NLP and the Modern History of Bilateral Therapies

An excerpt from my book Walking Your Blues Away: How to Heal the Mind and Create Emotional Well-Being

THOM HARTMANN

AUG 18, 2024 (wisdomschool.com)

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Walking Your Blues Away

Chapter 4

NLP and the Modern History of Bilateral Therapies

O imitators, you slavish herd!
—Horace  65 BCE–8 BCE

For just over sixty years—from the turn of the last century, when Freud abandoned the practice of moving his fingers back and forth in front of his patient’s faces, until the 1950s, when Milton Erickson and others began to gain acceptance for their efforts to revive the practice of therapeutic hypnosis—the only way a person could use eye-motion therapy to heal from trauma was during rapid eye movement (REM) sleep. While REM sleep is important and useful, and—as we discussed in the first chapter—is apparently one way in which the normal vicissitudes of life are processed, REM sleep isn’t strong enough to process severe trauma.

         The human potential movement that began to flourish in the late 1960s provided fertile ground for developing new perspectives on how the human mind worked. In the early 1970s, John Grinder, an assistant professor of linguists at University of California Santa Cruz, and Richard Bandler, a fourth-year undergraduate involved in Gestalt therapy, teamed up to develop a model for how the mind and body interact. Under the mentorship of Gregory Bateson, the two created the model and system known as NeuroLinguistic Programming, defining a relationship between the mind (neuro) and language, both verbal and nonverbal (linguistic), and suggesting how their interaction might be organized (programming) to affect mind, body, and behavior.

Eye Motion Therapy (EMT) came out of the early work of Richard Bandler and John Grinder. In the process of developing NLP, the founders noticed that each emotional state and each memory a person carried had its own unique sensory structure. A memory will exist in color or in black-and-white, as a still picture or a movie, and it will have a sound element or not. If you ask a person to point to the memory, the person will point in a particular direction and will be able to tell you if he or she experiences the picture of the memory as being two feet away or twenty feet away. Generally, recent and/or emotionally intense memories are closer and more likely to be color filled, and often are seen as if the person was an observer (that is, they don’t see themselves in the picture), while older and less emotion-charged images are more distant and faded or lacking color, and often the person can see him- or herself in the picture.

         Grinder and Bandler observed that people tend to internalize memories of past traumatic events in bright, full color; the memory-sounds are usually loud and the memory-feelings intense. They discovered that when people shifted these structural components of the traumatic memory—the specific visual, auditory, and kinesthetic qualities (which they called submodalities) of their internal mental pictures and memories of events, the emotional charge of those events shifted as an outcome. They deduced that the structural components of memory are part of the mind’s way of organizing and giving meaning to memories and are the key to therapeutically changing them.

         For example, you might remember a past time of embarrassment as a bright color picture on your left side, about five feet away from you. If you move that picture over to the upper right corner of your field of vision, push it twenty feet out, and then turn from color to black and white, the odds are high that the emotional charge associated with the memory will diminish. Bandler and Grinder call this process shifting the submodalities.

         One of the most important submodalities of a memory, Bandler and Grinder found, is position. So early NLP practitioners such as Bandler and Steve Andreas had people move their memory-pictures back and forth and back and forth to see what would happen. The result was that, with minor pains and troubles, this lateral movement of the pictures rapidly “flattened” the picture, reducing the emotional charge.

         This discovery about moving pictures from side to side, Richard Bandler told me, was a fascinating insight into the power of bilateral stimulation and functions. “If you’re just tossing a tennis ball from hand to hand,” he said, “it’s impossible to feel angry, and if you do it while thinking of a problem, often the problem will resolve or solutions will pop into your mind.”

         There was only one problem with the initial system of having people move their traumatic memory pictures from side to side. For big traumas, this “brute force” method would sometimes bring back to people the intensity of the event so strongly and quickly that they’d break into tears or freak out—an experience known as an abreaction. Although Sigmund Freud had considered abreactions generally a good thing and thought it a sign of healing when patients broke down and cried or went into distress during their therapy sessions with him, experience had taught Bandler and Grinder that this was actually often a re-wounding that left people in greater emotional distress than before they experienced the abreaction. (Numerous studies in the past five decades have proven this to be true. Many abreaction-based therapies that were popular in the 1960s, such as screaming loudly or hitting pillows with baseball bats, have been discredited and discontinued because they were so emotionally harmful to some people.)

