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Good Mountain Press Presents DIGESTWORLD ISSUE#139
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~~~~~~~~ In Memoriam: Jay Hotard (1925 - 2013) ~~~~
~~~~~~~~ [ As Civil Engineer, designed foundation for the first skyscraper in New Orleans ] ~~~~~
~~~~~~~~ In Memoriam: Glenn Miller (1925 - 2013) ~~~~
~~~~~~~~ [ Founder of SASSI in Bloomington, Indiana ] ~~~~~

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WELCOME TO   DIGESTWORLD ISSUE#139   September, 2013
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Quote for the Back to School Month of September:

Instead of studying how to make it worth men's while to buy my baskets, I studied rather how to avoid the necessity of selling them.
Henry David Thoreau , in his book Walden

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GOOD MOUNTAIN PRESS Presents ISSUE#139 for September 2013
                  Archived DIGESTWORLD Issues

             Table of Contents

1. September's Violet-n-Joey Cartoon
2. Honored Readers for September
3. On a Personal Note
       Flowers of Shanidar Poems
       Movie Blurbs

4. Cajun Story
5. Recipe of the Month from Bobby Jeaux’s Kitchen: Onion Casserole
6. Poem from Yes, and Even More: "What You Think "
7. Reviews and Articles Added for September:

8. Commentary on the World
      1. Padre Filius Cartoon
      2. Comments from Readers
      3. Freedom on the Half Shell Poem
      4. Smart Phones Need Reading Glasses for Eyes !

9. Closing Notes — our mailing list, locating books, subscribing/unsubscribing to DIGESTWORLD
10. Gratitude

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1. September Violet-n-Joey CARTOON:
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For newcomers to DIGESTWORLD, we have created a webpage of all the Violet-n-Joey cartoons!

This month Violet and Joey learn about Hamlet's End.
"Hamlet's End" at

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Each month we choose to honor two Good Readers of our DIGESTWORLD from those all over the World. Here are the two worthy Honored Readers for September, 2013:

Marisa Gray in South Africa

Danica Wolkiser in Switzerland

Congratulations, Marisa and Danica!

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Out Our Way:


That old saying applies to my months long computer problems which is good news. The XP machine has graduated into "boat anchor" status, and the two functions I needed it most for have arrived on large S7 System. My HotDog editor, which would not work on Windows 7 of S7, has been replaced by Notepad ++ which does some things better, such as its multiple file editing capability (which I haven't tried yet), and, for the few features of HotDog I miss, I have easy work-arounds. At the beginning of August, when things slow down for a few days after the hectic pace of deadlines had slowed down, I installed the XP emulation window which has allowed me to have the full functionality of Picture Publisher (PP10) to do things which I have done for over twenty years quickly and easily, but which I have not found a way to do with dispatch on PhotoShop(PS). PP10 is a bit slower, but it's always ready. I use PS for the initial photo processing of cropping and editing, and with PP10 ready, everything goes a bit smoother and faster. S7, the System I've been preparing for three years is now doing everything I need it to do, and I love it. So I pray for no more PC news from now on, and I imagine that most of you join me in that prayer.

One little tidbit is that Google Analytics finally has the Real-Time function working, and it has been such fun watching as my DIGESTWORLD issues and my reviews are being read in various parts of the world while I'm working. Just saw someone in Karachi reading my Sufi Teachings: The Art of Being by Hazrat Inayat Khan. In previous days, I have seen Readers popping up in Amagasaki, Bratislava, Brno, Baden, Brighton, Constanta, Honolulu, Hormigueros, Irvine, London, Moscow, Toronto, Ulaan Baatar, and Zurich, among other places. I asked Google if they would add the country name because the large dot on the small scale map makes it hard to identify countries, but I can always look up the city names. So thank you all my Good Readers! I may not know it's you because your name isn't given, but I may see what you're reading. My own location shows up variously as Harvey, Gretna, and Terrytown, without my moving one bit, an artifact of zip code irregularities, I suspect, just in case you are watching me read your stuff.


The month began with a watermelon party to which we invited our nearby neighbors, Barbara, Don, Connie, and Fae. I had picked a very large Washington Parish melon from our garden, and we wanted to share it. We gathered at dusk on our West Portico and made short work of half of the melon.

This was followed by trip across the lake to Del's chiropractor followed by a visit with Flo Treadway at Christwood. She was one of Del's bridesmaids, and when we met her brother Bob Coyle at Galatoire's, he told us where she is now living. It's a beautiful assisted-living community nestled into the Northshore, and we had a lovely visit with Flo, the first one in several years since she moved away from her home in Uptown New Orleans.

The next old friend we met on this long weekend was Judge Rae Swent at Tyrone Plantation. We last went there sometime in the 1980s when her mom was still alive and in her 80's. Rae didn't talk a lot then, probably because her mother was so talkative, but now Rae seems to have turned into her mom and was just a delight to be with as she enjoyed breakfast with us in the old plantation home on the outskirts of Alexandria. This was the building in which LSU was first founded in 1860 as the Louisiana Seminary of Learning in Pineville. William Tecumseh Sherman was at the signing and became LSU's first president. The grounds and the building are a treat to walk around and enjoy.

Pecan trees, magnolias, fig trees, sunken garden, and the inside spaces are well-preserved. Rae told me that the room next to ours will be occupied by a crew which is filming "boudoir photos" of pretty girls for a private calendar some wife is creating for her husband's birthday. We saw the lights on under the door till after 10 pm, but unfortunately we never saw hide nor hair nor even a bustle of them otherwise.

We chose Tyrone's Bed-n-Breakfast because it lies only six or so miles away from Oday's home where he was sponsoring our grand-daughter Katie's engagement party. There we met a bunch of new friends, the groom-to-be Stephen Upton's parents. We met Jane Duncan, plus Greg and Debra Upton and uncles, cousins, and Stephen's groomsmen buddies. Almost a hundred folks for the engagement party and we heard estimates of over 800 for the wedding guests at the June wedding which will likely be the biggest shindig of the year in Alexandria, Louisiana. We met many old friends of our daughter's, Mary and John Doggett, and Oday's wife, Julie, his son Oday-John and his two daughters Sylvy and Felice. We had some fun with a throw pillow which as a rebus spelled out "Olive You" which sounds like "I Love You." The heart-shaped pimento in the olive provided an extra clue as to the double meaning.

The party lasted until about 10 pm and the next morning we were up before breakfast time and walked around to enjoy the outdoor spaces of gardens, plants, sculptures, and buildings. We saw the Cleopatra statue, as I called it, until Del called my attention to baby Moses in a basket, so that statue was likely the Pharaoh's daughter. It was about life-size, but done in two plates of metal, at right angle to each other in duplicate outlines. Rae told us later at breakfast that her mom didn't want the statue visible from the street, calling it obscene.


Back on the road, we headed up north on I-49 freeway, switching onto I-20 West to Dallas. We reached Canton in the early afternoon on a sweltering hot day with no clouds in the sky. We walked all the way through the outdoor kiosks to the Civic Center which was air-conditioned. There we relaxed with a bit of food in the cool air before our return trip to our car. Del and I each bought an item.

She found three ornate nested glass dishes, and I bought a Hand-Held Cross from the man who created them. It has a shape that fits easily into a severely arthritic hand and these are God sends for aged people in nursing homes as they love holding them in their hands.

For some ungodly reason we had to drive through Dallas to get to McKinney which is on its northeastern border. Seemed like we spent longer driving through Dallas than the entire rest of the trip. We never seemed to get close to McKinney. Soon we were at Jim and Gina's new home and we visited with them and took them out to dinner at a nearby BBQ restaurant. Amanda and her finance were there. They are in the midst of planning a wedding shower and wedding to be held in a few weeks. I asked Amanda if she was wearing blue jeans and cowboy boots for the wedding and she said, "No, the groom's wearing jeans, but I'm wearing boots under my wedding dress." Guess tennis shoes are out of the question for Texas weddings. We gave Kirt his high school graduation present from his Aunt Kim, his first ever Dopp kit for shaving stuff.

The next morning we left for home, stopped to visit Kim and take a short nap, then on to my brother Paul's home in Opelousas, where he and Joyce had just a few minutes earlier returned from their son's home in Kingwood. We got a few plants from him before we left and drove the rest of the way home, arriving around nightfall. No rest for the weary: the next day we needed to get the gardens to be wiped out by the new paving stone areas cleared.


Ever since we added the cover to our porch, each heavy rain (and a typical rain for New Orleans is heavy) would flood the porch. We found a way to add a drain under the edges of the porch and this was part of the new project which added a pergola across the southern edge of our house with a paving stone base under it. Plus on the north end, we added a paving stone area which circled the Herb Garden and its cypress tree. That's the good news. The bad news is we lost the beautiful garden outside our downstairs bedroom, and this area has to be rebuilt once the pergola project is completed. The plants are another story. My mother's favorite plant was her Yesterday, Today, and Tomorrow plant and for the past four years, we've nursed the plant at our new house and this year, it had bloomed fully for the first time. And now it had to be moved, much to my chagrin. It's like putting a member of one's family on life-support and hoping it survives the transplantation and soon grows healthy again. We found a place near the SE corner's palm tree to which we carefully dug up, moved, and re-planted the YTT bush, saving prayers for its health before we dug it and after we planted it. So far, so good.

Another chagrin came this year, when after three hard freezes had killed off our two bird of paradise plants, they survived a mild winter and grew to full height. We were happy to see the growth finally, but the chagrin was in realizing that these were large plants, not the shorter bird of paradise plants we had hoped for. The leaves were topping the edge of the new porch's roof and squirrels could use them to reach the roof, an unacceptable situation as they love to sharpen their teeth on the lead roof vent covers and that leads to leaks. So, we had the two plants moved out to the western edge of our estate where we can still see them from a distance and visit to enjoy their blooms.

The live oak will have a new garden built around its base using some of the dirt excavated; that project is still in the planning. Our new mulch got most of the other dirt on top of it. The lawn and gardens are a moveable feast, and each year more movement and improvement takes place. I had a chance to visit with the new owners of the Roadhouse, our previous residence a block or so away, and Robert the new resident asked how we ever arrived at such a beautiful arrangement of the lawn and garden.

That question was not answerable in full because we went through so many iterations before we got it where we liked it. Then we moved. We're going through those iterations now for our new home and garden, learning what works, and what doesn't, lessons which sometimes takes years. My citrus garden that was so beautiful and productive at our former home, has not shown any signs of surviving in the spot we deemed best for it. There's more work to be done. Our veggie gardens, on the other hand, are thriving and producing a bountiful harvest. I created a recipe called Okra Jambalaya to use okra and eggplants and I'll have that as the Recipe of the Month in an upcoming issue. We have more eggplants and okra than we can eat, so almost half of it is going into the freezer for winter time dishes of étouffées, jambalayas, and gumbos.

With the monkey grass dug up for the new pergola area, we have begun planting it as a border for the Secret Garden (called that because it is invisible from the house) on its west and south border. The low flowers on the north border facing the house will be grass only as the monkey grass will mask the low-growing blooms in the non-secret side of the garden. The rain has been helping the transplanting process by coming by at least every other day.


