  that question have been
offered. Take your pick:  (a) dissenting anthropologist; (b)
sorcerer's apprentice;  (c) psychic visionary;  (d) literary
genius;  (e) original  philosopher; (f)  master teacher. For
balance, let's not forget (g) perpetrator of one of the most
spectacular hoaxes in the history of publishing.

Castaneda has responded to the bestowal of these conflicting
ID tags  with something like ironic  amusement, as though he
were an audience member enjoying  the spectacle of a Chekhov
comedy in  which he himself may  or may not be  a character.
The  author  has  consistently  declined  --  over a span of
nearly three decades -- to engage  in the war of words about
whether  his  books  are  authentic  accounts  of real-world
encounters, as  he maintains, or  (as numerous critics  have
argued)  fictional allegories  in the  spirit of  Gulliver's
Travels and Alice in Wonderland.

This strategic reticence was  learned from don Juan himself.
"To slip in  and out of different worlds  you have to remain
inconspicuous,"   says  Castaneda,   who  is   rumored  (his
preferred status)  to divide his  time nowadays between  Los
Angeles, Arizona,  and Mexico. "The more  you are identified
by people's ideas  of who you are and how  you will act, the
greater the  constraint on your  freedom. Don Juan  insisted
upon the  importance of erasing personal  history. If little
by little  you create a  fog around yourself,  then you will
not be  taken for granted, and  you will have more  room for

Even so,  scattered clearings in  the fog offer  glimpses of
tracks left by the sorcerer's apprentice in the years before
his life faded to myth.

The scholarly consensus, unconfirmed  by the author himself,
is  that Carlos  Cesar Arana  Castaneda was  born in Peru on
Christmas day 1925 in the historic Andean town of Cajamarca.
Upon graduating from the  Colegio Nacional de Nuestra Senora
de Guadalupe,  he studied briefly at  the National Fine Arts
School  of  Peru.  In  1948  his  family  moved  to Lima and
established a jewelry store. After the death of his mother a
year  later,  Castaneda  moved  to  San  Francisco  and soon
enrolled  at Los  Angeles City  College, where  he took  two
courses in creative writing and one in journalism.

Castaneda received  a B.A. in anthropology  in 1962 from the
University of California at Los Angeles. In 1968, five years
before  Castaneda received  his Ph.D.  in anthropology,  the
University  of California  Press published  The Teachings of
Don Juan: A Yaqui Way  of Knowledge, which became a national
best  seller  following  an  enthusiastic  notice  by  Roger
Jellinek in the New York Times Book Review:

"One can't exaggerate the significance of what Castaneda has
done.   He  is   describing  a   shamanistic  tradition,   a
pre-logical cultural  form that is no-one-knows  how old. It
has been described  often. . . . But it  seems that no other
outsider,  and   certainly  not  a   'Westerner,'  has  ever
participated in  its mysteries from  within; nor has  anyone
described them so well."

The  fuse was  lit. The  Teachings sold  300,000 copies in a
1969 Ballantine mass edition. A Separate Reality and Journey
to Ixtlan followed  from Simon & Schuster in  1971 and 1972.
The saga continued in Tales of Power (1974), The Second Ring
of  Power (1977),  The Eagle's  Gift (1981),  The Fire  from
Within (1984), The  Power of Silence (1987), and  The Art of
Dreaming  (1993). (Bibliophiles  may be  interested to learn
that Castaneda says he actually  wrote a book about don Juan
before The  Teachings, titled The Crack  Between Worlds, but
lost the manuscript in a movie theater.)

In assessing  the impact of  his work, Castaneda's  admirers
credit him with introducing to  popular culture the rich and
varied  traditions  of  shamanism,  with  their  emphasis on
entering  nonordinary  realms  and  confronting  strange and
sometimes hostile spirit-powers, in order to restore balance
and  harmony to  body, soul,  and society.  Inspired by  don
Juan's use of peyote, jimsonweed,  and other power plants to
teach  Castaneda the  "art of  dreaming," untold  numbers of
pioneers   extended   their   own   inner  horizons  through
psychedelic inquiry -- with decidedly mixed results.

For their  part, critics of Castaneda's  "path of knowledge"
dismiss  his  work   as  an  ongoing  pseudo-anthropological
shenanigan,    complete   with    fabricated   shamans   and
sensationalized  Native  American  religious  practices. The
writings,  they claim,  have netted  an unscrupulous  author
tremendous  wealth at  the  cost  of denigrating  the sacred
lifeways   of   indigenous    peoples   through   commercial
exploitation.  Castaneda's presentation,  writes Richard  de
Mille  in  Castaneda's  Journey,  "appeals  to  the reader's
hunger  for  myth,  magic,  ancient  wisdom,  true  reality,
self-improvement, other worlds, or imaginary playmates."

Appropriately, the  Castaneda I encountered  was a study  in
contrasts.  His presence  was informal,  spontaneous, warmly
animated, and  at times contagiously  mirthful. At the  same
time,  his   still  heavily  accented   (Peruvian?  Chilean?
Spanish?)  diction conveyed  the patrician  formality of  an
ambassador at  court: deliberate and  well-composed, serious
and poised, earnest and resolute. Practiced.

The contradiction,  like so much  about the man,  may strike
some  as a  bothersome inconsistency.  But it  shouldn't. To
reread  Carlos Castaneda's  books (as  I did, astonishingly,
all nine of them) is to see clearly -- perhaps for the first
time  --  that  contradiction  is  the  force  that ties his
literary Gordian knot. As the  author had told me, intently,
during our  lunch break: "Only by  pitting two views against
each other can one weasel between them to arrive at the real

I had the sense he was letting me know his fortress was well
guarded -- and daring me to storm it anyway.

Keith Thompson:  As your books  have made a  character named
Carlos  world-famous,   the  author  called   Castaneda  has
retreated further  and further from public  view. There have
been  more  confirmed  sightings  of  Elvis  than  of Carlos
Castaneda in recent years. Legend has you committing suicide
on at least three occasions; there's the persistent story of
your death  in a Mexican bus  crash two decades ago;  and my
search for a confirmed photo  and audio tapes was fruitless.
How  can I  be sure  that you're  truly Castaneda  and not a
Carlos   impersonator   from   Vegas?   Have   you  got  any
distinguishing birthmarks?

Carlos Castaneda: None! Just my agent vouches for me. That's
his job. But you are free to ask me your questions and shine
a bright light in my eyes and keep me here all night -- like
in the old movies.

You're known for being unknown.  Why have you agreed to talk
now, after declining interviews for so many years?

Because I'm at the end of the trail that started over thirty
years  ago.  As  a  young  anthropologist,  I  went  to  the
Southwest  to collect  information, to  do fieldwork  on the
medicinal plants used by the Indians of the area. I intended
to  write an  article, go  on to  graduate school,  become a
professional in my field. I hadn't the slightest interest in
meeting a weird man like don Juan.

How exactly did your paths cross?

I was  waiting  for  the  bus  at  the  Greyhound station in
Nogales,  Arizona, talking  with an  anthropologist who  had
been my guide  and helper in my survey.  My colleague leaned
over  and pointed  to a  white-haired old  Indian across the
room -- "Psst, over there, don't let him see you looking" --
and said he was an expert about peyote and medicinal plants.
That was  all I needed  to hear. I  put on my  best airs and
sauntered over to  this man, who was known  as don Juan, and
told him I myself was an authority about peyote. I said that
it might be  worth his while to have lunch  and talk with me
-- or something unbearably arrogant to that effect.

The old power-lunch ploy. But  you weren't really much of an
authority, were you?

I knew  next  to  nothing  about  peyote!  But  I  continued
rattling  on --  boasting about  my knowledge,  intending to
impress him. I remember that he just looked at me and nodded
occasionally, without  saying a word.  My pretensions melted
in the  heat of that day.  I was stunned at  being silenced.
There I stood in the abyss,  until don Juan saw that his bus
had come. He said good- bye,  with the slightest wave of his
hand.  I felt  like an  arrogant imbecile,  and that was the

Also the beginning.

Yes, that's when everything started. I learned that don Juan
was known as a brujo, which means, in English, medicine man,
curer,  sorcerer. It  became my  task to  discover where  he
lived. You know, I was very good at doing that, and I did. I
found out, and  I came to see him one  day. We took a liking
to each other and soon became good friends.

You felt like  a moron in this man's  presence, but you were
eager to seek him out?

The way don  Juan had looked at me there  in the bus station
was exceptional -- an unprecedented  event in my life. There
was  something remarkable  about his  eyes, which  seemed to
shine  with  a  light  all  their  own.  You  see, we are --
unfortunately we don't want to accept this, but we are apes,
anthropoids,  simians. There's  a primary  knowledge that we
all carry, directly  connected with the two-million-year-old
person  at the  root of  our brain.  And we  do our  best to
suppress it, which makes us obese, cardiac, cancer-prone. It
was on that  archaic level that I was  tackled by don Juan's
gaze, despite  my annoyance and irritation  that he had seen
through my pretense to expertise in the bus station.

Eventually  you became  don Juan's  apprentice, and  he your
mentor. What was the transition?

A year passed before he took  me into his confidence. We had
gotten to know each other quite  well, when one day don Juan
turned to  me and said he  held a certain knowledge  that he
had  learned from  an unnamed  benefactor, who  had led  him
through a  kind of training.  He used this  word "knowledge"
more often than "sorcery," but for him they were one and the
same.  Don  Juan  said  he  had  chosen  me  to serve as his
apprentice,  but that  I must   be prepared  for a  long and
difficult road. I had no  idea how astonishingly strange the
road would be.

