Life Interrupted

Suzanne Cordrey
Suzanne Cordrey

 

Reflections on relating to the major flood the past spring in Wimberley, Texas – Editor

 

By Suzanne Cordrey

 

I spun around and blinked the rain out of my eyes. It was pitch black and 1:30 in the morning. The rain was warm and soaked my jacket but my mind was far away from my physical discomfort. The roar of the Blanco River was deafening and it felt so near to my house but I couldn’t see it. Neighbors were heading out in their cars, passing me by, leaving me there alone in the lane. I knew something dreadful was happening.

 

It rained for over two weeks here in the hill country of Texas, off and on, with massive, drenching bouts of rain. The rivers were all running full. But on Saturday, May 30, it poured all day. I woke up feeling so sad, and I paced around the house looking at things, wondering what would break my heart to live without. Funny how small things grow into desperately large emotional attachments at times like this. I pulled out a duffel and stuffed my favorite clothes and jewelry inside, half absentmindedly, but spurred on by a nagging voice in the back of my head. Then came out the cat carriers and my bag with passport and money, etc. Each trek out to the car left me soaked. And each time, I looked up and down the street to see what my neighbors were doing. No signs of movement. OK. Hunker down. But that river got louder and louder. Like a freight train roaring past. It is about 100 yards from my house, between trees and another home. I did get so restless that around midnight I walked around the corner with my flashlight. The water was up to the street which meant that the houses against the river were under water. omg. That’s when cars started up and drove off. Now many of these people have lived here for years, it is an old neighborhood and they were pretty river savvy. But what happened next was totally unexpected.

 

Blue, Suzanne's nine year old cat, originally a rescue from the 2006 Israeli-Lebanon conflict.
Blue, Suzanne’s nine year old cat, originally a rescue from the 2006 Israeli-Lebanon conflict.

 

Upriver about 30 miles is the town of Blanco. They received eleven inches of rain in one hour and with the already saturated ground, the water slid rapidly into the river channel and charged full speed ahead toward Wimberley. But we didn’t know that. No one did in the moment. Which is what makes a FLASH FLOOD so terrifying. In an instant, a wall of water hit the banks of the winding river with such force that houses high on the cliffs were lifted right up. The ancient cypress trees uprooted like twigs and slammed into bridges and other debris. Cars and trucks floated away. People found themselves unable to get to their cars and out to the roads. Low water crossings filled and blocked passage out of the hill country. All in the pouring rain on a pitch black night. I did manage to get the cats and rabbits into the car and drive around downed trees onto a higher street. Electricity was out all over Wimberley and the police were directing us to the community center which was dark as well. There were people sitting in their cars there in the dark. But at the door was Mayor Thurber, and his voice in the dark advised me to go to the high school.

 

With over 100 cars in the parking lot, there were lights, a dry spot on the basketball court floor, and the Red Cross was handing out sleeping pads, blankets, dry socks (oh, dry socks! it was impossible to describe how nice they felt on my feet). I left the animals in the car and joined the masses and their dogs (so good to see they were included) and we sat our sleep deprived bodies down and waited for daylight. I checked on the animals when the rain took a rare break. They were quiet, but working up a permanent stink eye for me when I opened the car door. In the morning, I joined a couple of my neighbors as we discovered each other, and we came back to the neighborhood only to find the police had blocked off the road leading to our houses. Major flooding down past us, starting at our neighborhood. We were allowed in, and the three of us were overjoyed to find our houses just out of range of the tsunami-like wall of water that hit the rest of the street. All the homes directly on the river were ruined and news coverage shows that was the tip of the iceberg. But standing in my little cabin, looking around at everything just like I left it, I stopped and felt a palpable surge of gratitude rush through me. I knew that I was feeling Grace. I had been allowed to experience the trauma without the devastation. And in that moment, I realized I was experiencing Grace.

 

The sadness of the whole town is unbearable. Family members missing and dead, pets missing and dead. Hundred year old trees and their inhabitants gone. It is spring and numerous birds and their young were drowned. Does who had recently given birth were abandoning their fawns.

 

The numbness of mind and heart are palpable.

 

"The National Guard came to our street and unloaded men with long poles.  They were searching the riverbanks for the bodies of the missing."
“The National Guard came to our street and unloaded men with long poles. They were searching the riverbanks for the bodies of the missing.”

