Part 1: The dream
I am somewhere in America as it’s being colonized, at the Age of Discovery. My consciousness is floating in a small body of water, resting for a few moments. Then I move into a Native woman swimming in the water. As I become the woman, I sense something in the water behind me, where my consciousness was earlier. I swim to the rock in front of me to a dozen or so members of my tribe. They pull up to the shore the body of a white man in military uniform. A European. He is unconscious, but it is unclear whether he is alive or not. As the tribe gathers around to look at this strange appearance, on the other side of the water, perhaps 30 meters away, out comes a company of at least 50 soldiers. They see us and raise their rifles, pointing them at us. I watched myself, as the Native woman, mirror their movements, picking up the drowned soldier’s rifle, not knowing what it was. I could feel the tension in the air, but it didn’t feel wrong. Although I did not know what the trigger was, looking at the men in front of me, I felt my finger moving towards it. They were thinking about it, but I did it. As I pulled the trigger, the gun fired hitting one of the soldiers.
Chaos erupted, and the soldiers opened fire at me and my tribe, quickly scattering to hide behind rocks. Nothing seemed wrong about this, I was just mirroring their actions and hiding behind a rock myself. I was playing a game of “peekaboo” with one of the soldiers, moving to the left, then the right, then the left again. But when I saw the members of my tribe dying, I realized something was terribly wrong. So I rushed at the soldier in front of me. When I got close enough, I recognized the lack of playfulness on his face. His face was a mixture of bewildered expressions, which I found confusing. In a flash, the scene changed and my consciousness entered a group of four Europeans sitting in a wooden carriage.
We were accelerating down a big hill in a two-compartment carriage with no horse. My consciousness hovered over the four Europeans, who were sitting in the rear compartment arguing with each other. They were unhappy with me, the spirit that hovered over them. I felt unwelcome. One of them addressed me and excitedly pointed towards the front of the carriage as if there was something there that I should really check out. I moved to the front carriage and looked inside - empty. I glanced back at the rear carriage, then realized I had been tricked. They had this smirk on their faces as they disconnected the front compartment from the rear. The rear carriage slowed down but I continued to accelerate down the big hill into a dark valley.
I somehow survived the way down, finding myself in a forest area. It felt oppressive and hostile - I had to get out somehow. But the only way up was by climbing a steep and slippery slope that was covered in mud. I began climbing, making little progress. Then I heard something large move in the bushes behind me. Filled with fear, I began to frantically climb. A tiger emerged from the bushes but instead of running towards me, it ran beside me - with me. We made eye contact and I saw its body shimmering with an aura that exuded grace and power. It seemed to be sharing its aura with me, which gave me the power to climb up the muddy slope. As we were running together, I saw the shadowy silhouette of a coyote join to the right of the tiger. As I approached the top of the hill, the tiger turned around and went back down the hill. It’s unclear what happened to the coyote.
I emerged into the light of day to see streets filled with buildings and people walking about - civilization. I don’t quite understand how or why, but I knew that in the process of climbing I had been split into two - light and shadow. My consciousness was of the light half, and I saw my shadow half calmly walking down a different, wider hill, descending into a dark forest. Standing at the top of that hill were either the same 4 men who were in the carriage with us or their analogues. They were standing at the top of the hill, displeasingly glaring as if looking for something. They seemed to sense the presence of my shadow half, but it was invisible to their eyes. Then their heads turned to me, and I started running away. I was trying to divert their attention away from my shadow, something in me wished for the shadow to be left in peace. I knew I was going to be caught, so I climbed up a building, running up the stairs. One of the Europeans was filled with fury and started rabidly chasing me up the building. I felt intense hostility from him, and my response was the wish for death. The man was faster than I, and 3 or 4 stories up he caught me. I was hanging onto some scaffolding high above the ground, and as he lept to grab me, I released my hands, sending us both to our deaths.
I woke up in a sweat and immediately began writing down the dream. I’ll include my interpretation, but first, let’s look at a related work of art.