         This desire to avoid abreactions led to a search for ways to create true structural change in memories without producing a re-wounding response. So, to avoid abreactions, they suggested people hold the memory-picture in one place; then, while the person held the memory-picture in place—say, a few feet in front of them at chest height, which seems to be where most people hold highly traumatic pictures—they’d have the person move his or her eyes from side to side, following the tip of a pen held in the hand of the NLP practitioner.

         NeuroLinguistic Programming researchers discovered that if the tip of the pen the person was following with his or her eyes didn’t “touch” the picture, there was no abreaction and the intensity of the picture would gradually diminish. When the EMT practitioner did this several times for a few minutes each time, until the pen-tip had moved back and forth over the top of the picture enough to reduce the emotional intensity of the picture by at least 50 percent, then the person would not experience an abreaction when the practitioner finally did move the pen (and thus the person’s vision) into the area that the memory-picture occupied. When the pen finally “punctured” the picture, the resolution of the trauma was rapid and complete, often within a single session.

         This discovery of an NLP system for dealing with trauma was, in effect, a rediscovery of Mesmer’s 1780 techniques that had been used by Freud and hundreds of other psychotherapists up until the hypnosis scandals of the 1890s.

EMDR

<TNI>In the 1987, Francine Shapiro was out for a walk one day when she noticed that side-to-side eye movements seemed to decrease the negative emotions connected with certain traumatic memories that she held. Shapiro carried this insight into her PhD thesis in psychology, and from that developed what she called Eye Movement Desensitization, a technique by which she waved two fingers from side to side in front of a patient’s eyes while having the patient call to mind a traumatic event. Her early experiences with this work convinced her that her technique could quickly heal trauma. She added to the practice a few classic psychological techniques for and renamed the system Eye Movement Desensitization and Reprocessing (EMDR). Eye Movement Desensitization and Reprocessing has now been taught to tens of thousands of professionals and has been the subject of numerous studies demonstrating its efficacy.

         Advocates of the system suggest that EMDR may be effective because bilateral stimulation of the brain brings about some sort of neurological integration of emotional and intellectual processes involving the hippocampus, corpus callosum, and the two hemispheres of the brain. Others have suggested that a variation on Mesmer’s original theory is more correct. While not using Mesmer’s term of animal magnetism or Braid’s hypnosis, what has emerged in the past two decades are numerous systems that purport to use bilateral stimulation in various forms to manipulate the body’s so-called energy field in ways that heal trauma.

         Roger Callahan developed a system called Thought Field Therapy (TFT) and The Callahan Techniques to help clients resolve trauma; he claims that the field he works with is “an invisible structure in space that has an effect upon matter.” His system involves tapping classic acupuncture points on one side of the face, then on the opposite side of the torso, and then tapping on the wrist while watching a therapist move his or her hand in a large circle, then alternately humming and counting (right brain and left brain functions).

         In the late 1980s and early 1990s, Gary Craig developed a system called Emotional Freedom Technique (EFT) for treating trauma that draws on classic NLP systems of submodality shift, as well as on Freud’s pre-1895 techniques of bilateral tapping on the face and body and back-and-forth eye movements. The EFT Website also lists numerous “cousins” of his energy-therapy system, including WHEE, TAT, NEAM, EDxTM, GTT, BSFF, WLH, MMT, PET, and others. What all have in common is that they all claim to heal trauma, using some form of bilateral stimulation of the eyes, ears, face, or body in the process. All have success stories and claim to be able to easily prove their efficacy.

         Another system that relies on bilateral movement and coordination is called Educational Kinesiology, or Brain Gym. Studies in Europe and the USA have shown that many of the Brain Gym exercises that use bilateral movement – rhythmic coordination of the right and left sides of the body – both help heal people of emotional disturbances and improve their memory, learning abilities, and general functioning.