 

In my world, without electricity, phone and internet, the perspective was so personal, so right here. Watching it now as the rest of the country got to see it is shockingly personal. I have often sat in my recliner and watched tragedies unfold with the voice of the commentator filling my mind with the facts and events as they progress. But inside of a tragedy, there is no such Big Picture. There is only the moment filled with fear and unknowns. Clarity of mind was not without difficulty. So the witness aspect of me had everything in control, car packed, essentials, knew how to find shelter. But the emotional part of me was terrified. I’d never lived through a natural disaster like this before.

 

Lying on the wooden floor of the basket ball court at the high school, I found it impossible to sleep. I listened to the voices of the people who came in, numb with shock, with tales much worse than mine. Cars floating away, family members missing, swimming through the foul, violent water full of toxic debris to get to higher ground. Some were visitors whose vacations were abruptly ended in tragedy. Others have lived with the moody river currents and had never seen anything like this before. Not re-assuring. I was cold and wet and the night was agonizingly long.

 

"A fawn I rescued the day after the flood when the new moms panicked and abandoned their newborns. Texas A&M brought a huge mobile clinic to us and they gave her fluids and called a rehabilitator."
“A fawn I rescued the day after the flood when the new moms panicked and abandoned their newborns. Texas A&M brought a huge mobile clinic to us and they gave her fluids and called a rehabilitator.”

 

The week after the flood has been almost as violently chaotic as the flood itself. Bulldozers and bobcats drone on all day long clearing the larger pieces of homes, cars, 200 year old cypress trees, roots and all, and mud. Awful, stinky, toxic mud that piled up into the homes that were left standing. Yet, my little corner of the neighborhood dodged a bullet, and we are unscathed by the hand of darkness that ruined the houses beyond us. There has been plenty to do and for me it looked like collecting a newborn fawn whose mother abandoned her amidst the chaos. Texas A&M had an emergency vet clinic at the high school. Very helpful. They were able to rehydrate her and send her off to a wildlife rehabber to join countless other orphans. Wildlife had joined in our life interrupted. Even now I hear a heron calling to a mate whose nest was most likely in a tall cypress that was destroyed. A kitten appeared on the road, barely able to avoid the cars, starving and displaced. She has found a good home and a loving person to care for her.

 

Since I see each experience as an opportunity to awaken, I am spending my quiet time reflecting on what this experience means to me personally. Why was I here at this time and place? How was it my good fortune to have been spared the brutal impact of the river’s violence. How do I respond to the layers of fears and emotions that I find flowing through my body flooding into my consciousness. The anxiety that kept me vigilant that night has stayed inside me. It fights to stay alive as the exhaustion sets in. I work to release the anxiety, all the while thinking about how the disaster will change the lives of so many people here and wondering just how it will change mine.

 

July 21. It has been seven weeks after the now named Memorial Day flood. My cats have resumed their routines as have many townspeople. After all, how else can one heal from the traumas of life. Yet, early this morning I felt the low rumble of two massively huge trucks work their way around our narrow lane to the mountains of crumpled cement and rebar that remain after the foundations of the ruined houses were jack-hammered loose from their peaceful perches above the riverbanks. The trucks have their own cranes and can carry the weight of the heavy debris. I wonder how much of it all can be reused as fill or whatever. How careful we are to recycle and in one horrendous moment, everything becomes trash. Like the tsunami in Japan washing up on the Pacific coast of the US months later. How do I hold the futility of it all in balance with throwing the next plastic bottle into the recycle bin. I remember Ram Dass giving a lecture many years ago on “how to keep your heart open in hell.” I thought that I understood that concept but here it was again. I feel the shock wearing off and yet I have a deep vulnerability that lives in my cells and calls out for understanding and a rebirth of my perspective of being in the world. My life has been about awakening to new perspectives as change spins me like the planet spiraling through the cosmos. Always perceiving moments with new awareness, revisiting memories and feelings to alter them into the Present. The flood has whisked me into it’s powerful jet of water and sent me out of control down the stream into uncharted channels of my consciousness.

 

What an amazing process.

Native American rock art

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The Rochester panel.

 

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The Sego Canyon panel.

 

Detail of the Sego Canyon panel.
Detail of the Sego Canyon panel.

 

These beautiful photos were taken by Kirk Robinson, who writes this about them –

 

The pecked images, such as the Rochester panel, are called petroglyphs; and the painted ones, such as the Sego Canyon panel, are called pictographs.  Originally, many of the petroglyphs were also painted.  They may have also been decorated with feathers and other natural materials.

