BREATHTAKIIG
XOMENTS
PROPOSAL
KERST CHOPTEK
tot
PUETSI
PROPO
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We know from experiments that in their
there. Stress and tension can't be talked or
moments of greatest effort sportsmen, far
persuaded away. They can be trained away,
from being tense, record alpha levels of
physiologically.
repose in the brain that are equivalent to a
We can only perform properly if there are
state of meditation.
two selves at work - one performing and the
introducing to the. UK
Only a' fraction of our daily life depends on
other at perfect rest. This discovery is. .called
the conscious will. It is simply a
in Oxygenesis 'the dialogue'.
physiological fact that most of what we have
MAURICE
to do is taken off our hands by this
Why *Cellular' Repose?
remarkable motor system we have inside us.
A.certain subsidiary cell within most of our
It walks our legs for us, it does several jobs
other cells controls the oxygen/carbon
ROWDON'S
at once for us, it blinks our eyes for us, it
dioxide exchange. This is why Oxygenesis
breathes for us.
calls the repose it achieves cellular". The
We say we do these things 'naturally' quite
cell is called the mitochondria. Some
as if somebody else was doing them for us.
biologists call it the evolutionary' cell.
Yet we 'learn', we 'train'. That is, we
Some even call it the 'building bricks' of the
induce our 'nature' to take on tasks we
body. It speaks a code unknown to our
OXYGENESIS
could never manage by means of our
organisms : the only foreign code we allow.
cerebral cortex or will.
A breath-master at the court of a Chinese
Happily we don't have to tell our arm to
emperor was once asked by the emperor
raise itself when we're drinking a cup of tea
Why do some of my courtiers look, young
orcoffee, any more than we have to arrange
and have vigorous sex lives at a great. age,
A drainatically effective
our mouths to salivate.
and others not?' and hé replied They have
breath initiation
the breath and the breath communicates with
Reworking the Motor
the world.' It isn't likely the emperor
This is why we give our motor system SO
understood what he was told. In Oxygenesis
little attention - because no amount of
this extraordinary tapping-in process brings
thinking will alter it. So it invariably works
us, ifwe have a mind to seek it, information
at half strength. It may be given to
that is both intimate to ourselves yet about
breakdowns which we cannot understand -
the world in the most practical and
small, hardly noticeable lapses as well as
immediate sense.
All
and appointments:
enquiries
major ones which then call panic or
stress. It isn't that panic or stress can be
The Hale Clinic
avoided. But they can be contained and
7 Park Crescent
rehabilitated autonomically, though only if
London WIN3HE
the system is working as it should - that is,
Tel: 01425 461740 (Medical Director's Unit)
if the right physiological conditions are


Maurice Rowdon began devising his breath
that we breathe 'shallowly'. But
hidden to us - yet they have been on a
system nearly twenty years ago, after long
'shallow and 'deep' - breathing are two
journey to the source.
practice of daily pranayama or yoga
sides of the same coin. The one
breathing, which he leamed under the Indian
produces the other. Economical
How does this happen?
which must be learned
teacher Selvarajan Yesudian in Switzerland.
breathing, by subtle step, is the basis of both well- step
Oxygenesis deals with that marvellous motor
From 1981 he taught Oxygenesis in Berkeley
being and longevity.
control which takes us through each
and
day
San
Francisco, as well as in Italy
9 The human nervous system is in crisis
the things we are used to
where he has led workshops. He has
doing
doing
due to intolerable pressures. This has
without orders from us. So
twelve
published
books, both here and in the
compounded wrong breathing habits
any
ingenious
States, his last being on animal intelligence.
inherited at birth with wrong
this motor control that we can drive a car
At Oxford he read philosophy as his main
emergency ones provoked by necessity
while listening to a friend and answering him
subject and took two degrees for his MA, the
as well as half-listening to the radio too and
first in history. He is currently finishing a
not only steering, braking, accelerating the
non-fiction book called The Evolution of Mad
Whatever we are doing with our breath
car but reading the road signs and following
Apes An animal 'study ofhumans.
we are doing with our life.
them. It is all done automatically or, more
IfI observe someone's bellows box (as I call
exactly, autonomically.
9 Oxygenesis brings about a state of
our breathing muscles) I can see the forces
And the great supplier of our motor system
'cellular' repose within moments, and
at work which we call our 'nature'. Now we
is oxygen I or rather the metabolism that
this can be made the resident mode of
can't. decide ôn our own natures. They have
exchanges oxygen for carbon dioxide within
the body.
been there, apparently, since birth.
the organism. This isn't a simple matter of
Once. activated, the breath is virtually
What we can do is to. see if the bellows box
fuelling the body. Ifoxygen is a fuel it-has SO
a new organic function, a new vehicle
is working as it was meant to. And,
many properties, can be used in SO
for metabolizing, perceiving,
many
imagining, working, hàndling crisis.
miraculously, we only have to adjust it, in
different ways, that the word fuel' should
Until then we are passive breathers,
the subtlest manner, with. neither strain nor
properly read source control.
unaware of the very source of our life
striving, and our 'nature' seems to become
and energy.
our own for the first time.
Repose is the key
Oxygenesis examines the physiology of
Oxygenesis is thus a journey of discovery.
During their training hours sportsmen are
your breathing. Breathing exercises on
When we begin making changes in our
motor
whether
the basis of patterns adopted since
really setting up
systems,
childhood and entirely unexamined are
breathing system - a system we may never
they are weight lifters or runners or pole
an absurdity.
have thought about or questioned because
jumpers. These, require a state of calm, not
We are all required to perform. We
we were told it was 'natural' we find
tension through effort. This is SO that the
performers must have ease. We must
changes going on in our lives which make
organism may do its automatic work
belong to ourselves. Without activating
.our previous self seem somehow surrogate,
without any interfering anxiety or doubt or
the breath we can 't achieve this basic
conditioned from outside.
self-criticism on the part of the mind. Any
necessity ofall work and health.
People who do Oxygenesis say things like I
human performance whatever, including
Oxygenesis initiates flexibility, and
have my own face now', I fit into own
looking after a baby, can only be on the
flexibility is the great siress-destroyer.
The popular fallacy is that we need to
skin', I'm content to be me'. They still
basis of what Oxygenesis calls cellular
take in as much air as possible and
can't see their own 'nature' I this is always
repose ifit is to succeed.


CREATIVE PROCESS CONSULTANTS
3618 Socramento Street, Son Froncisco, Co 94118 (415)652-3714
My personal number (415) 527.0877
Dear Molly Friedrich,
Following our phone conversation I've sent you by
separate cover the proposal we discussed, called BREATHTAKING
MOMENTS.
George Weidenfeld in London told. ny agent there once
that I wrote the best prposals in his experiençe but this
isn't one of "them. Partly my problem is that my archives
on the subject are so huge---I've dedicated the last five
years to the subject in all aspects.
The doctors don't
know about it on the one hand and the people you'd expect
to know all about it, the yoga masters, seem just as ignorant
about the (to me) obvious essentials. I haven't read or
even heard about a book that comes anywhere near to seeing
what these are, let alone explores the extraordinary by
corners and avenues leading right back to the ancient
cultures whege.>believe these breath practices were used
in initiation ceremonies and seen as essential to the
maturation of the human being.
By the end of the Roman period those practices are
hardly remembered, let alone used, and what you then have,
in the Christian society built on top of Rome, is the
arousal society such as is in climax, or rather dire
crisis, today.
When I say arousal I mean something physiological
that can be demonstrated on the body.
I've watched people
breathing thousands of hours---hundreds of people---and
for me most people, certainly in the west, live in a
state of semi-arousal.
(The arousal or sympathetic zone
is the ribcage, and the autonomic or parasympathetic is
the abdomen, as you will see from the proposal).
This means no support system---a disturbed sexuality,
disturbed digestive system, frequent insomnia- -unaccountable
fears---aggression, expressed or suppressed---a feeling of
loss irrespective of apparent prosperity, wellbeing.
You say, quite rightly, people are terrified of World
War Three (the kids more than anyone- -
a report has just
come out of UC Berkeley about that). I say it isn't the


CREATIVE PROCESS CONSULTANTS
3618 Socromento Street, San Froncisco. Co 94118 (415)652-3714
problem itself, that's not the real crisis.
It's the
human nervous system that's in crisis.
Living in semi-arousal, that is, I repeat, being
without support you lose control of your environment.
The ecology problem. and the nuclear problem are the same
one. You don't know what you're going to do next, -
what's going to happen to you next. Like the animal,
the human being was at one time in control of his environ-
ment.
The first time women experience their support-system
and discover their abdomen to have been more or less left
out of account since early childhood or even birth, they
are frequently spellbound that the essentials of life
were never taught them, passed on to them.
The perpet-
uation of arousal patterns thus means the extinction of
the race, and not by nuclear warfare.
That won't be
necessary.
So for me the two world wars---and the possible
imminence of the third---arise from a change that took
place in human physiology and abruptly severed the link
with the environment and the rest of the animal kingdom.
This process began in an observable fashion in the
sixteenth century, it climaxed in the nineteenth with
the Victorians and industrialization.
That was when
the breath 'went up' and stayed up. You get those macho
stances, in both men and women of the period. You
remember those photos, the daguerrotypes---high shoulders,
chests thrown out, chins lifted---the very condition of
asthma, emphysema, congestion and alarmed attitudes, a
disposition to war and self-assertion.
The woman's belly went in---it wasn't seemly to be
loose---so I. deal every day with what I call 'washing
boards'.
The hardest one I have belongs to a 19-year-old
girl.
The above is to give you an idea of the breadth of
the approach---that which the proposal completely falls
short of!!


CREATIVE PROCESS CONSULTANTS
3618 Sacromento Street, San Froncisco. Co 9411 8 (415)652-371 14
The Riechian breath-teachers, the Alexander Grof
'hyperventilation' school, the rebirthers---all the
other people who use the breath, including the respected
Himalaya Institute, have to my mind no sense of the
monetousness of the thing they're dealing with---because
they haven't thought about it, they haven't observed the
breath quietly, in adults and babaies and animals, over
many thousands of hours, as I said above, so that a new
picture of the human being as a creature quite distinct
from any predecessor could take shape.
It seems to me feeble to reduce this to exercises,
as I do in the proposal. I I'm not that sort of a writer
anyway.
It needs to be brought in line with all my other
work---the biographies, the histories, in some way.
But without exercises what will the reader take home?
A promise that if he's lucky he'll find an Oxygenesis
teacher?
Would a physiologically oriented book that simply
analysed the sittation on the lines of the above do the
trick? I'd love to have a dab about breathing habits
among the Victorians and the early American settlers.
For starters I'd just have to go through the novels and
the accepted cliches, from his breath came in short pants
onwards.
It must be a picture of a creature in shock.
The hospitals are getting more and more hyperventilatory
cases, especially among the young (emphasis on the girls).
They say 'I don't know how I should breathe, what I should
do, how to get my breath.'
A creature that doesn't know
how to breathe!
I think I've met two people, in all
the distinguished people I've worked on in four countries,
who were breathing, in my sense. And I don't mean deep
breaths, yoga breaths and all that rubbish: I mean enough,
efficiently enough, for the lifeline to be working.
As I told you on the phone I was approached by a TV
station here who is, I mean which is interviewing me next
week for a CBS nationwide enquiry on the effect of 'alternative'


CREATIVE PROCESS CONSULTANTS
3618 Socramento Street, Son Froncisco. Co 94118 (415)652-3714
therapies on depression.
So I enclose my first letter
of reply to Jeff Samuels on the subject.
That will help
give you a picture too of the physiological stuff involved.
Bonnie Weiss who is a publicist wizard here will be
launching a three-month publicity campaign this month for
Oxygenesis. i That will be initially in the Bay Area only.
Then LA. Then nationally.
She would of course like to
hook it to the book.
What a letter. You obviously have a most stimulating
effect on me.
I would prefer to keep our sights on this proposal
for the time being, we can talk about the novel and other
material later, ef and when this project gets going.
I wrote the proposal intending to hook the book to
'top performance'. But that's ridiculous.
Jesus, some
people can't even get out of bed in the morning.
And it shouldn't be a 'doctor' book.
Apart from the
fact that I'm not a doctor, there's nothing more irritating
than their glad shining faces all over the dust jackets.
But the proposal has a tendency that way.
I can tell that Jane. Fonda never took a breath in
her life.
I can tell from the state of her skin.
Sincerely,
utt
Maurice Rowdon


A PROPOSAL
B R E A T H T A K I N G M C M E N T S
MAURICE ROWDON


OXYGE N E S I S
THE MIRACLE OF THE BREATH
A Popular Course in Breath Activation
Most people breathe incorrectly. When the breath
is out of synch the organism is out of synch. The
organism can function 60-70% but not (100%. This is
true for athletes and performers as well as for business
people and professionals in any field.
Breath activation is the greatest turning point,
the most important single activation of one's life,
without which no one can properly survive, work, play
or love optimally.
Breath can be a passive lifeline
(as it is with most people) and it can -be an active
lifeline.
They are virtually two different lives.
Contrary to popular (and most current medical)
opinion, breathing does not come naturally.
Such are
the special conditions of our society, and the degreen
of oxygen-shrinkage in our global atmosphere, that., IPV


breathing is ignored, relegated to an involuntary
function, and comes to reflect rigid and over-structured
adaptations to stress and trauma, thereby perpetuating
them.
Without the activated breath, no diet, exercise,
healing system will have full effect.
In advanced age
all the exerçise fand intensive-breathing in the world
will not achieve longevity or the successful combating
of those "villains' of senescence, the free radicals,
if the breath is not metabolising the oxygen efficiently
and laying in a store of the protective enzyme, superoxide
dismutase (the 'heroes'). This efficiency is not
possible with passive breathing.
So-called deep'
breathing is en aspect of so-called 'shallow' breathing:
both are pre-activation.
Smoking is an attempt to capture the correct breath,
to. activate the breath, in, someone with chronically bad
(breathing forms. The breath and not the smoking is what
has to be attended to.
Premature ageing is especially tragic in the case,
of women who have devoted their early years to the rearing
of children.
In the oxygenetic technique, the post-
fertility phase in a woman is regarded as the phase
of fulfilment, for which the fertile phase was a rich
preparation.
The female anatomy undergoes a change in
the glandular system, after the fertility phase, which


directly promotes new creative energy, ABrovided the
social directive to feel finished after forty is not
obeyed.
Oxygenesis rehabililitates the nervous system and
provides the only effective means for destructuring
inner fixity, or hypertensive structuring, which is
at the root of stress and premature ageing.
Stress
is essentially mental fixity, unlike tension.
Exercise isn't enough' - to dismantle this fixity. Nor
is raising VO2 Max (maximum oxygen-utilisation çapacity),
which normally declines about one digit a year.
Liberation from inner fixity can only be achieved by
arousal in repose. This is the core of. .Oxygenesis.
In many therapies, arousal is used to provoke
primal or (hopefully) cathartic shows of emotion.
These, however, merely introduce a new inéffectivé,
behavior to the organism, indeed, a new fixity.
Since the organism is always happy to' form a habit,
screaming for 'release' will become enjoyable, but no
basic destructuring takes place.
Thought and emotion are treated as synthetic in
Oxygenesis, the result of decisions which take place
much deeper in the organism, far below the activities
of the cerebral cortex.
Eventually, in the oxygenetic
process, thoughts and emotions take a back seat.
This is largely achieved through a state of primal


or 'cellular' repose. This. amniotic state enables.
the reticular self to challenge the cerebral cortex
for command.
The reticular self is best defined in terms of
the reticular formation in the medulla.
Arousal or
activating is the chief function of the reticulàr
function. This area receives both information from
the sensory tracts and nerve impulses from the
cerebellum, the basal ganglia and. otherenuclei.
The whole scope of Oxygenesis is the enlivenment
of this function so that the organism accepts for the
first time its proper guidance-system.
This is marred
and.disrupted by over-cerebral surveillance, which
manifests in chronically distressed breathing forms.
The reticular self is that which nudges the cortex
awake at night on a strange sound, smell etc.
provides the consciousness with its decisions (recent
brain researches reveal that we make decisions before
we are aware of doing so), and it flavors memories for
storage in the amydala and hippocampus.
It is the
key of 'subliminal' learning, and the frequent success
of affirmation-systems. Above all it is the key to
the immune system and what Dr MacFarlane Burnet called
the 'immunological surveillance' that protects us
moment by moment from disease.