         As NLP co-developer Richard Bandler casually pointed out to me during a training years ago, it’s impossible to get upset while you’re tossing a tennis ball from hand to hand. There is something very psychologically significant about bilateral movement.

EMT in Action: A Profile of an EMT Session

Stephen Larsen, Ph.D. is a longtime friend of mine and the biographer and former protégé of Joseph Campbell. Now retired from university teaching, Steven and his wife, Robin, run the Center for Symbolic Studies. As well, Stephen has a private psychology practice at the Stone Mountain Counseling Center in New Paltz, New York.

         It was in this context that Stephen invited me to co-teach a weekend workshop with him at the Stone Mountain Counseling Center. His topic was broadly based in the ancient psychological, emotional, and spiritual healing systems of shamans, and mine was the modern systems designed to produce similar results through techniques such as NeuroLinguistic Programming.

         Our course, titled “Hunters and Shamans,” was designed principally for therapists, although every year that we presented it a few well-informed lay people would show up. This particular year, one of them was a fellow who I will call Ralph, a man who had been suffering for decades from severe post-traumatic stress disorder (PTSD).

         Ralph was both curious about what we had to say and hopeful that one of us would demonstrate the techniques we were discussing on him, and thus perhaps heal his PTSD. Nothing else he had tried, from psychotherapy to drugs to biofeedback, had helped Ralph; several times each day in the course of the preceding thirty years he would spontaneously and uncontrollably experience an eruption of panic, accompanied by an outburst of tears. These severe symptoms had rendered him unable to hold a job. He was distressed by his inability to earn a living and his need to survive on disability and Social Security payments.

Having told us all of this, Ralph said that he had a past trauma that was troubling him and that he’d like to resolve. He said, further, that it was something he couldn’t talk about without falling apart, so was very interested to try something that didn’t involve speaking the content of the event.

         I explained that I was rostered as a psychotherapist in Vermont but not in New York, so anything I did would not be an attempt at therapy but would, instead, be a teaching demonstration for the purpose of showing Ralph and the others in the room the Eye Movement Therapy technique. Ralph came up to the front of the room and sat in the chair next to me that had been occupied by Stephen.

         I told Ralph that, in the way this technique worked, the therapist would first ask the client where the client held the picture of her or his trauma. Ralph said that his memory-picture was right in front of him, about two feet away, in a square area that roughly encompassed his chest. He began to tremble and tears came to his eyes as he pointed at the spot. I told Ralph and the group that it had been my experience that most people with PTSD held their traumatic memories in roughly the same place as Ralph did, and that when memories were located elsewhere they were usually not the source of true PTSD symptoms. I then told Ralph that to do Eye Motion Therapy a therapist would not have the client look in the direction of the traumatic picture, but would instead direct her or his eyes everywhere else. As Ralph looked away from that spot, he regained his composure.

         Ralph sat opposite me, facing me directly, our knees about six inches from one another. I held a felt marker pen just above his eye level and told him that, with EMT, the therapist would ask the client to hold his head steady and just follow the tip of the pen with his eyes. I suggested that Ralph consider the intensity of the emotion he was experiencing right now as 100 on a scale of 0 to 100, and we’d check it again as we went along.

         Then I began moving the pen around in regular, rhythmic patterns, from side to side across the top of his field of vision, going just to the edge of Ralph’s field of vision, as if I were wiping a blackboard at that height. I continued this for about two minutes, then stopped.

         “What’s the intensity of the emotion now?” I asked.

         Ralph glanced down and said, “Around eighty percent.”

         “Fine,” I said, and repeated the process, this time moving through the center of his visual field as well as above it, but always being careful not to move the pen into the area where he said the painful picture was located. After another two or three minutes of having his eyes follow the pen from side to side again, I stopped and asked how he was doing.

         “It’s down around sixty percent,” he said.

         We repeated the process again, and this time he said it went to about forty percent.

         One of the keys to doing EMT and avoiding abreactions is to not enter the picture until the intensity is below 50 percent. When Ralph reported the emotional intensity to be at 40 percent, I again moved the pen from side to side but this time did it across his entire visual field, from top to bottom to top, as if I were thoroughly washing a blackboard. Whenever I noticed his eyes seize up for a moment and interrupt the smooth flow of motion as his eyes followed the pen, I’d revisit that area a few times until his eye motions were smooth at that spot.