Intermission: The Great Flood
A few weeks before this dream I went to the Art Gallery of Ontario. I stopped and stared at this beautiful painting by Norval Morrisseau called The Great Flood.
The Great Flood - Norval Morrisseau, 1975
As I stood there, two young women came up beside me to look at it. I wanted to start a conversation but wasn’t sure where to start. But then one of them read the words near the bottom right corner, and I couldn’t help but turn in astonishment at the strange language and inquire about her ability to read it. As it turns out, she belongs to the same tribe as the artist, learned to read the language at the University of Toronto, and even attended Norval Morrisseau’s funeral in 2007. What lucky timing for me! I then tried to put into words what the painting meant to me but stumbled over myself incoherently. After sitting with this painting for some time, this is my attempt:
It’s like a cross-section view of the spirits of nature. Everything seems to be connected to everything else, but indirectly. The inner workings of a creature are not confined by its outline, they blend harmoniously into one another. The way every shape fits in with every other shape gives the feeling that boundaries are permeable, and one cannot look at any one of the creatures in isolation because their Being extends past their biological body.
The distinction between self and other melts away to reveal a commonality, it’s only the organization of the basic elements that varies. This way of seeing the world is very difficult for us modern people. In normal waking consciousness, we’re settled firmly in the subject-object duality that is the prerequisite for categorization. If we’re not careful, over-reliance on categorization dulls our ability to perceive that which transcends category. This painting and others by Norval Morrisseau, if we treat them with the appropriate respect, are portals into a pre-ego-consciousness state. In such a state, conflict is not some uncomfortable state to be avoided, but a dance to be enthusiastically participated in. The creatures aren’t enemies to one another, they willingly participate in a grand game of birth and death.
One final detail that struck me from this painting is that all creatures have the same eyes. It’s akin to a certain psychedelic visual where eyes appear everywhere and look back at you. As if there is one consciousness experiencing from different POVs. Nature split itself off into different creatures with some level of autonomy, and when they compete against each other and eat one another, separation can be transcended and the scene can be seen as Nature in a state of pre-ego oneness.
Part 2: My interpretation
My POV is of the Spirit of Death.
Water scene
I begin in the water, formless, self-less. I move from the body of the dead European seamlessly into the Native woman. That’s because she is identified with nature, one with nature. Her spiritual boundaries are far more permeable than a European’s boundaries. The European condemned certain spirits, but the Natives participated more freely with the spirits of nature. In the initial contact, these two fundamentally different realities were found to be incompatible.
Not unlike the transmission of biological viruses leading to the deaths of many Native Americans, the transmission of spiritual viruses played a major role in the destruction of Native culture. The Native American’s “psychological immune system” had never encountered the “spiritual viruses” that the Europeans had been contending with for thousands of years. The Europeans had a repressed, unconscious desire for death and destruction, and it was projected onto the Native Americans who couldn’t help but be “infected” - that is, mirror the European’s desire and act on it.
The European’s desire for death was given permission to embody in consciousness when one of the soldiers was shot, and like a caged tiger finally, let loose, all the pent-up destructive energy was finally released through the expression of war.
Mandated Christianity
The beurocratic Christianity that (I think) dominated Europe at the time insisted on the purification of its inhabitants of “evil spirits”, which the Spirit of Death would fall under (unless God willed it, such as in a crusade). But Christianity as a beurocracy failed to permeate the individual’s psyche to a sufficient degree to create the unified Christian individual. Before the liberal values of the modern West, there was no room for disagreement: you are either Christian and with us, or against us. In every situation where a European became aware of an element of evil within but lacked the grace of Jesus to redeem them of that evil, the European was left with a difficult choice:
Option 1: Face the evil alone. Contend with it, and if you win, you have authority over it. If you lose, it has authority over you. Risk becoming that which you obsess over.
Option 2: Turn away from the evil within - by othering it and sending it down into the unconscious. That’s not me, it’s something other than I because it has no place in my ego.