COtRE
1. This project is based on a breathing process
called Oxygenesis, which is designed to promote
optimal powers in any given field.
Sportsmen,
joggers, aerobics enthusiasts, performing and creative
artists, business persons, lose at the margin whenever
the breath is not activated.
Contrary to popular (and most current medical)
opinion, breathing does not come naturally.
Such
are the special conditions of our society, and the
degree of oxygen-shrinkage in our global atmosphere,
that breathing is 'forgotten' early in childhood.
Although breathing can achieve seemingly miraculous
effects when voluntary, it is generally left in its
involuntary state, which Oxygenesis calls passive'
or 'turned. in'. This can be observed in many who
practise yoga as in others. It may even be present
infpeople practising intense breathing exercises.
Prànayama may be pràctised daily over many years without
the breath being activated.
Oxygenesis is a system
for-breath-activation.
Most westerners breathe in the 'passive' mode,
that is without consciousness or control.
In this
context 'control' does not mean cerebral control,
which can disturb the breath to the point of disruption,
leading many people into difficulties like hyperventilation.
In our day and age the breath has to be learned.
2. We can see that breath is our lifeline; and that
none of our organic functions can proceed without it,
even for a few moments.
But we have somehow left this
lifeline out of our studies, in the west.
One of the chief reasons is that western modern
medicine came into being during the sixteenth century
with the dissection of the corpse (i.e. the human body
minus the lifeline).
Another reason for the failure of western medicine
in this respect was that Christianity virtually banned
Arab and Jewish medical traditions in its studies.
In the mediaeval universities medicine was considered
an inferior art, and surgery (which had been an advanced
science long before Christianity) was in the hands of
barber-surgeons and army doctors.
Jorf


Jewish. and Arab doctors continued to practice (in
the Vatican as in other major courts). until the eviction
of both races from Spain under Ferdinand and Isabellagin
the fifteenth century.
The new Christian attitude eschewed knowledge of the
body as it did nakedness and even cleanliness (Isabella
urged Columbus to forbid the Indians in America to take
frequent baths, as they were in the habit of doing).
And at least until the Italian Renaissance the
Christian world remembered little of the Greek and Roman
medical systems. These classical systems had, for
instance, encouraged the baths as an important facet
of daily and social life, but in Christianity these
became the symbol of Roman degeneracy.
Even fresh air came to be seen as a carrier of
unspecified evils, like the darkness.
This passed
into western medicine as a theory of infection which
entirely disregarded the (body'st.immuimmune"system. CIt.was
a medical version of the strong mediaeval theme that
fate or providence was enacted outside the human being,
implacably, not inside.
Latin populations continued to fear draughts of
air and to sleep with closed windows until at least the
middle ofEthis century.
3. With the culmination. of this body-eschewing theology
in the statement 'I think therefore I am' in the seven-
teenth century, science in our sense, namely the study
of substance without consciousness (called matter) began.
The Cartesian doctrine held that of all the phenomena
in the universe only the human mind was linked to God
and therefore intelligent in the proper sense.
Therefore
only the thinking mind was free, while what it studied
was subject to mechanical law. Put in another way,
everything outside the human mind (including animals,
which could therefore be regarded as experimental
material without 'real' feelings) was"essentially not
alive.
Western science is usually, for this reason,
described as 'materialistic'.
But this isn't an exact
description, since all cultures have studied 'matter'
as the basis of their knowledge.
The qualifying
characteristic of western science was that it defined
matter as inert.
The medicine that derived from this doctriné began
to see even the human body as a fixed structure acting
under mechanical law, and therefore essentially mindless.
It is in this sense that the Christians are said. to have
'lost touch with their bodies', compared to the ancient
peoples.
Thus features of the
that
body
defied this
kind of structural analysis, like the breath, were
simply left out of account, and it seemed perfectly
sensible to study the dead body in order to learn about


the live one. a
But in leaving out consciousness from matter
the theorists also left out one of its most striking
features, namely purposiveness, which kept on manifest-
ing itself in nature.
Thus during the nineteenth century two opposed
theories battered away at each other---that of inert
matter acting under mechanical law, and that of a
purposive force which defied and sometimes confounded
structure, thereby alteringit.
Despite the fashionablé acceptance, in the
twentieth century, of the evolution theory, it was the
inert-matter theory which won in the popular mind and
became an unquestioned tenet. When it passed into
the educational system it ceased to be a theory born
in the mediaeval mind and became a universal way of
lookingeat things.
If asked what differentiated the human being from
the canimal most people, including scientists, would
say "They cannot think'.
There is no evidence for
this, though there is vast evidence to the contrary.
But such is the force of the inert-matter doctrine
that it has actually entered the westerner's perceptive
faculties.
4. In a word, the mediaeval doctrine was highly
cerebral, and naturally produced a scientific procedure
so cerebral that it lost touch with natural processess
The reault-today.is àn_environment-manipulated to fit
the cerebral structure, but hardly thriving on that
account.
In fact, the earth, the oceans and the
atmosphere (including the creatures thereon and therein)
have been hard put to survive.
The human body, in being treated as an inert
substance, was naturally affected in the same way, and
that it should forget how to breathe,Enamely lose touch
with its lifeline, was also'natural.
If we want to know what this feels like all we have
to do is to become aware of our breath as we walk EIT
along- - ( and ask ourselves a few questions about it---as
to whatjmuscles it is engaging, whether "it is fast or
slow or deep enough. And within seconds we' shall be
lucky if we aren't choking and panting and in danger of
going into hyperventilation. This is (howthe cerebral
cortex feels about the breath---that it is a stranger,
an unknown, an interloper.
That is, the vèry lifelines
of the organism is best left to an.interloper") In the'
age of 'science' ignorance is still "bliss where many
basic functions are concerned.
The starting point of Oxygenesis is precisely
here. It says that 'activated' as opposed to 'passive'
breathing so overrides structure as to 'escape law and
therefore chronology, especially in the matter of old
age.


An emperor of China listened to his doctor
describing the symptoms of old age, among them the
depletion of the kidneys and the failure of sexual
powers. The emperor asked, 'How is it that I see some
courtiers before me who have reached an advanced age
but are youthful in appearance and have full sexual
powers?' The doctor replied, 'They have followed the
right way, their breath communicates with the world.'
That is, their breathing had passed from the passive to
the active fory'bridging' mode.
For the breath is a lifeline in a much greater sense
than the passive breathercantrealiser It can stimulate
the Organism to escape Tts tendèncy to fall into fixed
structures, its 'passive' tendency, so that a persistent
sense of new achievement is reached.
The active breath
is a means of' receiving, while the passive breath is a
means of ticking over.
Without activated breath no diet, exercise, healing
system will have. full effect.
In advanced age all the
exercise and intensive breathing in the world will not
achieve longevity (i.e. full powers) or the successful
combating of those 'villains' of senescence, the free
radicals, if the breath is not metabolising the oxygen
efficientlygand laying in a store of the protective
enzyme, superoxide dismutase (the 'heroes'). This
efficiency is not possible with passive breathing.
The result is that millions die prematurely every
year at the very time when the active breath should be
initiating a new phase of life. Hence the bitter Re
frustration of those who are retired juet. when they feel
that their careers should rightfully be beginning.
This is especially tragic in the case of women who
have devoted their early years to the rearing of children.
For Oxygenesis, the post-fertility phase in a woman is
the phase of fulfilment, and the fact that she is more
often than not, even today, snatched from the scene soon
after the age of forty, partly through a collapse in her
own morale, means that the world is missing quite half
of its creative potential.
The female anatomy undergoes
a change in the glandular system, after the fertility
phase, which directly promotes this new energy, provided
the social directive to feel old after forty is not obeyed.
This social directive arises from western medicine's
analysis of the body as a fixed structure, which women as
well as men have accepted for centuries past. This
structure has produced the medical equation female = fertile.
Of course it is a very serious matter when over half the
race-1s-femoved from its rightful influence at the time of
its greatest powers.
Entirely contradicting mediaeval analysis in this
respect is the fact there are over 30000 women in the
United States over one hundred years old, and the mortality
rate among women is 60% less than among men. Women over


65 outnumber men of the same age by three million.
The: myth that post-menopausal symptoms present a
picture of senescence has long been laid to rest.
But
another myth survives (as strongly in women as in men),
namely that sexual powers and interest decline in the
post-fertility phase.
The evidence, on the contrary, is that in many cases
sexual desire and performance may increase, or become
more refined and selective. To break it down to (its
physiological parts, this means: 1) the function of
the reproductive system is not simply to reproduce,
and 2) the reproductive system is the physiological
site of the creative function generally. Thus in the
post-fertility phase the female organism passes from
its reproductive role to a more generally creative one
in precisely the same way as the male organism.
When ovulation ceases, estrogen and progesterone
simply alter their pattern. Neither the hypothalamus
nor the pituitary gland cease production. In fact
they produce higher levels of ESH (the follicle-
stimulating hormone) and the luteinizing hormone.
Also the female organism prepares itself for
estrogen-loss. First, the adrenal glands produce more
of it; together with the male hormone androgen (which is
Converted to estrogen in fatty tissue).
Secondly, the
ovaries continue to produce small amounts of estrogen
and androgen too. 40% of the women in their post-
fertile phase have estrogen levels as high as before
menopause.
Estrogen-loss cannot. be shown to cause hypertension,
overweight, heart attacks, reduced hearing or vision,
and other features of what is normally seen as senescence.
Nor is it all certain even that the 'normal' or 'typical'
menopausal symptoms---dizziness, 'flashes', headaches,
numbness in the fingers---are in fact menopausal in
origin.
The vaginal lining may thin but there is no clinical
justification for calling severe thinning 'senile'
vaginitis or 'atrophic' vaginitis, as the medical profession
by tradition does.
J ESéxual desire is in fact governed not by estrogen
but androgen, and this is produced plentifully in the
female organism until advanced age.
6.. It. may not be accidental that 60/70% of the clients
of Oxygenesis, in four countries, have been women.
It is frequently the area of the reproductive system
that leads women to seek guidance about the breath.
The abdominal area may feel tight, 'neglected' vulnerable,
unprotecen/ashaned, hidden, in recoil. Chilabearing
seems to make no difference whatever in this respect.
Breath-activation is also the activation of that
area, so that it joins' with the frèst of the organism.
Surface.massage cannot achieve this.
There has to be


OC Flo2
the inner massage of breath-movement.
The health
not only of the reproductive system but the liver,
the intestines, the colon depends on this. The massage
is provided by the sliding movement of the diaphragm,
which is designed to move into the two elastic sheaths
protecting the lungs easily and smoothly.
There are
specific exercises for this, as we shall see later.
This is an example of where the breath makes it
possible for the body to escape fixed structure.
In the case of men, abdominal regeneration through the
breath will achieve the same end of 'releasing' the
réproductive system.
Macho chest structures designed
to assert 'I am fearless. simply mask 'I am fearful'.
They may also lead to asthma, the swelling of the ribcage
in emphysema, chronic congestion of the lungs through
over-development of the thorax and paradoxical breath-
ing. In women the same effects may be reached---the
ribcage and shoulders swell to hide or compensate for
the abdominal situation.
The fixed structure, however physically it may
express itself, however unaware it may be, is in the
last analysis mental.
This is particularly spectacular
in the case of advanced age. If the fixed-structure
picture of old age offered in large part by the medical
profession is adopted by large numbers of people,
the story will to a surprising extent enact itself.
The breathing will continue to be passive at the very
age when, if activated, it would induce a new lease of
life in the proper sense-- -a new creative role.
In a cautious, but for many doctors revolutionary,
article in the September 10 1982 issue of the American
Medical Association Journal, Dr Walter M. Bortz 11, the
1983 president of the American Geriatric Society, came
up with the idea that exercise in advanced years could,
given optimal health, prolong life without difficulty
to its Hayflick limit of 120 years.
It isn't, however, according to Bortz, the exercise
per se that does the trick as the fact that the organism's
VO2 Max will be raised to the proper level. VO2 Max
means maximum oxygen-utilisation capacity, or the
capacity that transports oxygen to the cells. This
normally decreases by about 1% a year. But it can
be increased from 29 to 44 in 70-year-old people by
means of exercise,. thus regaining, in Bortz's view,
'40 years of lost VO2 Max'.
His studies of maximum oxygen-utilisation capacity
were touched off some years ago by his observing that
a limb kept in plaster for a considerable time will
look, even in' a young person, withered and old. Now
a young person who is bedridden will lose 10-15% Vo2 Max
in a matter of weeks.
So, says Bortz, what withers
the arm or leg is the lack of exercise, both local
exercise in the limb itself and general exercise of the


body.
Lean muscle declines in the old---but it does
in the young too when they are bedridden. And in
young and old it returns with exercise.
Older people have trouble metabolising sugar
glucose---but so do young people who are forced into
inactivity.
At this point we should return briefly to the
inert-matter principle.
When imperial Rome was in
decline, the new Christian ideas entered it as perhaps
the most miraculous reactivation recorded in modern
history.
They saved the empire.
Where the emperor
had been the pope now was. Where political government
was, spiritual government now was. The cross took
the place of the eagle all over Europe. The Roman
roads now linked domains and monasteries and churches.
It was inevitable that the new ideas should almost
at once be'sseen in terms of power---imperial power.
They were trimmed, codified and modified in such a
way that they became an official body of ideas, namely
an orthodoxy, while all opposing or even simply different
ideas became heresy. The civilisation based on that
imperial power became increasingly fixàted in the
orthodox/heterodox mode of discussion.
The.result
today is that an increasing amount of research, even
that strictly within the official precincts, is kept
defensively at bay.
In answer to Bortz's researches into the connection
between VO2 Max and longevity, Dr Robert R. Krohn,
pathologist at Case Western Reserve university (Cleveland),
said, 'It's pure crap.'
He added that exercise couldn't be shown to extend
life-span (which Bortz had never claimed). He observed
that blood vessels stiffen, the lungs lose their
elasticity and collagen builds up in the tissue
irrespective of exercise (which Bortz had never denied).
Dr Denham Harman, founder of the American Ageing
Association, also took part in the 'discussion' and
argued, as he had often done before, that it is the free
radicals which play havoc in advanced age, namely the
result of 'normal' metabolism.
Bortz hadn't denied
that either.
It is certainly no news that exercise doesn't
prolong life. Laboratory mice exercised when young
and immobilised when old, laboratory mice exercised
only in old age and laboratory mice exercised all their
lives tend to die at the same time.
So both sides in the argument seem to have some
conclusive research behind them. Indeed, a careful
look (will show that both sides are right.
Only they
haven't decided on the common factors necessary to make
even a discussion possible.
For instance, while laboratory mice tend to die
at the same time, whether they exercise or not, their
lifespans can be lengthened.
If you remove a mouse's
spleen in old age you can double the lifespan. You


can lengthen the lifespan by injecting T-cells from
young mice, and by drastically restricting diet.
the fixed-structure picture of an inevitable, implacable
program of old age and death may be. true as an observation
of what happens, but not intrinsically true at all..
Dr Harman's statement, 'We are programmed to die.
There isn't a whole lot one can do about it' has an
ecumenical ring.
What Bortz was saying---and his opponents disregard-
ing---was- that depressed VO2 Max is maybe a universal
feature of senescence, and that it is this factor,
rather than' that of exercise, which should be extrapolated
for further thought.
It is here that Dr Richard Cutler's gerontological
researches into the role of superoxide dismutase (the
protective enzyme that fights the free radicals) becomes
important.
He has conjectured that the human organism
may be capable of laying in a store of this enzyme, but
that such a store will be impossible if the organism is
in stress.
This could mean that if we exercise in stress,
if apart from exercise we live in stress, the body will
increase its VO2 Max through exercise but not benefit
in other respects, especially in. the matter of longevity.
Stress is much discussed nowadays, and enters into
much research.
But rarely is it defined. For clearly
it isn't the same as tension, though tension will often.
go with it. (Tensionis a defensive.self-tightening.
Stress is felt to be imposed from outside. (Work.conditions
canube A (stressfull.t Stress holds: thecattention: RItidiffers)
from tension in being a mental fixity. There are
conditions that make one set of people stressed and
another set not so. The moment the mind takes an
uncaring attitude to the irritants (which may require
heroic effort) the stress ceases and peace sets. in.
If, as some gerontologists claim, the problem of
senescence is the problem of stress, it is surely for
the reason that fixity of habit and outlook(supported
by society's fixed judgement of the elderly as without
function) increases with age in most people.
When
retirement is said to kill, it has become nothing but
fixity. And the human organism thrives on constant
arousal and change.
As structures multiply around us, and require
self-structuring on our part, however temporary, the
stress, like the strain in weak supporting beams, grows.
If someone who leads life of strict schedule wants
to know whether fixity has claimed him, all he has to
do is to try to initiate writhing, undulating and Ewisting
movementsiallfovethis -body, Land he willsoon.perceive that -
fixity is far from mental aloné, and that it can invade
the cells as surely as collagen or lipofuscin in advanced
ege. Indeed, these substances may well be regarded as


the physical results' of many years of unbroken fixity.
Here we can return to Dr Bortz and his observations
about limbs in plaster.
These limbs are so fixed for
so long that they became aged in appearance, even in young
people.
Apparently exercise alone isn't enough to dismantle
fixity.
Nor is raising the VO2 Max.
They will increase
quality of life perhaps, but the fixed program of youth/
old age/ death will remain unchanged for as long as the
organism has failed to find its liberation from the fixity.
This liberation can only be achieved by arousal in
repose. This is the core of Oxygenesis. If arousal is
used to provoke primal or cathartic shows of emotion it
will fail in its effect.
Indeed a new fixity will set In.
Since the organism is always happy to form a habit, scream-
ing for 'release' will become enjoyable. Far from any
liberation taking place, there is new imprisonment.
Bodywork therapists have shown great confusion in
this area.
Many believe that by releasing or relieving
tension they reduce stress.
In fact they increase it in
many cases.
The result is that, despite growing public
scepticism toward(Verbal or analytic forms of therapy,
the analysts and psychotherapists continue to claim by
far the larger and most loyal public.
In Oxygenesis arousal and repose are induced hand
in hand, and the one will not take place without the
other. If activity---for instance, floods of tears-
intervenes, as it often will in early sessions, the
process is temporarily undone, for the simple reason
that emotion has replaced arousal as the 'special effect'.
Thought and emotion are treated as synthetic in Oxygenesis,
the result of decisions that take place much deeper in
the organism and which have no inbuilt power to resolve
themselves. Eventually, in the Oxygenetic process,
thought and emotion take a back seat.
This is largely
achieved, as'we shall see later, by the amniotic state
and the amniotic half-sleep that follows. This is the
first. signal that the reticular self is beginning to
challenge the. cerebral cortex for command.
But if the subject is invited during arousal to
express emotion or talk about his or her mother, the
internal action cannot take place, and the fixity remains
as it started, a cellular condition which no thought or
emotion can reach.
Oxygenesis is really a home package for destructuring
the organism in minimal time, once the initiation-by-
arousal has taken place.
It requires no movement, no
external props, only a place to lay one's head, and the :
power to breathe. It destructures principally by means
of a process of élation.
This is why it is an excellent do-it-yourself
kit for top performers, whether they are in politics,
business, athletics or ballet. Fixity is always ready


to claim people at the'heightiof theiricareers_or
powers, for the very reason that relentless schedules
and goals overrun. them.
The Oxygenetic system is designed not to release
or remove tension but to perfect it, so that it comes
about only in situations where it is needed.
cannot do without tension: it is one of our ways of
accumulating energy.
In the same way we cannot do
mewithout some degree of sickness. The ideal offered
byimany, therapists of a perfectly balanced organism
is simply the thought-picture induced by fixity.
Most doctors know thatpeople who are always complaining
of little ills are seldom those who succumb to bigones.
For sickness is nothing more than a natural system for
destructuring, so that a new deployment of energy may
be possible. The common cold is a perfect example.
We notice that it tends to happen only when we have time
for it, not when we are in peak activity.
Naturally, breath-initiation, will eliminate most
sickness for the good. reason that destructuring is now
taking place in another way.
Still, it holds that the
organism must, in order to maintain its immunological,
efficiency, (do-battle from time to time.
In effect, then, Oxygenesis raises vo2 Max without
exercise, and in conditions of repose.
Since hair color
is sometimes affècted, it seems possible that this process
succeeds in laying in a storeof superoxide dismutase,
for this enzymes is almost identical with the chemical
responsible for hair color in the human organism.
Where the organism is failing to metabolise oxygen
efficiently, or where too much is required (as in the
case of extreme obesity), the protective enzyme will
lose out.
The immune system will falter (at any age),
and optimal functioning is out of the question.
Where to breathe, how hard to breathe, what rhythm
to breathe in, what inhale/exhale ratio to establish,
these are some of the simpler factors involved in
utilization efficiency. To the 'passive' breather they
are of little meaning. - Such a breather would, in many
cases, be hard put to say why nose breathing is preferable
to mouth breathing, and on what occasions mouth breathing
is preferable to nose breathing.
He would opt, most likely, for the greatest fallacy
today about the breath---one that was surely produced by
passive' breathers: namely, that we should get as much
oxygen as possible. And he would have most yoga teachers,
aerobics enthusiasts, breathe-away-your-Stress pundits,
and perhaps most athletes, behind him. For most people
seem not to know, and many doctors to iforget, that oxygen
is highly toxic.


