The Stars Firing Synaptic Dreams of God

Every atom in your body was forged in the bowels of a star, and everything you can perceive in this universe was also formed in a star. If this universe is an illusion, then the stars are the synaptic firings creating the building blocks of the dream of God.

Now, consider the situation before the first stars erupted with light in the night sky. The universe had never seen light, and yet all the matter that was possible was already there. In fact, most of the matter that had been created before the first stars came out was already gone.

What we’re experiencing right now is not the bounty of creation. We are on the last leg of creation. Most of the material content of the universe was already gone by the time the first stars were created. And when the first stars were created there were no planets, no life. There was just that initial light filling up the universe, and those giant stars remaining after the initial splendor.

These stars lived their lives for billions of years and one of two things would happen. Either they would contract enough until they became black holes or they would explode becoming super novas.

The ones that became super novas would give themselves to the universe, sending off everything that had been forged in their bowels and all this matter then would come to join other star systems, reaching the type of matter in these other stars. This new matter would then again form new stars and create the second generation of stars.

The new stars would again either become black holes or supernovas and then they would give rise to more complex molecules and form new stars and new types of planets until we come to this sun that we have.

Our sun is part of the fourth generation of suns. All so that we may have a very rich variety of molecular structures in order to have the complexity of planetary existence that we experience here and now.

It is with this type of planetary existence that we can form different bodies; bodies capable of sustaining life; bodies capable of carrying the type of consciousness that sentient beings have. So, we have gone through all this trouble just to form this kind of body that can carry the sentience of the universe.

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The Tiger-Sheep and the Nature of the Teachings

A tiger cub found itself alone in the world as soon as he was born. His mother was killed by a hunter at the exact moment she was giving birth. The hunter took his pictures, with his foot on her body, wide smile holding the phallic crutch he calls his gun. He shares the picture and tales of his conquest and fake bravery, seeking somehow to steal the fierce nobility of the tigress by imbuing her blood on his pictures, trophies, and tales.

In the meantime, the little cub was left behind to die. He survived, though, when a young shepherd girl, passing by with her flock, saw the cub, and filled with compassion for the dying child took it with her to raise.

The cub was raised among the sheep, and since sheep was all the shepherd girl new, she treated the cub as a sheep. All the cub saw around him was sheep. All he heard was bleats. He learned to walk, eat, and bleat like a sheep. He thought himself a sheep, and seeing only sheep around, he never suspected he was anything other than sheep. All the sheep, too, learned to see him as one of their own. He behaved like sheep and bleated, so they responded to him as they did to each other.

So the tiger cub grew up, obviously different from his flock in appearance, but internally he saw himself as just one of them.

One day, a wild tiger approached the camp, hunting. He was about to pounce on his target, when he spotted the young tiger running away scared like the rest of the flock. Puzzled, he let his prey aside and pursued the young tiger until he caught up with him. The young tiger bleated, scared for his life.

The old tiger grabbed the tiger-sheep by the back of the neck and dragged him away. The tiger-sheep bleated in panic and pain, scared for his life. The old tiger brought his prey to the side of a river, and forced him to look at his reflection for the first time.

“Look,” he commanded, “you are like me, not like them!”

The young tiger-sheep was in shock at the revelation, but all he could do was bleat. The old tiger forced some meat on the young tiger-sheep. It was an unpleasant and terrifying experience, and he vomited the meat in horror.

In time, however, he learned to like the smell and taste of blood, and the meat was strength and force in his body.

So it’s shown the truth of the teachings, that its strength seeks to be stolen by the hunter and never realized, thwarted and hidden by congregations and good intentions, and revealed only by the clear example of He who is a mirror of the deepest Self.

There Is a Well Here

There is a well behind me––an old well. It has been covered by a layer of wood, also old; weakened by the constant rain and the salt that comes with the tropical wind. It has seen many years go by.

No one remembers why there is a well here, in front of these crossroads. There are no houses around. There is no settlement; no permanent resident in this area of the desert. We know from old maps that there is a river of water flowing through in front of me underground.

Sometimes I imagine the dark waters flowing from left to right. Silent. Not reflecting any light, for there is nothing to reflect. I wonder then if in the absence of the solar light this river of water perhaps reflects different shades of black.

And if it were to reflect different shades of black, who would be there to witness?

Behind me, there is a well. The well has been closed off for a long time. Unused, it is being fed by the silent waters––the dark waters. What kind of thirst, I wonder sometimes, are these waters meant to satiate?

I lend an ear to the rushing of the waters. I hear off in the distance the rustling of silent feathers. I close my eyes. I listen to the sounds of the world. They become unimportant. I listen to everything around me as I listen to the falling rain. Not one sound is more important than any other sound.