That's a consistent thread of your books -- your struggle to
make  sense  of  a  "separate  reality"  where gnats stand a
hundred feet tall, where human  heads turn into crows, where
the same leaf falls four times, where sorcerers conjure cars
to disappear  in broad daylight. A  good stage hypnotist can
produce astonishing effects. Is  it possible that's what don
Juan was up to? Did he trick you?

It's possible.  What he did  was teach me  that there's much
more to  the world than  we usually acknowledge  -- that our
normal  expectations  about  reality  are  created by social
consensus, which is itself a  trick. We're taught to see and
understand the  world through a  socialization process that,
when    working   correctly,    convinces   us    that   the
interpretations we agree upon define  the limits of the real
world.  Don  Juan  interrupted  this  process  in my life by
demonstrating that we have the  capacity to enter into other
worlds  that  are  constant  and  independent  of our highly
conditioned  awareness. Sorcery  involves reprogramming  our
capacities to perceive realms as real, unique, absolute, and
engulfing as our daily so-called mundane world.

Don  Juan  is   always  trying  to  get  you   to  put  your
explanations  of reality  and your  assumptions about what's
possible inside brackets, so you  can see how arbitrary they
are.    Contemporary    philosophers    would    call   this
"deconstructing" reality.

Don Juan  had a visceral  understanding of the  way language
works  as  a  system  unto  itself  --  the way it generates
pictures of  reality that we believe,  mistakenly, to reveal
the "true" nature of things.  His teachings were like a club
beating my thick head until I  saw that my precious view was
actually  a  construction,  woven  of  all  kinds of fixated
interpretations, which I used  to defend myself against pure
wondering perception.

There's  a contradiction  in  there,  somewhere. On  the one
hand,  don Juan  desocialized you,  by teaching  you to  see
without   preconceptions.  Yet   it  sounds   like  he  then
resocialized you by enrolling you  in a new set of meanings,
simply giving you a different  interpretation, a new spin on
reality -- albeit a "magical" one.

That's something don  Juan and I argued about  all the time.
He said in effect that he was despinning me and I maintained
he was respinning me. By  teaching me sorcery he presented a
new lens, a new language, and  a new way of seeing and being
in  the world.  I was  caught between  my previous certainty
about the  world and a new  description, sorcery, and forced
to  hold the  old and  the new  together. I  felt completely
stalled, like a car slipping  its transmission. Don Juan was
delighted.  He  said  this  meant  I  was  slipping  between
descriptions of reality -- between my old and new views.

Eventually I saw that all my prior assumptions were based on
viewing the world as something  from which I was essentially
alienated. That day  when I encountered don Juan  in the bus
station, I  was the ideal  academic, triumphantly estranged,
conniving  to  prove  my  nonexistent  expertise  concerning
psychotropic plants.

Ironically,  it was  don Juan  who later  introduced you  to
"Mescalito," the green-skinned spirit of peyote.

Don Juan introduced me to  psychotropic plants in the middle
period of my apprenticeship, because  I was so stupid and so
cocky,   which   of   course   I   considered   evidence  of
sophistication. I held to my conventional description of the
world with  incredible vengeance, convinced it  was the only
truth. Peyote served to exaggerate the subtle contradictions
within  my  interpretative  gloss,  and  this  helped me cut
through  the typical  Western stance  of seeing  a world out
there and  talking to myself about  it. But the psychotropic
approach had its costs -- physical and emotional exhaustion.
It took months for me to come fully around.

If you could do it over again, would you "just say no"?

My path has  been my path. Don Juan always  told me, "Make a
gesture." A  gesture is nothing  more than a  deliberate act
undertaken for the power that  comes from making a decision.
Ultimately, the  value of entering  a nonordinary state,  as
you do with peyote or other psychotropic plants, is to exact
what you  need in order to  embrace the stupendous character
of ordinary reality. You see, the path of the heart is not a
road of  incessant introspection or  mystical flight, but  a
way  of engaging  the joys  and sorrows  of the  world. This
world, where each  one of us is related  at molecular levels
to every  other wondrous and dynamic  manifestation of being
-- this world is the warrior's true hunting ground.

Your friend don  Juan teaches what is, how  to know what is,
and  how  to  live  in  accord  with  what  is  -- ontology,
epistemology, and  ethics. Which leads many  to say he's too
good to  be true, that  you created him  from scratch as  an
allegorical instrument of wise instruction.

The  notion  that  I  concocted  a  person  like don Juan is
preposterous.  I'm  a  product  of  a  European intellectual
tradition to which  a character like don Juan  is alien. The
actual  facts are  stranger: I'm  a reporter.  My books  are
accounts of an outlandish phenomenon  that forced me to make
fundamental  changes  in  my  life  in  order  to  meet  the
phenomenon on its own terms.

Some of  your critics grow  quite livid in  their contention
that  Juan Matus  sometimes speaks  more like  an Oxford don
than a  don Indian. Then  there's the fact  that he traveled
widely and  acquired his knowledge from  sources not limited
to his Yaqui roots.

Permit me to  make a confession: I take  much delight in the
idea  that don  Juan may  not be  the "best"  don Juan. It's
probably  true  that  I'm  not  the  best  Carlos Castaneda,
either. Years ago I met the  perfect Castaneda at a party in
Sausalito, quite  by accident. There,  in the middle  of the
patio, was  the most handsome  man, tall, blond,  blue-eyed,
beautiful, barefoot.  It was the early  '70s. He was signing
books, and the owner of the  house said to me, "I'd like you
to  meet  Carlos  Castaneda."  He  was  impersonating Carlos
Castaneda, with an impressive coterie of beautiful women all
around him. I  said, "I am very pleased  to meet you, Mister
Castaneda." He responded, "Doctor Castaneda." He was doing a
very  good job.  I thought,  He presents  a good  way to  be
Castaneda, the  ideal Castaneda, with all  the benefits that
go  with the  position. But  time passes,  and I'm still the
Castaneda  that  I  am,  not  very  well  suited to play the
Hollywood version. Nor is don Juan.

Speaking   of   confessions:   Did   you   ever  contemplate
downplaying the eccentricity of  your teacher and presenting
him as a  more conventional character, to make  him a better
vehicle for his teachings?

I never considered  such an approach.  Smoothing rough edges
to advance an agreeable plot  is the luxury of the novelist.
I'm  not unfamiliar  with the  spoken and  unspoken canon of
science: "Be  objective." Sometimes don Juan  spoke in goofy
slang -- the equivalent of  "By golly!" and "Don't lose your
marbles!" are  two of his  favorites. On other  occasions he
showed a  superb command of  Spanish, which permitted  me to
obtain  detailed explanations  of the  intricate meanings of
his  system   of  beliefs  and  its   underlying  logic.  To
deliberately alter don  Juan in my books so  he would appear
consistent  and  meet  the  expectations  of  this  or  that
audience  would bring  "subjectivity"  to  my work,  a demon
that,  according  to  my  best  critics,  has  no  place  in
ethnographic writing.

Skeptics have challenged you to exorcise that demon once and
for all, by presenting for public inspection the field notes
based  on  your  encounters  with  don  Juan.  Wouldn't that
alleviate  doubts about  whether your  writings are  genuine
ethnography or disguised fiction?

Whose doubts?

Fellow anthropologists, for starters.

The Senate Watergate Committee. Geraldo Rivera . . .

There was a time when requests  to see my field notes seemed
unencumbered  by  hidden   ideological  agendas.  After  The
Teachings  of  Don  Juan  appeared  I  received a thoughtful
letter  from Gordon  Wasson, the  founder of  the science of
ethnomycology,  the study  of  human  uses of  mushrooms and
other fungi. Gordon and  Valentina Wasson had discovered the
existence  of still-active  shamanic mushroom  cults in  the
mountains  near  Oaxaca,  Mexico.  Dr.  Wasson  asked  me to
clarify certain  aspects of don  Juan's use of  psychotropic
mushrooms. I  gladly sent him  several pages of  field notes
relevant to  his area of  interest, and met  with him twice.
Subsequently  he referred  to me  as an  "honest and serious
young man," or words to that effect.

Even  so, some  critics proceeded  to assert  that any field
notes produced by Castaneda must  be assumed to be forgeries
created after the  fact. At that point I  realized there was
no  way I  could satisfy   people whose  minds were  made up
without recourse to whatever  documentation I might provide.
Actually,  it was  liberating to  abandon the  enterprise of
public relations  -- intrinsically a violation  of my nature
-- and return to my fieldwork with don Juan.

You  must be  familiar with   the claim  that your  work has
fostered   the   trivialization   of   indigenous  spiritual
traditions. The argument goes  like this: A despicable cadre
of   non-Indian   wannabees,   commercial   profiteers,  and
self-styled  shamans  has  read  your  books  and found them
inspiring. How do you plead?