Whenever Cox has a problem with the cable, our Wi-Fi on our new Blackberry Z10s will become disabled. I called Verizon Tech Support, and Jeff the first guy couldn't help me, sent me to Joseph, another guy, and Joseph couldn't fix it and sent me to Blackberry Tech Support gal, Ashley who knew exactly what to tell me to do and the Wi-Fi was instantly connected. Whenever this happens to you, it's a sign that you need to write down the instructions right away as it will likely happen again. Z10's are new to Verizon and eventually their Tech Support will learn the procedure, but even one call is a hassle if you can do it alone, so WRITE DOWN the steps. I did. About two weeks or so later, the same problem recurred on mine and Del's Z10 and I found the instructions in a few minutes and was back up.

This time I copied the instructions into Email, sent it to both our phones and put it in a permanent reference spot in case it happens when we're away from home. This is an example of why couples should always switch to the same new phones, so that these tricky procedures only have to be learned once and will work for both phones!


When we don't have a ready NetFlix DVD or BLU-RAY movie ready, we go into what I call "Dialing for Dollars" from a local 70's TV show in Boston, maybe it was called "Bowling for Dollars" or "Candlepins for Cash". During one of those nights, I came across a PBS show called "Radioactive Wolves" and it was a gig by a great Jazz combo. Hmmm, interesting name for this group, so we watched it all the way through, returning later to see the DVR'ed first half. The piano player looked familiar and turned out to be Hugh Laurie of "House" and "Ask Jeeves" fame. He was also the main vocalist and he did several great Professor Longhair tunes such as "Go See the Mardi Gras". Clearly he loves New Orleans music and his players were all virtuosos on their instruments. The female trombone player was a whiz, the drummer, the sax player, and the two female vocalists: all of his combo could have been natives of New Orleans judging by their moves and the way they played and sang, including Hugh. He explained that this gig was designed to commemorate the night Prof. Longhair became famous when he played in this very same lounge on the Ocean Liner Queen Mary, which is now docked in San Pedro Harbor of Los Angeles, and is no longer rocking to the waves of the Atlantic, but was rocking that night to the N'awlins rhythms of Prof. Longhair as incarnated in Hugh Laurie and his great sextet.

Oh, about the name: I think Radioactive Wolves would be a great name for a jazzy combo, but Hugh's special pre-empted a PBS special about actual radioactive wolves living at the old Chernobyl nuclear power plant which did a meltdown, and the name never got changed.


This month brings two changes to our DIGESTWORLD Issues. The first change came about because we have been publishing one poem from each of the five chapters of Flowers of Shanidar, and for this issue, we had completed one of the chapters. To keep the continuity going, we will begin adding in poems from our second book of poems, Rainbows & Shadows, to keep the monthly quota of five until we have completed the two books.

The second change also begins this month with my review of Pilgrim at Tinker Creek by Annie Dillard. This review was written before the first issue of DIGESTWORLD and has not been made available to its readers before. Our staff has identified about a hundred reviews in this category which will be published, one at a time, each month, as the first review. These reviews tend to be shorter than our most recent reviews and we hope you enjoy a look back at Bobby's earlier writing.


This is the place where I share events during the last week of the month. Carol Fleischman came over for a work session with Del and then enjoyed a lunch of Okra Jambalaya with us. Look for the recipe in an upcoming Issue. Got a shot of Carol in her new Smart Car, so practical for a resident of the French Quarter. On the last Sunday of the month we went to a Brunch and Diane and Ronnie's home on Fairfield below Lapalco in Timberlane Estates. Sandra and John Wayne Calender joined us there. I noticed Diane had his name card with WAYNE on it. Del and I knew one other John Wayne whose last name was Melancon, but everyone knew him and called him, John Wayne. On the other hand, I always called Calender only John and found out only recently he was called Wayne by other people. John and Sandra are veterans at Home Trading and often vacation in homes of people in other countries who have previously stayed in their home. They have a separate place to stay for house guests so they avoid the hassle of arranging simultaneous vacations. He is full of stories about the delightful people they have met this way. They use the oldest service and have never had a bad experience, while having lots of wonderful experiences with home trading.

One morning as I left to go to my PJ's Coffeeshop, the sun was shining at 7:15 am and I was surprised to see there was a light rain falling. Later, I came of Breaux Mart and saw a huge, full rainbow in the early morning western sky. These require exactly the right conditions and are rather rare. I recall the last one I saw when I came out of my garage in our previous house to go to work on August 1, 1995. There was this full, vibrant rainbow filling the morning sky on the last day I was going to spend working at Waterford-3 Power Plant. It was like a cosmic exclamation mark on my new career as a writer, like Noah, whose new career began with a similar cosmic event, in fact, the very first ever rainbow on Earth.

Our friend, Rosie Harris, who introduced Del to the local garden clubs, has now moved to Slidell where she lives with her daughter Cathy. Del went to visit Rosie this month and brought back a photo of her beaming smile in her new quarters. Another friend, Ruth Ryan, sent a photo of a luncheon to which she invited her mothers caregivers, four gals whose care allowed Ruth's mom to stay at home during her last days.

Del's Investment Club met at Timberlane the last Monday of August and it was white-glove inspection time again. All my working books were hidden from sight for the event, but I stayed around working to finish up this issue. The Saints are 3-0 in preseason and gave the Texans a whipping last night. So great to have Sean Payton back on the sideline again. Del said to me, "They sure seem to be interviewing Mickey Loomis (Saints General Manager) a lot." Yes, but remember he was suspended last year for the first half of the season. Yes, it feels great to have things back to normal with the Saints, because for them normal means a run for the Super Bowl.


The past 31 days of August have found us at home mostly after a trip for engagement party in Alexandria and to our son Jim's new home in McKinney. It's been a marvelous summer in New Orleans with sunny skies, white clouds (our Good Mountains), lots of scattered showers and cool breezes. What a delight after 3 super-dry summers and lots of new trees and lawn areas needing watering. Our garden is still thriving with our creole okra, and our second crop of cucumbers just now approaching eating size. Soon we'll be planting green onions and other fall crops. I expect we'll be picking white cotton soon as the bolls open up. Our new paving stone areas and pergola are completed, but lots of clean-up and new gardens to plan and plant for.

My PC workstation is going great with my Picture Publisher 10 working on S7 Windows 7 in an XP window and my discovery of Notepad ++. The Saints in preseason are back as strong as their Super Bowl year, and the LSU Tiger football team with its new Offensive Coordinator is looking like a jigsaw puzzle with the last crucial piece solidly in place. Maybe this will be the next year we've been waiting for.

This coming month of September will find us mostly home. Saints games each Sunday and LSU games on Saturday, and Broadway Musicals at the re-opened and enlarged Saenger Theater downtown on certain Friday nights. Two bridal showers and two weddings are coming within the next month or so. Till we meet again in October, God Willing and Gentle winds blow, whatever you do, wherever in the world you and yours reside, be it Fall or Spring, remember our slogan for this God Given year of Grace:



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Quotes Selected from quotes.htm this month:

They copied all they could copy, but they couldn't copy my mind, so I left them copying merrily, a year and a half behind.
Rudyard Kipling ( English Writer and Poet, 1865 - 1936 )

I too had woven a kind of basket of a delicate texture, but I had not made it worth any one's while to buy them. Yet not the less, in my case, did I think it worth my while to weave them, and instead of studying how to make it worth men's while to buy my baskets, I studied rather how to avoid the necessity of selling them.
Henry David Thoreau

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For the convenience of Good Readers looking for Rudolf Steiner reviews, we have added a direct link on the Chapters Index Page.

Chapter 4: Spiritual Science
       Chapter 4a: Rudolf Steiner

One click will take you directly to all the latest reviews of works by Steiner.

From Flowers of Shanidar, A 1990 Book of Poetry by Bobby Matherne

       In a small dark cave in the hills of Northern Iraq near the Turkish border the excavator Ralph Solecki found in 1960 the bones of a young man placed in the recess between two large boulders. Analysis of the remains from the cave of Shanidar determined that the burial occurred over 60,000 years ago.
       Soil samples collected near the bones were only analyzed several years later and produced a quite unexpected result. Ordinarily a small random assortment of pollen grains would be found in funereal soil samples, but the Shanidar soil analysis revealed thousands of pollen grains from wild flowers of the region. Flowers of rose mallow, hollyhocks, hyacinths, and other indigenous varieties of flowers had been systematically collected and transported to the cave of Shanidar as a funerary tribute.
       Astonished, the scientists were confronted with the earliest known evidence of a burial ritual. From the very dawn of mankind a message had come down to us, written in pollen grains from the flowers of Shanidar, of the birth of a new consciousness — the consciousness of death.
       How far have we progressed in the knowledge of ultimate destinations in the 600 centuries since that funeral celebration? As we stand before the door to the new millennium, do we dare to knock? Are we ready for the new flowers of Shanidar and the birth of consciousness that will surely accompany our passage into that new era?

These poems are from Bobby Matherne’'s 1990 book of poetry, Flowers of Shanidar and have never been published on the Internet before. Here in the beginning of the new millennium, we are publishing each month five poems, one from each Chapter of the book. (Flowers drawn by Artist Maureen Grace Matherne)

1. Chapter: Hollyhocks

      Journey Of One Step

The pilgrim steps into the palace.
"Welcome Pilgrim to our shrine,"
       the keeper smiles,
"How was your sacred trip?"

"Journey of one step takes place
       after 1000 miles," the pilgrim replies.

How easy does that single step appear
When we at last approach our heart's desire.
Onlookers say, "Look how the runner draws near,
Only one more step until he meets the wire."
Only one more field goal, one more run,
Only one more touchdown
       and the championship is won.

How easy does that final step appear:
The goal, the pilgrim, and the step in sight,
And though the journey takes an entire year,
The pilgrim keeps in mind his sacred plight.

His walk, a random one to others, true;
But it's his inner goal we cannot see,
So of the final step we make much ado,
For then we see his heart in purity.

2. Chapter: Hyacinths


Deep in the bowels of Mother Earth
Metallic metamorphosis
In subterranean reaches
Progresses to its golden birth.

In time the doctor with his third eye light
Probes the darkness of the passages,
For a sign of foetal messages,
With forceps he hauls into sight
The precious boon for all to see,
Carried to its incubator
Poured out in all its purity.

Its golden child grows to maturity
And hammered into shape by artisans,
Completes the fated alchemy.

There in the evening light it glistens.

3. Chapter: Rose Mallow

      Three Telephone Poles

Three telephone poles
Splayed against the August sky
Their cross-arms bearing the wires that
Carry the channels of communication
Between one and all.

Three telephone poles Resonate with three earlier cross-arms
Bearing their burdens against the Golgotha sky
Our channels of communication
Between the One and All.

4. Chapter: Rainbows & Shadows

This month, as we near the completion of Bobby's first book of Poetry, Flowers of Shanidar, we begin poems from his second book of Poetry, Rainbows & Shadows (1995), with its droll Introduction written by Peter Devine.