CHAPTER EXCERPT S
(FIRSTDRAFT)


THE BASIC BREATH,


Myths about the Breath
In my experience, when you ask people what they
think "breathwork' israbout they generally tell you
it involves deep breathing.
It seems to them perfectly
natural that we should breathe as much as possible,
given that fresh air is so good for us. And we've all
heard of 'shallow' breathing. - The fact that shallow
breathing (whatever it may mean) is considered bad
seems to imply that its opposite, namely deep breathing,
must be Correspondingly good.
And it certainly does feel good to take in as much
air as the lungs will hold (provided it goes in comfort-
ably, which isn't always the case). One realises,
taking such a breath, that unfortunately one doesn't do
enough of it. Which makes 'breathworkers' necessary-:
simplé people who sit you down and make you breathe more.
There can surely be no harm in that, though as surely
there's nothing very complicated or clever about it
either.
So the story is---deep rather than shallow, long
rather than short, powerful rather than slight. These
are the goals.
To most people (it would probably seem unthinkable
that, on the contrary, deep breathing can be bad, and


the
ofit-
shallow breathing not only highly beneficial but the
normal and healthful pattern of the breath during times
of repose.
It is an astonishing fact that people who have
been overbreathing all their lives, either because they
breathe with the wrong muscles or because they subscribe
to the déep-breath school favored by faerobicenthusiasts,
sportsmen and some yoga teachers, grow dizzy within
seconds of beginning to breathe reqularly in the
thoracic area.
They may have breathed heavily all their lives,
and in the same thoracic area,' but the moment they
embark on regular breathing in a state of repose,
that is without accompanying exercise, their brain
fluid gives them urgent warning signals that something
iscrohdar-Indeed it is. They ares over-ventilating)
for the simple reason that most of their lives, despite
(or rather because of) their mighty heaves and sighs,
they have been under-ventilating-,
Such people, despite their efforts to fill the
lungs to capacity, are in fact lowin oxygen-utilization
capacity, and it will take some time to adjust their
organisms to the new supply. The point about this
new supply, taken in repose and not in exercise, is
not at all its quantity but the fact that for the first
time it is being metabolised efficiently. For the
chief fact to know about most 'deep breathing' is that
it is. done in tension, the more deliberate and controlled
it is. ELTEMoE cturbing fory.ne nervous -lin
Thus the deep breather is one and the same person
as the shallow breather.
If you breathe too little,
you want to breathe too much.
So you alternate between
the two, with the result that the breathing never finds
its proper autonomic level.
The shallow breathing,
that is the poorly metabolised oxygen, sets up a demand
for more oxygen, which is then metabolised just as poorly.


The alternation between the two takes place because
the organism simply couldn't survive on either of them
alone.
In yoga schools, encounter groups, Reichian and
rebirthing sessions,allover.the western world people
are invited to bombard their organisms with as much
oxygen as they can take in, usually without directions
as to rhythm, intensity and velocity, or area (thoracic
or abdominal), or whether through the nose or through
the mouth; and even when there are directions of this
kind they are frequently the wrong ones, with no valid
or physiological principle behind them.
But because the results of such strenuous breathing
are more often than not dramatic, the oxygen-loaded
clients are deeply impressed, believing that when they
cry, tremble, feel acute anxiety or elation or depression
or actual physical pain - or partial and momentary
paralysis, they are undergoing important changes,
especially in the matter of 'getting rid' of 'trash'
or 'garbage'.
Recently a young man who had confessed to many
murders of (girls>said he always chose dark ones because
his mother was dark---and he did it to get rid of his
own 'trash'.
But the fact is that the more you do
certain things/Ithe more you want to do them. The
nervous system becomes habituated. This is partly
its job, to adapt sensitively to new habits, and
support them. Thus it can be habituated to strongly
arousal breathing patterns; and the resultant drama,
especially if the drama is enacted in a group, where
the exhibitionist element comes into playp.gay_influence.
thesorganism tolive inzat S tate_offover-excitement.
ayin
And this can be a: life-shortener. We have all
noticed how over-excited people seem to burn themselves
out easily. It is the same process. We have to


remember that when we breathe strenuously without
exercise we are pouring energy into the body which
that body wishes to use beneficially, if it can. But
it must be given time. If we jump up or start talking
about our childhood traumassor follow group directions
we will not only disrupt that energy and render its
full effects impossible, but we shall create for ourselves
Tini
a new tension, thoughtwesmayrrepresenti thas/to'oursélves as a
a high state or as a cathartic reaction.
The moment, however, that we allow the organism
to enjoy repose in the aftermath of strenuous breathing
(first repose has to be learned, systematically), we
realise that there is in fact no 'trash' or 'garbage'
in the human system, only in our thought-processes,
and that we have at our disposal a miraculously subtle,
indeed perfect instrument which only has to be refined
and realigned in order to work to our entire satisfaction.
This refinement must take place. gradually, and over
a period of at least ten weeks.
Maybe even that period.
will be too short a time. If we fail to master the
subtle elements of the breath before we move into
arousal patterns we will have perplexing and distressing
experiences, some of which may have a lasting physical
effect. Mucal congestion may result. Theorganism: =
may become so insensitized to breath that even arousal
ceases to be. achieved after a time. If there is panic
during a hyperventilatory experience nausea or depression
may continue for a week or more afterwards. And, above
all, if breathing becomes associated by the organism
with fright orpanic, it may set up a protective
resistance which will make even the simplest exercises
a source of mental distress.
A dog takes an average of 28 breaths a minute,
a cat 24, a horse 16 and a tortoise -3. The higher the
rate of breathing, the lower the lifespan. Medical


biologists have concluded that those animals with'
the smallest oxygen-requirements live longest (the
tortoise, the elephant, the human being).
A human being takes an average of 15 breaths a
minute, which is close to the rate of a horse.
But
the fact is that human lifespan is very considerably
longer than a horse's.
So there must be a difference
in the way the human being metabolises his oxygen.
He seems to make a little of it go a long way.
As rhinologists---specialists of the human nose--
have pointed out, - there has to be a reason why our
noses protrude while those of other animals, including
our closest cousins, theprimates, do not. And the
apertures of the nose are by no means as big as they
ccould. beas Indeed, they are extremely small compared
with the other canals designed for the transmission of
oxygen---the windpipe and the bronchii.
And, narrow as these two apertures of the nose are,
they seem to be designed more to encumber and inhibit
the passage of air than to facilitate it. The inner
surfaces are formed into three so-called turbinates,
which are there, as the name suggests, to make the in-
coming and outgoing gasges turbulent.
They are
protuberances shaped like shells and they determine the
heat and moisture of each breath before it enters the
lungs, in an exquisitely efficient air-conditioning
system. Having lost their heat and moisture to the
incoming breath, the turbinates are then warmed and
moistened again by the hot outgoing breath so as to
be ready once more to condition the next incoming shaft.
The fact that the human nose protrudes renders
this air-conditioning efficient in two particulars,
first, it ensures that the corridors through which
the breath passes will be as long as possible, and,ssecond,
it ensures that the turbinates, being so close to the
outer surface of the nose, will cool immediately after
the inbreath has entered, and therefore moisten when


the hot outbreath comes through.
There must be sound physiological reasons, too,
for the fact that the nose has two apertures and not
one.
Western researches have only just begun in this
matter, though oriental breath-teachers argue that the
apertures have different functions. The Indians refer
to the right aperture as the 'sun' aperture, and the
left aperture as the 'moon' aperture, while the Chinese
refer to them as yin and yang, as we shall see later.
Thus, much evolutionary thought has been given to
the human breath-mechanism.
It seems that every
attempt has been made, over the aeons of that evolution,
to refine it, that is to reduce the need for quantities
of oxygen rather than increase it.
This is why nearly all the exercises described in
this book---as well as in the Oxygenetic process---require
nose-breathing exclusively.
As we shall see, the mouth
is a 'special effects' aperture, required for a sudden
rise in oxygen needs (as when we do strenuous exercise
or have to respond to subtle messages from the nervous
system by yawning, laughing, coughing etc). In Oxygenesis.
mouth-breathing is used on rare occasions for sudden
dynamic effects, and then only as a climax to nose-
breathing, and in very small doses.
Needlessp to say, if a person breathes habitually
through the mouth, or heavily and irregularly through
the nose, there will negative (but really protective)
consequences in the form of lung congestion. Mucus
is a device for protecting the air-sacs in the lungs
against particles and bacteria and inflammation. It
is an essential part of the immune.ssystem; clear-1..ar.
ing the body of toxic substances. And it is amazing
what we can do to this delicate process by wrong breath-
ing patterns.
The whole immune system may in the end
be affected---naturally, if the lifeline has ceased to
be an efficient one. Allergies, constant colds (to
facilitate the evacuation of toxic material in the
stored and over-produced mucus), as well as more serious


conditions arising from the decline in the body's
powers of immunological self-surveillance.
Asthma
is simply congestion glorified, with a medical name
which unfortunately induces its sufferers to think
they have a 'disease'.
What they have is chronically
disturbed breathing habits. A sufferer once told me,
with a certain amount of pride, that he had never once
breathed through his nose, and was unable to do so.
That is, he had never used the breathing machinery
at his disposal, and couldn't benefit from the breath
except in a minimal way, rendering it the thinnest of
lifelines, instead of the greatest. Of course this
affects not simply the immune system but growth, mental
and physical.
That this person was small and in constant
mental distress was no surprise. Yet he scorned the
very idea of breathing exercises. This ispertèctly -
logicaliuforhehad never tasted the fruits of proper
breath, but regarded it as a Edeadly strain, a source
of panic and fear, a lifeline that threatens constantly
to be cut, so weak is it.
Yet where the air-sacs are still elastic, however
encumbered with mucus, the asthmatic condition can be
coaxedraway, gently"andspatiently, "over - a period_of
months or perhaps years.
Inthe. same way, ro@mokingzariseg fromychronically)
passive orstraumatic brea thing,a simple inabiliéy-to
cuse the:breathemachinery:
ts- subtletysand precision.
The act of smoking really imitates proper breathing,
and arises from a deep frustrated desire for the
liberating effects of proper breathing of which the
organism, for one reason or another, has been starved
since childhood.
Of course smoking creates dreadful havoc in the
lungs. We have 300: million air sacs in the lungs,
all of which should inflate and deflate regularly to


admit oxygen for the surrounding blood capillaries,
and to eject carbon dioxide from the capillaries so
that it may be breathed out.
Not only does the
smoke paralyse the air sacs, so that they no longer
inflate or deflate, and lose their elasticity for good
(emphysema), but it has a decimating effect on the
millions of hair-like cilia which by means of a constant
waving motion shift mucus from the lungs to the throat,
either to be expectorated or swallowed and passed out
through the digestive system.
A smoker will often, in the act of smoking, make
an exhale such as he never normally makes. The smoke-
inhalation, too, may be incomparably better than his
usual inhalations.
Thus it is his chronically 'turned-
in' or passive breathing habits which have to be corrected,
not, in the first instance, the smoking habit itself..
Smoking is a substitute for the pleasures of breathing,
or rather an attempt to enhance them; and once these
pleasures have been mastered the habit simply falls
away, as an inhibition of pleasure, precisely as it was
once the opposite.
Also smoking does offer the nervous system--- -
when depleted through inefficient breathing---momentary
freedom from a customary, if hidden, state of fret
and isolation. For, just as the activated breath
may be said, in the words of the Chinese emperor's
doctor, to 'communicate with the world', so chronically
passive breathing patterns create a sense of isolation,
for which smoking offers a temporary bridge or lifeline.
Therefore the smoker frequently experiences detachment,
concentration, timelessness when he smokes.
The fret
abates.
In this he is the cousin' of the heavy breather,
the deep breather, the mouth breather.
The same
assault is made on the delicate air sacs. Mucus


congestion is the usual result, especially in the
case of the mouth-breather.
The bronchii can become
inflamed, through constant unncessary dilation, and
the body's air-conditioning and filtering system is
bypassed.
So the concept of taking in as much oxygen as
possible, atfall times, is against the very structure
of the breathing apparatus, which 'has provided, first,
a highly refined air-conditioning and filtering service,
and, second, lungs so elastic and extensive that they
will respond to every signal from the nervous system
with an instantaneous adjustment of the breath. The
neurotransmission activity in our brain is said to be
more complicated than what would take place if everyone
in the world was in simultaneous and constant telephonic
communication with everyone else, withs worldsorder .
depending, on an instantaneous exchange of information,
and the instantaneous power to translate this information
into action.
The lungs aré the chief support of this
action. Not only are they elastic, they cover a huge
area despite being contained within the ribcage.
flattened out they would cover the floor of a small
apartment.
There have to be many air sacs because
of their delicate construction.
They are so tiny as
to be invisible to the eye, and their walls have to
be sufficiently thin to permit oxygen to enter the
blood capillaries, and carbon dioxide to be received
back.
There is the question,, too, of the toxicity of
oxygen when the human organism metabolises it.
For one thing, the so-called free radicals, the
'villains of advanced age', as many gerontologists see
them, are produced by this metabolism.
As age advances,
these molecules start winning their fight against the


protective enzyme, superoxide dismutase, which is
also metabolised from oxygen.
Either we produce ever smaller doses of this enzyme
as we grow older, or we lose the power to store it in
quantity.
This allows the free radicals to settle on
the body's fatty acids and produce lipofuscin, a pigment
that can occupy as much as 30 percent of the human cell,
thus rendering even more inefficient the oxygen/carbon
dioxide exchange, this time at the cellular level, to
and from the bloodstream.
Fixed-structure thinking says that this process is
programmed', indeed is simply the natural process of -
growing old, in chemical terms. But it doesn't in any
way account for this process---in chemical or in any
other terms.
Leonard Hayflick established that the
human cell can divide and become two fifty times in
all, before it dies. That gives us a cellular lifespan
of 110/120 years. How is it that we invariably fail
to achieve this Hayflick limit? And how is it that
so many thousands do achieve it?
The medical claim is usually that longer lifespans
are due to genetic or special characteristics.
But
these 'special' characteristics are precisely the ones
we chave to examine so that we may extrapolate them and
use them for the race as a whole.
For an increasing
number of people find it ridiculous to retire at sixty
or sixty-five, and become aware of a 'second wind' which,
because it has no place in fixed-structure medicine,
frequently deflates.
The problem won't walk away,
however---by the year 2000 every one in two Americans
will be over 50. Twenty years after that, every one
in two Americans will be over 65. Perhaps it will
be seen that the utility-ceiling, whichisociétyfsetslfor.the
human being. is' in large part the determinant of his
lifespan.
So far no one has proved that exercise improves
the enzymic situation in advanced years, though invariably
1. Lipo il fatty, fuscus = dark, dusky.


it improves health and quality of life.
The
lifespan tends to remain unaffacted.
Dr Richard
Cutler, the gerontologist, maintains that the key to
producing or storing large quantities of superoxide
dismutase may well lie less in exercise per se than
the attainment of repose, which in peoplefiofradvanced age:
C. A
is no easy matter.
This is where Oxygenesis comes in.
It makes a.
clear distinction between muscular relaxation and the
state of repose.
It says that you can be relaxed
outwardly but hypertensive, and that while cyou"may
habitually relax yourself from the outside in (that is,
in the muscles) you can only achieve cellular or primal
repose by relaxing from the inside out, and for this
certain breathing patterns are essential.
Now during the Oxygenetic process hair color may
change, and gray or white hair gradually disappear.
This will.take two or more years, and requires steady
breath practice, as well as exercise and the right
dietary principles.
Superoxide dismutase is closely
linked to the chemical responsible for hair pigmentation
in our organisms.
Thus certain breathing patterns
practiced in primal repose may indeed lay in a store
of the protective enzyme, and affect longevity where
exercise alone cannot do it.. Of course doctors are
perfectly correct to point out that sudden exercise at
an advanced age may produce a heart attack.
That is,
until tènsion is reduced and VO2 Max gradually raised,
exercise will not be beneficial.
When we breathe forcefully without guidance, when
we suddenly bombard the organism with vast quantities
of oxygen, when we habitually breathe in a heavy and
grabbing way, when we fail to exhale sufficiently, when
we breathe with the wrong muscles or in the wrong rhythm,
when we breathe to get heightened effects without having
first secured breath-initiation, we are trying to jump
the repose-finding phase, with the result that the
organism may suffer many of the distresses associated
ith


C2E
with acute stress.
The exercises in this book are designed to set
that repose principle' in motion, through the breath,
because it cannot be broached in any other way. Once :
primal repose has been achieved, strenuous forms of
breathing, without movement, may be undertaken safely,
and the ecstasies and sense of mastery to which they
lead may be enjoyed and utilized.
1. In Oxygenesis this means not relaxation but the
internal destructuring process.
This is why it is
frequently difficult of attainment by people of advanced
age.