 

There is obviously a lot of meaning in these interesting figures, but it is hard to know what they mean.  Sometimes you can tell what individual images represent – desert bighorn sheep being the most common of the petroglyph figures in most of the West, but also deer, bears and birds, etc. – but other times they are mythical creatures or spirits that combine body parts from more than one animal.  Some look like images of prehistoric animals.  Others are what we call anthropomorphs, because they have a generally human shape with a torso and head, and sometimes hands and legs.  They might represent spirits or shaman.  Some images appear to be shields. However, most of the panels are more than just a set of images. They tell a story, or multiple stories, and are not simply representational. Some Indians might have more insight into their meaning than we foreigners. We tend to be too literal, whereas their traditions involve a lot of symbolism.

 

Unfortunately, vandalism is a big problem for Native American rock art. The easier it is for people to get to rock art panels, and the more well-known they are, the more likely they are to be vandalized.  A lot of folks think they are just graffiti, which is not true.  That belief is a reflection of ignorance.  Many of them required great skill and a lot of time to make, and were used for important religious ceremonies.  They are like murals and the sites were carefully chosen.  Often times a panel features multiple stories from different periods and different cultures, one overlaid on another or right next to each other.  It is nearly impossible to date rock art accurately, but many panels are several thousand years old, while some are only a few hundred years old.  Some of the more recent ones show cowboys on horseback and locomotives.

 

It is important that we respect these treasures and protect them.  Never touch them with your fingers or any other object. Time alone will erase them soon enough without our help.

 

 

 

Travels with a rock art guardian

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By Suzanne Cordrey

 

I was invited to travel with a friend who is one of the “guardians” of the most ancient rock art paintings in the United States. I had no idea what I was going to see nor that it even existed when I just felt that old familiar pull from within that said “Go with her.”

 

Truth be told, I have not been to many places in Texas since I moved here. The only thing I knew was that we were headed for the Mexican border. Lots of emotion around that, since Texas has had such a big influx of illegals, including lots of children on trains from all over central America.  Such heartbreak, trauma, families torn apart, and such divisive opinions amongst the people here. We had been told that the cabin we were to stay in had been broken into by illegals just a couple of weeks ago. Feeling’ real safe about hearing that!

 

So Melinda and I packed up and headed down to a place called Seminole Canyon where all this awesome rock art lives. To Melinda, it is like her spiritual home. She was born and raised mostly by a single mom in eastern Texas. It amazes me to see how all of us can have such humble beginnings and still end up shining our spiritual light into the world. Now she is an RN, an acupuncturist, and I met her at a tai chi class that she reaches. She lives just up the road from me.

 

All I know is that we are heading south, through the wildflower covered fields of the hill country, and I watched as the scenery changed into thick bushy mesquite trees and cactus, albeit blooming cacti.  Ocotillo, prickly pear, acacia bushes, lechuguilla, all enriching the high desert plateau of western Texas.  Towns like Boerne, Uvalde, Del Rio flashed by on green road signs as I enjoyed the feeling of the changing ecology. Soon we came upon a large body of water.. What? Here? It is a man made reservoir called Lake Amistad. Bridges arching gracefully over fingers of clear blue water, leading off into what looks like nowhere. One road just ended right into the water; got flooded out after the dam closed. And there was an incident a couple of years ago where an American was shot while riding his Ski-doo in the Lake by someone on the Mexican side. His wife saw him fall and went to his rescue but couldn’t l save him and he drowned. I’m surprised she wasn’t shot. The International border is in the center of the lake but who knows where. Prickles of Weirdness creep up my spine.

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But Melinda is full of excitement and begins to weave a web of magic about how the rock art we are about to see was found in the 1930s and about the long process of acquiring the land and regulating the caves where the murals are painted. We drive past the reservoir and unlock a gate, bounce over a couple miles of dirt track and the cabin comes into view. It sits on the edge of a cliff overlooking the lower Pecos River, which looks huge there because it is running into Lake Amistad and backs up there. Gorgeous!. The cabin is empty, we bring everything including our own water. Primitive but screened in and has a stove. I’m cool with that.