After about two minutes of this Ralph took a deep breath as his eyes were following the pen. The he let the breath out, began to grin broadly, and chuckled under his breath.

         I stopped the pen and asked, “What’s up?”

         He looked at me with an expression of mixed amusement and astonishment. “I can’t believe what a dummy I’ve been all these years,” he said.

         “What do you mean?”

         “I should have just let that go and gotten on with my life. Instead, I’ve wasted more than thirty years.”

         “Are we talking about the event that was bringing you to tears fifteen minutes ago?” I asked.

         “We sure are,” he said. “I was with a medivac unit in Vietnam, and after a really nasty firefight I called in two choppers to carry out the wounded. I was pretty sure all the enemy were dead, so after the choppers were loaded I signaled them to take off. They got about two hundred feet up into the air when two rockets came out of the jungle and exploded both helicopter, raining parts and bodies on those of us on the ground.” He shook his head with an expression of regret, although his tone was matter-of-fact. “I blamed myself for the deaths of those soldiers. Every day since that day in 1970 I’ve seen those choppers explode and heard those men screaming as they fell out of the sky.”

         “And now?”

         He lifted his shoulders and dropped them. “I still remember it. But while you were doing that last pass there with the pen, suddenly it seemed like the pictures flattened out and took on the quality of an old newscast. And I heard my own voice in my head say, ‘You did what you thought was right at the time. It was a mistake, but you did it with good intentions. You wanted to get those men to medical care, and you saved a lot of other lives while you were in that war. Now it’s over and done with. There’s nothing you can do about it, and it’s time to forgive yourself and get on with your life. If nothing else, that’s what the guys who died would want you to do, because it’s what you would have wanted them to do if the situation had been reversed.’”

         “And what’s the intensity of the emotion right now?” I said.

         He shrugged again. “Close to zero. I mean, damn, it’s been thirty years. It’s over and done with.”

        It’s been several years since Ralph participated in that teaching demonstration, and Stephen tells me that he’s doing well in his life, has a job, and is no longer tortured by his past. Ralph is cured of his PTSD.

Of Stars, Seagulls, and Love: Loren Eiseley on the First and Final Truth of Life

By Maria Popova (themarginalian.org)

Somewhere along the way of life, we learn that love means very different things to different people, and yet all personal love is but a fractal of a larger universal love. Some call it God. I call it wonder. Dante called it “the Love that moves the Sun and the other stars.”

Because the capacity for love may be the crowning achievement of consciousness and consciousness the crowning achievement of the universe, because the mystery of the universe will always exceed the reach of the consciousness forged by that mystery, love in the largest sense is a matter of active surrender (to borrow Jeanette Winterson’s perfect term for the paradox of art) to the mystery.

It may be that we are only here to learn how to love.

The paleontologist, philosopher of science, and poet Loren Eiseley (September 3, 1907–July 9, 1977) channels this idea with uncommon loveliness and lucidity in one of the essays found in his superb 1969 collection The Unexpected Universe (public library).

Writing at the dawn of the space age, when the human animal with its “restless inner eye” first reached for the stars, Eiseley observes:

The venture into space is meaningless unless it coincides with a certain interior expansion, an ever growing universe within, to correspond with the far flight of the galaxies our telescopes follow from without… That inward world… can be more volatile and mobile, more terrible and impoverished, yet withal more ennobling in its self-consciousness, than the universe that gave it birth.

Plate from An Original Theory or New Hypothesis of the Universe by Thomas Wright, 1750. (Available as a print and as stationery cards.)

Picking up Dante’s thread, Eiseley offers a sweeping meditation on what ennobles our small stardusted lives, beginning with the story of a seemingly mundane accident that thrusts him, as sudden shocks to the system can often do, toward transcendence.