This is the unacknowledged consequence of mandated Christianity - Many are not intrinsically driven towards inviting Jesus into their hearts but do it from fear of social repercussions. What are they to do when they encounter evil within their own hearts? Face it alone or hide from it. The act of hiding is literally the inner separation of one element of yourself from the other elements. And in the framework of duality, of subject-object, of self and other, that separation is the generation of psychic structures which are then capable of being embodied by that spirit. In other words, the spirit now has a life of its own. It’s no longer you, it’s in you, which, in a strange way frees you from direct identification with it.
And so the European imprisoned undesirable spirits within himself until the European became nothing but the unconscious agent of a legion of spirits acting through his unconscious. But the European made a big mistake in assuming that by moving the spirits out of awareness, the spirits would leave. Instead, the European’s shadow gradually filled up with more and more condemned spirits, which operate within him unconsciously unless given conscious permission to come out into the light of consciousness.
Jesus says:
“But small is the gate and narrow the road that leads to life, and only a few find it.” (Matthew 7:14)
And also
“Whoever is not with me is against me, and whoever does not gather with me scatters.” (Matthew 12:30)
The only way the grace of Jesus really works is through a true and full commitment to following Jesus as a disciple. Constituents of the state can either love Jesus and follow him as disciples from their own hearts, or out of fear of social repercussions (fake Christianity). It’s better to not believe at all rather than half-ass it. What does half-belief look like? Inability to contend with one’s evil, the increasing filling up of the shadow with “bad spirits” which the Europeans were presented with in the dream. Is the Spirit of Death a bad spirit? My POV had no ill intent. I found resonance within the Native and the European, but the stories constructed about that resonance differed greatly. I was not evil for the Native but I was for the European.
Carriage scene
The carriage scene represents the shared state of consciousness inhabited by the Europeans after the group violence. The front and rear compartments are both in consciousness initially. I hover above them as a spirit threatening the peace. That’s why they are arguing with each other and are generally aggressive towards each other.
The reason why I, the spirit, went into the front carriage was that the European tricked me into believing there was something interesting for me to inhabit. The roll down the hill represents a descent into the European’s shadow following the slaughter they just participated in. But they resisted that descent and did not know how else to deal with me but to trick me into entering the front compartment, then disconnecting it from their consciousness. Their refusal to go down into their own shadow along with the spirit that drives them down is why my descent was violent and dangerous.
The valley, the shadow of the European, was a dark and desolate place. It was a wild forest area that reeked of malevolence. It was eerily quiet. There was nowhere for the spirit to inhabit, and it became restless, realizing its only hope was to escape up the steep, slippery mud slope. The difficulty of ascension up from the shadow (unconscious) to the light (consciousness) of the European represents the psychic chasm that exists between them. In other words, the unconscious is treated as we’ve been treating our oceans - throw your shit down there and forget about it. But there’s a problem - shit floats.
The help of the tiger represents a will to live, a ferocious re-surfacing of unconscious psychic material. The inner tiger of mankind is unwelcome in the conscious light of society. However, it is resourceful and survives the harsh conditions of an untamed shadow represented by the valley. The tiger itself cannot fully protrude up into the light of consciousness, because it will immediately be hunted down, so it acts as a support to elements that do decide to ascend into consciousness. In other words, just because you’re tame and civilized, doesn’t mean there isn’t a tiger within the desolate place that is your shadow. You can’t see it because it won’t come out, knowing you will hunt it down. So it acts through your unconscious by giving its energy to other elements that do reach your consciousness. So instead of having the power of the tiger on your side, it has a will of its own and acts, to some degree, out of spite towards your consciousness because you condemn its nature (which is your own nature).