      Introduction by Peter Devine

        To Play's The Thing

One sunny, bright, and cloudy day
       Young Bobby's mind went out to play
We've haven't seen it since that time
       But Rainbows often come our way
In Mystic Showers, full of Glee,
       Magic, and Philosophy.
No reason binds this poet's rhyme,
       He writes because his mind is free.

Once again Bobby has slipped the surly bounds of the FAA, ICC, FCC, NBC, and Polite Society and has brought back a shipload of treasures from other planes, other rooms. Take time to examine them, and you'll want to make the trip yourself!        — Peter Devine

5. Chapter: Violets

      On Earth As In Heaven

We don't pray to the Father,
"My will be done on Earth not yours."
And yet how often do we act
Like we know how to set the course.

The young adult must ever learn:
The conscious mind is like a horse
That would run free out of the barn
Unless the rider stayed the course.

The wild horse may live ever free
An attractive thought to our teens;
But where's the human dignity
And inner sense of self-esteem?

So when you pray for what you will,
Request "Your will be done not mine."
Heed the proddings of the bridle
And the rider incarnadine.

Then will the horse and rider live
In complete synchronicity:
Each receive what the other give
In happiness and liberty.


Movies we watched this past month:

Notes about our movies: Many of the movies we watch are foreign movies with subtitles. After years of watching movies in foreign languages, Arabic, French, Swedish, German, British English, Russian, Spanish, Italian, Japanese, Chinese, and many other languages, sometimes two or three languages in the same movie, the subtitles have disappeared for us. If the movie is dubbed in English we go for the subtitles instead because we enjoy the live action and sounds of the real voices so much more than the dubbed. If you wonder where we get all these foreign movies from, the answer is simple: NetFlix. For a fixed price a month they mail us DVD movies from our on-line Queue, we watch them, pop them into a pre-paid mailer, and the postman effectively replaces all our gas-consuming and time-consuming trips to Blockbuster. To sign up for NetFlix, simply go to and start adding all your requests for movies into your personal queue. If you've seen some in these movie blurbs, simply copy the name, click open your queue, and paste the name in the Search box on NetFlix and Select Add. Buy some popcorn and you're ready to Go to the Movies, 21st Century Style. You get to see your movies as the Director created them — NOT-edited for TV, in full-screen width, your own choice of subtitles, no commercial interruptions, and all of the original dialogue. Microwave some popcorn and you're ready to Go to the Movies, 21st Century Style. With a plasma TV and Blu-Ray DVD's and a great sound system, you have theater experience without someone next to you talking on a cell phone during a movie plus a Pause button for rest room trips.
P. S. Ask for Blu-Ray movies from NetFlix, and if it says DVD in your Queue, click and select Blu-Ray version.
Hits (Watch as soon as you can. A Don't Miss Hit is one you might otherwise have missed along the way.):
"Girl Crazy" (1943) Mickey Rooney and Judy Garland hop across the prairie to the sound of Gershwin played by Tommy Dorsey and choreographied by Busby Berkeley. A treat for ear and eyes all the way through. Story is incidental.
“Here on Earth” (2000) Richie Rich against the Townies. How can they ever get on the side? A beautiful love story might be the key. A DON’T MISS HIT! ! !
"The Rievers" (1969) Steve McQueen driving a Yellow Flyer, a hero on a journey from Mississippi to Memphis for education and fun. A DON’T MISS HIT! ! !
"The Cincinnati Kid" (1965) Steve McQueen tackles Edward G. Robinson in hi-stakes poker game in 40's New Orleans. Great period sights of the city: Riverside wharves, Jackson Square before fences, e.g.
"Someone Like You" (2001) with two sexiest actors in a movie, you can throw all theories out the window because they'll end up together. You'll definitely enjoy the trip getting there. A DON'T MISS HIT! ! ! !
"White Irish Drinkers" (2010) in 1975 Brooklyn. "We don't do drugs; we're white Irish drinkers." Also we beat our wives and kids. Can one boy survive and escape this dead-end street? A surprisingly good movie. A DON'T MISS HIT !
"Pipe Dream" (2002) in which a plumber becomes a movie director as a way of meeting chicks. Fun movie with amazing twists and insights into movie-making. A DON'T MISS HIT!
"Erased" (2012) Told Del we couldn't play this Blu-Ray because it was erased. But we played it anyway and watched Aaron Eckhart turn into Jason Bourne in front of his teenage daughter's eyes. A DON'T MISS HIT ! !
"The Time Traveler's Wife" (2009) Audrey Niffenegger's great novel done masterfully. The tender moments when she remembers her husband visiting her as a child on the edge of the forest. And many more. A DON'T MISS HIT !!!
"December" (1991) a movie about how Pearl Harbor affected four Prep School seniors who had to overnight make decisions which will affect the rest of their lives: whether to get on the bus to the recruiting station the next morning. A behind-the-scenes look at what must happened all over the country during this traumatic time. A DON'T MISS HIT !
"The Private Life of a Masterpiece" (2003) Renoir's "Moulin Galette", van Gogh's "Sunflowers" and Seurat's "Une Dimanche sur la Grande Jatte" were described in detail.
"River's End" (2005) is childhood's end and it helps if you only know a cowboy.
"It Happened One Night" (1934) Claudette Colbert and Clark Gable burn up the screen as they bus, walk, hitch-hike, and drive from Miami to NYC, where annulment, marriage, and love may await one or both of them. A DON'T MISS HIT! ! ! !
"Olympus Has Fallen" (2013) and one of the King's Men can help put it back together again.
"Cold Creek Manor" (2003) Dennis Quaid and Sharon Stone as strangers come to town, and an even stranger man shows up to wreak havoc in their lives until he gets his home back from roof to floor.

"NCIS: Season 10: Disc 1 (2013)" Watched the first two episodes. Aftermath of the bombing of NCIS offices, the dispatching of Brian Dearing with prejudice, the slow healing of Ducky from his heart attack.
"NCIS: Season 10: Disc 3 (2013)" two great episodes: Devil's Trifecta and a Christmas special where the two Tony's reconcile plus two special features. Plus the dynamite mid-season surprise!

Misses (Avoid At All Costs): We attempted to watch these this month, but didn't make it all the way through on most of them. Awhile back when three AAAC horrors hit us in one night, I decided to add a sub-category to "Avoid at All Costs", namely, A DVD STOMPER. These are movies so bad, you don't want anyone else to get stuck watching them, so you want to stomp on the disks. That way, if everyone else who gets burnt by the movie does the same, soon no copies of the awful movie will be extant and the world will be better off.

"Solomon Kane" (2007) younger son leaves home and the eldest son he stops in act of rape falls over cliff. Solomon becomes pirate Captain, then is rescued by priests and becomes a man of peace, until Malachi begins to devastate the region and Solomon is called to oppose him. Surprises lay in wait for both of them.
"Identity Theft" (2013) someone stole the movie and replaced it with a TV sitcom without a laugh track and without any redeeming graces. A DVD STOMPER ! ! !
"The Nines" (2007) how many times should The Nines come up? One is too many.
"The Girl with the Dragon Tattoo" (2011) Oh boy. Watched Stieg Larson's masterpiece chopped up into American Schlock. "Gone with the Wind" was on at the same time, and I wondered what a Swedish version of Mitchell's masterpiece would be like with Swedish-speaking actors wandering around Tara and burnt-down Atlanta. Kitsch-City, like this one!
"The Apple Cart" (1975) which was full of George Bernard Shaw's witty words, but like a pile of wood chips in search of a tree. AAAC

Your call on these — your taste in movies may differ, but I liked them:

"Moses” (1975) Burt Lancaster plays a down-and-dirty Moses without the glitz of Heston.
"Diabolique" (1964) "Diabolique" (1964) B&W, une menage a trois et une "murder by two".
"The Bad and the Beautiful" (1952) Kirk Douglas as Hollywood producer running roughshod over his stars and co-workers.
"Simon Schama: The Power of Art: Disc 2" (2006) David, Turner, van Gogh. Simon coughed up van Gogh, lionized David, and slashed Turner to shreds, focusing only on his shipwreck of a painting instead of his incredible landscapes.
"Male Animal" (1942) Fonda plays the college professor and Dennis the Menace's TV father plays a young assistant professor who go up against the big football jocks (Jack Carson) in a battle of wits and misfits.
“Man About Town” (2006) Ben Affleck’s life and career is spiraling out of control and his new-found journaling is either going to save or damn or both.
"A Man and a Woman" (1966) is a slowly developing love story with Steve McQueen-type driving, but can this French film come to a good ending? Want to see a real movie about 'a man and a woman'? Watch "It Happened One Night" (1934).

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Le Broussard Cajun Cottage, drawn by and Copyright 2011 by Paulette Purser, Used by Permission

Boudreaux and Broussard were drinking beer outside a bar in Abbeville one afternoon after polishing off a couple of dozen oysters when they saw T-Coon riding his motorcycle down the street with a long-haired blonde gal hanging around his waist.

Broussard took another sip from his beer and said, "Mais, you saw dat, Boo? That T-Coon is some lucky egg, n'est pas?"

Boudreaux nodded his head, but thought a while and said, "W'at's so lucky about being an egg, you never thought of dat, Broussard?"

"Wat you mean, Boo?"

"Wahl, I was jest sitting here t'inking about de life of an egg. You know, wat it's like to be an egg. First t'ing is you only get laid once. It takes you three minutes to get soft. You gots to share an apartment wit' eleven other guys, and the only woman who will ever sit on your face is your momma."

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5. RECIPE of the MONTH for September, 2013 from Bobby Jeaux’s Kitchen:
(click links to see photo of ingredients, preparation steps)
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Onion Casserole

Background on Onion Casserole: We found this recipe which works great with Vidalia onions. Can be served as a side dish as shown here, but it'll be easier and quicker to put it into a Pyrex rectangular casserole dish and cut into squares for serving.

2 large Vidalia onions
3 TBSP butter
1 tsp chopped garlic
3 medium eggs
1.5 cups of whole milk
1/3 cup of all-purpose flour
4 oz of shredded cheddar
1 TBSP of chopped sage
Set oven to 400 degf. Butter the casserole dish or individual serving dishes.Cut onions into lengthwise slices (stem to root), about an inch thick in the middle.

Cooking Instructions
1. Saute the onions and garlic in butter until tender. Arrange the cooked onions in the casserole (or separate serving bowls) evenly spaced. 2. In mixing bowl heat 3 TBSP butter for 30 seconds in microwave or until liquid. Slowly add the flour while mixing into the butter. Then pour in the milk slowly while the mixer is running till all flour is dissolved in milk. Microwave for 1 minute, remove and stir. Do another minute and stir. Repeat till sauce is thickened. Then add the three eggs and stir till uniform. Then add the shredded cheese and stir again. 3. Pour the sauce over the onions in the dish (es). 4. Bake till golden brown in oven, usually about 20 minutes or so.

Serving Suggestion
Serve while still warm. If in a casserole, allow about ten minutes to cool down before cutting into squares for serving.