Walking to his office afternoon, deep in thought while working on a book, Eiseley trips on a street drain, crashes violently onto the curb, and finds himself facedown on the sidewalk in a pool of his own blood. In the delirium of disorientation and pain, he looks at the vermillion liquid in the sunshine and suddenly sees life itself, suddenly feels all the tenderness one feels for the miracle of life whenever one is fully feeling. And then, with that wonderful capacity we humans have, he surprises himself:

Confusedly, painfully, indifferent to running feet and the anxious cries of witnesses about me, I lifted a wet hand out of this welter and murmured in compassionate concern, “Oh, don’t go. I’m sorry, I’ve done for you.”

The words were not addressed to the crowd gathering about me. They were inside and spoken to no one but a part of myself. I was quite sane, only it was an oddly detached sanity, for I was addressing blood cells, phagocytes, platelets, all the crawling, living, independent wonder that had been part of me and now, through my folly and lack of care, were dying like beached fish on the hot pavement. A great wave of passionate contrition, even of adoration, swept through my mind, a sensation of love on a cosmic scale, for mark that this experience was, in its way, as vast a catastrophe as would be that of a galaxy consciously suffering through the loss of its solar systems.

I was made up of millions of these tiny creatures, their toil, their sacrifices, as they hurried to seal and repair the rent fabric of this vast being whom they had unknowingly, but in love, compounded. And I, for the first time in my mortal existence, did not see these creatures as odd objects under the microscope. Instead, an echo of the force that moved them came up from the deep well of my being and flooded through the shaken circuits of my brain. I was they — their galaxy, their creation. For the first time, I loved them consciously, even as I was plucked up and away by willing hands. It seemed to me then, and does now in retrospect, that I had caused to the universe I inhabited as many deaths as the explosion of a supernova in the cosmos.

Art by Luisa Uribe from The Vast Wonder of the World — a picture-book biography of cellular biology pioneer Ernest Everett Just

It is often like this, in some small sudden experience, that we awaken to reality in all its immensity and complexity. Eiseley’s blood-lensed realization is elemental and profound: We are not the sum total of the tiny constituent parts that compose us — we are only ever-shifting and regenerating parts operating under the illusion of a sum we call a self. Any such awareness — whether we attain it through science or art or another spiritual practice — is an act of unselfing, to borrow Iris Murdoch’s perfect term. And every act of unselfing is an act of love — it is how we contact, how we channel, “the Love that moves the Sun and the other stars.” It is the self — the prison of it, the illusion of it — that keeps us trapped in lives of less-than-love. But a self is a story, which means we can always change the story to change, to dismantle, to be set free from the self — and it might not even require a bloody face.

Observing that while other animals live out their lives by obeying their nature, the human animal has the freedom to define and redefine its own humanity, Eiseley considers both the gift and the danger of our malleable and impressionable self-definition. A decade before James Baldwin admonished in his superb conversation with Margaret Mead that “you’ve got to tell the world how to treat you [because] if the world tells you how you are going to be treated, you are in trouble,” and half a century before Maya Angelou wrote in her staggering poem to the cosmos that “we are neither devils nor divines,” Eiseley reminds us of something fundamental that we so easily forget, so easily abdicate, in these times of social imaging and performative selfing:

To the degree that we let others project upon us erroneous or unbalanced conceptions of our natures, we may unconsciously reshape our own image to less pleasing forms. It is one thing to be “realistic,” as many are fond of saying, about human nature. It is another thing entirely to let that consideration set limits to our spiritual aspirations or to precipitate us into cynicism and despair. We are protean in many things, and stand between extremes. There is still great room for the observation of John Donne, made over three centuries ago, however, that “no man doth refine and exalt Nature to the heighth it would beare.”

Art from An Almanac of Birds: Divinations for Uncertain Days. (Available as a print and as stationery cards, benefitting the Audubon Society.)

With that great countercultural courage of defying cynicism, Eiseley insists that it was the humans who nourished the highest in their nature by means of love, who lived with such exquisite tenderness for life in all of its expressions, that propelled our species from the caves to the cathedrals, from savagery to sonnets. (A particularly countercultural point, given he is writing in the middle of the Cold War — an ideology of hate, like all war, under which humans on both sides are taught that those on the other are devils, that power and not peace is the pinnacle of our humanity.) Drawing on his singular access to deep time as a scientist who studies fossils long predating Homo sapiens, he considers what made us human — what keeps us human:

A great wealth of intellectual diversity, and consequent selective mating, based upon mutual attraction, would emerge from the dark storehouse of nature. The cruel and the gentle would sit at the same fireside, dreaming already in the Stone Age the different dreams they dream today.