 

Desert birds fill the evening skies with song, a pair of blue herons fly in harmony in the late day breeze and greet us with a flyby over the cabin. I had a hidden agenda in that I wanted to see the night skies, clear and unobstructed from the sweet oak trees that drape over my little cabin in Wimberley. Big night sky and Jupiter, Venus and Mercury were all present for the big reveal which made my heart beat with joy.

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Early morning and we hike down into the canyon to see the White Shaman. The ancients here made this area their home around 3500 years ago. Long before the Anasazis inhabited the Four Corners area. No one knows who these people were, but skeletal remains have been used to replicate faces and they have been honored in bronze statues here. The theory about the White Shaman mural that I can relate to is that they used peyote and datura plants, which are represented in the paintings, fell into an altered state and saw beyond their third dimensional lives. They left recordings of traveling into the “otherworld” and instructions on how to do it. It reminds me of the Egyptian hieroglyphs and their meaningful journeys. And both cultures would be overlapping in time. I always thought that streams of consciousness wove through civilizations, just waiting for people to become aware of them. In the White Shaman mural, there is much symbology of the number 5, and there are 5 shamans standing in line, with a white shaman emerging from the body of the center shaman.

 

We spent a couple of hours musing over the figures, then turned our attention to the canyon behind us that we had just climbed down into. A peaceful, private, lush green canyon with a crazy canyon wren singing his laughing song to us, and a beautiful painted bunting, one of the most brilliantly colored songbirds in the US, sat in full view for us to admire him.  I could have died right then and there. Then, I almost did. As we left the cave and climbed up the steep narrow pathway that was littered with crumbled limestone, out of nowhere, I slipped and fell. Reaching out to grab something, I impailed my arm on a dead twig. I had to lift it off the branch and one look told me that it was deep. Melinda went into nurse mode, wrapping it up and as soon as I fought off the shock of it all, we hiked up to the rope and I had to use that arm to pull myself up the slick rock hand over hand to get up to the edge of the canyon. All the way to the car we went back and forth abut whether to seek urgent care or wait three days to get help. The winning course of action was to drive into Del Rio and get it stitched up and get antibiotics for infection. It was just too damn deep. Well, that took care of a whole afternoon. But I wasn’t willing to return home. It was just my forearm, after all.

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Melinda had to guide a tour on Saturday, so I stayed at the cabin and let the pain pills float me into a lovely time warp that lasted all day. I had no idea what time it was, and let my spirit soar free as I looked out over the Pecos river and read the books Melinda brought about the history of the rock art in the area. Birds sang, herons circled together below, the wind blew, keeping it cool and the sky played the most magic picture show of soft, soaring clouds and then a brilliant orange sunset . That evening another guide from the rock art foundation showed up, lit a fire in the pit, and told his tales of life as it is for him since he moved there. He, too, is smitten with the rock art, like it has beckoned to its spiritual family to come and protect it and these people have felt so drawn to be there. I recognize that calling, as I too, was called to go to Macchu Picchu years ago. Maybe these people were the ones who painted the pictures on the walls of the caves. Who knows? I smile at the Bigger Picture that we are all drawn into. Nothing is as it seems. Nothing.

 

Our last day there lured us over the Seminole Canyon State Park, where another mural called Fate Bell is accessible. Larger tours go there and it is much easier to get to. Meaning that over the years, it has been plundered a bit. But a particular guide that is very knowledgeable was giving his last tour and Melinda was eager to hear him. He is young and his wife is not as enamored with the vast western desert and it’s lack of amenities as he is. So they are moving. The tour was very powerful with many cosmic signs that I recognized as spirit on the move through us all.  The young man spoke of the connection of the ancients with the modern day Huichols of northern Mexico and how so many of the ceremonial rituals are alike. He thinks the Huichols are the decendants of this culture and that the peyote ceremonies are practices in many of the same ways.  And it is all written on the walls of these caves. There are 123 known cave murals in Texas and no one knows how many are on the Mexican side.  It is too dangerous to travel over there at this time, but someday in future, when peace spreads over the land and borders are a thing of the past, we can work together to uncover the rest of the rock art. I know it seems unlikely, but then nothing is what it seems……………………..

 

Photos: © 2015, Suzanne Cordrey

 

After a while

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Tall,

To the sun

And the moon they rise,

Pillars

That hold up the land

Of the stars,

In the early morning

Of time.

 

Where the chime

Of butterflies

Rings in the mist

Of clouds,

Where the horses of the wind climb

Archaic hills, peace settles,

Free from the shrouds

Of thought bewildered.