I didn't  set   out  to  write  an   exhaustive  account  of
indigenous spirituality, so it's a  fallacy to judge my work
by  that  criterion.  My  books  are  instead a chronicle of
specific  experiences  and   observations  in  a  particular
context, reported to the best of  my ability. But I do plead
guilty to knowingly committing  willful acts of ethnography,
which  is none  other than  translating cultural  experience
into writing.  Ethnography is always writing.  That's what I
do. What happens when spoken words become written words, and
written  words become  published words,  and published words
get ingested  through acts of reading  by persons unknown to
the  author?  Let's  agree  to  call  it  complex. I've been
extremely fortunate  to have a  wide and diverse  readership
throughout much  of the world. The  entry requirement is the
same everywhere: literacy. Beyond  this, I'm responsible for
the virtues and  vices of my anonymous audience  in the same
way  that  every  writer  of   any  time  and  place  is  so
responsible. The main thing is, I stand by my work.

What does don Juan think of your global notoriety?

Nada. Not a  thing. I learned this definitively  when I took
him a copy of The Teachings of Don Juan. I said, "It's about
you, don  Juan." He surveyed the  book -- up and  down, back
and front, flipped through the pages like a deck of cards --
then handed it back. I was crestfallen and told him I wanted
him to  have it as a  gift. Don Juan said  he had better not
accept  it,  "because  you  know  what  we  do with paper in
Mexico." He  added, "Tell your publisher  to print your next
book on softer stock."

Earlier you  mentioned that don  Juan deliberately made  his
teaching   dramatic.  Your   writings  reflect   that.  Much
anthropological writing gives the impression of striving for
dullness, as if banality were a mark of truth.

To have made my astonishing  adventures with don Juan boring
would  have been  to lie.  It  has  taken me  many years  to
appreciate  the fact  that don   Juan is  a master  of using
frustration, digression,  and partial disclosure  as methods
of  instruction.  He  strategically  blended  revelation and
concealment in the oddest combinations.  It was his style to
assert   that  ordinary   and  nonordinary   reality  aren't
separate, but instead are encompassed  in a larger circle --
and then to  reverse himself the next day  by insisting that
the line  between different realities  must be respected  at
all costs.  I asked him  why this must  be so. He  answered,
"Because nothing is more important  to you than keeping your
personal world intact."

He was right. That was my  top priority in the early days of
the apprenticeship.  Eventually I saw  -- I saw  -- that the
path  of the  heart requires   a full  gesture, a  degree of
abandon that can be terrifying.  Only then is it possible to
achieve a sparkling metamorphosis.

I also  realized the  extent to  which the  teachings of don
Juan  could and  would be  dismissed as  "mere allegory"  by
certain   specialists  whose   sacramental  mission   is  to
reinforce  the limits  that  culture  and language  place on

This approaches the question of who gets to define "correct"
cultural  description.  Nowadays  some  of  Margaret  Mead's
critics  declare she  was "wrong"  about Samoa.  But why not
say, less dogmatically, that  her writings present a partial
picture based on a unique  encounter with an exotic culture?
Obviously her discoveries mirrored the concerns of her time,
including her  own biases. Who  has the authority  to cordon
off art from science?

The assumption  that art, magic, and  science can't exist in
the same  space at the same  time is an obsolete  remnant of
Aristotelian  philosophical  categories.  We've  got  to get
beyond this kind  of nostalgia in the social  science of the
twenty-first  century.  Even  the  term  ethnography  is too
monolithic,  because  it  implies  that  writing about other
cultures is an activity specific to anthropology, whereas in
fact ethnography cuts across various disciplines and genres.
Furthermore, even the ethnographer isn't monolithic -- he or
she  must  be  reflexive  and  multifaceted,  just  like the
cultural phenomena that are encountered as "other."

So the observer, the observed phenomenon, and the process of
observation   form  an   inseparable  totality.   From  that
perspective,  reality isn't  simply received,  it's actively
captured  and  rendered  in   different  ways  by  different
observers with different ways of seeing.

Just so. What sorcery comes down  to is the act of embodying
some  specialized theoretical  and practical  premises about
the nature of perception in  molding the universe around us.
It  took me  a long  time to  understand, intuitively,  that
there were three Castanedas: one  who observed don Juan, the
man and teacher;  another who was the active  subject of don
Juan's  training --  the apprentice;  and still  another who
chronicled the adventures. "Three" is a metaphor to describe
the  sensation of  endlessly changing  boundaries. Likewise,
don Juan himself was constantly shifting positions. Together
we were  traversing the crack  between the natural  world of
everyday  life and  an unseen  world, which  don Juan called
"the   second   attention,"   a   term   he   preferred   to

What  you're describing  isn't what  comes to  mind for most
anthropologists when  they think about  their line of  work,
you know.

Oh, I'm  certain you're right  about that! Someone  recently
asked me, What does  mainstream anthropology think of Carlos
Castaneda? I  don't suppose most  of them think  about me at
all. A  few may be  a little bit  annoyed, but they're  sure
that  whatever I'm  doing is  not scientific  and they don't
trouble themselves. For most  of the field, "anthropological
possibility" means that you go  to an exotic land, arrive at
a hotel,  drink your  highball while  a flock  of indigenous
people come and talk to you about the culture. They tell you
all kinds  of things, and  you write down  the various words
for father and mother. More  highballs, then you go home and
put it  all in your  computer and tabulate  for correlations
and  differences. That  to them  is scientific anthropology.
For me, that would be living hell.

How do you actually write?

My conversations with don Juan throughout the apprenticeship
were conducted primarily in Spanish. From the outset I tried
to persuade don  Juan to let me use a  tape recorder, but he
said relying on something mechanical  only makes us more and
more sterile. "It curtails your  magic," he said. "Better to
learn  with your  whole body  so you'll  remember with  your
whole  body." I  had no  idea what  he meant. Consequently I
began  keeping voluminous  field notes  of what  he said. He
found my  industriousness amusing. As for  my books, I dream
them. I gather  myself and my field notes  -- usually in the
afternoon but not always -- and  go through all my notes and
translate  them into  English. In  the evening  I sleep  and
dream what I  want to write. When I wake  up, I write in the
quiet  hours of  the night,  drawing upon  what has arranged
itself coherently in my head.

Do you rewrite?

It's not  my practice to  do so. Regular  writing is for  me
quite dry and labored. Dreaming is best. Much of my training
with don  Juan was in  reconditioning perception to  sustain
dream images long enough to look at them carefully. Don Juan
was  right about  the tape  recorder --  and in  retrospect,
right about the notes. They were  my crutch, and I no longer
need them. By the end of my time with don Juan, I learned to
listen and watch and sense and recall in all the cells of my

Earlier you mentioned reaching the  end of the road, and now
you're  talking about  the end  of your  time with don Juan.
Where is he now?

He's gone. He disappeared.

Without a clue?

Don  Juan told  me he  was going  to fulfill  the sorcerer's
dream of leaving this  world and entering into "unimaginable
dimensions."  He  displaced  his  assemblage  point from its
fixation in  the conventional human world.  We would call it
combusting from  the inside. It's  an alternative to  dying.
Either they  bury you six feet  deep in the poor  flowers or
you burn. Don Juan chose burning.

I guess it's  one way to  erase personal history.  Then this
conversation is don Juan's obituary notice?

He had come  to the end, deliberately. By  intent. He wanted
to expand, to  join his physical body with  his energy body.
His adventure  was there, where the  tiny personal tide pool
joins  the  great  ocean.   He  called  it  the  "definitive
journey." Such vastness is incomprehensible to my mind, so I
can only give up explaining. I've found that the explanatory
principle will protect  you from fear of the  unknown, but I
prefer the unknown.

You've  traveled far  and wide.  Give it  to me straight: Is
reality ultimately a safe place?

I once asked don Juan something quite similar. We were alone
in the desert -- nighttime, billions of stars. He laughed in
a friendly and genuine way. He  said, "Sure, the universe is
benign. It may destroy you, but in the process it will teach
you something worth knowing."

What's next for Carlos Castaneda?

I'll have to let you know. Next time.

Will there be a next time?

There's always a next time.


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                    CASTANEDA'S CLAN


An exclusive interview with three  if the female warriors of
Carlos  Castaneda's sorcery  lineage Florinda,  Donner-Grau,
Taisha Abelar, and Carol Tiggs interview by Keith Nichols.

     It's  been over  twenty years  since Carlos  Castaneda
began   igniting   his   readers'   imaginations  about  the
possibility of viewing  reality differently. Today, American
seekers  are  involved  in  a  magical  blend  of  religious
practices aimed at the same  thing from Zen Buddhism to Yoga
to  herbal remedies  and  even  Wicca and  spiritualism. Yet
questions still  remain from the intensive  searching of the
last several decades, such as when are we going to get free,
anyway? And how do we explain the inexplicable?

    These were the questions on my mind when I found myself
journeying  down  the  coast   toward  Los  Angeles  for  an
encounter with  three women of  Castaneda's sorcery lineage:
Florinda Donner Grau, Taisha Abelar, and Carol Tiggs.

    When Florinda Donner-Grau and I  first met, she told me
about an encounter that serves well to explain the threshold
that  many people  have already  encountered. As  she walked
down the streets in downtown Los Angeles, she saw a floating
blob of  energy. As she  watched it bounce  up and down  the
street, she was a little unsure about her senses. She tugged
on  the shoulder  of a  man standing  nearby whose mouth was
open wide  in a state  of disbelief--or maybe  bewilderment.
She saw that he too was looking at the blob.