My thoughts… the constant stream of words and images and symbols, one following another, without any real meaning or logic to it. I sit here and I listen, and they flow from left to right. Moving inside me with no apparent truth in any single stream of thought; with not one image pulling me with it. I simply watch and observe the current that moves, and the lack of meaning in every sentence that is uttered does not deny the fact that there are different shades of non-meaning––different aspects of this unending stream of non-truth, of illusion.

One after the other they flow under the surface of my consciousness and I sit here and I listen for the rustling sound of silence behind the sounds of the world.

The sounds inside me become just as unimportant as the sounds around me. Suddenly, I feel myself immersed in darkness––darkness of light and darkness of sound, sustained in a space of infinite nothingness, only made trickled-reflections of passing tenuous light, lit by an ephemeral attention that is no longer focusing on anything in particular.

 

We Create When We Read Poetry

The writer is an author creating the flow of the speech. However, when we translate a manuscripts from one language to another, we reinvent it. We create it again. Borges explained that the translator of poetry has to be a poet, because when translating poetry, we recreate. We do not just change the words from one language to another, we have to interpret it and reproduce our own version in a different language.

And even when we read the written word we must translate the meaning, and in that we reinvent it, recreate it, give it a form. We can’t help but be the co-authors of everything we read, everything we understand, and everything we perceive.

Without the Swelling of the Heart, No Story Is Worth Telling

In the silence between word and word, between day and day… in the silence between dream and dream, between knowledge and understanding, between thoughts and emotions… in that silence that exists before thought and feeling become one… in that moment of silence before the pushing forth of meaning, the foundations for the making of the world flowers from the depth of the abyss.

It’s in that flowering that the tides of the waters of my heart flow unrestricted; seeking who knows what;moving where they’re being pulled.

Without the swelling of those waters, without the emanation of that light, no story is worth telling.

Click here to listen to this Telling of the Oceanic Tryptic.

I’d Gone to Another Place Again

I was very young. I must have been about seven years of age or five. I can’t remember right now. I had gone to the zoo with some aunts and cousins. After the zoo, we were going to the bus—this was in El Salvador. I was following my sister and cousin. Both were six years older than me. They were walking in front of me. I noticed they had begun to walk in a different way, to swing their hips more. I thought they were doing that because boys like it. I thought it was part of the human game. See, I didn’t realize then that I kept looking at the adults as someone would look at animals in the zoo: “These are their mating habits. These are the things they do when they lie. These are the things they do when they want to be liked.” Then, the girls turned a corner, and I followed them. On the sidewalk, there were two tables used by street vendors to offer such goodies as sweet breads and drinks. They were still setting up. My sister and cousin walked between the two tables, and I followed. I pulled myself up with my hands on the tables, and I swung myself playfully, and I came down. And when I came down, the people were not there. The street seemed the same, but no one was at the tables, and there was no food on them. All was quiet. There was an absence of smell, and everything had a buzz to it. And I turned around. There were very few people, and I ran to the corner to catch up with my cousins and aunt, but they were not there. There were some very old cars, not the type I used to see. And then I returned to the tables and I tried to do the same thing again; and, no, I was stuck there.

Something in me thought, I’m lost. I’ve gone to another place again. I looked at the street, and it went on and on for a while, and I said to myself, this is the way back home; if I walk down this path, I will get home, if don’t deviate from it.

I started walking on that strange street. Then, I saw a police officer; and when you are in those spaces in that world, uniformed personnel give you directions. He was standing in the middle of the street, but it didn’t seem odd. “Excuse me. I’m lost,” I told him.

He said, “You are not lost; if you were lost, you would be panicking and crying.”

“Well, I’m lost because I don’t know how to get back home.”

“Where is home?” he asked.

I said, “I live with the humans in Colonia Zacamil.”

So he smiled and said, “Come with me.” He took me to a bus; the door of the bus was opened. This bus was like in England, on the wrong side of the street, but I still entered through the right side from the street. He said to the driver, “This boy needs to get back home to the humans. Can you tell him when he’s there?”

He said, “Sure.” He didn’t ask where. He just drove. The scenery began to change. Slowly there was more dirt, sun, and more noise. The smells came back.

He asked, “You know how to get home from here?,” stoping the bus in front of the bus stop down the path to my house.

I said, “Yes, I do,” and I did. That was the first time I got lost, and then I started to get lost very often. I shifted the assemblage point by mistake at first.

When I got home, I told my mom what happened, and then I hid when my aunt showed up. My aunt was pale. She was worried. She reported we were all together, we were crossing the street, and then everyone crossed the street and I was not on the other side. She looked everywhere and couldn’t find me. Eventually she went home and told my mom. As she was telling my mom and my mom was calmly telling her, “Well, I don’t know, but you’re going to have to go back and find him,” and my aunt realized by my mother’s calm and dismissive demeanor that I was actually there and not lost, I sprung from behind the couch and pounced at her happily, hearing the bells of her happy laugh and cuddled in the warmth of her embrace under the all touching love of my mother’s smile.