 

When the grinding wheels

Of the rattling cars,

The careening cart,

Of the manic race of beings that never stops

Have stopped, unspinned,

And fallen down

From the lofty wall,

Their memory lies

Quiet,

Dimming,

In the cheerful company

Of ghosts,

In the sooted

Shambles of empires

Cast

Under the snapping heels

Of fate.

Then

The coyotes

And the ever-knowing raven

Will run again

In gladness,

Across the red rock sand.

 

 

The wild hills, free now,

As the lilies

Of eternity

Who bow

In the wandering wind

By the bright

And undiscovered

Sea.

 

 

After the horns

Of many winters

Have fallen silent,

The husk

Of time

Discarded,

The aspiring rose will lift

Her head again

Among the rocks, resilient,

In the ice-enchanted

Spring.

The wind will sing.

Stones

Will shine, blessed in the twinkling

Emptiness

Of night.

The crow

Hops

In black

Clouds that inhabit

A sky of joy;

Coyotes laugh last

In the dance of the dusk,

And the ancient,

Earlier folk

Walk

To take back

The sacred mountain

Stolen

So long ago,

Now that the age of the unholy

Will be ended and done,

Gone

On the smoke

Of the fleeing mist.

 

 

Under a delicate crown

Of forest

Leaves, mice play

Among their catch,

The silver

Trinkets of the dead,

And talk

A while of feats of yore.

Herons glimmer,

One-footed,

On the green, tree-

Shouldered river.

Such an ill wind

That blew

Into the bones

Of the soul

Of men,

And stayed, corroding

The core

Of history,

Such a grim, unseemly game,

Like thorns

Lodged in the heart,

But when the scales fall

Away,

One by one by one,

Then

In the end there are only

The plain, rain-lit,

And the rose that flowers anew,

The innocent petals

Of nevermore,

And the farmer’s boy

Who whistles

In the strawberry patch,

By the lop-sided shack,

Where the corn stalks grow,

His blue

Hat adrift

On his head,

In the town

With no name,

Where the raven rules, with the snow-

Winged geese.

 

 

The sun holds the empty bowl,

Blessed be his ashen fires.

Agni, the one

Who returns

All

Back to the beginning.

Set the burning

Lanterns

Out and wait

In peace,

From within the rock and mist

To hear a killdeer call,

To sail away

To a far and luminous shore,

Known so well from long before,

On the flaming ships of dawn.

 

© Sharon St Joan, 2014

 

Photo: © Colin Young | Dreamstime.com

 

 

Is the bull the enemy?

 

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By Sharon St Joan

 

When watching the stock market, we talk about the bulls and the bears – why? Well, the symbolism behind this isn’t so much really about the bears, but it is about the bulls, who from the very beginning of human consciousness have been known as a symbol of power, success, and victory. The bull stands at the top of the mountain, having conquered his rivals.

 

In the caves of Lascaux, in southern France, 17,000 years ago, Cro-Magnon man painted extraordinarily beautiful cave paintings. The largest of these, running about 17 feet long, depicts, a bull, not a modern bull, but an ancient wild bull, the auroch, a species that existed before bulls became domesticated. They were much larger then and fiercer.

 

Visiting Crete in the late sixties, I was struck by the many depictions in the ruins of Knossos of the bull. Even simple blocks of stone had double bulls’ horns carved at either end. Clearly, the bull was an archetypal symbol for the Minoans, whose civilization was at its zenith, around 1500 BCE.

 

 

In ancient Egypt, the bull was worshipped as the god Apis, symbol of strength and power.

 

Among Native Americans of the plains, where there were no cattle, the bison assumed the place of the bull, and the bison, who provided everything the plains people needed in terms of food, clothing, and shelter, were greatly revered.

 

In Vedic literature and other sacred texts of India, great heroes were referred to as “bulls among men.” Throughout history and today in India, the vehicle of the God Shiva is the bull, Nandi, who guards the entrance of every Shiva temple, and the devotee pays his respects to Nandi, who then graciously allows the devotee to enter the temple and to worship Shiva.

 

In the Christian Bible, the ancient Hebrews got into a lot of trouble by worshipping the Golden Calf, as soon as Moses had been gone too long on the mountain. When their faith in Moses waned, they reverted to an older tradition – worship of the bull.