Other options
Yellow cheddar is another option. If you wish onions to remain white, stop sauting before they singe on the edges.

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6. POETRY by BOBBY from "Yes, and Even More":
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             What You Think

Richard Bandler said, "The water from the Mississippi River is the purest in the world. By the time it reaches New Orleans, it's been purified by the kidneys of five Midwesterners."

I drink Mississippi River because it has touched every square inch
      of the middle of this great land and its people
            and because
I know that what I do with the water in my
      thoughts is as important
      as what the water does in my body.

In fact - what I do with the water in my
      thoughts determines
      what the water does in my body.

If you have a problem thinking of water that
      way, what you're doing with the
      water in your body is not healthy for

Perhaps you think you can avoid problems
       by drinking artesian water.
Do you feel better drinking water that has flowed through bacteria-laden mud and rocks?

No matter what you drink -
      It's more important what you think.

RJM NOTES: [©1995 by Bobby Matherne Written November 14, 1995]
Written in the Screening Room at 217 Timberlane while watching on CSPAN the Democrats trying to stop the Republicans from stopping the Democrats from spending money. (If I'm going to sail in a leaky boat, I'm going to choose the one with the fewer leaks.)

The idea of the poem came from the quote by Richard Bandler, the originator and innovator of what later was named Neuro-linguistic Programming by others. Richard knew that what you thought was more important than what you drank and this was merely a demonstration. (The participants in the seminar room groaned loudly, and I'm sure most of those present resolved not to ever drink Mississippi River water again.) For me it became an "unanswered question." That's a question that I leave open for the world to provide the answer later. When I discovered that people in India drink water directly from the Ganges River while dead bodies are floating past, I realized that I could hold the Mississippi River to be as sacred to me as the Indians hold the Ganges sacred to themselves. Several years later a blind taste test was performed of municipal waters from all over the country. New Orleans water, from the Mississippi River of course, came out first. This so infuriated the groaners among us that some of them got together to do a non-blind taste test to prove that Seatte and other mountain-fed-stream-drinking cities had better tasting water. I just laughed. [Note: we place a crystal we mined ourselves in every jar of water that we refill in our refrigerator from our tap. That crystallizes the water, a process which is as healthful as it is invisible to the eye. But the crystal-pattern of the water can be seen when water begins to freeze as in this example at left.]

To quote Rudolf Steiner: "Looking into one's soul with devotion to the truth brings right living - right down into one's health." (Page 7 of the booklet "The Ten Commandments and the Sermon on the Mount.) Jesus famously said, "What comes out of your mouth is more important than what goes into it." But few opinated people pay attention to Jesus, God knows why.

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7. REVIEWS and ARTICLES for September:
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And for my Good Readers, here’s the new reviews and articles for this month. The ARJ2 ones are new additions to the top of A Reader’s Journal, Volume 2, Chronological List, and the ART ones to A Reader’s Treasury. NOTE: some Blurbs may be condensations of the Full Reviews, lacking footnotes and many quoted passages. For the convenience of those who want to read the full review in printed form, simply CLICK on the Book Cover.

1.) ARJ2: Pilgrim at Tinker Creek by Annie Dillard

This is a review from 1999 which has not appeared in a DIGESTWORLD Issue, up until now. Hope you enjoy it. The YouTube videos show three kinds of wildlife in action that Annie Dillard might have paused to watch.

A huge water bug grabbed the end of a frog, injected a dissolving enzyme, sucked out the inside of the frog as Annie watched in horror, and left only a limp greenness floating on the surface of the water. Annie grabbed hold of Tinker Creek, sucked out the life from it, and left only a limp greenness floating on the surface of these pages. The stories she tells are not for the faint of heart.

[page 263] Downstream at the island's tip where the giant water bug clasped and ate the living frog, I sat and sucked at my own dry knuckles. It was the way that frog's eyes crumpled. His mouth was a gash of terror; the shining skin of his breast and shoulder shivered once and sagged, reduced to an empty purse; but oh those two snuffed eyes! They crinkled, the comprehension poured out of them as if sense and life had been a mere incidental addition to the idea of eyes, a filling like any jam in a jar that is soon and easily emptied; they flattened, lightless, opaque, and sank.

Annie paints vivid literary images of nature, at times serene, at times red in tooth and claw, many times, both. When her old fighting tom cat would jump through her open window in the middle of the night upon her sleeping body, she'd sometimes awaken to find herself covered with bloody paw prints. "I looked as though I'd been painted with roses." [page 1] Always her words flash like lightning across the page and strike deep, like an Indian's arrow plunging into the heart of game. She likens herself to such an arrow, its wooden shaft with "lightning marks," fissures carved along the shaft to allow blood to drip from the wound to provide a trail to the wounded game.

[page 12] I am the arrow shaft, carved along my length by unexpected lights and gashes from the very sky, and this book is the straying trail of blood.

Unexpected sights explode before our eyes as we follow Annie into the woods surrounding Tinker Creek. We approach the Osage orange tree and from the stillness of its leaves, a hundred red-wing blackbirds take flight and disappear. "It was as if the leaves of the Osage orange had been freed from a spell in the form of red-winged blackbirds; they flew from the tree, caught my eye in the sky, and vanished."

When she is not showing us Tinker Creek, she shows us her favorite books and authors: Thoreau, Pliny, Edwin Way Teale, Farley Mowat, and others. Marius von Senden collected in his book Space and Sight dozens of cases of adults who received their sight for first time after cataract operations. "One patient called lemonade 'square' because it pricked his tongue as a square shape pricked on the touch of his hands." Most of the eye patients saw only flat patches of color upon receiving sight for the first time. As I detail in my novel The Spizznettm File, human seeing involves the creating of a three-dimensional image from flat color patches and aligning it with the world. Annie tried to walk along Tinker Creek and see the flat color patches. She succeeded for a bit. She finally saw a cedar tree "with lights in it", but had no success with the peach tree full of peaches.

[page 29] But I couldn't sustain the illusion of flatness. I've been around too long. Form is condemned to an eternal danse macabre with meaning: I couldn't un-peach the peaches.

[page 30] Why didn't someone hand those newly sighted people paints and brushes from the start when they still didn't know what anything was?

The process of art is the process of destruction - destruction of the deadly dance of kitsch in which form and meaning are intertwined - when Picasso interrupted the dance, cubism happened.

Always metaphors, some from nature, some from man. She tells us Farley Mowat's story of how Eskimos keep from getting lost during long treks over the flat bleakness of the North. They pile rocks the height of a man, then walk until they can barely see the top of the rocks, then make another pile of rocks as a beacon. These stone men remind me of the books I've read, that like beacons, lead me back to where I first began my journeys into understanding.

More metaphors from nature: snow clouds so low and heavy they might drop with a thud. "Birds migrate for food, not for warmth as such." Honeybees winter "according to Edwin Way Teale, by buzzing together in a tightly packed living sphere." "Ladybugs hibernate under shelter in a huge orange cluster sometimes the size of basketballs."

One more metaphor, both earthy and spiritual, as in this story of the seed of the spirit:

[page 52] A wind like this does my breathing for me; it engenders something quick and kicking in my lungs. Pliny believed the mares of the Portuguese used to raise their tails to the wind, "and turn them full against it, and so conceive that genital air instead of natural seed: in such sort, as they become great withal, and quicken in their time, and bring forth foals as swift as the wind, but they live not above three years."

The idea of a Son of the Spirit Wind that can live for only three years finds deep resonance in the biblical story of Jesus of Nazareth, who can only live for three years after being filled with the Christ Spirit during his baptism in the Jordan river.

School children learn that the female praying mantis eats her mate, but surely they are not given the graphic detail of the act that Annie provides us from Fabre:

[page 58] While the male is making up what passes for his mind, the female tips the balance in her favor by eating his head. He mounts her. Fabre describes the mating, which sometimes lasts six hours, as follows: "The male, absorbed in the performance of his vital functions, holds the female in a tight embrace. But the wretch has no head; he has no neck; he has hardly a body. The other, with her muzzle turned over her shoulder continues very placidly to gnaw what remains of the gentle swain. And, all the time, that masculine stump, holding on firmly, goes on with the business! . . . I have seen it done with my own eyes and have not yet recovered from my astonishment."

Insects with their soft-side in and their hard chitin shells out are the opposite of humans. "They lack the grace to go about as we do, softsideout to the wind and thorns." [page 64] Annie tells us how dragonflies seem to dip their tails into water to see if it's really wet, and how they get stuck in the La Brea Tar Pits when they try it there. Also she tells us about the processionary caterpillars with whom Fabre did extensive experiments, causing them to form a loop and wander endlessly around a vase.

[page 67] "The caterpillars in distress," he concludes, "starved, shelterless, chilled with cold at night, cling obstinately to the silk ribbon covered hundreds of times, because they lack the rudimentary glimmers of reason which would advise them to abandon it."

Fabre is wandering in a processionary circle himself in that last sentence. It is reason that keeps the caterpillars in their endless loop. They are as locked in a state of paradoxical paralysis as anyone who attempts to use unwavering reason to determine whether the barber who shaves every man in the village who doesn't shave himself shaves himself. Only the doffing of reason or the sheer madness of a Van Gogh would enable them to break their kitschy pattern and stray off the path and explore. Such a craziness might allow us to "sit on the hillside, or lie prone under the trees of the forest, or sprawl wet-legged on the shingly beach of a mountain stream, [and as we sit] the great door, that does not look like a door, opens." [page 80, Dillard quoting Stephen Graham in The Gentle Art of Tramping] "The great door opens on the present, illuminates it as with a multitude of flashing torches." [page 80]

[page 102] This old rock planet gets the present for a present on its birthday every day. Here is the word from a subatomic physicist: "Everything that has already happened is particles, everything in the future is waves." [RJM NOTE, 2013: Just as particles from the past meet us in the now, waves from the future also meet us in the now. See MR#36].

Thus the past is particles, the future is waves, and only in the present is our living moment of change, in which what we suppose sets up a living wave approaching us from the future. Annie cups our head in her hands and gently returns our gaze again and again into the present moment in Tinker Creek, whispering into our ears as she does so, "Experiencing the present purely is being emptied and hollow; you catch grace as a man fills his cup under a waterfall." [page 81]

"Spend the afternoon," she tells us on page 269, "You can't take it with you."

"Lick the finger, feel the now."

"This is our life, these are our lighted seasons, and then we die.

(You die, you die;
first you go wet,
and then you go dry.)" [page 128]

She writes so well of the things of nature and equally well of things of the spirit, but even great ships strike hidden icebergs and founder, as she does in this next passage:

[page 80] That Christ's incarnation occurred improbably, ridiculously, at such-and-such a time, into such-and-such a place, is referred to - with great sincerity even among believers - as "the scandal of particularity."

The hidden iceberg is Rudolf Steiner's grand scheme of evolution in which he details how the events of the Mystery of Golgotha could not have happened earlier nor later. To have happened sooner, it would have been too soon; to have happened later, it would have been too late. One who is unaware of the evolution of consciousness and humankind's fall into materialism would be unable to understand this pivotal point of human evolutionary history that occurred in the exactly the right place at exactly the right time to rescue humanity from the otherwise fatal thrall of materialism.