Understanding the Bellows
CThere's another hoaryghyth-aboutnbreathings:
and this one is upheld by the American Lung Association
and the respiratory departments of most hospitals.
Breathing, it says, just comes naturally.
You don't
have to think about it.
Indeed, the more you think
about it the more likely you are to disturb it. So
the best thing is to leave it in the dark, rather like
a comfortable superstition.
In fact the opposite is true. While thinking
about it may put the breath at odds with itself for
a few moments, not thinking about it, especially in
these days of oxygen-shrinkage in the atmosphere and
increasing respiratory problems, is downright - dangerous.
No, the breath has to be thought about, but in the
right way, with the right information.
Being both a
voluntary and involuntary function, it gives us a
perfect opportunity to make our thinking fruitful.
That is, a new breathing habit adopted consciously
and deliberately will with training become autonomic.
So all we are doing when we voluntarily think about
our involuntary habits is revising and reforming them
so that, once relegated again to the involuntary
: ue padsive n


E8A
function, they are no longer passive'.
Our bodies are equipped with a two-part
bellows system in which the two parts are interactive
and interdependent.
And it is on the way this bellows
system is used that the efficiency of our breathing
depends.
Certainly. no breath-activation is possible
without an awaréness of this muscular structure, and
without flexibility in its use.
The two parts are the ribcage and the abdomen.
We may call the rabcage, worked by the two-layered
intercostal muscles (one layer for contraction and the
other layer for expansion) our special-effects box.
Its ability to expand and contract at a moment's notice
means that we can---to take one 'special effect'-- jump
up from bed and within seconds be consuming 100 times
the oxygen we needed when lying. down: we need that for
jogging.
The ribcage is therefore rather like a concertina,
its axle the spine.
Like a concertina it sucks air into
a vacuum when expanded, and emits air on contraction.
As we shall see later, the intercostal muscles work in
conjunction with the diaphragm,. a dome-shaped muscle
which rises in and out of the chest cavity, separated
from it by two layers of tissue called plesura, which
act as a protective, smoothly yielding wall against the
diaphragm.
Thus when the diaphragm rises into the chest
cavity it gently closes the concertina so' that spent
air is emitted, and (when it draws back into the abdominal
area again it opens the chest cavity to create the vacuum
toreuckair in.
We don't actually see this diaphragmic movement
from outside, except in so far as it makes the ribcage or
the abdominal area rise or fall. And at this point we
have to notice a peculiarity about this arrangement which
is precisely the thing that make the ribcage a 'special


effects box'. When we pull in the abdomen, CEhat is
contract the abdominal muscles, we make the diaphragm
rise into the chest cavity and emit spent air. When
we expand the abdomen we draw the diaphragm down again
to recreate a vacuum. But there are occasions when
we contract the abdominal muscles, that is move the
diaphragm into the chesticavity, not cto.emit-air.but to
draw it in. - To make this possible, the intercostal
muscles must come into play.
They expand the chest
as we inhale.
Thus the diaphragm is actually inside
the chest cavity while we are inhaling---the reversal
of the normal process by which the same operation.
means emitting, not admitting, air.
It is this
apparent contradiction that create the special effects.
We inhale against the diaphragm when we breathe high
in the chest.
Paradoxically, this allows a great
charge of oxygen when it is needed, and clearly the
fact that this charge enters the upper rather than
the lower lung determines the 'special' nature of its
effects.
This will become clearer in the course of the
exercises. All we need to note for the time being
is that the ribcage or thoracic area must be different-
iated from the abdominal area because of the difference
of effects.
It is a matter almost entirely overlooked
by the medical profession, and' even by breath teachers.
We cannot use one area to achieve the effects of the
other. Mixing and confusing the two is the source of
all the disturbed breathing patterns known to man.
Another special effect of the 'special effects
box', apart from allowing a sudden increased charge
of oxygen, is arousal.
When we find ourselves in a
a dangerous situation, and feel under immediate physical
threat, we gasp with an open mouth.
That is, we need
to increase oxygen supply at once.
Simultaneously our


abdominal muscles contract, our shoulders go slightly
higher and our other muscles tense. Allthis means
that the breathing is now high in the chest. We are
ensuring that we have maximal energy available for
'fight or flight',, as the psychologists have called it.
To facilitate this, the bronchii in the lungs dilate
to make the oxygen passage even easier and, more plentiful,
an extra supply of blood. is sent to the' skeletal muscles,
and the heartrate increases.
We could even call the ribcage the arousal area,
and the abdomênathe vegetative. The ribcage is the
place where intense regular breathing will induce
heightened states, a sense of - receiving objective
messages 'from outside', a buzz of innergelectricity,
a sense of great self-command, an illuminated or mystical
state. These are some of.its marvellous repertoire
of special effects.
The mouth is designed to be used only in conjunction
with these special effectsf)since all emergency needs
for extra oxygen-supply will involve the chest.. For
instance, when we yawn it is the intercostal muscles
that come into play. When we cry, too, the breathing
will rise into the thoracic area and the person crying
will give the impressions of 'heaving' with the shoulders.
Laughter, shouting, sneezing, coughing all require a
similar action, because' they too are special éffects.
Clearly, thoracic or ribcage breathing has something
to do with excitement, while abdominal breathing,
relying as it does on the soft movement of the diaphragm
into the chest cavity, without the use of either the
intercostal or abdominal muscles (we only deliberately
expand or contract these in order to admit or emit
more air than usual), has something to do with calm.
It is so untrue that breathing just comes
naturally that a vast number of people (and they may
well be on the increase) breathe, as the doctors say,
paradoxically.
That is, they breathe habitually in
the special-effects area, the area of excitation, and


CA3os
almost never in the calming area. Yet when they
were born they were obliged to breathe in that area,
since their thoracic or intercostal area had not
properly developed.
Thus if we observe animals and
small children we shall see the smooth rise and fall
of the abdominal area in sleep, punctuated from time
to time by a long sighing and stretching breath which
involves the ribcage so that the upper lungs will not
fail to be exercised in the eight or so hours of
immobility..
The effect of paradoxically reversing the right
breathing process is of course most traumatic for the
organism.
Even in sleep the matter remains uncorrected.
And, paradoxically again, the person who breathes in
this way feels starved of air. The result is constant
gasping and heaving, and despite the heaving no sense
of relief.
The abdomen becomes a 'forgotten' area--
and with it perhaps not only sexual but creative energy.
For the paradoxical breath is the most passive of all
passive forms. The abdomen may feel over-vulnerable,
raw, sensitive to touch.
Insomnia, constipation may
be frequent because the quiet inner massage of the
abdominal breath is missing.
There will be continual
undercurrents of fear and foreboding (which belong, of
course, to arousal).
And a tendency to over-excitement
(often pleasureable) will sometimes be the result.
Ask a paradoxical breather if he or she has experienced
unaccountable mystical or heightened states and the
answer will invariably be yes.
Although we use the expression 'abdominal breathing',
and though the abdominal muscles are from time to time
involved, what we are really referring to is the simple
rise and fall of the diaphragm that takes place invisibly.
This causes the abdomen to rise and fall.
So we often
call such breathing diaphragmic.


G3L
Some Chinese breath teachers say that women
habitually breathe higher than men, more diaphragmically,
softhat the lower wings of the ribcage make a slight
spreading movement.
This, some people think,Jis
nature's way of facilitating preginancy conditions.
But it is difficult to see how the lower lung can
be fully ventilated unless the diaphragm descends fully
to make a vacuum for it.
And in my experience women
breathe in precisely the same area as men when in deep
repose, provided of course that the breathing pattern
is proper.
This soft and gentle form of breathing connects
with the parasympathetic nervous system and the
autonomic functions---the digestive and reproductive
processes.
This is why there will seldom be a change
of awareness after abdominal exercises. In the Fire.
Exercise (described later), the cheeks will frequently
flush, tingling or rawness will be felt in the glands
of the neck, and there may be some heat in the lower
back.
But there will be no arousal effects unless
the breathing is taken to the point of hyperventilation.
For the abdominal area is where we live, where
the unconscious physical processés' andfimmune
system are served. Regular breathing in the abdominal
area will at once influence the PH level of the blood,
after excitement or trauma.
The 'special-effects box' on the other hand
connects with the sympathetic nervous system (fight-or-
flight) and with the neurotransmitters. Naturally,
if breath-teachers begin initiates with this special-
effects area, provoking powerful arousal before
bellows-flexibility has been attained, some harm may
be expected in the form of restless sleep, fear,
cr amps etc.
And the problem which the breath was
designed to clear up will not only remain but be
exacerbated.
The reason for this is that the bellows system


depends on repose for proper functioning, that is,
the soft and yielding movement of the diaphragm
which can be trelled.onito-take placeceven.inisleen_inisleep.
Without bellows-flexibility this is impossible.
The
organism cannot experience primal or cellular (as
opposed to muscular) relaxation---naturally, since the
lifeline isn't in full function.
And only by being combined with a state of repose
will arousal breathing stimulate the immune system to
do its silent and invisible work of repair and prevention.
When the breath 'hooks up' with this state, Dr Macfarlane,
Burnet's immunological surveillance becomes a reality
which can be felt and observed.
For the body experiences
warm, tingling sensations, or sharp spasmodic pains,
or dull throbbing aches precisely where therapeutic
works needs to be done.
The immune system is indeed
'surveying! the whole field of the organism and---what
iseven more remarkable---choosing its therapeutic
priorities, beginning with the morezurgent_and ending)
with the least.
Some years ago I worked with a young psychoanalyst
in Rome who'd been involved in a car accident several
months before.
In the second session he experienced
acute darting pains in many parts of the body, and
these were in what seemed to him a definite sequence.
When I asked him if he could account for this he replied
that the pains felt like a 'fleeting recall' of the blows
he'd received in the accident, except that he was now
aware of the fact, through this recall, that he'd been
hit in many more places than he'd previously realised.
Also while experiencing the darting pains he was aware
of a pleasureable component as well, a sense that heal-
ing was involved. The only pain to persist in later
sessions was in the head, where he'd received the great-
est injury.
Finally this disappeared too.
If a therapist nudges his client awake at the
very point where this process is beginning---on the


grounds that sleep or drowsiness representg) (to
follow the Reichian model) resistance', this
miraculous process, based as it is on a superb electro-
magnetic self-management system, cannot take place.
And an exchange of words about phallic narcissism or
uncompleted mother-severance will not substitute for
I've heard of rebirthers (using a simple arousal
technique) urging their clients to 'breathe---just
breathe', a without instructions as to how or where.
Thusfthey will sometimes rebirth.a person in the
abdominal area, where no arousal will be effective.
And many will (like some Reichians) use the mouth
instead of the nose,. a disastrous proceeding in the
early sessions, especially if the client has been
breathing paradoxically most .of his life.
The toxic
situation (which. there must be, as a result of the
paradoxical breathing) is worsened, and a form of
COPD may even come about, if the production of mucus,
designed to protect the sensitive. air sacs against
inflammation, becomes too great.
I've even heard of a licensed therapist urging
his client (another licensed therapist) to raise both
the abdominal andcthoracio) area for an inbreath through
the mouth, which is a sheer physical impossibility.
Some rebirthers and therapists will Ghake - a C
a client awake(justras heis. enteringastate'of.deep
repose---because they believe not in the power of the
breath to effect changes in the organism but in the
power of the cerebral cortex: On the contrary, it
is the cerebral cortex that must be 'dethroned' from
its attempt to monitor and control processes it ha's
no. power over. As we shall see later, it is the
reticular self that must be given its rightful and
natural command of the organism, through the breath.


How to do it
To acquaint ourselves with the bellows system
we should lie down. in a quiet room and settle ourselves.
Settling ourselves means, in breath terms, getting rid
of what the doctors call the 'oxygen debt' created by
exercise (even the smallest exercise, such as walking
from a chair to the bed).
The debt is what makes us
go on breathing heavily after we'vé stopped running:
the exertion/has created a need for extra oxygen which
the breathing apparatus must satisfy before the body
can.once more enjoy repose and minimal breathing.
When we no longer feel the need to take slightly
longer breaths than usual we should take a fairly full
(but not complete) breath and hold it.
With the breath held, we should retract the
BB1
abdominal muscles and simultaneously expand the ribcage,
thus:
Almost at once we should reverse the operation,
contracting the ribcage and expanding the abdomen,
thus:


And we should continue alternately raising and
lowering each area until we feel the need of another
breath.
This exercise must be done with the breath held.
The moment breathing begins (and at first you will find
it does, involuntarily) it will assume autonomic control
of the muscles.
After all, it has had a lifetime of
command in this respect.
And it is precisely this
command that the exercise is challenging.
Frequently the two areas will become confused
and lose touch with each other, with uncertain, spasmodic
movements, especially if this is the first time the
two sets of muscles have been formally introduced to
each other.
Like two neighbours who have been living
side by side for a lifetime and are suddenly presented
to each other, they may experience a moment of dizzy
confusion at the confrontation.
A minority of people simply will not be able to
move the areas independently of each other at first.
Sometimes the areas will refuse to move at all.
The
muscles may be impossible to control, quite as if the
cerebral cortex had atrophied in part of its motor
function.
The two areas may be so locked together, so t
inextricable one from the other, that it may take
weeks of practice to achieve the minimal flexibility.
But without bellows-flexibility there cannot be
proper breathing.
The special-effects area will be
confusing its work with that of the vegetative area,
and vice versa.
Indeed, the whole body will reflect
this stiffness, and the immune system will bell. be
functioning at lowest. capacity.
It is indeed such a simple exercise that many
of those who practice it_willlthink itctoo simple_to
contain the secret of a wholly changed life, though
this is what it does. Dancers, athletes, singers,
top performers in every field may find to their


surprise that their muscles are not immediately
responsive to each other, and that therefore their
breathing patterns have not been supplying a full
service to the organism.
In approaching the breath for the first time
we should first become aware of the subtle and manifold
ways in which the central nervous system is modulating
it to adjust toxic flow, emotion and energy expenditure.
To. anyone trained to watch and hear the breath,
every trauma, doubt and anxiety is written there---in
the sound, the rhythm, the volume and the regularity
or otherwise, as well as in the bellows movements.
Coughing, sneezing, sighing, laughing, crying,
gasping, yawning are all effects produced by the
nervous system so that the organism may deal optimally
with its ever-changing transactions with the outside
world.
Breathing needs are signalled by the nervous
system through the respiratory center near-the center
of the brain, and also through the tiny aortic and
carotid bodies on the major arteries. - The oxygen/
carbon dioxide exchange is attentively monitored.
In this epoch, responding as we are obliged to. do
to all kinds of stressful environments, we require
the constant. use of emergency-systems, some of which
may involve a chronic malformation of the breathing
patterns ma loss of all sense of what 'natural'
breathing is, so that the organism may find a mode,
albeit a twisted one, of surviving in desperate
circumstances.
'Grabbing' the inhale with-open mouth
is perhaps the most common of these strategies.
A person who has lost his or her mother in child-
hood may express an undercurgent of sorrow or anxiety
in a 'braked' outbreath or a sudden panic-stricken
gasp_for air which may interrupt sleep or impel the


sleeper to sit up, eyes staring.
Our emotions are a language by means of which
we can cobserver ;just how subtly the nervous system
plays on the breath.
When we cough we unconsciously squeeze our
windpipes to an eighth of their usual si'ze so that
we may then emit spent air with such force that it
will carry unwanted particles and bacteria with it.
The speed of the wind through the windpipe during a
cough is five hundred miles an hour. A sneeze
achieves a similar effect but incorporates the nasal
passages, that is the filtering system, as well.
When we yawn we open our mouths to draw in more
oxygen than usual, and probably our bronchii dilate
as well. We then exhale the breath in an unusually
long sighing manner while simultaneously relaxing
our muscles.
This is in order to facilitate sleep
or prepare for new energy-expenditure.
When we
laugh we expel air in sharp bursts, breaking up the
exhale in such a way that there are a series of
abdominal çontractions, which send the diaphragm
repeatedly into the lung cavity to facilitate the
shunting outbreath.
If laughter is a powerful health-
aid it may well be because the exhale is a detoxifying
action, and that its forceful emission has something
to do with the body's production of' endorphins.
In the case of neurosis 'shallow' breathing
(let us accept the ambiguous term for the moment)
is designed to reduce emotion, as Wilhelm Reich
cleverly observed.
strong L
breathing creates strong
emotion, and in the neurotic strong emotion creates
strong anxiety, which the organism must therefore
avoid.
When in acute distress we cry. That is, the
nervous system attempts to reduce emotion by squeezing
the bronchii (in an opposite movement to that needed
for arousal, yawning etc), thus limiting oxygen-supply,
while simultaneously producing discharge-reflex in the


C38
eyes.
Only when the emotign has been reduced, and
the convulsive heaves (attempts to take breath against
the constriction set up by the bronchii and the throat)
have ceased will the nervous system permit us to return
to normal breathing.
But what is normal breathing?
Really it is the breathing adequate for the needs
of any given moment.
There is no one breath.
As we
have seen, the nervous system is constantly modulating
it for changing circumstances.
On the other hand we do have long periods of repose
and sleep, and during these periods the breath must be
the right one if we are to glean from it the full
recuperative and regenerative effects.
So there is a
basic breathing pattern.
And we can say that it has
to be in the abdominal region, since in repose DE At
we won't be seeking special effects, unless it is a
sneeze or a sigh or a laugh, in which case the thoracic
area is momentarily involved.
So here is a basic-breathing exercise,/which should
follow thetattainhènt. Lof bellows-flexibility:
Lying down, we should now practice raising and
'BB2 2
lowering the abdomen without moving the ribcage. At
first we should do this, as we did the flexibility
exercise, (While.holding the breath.
This will make the
exercise relatively easy. The moment we incorporate
the breath, however, the ribcage may develop ideas of
its own and move with that breath despite all efforts
to control it.
This simplest of all exercises frequently
shows people how little command of their own muscular
structure they have.
Incorporating the breath in thi's instance means
breathing dniasithesabdomen:rses, and breathing out as
it falls.
There should be no use of the abdominal -
muscles in this.
It should feel as if the breath is


raising and lowering the abdomen, from inside. This
isn't far from the truth, since the movement of the
diaphragm is what determines abdominal movement in
this case:
/NBREATA
OUTBREATH
Sometimes we shall need another person to observe
whether the ribcage is moving, because our breath is
locked so deep in involuntary habits that it goes its
own way.
Tying a scarf round the chest may help us
to eliminate movement gradually.
This movement may be
a slight rise of the ribcage during the inbreath or a
kind of surreptitious kickback effect, hardly perceptible,
just after the inbreath.
To help ourselves in this respect we should take
a gentle breath in the thoracic area from time to time,
so that the bellows-s-system, unused to discipline, may
feel no restiveness.
At first, in this exercise, we may have a strong
sense of constriction, particularly if we have been
breathing paradoxically most of. our lives, or half-
paradoxically (a bit of this and a bit of that).
may feel that breathing quietly in -the abdominal area
is simply not enough for us. In this case we have a
sure sign that our breathing patterns have been incorrect.
The more constriction we feel, the worse those breathing
patterns have been. And if we feel 'This can't be the
right way to breathe' we should practice this one
exercise for many days, before moving on to the others.
One of the first steps in breath-initiation is
listening to the breath.
This means learning the
difference between the inhale and the exhale, between


the noisy breath and the silent breath, be tween
the long breath and the short breath, between the
long exhale after a short inhale and the: shortrexhale
after a long inhale.
The inhale and-the exhale are distinct operations-.
and not simply in the fact that one pulls the oxygen in
and the other lets the carbon dioxide out. The inhale
marginally raises the heartrate, the blood pressure, the
temperature, the metabolistic rate.
The exhale marginally
reduces all these.
The inhale intoxicates, the exhale
detoxifies.
The inhale excites, the exhale calms.
The inhale gives a sense of rising, starting, the exhale
a sense of falling, ending.
This is why the exhale is
a source of special anxiety for many people, creating thez
fear that if they don't hurry or shorten it they won't
get the next breath in.
The anxiety of someone who lost his mother in early
childhood is often expressed in a 'braked' outbreath or
a sudden gasp for air which may interrupt sleep, as we
saw a few pages back.
The outbreath here is much like
a free fall into space, creating the fear that, going
out, the breath .will never return.
For this type of
person the universe cannot be trusted, and constant
vigilance, constant alertness are required to navigate
safely through life. There is a feeling of not being
able to accept, of constantly fighting, even against' Fe.
oneself, because of the lack of sufficient trust to make
acceptance possible.
This may.
a fear to L ll'asleep.or/lose
produce T
consciousness.
Dozing may be accompanied by sudden
starts back into the alert state.
We in the west tend to emphasise the inhale at the
expense of the exhale, showing that the belief in large
intakes of oxygen has been with us a considerable time,
perhaps centuries.
It belongs to the over-activé,
over-alert type of society, while the emphasis on the
outbreath (it characterises people's breathing in the
east) belongs to less active, even passive temperaments.