    As  a sorcerer,  Donner-Grau is  aware that  reality is
largely perception  and that what we  choose to perceive and
not to perceive is based on our training. So perhaps the man
in  L.A. represents  a sort  of graduation  in the school of
larger possibilities, a generation prepared by Castaneda and
others to perceive subtler energies.

    With the recent publication  of Castaneda's ninth book,
as well as books by  Florinda Donner-Grau and Taisha Abelar,
Carlos Castaneda's sorcerers party has evolved into seems to
beckon forth that  this reality is not the  only one; others
do exist into which we can transcend.

Why are the women of this lineage just beginning to come out
and speak about their practices?

Florinda   Donner-Grau:   Well,   there   is  a  fundamental
difference in the way males and females perceive and respond
to reality.  Females, such as  Taisha, Carol, and  I, didn't
write  about   anything  for  twenty  years.   This  is  the
fundamental difference:  females need to embody  a system of
belief  before they  can write  about it.  While males build
their bridges of understanding with words, women build their
understanding with  their life. Both are  equally valid ways
of  understanding,  yet  they  are  very  different  ways of
processing life.

    In terms of energy the  male cones toward knowledge; he
builds  step  by  step.  In  physics,  this  stepping can be
described like a cone, where  males are always moving toward
a source  but  never  reaching   it.  With  females,  it  is
different  because that  cone  is  reversed. Because  of the
womb,  females  have  the  capacity  to  perceive  knowledge
directly. There is no reason  for her to explain because she
already knows.  And it is this  knowingness, this experience
of being connected with  the source-what we call Intent-that
sorcerers  want to  get back  to. Females  have an  inherent
advantage in that they know  Intent directly, while the male
is always approaching it.

What  is the  purpose of  being connected  with this source,

Florinda Donner-Grau:  Well, I'll tell  you a story.  I love
books; I'm an avid reader. Now  Carlos hasn't read a book in
over twenty years. I know that because he gave all his books
to me.  Now I'm very interested  in phenomenology because as
an intellectual pursuit, it is the only one that comes close
to sorcery.  Well, I'll be  reading something and  then I'll
ask Carlos a question. He'll  be quiet for about ten minutes
and then he'll give me an explanation of exactly what I have
been reading. At that point, I know that he's been out there
grabbing that knowledge from elsewhere. And this ability has
no limitation; I can ask  him something about physics and he
immediately gives me a bonafide answer.

How would you describe what he is doing?

Carol  Tiggs: I  would say  that he  is practicing dreaming,
which is a way of describing  that he is using his energetic
body to grab hold of a line of energy and access information
directly from the source of the universe.

Florinda Donner-Grau: And Carlos  knows exactly what line to
grab. Seers  see that it is  all out there anyway.  But what
makes  a capable  sorcerer is  the ability  to access  these
lines  of information  with control  and at  will. Recently,
Carlos took  a group of twenty  people to a small  church in
Mexico (written about in several of his books). While in the
church, he took the whole group into a state of dreaming and
journeyed into another world.

How does one learn how to do this?

Florinda  Donner-Grau: It's  all a  matter of  having enough
energy  to be  able to  see. We're  all so  consumed by  the
everydayness of  life that we  simply don't have  any energy
left over to see.

How do people use daily life to begin to find where they are
draining themselves energetically?

Carol Tiggs:  When you look  back over your  workday, one of
the clues to  where you lost your energy  is where you began
to feel  tired and not energetically  yourself. Those places
are where you'll find your answers and start to develop some
perspective-and you'll  be able to  begin to pull  back your
energy from  these events and  begin to start  examining the
patterns that keep you stuck within the ego game of hero and

Is this process different for the males and the females?

Florinda Donner-Grau: The process  isn't any different. When
you recapitulate, you take  yourself back and recreate every
event as it happened. Once you have the energy, this happens
automatically  and you  don't have  to reach  it through any
shamanistic means, such as fasting  and so on. You can begin
any  day and  start from  that day  and move backwards. I've
done four  recapitulations of my  entire life to  date and I
find something  new each time. And  what I find is  that not
directly  but  indirectly  we  always  try  to  be  the hero

    At  some  of  the  lectures  we  have given, people are
always taking notes  and I find myself saying  to them, "No,
don't take notes, because those things are meaningless. Just
listen." All of  their energy is gong into  taking notes and
they're missing half of what is really going on.

Taisha Abelar: We constantly hear  people say, If only I was
a part of your group, then I could do this or that. But what
they  don't understand  is that  wherever you  are, that  is
where you start.

Carol Tiggs: Sorcery is really just perception. There are no
rituals, no  dancing, no nothing.  Just perception and  some
techniques  to enhance  perception through  gathering up  of
oneself  energetically. There  are aids,  such as  not-doing

Taisha Abelar:  Or just watching  your thoughts and  hearing
what you are  really thinking. You can learn  a lot by doing

Carol Tiggs:  What I've found is  that people generally fall
into  one  of  two  categories:  either  they  have to be in
control or they are being controlled by something else. When
you  come from  these  two  scenarios, you  generally aren't
perceiving your life clearly. By recapitulating you light up
in your awareness exactly the energies (or reality) that was
constructed so  that you can begin  to perceive the patterns
and programming that control you.

Taisha  Abelar: When  you begin  to clearly  see the  social
patterns that  control you, you start  to move into stalking
yourself. This is where you can become an active participant
in life. Suddenly your boss is no longer that evil, horrible
controller that he once was.  Instead he becomes a mirror by
which you start to see where  you are trapped into the games
of  this reality.  These games  are what  consume or  tie up
people's  energy  and  keep  them  from  perceiving the true
energetic nature of this reality.

    When you move away from the consensus of everyday life,
you can allow  the Intent or the dream that  has been set up
by Intent to become the moving force, the guide.

Florinda Donner-Grau: To do this you have to relinquish this
feeling of having to be the  one in control. But believe me,
even  after  you  have  recapitulated,  you  still have that
feeling  that you  have this  one little  area over here and
that once you get to it, then  you will be the one who is in

Let's  get  back  to  the  ways  in  which males and females
perceive. If females perceive directly, then why aren't most
females   walking   around   steeped   in  understanding  or
knowingness of Intent?

Florinda Donner-Grau:  Males have an  energetic advantage in
the physical world. Though the male cone shape configuration
of  energy  makes  perceiving  the  source  of  Intent  more
difficult, it  is ideal for  being able to  work stronger in
the physical world . There is  no way for females to compete
against  that  energetic  advantage  as  long  as  they  are
imitating  roles  that  males  have  created.  Instead we as
females have to find our  own resources and break this cycle
of  imitation so  that we   can truly  begin to  evolve into
something different.

What is that evolvement?

Carol  Tiggs: To  tell you  the truth,  I really don't know.
What  is  our  Intent  as  we  evolve  and  what  does  this
evolvement entail? For female  sorcerers, part of this comes
into enhancing  the secondary functions of  our wombs, which
are the dreaming  organs in the female body.  And we do this
by recapitulating,  breaking old patterns,  gathering up our
energy, so that we can begin to dream a new dream.

Taisha Abelar: Whatever has happened to us-and something has
happened-we hope to convey to  younger people that change is
possible. But there has to be  some kind of critical mass to
make this change possible.

Florinda  Donner-Grau:  When  you  go  against  the enormous
consensus  that   constitutes  everyday  reality,   you  are
pounding  against a  stone wall.  When sorcerers  enter into
dreaming, the  first thing they will  usually encounter is a
bank  of fog.  When you  see  this  fog you  are pulling  at
something else energetically.

    ln a way,  sorcery is like Chinese Medicine  in that it
treats the  body as if  it were a  field of energy.  Western
Medicine  treats the  body as  if it  were an  object so  it
doesn't  take  advantage  of  the  more  powerful  energetic
reality.  Consequently you  have doctors  cutting out matter
instead of  using energy to change  it. Medicine, like modem
man, would change dramatically if it took advantage of these
energetic  principles to  aid  in  a metamorphis  of current
limitations and illnesses.

Carol Tiggs: What a sorcerer searches for is that evolvement
within  his awareness  or  energetic  field; that  moment or
possibility of  change into a  state of being  that has more

Florinda Donner-Grau: Currently there is so much invested in
institutions like the A.M.A. that  there is no way that they
are  going to  change things  like that.  But what  they are
doing to the body is horrendous. They teach us that medicine
has advanced, but  that simply isn't true. Now  we have Aids
and cancer  and we really  don't know what  the hell we  are

    I  had a  young female  friend who  died of  intestinal
cancer a couple of months ago. On the outside she was living
the  perfect life  but on   the inside  she was  being eaten
alive. You see, her husband was  a president of one of those
huge  corporations and  you wouldn't  believe the  pains she
went through  to impress people. She  was killing herself to
impress other  people. I asked  her, "If things  are so bad,
why didn't  you seek some help?"  But she said that  she was
worried  about what  people  would  think. I  answered back,
"What will they think when you  are dead?" Now, she is dead,
and they don't  think a thing. If that is  the price you are
going to pay, then take off.

    But that's what  we do. You see, in  a way, we're still
monkeys. Don Juan used to tease  us and say that we are like
a monkey who  has reached into  a gourd to  grab some seeds.
The monkey can't get his hand out  as long as he holds on to
those seeds. Humans  are very much the same  way. Our social
expectations are the seeds  which consume our awareness. All
the monkey would have to do to become free is to just let go
of those  damn seeds, but he  won't. We won't let  go of the
seeds to get  ourselves out of a trapped  situation. We just
can't let go.