 

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The Mesopotamians worshipped the bull as Marduk, a magical being – god of water and the growth of vegetation, as well as judge of human affairs.

 

The Canaanite god Moloch was often portrayed as a bull.

 

Unfortunately, the position of great honor bestowed on the bull throughout history has drawn the attention of a darker aspect of human nature, which is the desire to kill whoever or whatever stands at the top. This is not at all the same as the legitimate fight against oppression and injustice, which is noble and heroic, but instead, it is the ignoble wish to subjugate anything that might be seen as a potential rival – the basic drive which seeks to eliminate all competition in any way possible.

 

This instinctive drive has a positive side which may lead to success and to excellence, but all too often, throughout human history, it has instead been overwhelmingly negative — leading to the wanton destruction of all that is perceived as not subservient enough.

 

The desire to destroy one’s rival leads to wars, to run-away arms races, to tyranny, to the accumulation of wealth at the expense of all who are less fortunate, to the oppression of the female, the young and the old, and all who are weaker or poorer. It leads to the destruction of nature, the elimination of wild species, the devastation of the planet earth and to climate change run rampant. At its most extreme, anything that is beautiful, untamed, or magnificent is the enemy of this drive for domination and becomes a target for destruction.

 

All this has lead to the bull being among the most persecuted of animals in many cultures, worldwide.

 

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The bull in ancient Crete was the object of bull-baiting in which young men leaped on the backs of the bull to ride them, thus proclaiming their victory and superiority over the bull – and their worth as “heroes.”

 

Bull-fighting is the modern day form of this in Spain and other countries. In Spain and in Mexico, there are lesser-known “festivals,” sponsored by local Catholic churches, which far exceed bull-fighting in terms of extreme cruelty, torture, and the killing of the bull.

 

There are ritual tribal persecutions of the bull in sub-Saharan Africa.

 

In the history of Christianity, the devil has traditionally been depicted with the horns and the tail of a bull – thus showing the bull, who is an innocent animal, as the essence and symbol of evil.

 

The drive to dominate, subject, torment, and destroy all that is innocent and beautiful represents the very worst aspect of human nature, and it is based on fear, the fear of being defeated and replaced.

 

There is though a positive, iconic figure who is just the opposite of this – the protective hero, seen for example, in the great flood myth of India in the Noah figure, Manu. Manu saves a tiny, helpless fish, who calls out to him for help because he is about to be eaten by large, ferocious fish. Manu cares for his little fish with great attentiveness, for many years, raising him until he becomes a large, strong fish and then releasing him to be free again in the sea. The fish repays him for saving his life by warning him of the Great Flood and then by pulling Manu’s ship through the tempestuous waves to the top of a mountain, to rest in safety. There, all the seeds that Manu has brought along on the boat are planted in the ground, and the life of the earth is restored to begin anew. Manu is the archetype of the positive, protective figure, noble and kind, who cares for the good and the innocent. He is the true hero.

 

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Even India though, which has for many thousands of years worshipped and revered trees, plants, and animals, is not free from the destructive instinct to dominate, especially to dominate the bull, and this is seen in the cruel sport jallikattu, a form of bull-baiting practiced in the south in Tamil Nadu, in which crowds of young men torment and persecute bulls as a spectator sport. It is also evident in the cruelties inherent in the illegal transport and slaughter of cattle – and in bullock-cart racing in the state of Maharashtra.

 

These abusive practices are being opposed by thousands of animal welfare groups in India, part of an energetic struggle that has been pursued over at least the past forty years.

 

The Supreme Court of India is expected soon to deliver a ruling on these three forms of cruelty to bulls, which are already illegal, according to the Prevention of Cruelty of Animals Act – 1960. If the ruling upholds the rights of the bulls and the integrity of the longstanding humane traditions of India, this will be a major leap forward for animals in India and the world – and a sign that the voices of kindness and positivity are not always silenced and will sometimes prevail, overcoming all obstacles.

 

© Sharon St Joan, 2014

 

Sharon St Joan is the author of Glimpses of Kanchi.

 

Top photo: Prof saxx / “This building is indexed in the Base Mérimée, a database of architectural heritage maintained by the French Ministry of Culture, under the reference PA00082696.” / Wikimedia Commons / “Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version…” / Lascaux Caves / Cave paintings of aurochs and deer.

 

Second photo: user:Rmashhadi / “I, the copyright holder of this work, release this work into the public domain. This applies worldwide.” / “This is a featured picture on the Persian language Wikipedia” / Marduk. Iran’s heritage in Musée du Louvre.