In' the course of these exercises we shall be
eliminating both the inhale grab, its element of
urgency and even panic, and the cut or rushed exhale.
In all breathing "the aexhale.1 should be marginally
longer than theçinhale:
If we monitor our breath
while running, or immediately after running, we shall
find that the rhythm and intensity of our breathing is
entirely out of our control.
This must be so, for
the organism to deal with the urgent chemical readjust-
ments necessary during and after exertion, without the
risk of interference. It gives us a good chance to
find out what natural breathingsis.
One of the first
things we shall note is that the outbreath is marginally
longer than the inhale, and that more weight is put
into it. Mastering the exhale is. one of the most
important steps in disentangling hidden traumas or
anxieties from the breath, and leaving it untrammeled
to do its perfect work.
We may also notice when we are panting heavily
after exertion that our breaths are not broken from
each other but run continuously from inflow to outflow,
without the epiglottis tightening to stop the flow,
as it does when we hold the breath, cough etc. The
point about this is that the soft 'joins' between
inbreath and outbreath are usually by no means soz
soft as they are in such heavy exertion-breathing,
where we cannot exercise control.
Our basic breathing
pattern may, in a word, be jagged and interrupted.
In Oxygenesis these joins are called curves and
they are most important not only to an understanding
of the breath but to the achievement of repose. No
arousal breathing should be undertaken, indeed nothing
strenuous should be attempted in breath-exercises,until
this repose principle has been won. We shall see later,
when we come to a full treatment of arousal breathing,
that curves aren't as easy to achieve as we expected,
and that they require some concentration.


The best way to find out what the curve feels
like is to do the opposite, that is, make an inbreath,
close the epiglottis, open it again and make the
outbreath, thus:
INBREATH
OUTBREOTH
The two are broken and separate. Now we should
try joining the two smoothly, so that there is an upper
BB3
curve where the inbreath rises to meet the outbreath,
and a lower curve where the outbreath falls to meet
the new inbreath:
N BREA TH
OUTBREATH
(By the way, we refer to an inbreath 'rising'
because this is how we visualise it entering the
thoracic area, toward the top. of the head, while the
outbreath 'falls' to the point of departure again.
But more of this later).
We shall discover a strange thing about these
curves, namely that during them we are neither' breathing
in nor breathing out nor holding the breath.
There is
a pause, a gap, but a peculiarly active one, in which
breathbis going on while, paradoxically, it is clearly
not doing so.
'Perfecting the curves', as we shall
see,when we come to the exercises, is an important
step in breath-initiation and one which has preoccupied
breath masters since ancient times.
Another feature we may notice when breathing
heavily and regularly after exertion is that the breath
is-noisier than usual, which'may give us some ideas
t.. iras to the meaning of noise as against silence in the
breath.
The athlete's heavy breathing can be heard
by' 'others, whereas his basic breath cannot. He can
hear his own breathing at all, or most, times. It
is a slight rushing sound in his ears. So we come
T mi3-


to the question, how much of our breathing should we
hear, and how much not?
The first thing to realise is that a noisy breath
differs from a silent one by its velocity.
The faster
the passage of air through the nostrils, the greater
the noise. But noise doesn't necessarily mean
quantity or efficiency.
After running, our breath is
rapid and regular and noisy because we require quick
supplies of oxygen,
In repose, however, this need
ceases, and the breath quietens, until it may become
almost silent in the ears.
This silent breath is one of maximum efficiency.
There is no danger here of inflaming the bronchii :
or disturbing the delicate air sacs.
The ingress of
particles and bacteria is minimal because the inbreath
is slight and gradual, and the filtering system of the
nose is thoroughly used.
And it is the silent breath
that achieves the 'hook-up' between repose and breath-
ing that is so essential to the proper working of arousal
patterns, as well as to daily basic breathing.
The oxygen/carbon dioxide exchange takes place on
two levels, and it is most important that this be smooth
and easy. CAt the first level the oxygen enters the
blood capillaries surrounding the air sacs in the lungs,
at the second level it passes from the bloodstream into
the cells. On both levels carbon dioxide is given in
exchange for it. Now if the organism is tense it is
difficult to see how that double transaction can take
place efficiently.
This is something to remember even
when we are running.
In a tense state we shall run
less far, less quickly. We shall feel the fatigue more
easily.
It is only a matter of reminding oneself that
oxygen is essential to every bodily function, and to
overlook the key to the whole operation is clearly
unwise.
The capillaries, the bloodstream, the cells, all
reflect an 'on guard' attitude, indeed they are
the_seat
ofcellular (as opposed.to muscular) tension: these'cells


Say,ievengin, : outwardlyarelaxedecircumstancesgaii'feel
uneasy'. For this is the way hypertension, that
is tension in the cells, as opposed to muscular tension,
conveys itself.
Muscular tension is relatively easy
to get rid of, but muscular relaxation is often a mask
for hypertension. I've frequently noticed this in
my sessions with bodyworkers.
Their art is inducing
relaxation.
The body is loose and yielding. But
the hidden hypertension may be all the greater for that.
Indeed it was the factor that led them to their work.
Practising the silent breath is a first step to
conquering hypertension, as it is the 'ideal' breath
which the organism should gradually learn to take as
its model, though it cannot and should not be used
always (a silent breath isof course quite inadequate
for physical activity).
Lying.ldown with the eyes closed we should inhale
BB4
and exhale smoothly in the abdominal area, again without
movement in the ribcage, gradually eliminating all sound
in the ears.
This may induce a. tensing-up at the
beginning, because the muscles try to (do the work of
the breath, simulating the external action while the
diaphragm fails to move inside.
So little or nofbreath
comes through.
This is therefore an excellent exercise for perceiving
that all breath is created 'from inside', not induced
by muscular action.
Breath and the movement of the
diaphragm are synonymous. Therefore all depends on
the way this muscle5]moves into the chest
and
cavity,
out of it again.
If we simply raise and lower the
abdomen, without much breath coming through, it means
that the diaphragm is stationary, and no vacuum is being
created in the lungs for the oxygen to be drawn in.
Many people, when asked how breath gets into the
body, show some confusion. They say 'The nose pulls
it in' or 'It gets sniffed in'.
They have no awareness
of the bellows-system, and the way a vacuum is created
Fifnire dr


LE45
in the lungs for each breath.
But once people become
aware of it they see that there really is no need for
violent muscular effort and heaving for breath purposes.
The soft movement of the diaphragm does all. The
silent breath is a demonstration of this, and the more
we 'listen' to the silent breath, the more we understand
about the nature of breathing in. general.
While doing this exercise we should also pay some
attention to the 'curves', above and below. We should
see that they are smooth, which means that the abdomen
must rise and fall with no bumps or breaks.
'The behavior/of the abdomen, by the way, will tell
us a lot about ourselves---whether we feel a secret
vulnerability toward others, or confusion as to our
role in certain things,(or a sustained state of inner
alarm, or a sorrow so deep that it has virtually passed
into the tissues, no longer apparent to the conscious mind.
As an extension of this exercise we should gradually
BB5
lessen the extent of the breath, and thus the rise and
fall of the abdomen.
This undulation should now be
very slight.
The rhythm. should be much like the
ebb and flow of water heard from a distant seashore.
It should have that regularity, that slight emphasis
on the ebb or fading away (of the exhale), and above
all there should be a sense of the breath being a
phenomenon much like the ocean tide itself, detached
and distant.
This can be done with a slight noise in the ears.
(But'the-analogy.of thedistaht.tide should hold.
At this point we should introduce a slight pause
at the end of each exhale, so that, like the tide, it
really dies away into silence for a moment.
The
organism should be felt at rest during this moment,
especially in the pelvic area, with a melting sensation
as the breath falls, spent. One should think of this
as completing the exhale properly, laying it to rest.
Here we have our basic breathing pattern. This


is how we should breathe at: all times of repose.
If we practice it enough, when sitting or reading or
lying down, it will gradually pass into the organism
as a habit functional even in sleep.


ar PS F.
The Genius Behind it All,
The abdominal area is the seat(of/defences and
fears of which we may be littlerConscious until we
begin to concentrate on that area. We are probably
all familiar with the experience, at some point in our
lives, of habitually flinching in the abdominal area,
feeling an undue sensitivity on touch, even pain.
For this reason some people overbreathe in the
abdomen, developing vast bellies which may not be
particularly muscular.
They may even try to achieve
arousal in that area, which is rather more paradoxical
than paradoxical breathing.
In my experience such
people have often suffered object-loss in childhood,
particularly the death of the mother, or mental with-
drawal on the part of the mother (they amount to the
same thing as far as traumatic effect goes). The back-
ground is one of severe emotional neglect.
I recently asked a client to do some abdominal
exercises and she told me, 'I realise tha't raising my
abdomen to - the fullest seems rude to me, reprehensible."
Despite the fact that she'd had several children, that
area had remained reluctant to expose itself, which of
course put a cautious and self-demeaning mark on this
lady's whole personality.
The exercise I asked her to do is a useful one to


introduce at this point.
It differs from the
previous abdominal exercises (00) only to the extent
BB6
that it is slower and the abdomen is raised during
the inbreath to its fullest extent, that is with the
help of the abdominal muscles.
This is a good way of
perceiving the difference between breathing 'from inside'
and, as now, assisting the diaphragm with the muscles
of the abdomen.
When the abdomen contracts for the
exhale the same operation occurs in reverse: the
abdominal muscles are used to draw the belly into a
hollow (as deep as the abdomen-in-full-expansion was
high), U We should breathe, for this exercise, with a
tel
fairly long, easy rhythm, until we become tired.
An extension of this exercise involves the whole
pelvic region, and I call it 'the crotch exercise'.
BB7
Instead of expanding the abdomen upwards or vertically
for the Anbreath,"we expand it in a more downward
direction, that is toward the crotch, in such a way
that the expansion is felt not only in the sexual and
anal area but in the lower back and the posterial cheeks.
This is a deeply satisfying exercise, the. one that
gives the frequently neglected abdominal area full
recognition', sharpening awareness in both the evacuative
and sexual systems, and helping subduelthe-shame ane?
traditionally attached to both.
(For this reason it
may at first cause some mental nausea).
On the ease, contentment and softness of this region
sexual enjoyment (and the ability to provide it) depend.
Just as breathing has to be learned 'from inside', so
sexual enjoyment is derived from a process of inner self-
nourishment, such as our society denies people from early
childhood.
This is the only real aphrodisiac. Sexologists
rightly concentrate on social skills in their seminars,
that is the ability to make and receive a sexual approach,
but frequently leave out of account the simple capacity
to enjoy, with which the client may not be jendowed
Paradoxical breathers, for instance, invariably have
sexual difficulties which they wrongly attribute to


congenital dysfunction, sexual molestation in child-
hood etc.
It is the breathing that has been disturbed
by childhood experiences, and the breath, as we shall
see, is an essential aspect of thevsex-act, perhaps even
its key.
Tautness in the abdominal region makes it impossible
to abandon the body to someone else. A blocked, dull
or nauseous feeling behind the sternum will have the same
effect, and the two often go together.
Both are due
to the lack of a basic breathing pattern on which all.
breathing forms, from arousal to deep slumber, can hinge.
When the lifeline is out of synch, everything else is.
When people enter sexual contact to prove themselves
good performers they often come unstuck because the
determination kills the enterprise.
If contented lovers
were compared with performing lovers it would be found
that the breathing of the former is quiet and rhythmic
and smooth, while that of the latter is noisy and irregular,
with much use of the open mouth long before it is needed
in climax.
The stroking motions of the hand, the en-
twining movements of the hips, the sighs, gasps, spoken
endearments, the kissing, biting, all have a rhythm
connected with the breath.
To. perceive the difference between performance
and easy enjoyment in breath-terms we should take five
AB1
quite rapid breaths in the ribcage area (so that the
ribcage expands for the inbreath while the abdomen
contracts), and then try to repeat these breaths in
the same rhythm but without the slightest sound. We
shall find that, to keep up the rhythm, we will be
forced to turn the breath into a kind of muscular show,
with little air actually coming in. The work will be
done by the abdominal and intercostal muscles, while
the diaphragm within is doing almost nothing.


This is because sound in breathing means velocity; as
we haveuseens cThe greaterathe soundpsthecgreaten
the 'speed. So that for silence we must have a slow
rhythm, necessarily.. Above all, we need, for the
silent breath, that sense of working the breath 'from
inside'.
Working from outside, through the muscles,
will destroy it. And much the same can be said about
sex.
Smell too is a source of the deepest enjoyment in
sex, and is certainly a mode of sensual recognition
between Govers accustomed to each other.
Just as some
mothers would be able to recognise their children blind-
fold, by smell, so it is with lovers.
For smell (which will never be right between a
couple not suited to each other) is part of the process,
in love-making, of 'exchanging the breath'. On the
whole, humans have lost this universal animal habit,
except in the love-act.
If you want to calm an animal
or induce trust in it exhale and remain in apnoea (with-
out breath) for a moment or two.
If you blow gently
on an animal's face it will be taken as an intimate token
of confidence and love, and will usually be received
with a flattered look of gleaming eyes and ears laid
back. A primate, introduced to a human, will beckon
him and blow gently on hi's face, and wait to receive
his breath in the same way. He will scent the breath
and find out what he wishes to know about the stranger.
Fear can be smelled 'on the breath, being highly toxic
in its physiological mânifestation.
The breath of
a disturbed, unharmonious person can never be sweet.
The stink in animal experimentation labs is due to the
terror in which the animals live.
I once 'took' the breath of. the famous Koko, the
gorilla who learned the American Sign Language, and it
was as sweet as flowers in May, which I took to be a
tribute to the care of her owner, Dr Penny Patterson.
Of course between lovers accustomed to each other


and right for each other, the mutual rhythm of the
breath establishes itselfginvoluntarily. When people
'meltiinto each other's arms, the breath will be unified
in the samet.way
The breathiis also of prime importance in the control
of the orgasm. Withdrawal in order to prolong pleasure
is much easier when the breath is in. charge. With
withdrawal the abdomen (in male and female) should be
relaxed and an easy breath taken in that area, without
movement in the ribcage, until the excitement has
prl
subsided and a new cycle of sensual exchanges. can be a
begun. This withdrawal can be internal, that is,
without disturbing penetration. The excitement is
simply reduced by the breath, by directing the breath
to the abdominal area.
Pre-orgasmic excitement will make the breath rise
to the ribcage, as more oxygen is required and the
special-effects system is touched off. As orgasm
approaches oxygen-needs increase so that the mouth
opens and a panting breath takes over, high in the
lungs, as during exertion or running.
But from the first moment of love-making the
breath is the key. Once it begins the breath of the
couple 'mingles' and the faculty of smell undergoes a
subtle change as ifa common breath were now established,
a common smell, not another's.
Breath can thus unify, and be a unit bet tween two.
In certain 'primitive' voodoo-like ceremonies the
breath is frequently used to induce a sense of mastery,
accompanied by sexual excitement. This results in
random sex which is by no means as random as it appears
to the onlooker. The partners are in an identical
state and their choice of each other is determined by
this, not haphazardly.
In the event of one partner requiring manual
stimulation after the other's orgasm, and special
fantasies to induce orgasm, the smell of the other
person willfquickly become that of 'another'.
There


will be no breath-mingling because the breath is' no
longer in unison. Naturally, since the fantasy has
taken the place of.the lover's body.
The need for special stimulation, need. 1 not be due
to the partners being unsuitable for each other.
'abnormality' of this kind need be feared, once the breath
has been engaged.
If the climax is a feared event, then
'unity' can be enjoyed during the preliminaries, and
there are excellent orgasm-withholding techniques which
prolong these, so that the orgasm is rendered less
important and therefore less demanding.
It may cease
to be 'theiclimax'.
It remains true that if a person hasn't found his
true breath,. it will be difficult to find his true mate.
This isn't as arbitrary a statement'as it sounds.
The
body which relies on disturbed breathing patterns, and
is inflexible in the bellows-system, lacks full control
of itself, in the sense that it doesn't quite know what
it wants, what is good for it, or who it is, much less
how to recognise, seek or find the fitting mate.
we all know, this cannot be done cerebrally. It has
to be a matter of autonomic or 'magnetic' attraction.
The reticular activating system in the brain-stem
warns us during sleep of the presence of danger.
There
is also logic in this warning system. - For instancé,
if you live in a city you will not wake up every time
a car rushes by outside.
The RAS will let you alone
because it knows that, in your present situation, that
sound isafe. But go into the Gepthsiofaafforestsand
sleep there---and if a car rushes by right outside the
cabin door the RAS will have you sitting up and staring
vin) less. thân a second.
Sigmund Freud talked a great deal about the
unconscious; and the shock of his ideas for the west
lay essentially in the message, 'You are far from being
rational creatures, as. you think or flatter yourselves


that you are.
You are much more the servants of
desires, habits and fantasies of which you are mostly
unconscious, and over which you appear to have no
control.
Indeed, a good way of masking these wild
forces is to give them a rational form, whenever)
they threaten to express themselves.
This is a
rationalising, but not rational, process.'
At a time---in the first decades of this cèntury---
when rationalism was regarded as unimpeachable, and the
litmus test of all experience, this message was a great
blow to human pride, another Copernican revolution,
and Freud and his followers weren't thanked or liked
for it.
Recent brain researches have completed the dethroning
process. They support the contention that the cerebral
cortex is by no means the controlling factor which our
civilisation has increasingly, since the sixteenth
century, tried to make it, in line with one of the dominant
themes of mediaeval thought.
In fact, we make decisions
before we become aware of them. The neurotransmitters
begin preparing for an action before we have consciously
decided to make it.
Sometimes we may even tense ourselves for a loud
bang or explosion before it has happened, and without
prior warning of its being about to happen. This is
a warning from the reticular self' much - like the animal's
awareness of approaching danger . or storms (for in the
animal the reticular self still works, among. other
1. The relationship between thoracic or arousal breathing
and the reticular self is particularly apt because arousal
or activating is the chief function of the reticular formation.
This area inside the medulla receives both information from
the sensory tracts and nerve impulses from the cerebellum,
basal ganglia and other nuclei.
This is the source of its
control of the cerebral cortex.