    Gary  Larson  drew  a  cartoon  showing  an ape who had
fallen  out of  a tree  and was  laying flat  on the ground.
Under the  drawing was the  transcription: The dawn  of man.
The  only thing  he forgot  to add  was that  the monkey had
fallen onto  a patch of seeds.  You see, he had  grabbed for
the seeds; that was the real fall of man.

Magical Blend Magazine (c) 1994

                Carlos Castaneda Overview

Version:      0.4 (under construction)
Last-Updated: Tue May 17 12:54:52 CDT 1994

The Sorcerers' Explanation

Summerized from Tales of Power, Washington Square Press.

The secret of the luminous beings is that we are perceivers,
we are an awareness without solidity or bounds. The world we
think we  see is only a  description of world told  to us by
our internal  dialog, a description that  has been taught to
us  by  others.  We  are   trapped  inside  that  bubble  of
perception and what we witness  on its walls is a reflection
of our world view, our description.

As  luminous beings,  our  perception  is controlled  by the
position  of  our  Assemblage  Point  (the  point  where our
luminous being focuses its awareness on the energy fibers of
the universe).  There are infinite worlds  outside our daily
perceptions.  By  stopping  the  internal  dialog  you break
through this barrier to the totality of oneself.

To this  end sorcerers use "the  right way of walking"  as a
practical  task;  it  saturates  the  tonal  and without the
one-to-one relation with the elements of its description the
tonal becomes silent. Also used are acting without believing
or   expecting  rewards;   erasing  personal   history;  and
"dreaming". To help erase personal history the techniques of
losing  self-importance, assuming  responsibility, and using
death as an  adviser are applied. To aide  in "dreaming" the
three  techniques of  disrupting the  routines of  life, the
gait of power, and not-doing  are used. These techniques are
bound together by living like  a warrior, to give temperance
and strength to withstand the path of knowledge.

The nagual is the unspeakable. All the possible feelings and
beings  and  selves  float  in  it  like  barges,  peaceful,
unaltered, forever. Then the glue of life binds some of them
together and a being is  created. That being loses the sense
of  its true  nature and  becomes blinded  by the  glare and
clamor of the tonal,  where all unified organizations exist.
That cluster is the bubble  of perception. The secret of the
double is  in the bubble  of perception. In  the nagual, the
cluster of feelings  can be rearranged to any  form and made
to  assemble instantly  anywhere.  In  other words,  one can
perceive  the here  and the   there at  once. The  nagual is
witnessed by "will", and the tonal by "reason".

The tonal is but a  reflection of that indescribable unknown
filled with  order; the nagual  is but a  reflection of that
indescribable void that contains everything.

The Seven Gates of Dreaming

Summerized from _The Art of Dreaming_.

First Gate:

 You  reach the  first gate  when you  become aware you are
 falling asleep or have  a gigantically real dream (perhaps
 what some would  call a lucid dream). You  cross the first
 gate when you are able to sustain the sight of any item in
 your dream.

 In  order  to  offset  the  evanescent  quality of dreams,
 sorcerers have devised the use of the starting point item.
 Ever time you  isolate it and look at it,  you get a surge
 of energy,

Second Gate:

 You cross the second gate when you are able to change from
 dream to dream.  For example, you wake up  from a dream in
 another  dream or  use an  item of  your dream  to trigger
 another dream.

Third Gate:

 You reach  the third gate when  you dream yourself asleep.
 You cross the third gate  by moving your engery body after
 having done so. At the third  gate you begin to merge your
 dreaming reality with the reality of the daily world.

Fourth Gate:

 At the  fourth gate, the energy  body travels to specific,
 concrete places  either in this world,  out of this world,
 or places that exist only in the intent of others.

 Go to sleep in a certain position, then in dreaming, dream
 that  you lie  down in  the same  position and fall asleep
 again. This is called the twin positions and it solidifies
 your dreaming attention. The  second dream is intending in
 the  second attention:  the only  way to  cross the fourth
 gate of dreaming.

The Path of a Man of Knowledge

Exceprts  from _The  Teachings of  Don Juan:  A Yaqui Way of
Knowledge_; pages 82-87.

 A man of knowledge is one  who has followed truthfully the
 hardships of  learning. A man who  has, without rushing or
 without faltering, gone as far as he can in unraveling the
 secrets  of  power  and  knowledge.  To  become  a  man of
 knowledge one  must challenge and defeat  the four natural

 The first enemy of a man  of knowledge is Fear. A terrible
 enemy--treacherous, and difficult  to overcome. It remains
 concealed at every turn of the way, prowling, waiting. And
 if  the man,  terrified in  its presence,  runs away,  his
 enemy will  have put an end  to his quest. Once  a man has
 vanquished fear,  he is free from  it for the rest  of his
 life because, instead of fear,  he has acquired clarity of
 mind which erases fear.

 And  thus he  has encountered  his second  enemy; Clarity.
 That clarity of mind, which  is so hard to obtain, dispels
 fear,  but  also  blinds.  If   the  man  yields  to  this
 make-believe power,  he has succumbed to  his second enemy
 and  will be  patient when   he should  rush. And  he will
 fumble  with  learning  until  he  winds  up  incapable of
 learing anything more.

 He must defy his clarity and  use it only to see, and wait
 patiently and  measure carefully before  taking new steps;
 he  must think,  above all,  that his  clarity is almost a
 mistake. And  a moment will  come when he  will understand
 that  his clarity  was only  a point  before his eyes. And
 thus  he will  have overcome  his second  enemy, and  will
 arrive at  a position where nothing  can harm him anymore.
 It  will  be  true  power;  the  third  enemy  of a man of

 A man at this stage hardly notices his third enemy closing
 in  on  him.  And   suddenly,  without  knowing,  he  will
 certainly have lost the battle. His enemy will have turned
 him into  a cruel, capricious  man. The man  must defy his
 power, deliberately.  He has to come  to realize the power
 he  has seemingly  conquered is  in reality  never his. He
 will reach a  point where everything is held  in check. He
 will know then when and how  to use his power. And thus he
 will have defeated his third enemy.

 The man  will be, by  then, at the  end of his  journey of
 learning, and almost without warning he will come upon the
 last of his  enemies: Old age. This enemy  is the cruelest
 of all, the one he won't be able to defeat completely, but
 only fight  away. His desire to  retreat will overrule all
 his clarity, his power, and  his knowledge. But if the man
 sloughs off his tiredness, and  lives his fate through, he
 can then  be called a  man of knowledge,  if only for  the
 brief moment  when he succeeds  in fighting off  his last,
 invincible  enemy.  That  moment  of  clarity,  power, and
 knowledge is enough.

The Books

   Teachings:         Jun 23 1961 - Sep 30 1965
   Separate Reality:  Apr  2 1968 - Oct 18 1970
   Journey to Ixtlan: Dec 17 1960 - May    1971

   [I would like  short reviews of each book,  if you do it
    just email it to castaneda-request@austin.bsdi.com]


The Eight Points
                /               \
  Nagual    Will-----Feeling-----Talking---Reason    Tonal
                \               /

Stopping the Internal Dialog
   Stopping  our  description  of  the  world; breaking the
   barrier of  perception. Stopping the  internal dialog is
   the  key  to  the  sorcerers'  world.  The  rest  of the
   activities are only props to accelerate the effect.

The Right Way of Walking
   Tales  of Power,  WSP Paperback  edition, page  236, don
   Juan says:  The warrior, first  by curling his  fingers,
   drew attention to the arms; and then by looking, without
   focusing his  eyses, at any  point directly in  front of
   him on the  arc that started at the tip  of his feet and
   ended  above  the  horizon,  he  literally  flooded  his
   "tonal"  with  information.  The  "tonal",  without  its
   one-to-one  relationship   with  the  elements   of  its
   description,  was incapable  of talking  to itself,  and
   thus one became silent.

Acting Without Believing
   Acting  just  for  the  hell  of  it,  without expecting

Erasing Personal History
   Removing cues of oneself from the world at large, making
   oneself  unavailable. This  frees you  from the  trap of
   others  attention. This  also helps  to remove Self-Pity
   from your world.

Losing Self-Importance
   Another aide in removing Self-Pity.

Assuming Responsibility
   Assume responsibility for your actions and being in this

Using Death as an Advisor
   Take every act as your  last battle on earth. It doesn't
   matter  if you  win or  lose a  battle but never abandon
   yourself,  even  to  your   death.  You  should  replace
   Self-Pity as your advisor and use death instead. Actions
   taken with death as an advisor have power.

Disrupting the Routines of Life
   Our routines are what allows death to stalk us. A hunter
   learns the  routines of its  pray and uses  them to kill

Gait of Power
   Running  with abandon,  but without  abandoning oneself.
   Imagine yourself being chased in the dark by a ferocious
   animal, if you get away, this is how you will have run.

   Focusing your  attention on features  of the world  that
   are  ordinarily  overlooked,  such  as  the  shadows  of

   Using the  natural shift of  the Assemblage Point  while

   Together,  disrupting routines,  the gate  of power, and
   not-doing   are  avenues   for  learning   new  ways  of
   perceiving the world, and they give a warrior an inkling
   of incredible possibilities of action. These lead to the
   knowledge   of  a   separate  and   pragmatic  world  of

   Fixing  the Assemblage  Point in  position to  give your
   perception coherence. Used in the daily world it's a way
   of behaving towards our fellow men.