 

Third photo: Deror_avi / Wikimedia Commons / “Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version…” / This is a duplicate, at the Minoan Palace, Knossos. The original is at the museum in Heraklion, Crete.

 

Fourth photo: Ramanarayanadatta astri / Wikimedia Commons / “This work is in the public domain in India because its term of copyright has expired.” / The fish Matsya pulling Manu and the seven rishis.

 

 

 

 

 

 

 

 

 

 

Mysterious Pumapunko

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By Sharon St Joan

 

One of the strangest ancient sites in the world, Pumapunko, lies near Tiwanaku, the archeological site in Bolivia, south of Lake Titicaca, on the border of Peru and Bolivia. The site is less than a mile from Kalasasaya, a huge paved courtyard surrounded by a wall that is part of Tiwanaku which was designated a UNESCO World Heritage site in 2000.

 

Pumapunko is a large earthen mound about 500 feet wide (167 meters) and about 350 feet in length (116 feet). What can be seen today is the remaining giant stones, some of which still lie scattered helter-skelter along the ground, and some of which have been lined up by archeological excavators in long rows.

 

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Radiocarbon dating of the mound-fill underneath the stonework has placed the first construction at the site to around 536 – 600 CE, but some researchers believe that Pumapunko is much, much older. The dating of nearby Tiwanaku is also a matter of considerable controversy.

 

The most remarkable and strangest feature of Pumapunko is the extremely precise way in which some of the stones were cut, which suggests that they were shaped by a technologically advanced civilization using modern machine tools. Many of the corners, both outer and inner corners, have been broken over time, but the extraordinary perfect flatness of the stones’ surface can be clearly seen.

 

There are rows of what are called H blocks. Massive stones shaped like the letter H. The surface of the stones is absolutely flat and smooth, cut to a tolerance of three 10,000th of an inch. The corners are precise right angles, with further right-angled rectangles indented inside the outside shapes, and even more rectangles inside those – not something that seems possible to do with a hammer and chisel.

 

Cut into some of the stones so that they may be joined together are dovetail holes, with the inside of each indentation larger than the outside, so that the stones can be locked into place.

 

In a YouTube video (the link is given below) Brien Foerster walks along a low wall uncovered during a recent excavation done in 2012. Among many sandstone rocks in the wall which are roughly shaped or natural are placed a few very hard gray andesite rocks, which stand out because of their very precisely cut, sharp lines. These andesite stones appear to have been recycled from earlier structures, perhaps from thousands of years ago. The sandstone rocks are primitively shaped, but the andesite rocks were made by someone else who possessed very advanced technology. Some of the remarkable H stones can also be seen in the video.

 

The site is vast, with a huge array of amazing structures, at an altitude of 13,000 feet. It resembles nothing else on earth, and it is not easy to imagine who might have built it, or for what purpose.

 

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It has been suggested by some investigators that the stones must have been melted in some way and then formed in a mold; however, Brien Foerster points out that each stone is unique with slightly different measurements so they could not have been shaped in a mold.

 

The largest foundation stone is not andesite, but red sandstone, which weighs 131 tons. It was moved uphill to the site from a quarry several miles away, but no one knows how. It could not have been rolled on logs because there are no trees here at this altitude.

 

There are virtually no inscriptions on the precisely-cut stones. This absence of inscriptions is odd. One finds the same lack of inscriptions on the oldest sites in Egypt. Author John Anthony West has pointed out that some of the great monuments of Egypt – the Great Pyramid, the Sphinx and the nearby Sphinx temple, and the Osiris Temple at Abydos – appear to be many thousands of years older than the Egyptian fourth dynasty – and that, remarkably, they also do not bear inscriptions – a stark contrast to the other Egyptian tombs and temples in which every available inch tends to be filled with images and hieroglyphs.

 

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Who built this extraordinary site, Puma Punko? Who built it, when, and for what purpose? No one knows. Ancient alien enthusiasts, predictably, attribute its building to ancient aliens. Others say it was constructed by very technologically advanced ancient humans – more advanced than ourselves, and that human civilization has been devolving, not evolving, since that time. Still others suggest that the ancient aliens and the ancient humans were one and the same, and that our species originally came from the stars. Others assure us that there is certainly no mystery at all, and that it is all easily explainable, though they do not have the exact explanation just yet. And others just laugh.