things, through the fur, the sense of smelletc,twhich
it no longer does in the human with the same efficiency).
The nature of memory provides further evidence
that the cerebral cortex has a relatively small,
though of course essential, function in the overall
perceptive apparatus. The two memory sites, at the
base of the brain, the amygdala and the hippocampus,
present memories to the cerebral cortex already -
packaged with emotions of sorrow, regret, fascination etc
which the cortex has done nothing to manufacture, and
of which. it can frequently give no rational account
whatever.
Indeed the cortex seems to have little choice as
to what memories will be presented to it, and in many
cases where the memory returns again and. again as a
simple image it cannot explain why it should have more
hold on the mind, than any other.
Clearly a most
eventful life is going on far below the level of aware-
ness, so that we can no. longer say that awareness -itself
provides_order and sequence.
On the contrary, thati other
world-y seems to be hidden from us, and beyond our
conscious control, though it is surely what we must
mean by. the ego proper.
The existence of a guiding, even wise, presence
in every' human creature becomes evident in any prolonged
breathwork.
The way the nervous system works on the
form, rhythm and intensity of the breath is the first
clear demonstration that: a control is being exercised
on our organism at every moment, but it is by no means
cerebral control.
Indeed, such a meticulous, complicated
fin
system of control, iworking through instantaneous
messages sent and received along the neurons, and
involving something like 400 chemicals in the brain,
and a feedback system working through the glands,
would be far beyond the cerebral cortex to maintain


even for a moment.
Thus, the objective of any thorough breathing
system should be to reach the point, through bellows-
flexibility and gradual modulations of rhythms and
(intensity, where the subject experiences a kind of
personal introduction to this alter ego that is in
fact the true ego.
This is achieved not by dramatics, not by cathartic
or primal screams and enactments, but by silence and
immobility.
Only when expectations, emotions and
thoughts have been silenced will that Aiterego, the
reticular self, emerge.
For it is tension that expects and demands dramatics
from the breath (tension in both therapist/teacher
and subject).
Dramatics provide instant release, a
sense' of having arrived at the heart. of the problem;
(but the organism remains as doggealy_possessed by
that problem as before, if not more so.
I remember a wild-eyed man coming to see me in
San Francisco.
He said he'd undergone just about
everymajor therapy and personal growth technique known,
and devoted himself to nearly all the internationally
established gurus. He could do anything and everything,
he said.
He could scream, cry, rage most convincingly,
fulfilling the wildest therapist's hopes. To my
astonishment, when I asked him to demonstrate for me
his habitual breath, he went through just about every
kind of breath on the map.
'You see,' he said.
'I can do anything.
The
only thing is, after all these years, I'm still not in
touch with myselfl'o
Just as breath communicates with the inner world,
so it is the source of our communications with the
outside world; and it is useful to observe how the
reticular self, that resident genius in every creature,


C36
processes this communication each day of our lives
without our being aware of it.
Throughout the animal kingdom this is so: breath
is in all. senses a communication.
Animals use it to
communicate with each other---perhaps more subtly and
exhaustively than we yet know.
And we do precisely the same, incorporating sound
in the breath by means of the vibrations of the vocal
chord---to make language. We can experience the coming
about of language from the breath by saying a few simple
words or consonants to ourselves, observing what happens
to the mouth and tongue, and the velocity of the breath
that makes the desired sound possible.
Many of the exercises in this book are this same
breath/tongue/lips activity broken down to simple forms.
For instance, we shall be looking at a hissing exercise--
the 's' we make many hundreds of times a day is here
reduced to a single movement.
In speech we modulate the breath in the subtlest
way. To pronounce 'A' we make a mini-cough, closing
the epiglottis for a fraction of a second, with the
breath close béhind, ready to flow through and complete
the sound.
'B' is the closing and opening of the lips
for the breath to pass through at greater velocity than
in 'A'. 'C' is the delicate touching of the tongue
on the palate in a slight U-shape, to allow the breath
to pass through in a momentary hiss.
is a momentary closure, blocking the breath, but this
time with the tongue full against the forward palate,
so that the- breath must break throughtit to create the
right sound.
The word 'who' requires a slighter and
longer breath than, say, 'ha'.
'When' requires a
pout that opens subtly for the breath to whisper its
way through, and is closed by touching the palate
lightly with the tongue.
'Th' is a sound made by air
through a narrow outlet, formed by: the tongue and the.
upperteeth. 'Shame' is made bya similar quickly
constructed barrier, and is closed by a meeting of the


CSI
lips to resist and then permit the outbreath.
is differentiated from 'D' by the breath's greater
velocity---it almost pushes the tongue from its cleaving
position at the palate, while in 'D' the tongue,. in
the same position, is visited by a slighter wind.
'H' requires a more open mouth than usual, and a long
outbreath without velocity.
'p' differs from its
brother 'B', like 'T' from 'D', in that it needs a
greater wind-force through the lips.
'U' is made by
the sides of the tongue against the palate, followed
by a pouted opening of the mouth for a rushing outbreath.
Words and syllables and consonants are, then,
breath or mini-wind aided by grunts in the throat.
The sound of wind in the branches of a tree, or through
an almost closed window, humming high and then low,
is a similar action.
But unlike wind-sounds, human
language is the effect of a deliberate manipulation of
mouth-structure and wind-velocity, so rapid and subtle
that the cerebral cortex would be incapable of reproducing
it. That is, to think out how to shape the mouth and
tongue and modulate the breath for certain syllables
would create hardly a word a minute.
Word-forming
is as unconscious as digesting, precisely as learning
the language as a child is. The reticular self--
that genius we rarely pay homage to---is responsible
for all, so responsible indeed that the cerebral cortex
may never become aware of what is going, from first'
speech to last breath.
Poetry, dramatic moments on the stage, any use of
the word to heighten emotion or perception relies
squarely on the breath, its rhythm, velocity and intensity,
more than on the rational or analytic modes.
An actor with a good command of the breath will
hold an audience while another actor inferior in this
aspect but superior in understanding, timing etc will


lose it. For the breath of the actor influences the
breath of the audience---that is, they are swept along
by him, the autonomic factor takes over. An actor
who has difficulty with the breath, or is a chronic
passive or inturned breather, can never have this strange
hyp(notic authority.
Therefore breath-initiation is
of especial importance to performers using the voice.
Coordination of the breath with movement---whether
of the limbs or the vocal chords---has to be successful
if there is going to be an aesthetic effect on watchers
or listeners.
This coordination applies to almost everything
we do. If you (talkato someone ormlisten-toisten o
earphones while cjogginghs your breath will be out of
synch, and you will easily tire. The breath should
be coordinated with the rise and fall of the feet,
and this will come about naturally if we are properly'
relaxed while running.
In the same way a dancer cannot hope to achieve
proper effect on an audience if, for instance, he or
she is holding the breath continuously during perform-
ance. A stiffness will betray itself, and only training
in the soft, regular abdominal breath, alternating
with arousal breathing, will eliminate this.
A. surprising number ofsingers breathe incorrectly.
I have known just two Oxygenesis sessions with a singer
make a remarkable difference in tone and projection.
If the breathing necessary for singing, remains un-
supported by proper breathing patterns, especially during
sleep, much performance quality is lost.
Really breath-initiation means being introduced
to the reticular self, and yielding to its superb
1> administration.
There is some magic at work here.
The introduction takes place without words, without


movement. Yet some undefinable wonder has taken
place. People say 'I feel I fit into my own skin
for the first time'.
All the rigorous breathing exercises in the
world, all the dramatic ravings under a mule-driving
breath fanatic, cannot replace this most moving of r
sea changes.


SPECIAL EFFECTS


The Arousal Breath
No breath-initiation is possible with'the basic
breathing pattern alone, however stabilised.
Our
breathingrapparatusiEseems, torrdemand. an equalidivision-of
labor between the abdominal and thoracic regions, and
it is to the latter---the special-effects box---that we
now have to turn.
What is arousal?
When suddenly frightened we open
our eyes wide for clearer attention and observation,
we open our mouths to admit a: plentiful, if short,
gasp of air, our abdomen contracts and we breathe high
in the chest, our bronchii dilate to facilitate the
new demand for oxygen, extra blood rushes to the skeletal
muscles and the heartrate goes up. We are ready to
'fight or flee'.
When we induce a similar physiological state in
an utterly immobile position, lying down with our eyes
closed, the energy thus aroused has only one avenue
of escape---back into the body, where it works in
various ways. Therapeutic effects sometimes result.
Heightened and sometimes ecstatic states are induced.
The brain may suddenly become optimally efficient as
an informat.ignr"-recciving apparatus (much like a radio
in that the information comes from 'out of the blue').
All this is achieved by not fighting or fleeing.


In an objectively dangerous situation we would
be standing or in some alert position.
But in a
prone and composed state the organism uses the breath
for inner action, as opposed to outer action.
We ruin this internal action if we seek dramatic
or cathartic effects, and twist it into outer action
again.S.TAlsor fit-the organism is invited to enter
fight-or-flight situations artificially it will soon
become used to this form of momentary emotional release,
and return to it again and again, at home as in sessions.
When placed under stress, however artificially this may
be induced, the adrenal gland becomes used to manufacturing
hormones at an accelerated rate, and to targeting its
synthesised chemicals at certain other organs to protect
them. If repeated too often, this depletes the gland,
especially in Vitaminrc, and wears out the cells.
This
means that it can no longer deal efficiently with real
stress, or fulfil its vital function as part of the immune
system (healing inflammation etc).
At present the medical profession tends to relegate
all arousal techniques, without specification, to the
area of hyperventilation'.
It is a word that covers
a multitude of meanings, though its physiological one--
the insufficiency of carbon dioxide in the organism---
remains the basic definition.
But there seems to be
little agreement about symptoms.
Before we examine hyperventilation---and its brother,
the 'tetany effect'- --we should remember that all special
effects can be taken too far. Laughing, coughing,
sneezing, chronic paradoxical breathing, if continued
indefinitely, will produce drastic toxic results.
If we take arousal breathing too far it can become
hyperventilation or tetanic paralysis.
This is why
the arousal exercises in this book must be followed
with extreme care.
The number of breaths advised


should never be exceeded, unless in the presence of
a breath master. The exercises I am recommending are
of a preparatory nature.
They are also designed for
people who cannot find a competent breath teacher, and
who must therefore approach arousal very gradually,
over a period of months.
Thus the emphasis in these
exercises will be on the power to self-monitor, and
how to secure this.
At this point we should return to our earlier
distinction between stress and tension, which are
often wrongly lumped together.
Tension is essential
as a means of self-protection under threat or in danger,
or for the accumulation of new energy.
Stress is a
mental state which goes together with tension but is
by no means synonymous with it. What we have to do
in the Oxygenetic process is to perfect tension so that
it is available to us when we need it, and not in
situations for which it is quite inappropriate.
What
we have to do with stress is to destructure the fixity
which is its chief mark.
Many people have said that
the breath can heal céverything. But this is only true
if the destructuring process has been successful, and
this may take a considerable time, and involve treading
many different paths.
Later in this book I shall be talking about the
work of Emily Conrad Daoud in Los Angeles. Her 'micro-
movement' workshops induce motion in the body where no
motion was thought to be possible before.
Incorporating
such movements into one's life after the breath has been
activated is probably the best destructuring procedure
one could undertake. In this way the two extremes,
'the two poles between which the organism seems to.
operate most beneficially, that of total immobility and
that of vigorous motion, is achieved.
The subtlety,


of the immobile experience is matched and balanced
by the subtlety of the micro-motions.
Emily, by the way, has some intriguing.breath>,
patterns which she uses in her group work and which,
despite their frequent use of the mouth, are perfectly
safe, since a) movement is involved and b) abdominal
breath is used.
Clients often say 'I feela peculiar link with
the ancient world through the breathing, as if I knew
what it was like to be ancient.'
Usually they can't
define the -feeling much more than this.
Yet the feeling
is precise, a kind of sensory conviction without images
or historical reference.
We associate a sense of bodily form with the ancient.
world, certainly S Greece and Rome, if not Egypt.
And. that the ancient world was fully informed about the
functions of the breath seems evident from language.
: Spirityis derived from spiritus, the breath.
Inspiration' comes from inspirare, to breathe in, and
aspiration' from aspirare, to breathe out: these words
adequately define the difference between the inhale and
the exhale, as it appears through special-effects breath-
ing. The Greek pneuma meant air or spirit, and perhaps
approximated in meaning to the Sanskrit prana. In
Arabic rih means 'air' and ruh means 'soul'. The
Greek psyche is related to psychein ('to breathe') and
physa (ibellows'). In the Greek view the soul entered
the body with the breath, which came 'from the whole',
carried by the wind. Thus Greek gods were often the
offspring of virgins impregnated by the wind.
Here we come to what is perhaps the chiefidestructur-
ing element in the arousal breath, and that is the state of R


L4S
elation. Of all special effects it is the most
disruptive of fixity.
Just as the special effect of
laughter clears the head, induces a satisfying discharge-
reflex in the eyes, exercises the abdominal muscles to
the point where they ache (we 'hold our sides'),
releases congestion in the nose, brings a healthy flush
to the cheeks and endows the whole body with a sense
of contentment and easy communication with the world---
all fixity is gone---, so it is with Oxygenetic elation
on a deeper, subtler, more enduring level.


THE TWO-PART BREATHING SYSTEM
SPECIAL EFFECTS
AUTONOMY
thoracic
abdominal
inbreath
outbreath
mouth
nose
intoxicating
detoxifying
purposive
transforming
sympathetic
parasympathetic
inspiring
aspiring
therapeutic
vegetative
exciting
calming.
left nostril
right nostril


CHAPTER BREAKDO W N


1. THE BASIC BREATH.
i) Fixed-structure thinking has discouraged bellows-
flexibility.
Myths about the breath: overbreathing.
'Breath comes naturally'.
Oxygen not an unqualified
good in any quantity.
ii) The two-part bellows system. The meaning of the
upper part and the meaning of the lower part. The
upper---Special effects; the lower---basic breathing.
(iii) How to make the bellows flexible. Becoming aware
of the breath and how the nervous system constantly acts
on the breath, modulating and conditioning it according
to ever-changing needs.
What is normal breathing?
The distinction between the inhale and the exhale, the
silent and the noisy breath.
The 'curves'.
iv) The abdominal exercises. The abdomen and sexuality.
Smell, 'exchanging the breath' in animals and humans.
Control of the orgasm through breath.
The functions
are all controlled by the reticular self. The breath
elicits this 'alter ego'.
v) The importance of the exhale.
Ten exhale
exercises.
Curtailed or incompleted exhale often the
cause of hyperventilation, rather than the inhale.
The exhale menacesja disturbéd organism with the threat
that there may not be another (inhale if it (the exhale)
is too long.
vi) Meditation and kundalini practices on the basis
of disturbed breathing patterns are unwise.
The use
of the breath in ashrams, often mistaken. The oriental
meaning of meditation the opposite of what that word
(from meditare, to ponder) means; for the west. Dhyana,
meaning the cessation of all outward impressions, is
achieved in Oxygenesis as the amniotic state. The
basic breath is a necessary support-system for all
'special effects'.


11. SPECIAL EFFECTS.
vii) The arousal breath.
Its connection with
hyperventilation. The physiological definition of
arousal. How it is used in Oxygenesis.
viii) The therapeutic (effects. Superoxide dismutase
and senescence. Ageing in men and women has a common,
not a gender-determined cause. Oxygen and the human
cell.
Oxygen and the enzymes.
ix) The meaning of the 'tingles'.
Arousal electricity.
How to monitor arousal.
The arousal exercises.
Breath retention and its importance a) for
metabolism b) for the proper management of energy
and c) as a follow-up from arousal. Involuntary breath-
retention bad, voluntary breath-retention good, because
in the former the primal repose is missing.
Combined
with light-visualisation, breath retention most potent
for effortless performance and influence.
xi) What are optimal powers? In the Oxygenetic process
they are seen as the reticular self made manifest, once
the breath has destructured the organism sufficiently
for that self to assume control without interference
from the cerebral cortex.
Signs of the emergence'
of the reticular self.
xii) The importance of elation in the destructuring
process. The ease with which, once the breath has
been activated, inner elation can be secured within
moments. Meditation---the misunderstanding of this in
the west, as a 'haven' experience which may actually lower
the quality of daily life by contrast.
The Oxygenetic
process tells us, on the other hand, that' everything is
already supplied to us that we could possibly want,
and that beyond-life goals originate in suicidal longing.
True meaning of meditation dhyana, i.e. 'cessation of
all outward impressions', which in Oxygenesis is the
amniotic state. This is not withdrawing in effect.
xiv) Oxygenetic elation a) induces satisfaction with
immediate circumstances b) charges these circumstances
with a power often wrongly sought as 'other-worldly'
and c) provokes a new deployment of energy and


initiative.
This may be accompanied by a sense of
receiving information (the 'antenna effect').
xv) The Oxygenetic process suggeststhat objects,
bodies etc are simply the shapes, colors etc of spirit.
This is why the ancient world identified spirit with
breath and made it the same word.
It is'also perhaps
why we associate elation with certain periods of ancient
history, and why in Egyptian, early Greek and Etruscan
sculptured heads there is a common rapt smile, absent
from late Greek and Roman heads.
BREATHTAKING MOMENTS will use the breath exercises
as a meansof exposing the theoretical and physiological
background. The Oxygenetic process will therefore
unfold for the reader in the form both of a practical
experience, through the exercises, and an elucidation
AR the effects of these.
Exercises will be referred to as BB1/2 etc (Basic
Breathing exercises), AB1/2 etc (Arousal Breath
exercises), RB1/2 etc (Retention, Breath exercises),
(and'AN1/2Detc(Alternate(Nostridsexerdises): XL
These will be listed as an appendix with a brief
description and a page-refeference.
LENGTH: 60/80.000 words.
ILLUSTRATIONS: some color plates, otherwise B/W
action photos.
Diagrams.


CONTENTS
luliodicla
A. Oxygenesie, theBackground.
B. Chapter Excerpts.
C. Chapter Breakdown.
D. Creditss


Intodedis L


THE BACKGROUND


KING
NOMENTS
BREATHTA
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Depmmin
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Tue
glanl phousm
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uk - Hap
nsway
died
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achin 3 the ramn ylen,


FALLEN ANGR
nola
Syugpe
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Caleyon V -


MAURICE ROWDON is a British writer with twelve published
books. His novels include HELLEBORE THE CLOWN, OF SINS
AND WINTER, PERIMETER WEST (about West Berlin), AFTERWARDS.
His biographies include LEONARDO DA VINCI (over 30.000 sold
in hardback) and LORENZO THE MAGNIFICENT. His history works
include THE SILVER AGE OF VENICE (which he made into a 55-
minute BBC film), and THE SPANISH TERROR, a study of sixteenth-
century religious persecution. His travel books include
ITALIAN SKETCHES, A ROMAN STREET, THE COLLINS COMPANION GUIDE
TO UMBRIA. His latest book, ELKE AND BELAM, was about
animal intelligence.
It made over $30.000 in advances and
under the title THE TALKING DOGS had major serialisation in
a British newspaper for one week and second serialisation
in two others, with two national competitions.
The first
serialisation rights were sold for $10.000.
His publishers in the US include Praeger, Putnam, St Martin's
Press, Regnery.
His publishers in Britain have been Macmillan,
Chatto and Windus, Heinemann, Weidenfeld, Collins, Constable
and Gollancz. He has been published in Germany by S. Fischer
Verlag, and in Japan.
His plays include ESKIMO TRANCE (two productions) and MAHLER
(two productions).
One-time director at Light and Dark
Theater, London, and Studio Theater, Munich, Germany.
Has lived most of his adult life in Italy, and now has a small
farm near Siena.
He has a BA in History and an MA in Metaphysics
from Oxford.
Lecturer in English Literature at Baghdad
University for one year. Twice married.