I Am a Figment of Your Imagination

The one who speaks and the one listens, that is the “I” and the “you” implied in a sentence, are theoretical entities. That is, they may be actual beings as, for example, the person who wrote this and the person who is reading it, but the sentence itself exists even when no one is reading it and when no one is saying it any more.

This writing stays there somewhere without any real being saying it and no one reading it. It reads as if there is an author and an audience, even if no one witnesses it, but the author and the audience become actual only when someone reads it. It is the reader, then, that gives life to the writing, making the author and the reader actual, real.

And even then, the one who writes when this paragraph is being read is not the person who wrote it, but the theoretical entity implied in the mind of the person who reads it. I, the writer, am only an entity implied by these words you read. I am a figment of your imagination, only part of you created by you through the mechanism of this language, by the magick of these words you read. “I” am only implied by these words.

Your mind creates me in your mind, yet I could not exist in your mind as the author of these words without the existence of these words, these words that never really existed until someone read them, these words that were not real until now, when you are.

A Seed Carried and Nourished by a Lineage Willed to Germinate (a book review by Viento de Octubre)

The Teachings of a Toltec Survivor is like an ancient recording of Koyote on some level, one one may play and pause at will and even share with others nearby. Like everything ancient, it resurfaces through what it survives.

A seed carried and nourished by a lineage willed to germinate. For a Nahual, it was his call. The clever genius of this book is that it isn’t just a book. It carries a call. The Teller masterfully instals filters into the consciousness of the reader, awakening something. The reader becomes a voyager. There is a playing field that only few will enter. Koyote will continue to speak to every reader, and he will be specifically sending instructions to an intelligence that is beyond what is being experienced while engaging with the book. It is in this playing field that The Teachings of a Toltec Survivor opens as the seed; and there, in that moment, the call is transmitted.

His canvas is the Tonal. Koyote placed detailed attention into being heard by the reader. The voice of the Teller is present. Throughout the writing you will find ways and alleys, methods and formulas, doors, hacks and triggers into an inner journey the ancients call a voyage. Open the book to any page, any chapter, and the writing in any phrase will invite you in. The writing is a key to the reading. His teachings allow you to follow, daring you to know and be guided to turn on. Ancient, deeply buried mechanisms of transformation and evolution are contained within the organic human host as you read and allow yourself to follow. Alchemical furnaces internalize a heating of change-causing agents within an alchemical laboratory known as a temple by simply following along. The act of reading itself becomes the conduit through which Koyote reaches the voyager essential navigational instruction.

He Tells in magick the story teller within, the one writing your story, in a way that allows for the awakening of something deep. Contact is essentially maintained with attention. Guided through by an inner voice that sometimes becomes Koyote, sometimes your higher self, sometimes something else speaking in tones devastating to the ordinary field of thought and meaning. All that remains then is whatever you muster to gather about yourself for a quick reality check, and the book again holds your self gravitationally attracted and electromagnetically attached to whichever reality Koyote is presently presenting your presence as you read. The words proceed again to guide you into an inner world where the voice resonates, and you engage deeper and deeper with the Teachings until, again, you come to realize, as if materializing into something sacred he has already constructed elsewhere in a time long ago forgotten, that Koyote just took you there again. As you read so you voyage.

His art is the Telling, and The Teachings of a Toltec Survivor is an expression of that. It isn’t the Telling itself—not an invocation as such. It is, instead, a sculpture of the artist using elements of his artistry. On his palette one sees magick, lineage, School, Teachings, Toltec, the Telling, Tantra, Yoga, shamanism, comedy, intent, philosophy, story-telling, gaming and more. Will, Nahual, and The Great Work are impressions now left inside your eternal coding as a way to manifest just that. This is his masterpiece.”

By Viento de Octubre

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In this Center of Life

In the solitude of the night I stay, and know that all the words and all the stories are lumps of life and meaning; and in the center I find myself trapped in an island, surrounded by life, all rushing at me at the same time.

In this center of life, I can’t distinguish anything at all. There is no name. There is no God. There is no hell. There is no movement of time and space; just the glorious silence; just the breath rushing in and going out; just her touch; the soft fingers of life holding, moving around, dancing around me.

In pain and joy, her hands play with the silent center. It moves. Sometimes I play with her by moving, talking. The light pulls my arm. The wind moves. The face looks and smiles when she looks back, and in the center of this magnificent womb, what can there be if not the warm embrace, the kiss of her ecstasy? How can there be anything but the loving kiss of the angel of death?

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