There is much, much more in this book than I can do justice to in a short review. As soon as I finish typing this, I will go through the dictionary and look up the following words: unwonted, ribband, dun(as an adjective), jeté, weft, runnels, unkeeled, peneplain, frangible, stridulation, towhee, ciliated rotifers and burgeon.

I will have new words, but more than that, I will have new grasps at the meaning of things: visions of the teen-aged boy as "king of the world" [page 90], I will know to look for a child to accompany me if I wish to find arrowheads "a child will pick up everything" [page 90], and I will think of every being I encounter that it made it through the throes of evolution, so "it gets a stet." [page 135] I will hear the murmurs of this book after I close it on my shelf in the hall as it continues to "whisper to itself it own inexhaustible tale." [page 68] And I will always remember how from Annie Dillard I came to understand how books whisper down the hallways of time. If you want a wonderful read, spend a year with Annie along Tinker Creek. Soon you'll be walking out in nature like her, with your left foot stamping "Glory" and your right foot "Amen".

"The meadow was clean, the world new, and I washed by my walk over the waters of the dam." If I may paraphrase Annie Dillard's wonderful words: When I finished this book, the rain had stopped, the ground was wet, the air clear, and I washed by my walk along Tinker Creek.

Read/Print at:

2.) ARJ2: Architecture As a Synthesis of the Arts, GA#286 by Rudolf Steiner

[page vii, Introduction] It is hard to appreciate the significance of Rudolf Steiner as an artist and architect if one has not stood before the west front of the present Goetheanum. . . . This required the participation of the arts of painting, sculpture and colored glass engraving.

In February, 2013, I stood and viewed the west front of the Goetheanum and took this photo at right. This building hovers over the walkway marked by Druid stones on each side. It was my introduction to the Goetheanum(1) as Bradford Riley and I walked up to the building the first evening we arrived there.

Many books of Steiner lectures take great care to point out that the lectures were not intended for the general public, but assumed some detailed knowledge of Steiner's works to comprehend fully what he said. In addition, many of the lecture series come from notes, not seen nor edited by Steiner after the lecture. Few of these editors have bothered to point out the good effect of lectures not see or edited for publication by Steiner, but Thal-Jantzen does.

[page ix, Introduction] One advantage of this is that the tests have directness and give a flavor of the mood of the time as experienced by his listeners. There is a strong sense of purpose and mission running through all the lectures, such as his concern that the visual arts should transform our consciousness and help build a vibrant new social order.

With the face of Mi-cha-el the Archangel looking to the West from the top floor of the Goetheanum in the picture above, one can imagine that his body extends to the ground where his foot is holding down a writhing dragon, snake, or demon and his right hand is raised, holding a sword, with which he is about to dispatch the demon which represents the evils at large in the Western world today. One can only understand the function of the Goetheanum rightly when one holds this Imagination.

[page xiii, Introduction] The Goetheanum building now standing on a hill at Dornach is intended as a contribution towards the opposing of destructive forces being unleashed within the human soul as the new millennium approaches.

The Goetheanum is Mi-cha-el's sword in our time. Instead of erecting a statue of Mi-cha-el showing the Archangel doing the work of dispatching evil (as the Greeks might have done in a small temple), the Goetheanum with its West-facing Mi-cha-el Window beckons us to come into its sanctuary as agents of Mi-cha-el in our time, and to pick up our individual swords, and to do Mi-cha-el's work.

In our time most people believe that architecture is designed by the brains of human beings and that inspiration is nothing but a fluke of neurons, neurotransmitters, and synapses. This is a blatant example of retrodiction, a wonderful word which describes the process of making judgments about past events using information from our present knowledge and abilities. This creates a great illusion when people try to explain the origin of the pyramids of Egypt and the temples of Greece. Only by understanding the evolution of human consciousness can we properly comprehend what was happening in the people who built those monuments. They lived in concert with the gods on a daily basis and allowed the gods to work through them. Thus, Homer began his epics thanking his Muse, a goddess who spoke to him the events of which he wrote down for us to read today. He could not have been any clearer as to the origin of his words when he wrote, "Sing, O Muse, of the anger of Achilles" to begin his Iliad. One needs to grasp deeply the pervasive nature and effects of retrodiction in our modern way of thought for this next passage by Steiner to make sense.

[page 3] In those days the gods let their forces stream into the unconscious or subconscious life of human beings. So in a certain sense it is an illusion to believe that in the minds or souls of the men who built the pyramids of Egypt, the temples of Greece and other great monuments, only human thoughts were responsible for the impulses and aims expressed in the forms, the colors and so on. In those time the gods themselves were working through the hands, head and hearts of human beings.

Well, you might be thinking, why don't the gods inspire us this way today, are they less godly than before? No, the correct answer is that we humans can operate more freely today than the ancient Egyptians and Greeks; we possess a consciousness that permits us to tune our receivers to what the gods have to offer us.

[page 4] The fourth post-Atlantean epoch now lies in the distant past and our age is the first period of time in which the gods are putting the free creative activity of human beings to the test. They do not actually withhold their help, but they vouchsafe it only when human being out of their own individual soul, developed through a number of incarnations, freely aspire to receive the forces streaming to them from above. What we have to create is essentially new, in the sense that we must work with forces which are altogether different from those obtaining in bygone times. We have to create out of the free activity of our own human souls.

We have to create in full consciousness what humans of previous ages created unconsciously as the gods worked through them on their ancient pyramids and temples. With their pyramids, the Egyptians showed what they revered most: the physical body during the sentient soul age. They built these huge monuments to place their dead pharaoh's body which was wrapped in protective layers to allow it passage into the next world. With the advent of the intellectual soul age, the Greeks built temples which were designed to be dedicated to a god with no humans inside of them. They were built to be viewed from afar, like the Parthenon atop the highest point in Athens where it could be viewed from any place in the city and surrounding area. When Christian churches were built with the advent of the consciousness soul age, they were designed to enclose people within them. The etymology of fane is helpful to understand the transition from Greek to Christian churches as it means temple in the Greek sense, the holy place suitable only for the gods of the temple, no humans allowed. Humans remained outside the temple or pro-fane, which is the origin of our common word profane, which in its origin meant outside the temple. In synagogues, the fane area is behind a veil or curtain and can be entered only by the rabbi on one day of the year, as I understand it. The congregation remains in the pro-fane area. Similarly with Christian churches, there is an area, the chancel, where the priest performs the consecration of the Host and other duties and the parishioners remain outside that area, called only to its edge for communion. Since the time of ancient Greece passed, the worshipers have been allowed into the new temples called churches but there is still a fane area in the front of the church separated from the larger pro-fane area in the rest of the church for the congregation.

The old Greek temples had no need for windows. Not understanding this, it seemed strange to me when I first went to Rome to see a round ancient Greek temple too small to hold more than a few people with no apparent doors or windows. With Christian churches the worshipers moved within the walls of a temple, the size of the temple's space had to be increased, and doors and windows had to be added. The Gothic church was a result of this evolution of churches into the consciousness soul age in which we currently live.

[page 7] A Gothic church, with its characteristic forms, tries to express something that is not as separate and complete in itself as a Greek temple. In each and every form Gothic architecture seems to reach out beyond its own boundaries, to express the aspirations and searchings of those within its walls; everywhere there is a kind of urge to break through the enclosing walls and mingle with the universe. The Gothic arch arose, of course, from a feeling for dynamic proportion; but apart from this there is something in all Gothic forms that seems to lead out and beyond; they strive to make themselves permeable. One of the reasons why a Gothic building makes its wonderful impression is that the many-colored windows provide such a mysterious and yet such a natural link between the interior space and the all-pervading light. Could there be any sight in the world more radiant and glorious than that of the light streaming in through the stained-glass windows of a Gothic cathedral among the dancing specks of dust?

From the Gothic cathedral we come forward into our time in which a new form of architecture is required in which the walls themselves will seem to disappear.

[page 13] At every turn our eyes will light upon something that says to us: This interior, with its language of colors and forms, in its whole living reality, is an expression of the word spoken in this place, that most spiritual element which the human being can enshrine within his physical body. The word that reveals the riddle of the human being in wisdom and in prayer will be at one in this building, with the forms that surround the interior space. The words sent forth into this space will set their own range and boundaries, so that as they come up against the walls they will find something to which they are so attuned that what has issued from the human being will resound back into the space again. The dynamic power of the word will go forth from the center to the periphery, and the interior space itself will then re-echo the proclamation and message of the spirit. This interior will be enclosed and yet open to infinitudes of spirit - though not by means of windows, but by its very shape and form.

Steiner says later that our own age has not found the style of architecture suited to this age, up until now. He said, "Architectural styles are indeed found, but only in the real sense when they are born out of the overall spirit of an epoch." (Page 15) Clearly he meant for his Goetheanum to be the style suited for the age we live in, but more importantly suited for the age of spiritual science which is coming soon. A new age has this curious way of approaching us like the sky which is darkest before the dawn; the dawn creeps up on us while voices everywhere are extolling the current age, not even aware of its darkness until the light of the new dawn has evinced itself fully.

Over-analysis of creative works by critics and scholars is one way of extolling the darkness by blotting out the first evidence of light, such as they did with Goethe's Faust. Such erudite criticism is like doing autopsy without formaldehyde. The stench is unbearable to those who catch a whiff of the sweet smell of the future.

[page 16] A stench of death is almost tangible when we have an edition of Goethe's Faust before us peppered with the analytical footnotes of some scholar. How ought we regard these things? I will try to make the point clear to you, very briefly, by means of an example.

Steiner gives us the epic poem of The Seven Wise Masters on pages 16 to 18 which I recommend that you read in its entirety. The step-mother of Diocletian poisons the mind of the Emperor against his son, and Diocletian is saved through the advice of seven wise masters. Diocletian had the same problem as humans do today, his soul had lost his natural powers of clairvoyance, but had developed an Ego which could be instructed by the wise masters and finally be saved from his father's death sentence. Steiner explains all this to us, but dislikes the process of explaining - why? That reminds me of a story.

Nasruddin was sitting at a table with his Master and there was a bowl with a rosy peach on it. Nasruddin asks his Master to pass him the peach. The Master picks up the peach, eats it completely, enjoying every bite, and then hands the peach pit to Nasruddin. Some of you will appreciate the story and some of you will be puzzled. This next passage will help unravel the puzzle.

[page 18] We could continue thus, giving an absolutely correct interpretation which would certainly be useful to our contemporaries. But what of our artistic sense? I do not know whether what I now have to say will find an echo or not. When we read and absorb such a book and then try to be clever, explaining it quite correctly, in the way demanded by the modern age, we cannot help feeling that we have wronged it, fundamentally wronged it. There is no getting away from the fact that a skeleton of abstract concepts has been substituted for the world of art in all its living reality -- whether the explanation is true or false, illuminating or the reverse.