FALLEN ANGELS
The Illusion of Self Improvement
A Proposal
Maurice Rowdon and Karen McChrystal
Please contact the au thors a t:
CREATIVE PROCESS CONSULTANTS
3237 Sacramento
SAN FRANCISCO


CONTENTS
FOREWORD.
SUICIDE AND THE CREATIVE PROCESS.
Gomp
FALLEN ANGELS.
III. I. THINK THEREFORE I AM.
ART AS A VISION.
THE MYTH OF THE CREATIVE PROCESS.
'BLISS WAS IT IN THAT DAWN TO BE ALIVE'
CYH
VII.
IS ART A SKILL?.
VIII. CREATIVITY AS VENGEANCE.
A DREAM DEFERRED.
THE LOST IDENTITY.
THE 'ANTENNA' I EFFECT.
XII. A DIALOGUE WITH DEA TH.


FOREWORD
The substance of FALLEN ANGELS is drawn from thelwork of
the two authors in their San Francisco company, Crea tive Process
Consultants. Karen? McChrystal works in psychotherapy, Maurice
Rowdon in a non-verbal therapy called Oxygenesis.
Most clients came to us interested in the creative process.
That is to say, their models were usually creative or artistic
geniuses. But early in our work we came to realize that wha t
they were really looking for was a self-improvement progfam,
much as if they had gone to a spiritual master or an enlighten-
ment group.
They saw 'becoming more creative' as the way to
overcome psychological conflicts and discomfortsyin) their lives.
More surprisingly, we began to see that the self they
wished to improve was the last thing they were willing or able
to recognise, so that their deepest desires were left out of
account, and remained largely unknown even to themselves.
Indeed, the vèry program of self-improvement which they wished
to pursue seemed more an obstacle than a benefit. It was a
source of new anxiety, because it set up goals, prohibitions
and a chain of self-reproaches often worse than the
original
state.
Frequently Clients felt that they were creative geniuses
wit thout ever having written or painted a line or taken more
than a perfunctory interest in books and art. But they rarely
wished to examine their real aptitude for the chosen art form,
or the question of whether their feeling of being a genius was
truthfully rela ted to artistic desires atallo
Similarly, people who attend prosperi ty seminars somet times
report (that afterwards they get into worse financial troubles
than évér before. Many who undergo forms of 'spiritual training'
say they experience the worst upheavals of their lives.
Meditators report that their meditat tion is sometimes followed
not by feelings of bliss or repose but rage and irri tation, or
acute depression. Is there something in the self-improyemen t
program that sets up such anxiety that the self is hidden even
more effectively than before?
We certainly weren't inclined to say that the search for
self-improvement was itself wrong, that creative effort or
medi tat tional procedures were swrong, that spiritual masters
whose devotees went through difficulties were inadequate
masters.
Nevertheless, we were struck forcibly by the fact
that the structure of these people's lives was no different


from before, but simply had a new terminology. Depressions,
negativity and discouragement tended to continue, if not increase.
In fact we began to notice that almost every client
revealed strong suicidal drives of which they had previously
been unaware. These drives were usually artfully concealed,
and often masqueraded as worthy and life-affirming programs.
In most of our clients the very desire to be I creative'
seemed to exacerbate the suicidal drive, and began to appear to
us only an ill-informed attempt to counteract the deep self-
destructive process. 'I feel worthless' often came in the
same breath as 'I feel I'm really a writer'. The very desire
to crea te an imaginative structure (in the form of a book)
implied a need to vindicate the author's life, and was,Cin
clear
thatu
acknowledgement that this wasn't worth living. More,
it was a disguised attempt to perpetuate that state of affairs.
The book served as a clear 'deferral stra tagem' whereby the
suicide was postponed, wi thout the drive behind it having been
detected, much less examined. A long autobiographical novel
often exacerbated family problems for the author, and the
confessional element in the writing secured no release whatever.
Was the very desire for self-improvement a concealed flight
from the self? Did a certain extreme form of anxiety crave
for concealments, literary, artistic or spiritual, in order
never to expose the deepest drive of all, namely the suicidal
one?
Certainly, strong anxiety creates an anxious desire to
avoid the effects of anxiety in one's daily life.
It is this
that drives people to seek some form of program which will
remove these effects, though the removal simply enhances and
strengthens the cause of the anxiety.
Indeed, people often cling to the neurotic structure by
adopting therapies which they secretly know (or secretly hope)
will be ineffective.
'Being a writer' may be a neurotic
structure, and the book itself the ineffective therapy.
Another form of this system, adopted by many, is_continually
to change one therapy for another, with the hidden design,
never to examine the original suicidal impulse. This is
especially the case with depressive people (most of mankind?)
because of the grea t pain involvedin uncovering the original
source of discouragement.
Success is a universally adopted
therapy in this respect.
It was (further demonstrated to us (with more conclusive-
ness than we thought possible) that the anxieties we observed
were not simply a matter of personal problems, but some thing
more dynamic, certainly more universal, which could not be dealt
with on the lines of classical psychology alone. We saw the
same syndromes repea ted with only minor variations due to
specific individual backgrounds.
The suicidal impulse seemed to be the result of a profound
discouragement, felt not only in childhood, at the hands. of
parents and schools, but more generally and enduringly, in the
very culture which pervaded everyday life.
To treat the
individualjin relation only to his past, his family or lover


was to leavel tunexamined the thousands of daily reinforcements
to his or her discouragement, which were encountered everywhere,
even in the myriad self-improvement programs, which advertised
the message. 'You have no one to blame but yourself'.
Verbal psychotherapy was useful in helping the individual
to clear up strictly personal aspects, but a further procedure
was clearly needed to take the individual beyond everyday
consciousness, in an experience which involved neither language
nor the reasoning faculty. Unless thére was a technique for
locating the self as essentially non-private in nature, the
problem could not be solved.
Though we have found eastern enlightenment t models
interesting for what they reveal about the ana tomy of bliss,
we became convinced that the western importation of enlightenment
techniques has failed to impart any genuine knowledge of how
to attain bliss, or what might be called cellular repose,
because of their failure to tackle the problem of the sheer
tenacity of the western mind, and its tendency to translate
eastern disciplines into further intellectual programs.
We"felt that under these programs, however much accompanied
by medita tion and chanting, the most extreme psychosis or
schizophrenia could survive and flourish.
It was somehow
necessary to break these intellectual programs at the root,
and to discover the mysterious connection be tween these
programs and the suicidal drive. We found the 'creative
genius' model_useful to study precisely because it contained
withintitthe effortato comes to terms with the stresses and
upheavals of daily life wit thout either withdrawal or self-
bifurcation.
But, more than this, we began to feel that t something had
fallen out of human history, some essential faculty or experience
which had once (perhaps in the civilisations previous to the
Graeco-Roman world) guided human beings and put them in touch
with a knowledge no less rational than the one we achieve
through deduction but of a deeper and more exhaustive nature.
We thought that the intense rationality of the post-Roman
world was perhaps due to the loss of that faculty ra ther than
to the acquisition of anything new, and that if today we are
confrônted by an unworkable world it is because of the failure
of the rational faculty to produce a full picture of experience,
so that its blueprints work only partially, and contain a
large element of destruction.
The more we encountered helplessness in people, the more
strikingly distinct we found the 'creative genius' whom they
wished to study or emulate.
Was the creative genius a
throwback to the earlier state, however unwittingly so, and
however erratic his life? Did he preserve in some form
the faculty which the generality of mankind had lost? Was
it possible to retrieve that faculty? Above all, was the
loss of that faculty connected with the suicidal drive we
noticed so often?
It seemed to us useless, in the long run, to work wi th
people unless we could remove that suicidal drive.
But we


also concluded that we could never do this unless we revived,
or attempted to revive, the faculty which we felt to be so
deeply and tragically missing in people, and which amounted
to a deep-laid principle of inner guidance. This is what we
set out to do, and FALLEN ANGELS is,an account of our efforts.


SUICIDE AND THE CREATIVE PROCESS
Clients who wake up with fear clutching the heart
(sometimes in panic sweat). have a number of specific fears:
Will I survive (emotionally, financially?)
I'm not loved, therefore do not feel I exist.
The future is bleak, if a repetition of the past.
I can't make it.
I can't make it alone.
I'm totally alone.
I'm not understood.
Who am I?
Here are a number of statements on the same theme:
"I enjoy nothing, I have no feelings, I only think. I1
"I feel good when I see a film some times or drink or smoke
pot or flirt but not when I'm working, making love, having a
relat tionship, being domestic."
"Sometimes I feel on the side of the murderers, thieves,
criminals---it makes life seem colourful and free and adventure-
ous---the three things my life. lacks."
"I want to write a long letter full of my dreams until it
becomes the size of a book---my letters get to the bottom of who
I am---listening to myself for the first time---no one ever
listened or was interested---the blank page is my first listener."
"I haven't the courage to commit suicide.
I feel dead
already so there's no need,"
"The whole world's messed up, and no one's doing anything
about it, So what's the use of living? So I just want to
write and be on my own, get money that way, and influence
people without moving from my apartment."
"I'm depressed and this one won't go away."
"Everything's war---we're at war all the time---this is
no peace---it doesn't need bullets."
"I don't know who I am. I, don't know who'or whether I
love. I don't know what love ifs. I don't belong to myself.
I want to write so that I can see myself from outside, from
a distance."
"It isn't that I hate myself---I just don't feel SEEN,
even by myself."
"I don't know what to eat, how much to eat, where to go,
what to think. If I could paint it would make me feel calm,
and maybe I could sell my paintings. I1
"I feel guilty all the time."
"I'm in a battle of hand to hand combat. I must win---
it's my life I'm fighting for. I can't lose this time ---give


up, or give in, or lay passively defeated on the mat so my
physical self will not die---for my soul will.
I must fight---
harder and harder.
I've been avoiding going to work---"
(Her work was hospice work among the aged)---"I can't fight
for others when I'm in this battle for myself. 11
(This was
written during a session by a woman who, as a first step to
becoming a writer, bought an expensive word-processor).
An architect said, "There's no meaning in my work. It
used to be personally meaningful for me---deeply so. But
that's clouded over by feelings of guilt and shame now. #1
(His mother had smothered him with over-protective kindness.
He claimed that whenever as a child he had revealed any
spon taneity and sense of adventure his mother had disapproved).
"My mother was threatened by my spontaneity and adventuresome
ness. She seemed very much to need me to be a perfect C
achiever, which impossible goal I strove to fulfil but never tet
could. Each attempt resulted in the shame of not having
really made it, however well I did."
A bright, successful young woman said repeatedly,
"There's something wrong with me. I feel I'm a fraud. I'm
continually guilty. Under the guilt there's a feeling that
I'm resposnsible for my mother's decline into hysteria and
alcoholism."
This client ultimately felt thà t her success was won at
the ex"pense of her mother, and fervently believed that her
mother would be jealous and threatened by it.
Another basically robust woman felt ill every time she
had the chance to realise some personal success.
It was
apparent that the illness had a deep psychological significance,
because in every other respect she was strikingly healthy.
It was later revealed that in the family of alcoholics in which
she grew up she had never been allowed to express her feelings
or be heard except when she was sick.
That was the only time
it was permissible to 'be herself'.
A gifted professional writer said, "I've always lived in
terms of other people's expectations---I've lived a double life
and I don't wan t to any more."
Many clients felt even in childhood that their parents
were weak, incompe tent, anxious or neurotic. But until
undergoing therapy they hid this from themselves (thus never
questiôning its truth).
The young of our species react very protectively toward
the parent, because, since they depend on the parent for
survival, they cannot afford to admit to the weakness of the
parent: it would mean admitting to the perilousness of the
environment, that is, to the possible collapse of their own
security. The child then construc ts a securi ty system by
picturing himself as protector of the parent. The way in
which he does this is by identifying himself with, or behaving
like, the parent, thus providing reinforcement.
For example,


the child of an anxious mo ther will adopt an attitude of anxiety;
the child of an hysterical mother will adopt a style of
hysteria; the child of a depressive mother will adopt a
depressive orientation to life.
(It was not until twenty
years after the death of her depressive alcoholic mother tha t
one client was able to retrieve a sense of her own life,
which had been 'deferred', through. recognising that she had been
living as though half alive)
In 'protecting the parent" or reinforcing the parent'
the child seems to be saying to the parent "I shall not abandon
you in your weakness." But truly wha t the child fears is that
he will be abandoned in his weakness, and so he makes this
secret compact.
As a result of these identifications the child's own life,
his innate spontaneity, brilliance, sense of adventure, his
basic ability to be here-and-now, may be deferred.
It is
usually only later, in adult life, when the child has outgrown
the actual childhood condition of vulnerability, that he may
lay to rest his concern about the parent and reclaim his life.
We frequently see cases where clients have dreamed of or
actually begun writing a book which puts to righ ts all the
childhood perceptions hitherto foregone.
These clients have
used a creative process (in the form of a novel) as a vehicle
for expressing the complete body and fabric of the life they
have been obliged to deny in themselves.
However, these
clients have either not begun or not completed their manuscript
out of a continuing fear that to expojse their parents, to reveal
wha t actually they have felt all these years, would somehow
be devastating for the parents, whom they still perceive to
be weak and vulnerable.
But in fact it is the clients themselves who still believe
themselves to be vulnerable, even though they have 'rewritten'
their history in a vein which seems truer to their real selves
than the.history they duplicitously lived in their earlier
years as victims.
Their belief in their parents' vulnerability
is actually a screen for their own guilt about being stronger
than the parents.
Thus there remains for these clients further
work to do in establishing the 'facts' about their existence.
The last ghosts of discouragement have_to be laid to rest.
And this depends on the ability to recognise the value, indeed
perfection, of the self. This recognition (which depends on
a long process) of itself overcomes the fear that other people
will be threatened by it.
One of these clients in fact finished the sixth version
of her long autobiographical novel, which gave portraits of
her parents and husband, but not of the !I' of the book,
which was clearly herself. She was reluctant to submit the
manuscript to publishers, despite its being a first-class
piece of work; and when she did submit it, she invariably
recalled it 'for further revision'.
She believed she would
hurt her parents.
Six times she produced a clean manuscript
without visible corrections, as if to wipe out the previous
one. But a common thread ran through these versions---the


fact that she herself was left out of the narrative as a
strong personality motivating others. Her reluctance to
publish and her fear of hurting her paren ts were clearly a
screen for her belief in her own weakness and vulnerability
rather than belief in her strength.
She wasn't able to
pte
affirm her worth as a person until she'd relinquished a
ASSIC
feeling that she was guilty for (her parents' suffering and
her husband's death.
Her belief in her guilt prevented her
from stating the degree of her participation in any 'bad',
situation she might be describing.
A young WO man who wrote and published poetry told us
during therapy, "All I ever looked for in any literary
situation---public readings, publication parties, discussion
groups or interviews---was a possible sèxual contact. When,
as a result of therapy, this appetite fell away, I felt tha t
life had become completely empty." This wasn't all. Her
desire to wri te collapsed along with the collapse of the
sexual drive, though she didn't connect the two.
There are manifold ways of sabotaging our actual powers,
screening them over by claiming powers we only wish to possess,
or which we think it would bring us kudos to display, in a
continuance of the childhood effort to live according to the
supposed needs and demand'sof other people, tha t is to some
program external to ourselves.
But real creativity follows our recognition of our innate
capacities, not those we would like to have because the program
looks acceptable, socially or otherwise.
FALLEN ANGELS
We thought that wi th increasing stress and personal
misery the drive for celebrity, wealth and crea tive genius
would increase proportionately, and on a global scale.
In an African village, once the technology arrives, the
desire for a protective cultural structure must sooner or later
follow. Manuscripts st tart to be written, pictures pain ted.
Drama schools are established.
The capitals of media technology--
New York, Los Angeles, London, Munich etc---quickly become
Meccas.
Places which never aspired to havinga literature
for the simple reason that nobody ever read or wrote, are
now subsidised in dollars, pound S or francs to produce one.
A great literature becomes an inalienable csocial right along
with airports, credit cards and paid vaca tions. New universities
get their creative writing departments, and it will be obvious
to everyone that the nation only lacked a literature because
it didn't have the cash.
Und'er this prestige program the idea soon gets around,
often with the support of the media, arts councils and creative
writing departments, tha t being a creative genius can be made


comfortable in the technological WO rld.
However, most of the creative geniuses we know about not
only suffered monstrously but were mostly unheard of when not
publicly despised, persecuted and deprived.
Mozart was a
classic example.
Yet the desire to imi tate the crea tive genius isn't just
an idle wish for prestige or money. Nor even is the desire
to have a literature. Perhaps people recognise in the creative
genius some stamina or extra force which survives the daily
blasts of discouragement and which makes him peculiarly
satisfied with being himself. And he seems to derive from the
darkest scenes in his work a sense of bliss.
He is in some
way an angel, if a fallen one.
Is it this suggestion of an angelic immunity in the
creative genius that tempts the technological victim to imitate
him? How was it possible for Edgar Allan Poe to write so
persistently and with such evident pleasure and momentum,
though he remained neglected in his own country, and died a
drunkard and a pauper?
Ifawe look back on the imagina ative works of mankind we
see a dramatization of unthinkable misery, frustration and
disappoint tment, in other words a thousand variations on the
theme of human suicide.
Is it possible that every one of
us, not simply the lone genius, has been the victim of a
pervasive discouragement at the core of social life, which we
translate, for fear of facing the true reality, into a drama
going on with the parents and in terms of what Freud called
the 'primal scene'?
Is it that the lone artist was (in the days before social
security) singled out for particular and spectacular discourage-
ment while in fact the discouragement was general, if unexpressed
and unlocated by the majority---including the upper classes who
only saw themselves fortunate by comparison with those lower
down in the social scale? Has the western world specialised
in a subtle torture of its inhabitants, robbing them of their
inner resources while urging them in the name of high moral
endeavour ('creativity' is part of that call, today) to lift
themselves out of the mire?
In psycho therapeutic sessions the questions arise again
and again, first, how did such utter self-rejection come about;
second, how did it manage to hide itself under such convincing
displays of self-acceptance---to hide even from the client
himself; third, where does the energy come from to go on?
Energy there certainly is, and it seems to come from the
awareness in almost everyone of some inimitable uniqueness
in themselves which cannot be quenched but which, on the contrary,
makes material for hope out of discouragement.
The 'creativity' in today's world is enormous. For
every book published there are thousands that never get beyond
manuscript form. The cost of publishing escalates to the
point where a manuscript is judged first for its market appeal
and second for its value (the one must not be overwhelmingly