   Used to  free energy trapped in  the world. Performed by
   visualizing past events (to  shift your Assemblage Point
   to that point) and reclaiming any energy you left behind
   and returning energy that isn't yours.

Mood of a Warrior
   A mood  in  which  to  approch  the  world,  acting with
   abandon but  without abandoning oneself.  Using death as
   an advisor, each act is your last battle on earth.

Controlled Folly
   Since  a  man  of  knowledge  "sees"  and  he knows that
   nothing  is  more  important  than  anything  else  then
   nothing  matters  to  him,  he  has  only his controlled
   folly, acting as if it  mattered even though he knows it
   does not.

   A sourcerery  technique  of  looking  without staring at
   something. The "not-doing" of looking at something.

Worthy Opponent
   An opponent to spur you on the path of knowledge.

Having to Believe
   Having no  choice, the situation  inspired by the  worth

Man of Knowledge
   A warrior who  has become a sorcerer  and who "sees" and
   knows.  The ultimate  state of  being, in  total control
   over your being.

Energy Body

Assemblage Point
   The  point at  which your  awarness is  focused on  your
   luminous  being causing  the energy  fibers at  large to
   align with the energy fibers inside your cocoon.

Glow of Awarness
   The  glowing  point  at  which  the  Assemblage Point is
   focused, indicating  that the being is  alive. This glow
   lights the fibers and  makes the luminous being percieve

First Attention
   The attention  of the tonal. Used  to assemble our daily

Second Attention
   The attention of the nagual.

Third Attention
   The attention after burning with the fire from within.

Dreaming Attention
   The attention used while dreaming to exercise the energy
   body, it's a gateway to the second attention.

First Ring of Power
   Also the first attention

Second Ring of Power
   Also the second attention

Gates of Dreaming
   The seven  gates of dreaming  are energy obstacles  that
   must be overcome.

Dreaming Emissary

   Energy  beings  from  other  realms  in  your dreams. By
   isolating  then and  indending to  follow them  they can
   transport your awareness to inconceivable realms.

Dreaming Awake
   This  state  results  from  moving  the Assemblage Point
   during normal awareness.

The Tonal and the Nagual
   The  tonal is  but  a  reflection of  that indescribable
   unknown  filled   with  order;  the  nagual   is  but  a
   reflection  of  that  indescribable  void  that contains

The Dreamer and the Dreamed
   The secret  of the dreamer  and the dreamed  is that the
   dreamed dreams  the dreamer, just as  the dreamer dreams
   the dreamed.

The Secret of the Luminous Beings
   The  secret  of  the  luminous  beings  is  that  we are
   perceivers,  we  are  an  awareness  without solidity or
   bounds. The world we think  we see is only a description
   of  world   told  to  us  by   our  internal  dialog,  a
   description that has been taught to us by others. We are
   trapped  inside that  bubble of  perception and  what we
   witness on its walls is  a reflection of our world view,
   our description.

Bubble of Perception
   The bubble of perception is the cluster of feelings that
   have been assembled in the  nagual and bound together by
   the force of life.

From: John_V_LuValle@ccmail.Jpl.Nasa.Gov
Message-Id: <940303144853.CC1605614@CCMail.Jpl.Nasa.Gov>
Date: 03 Mar 94 24:31:00 -0800
Subject: Notes on a talk by Taisha Abelar

 The following are notes I took  at a talk by Taisha Abelar

 10  October  1992  at   the  Alexandria  II  bookstore  in
 Pasadena, California.

 These are somewhat cryptic but  may be of interest to some
 on the list.

 ((my comments if any are in double parentheses))

 The Activity of sorcerers is that of Dreaming yourself.

 Society is oriented toward a "poor baby" syndrome (society
 and the individual are at effect).

 Drills to resolve this :

 Write your  internal dialogue down for  3 days, wait three
 days and read it

 Mark up  the newspaper wherever  the poor baby  concept is

 We presently have a mating/courtship compulsion

 the self is presented as a "poor baby" to the world

 Stalking the self - see how you are living.

 The reason for all this is that mankind's assemblage point
 is in a certain position.

 You can move the assemblage point to another place.

 That's what sorcerers do - move it away from the poor baby

 The  assembalge  point  is  a  place  of luminosity on the
 energetic body,

 it  lights  the  filiaments.  When  the  filiaments of the
 energetic  body  match  those  of  the universe perception
 takes place.

 How do you move the assemblage point?

 You need energy - this may  be obtained from not doing the
 presentation  of the  self in  everyday life  and stopping
 seeking courtship.

 curtail needingness.

 After you've increased your  energy THEN practice sorceric

 1. The recapitulation (see Sorcerer's crossing)

 2. Quiet  the internal dialogue  (Meditation and breathing
 techniques are good for this)

 ((Taisha told a rather amusing story of going to a guru in
 India who had a $900 breathing technique))

 The $900 dollar breath: 3 exhalations, 1 inhalation

 (Use) any  technique that works  - sorcery passes,  gazing

 Practice impeccability, you'll know impeccability when you
 have no self interest.

 Act without expecting rewards or returns.

 Act  impeccably and  the  assemblage  point moves  to the"
 place of no pity "

 Heightened awareness.

 When  the assemblage  point  moves  far enough  you'll see
 different worlds.

 You'll know when  you are there - (you'll  be) very quiet,
 unknown  to   yourself,  you'll  feel   solitude  but  not

 Energy  comes to  you and  will guide  you, energy  of the
 double, the ethereal body. " Poor Baby" ravages energy.

 That's the beginning, heightened  awareness is the door to

 NOW you can use dreaming and stalking.

 Dreaming, use  dreams to enhance awareness  of being, wake
 up  the energetic  body. The  art of  dreaming -  move the
 assemblage point systematically (find your hands, etc.)

 Art of stalking - when  assemblage point moves you have to
 fix it  at new position -  give it reality -  explore, get

 find  out the  ramifications of  the new  position from  a
 bodily energy viewpoint. Then develop the energetic body.

 Use it (while awake).

 Solidify it and act from it.

 Where  Taisha Abelar  is is  a poistion  of the assemblage

 Moving assemblage point to where their's (other sorcerers)

 The  earth too  has an  assemblage point  ((cf. Ley  lines

 embarrassment disrupts the assemblage point.

 There are other worlds than this consensual world.

 Nagual - pronounced " NO - ALL"

 You can move the assemblage point in dreaming.

 (( Taisha Abelar  made a loud scream at  this point in the

 Shriek - makes the assemblage point shift and solidify the
 energy body.

 For a normal human the assemblage point is behind the left
 shoulder at the back.

 Perception   is  encoded   in  the   body  (cf.   Husserl,

 Perception - a facet of corporeality.

 The  only way  to change  the energy  body is  to move the
 assemblage point, lighting up different filiaments.

 Memories  can  reengage,  restimulate  different energetic

 Dream yourself, its up to you

 A man  waits for  death and  while he  waits he  surrounds
 himself with beauty and with strength " The Death Defier"

 The  change comes  from within,  to change  the world, the
 environment, the universe.

 You must move the assemblage point

 Recapitulation - make list  of everyone you've known begin
 with the latest person and work backwards

 Breath  in over  right shoulder  to left  then exhale back
 (rotating the head back) - visualize and breath you can do
 it in the world.

 Don't poor baby yourself.

 Use devices  to jolt yourself you  can move the assemblage
 point up and down.

 (( She talks about her experiences in the other world with
 the trees

   (described in Sorcerer's Crossing)))

 Competition among  the roots of trees  (not recommended to
 move the Assemblage point down)

 The  greatest challenge  - practice  controlled folly, you
 see the situation and you don't do anything about it - you
 don't judge - judging is death.

 Inorganic entities, they permeate  this other realm of the

 Don Juan's/Carlo's new book The Seven Gates of Dreaming

 The second gate is these guys - Gargoyles/vampires/shadows
 they inhabit a close realm and feed off our energy.

 Don Juan's allys.

 Seers  can see  this  energy.  Build integrity  - internal

 Gazing at gravel/leaves/moon/clouds

 But if you don't have  the sobriety of recapitulation then
 there are hazards.

 The Inorganic Entities come thru tunnels, ignore them.

 The Inorganic Entities obey your commands.

 You can  recapitualte your dreams or  recapitulate in your

 If awake  Normal recapitulation start  at right inhale  to
 left, exhale to center.

 In  dreams  inhale  Clockwise,  exhale counterclockwise in

 There are layers of recapitulation.

 Best place  for assemblage point  - an infinite  number of
 other places.

 The spirit,  intent, will let it  move , Best intermediate
 place - "The place of no pity"

 Do the newspaper exercise (looking for "poor baby")

 Take a pen and paper to your internal dialogue.

 Scratch the surface, stalk yourself.

 Taisha  Abelar and  her  fellow  sorcerers are  now moving
 assemblage points elsewhere and  using energetic bodies to
 establish realities there.

 Proper use of sexual energy. if you've got energy to spare
 - ((sex is)) OK if you've recapitualted.

 If you  want to move  the assemblage point  to other areas
 use sexual energy to do dreaming.

 The second gate is the graveyard of failed sorcerers.

 Control, the stalker's sobriety.

 level 1 energy body

 level  2 energy  and physical  body (this  needs lots more

 ((the above  is describing 'going places'  via dreaming as
 an energy body or taking the physical body too))

 After recapitulating there is only NOW.