What is the pit of the peach but a skeleton of the luscious and nutritious peach? The Master was teaching Nasruddin, as Steiner is teaching us, that when we ask for an explanation of any art-filled creation, be it a story, a sculpture, a building, a piece of music, etc, we had better to have enjoyed and digested it alone; consequently, we deserve to be given the bare pit after being forced to watch as a true Master enjoyed the flesh of the peach. Nasruddin and I learned not to ask for explanations of Sufi stories or artworks. They can stand alone, rightly understood. It is my joy to read and enjoy Sufi stories like this one, and I recommend them to you.

For my part, I admit to creating a lot of pits during my early years of studying and reviewing Steiner's works; these pits appeared as charts and graphs in my reviews. This was a process I learned during my academic study of physics. They were helpful to me as a beginner and may be helpful to others, but in my Steiner reviews they were like my offering of peach pits instead of the peach. In my reviews from now on, I strive to produce new nourishment as I review Steiner's works, nourishment from my life, my world a hundred years in Steiner's future, in the future he so often spoke of, when we humans have been further spiritualized and enlightened. It is up to you, my Good Readers, whether I achieve this goal or not, but in those cases where you deem yourselves as receiving only a pit from me, I apologize.

[page 19] When only our intellect is kept busy by spiritual science and we draw up charts and coin all kinds of technical expressions, then spiritual science is nothing but a skeleton - especially when it is speaking of the living human being.

Instead of charts and graphs, Steiner created artworks of sculpture, architecture, eurythmy (dance and song together), and painting. His goal with the Goetheanum in Dornach was to embody anthroposophy in a building which will stand through future ages as representative of the beginnings of spiritual science in our age, just as the pyramids, Greek temples, and Gothic churches did in their time.

[page 48] If we mean to gain ground in the world for our movement, it is not enough merely to show, on its own, the wisdom to be found in anthroposophy. In what we create in Dornach we must take pains to embody, for the world to see, what is given to us in the form of spiritual knowledge, just as older styles of architecture embodied bygone cultures.

The Corinthian columns of ancient Greece are often thought to have capitals atop them derived from the acanthus leaf. There was something about this which upset Steiner who reported of that time in his life, "I still remember how many sleepless nights the question of the Corinthian capital gave me." One important thing to note is how Steiner kept unanswered questions alive in him when some unsettling feeling beset him. I have observed that few people of my acquaintance do this today, and the ones who do, who hold unanswered questions are the ones I respect the most(2).

Did people first take an acanthus leaf and carve its likeness into the capital of a column? No way, avers Steiner. What about Vitruvias's 'basket hypothesis' in which Callimachos saw a small basket with acanthus growing around on the ground and said, "Here is the Corinthian capital!" Neither is this its source, he tells us.

You first need to think the way the ancient people did, in order to in-form yourself of the way things originated during their time. This is the importance of understanding the evolution of consciousness - it tells us not only that human consciousness evolved, but exactly how people understood the world during earlier times. Steiner was a master at understanding those stages of consciousness evolution and thus was able to in-form himself into a person of those times and deduce how they came to create various designs such as a capital that seems to be designed from the acanthus leaf. It is trivial to understand the origin of the Corinthian capital - what is important is to learn how to in-form yourself into earlier people and deduce, that is, derive important information from your own in-forming. Here is Steiner doing exactly that type of in-forming. Note how this deduction process is not based on abstract logical concepts such as what an acanthus leaf looks like, but rather on direct evidence from one's feeling state.

[page 57] To understand what I mean, try to imagine that in those times, when there was true comprehension of artistic will, the actual sight of a flower or tendril was far less important that the feeling: I have to carry something heavy, I bend my back and generate with my own form the forces that make me, a human being, shape myself in a way that will enable me to bear this weight.

Who thinks like this today? Almost nobody, which is exactly the point. If you use the way everybody thinks today to figure out how the ancient people created a certain design, you will be guilty of the most egregious retrodiction imaginable. That everyone does it does not make it right, only acceptable, and wrong.

[page 58] Human beings within themselves felt what they had to bring to expression in their own gestures. One movement was used to grip hold of something, while another was an expression of carrying; stretching your hands out in front gives you a feeling that you are carrying something. Out of such gestures arose the lines and shapes leading over into art. Within your own human nature you can sense how the human being can go beyond what eyes see and other senses perceive by becoming a part of the universe as a whole. You take up a position in the universe as a whole when you notice that you cannot just saunter along when carrying something heavy. Out of a feeling for lines of force, which one has to develop inwardly, arises artistic creation. These lines of force are nowhere to be found in external reality.

Imaginary lines of force in an electromagnetic field were postulated soon after Faraday made his first electromagnetic motor. To this day, physicists pretend there are such lines of force, but they have found no direct evidence of such lines, yet their presupposition that the lines of force exist stands today. The lines of force Steiner was talking about are direct evidence of lines of force in the senses of human beings who could feel them. I know physicists scorn evidence provided by human senses; that's their problem - let them live or try to live with it. If you wish to be a full human being, you do best to accept the evidence provided by all your senses, and to avoid unnecessary abstract logical concepts like imaginary lines of force - physicists and engineers find them useful, but the rest of us can live as human beings without them.

Steiner describes Earth and Sun shapes as felt by the ancients. The Earth shape is that of a dome, "expressed by a shape that has a wide base and runs upwards to a point." The Sun shape was that of a point with rays spraying upwards. The Sun shape resembled a palm and when the clairvoyant ability left people without the knowledge of the Sun origin of the design, discussion began of what the design meant and the palm leaf was chosen as an explanation. Steiner's famous statement that "when knowledge ends, discussion begins" is illustrated here. The alteration of Sun and Earth designs around the Doric and Ionic capitals began first and evolved over time into the Corinthian capital.

[page 63] You need only imagine the middle portion, which is merely indicated in the Ionic capital, developing downwards to become the complete volute, and you have the Corinthian capital. The middle portion is simply extended downwards, so that the character of weight-bearing becomes complete. Then think of this weight-bearing in the form of a sculpted figure, and you have the human force bent over in itself - the ego bent over, bearing the weight.

Basically one of the convolutions of the middle of the Ionic capital bends over and becomes the weight-bearing exactly like a human back, bent over like Atlas bearing the weight of the world on his shoulders, becoming a Corinthian capital. Next the Sun and Earth motifs from the Doric capital appears under each volute, not in painted form as before, but now in relief, in sculptured form. That is the leaf-like structure often called the acanthus leaf, but in reality the resemblance only came in its final form and not in its origin. This is another example of retrodiction by modern scholars who claim to be experts in antiquities. Retrodiction is, rightly understood, a consequence of Steiner's dictum that "when knowledge ends, discussion begins."

In these pages 53 to 66, Steiner outlines the results of his holding the unanswered question about the acanthus leaf and sums up his findings in the passage below.

[page 66] Art in its essence can no more arise from an imitation of nature than music can be created by imitating nature. Indeed even when art is imitative, the thing that is imitated is fundamentally secondary, an accessory, and thus naturalism in itself is absolutely contrary to true artistic feeling. If the shapes and forms in our art here are thought by others to be grotesque, we will be able to draw comfort from the knowledge that the artistic conceptions that find our art grotesque are those that see in the acanthus motif nothing but a naturalistic imitation. In reality it is drawn from the spirit and only in its later development came to bear a remote resemblance to the acanthus leaf. Artistic comprehension in future ages will simply be unable to understand this attitude of mind which in our time influences not only the art experts, who are supposed to understand their subject, but which also dominates artistic creation as such. The materialistic attitude of mind in Darwinism also confronts us in artistic creation where there is a growing tendency to turn art into a mere imitation of nature. Insight into the origin of the acanthus motif has given me much joy, for it proves circumstantially that the primordial forms of artistic creation have also sprung from the human soul and not from imitation of external phenomena.

It seems clear to me that the architecture of the Goetheanum could not have sprung from anyone with a materialistic attitude of mind who imitated nature. Steiner puts it bluntly on page 67, "if you create on the basis of concepts and ideas nothing of value will ensue." What is expressed artistically in Steiner's architecture comes from his own spiritual underpinnings. Steiner's architecture is as different from so-called modern architecture as each new symphony of Beethoven was from his previous symphony.

The most important concept which helped me to understand the structure of the Goetheanum was Steiner's description of a jelly mold, how the building was like a jelly mold turned upside-down and spirit-filled space remained where the jelly would be. See diagram from page 69.

[page 69] The same principle may be applied in the case of the interior design of our building, only here there is no jelly inside but the living word of spiritual science moving and weaving in the form possible for it. All that is enclosed within the spatial shapes, all that is spoken here and done within them, must adapt to them as the jelly adapts to the negative forms of the jelly-mold. We should feel the walls as the living negative of the words that are spoken and the deeds that are done in the building. That is the principle of the interior design here. Think of the living words of spiritual science as they come up against these walls, hollowing them out in accordance with their profundity of meaning. They hollow out shapes that fit their meaning. This is why these interior forms are shaped as they are, worked out of the flat surface.

Steiner and other workers carved into the flat woods in the original Goetheanum to create the shapes out of the wood. One of the pleasures of doing wood carving is to learn to love the surface you are creating and to enjoy caressing the wooden surface as it evolves. Carving our native Louisiana cypress was the most fun for me, and I include a photo of my favorite wood sculptures from the 1960s, showing front and back views. I could never consider doing wood sculpture with electric saws or chain saws; even during the roughing in of the image I insisted on using only my hand gouge and chisels. Plus, wood sculptures are meant to be touched and enjoyed fully, not just looked upon. Steiner felt the same way.

[page 70] Here you should experience the form within yourself so that, holding the gouge in a particular way, you grow to love the surface you are creating, the surface that is coming into being here under your mallet and gouge. I must confess that I cannot help caressing a surface like this once it has been created. We must grow to love it, so that we live in it with inner feeling instead of thinking of it as something that is merely there for our eye to look at.

In my best wood sculptures, the subject came from an inspiration which arrived as I contemplated the wooden piece I began with. I didn't think of it as clairvoyant vision at the time, but now I wonder if indeed it wasn't because so much of my direction came from the feeling level that, as I began carving, the Madonna figure above began to emerge from the cypress. If people understood the importance of feeling . . .

[page 76, 77] They would realize that the development of clairvoyance leads human beings to the realm that lies behind the world of the senses. They would also realize that art is the divine child of clairvoyant vision - although it only lives as unconscious feeling in the soul - and that the forms that are beheld by the clairvoyant eye, in the higher worlds, cast their shadow pictures down to the physical plane.

One can learn to understand these "unconscious feelings in the soul" by paying attention to "time waves from the future" when they arrive. Some salient feeling appears for no conscious reason and can be attributed to no cause at all. Quite possibly it will be ignored or else attributed to some physical thing at hand. An example is the ring, which, when placed on my daughter's hand, gave her an incredible feeling. As it turned out, that ring became her most special ring which is always on her hand in the almost ten years since(3). This is a way that the spiritual world speaks to us, via feelings.