[…]

Some of them, a mere handful in any generation perhaps, loved — they loved the animals about them, the song of the wind, the soft voices of women. On the flat surfaces of cave walls the three dimensions of the outside world took animal shape and form. Here — not with the ax, not with the bow — man* fumbled at the door of his true kingdom. Here, hidden in times of trouble behind silent brows, against the man with the flint, waited St. Francis of the birds — the lovers, the men who are still forced to walk warily among their kind.

One of teenage artist Virginia Frances Sterrett’s century-old illustrations for old French fairy tales. (Available as a print and stationery cards.)

Millions of years later, Eiseley finds himself one of the lovers as he befriends a large old seagull, grey as himself. Day after day, he sits on an old whiskey crate half-buried in the sand at the edge of the ocean — that crucible of life, that ultimate lens on its meaning — and watches the gull. “I came to look for this bird,” he recounts, “as though we shared some sane, enormously simple secret amidst a little shingle of hard stones and broken beach.” And then, one day, the gull is gone.

With an eye to what remains — which is what always remains when something or someone we love leaves — Eiseley writes:

Here, I thought, is where I shall abide my ending, in the mind at least. Here where the sea grinds coral and bone alike to pebbles, and the crabs come in the night for the recent dead. Here where everything is transmuted and transmutes, but all is living or about to live.

It was here that I came to know the final phase of love in the mind of man — the phase beyond the evolutionists’ meager concentration upon survival. Here I no longer cared about survival — I merely loved. And the love was meaningless, as the harsh Victorian Darwinists would have understood it or even, equally, those harsh modern materialists… I felt, sitting in that desolate spot upon my whiskey crate, a love without issue, tenuous, almost disembodied. It was a love for an old gull, for wild dogs playing in the surf, for a hermit crab in an abandoned shell. It was a love that had been growing through the unthinking demands of childhood, through the pains and rapture of adult desire. Now it was breaking free, at last, of my worn body, still containing but passing beyond those other loves.

Here, in this scientist’s farewell to life, we find an echo of Dante and of Larkin’s timeless insistence that “what will survive of us is love,” we find the first truth of life, which is also its final truth. (This too is why we, fallible and vulnerable to the bone, ought to love anyway.)

Complement with Eiseley’s contemporary and kindred spirit Lewis Thomas on how to live with our human nature and Iris Murdoch on how to love more purely, then revisit Eiseley’s muskrat-lensed meditation on the meaning of life and his warbler-lensed meditation on the miraculous.

Batter My Heart: Love, the Divine Within, and How Not to Break Our Your Own Heart

By Maria Popova (themarginalian.org)

There are many things we mistake for love — infatuation, admiration, need — but there is no error of the heart graver than making another our higher power. This may seem inevitable — because to love is always to see the divine in each other, because all love is a yearning for the sacred, within us and between us. And yet the moment we cast the other as our savior, our redeemer, the arbiter of our significance, we have ceased loving — for we have ceased seeing the living human being.

The Heart of the Rose by Elihu Vedder, 1891. (Available as a print.)

The tragic part, the touching part, the strangely assuring part is that we have been doing this since consciousness — that synaptic hammock of yearning — first crowned the human animal. We have suffered in the same way across cultures and civilizations, and have transmuted that singular, commonplace suffering into some of our most enduring works of art. (“You think your pain and your heartbreak are unprecedented in the history of the world,” James Baldwin observed in his finest interview, “but then you read.”)