 This  permits discrepancies  - coming  and going  from the
 consensual universe.

 When moving the assemblage point either:

 1. Get rid of friends

 2. Use them as controlled folly.

 The world has multitudes of realities

 The real challenge  is in the world - can  you get off the
 assemblage point position?

 Stalking -  move assemblage point, give  the energy body a

 ((an example of a stalking exercise follows))

 Tie up the dominant hand and use the other.

 Not doing exercises

 Walk backwards

 Walk on all fours with kneepads

 any trigger - sound/time/smell causes the body to remember

 cover  up mirrors  -  (they  reinforce agreements  and put
 attention on the self)

 Stalk yourself

 look at the world

 Begin recapitulation

 Dream and find your hands in your dream

 Not doing

 Disrupt routines

 and do  exercise to wake  up the energetic  body (physical

From: swedenborg@aol.com
Message-Id: <9403070209.tn300561@aol.com>
Date: Mon, 07 Mar 94 02:09:46 EST
Subject: Notes of January 7 East West tal

I am attaching the file of the notes I took on the Jan 7 '94
Abelar talk  at East West  Books in Menlos  Park California.
Feel free  to post them on  your Castaneda list. I  hope you
enjoy them.

===============cut here=========

These are  the of notes of  the Abelar public talk  in Menlo
Park, California  held January 7, 1994.  These notes are not
in  the public  domain; they  may be  distributed to friends
interested  in  Abelar,  CC  and  Donner,  but please do not
repost  them on  other bulletin  boards and  they may not be
published in  any magazine etc. Please  respect the style of
teaching of  Abelar, Castaneda etc. which  seems to be based
on limited public display.

"Tonight's talk with  be on Stopping. To Stop  you must only
do one thing. Decide to be a warrior or not.

"The assemblage point fluctuates naturally in sleep. It will
also  move under  the influence  of drugs,  deep meditation,
starvation, sensory deprivation.

"The assemblage point is located  behind you at the level of
your shoulder blades.

"Sorcerers use Discipline to move their assemblage points.

"Everyone of us can 'see' energy - even now - but you are no
longer  aware  of  it.  Infants  on  the other hand perceive
energy  directly. However,  as  they  get older  the 'Usher'
introduces them to the world of ordinary reality. Instead of
seeing amorphous  energy, the infant  one day will  assemble
the  energy configuration  into...a table.  A toy.  A dog. A
tree. Each time the transformation comes from the Usher.

"First  and foremost  we live   in a  world of  energy. Only
secondarily do we  live in a world of  objects. The position
of  the  assemblage  point  determines  the  reality that we
assemble of the energy.

"The  sorcerer  [presumably  unlike  the  hunger artists and
sensory deprivers] seeks to FIX  the assembly point at a new
location  [not just  move it].  To agglutinate  energy again
into new sets of 'objects' and hence into a new 'reality.'

"This world is not as important as we make it out to be. Our
language is biased;  we call it 'reality' when  it is really
only  one  of  many  modes  of  the  assemblage  point.  For
convenience though let us refer to it as 'ordinary' reality.

"Ordinarily  once the  Ushers do  their work  of helping  us
perceive the various energy configurations as 'objects,' the
assemblage  point  is  fixed  once   and  for  all  and  the
assemblage point does not move thereafter.

"We are forced to maintain a world of everyday life until we

"By the way death, from  a sorcerer's standpoint, is not the
fast  process  that  it  appears  to  be.  The  glow  of the
assemblage  point fades  quickly, but  all the  other energy
strands that make  up the energy egg of  the human being can
take a long long time to  disperse. This process can also be
slowed down, for example if you were buried in a lead coffin
right after death.

"The  alternative  to  being  stuck  all  your  life  on one
assemblage  point   is  to  move  it   by  the  practice  of
Discipline,  and then  to fix   it at  a new  location while

"A  firm foundation  in the  warrior's way  is required  for
heavy duty stopping and dreaming."

"Discipline is  not the same thing  as practiced by Catholic
girls in  a convent. Nor the  same thing as what  USED to be
practiced by the nuns themselves. It is not getting up early
to  do aerobics  before going  to work,  or eating sensibly.
These are just routines, habits. Not a warrior's Discipline.

"From the  point of view  of a warrior,  stalker or dreamer,
Discipline is abstract - an unbending hooking to a purpose -
so  that  the  actual  implementation  of  the Discipline is
actually very flexible and fluid. It takes courage of steel,
there  is  no  room  for  doubt  or  hesitation  which  will
otherwise rise up to pull you  back to the everyday world of
tantrums and self indulgence.

"Discipline  leads  to  harmony,  well  being  and  balance.
Everyday life, on the other hand, is indulgence.

"Unbending  unyielding  purpose  is   what  is  requird  for
Discipline in our quest for freedom.

"At  the Phoenix  Bookstore [ed.  note -  Santa Monica, CA I
think]  talks recently  - some  of you  were there  - Carlos
Castaneda gave a talk of the 'warrior's way.'

"You can't  'learn' to be a  warrior! It is just  a decision
you have  to make one day  for yourself on your  own. Asking
someone to teach you to be  a warrior is the wrong approach,
it is the 'poor baby me' approach to warriorship.

"Carlos   Castaneda  said   that  first   and  foremost  the
transfiguring  event in  a warrior's  life, what  is at  the
bedrock of  becoming a warrior,  is accepting responsibility
for your  own death. This  is the bottom  line. Don't assume
you are immortal.

"Face infinity and death in the mirror at night.

"Just by  doing this, taking  death as an  advisor this way,
lots of things will fall off, fall away from you.

"Assume responsibility for your perception of the world. Not
just  the  single  perception  you  were  born into. Instead
intend the  movement of your assemlage  point to other areas
of the luminous  egg. If you tighten your  belt, curtail the
other things in your life the pont will JUST MOVE ON ITS OWN
without any exercises or routines  on your part. The lamp of
awareness, strong  now that you have  cut the excess baggage
out  of your  life, will   shine on  all the  other possible
positions of your assemblage point.

"The next  rule of being a  warrior is to pay  your debts. A
warrior is  very generous. He  or she does  not look at  the
world  in terms  of what  other people  owe him  or her. The
warrior  looks at  the world  in terms  of opportunities  to
discharge his or her debts to other people so he or she will
not be tied up forever.

"This paying of debts leads to an unbiased affection for all
things.  Most of  what we  consider to  be affection  is the
trading  of favors  with other  people. The  warrior, on the
other hand,  gives affection with no  expectation of return.
It is not that the warrior is trying to eliminate affection,
be an  unfeeling person. The warrior's  affection is just so
unbiased  it  unravels  everyday  connections. The warrior's
affection  is  so  unbiased  that  if  the warrior goes into
another  reality  completely  different  from  this  one the
warrior's affection will extend to  all the other new beings
that exist in that other reality.

"If  someone has  really INJURED  you this  also needs to be
paid back. The concept of  paying debts is not a sentimental
concept limited to returning the good connections. The point
is  to  loosen  all  connections.  If  you  are connected to
someone  who  injured  you,  you  may  need  to  sever  that
connection by paying  back the injury. So it  is not a moral
issue; it goes two ways."

"The  warrior's path  is an  escape hatch,  somewhere to  go
after you have finished  dismantling everyday life. There is
no  room for  crapping out,  for fear,  for indulgence,  for
regrets or for nostalgia when going into the unknown.

"Unbending determination is the only  choice you can make or
terrible things will happen to you once you have accumulated
enough energy [by using death as an advisor to cut loose the
excess baggage].

"You  CANNOT  be  half  assed,  half  willing  or, with your
partial energy,  even worse things will  happen to you [than
if you had never taken this path].

"Take back the energy used to support the everyday world [by
using  death  as  an  advisor  and  paying  back debts]. The
everyday  world is  a gigantic  edifice but  it rest on just
three cornerstones:

"(1) how we present ourselves in  the world, how we fit into
the  social  structure.  The  recapitulation  lets you think
about all this, how you fit in, it is a looking glass of how
others  see you  in your   hopes and  fears. All  this takes
energy. The warrior looks instead at what he or she is doing
the face of death and what conduct, what intensity is really
appropriate in that light.

"(2) the  second cornerstone is our  biological need to mate
and to reproduce. We are social animals. Sorcerers say - let
the others do  it. Sorcerers need the energy  that goes into
the social  dance and biological need  to get their freedom.
We  refuse to  be the  flower  that  blooms -and  dies -  to
propagate the species. Security of  the family is one of the
strongest  attractions  to  the  social  order.  There  is a
tremendous fear  of being alone,  of dying alone.  Sorcerers
have to learn  to be ALONE for long  stretches, which is why
Don Juan and  the others would test us  by keeping us alone,
on our own,  to see how we handled solitude.  Why are you so
afraid to have  no moives, no friends. It  is also important
to learn  to keep mental silence,  mental solitude, for long
periods. The world will then collapse on its own without the
inner talk! Dreaming is also  very alone, facing the dangers
in the dreaming world alone.