I still don’t understand the meaning of the coyote in this dream. The coyote was seen only as a silhouette, its features indistinct. A few days after this dream I was sitting outside on the phone with a close friend late in the evening. I had been contending with my own shadow for several days. One of the items on our itinerary was to talk about this dream, and I tried to bring it up several times but each time felt somewhat off. Then as I was about to bring it up again, I saw movement to my left. Turning I saw the silhouette of a coyote! The shadowy figure’s movements perfectly mimicked the coyote in my dream, the difference is it ran down a small hill to where I was sitting and stopped around ten meters to my left. It just stood there, and I stared at it. It was aware of my presence but seemed unbothered. I had only seen a coyote once before in the city, I was very quiet and it ran away as soon as it heard me. This event felt significant to me.
City scene
I don’t quite know why, but my intuition tells me the coyote merged with me during the ascension. We then split into light and shadow when entering the city. The splitting into twins of light and shadow is still a mystery to me.
Civilized life is a big part of the European’s consciousness, and the spirit of death is especially unwelcome in the collective consciousness of modernity. The valley from which I came may have represented the European colonizer’s personal unconscious, but once ascended into the light of consciousness, I, the spirit, found myself no longer in the personal unconscious of a particular European but in the collective consciousness of the society in which that European is embedded.
My shadow twin, disconnected from my will, descended down a hill. That second, voluntary descent may have been into the social collective unconscious - overlooked by the members of the developing American society. In other words, the Spirit of Death never left the European culture, it just entered the collective unconscious where it has been living since.
But I, the visible half of the “evil” spirit in the light of the collective consciousness was an enemy that needed to be immediately expelled. The European was so bent on my destruction that he hardly recognized that in looking for me the European identifies with me, giving me an embodied reality to manifest in the European psyche. The separation between the European and the “evil spirit” which inhabits him is a synthetic barrier created by the consciousness of the European. This means when the European searches for the evil spirit, it finds it not outside the ego but as an aspect of the ego. The subject-object construct falls apart, and the European would rather die than live in identification with the “evil spirit”. And so the desire for the destruction of the Spirit of Death is literally, simultaneously the desire for the physical death of the European himself, if he allows himself to recognize that he and it are one.
As long as the European lives, I live as spirit. Either in his consciousness or unconsciousness. I had been condemned and denied free movement in and out of living beings in the natural world. And simultaneously, having no will of my own, I served as a mirror to the European bent on my destruction - by wishing for my death I wished him death also. The spirit of death haunts us today because of our condemnation of it, and the harder we repress it the more forcefully it will manifest its will within our unconscious. Perhaps through homicide. In Canada and other self-conscious, individualistic cultures, more likely through suicide. The more we hate the desire for death and destruction within us, the more it hates us in return. The harder we try to kill it, the harder it will try to kill us.
Part 3: Conclusions
The West cannot return to a Native identification with nature, and the reconciliation efforts happening today must take this into account. The Native spiritual immune system lived in harmony with nature for a very long time but came into sudden contact with evil so sophisticated that there was simply no opportunity to develop the necessary immunity. With globalization, the biological viruses of one corner of the earth are the problem of another corner, as we’ve seen with COVID. But what I don’t hear being spoken about nearly as often is Jung’s concern for what he called “psychological epidemics” - which he considered a far greater threat to humanity. I would venture to say that what Jung meant by psychological epidemics is what in my dream presented itself as a spiritual epidemic.
If we open ourselves up to the free movement of spirit in the presence of evil hiding in the shadows of others, we will quickly find ourselves acting as vessels of spiritual viruses. The development of a shadow in the European psyche must be mirrored by the development of our own shadow, which is capable of contending with other shadows. I don’t like it one bit, I’d trade it all to live peacefully in nature. But even the most secure walled garden eventually finds itself penetrated by a snake. The question is, what to do about the fact of snakes in the garden?
I’m open to hearing about others’ interpretations of this dream, so leave a comment if you have any thoughts.
You can see hints of the style depicting the boundary-free flow of spirit in The Great Flood. Except I’m not yet capable of the large-scale coherency present in Morris’ paintings. It’s somewhat of a miracle to combine all the low-level forms and flow into a scene that makes sense on multiple levels of analysis simultaneously. I have much to learn from Native artists such as Morrisseau.
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