 

Whoever the builders were, what does seem indisputable is that there is a piece missing in our view of history. There are some things we cannot account for. Pumapunko is not the only mysterious megalithic site. The entire globe is peppered with them, and for the most part, we have no satisfactory explanation to account for them. Pumapunko is one of the strangest of all, but the more one looks at the others, the more puzzled one becomes.

 

Archeologists struggle to explain how theses enormous megalithic structures could have been built using the primitive tools and the limited knowledge that we attribute to early peoples.

 

When the history of our species is missing giant gaps, as it seems to be, we need to acknowledge that there is much that we do not know. The history of our world is filled with mysteries that we have not yet even begun to understand.

 

© Sharon St Joan, 2014

 

To see Sharon St Joan’s ebook, Glimpses of Kanchi, click here.

 

 

To view Brien Foerster’s video of Pumapunko, click here.

 

Top photo: Janikorpi / Wikimedia Commons / “This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.” / A view of some of the stone blocks at Pumapunko.

 

Second photo: Photo: Brattarb / Wikimedia Commons / “This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.” / One of the enigmatic stones at Pumapunko.

 

Third photo: Mattcorbitt / Wikimedia Commons / “This work has been released into the public domain by its author, Mattcorbitt. This applies worldwide.” / A stone with a precise straight line and machined holes within the line.

 

Fourth photo: Brattarb / Wikimedia Commons / “This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.” / More precisely cut stones. Weathering has broken some of the corners.

 

 

 

 

 

 

 

Treetalker stories this week

Treetalker stories: Stories this week: INDIANA SENATE COMMITTEE OK’S INDUSTRIAL HEMP BILL – now they, and 9 other states, await word from the U.S. Congress that hemp-growing will become legal again

and: ‘PLANTING TREES COULD STOP FLOODING’, says Lord Rooker, former Environment Minister for the Labour Party in the U.K. – lot of flooding been going on across the Pond, with lots more predicted – seems an obvious and simple solution, but, as we know, old practices die hard.
http://laurajmerrilltreetalker.com

Laura Merrill's photo.

Christmas and the Winter Solstice

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By Sharon St Joan

All over the world there are megalithic monuments with alignments to the Winter Solstice. At the moment of the Winter Solstice a beam of light from the sun strikes the deepest recesses of an underground sacred temple, as at Newgrange in Ireland or Maeshowe in Orkney, Scotland.

In the New World, at Chaco Canyon in new Mexico, the Sun Dagger at Fajada Butte marks both the Summer and Winter solstices, as well as other important celestial alignments.

The significance of the Winter Solstice is that this point in time every year marks the darkest time of the year; the death point if you wish, and at the same time, the return of the light.  It is the time, when the sun, having reached the moment when the days are the shortest, returns, and the days begin to grow longer.

The light returns, and with it comes the promise of spring and summer, the rebirth of the world.

This is also the message of Christmas – and for that matter, it is a message in many religions, not only Christianity.  At the hour of greatest darkness, the light returns, having conquered the darkness.

Interestingly, it is also the message of Jesus’s death and resurrection.  The moment of crucifixion is followed in three days (actually a day and a half according to the Biblical account) by the resurrection, as life overcomes death.

Winter itself represent cold, darkness, and death. It is the time when nothing grows and every being that can, takes shelter or hibernates, waiting for a change of seasons and the return of spring.  In warmer lands, the rainy season, or even the sun-baked, dry season may represent the time when one seeks shelter and waits, for a more propitious time – for a change of the seasons.

Though today the Winter Solstice occurs on December 21 or 22, the festival of Mithra, who was the god of light in ancient Iran, was celebrated from December 17 to December 24. The Romans adopted these dates for a festival to their god Saturn, which lasted several days and ended on December 25 – a date then later adopted by Christians as the birthday of Jesus.

When or what time of year Jesus was actually born isn’t relevant in this context. The symbolic meaning has a significance that lies beyond the historical dates.

Life is cyclic. Life follows death, and death follows life. Both are two sides of the same coin. In the darkest hour, when there seems to be the least hope, the light returns, and a new age begins.

Photographer: Rhion Pritchard / “I, the copyright holder of this work, release this work into the public domain. This applies worldwide.” / Bryn Celli Ddu in Wales, which has an alignment with the Summer Solstice.

©  2013, Sharon St Joan