[page 96] We must learn to sense how the spiritual world speaks to us. When this has become a living perception of what the soul must do if it is to find the way to those regions from which the speech of the gods proceeds, we shall turn our eyes to where the walls are pierced by the windows. There we shall be shown what lives in the human being who consciously or unconsciously treads the path from the physical to the spiritual world.

In our time people are interpreting spiritual meanings symbolically which for them means to do what is done with the Corinthian capital, to see it a representation of something in the physical world of nature, the acanthus leaf. Steiner is clear in his exhorting us to feel the forms of architecture as being alive in us. When he tells us to "learn to sense how the spiritual world speaks to us", is it not clear that he is telling us to learn to feel? It is in feeling that we hear the spiritual world speaking to us.

[page 101] The spirit lives, and hence it must be expressed in our building in a living way, a truly living way. We shall not understand this any better if we begin to interpret the spirit symbolically. The only way is to feel that the forms are alive, that they are organs for what is spoken by the spiritual world.

In pages 103 through 108 Steiner describes geometric figures in a unique way that I had not encountered before. I could write the equations for the circle, ellipse, hyperbola, but never understand what Steiner reveals about them. The ellipse is a curve of addition - a new way of saying that the length of the line drawn from each foci to other one after connecting with a point on the ellipse remains constant. I had experienced standing on one foci under an elliptical dome in the Washington, D. C., and could hear a whisper spoken by someone at the other foci. All the sound from one foci is focused on the other foci. This is also true of a circle which has only one focus, the line simply goes to the circle and back to the same focus and is called the radius. Next he showed how the hyperbola can be considered a curve of subtraction. The lemniscate (usually portrayed as a figure 8 curve) is a curve of multiplication. And amazingly, he shows how the circle is a curve of division. "The circle is the same whether we say it is the simplest of all forms or that the product of division from two points is always equal." (Page 108) He then points out that curves of the ellipse, hyperbola and lemniscate can be found in and around the Goetheanum. (Page 109)

The ground plan of the first Goetheanum is that of two circles which seems to me to correspond to the fane and profane areas as Steiner describes them. The profane circle connects with everyday life, and the fane circle with the whole cosmos.

[page 109] There are two circles, but the one corresponds to the life of everyday while the other is connected with the whole cosmos. We bear within us a lower self and a higher self, yet both are one. Thus our building had to be a twofold structure. Its form expresses the dual nature of man - not in any symbolical sense but because the form is as it is. When the curtain in front of the stage is open we shall sense an image of the human being not only as he is in everyday life, but as complete being. Because the forms express a movement from west to east, they directly express the path of the lower to the higher self.

Several more ideas arrive in Lecture Four, beginning with how Steiner relates the circulation in the macrocosm of the Sun, Earth, and Moon to the circulation in the microcosm of our human body consisting of the head, lungs, and heart. The diagram on page 121 of the major and minor circulatory paths is worth pondering. The next idea is that "When we find something beautiful but do not quite know why, something is taking place within our astral body." (Page 122) One might adjust the old adage to say, "Beauty is in the astral body of the beholder." We also recall the famous saying, "Truth is beauty and beauty truth" when we read the following passage about how we feel warm when we experience something beautiful:

[page 122] The reason we feel this warmth is that if we were as conscious in our astral body as we are in our ego we would at that moment experience a deep moment of knowledge about the cosmos.

Cave paintings, large drawings across vast spaces on hillsides, etc, are all left by ancient peoples, and we puzzle over their origin. What we call primitive art, rightly understood, is clairvoyant art because the ancient people who created them had a native clairvoyance that humans have since lost(4). "People experienced the content of their astral bodies as living movement." (Page 122) And they created art which represented that felt movement. Steiner explains how animals adapt to the colors of their environment, not by the survival of the fittest rules of Darwinian thinkers, but by absorbing the colors into themselves. The long term effects can be seen in the whiteness of polar bears and the short terms effects in chameleons. We humans do not absorb colors into our astral body as animals do; as a higher being we absorb colors into our being in a spiritual sense. Thus it is, Steiner says, that "blue, for instance, becomes the expression of rest, or red the expression of all that is passionate and fiery. Because we reach out with our ego beyond the flowing sea of color, it is changed for us into flowing perception or feeling." (Page 127)

When we humans still had a native clairvoyance, the gods filled our thoughts and guided the motions of our bodies and art came as naturally as breathing to us.

[page 129] When that was still the case a blaze of blue had met their gaze when they approached the gods, so they had expressed it in blue. And when an enemy approached, an alien being bearing down, red flared up. This was a direct experience, so there was no need for imitation.

In Homer's Iliad we are privileged to read of the time shortly after humans lost their native clairvoyance. In a short episode Hector dons his helmet to leave to go into battle, and his son Astyanax cries in fright. What this reveals is that the young son, being nursed by his mother, can still see spiritual realities and perceives that the red brush across the top of his father's helmet means danger, an enemy, and reacts as if his father were an enemy. Were the ancient clairvoyance still present, the adults Greeks could have seen the astral bodies in bright red hovering over Hector and the Trojans as they approached in anger to do battle, and no brushes on the Trojan helmets would have been needed. The brushes were there to simulate the angry astral bodies no longer visible to most men with the recent passing of the native clairvoyance.

How do we know the clairvoyance recently passed? Homer's epics were available directly through clairvoyant vision for hundreds of years before writing had been invented. With the passing of this vision as a common human ability, those who could still access the spiritual world created a so-called oral tradition and related the stories to other humans. It was during this period when writing came into being as a tool to ensure that these stories would be available to future humans, such as us, who would not otherwise have access to the spiritual realities of the stories. Thus it is plausible that Hector's helmet would have the red brush on the top to frighten the Greek warriors, who otherwise would not have been able to perceive the red flaring astral bodies of the Trojan warriors.

Today we are on the verge of returning to a knowledge of the spiritual world, with a conscious clairvoyance, and it is important for us to realized that imitative art is no long apropos for the future we are entering.

[page 130] Nowadays, however, we are living in an age when human beings must again find their way into the spiritual world if there is to be a renewal of art. There must be a transition from imitation to a true artistic creation. The imitative arts reached their prime in the creations of Raphael and Michelangelo. Now, however, we face a different challenge. We have to enter consciously into the spiritual world and bring down the forms and colors living in the spiritual sea of the cosmos flowing all around us. A beginning must be made. Something must be brought down from the spiritual world that cannot be achieved by imitating what our senses perceive all around us. I have already spoken about the extent to which this conception is flowing into the forms of our building, and on another occasion we will consider this new conception of art in painting. Today my endeavor was to deepen the feelings and perceptions which must be ours if we are really to understand the transformation that must come about before the old forms of art can pass over into new ones.

Much ado has been made about "horse whisperers"; people who seem to calm horses by whispering into their ears. This process has led to much discussion, which word should perk up the ears of Good Readers because it indicates that true knowledge of what is going on during "horse whispering" session has been lost. The answer is simplicity in itself: horses are clairvoyant. What happens is horse whisperers approach a horse with a calm astral body and the horse recognizes this and calms down. When the whisperer says something the thoughts he is thinking as he whispers are perceived directly by the horse who complies with the perceived request.

[page 137, 138] Without some degree of clairvoyance, a horse would no more see a human being than human being without clairvoyance would see an angel, for human begins simply do not exist for the horse as physical being, but only as spiritual beings. It is only because the horse has a degree of clairvoyance that it can perceive human beings standing above it rather like angels. What horses see in us is quite different from what we see in them. Even for higher animals we are like ghosts. If animals could speak - not in the way they are sometimes made to 'speak' nowadays, but in their own language - we would soon see that it would never occur to them to see us as resembling themselves, for they see us as higher, ghostly beings. We may see human beings as creatures of flesh and blood, but animals certainly do not. To the modern mind this of course sounds utterly nonsensical, which only goes to show how far our present age is removed from the truth.

To horses we are like ghost riders! Many of the puzzling behaviors of animals and pets can only be understood when these animals' clairvoyance abilities are taken into account. Many of the puzzling behaviors of human beings today can be understood if we realize that ancient humans had clairvoyant abilities which only our children under five years old possess today. We humans who once had an atavistic clairvoyance, have access to the spiritual world through our astral bodies which reveal spiritual realities to us through our feeling function, a function which is unconscious to most humans, up until now. To those of you who earnestly study Rudolf Steiner's work and pay attention to your own feelings, a new world of understanding can open up to you from now on.

Through the lectures and appendices, we have learned about the design of the original wooden Goetheanum, its destruction in a disastrous fire in 1922, and the second Goetheanum - a structural concrete architecture which was finished in 1928 and remains today as a vibrant center of anthroposophy for the world. It is a pilgrimage point for anyone who studies anthroposophy. When there, one should read aloud the meditation created by Rudolf Steiner for the laying of the Foundation Stone during the Christmas Conference in 1923. During that conference, on the first anniversary of the burning down of the first Goetheanum, Rudolf Steiner said that the physical Goetheanum was gone, but the spiritual one lives on. We can say in a similar fashion that the physical Rudolf Steiner is gone, but the spiritual one lives on in his written words, in his lectures, in his sculptures, in his paintings, in his eurythmy, in his Mystery Dramas, and most of all in his architecture, especially his Goetheanum which stands high on a hill overlooking the region, not as a Greek Temple, but as a gathering place where a new synthesis of the arts can converge in one place and reach out from there to the ends of the Earth and the Cosmos itself.

------------ Footnotes ----

Footnote 1.
Photo was edited to highlight the Mi-cha-el window, which was otherwise not lit from inside that evening.

Return to text directly before Footnote 1.

Footnote 2.
What is the power of an unanswered question? This constitutes my Matherne's Rule #25 which you can explore deeper here.

Return to text directly before Footnote 2.

Footnote 3.
This is written up in my Matherne's Rule No. 36 here.

Return to text directly before Footnote 3.

Footnote 4.
For those who see in some of these ancient artworks evidence of UFOs, I offer to them Carl Jung's concept that the unidentified object in UFO is the Self, which was certainly as unknown to ancients as it is to many otherwise erudite people today.

Return to text directly before Footnote 4.

Read/Print at:

3.) ESSAY: Multiple Marriage and Family System Analysis by Bobby Matherne

This essay was published in the 1980 January Edition of the International Transactional Analysis Journal.

Read/Print the Essay at:

4.) ART: The Structure of Magic, Vol. II , A Book about Communication & Change by Richard Bandler and John Grinder

In Magic I we learned that maps differ from the terrain they represent, and that, if we trust a map which is in error, we may, if we're in Norway, for example, find ourselves falling headfirst into the icy waters of a fjord. Or if we're simply living our everyday life and we trust our representational systems, those systems of enchantment we received from our caregivers, we find ourselves instead in hot water.

[page 3] These maps, or representational systems, necessarily differ from the territory that they model by the three universal processes of human modeling: Generalization, Deletion, and Distortion. When people come to us in therapy expressing pain and dissatisfaction, the limitations which they experience are, typically, in their representation of the world and not in the world itself.