Centuries ago, John Donne (1572–1631) channeled the complex interplay between eros and the divine, the confusion of it and the transcendence of it, in the most eternal of his Holy Sonnets. Composed in his late thirties and published shortly after his death, it is read here by nineteen-year-old artist and poetry-lover Rose Hanzlik to the sound of Bach’s Goldberg Variations:

Batter my heart, three-person’d God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o’erthrow me, and bend
Your force to break, blow, burn, and make me new.
I, like an usurp’d town to another due,
Labor to admit you, but oh, to no end;
Reason, your viceroy in me, me should defend,
But is captiv’d, and proves weak or untrue.
Yet dearly I love you, and would be lov’d fain,
But am betroth’d unto your enemy;
Divorce me, untie or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.

Complement with Derek Walcott’s lifeline of a poem “Love After Love,” then revisit Aldous Huxley on reclaiming the divine within.

Jean Rhys on writing (and being)

“All of writing is a huge lake. There are great rivers that feed the lake, like Tolstoy or Dostoyevsky. And then there are mere trickles, like Jean Rhys. All that matters is feeding the lake. I don’t matter. The lake matters. You must keep feeding the lake.”

–JEAN RHYS

Jean Rhys (August 24, 1890 – May 14, 1979) was a British novelist who was born and grew up in the Caribbean island of Dominica. From the age of 16, she mainly resided in England, where she was sent for her education. She is best known for her novel Wide Sargasso Sea, written as a prequel to Charlotte Brontë’s Jane Eyre. Wikipedia

(LitHub.com)

Tarot Card for August 19: The Priestess

The Priestess

The Priestess (or High Priestess, Papess, Pope Joan, Isis) is numbered two. This is the representation of the Goddess. She is the complementary partner of the Magician, possessing all his skill and ability, but with far more insight and psychism. She is more subtle yet somehow far more noticeable.She is almost always shown with the Lunar Crescent, conveying her natural affinity with the forces of Nature and natural cycles. The Magician generates his own power, whereas the Priestess draws upon the forces of life itself.She sits between two pillars with veils suspended between them – it is the Priestess who allows us to penetrate the innermost secrets of life. She is also the bridge between our conscious and Higher selves, by teaching us through our dreams and our subconscious. It is in our subconscious that we hold the keys to the Universe.

Morning Meditation

© Marco Bottigelli

I place my sadness in the hands of God

Only in feeling my sadness can I learn from it, and deepen through it. My sadness is often my teacher, as I learn to outgrow its causes within myself.

I will not anesthetize myself today. I will not distract myself from the pain of seeing what is difficult to see yet important to look at. Rather, I will look with open eyes on the things I have done to attract my sadness, and commit myself to changing them.

Dear God,
Please remove my sadness
By removing its causes.
Reveal to me what I need to see
That I shall be sad no more.
Amen.

I place my sadness in the hands of God

NIETZSCHE ON SNAKES SHEDDING THEIR SKIN

Friedrich Nietzsche

“The snake which cannot cast its skin has to die. As well the minds which are prevented from changing their opinions; they cease to be mind.”

― Friedrich Nietzsche

Friedrich Wilhelm Nietzsche (October 15, 1844 – August 25, 1900) was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers. He began his career as a classical philologist before turning to philosophy. Wikipedia

MINIMALISM Documentary: “Love People. Use Things.”

The Minimalists Premiered Jun 18, 2023 • Directed by ‪@mattdavella‬. After 80M+ views on Netflix, MINIMALISM, starring ‪@TheMinimalists‬, is now on YouTube. Listen to our PODCAST on this channel. Download our FREE MINIMALIST RULEBOOK: http://minimalists.com/rulebook MINIMALISM: A DOCUMENTARY ABOUT THE IMPORTANT THINGS examines the simple lives of minimalists from all walks of life–families, entrepreneurs, architects, artists, journalists, scientists, and even a former Wall Street broker—all of whom are living meaningfully with less. Start your minimalism journey: http://minimalismfilm.com/start

Why Democracy is Important for your Wellbeing | Schwartz Report EP47

Schwartz Rep • Aug 16, 2024 In this episode, we explore the significance of democracy and how it contrasts with autocracy. We’ll discuss how democratic systems promote freedom, equality, and citizen participation, while autocratic regimes often concentrate power and limit individual rights. Join us to learn why democracy is essential for creating a more just and equitable society. Thank you for listening.