"We are talking about STOPPING  tonight and have to get used
to solitude. As women we just  don't want to be an old maid,
a bitter old maid  with a mole and whiskers  on her cheek as
was held  up to me.  We learn these  things, the need  to be
beautiful  to  ctch  a  good  mate  and  we  fund the entire
cosmetics   industry  with   our  fears   and  worries.   In
recapitulation we have a chance to  see this and to look for

"The warrior's way [is not  to get trapped in the biological
imperative  to  mate  and  the  social  dance  motivated  by
loneliness it]  is to give unbounded  affection instead, not
to  count  the  number  of  affairs  we  have  or  be  in  a
relationship and  daydream about alternatives  that would be
even better for us. A  warrior's affection so transcends the
social order that the warrior can move to any other position
of the assemblage point, even  an unknown universe and still
be full  of affection. So  don't be afraid  to chip away  at
this second  cornerstone of everday reality,  that if you do
so you won't have any affections or feelings left.

"The third  cornerstone of ordinary reality  is very sublte;
it is self  importance. We joked about putting  out a bumper
sticker  'Self-importance kills'  because a  false sense  of
self importance, when undercut, is a great source of suicide
and  illness not  to mention   taking away  from a  zest for
living.  Everyone  manifests  self  importance  one  way  or
another,  either by  wanting to  be best  in something or by
wanting to  play the martyr  and be the  worst - the  use my
bones as  stepping stones to your  own glory syndrome. Don't
substitute false  humility or false modesty  for pride about
your self importance. The important thing to realize is that
you are no MORE and no  LESS important than any other living
thing. To think otherwise is like one ant in a heap carrying
an  especially  big  load  and   thinking  it  is  the  most
important, the best ant when in a moment I will step on that
ant and all  his companions and they will  be equal in their
death. Something will 'step' on all of us someday, just like
one of  us might step on  an ant hill. We  are all equal and
self  importance is  nothing but  a reward  from the  social
order of everyday reality, like the drip of a drug into your
brain to keep  you hooked on the social  order. It is better
to save your energy and take your freedom instead.

"The 'Selector.' A very simple  mechanical model of a needle
pointing  in  a  certain  direction  and  we get our engergy
configuration  lined  up  at  a  new  assemblage  point. The
Selector does  it all for you  if you have enough  energy it
pulls certain things  in the universe down to  you. Once you
have restored your energy by  the recapitulation there is no
need for chanting or special rituals to move your assemblage
point. Where why how the Selector moves the assemblage point
we don't  know all we can  do is acquiesce in  the movement,
act implacably under the terrible pressure of the Selector.

"Stalking. I  - stalkers in  general - use  behavior to move
the   assemblage   point   to   create   maximum   cognitive
dissonance."   "You  cannot   choose  where   to  move  your
assemblage point when you are living as a stalker because if
you  choose you  will not  have enough  cognitive dissonance
between the old  point and the new point  to work with. This
is why  warriors are under tremendous  pressure, because the
Selector - or spirit -  chooses difficult new positions that
are  so scary  or  different  that sometimes  the assemblage
point  of the  warrior, when  subjected to  the pressure  to
move,  starts   vibrating  in  place,   you  can  see   this
energetically. If the warrior lapses into an internal dialog
about what is going on, then  the point will not relocate it
will  snap back  to its   normal position  which for  you is
ordinary reality.

"It takes tremendous pressure to move the point and what you
need  to do  is to  keep the  pressure up  but it  should be
harmonious pressure or you culd  actually go crazy. Once you
have energy  and unbending intent  the point will  move very
easily with no problems and  after you do the recapitulation
it will move sometimes and you won't even be aware of it.

"I had certain tasks chosen for me by the Selector. I had to
completely  live  as  different  people,  this  was not just
acting during the  day or being aware you  are acting it was
complete immersion  in a new self.  24 hours a day.  You ARE
that new person.  Let me be Sheila Waters  for you. [Puts on
wig  and eyeglasses.]  I have  to wear  eyeglasses when I am
Sheila Waters.

"Sheila Waters was pointed out to me by the Selector (spirit
or whatever you want to call  it) I had to become a business
woman, get an MBA, real estate license, paralegal, invest in
commodities, keep business  relationships with attorneys and
accountants and all the other  people in the business world.
I got things  done and made and  lost fortunes. Because when
you  are  in  that  assemblage  position  there is a natural
desire to succeed, not fail, so naturally the tendency is to
try  to make  lots of  money, not  just stand  still or lose
money. If you are not impeccable it is easy to lose money by
not listening to your own inner  voice. I decided that I had
to have  some really great timber  land in the north  and it
was really great  land perfect in every way;  except that it
was near Mt. St. Helena and  when the volcano blew up it was
ruined.  I used  to read  the Wall  Street Journal and watch
Ruyckhaueser [spelling?].

"Other personas.  [Takes off glasses  and wig.] In  Mexico I
was under Emilito's supervision he was more of a guardian or
spectator than a teacher, would not interfere with the roles
the Selector chose  for me. I was Ricky,  the first position
chosen  for  me,  an  American  gringo  male  trying to pass
himself off as a Mexican. I dressed in mans clothing, passed
for a man, romanced a lady  and even used the urinals. Don't
ask me to  tell you what I had  to do to use the  urinals, I
will put it in my new book Stalking the Double.

"The  second  assemblage  point  chosen  for  me was a young
ingenue from Texas,  niece of some women in  Mexico who were
of course really the women  sorcerers from Don Juan's party.
I had blonde hair  by choice and would parade  in the square
waiting to  attract men to  this virginal thing,  because of
course I  had to be a  virgin, and the blonde  hair was very
startling and attractive.

"It is essential  to be absolutely fluid. That  is the point
of  all  the  not-doing  exercises,   so  that  you  can  be
absolutely fluid and when the Selector moves your assemblage
point you will  have the Discipline to be able  to fix it at
its new location.

"You cannot  view yourself as just  a cynical manipulator of
behavior, acting out one role  then another. It must be real
to you, absolutely real.

"Next I was  a crazy beggar. Sat on  the church steps bitten
by fleas and mosquitos all day but although I am allergic to
bites in my role as a crazy beggar woman I did not care, did
not mind them at all. I was a crazy female outcast beggar so
I had 4 strikes against me and  all the time in the world to
just  sit there  and watch  the world  go by  because no one
noticed me or cared."

"To  conclude.  Nothing  is  real,  just  a  manipulation of
behaviour, just  a result of the  accidental fixation of our
assemblage point  at birth. That is  what the stalker learns
from  being  so  many  different  people.  Each  position is
equally  real and  hence  equally  phantoms. We  cherish our
present positions, but even the  closest, most real ones are
just phantoms when you move to another postion.

"It took  years of recapitulation to  undermine the sense of
reality . At the same time I had to replace reality with the
warrior's  way  to  avoid  the  trap  of  cynicism.  Turn my
response to  the world into controlled  folly, the warrior's

"If ou have the energy  all the things it [Selector, spirit]
puts around you become things of beauty and strength, in the
highest sense  your life becomes surrounded  by a display of
living art.

"Remember that you are already  dead, already a phantom like
everything else, and lose your sense of self importance.

"Know beyond a shadow of a doubt that nothing is real."

[Questions & answers; questions inaudible in the garden.]

"After the recapitulation and not doing, then you can see.

"Moving into  another complete band  of the luminous  egg is
like  dying,  because  the  glow  of  your  awareness in the
everyday world has gone out. Awareness is still with you but
you  are perceiving  a  different  reality. To  the ordinary
reality world you are gone, dead.

"There are  similarities between Chinese  acupuncture theory
and the sorcerer's description of  the luminous body. If you
draw  the main  body meridians   they form  an egg  like the
sorcerers describe. Also Chinese theory is that you are born
with  a limited  supply of  intrinsic energy,  same view  as
sorcerers. We think that the  assemblage point in the embryo
is in the embryo and  only relocates outside the embryo when
the Ushers  bring in the ordinary  reality. Also some people
are  born  more  energetically  powerful  than  others.  For
example if both parents are energetic and the baby is raised
on the mother's  milk. But don't worry if  you were not born
with a special abundance of energy, you have all you need if
you will be  careful with it. Also you  will get extra jolts
when your  assemblage point moves.  We just need  to be more
disciplined  to guard  our energy.  It really  does not take
much energy anyway to move the point.

"Nietsche said  whatever doesn't kill me  makes me stronger.
That  is how  sorcerers think.  But otherwise  be careful of
philosophers because they are famous crazy self indulgers.

"Recapitulation. There  is no method. There  is a method but
it is not important whether you move your head from right to
left or from left to right or  set aside a regular time or a
lot of  time. What is  important is the  unbending intent to
recapitulate. Then spirit will guide you into the right form
and time and amount of  practice. With intent, time will set
itself.  When you  make the  right intent,  you will have 27
generations  of  sorcerers  behind  you.  They  did  not all
practice the  recapitulation the same way,  but their intent
will  hook you  support you  and guide  you. The  intent out
there  to recapitulate  is constant  but the  method varies.

"1. Intend it.

"2.  Have an  integrity about   it -  don't brag  or compete
(competition  is  the  worst  thing  in  the  world, it is a
primary  support  for  the  third  cornerstone  of  everyday
reality, the sense of self importance).

"3. Discipline  order harmoney. Don't  be random unless  you
intend it. Most people make a list and work backwards.

"4. Breath.  Direction not important.  What is important  is
using the breath to pull the energy back.

"Letter  came to  Carlos Castaneda  - 'I  recapitulated last
night. Can  I join your  party now?' Recapitulation  takes a
lifetime, not a night."

[end of transcription. By Swedenborg@aol.com]