Bandler and Grinder expanded the term representational system to include the "five recognized senses for making contact with the world" - seeing, hearing, feeling, tasting, and smelling. In addition we language words with which to describe the world which correspond to each of those five senses. We can see a pot boiling on a stove, hear the bubbling of its contents, feel the heat emitted by the fire under the pot, smell the cooking ingredients, and eventually taste the gumbo in the pot. Someone who has never cooked nor eaten an okra gumbo before would likely only describe what it looks like, a bunch green hexagons with seeds rolling around in the liquid. Someone who loved gumbo might talk about how good it tastes and how warm it makes one feel when it goes down. How the filé when sprinkled on top gives it an aroma redolent of the bayous and swamps of his youth. This is straight forward representation: you describe taste as a taste, smell as a smell, visual information using visual words, feelings as feelings. But one would be off-base to assume that everyone uses words in the same straightforward manner as you do.

[page 8, 9] This is not true in all cases. The representational systems that are highly valued and highly developed in each of us will differ, either slightly or dramatically. Many people can make only vague pictures and some, no pictures at all. Some people must try for an extended period of time before they are capable of making a vivid image, and some can create a vivid image almost instantly. This wide variation in the capability to create a visual representation is also true of all the other representational systems.

In the beginning classes of what is now called NLP, representational systems are taught and students are taught to pay attention to other people's representational systems (called rep systems for short).

[page 11] Our students first go through a stage of not believing this; they begin to listen to people in this new way and become amazed at what they can learn about themselves and those around them; thirdly, they learn the value of this knowledge.

The value comes in many ways. One can engender trust in another person if one quickly incorporates the other's preferred rep system when first talking to them. If the person says, "I clearly don't know why I've come to you," you might offer back, "What it might it look like if you got everything you wanted from this session?" Moving one's rep system to match the other person's is a good way of establishing rapport or re-gaining it if one loses it. Once rapport is established, one might decide to get the other person to switch their representational system because the very blockage they've asked you to help them remove depends on its existence for their favored rep system. By moving the person to another rep system, the blockage will seem to dissolve away.

Another technique is to simply add another rep system of some experience. If the current experience is expressed in auditory terms, help the client to build a way of representing the same experience in a visual rep system. If the person says, "I don't like what I'm hearing from my boss at work," you might say, "Does he have a smile on his face when he sees you in the morning?" This requires the person to access a visual image and he may receive information that indicates his boss really likes him, but not the situation he has been forced to place his employee in. Expanding a person's primary rep system is a great way of removing distortion caused by using a single rep system, up until now.

[page 19] As we repeatedly pointed out in Magic I, when people come to us in therapy with pain, feeling that they are stuck, that they don't have enough choices, we find that their world is rich and varied enough for them to get what they want, but that the way which they use to represent the world to themselves is not rich and varied enough for them to obtain it.

Once we mastered understanding and recognizing rep systems, the next step is to notice incongruities. These occur when the message communicated in one rep system does not match the message delivered in some other rep system. Examples: we recognize sarcasm when a person says, "Yeah! I'm real happy!" while his tone of voice indicates he's really unhappy. The auditory content says happy and the auditory tone says unhappy.

[page 46] The term incongruent, then, applies to a situation in which the person communicating is presenting a set of messages carried by his output channels which do not match, are not compatible - this person is said to be incongruent.

Part II describes how to deal with clients who are incongruent. One method is that you move a client who is simultaneously giving incompatible messages in two different rep system to becoming serially incongruent, perhaps saying "I'm mad!" with the unhappy tone of voice, and "I'm happy" with a happy tone of voice.

Part III describes the familiar Fuzzy Functions, such as "You make me mad," an invalid cause-effect relationship. Another one is the process of mind-reading, which involves many kinds of subtlety, but in its most direct form amounts to saying, "I know what you're thinking."

Part IV deals with that "delicate flower" The Family System. It requires all the tools described in detail in both Magic I and Magic II, but administered with the finesse required to maintain the family system.

[page 129] The sensitivity which the therapist shows in selecting the particular Cause-Effect relations with which he will deal explicitly is much of the art of fast, effective family therapy.

Whether your job is striving to helps others improve their lives or to improve your own, the study of rep systems, incongruities, fuzzy functions, and family therapy will provide useful guideposts through the complicated mazes of real life. The real magic of life is how people manage to find their way through these mazes with the help of others and on their own.


--- Reference Links for Bandler and Grinder ---

Reference Links to Material on Bandler and Grinder
written by Bobby Matherne

Read/Print the Review at: som2art.htm

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I hear often from my Good Readers that they have bought books after reading my book reviews. Keep reading, folks! As I like to remind you, to obtain more information on what's in these books, buy and read the books — for less information, read the reviews.

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In this section I like to comment on events in the world, in my life, and in my readings which have come up during the month. These are things I might have shared with you in person, if we had had the opportunity to converse during the month. If we did, then you may recognize my words. If I say some things here which upset you, rest assured that you may skip over these for the very reason that I would likely have not brought up the subject to spoil our time together in person.

1. Padre Filius visits Jane's Carousel in Brooklyn this Month:

Padre Filius, the cartoon character created by your intrepid editor and would-be cartoonist, will appear from time to time in this Section of the Digest to share with us some amusing or enlightening aspect of the world he observes during his peregrinations.

This month the good Padre reads the Jacket of Jane's Carousel Attendant:

2. Comments from Readers:

NOTE: I love hearing from all my Good Readers and including your missives here (slightly edited).
If you prefer any comments you write to be private, simply say so and they will not be published.

  • EMAIL from Betty in Kentucky:
    Hi Bobby,

    I love the wedding pictures and story you wrote. Thank you for doing that! Unreal how we looked so many years ago. You both have aged so well and make it all look too easily done.
    Take care, Betty

  • EMAIL from Jeff Parsons:
    You are one lucky guy Bobby Matherne. I saw the picture in this issue of Del marrying Jesus and she gave him up for you. Amazing.
    Thanks, Jeff. Took me awhile to get my mind around what you're were talking about, and then I got a great laugh. You're one funny guy! (I'm including photo for those Readers who missed DW138.)
  • EMAIL from John Connor:
    Please update my email delivery address.

    Thanks so much for sharing your travels and musings with us all!

    In Christian Partnership,
    John L. Connor
    Almost Heaven Habitat for Humanity

    NOTE: we met John & Michelle and learned of their wonderful work creating homespaces for Veterans without homes, among other things. Read about them here:

  • EMAIL from Kaisu in Finland:
    I supposed that you would be interested in seeing my Angelniemi strand! To the direction of Jormas gaze there is 10 kms open sea, loveley when the weather is whatever!

    NOTE: Photo of her son in new gazebo under construction at Angelniemi site of their summer home and sauna.

  • EMAIL from Ruth Ryan (Photo by her husband):
    Thank You Luncheon for The People
    Who Enabled My Mother to Remain in Her Own Home to the Very End,
    Job Well Done!!
    Names L to R : Ruth, Marie Kastler, Blenda Miles, Eileen Hotard, Hope Valladares

    Photographer: Ted Graham

  • EMAIL from Carl Potswald:
    Bobby: I want to inquire whether you would establish a category, similar to your book reviews, containing only movie reviews.
    NOTE: for those who haven't found this link, it is in Table of Contents under 3. Movie Blurbs. Click it to take you to the movie blurbs directly.
  • EMAILS from Mi-cha-el Group:
    NOTE: I sent a preview of my Architecture review in this Issue to some close friends around the world and got these replies. Using Google analytics, I was able to spot them reading architec.htm in real-time. Quite a treat. Much Thanks go to these Good Readers!

    Ara from Moscow: Thank you, Bobby for interesting article! Always glad to hear you:))

    Sirpa from Zurich: The jelly mold I loved specially! Thank you!

    Renee in New Orleans: I think I enjoyed the review more than I would have enjoyed the book. I particularly loved the explanation of the animals and clairvoyance. It totally makes sense!

    Dottie in Hollywood: Dear friend, I will make time at lunch to read your offering towards this year of years :)

  • EMAIL from our son, Robie:
    He sent this HD Video of his son Walden Reed's High Flight over Timberlane and the surrounding area. Hope you enjoy the few minutes it takes to watch this video. While or before watching it, you might enjoy this amazing poem by John Gillespie Magee, Jr. from wikipedia:

           High Flight

    Oh! I have slipped the surly bonds of Earth
    And danced the skies on laughter-silvered wings;
    Sunward I've climbed, and joined the tumbling mirth
    of sun-split clouds, - and done a hundred things
    You have not dreamed of - wheeled and soared and swung
    High in the sunlit silence. Hov'ring there,
    I've chased the shouting wind along, and flung
    My eager craft through footless halls of air....

    Up, up the long, delirious, burning blue
    I've topped the wind-swept heights with easy grace.
    Where never lark, or even eagle flew -
    And, while with silent, lifting mind I've trod
    The high untrespassed sanctity of space,
    - Put out my hand, and touched the face of God.

  • EMAIL from Paulette LeCompte Malamud in Texas:
    Hi Bobby,
    I had been unable to access my email for a while, and just got your June Issue, where I was chosen as an honored reader for June -- thanks for the honor! I really enjoy the digest, and love the pictures.

    Your cousin,
    Paulette LeCompte Malamud

    P.S. Here's my new email address.
    [Email sent from DIGESTWORLD Issue No. digest136 Header]

  • EMAIL from Carol Fleischman in New Orleans:

    Awesome digest! Awesome tribute on your anniversary!!!

    [RE: DIGESTWORLD August, 2013 Issue No. 138]


3. Poem from Freedom on the Half Shell: "Canned Freedom"

Give me your poor, huddled masses yearning to breathe free and I will give them taxes, regulations, restrictions, and every manner of unfairness ever created by persons saddled with the illusion that they can decide what is best for someone else's welfare. The individual, like the business professional, knows what's best in a given situation and, given the freedom, will take that action. The forces of coercion are prying open the shell that contains the living muscle and spirit of the American people — will we resist those forces and keep our muscles and spirit alive, free to open at will, or will we give up like the oyster and settle for "freedom on the half shell?" Here is another poem from Freedom on the Half Shell:

              Canned Freedom

When I was a child
       I was coerced like a child

When I grew up a bit
       I coerced like a child

When I grew up a bit more
       I put away childish things.

When this country was a child
       It was coerced like a child

When it grew up a bit
       It coerced like a child

It is time for US
       To put away childish things.

4. Smart Phones Need Reading Glasses for Eyes !
Want to Avoid Myopia in your Children and Yourself?
Use +2 (or greater) Reading Glasses with Smart Phones.
Have you got 'screen sightedness'? Smartphones are causing sight problems to soar, warns eye surgeon:
* David Allamby says there has been a 35% increase in the number of
    people with advancing myopia since the launch of smartphones in 1997
* He believes the problem could increase by 50% in the next ten years
* The problem is so common he has given it a name - 'screen sightedness'
* 50% of 30-year-olds could have the problem by 2033 due to smartphones

To Read Emma Innes' Daily Mail article, CLICK HERE!
*PUBLISHED:* 10:52 EST, 15 August 2013 | *UPDATED:* 11:10 EST, 15 August 2013

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