disproportionate to the other). Every year thousands of
plays pour into the thea ters and the dramat tic agencies---
as theaters go bankrupt and the cost of the normalshow>
makes even a three-month run at 95% capacity audiences a
mere breakeven project.
Gallery owners, to survive heavy
rents and small sales, ask for as much as 80% in commission
from their artists. Filmscripts go the rounds of the
companies and agencies that don't even look at them or return
them for the simple reason that films come about largely as
pre-arranged packages wi thin the industry, or from a best-
selling novel.
But nothing daunts the 'creative'---rejection
slips, gallery rents, dark theaters, the collapse of the film
industry, the indifference of the TV companies: these things
are grist to the mill. People paper rooms with rejection
slips---remembering that Beckett go t thirty or forty for his
first prose work.
III. ICTHINK THEREFORE I AM
Does the deep inner discouragement we find so often
in ourselves (if we allow ourselves a long look) have a
historical basis?
Is it more than the work of a few
technological decades, more even than the work of two
centuries of industrialization?
In the mediaeval period we see the Christian so humbled,
compared with his Greek and Roman forbear, that we must wonder
whether in Christianity there hasn't been a systematic dis-
couragement of the human being (from the beginning, and
whether this essentially Christian structure of ideas doesn't
continue to underpin our lives, though transmuted now into
quite untheological terms.
(Oddly enough, Christ himself
has little place,in this discussion because it is difficult
to find a breathrof discouragement in anything he said).
The doctrine of renunciation was So pervasive in
mediaeval times that we might well wonder whether buried in
it was a powerful suicidal drive---so great is. the contrast
with the joy and forgiveness of the original Christian teach-
ing as it was expounded in Christian Alexandria under the
gnostics and neo-platonists. Was the morbid awareness of
death in mediaeval times, the sense of reward or punishment
on the other side of death, so Geep) as to incur a virtual
collapse of the human auto-immune system in the form of
deadly plagues?
The Renaissance has been so called because it ended this
period by harking once more back to the ancient world and its
doctrine of the 'perfect man', that is the uniqueness of every
creature tha t made him an image (for the neo-platonists) of
that most perfect of all men, Christ himself.
But that Grebirth' was abortive. Or rather, the child
was certainly born but stifled before it came of age. First
Rome, then Florence was sacked---Rome by the Holy Roman Emperor
using Spanish troops, Florence by a Florentine and a de' Medici,
Pope Clement VII, who also used Spanish troops.
The 'Spanish


occupation' of Italy began, cauterizing the artistic
imaginat tion for centuries. What Spanish soldiers didn't
do in the public squares, another Spanish army, the new
Jesuit order, with its General, did in the conscience and
the heart.
There were other revolutions, largely political---the
Protestant revolution in Germany,_the French revolution,
the American revolution, all three-in a large sense against
the inner discouragement of privilege, and connected wi th
each other. But they too failed to stem the tide.
Albert Camus said about suicide, 'An act like this is
prepared in the silence of the heart, as is the great work
of art.'
Is it possible that suicide can also be prepared
racially, and that our situation today is the result of
millenia of clever preparation, with. the result that the
at tomic theory of the ancient Greeks grew by some terrible
compulsion into the lethal radiation of our day?
One aspect of Christian Givilisation separates it from
its ancient predecessors and that is its well-nighOobsessive
intellectuality.
Were Greek rationalism and the Christian
intellectuality which it parented the result of a loss of bliss
in the human psyche, amounting to a loss of identity?
Certainly there is a striking difference between the
quiet, ecstatic smile of the early Greek stone head and the
tragic mask of the late period. The Etruscans too differed
sharply from the Romans in this respect, as if they still had
contact with an earlier, more blissful consciousness.
The
Egyptian/'face too had that smile. And we know that Pyt thagoras,
when he went to Egypt for his enligh tenment, was told by a
priest to give up his 'knowledge', that is the very, reasoning
faculty that was Greece's pride.
Aristotelian thinking, too, with its emphasis on system,
analysis and the need for continual effort to achieve perfection
was a departure from the former consciousness.
It entered
Christian thought at its germination, with the result that
St Augus stine and St Thomas Aquinas appear to us more scholars
than mystics. They gave rise to a scholastic tradition tha t
dominated the mediaeval monasteries to the point of obsession.
The cartesian doctrine was necessary for the modern
scientific process. It rescued the Christian mind from
superstition, undefinable fears and scholastic absurdities
by continuing the best traditions of the mediaeval schools
of mechanics and ma themat tics.
It firmly established a
universe operating according to objective and unchangeable
law.
But with this new approach came the collapse of whatever
eluded law, analysis and formula tion, namely, most of the
human being's life. Thought, it seemed, could not account
for more than a fraction of experience, and art now tended
to supply the rest.


IV. ART AS A VISION
To Art now fell the task of describing and in Isome sense
explaining human experience, almost to replace a lost religion.
However subjective and private it might be declared to be by
science, its products continued to pour forth---and to create
resistance by celebrating the very things society was less and
less concerned about, namely love as opposed to money, doubts
and guesses and fears as opposed to the certainties of empirical
knowledge, tragedy and pessimi sm as opposed to the positivist
vigor of the men who increasingly saw society in ma thematical,
functional, secular terms and were actually bringing it about.
The nineteenth century philosophy of the lone creative
genius, the I great' man, maintained that there was something
born in him, a unique and inimi table facet which other men
lacked. A theme ran through his life from early childhood
marking him out for a path quite different from others.
ASsociety became more indust trial and the human being more
narrowly defined in terms of his work, so the lone genius
stood outside it all as a challenge, often a judge or prophet
who dazzled and inspired in order to be heard. At work in
him was a tumultuous unconscious activity which in some way
put the current rationalism to shame, and which no amount of
striving or training by other men could reproduce. 1
V. THE MYTH OF THE CREATIVE PROCESS
As soon as we look at the process by which the so-called
creative genius produces a work of art we find it extremely
difficult to locate the creative element.
Who exactly is the creator?
Behind the artist's 'flash
of recognition', his 'inspiration', there seems to lie an
automatic zone over which the conscious or trained mind has
little control. The material for his work comes largely
in the form of memories (and these in the form of images),
though paradoxically these are memories of things tha t never
happened. They arrive in the mind already packaged.
Thus
we have constant declarations by writers, painters, sculptors
('I simply carve it out of the stone, it's already in there')
and composers that they are more spectators, receptors,
wi tnesses of their work than creators in the deliberate sense.
The memories or images are already packaged for the ârtist
1) in respect of their being endowed with an aura of. pain,
anguish or pleasure and 2) in their being precisely physical
or figurative. The same applies to every medium including
music. It is like a genetic choice, far below the level of
the conscious mind, over which the artist has no pre-control
whatever.
Creative writing schools can teach techniques, and
identify these through comparison, but they cannot charge
memories wi th overwhelming force or reorganise the perceptive
packages of a whole lifetime.
Nor cahthey create thatu


peculiarly organic self-identification with his medium that
we find in the born artist.
Right back in Berthold Brecht's
childhood we shall find the aptitude to dramatise everything, I
in Henry,Moore's the love of touching and changing surfaces,
in Kokoshka's a powerful sense of colour and form.
Yet no aptitude for writing, painting or whatever it is
will be enough either.
For in the born artists, if we are
to trust their almost universal accounts, their work mever begins
from aptitude but from a certain inner charge that demands
expression at all costs and even defies the lack of aptitude,
training, technique and knowledge.
Thomas Mann once said
that he began as a writer because of his painful inability to
form German sentences. It is compulsion rather than design
that gives the final work its hypnotic and durable quality,
and the lack of it which makes lesser work fashionable for a
day. It is the hypnosis of the 'compelled' work that enables
it to cross geographical frontiers and to survive translation.
It may be even more striking in validity centuries aft ter its
author's death.
VI. EBLISS WAS IT IN THAT DAWN TO BE ALIVE'
It is difficult when reading biographical accounts of
great artists to avoid the impression that an ecstatic element
pervaded their lives with singularly little interferênce from
hardship or even destitution.
Again and again we read of ecstasies interpolating
themselves with no explanation or preamble into periods of
suffering, in an artist's life. No one could have had more
daily and consistent (and Escalating) disappointment than
William Blake: but here is England's most visionary and
blissful artist and poet of the nineteenth century.
It is as though a memory of some lost racial bliss were
alive in the artist from birth. He can plunge into the darkest
experiences for his ma terial and yet come up sane. The power-
ful unconscious charge of the enduring work of art, the blissful
element that transfuses it, both seem to be connected wi th the
artist's identification with an inner perfection immune to
moral judgement, pain or self-destruc tion.
IS ART A SKILL?
The nineteenth century philosophy of the lone genius
became unpopular this century with universal education; and
art came to be seen as a skill like any other.
It was thus
that the 'creative process' came to be analysed and discussed.
There was a great need in people, now that their right
to express themselves had been acknowledged, to go to art fôr
that very element of bliss which they felt in the artist's


personality and which emanated indirectly from his work.
Audiences say of Charles Bukovsky that he looks and sounds
hideously ugly at his readings until he reads his verse and
then he becomes 'an angel'. It is this peculiar self-
transmutation in the artistic process tha t fascinates and
allures. Some thing therapeutic seems to beat work in the
most offensive artistic productions; and naturally enough
the idea comes about that if you could train yourself to be
an artist you could thereby get the bliss and the therapeutic
effect.
But for the artist it works the other way round. The
bliss is what moves him to work, not vice versa.
He can
perceive it in the pain, the darkness. Basically there is no'
darkness for him. Pain and darkness are so to speak the
inner core of the bliss, andCthe bliss the inner core of the
pain, in an endless unfolding of the 'veils of illusion' tha t
the Indians describe as maya.
He never entered the so-called
creative process as a deferral system, namely to defer the
suicide or the feelings of misery or failure. He was led
into it by a great constructive sense of his inborn powers,
a forceful conviction of his capacity torovercome obstacles
and render even destitution bearable by the absurd means of
working day and night at something he might not be able to
sell. How William Blake found the money to print his own
books and lithographs was a source of wonderment to his
friends and not least to his wife.
The democratic interest in the creative process seems,
however, quite as much a search for identity as for bliss.
Many of the books published today are efforts to objectify a
life felt not to have properly existed. We must expect (tha t
as society becomes fragmented, and ethnic, family, religious
and sexual ties break down, more and more people will feel
that unless they have a book to their name they aren't fully
alive.
Such people frequently describe their first efforts as
'taking the lid off the garbage'.
These words fitly reveal
the suicidal or self-rejective mood.
Again and again in therapeutic sessions people say,
"I realize I've never been fully alive" or "It was always
dangerous for me to be myself" or "If I revealed who I was,
I would not be liked". It is here that a secre t conviction
may arise, "I am a creative genius and deeply unhappy because
unrecognised. :!
It may be a false assumptionibut this isn't
the point: it enables one to defer genuine self-confrontation.
VIII.
CREATIVITY AS VENGEANCE
At this point the creative effort becomes an exquisi te
act of vengeance.
The parents, rela tives and friends of the
writer, on behalf of whom the original self was abandoned,
become, once the book is published, a slavish audience.


One enters a 'hall of fame', ridiculous though the idea may
be, and hopefully one may occupy this hall for many years
after one's death, quite as if one were to be embalmed.
Sometinegfhese pseudo-programs are rejected. One of
our clients, in a book on-her experiences as a Hollywood star,
writes that the real joys of her life in Hollywood were her
home, her husband and her children.
She took a long time
convincing her publishers tha t she could hardly pervert her
happy story into an unhappy one, which they seemed to want on
the grounds of market appeal.
The unique thing about her
book was indeed the fact that it didn't embrace the pseudo-
programs of Hollywood life and therefore the unhappiness
which these entail.
That is, she didn't defer her life. She was like a
roulette player who makes a big win and then avoids the casinos.
But the usual story is that the hunger for success, far from
abating with success, is further stimulated by it. What the
success was designed to defer continues to be deferred, until,
quite frequently, a surfeit of success brings the whole structure
down in ruin and the suicide can no longer be put off: there
is either physical suicide, nervous breakdown or a collapse of
talent. The writer or artist or actor begins to repeat early
formulae and even to look back on the days of obscurity with
nostalgia.
The bad days become good days, because failure
may in the end be a more effective deferrai than success,
as it is forever striving.
Since the evidence for all this is so striking and
universal, the question arises, is a deferral system inheri ted,
namely, built into our mental structure from early childhood?
Certainly the Christian religion might be called a deferral
religion, however little support it may have received for the
deferral idea from Christ himself. That is, heaven and hell,
in the Christian cosmology, take place after death, and life
is seen as a struggle to attain the one and avoid the other,
rather than something to be lived for itself.
Today we
unknowingly accept men tal struc - tures that derive from the
deferral heri tage.
In this heritage, bliss was early to disappear, to be
labeled heresy. Ecstasies in the religious sense were
becoming extremely unpopular in power circles in the sixteenth
century. Philip II of Spain, the greatest powèr in Europe
and the strongest influence on the pope, instigated the
persecution of the adumbrados,' for whom ecstatic states were
the substance of devotion. Yet Philip II's father, Charles
v, Holy Roman Emperor, had ecstasies and considered the em a
normal part of the devout life.
This conflict---between ecstasy and dogma ---was precisely
the same as that between]the Renaissance, wi th its concern for
the perfect man' in everyone, and the Counter Reformation which
followed it, which saw grace as something that had to be won
with pain and anguish.
Jesui ts were disciplined to imagine
themselves burning in hellfire, being licked by the flames.
In this conflict one side wanted (and claimed to experience)


and ecstasy now, the other side wanted it deferred.
decfection side marvelled at the miracles and splendours of life, the
other scorned this 'vale of tears'.
It was the same in the
Hindu world.
One side celebrated life.as a manifestation of
love in all its forms (bhakta); the other called it maya, or
veils of illusion, to be cast aside as soon as possible.
What could (reveal more ofa suicidal drive than this life-
deferral sys tem at work in people's.minds for so many centuries,
in bo th east and wes t?
Is it why people couldn't expect to live more than an
averagemthirty or forty years in Europe before the eighteenth
centurye(when theology began to lose its hold on the western
mind)? For. the impression na turally grew up, under the life
deferral system, tha t life was a sort of conveyor belt rushing
us all precipitately from birth to death in order to get us
enrolled either in heaven or hell.
Today's secularysociety still contains the shadows of the
early cosmologies. Our minds continue in the same depressive
mode.
And modern self-improvement therapies are frequently
reassertions of the deferral system, perpe tuating the depressive
state simply by declaring that the self is anything but perfect.
With the collapse of any serious belief in heaven and hell
today, we are left with a sense of life as a mad conveyor belt
Over which we have no control, and which seems to have no reason
at all for existing, except as a mechanism for rushing us from
one place to another as fast as possible (and filling us with
the terror of arriving).
It may seem absurd to expect that the publication of
a book, our names on the credits of a film, or an exhibition
of canvases with colours on them CO uld in some way halt the
conyeyor belt, but at this point, especially with the end of
the world facing us every day as a plausible fact, we sna tch
at small mercies.
The deferral of 'real' life (in the religious sense)
until after death has meant the deferral of life here and
now, within the organism, so that We seem to be watching
ourselves, our feelings, from a distance---and it is the
cortical part of the brain-system that does the watching.
IX. A DREAM DEFERRED
Is there some guiding principle in bliss which, once.
it lapses, leaves the organism peculiarly undefended, so
that an extra defence of over-cortical activity is now
required to redress the balance?


EA3E
The idea grew up in eighteen th century Europe (the
epoch of encyclopedism) that we govern our lives consciously.
But, apart from the fact that the working of our organisms
is largely autonomic, the three parts of the cerebral!
or outer brain---namely, the sensory, the motor and the
associative or judgemental---are largely receivers of
information, and more sifters, analysers, organisers and
judges than initiators (even mot tor initiation is determined
by needs and motives outside that area). But, despi ite
the facts, the idea that we govern and determine our lives
consciously has a much stronger hold today than ever before.
Current brain researches tell us more.
They demonstrate
that the amygdala and the hippocampus, the two memory areas
in the limbic system, supply the cortex or conscious part of
the mind with memories that are already packaged, both as to
their durability (name ely, whether they are to be long-term or
short-term memories) and their flavor, quality and meaning.
For ins tance, a memory may appear suddenly to the conscious
mind wi thout any conscious provocation.
It may, for no good
reason that the conscious mind can see, appear poignant and
significant. It may return to the mind again and again, yet
never signify its inner meaning or the reason for its regular
appearance. Its at tmosphere may be one of anxiety. Yet
there may be an inexplicable admixture of pleasure or mystery.
A certain street, a certain shop perhaps, at a certain period
of childhood: but few other details.
There are no surround-
ing thoughts or associations.
The memory is simply there,
significant but without apparent meaning.
Now who is processing these memories, behind the conscious
mind, and delivering them from time to time to that conscious
mind, without warning or prior consultation?
Obviously there is a vast world of invisible activity
going on behind the conscious self which nevertheless takes
decisionsandrmakes connections long before the cortex is
awareof it(if it ever becomes aware of it).
We are obliged to believe that a thinking individual
isat work behind the conscious mind.
For some times memories appear precisely when they are
needed. They 'come from nowhere'. They are brainwaves'
or 'flashes of inspiration'.
They happen even to the scientists
who don't believe in them. Major breakthroughs of this kind,
from Kekule's demonstration of the benzene molecule torotto
Loewi's first demonstration that chemicals are involvedin
neural action, have been happening inscience since the first
mediaeval guidelines for scientific procedure were laid down.
Who is this à thinking individual' of whom we are largely
unconscious, though he is our very self?
Do we have access to it through bliss? Does this account
for that 'compelling' action we find in the genuine artistic
imagination? Is the reason that over-cortical activity
creates confusion in the nervous system the fact that the
blissful connection has been lost?


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ilt
Nes Kipr 1
ite auuro Imhun e ryiste degyuntin I Ju ciee, Sto
Ge avnuts
H Jarreal diin -P Stm" rlts).
Ris ayna ne XL 2 the - - - reue dudi
2 ke trygin
Hhe L T L U thel mra du
ulilig k tol It un geuin
he nerm
ayne loh The
. - tm mure
ol The molir
L B U
ala, Cahhol huctini
necenlsop aal (


Aud Itu, ls rten
LN carcle
ttc hi . Len ryoh SzC
t C lsedei roher bpt Ca
Ket
* l Ita
LH6
il (
pren nule
Wa Oxyeerein, The
aucital
radey i
A - / Aae
the Irelt hn-
cliest. Auce te
Erentt -
fuislal /s uJurd
Hhos
pottams
rday be
vauma hcal 4 ad tha yre k arifle
lypid 1 ly) iuly
Aosto
te abiiilul han
brelt
ccan - A Oxy. ho ll : € Co C
the
unjue eua
ithe
b und.
Ucle
* lu
ttuc C
collehe
Isle
adl
. Sudire Lihe te
del hse
Iahe t
HERE H
pluce
collefri ndeide ced
ls tte
2. Thc
a hue
pauiEs d docly elc,
cail awrll deriple
mi iciele. 16U2 C
lus T
lah
peitis 2
Is rx aul Can
rso Co wered
C 12e
l cen Maue
reoliced
mol tloe
Aur
. CR
prine,
SZin
suveilla
mart
d castel
Bliid *
bez
dusegs
Vho LTA
3y Brsth
Gho (Om
Tlou Le
Apredf
Rlflen


Smcide Povetes Soenig
Tue reluclaics Is louit L naee: :
AITic, col rilirhs
reltoy por tuaile
auicle
C avtuue, the < cul
amlni
ca enfilbe i
P The Dp 2 te icaluy
2 prut
iealo
we pp ha
De - Itre
trjh the the ulece
rferel
orflilal se
- my cale, -
B KH a Utni I ynie.
lag 2miel la CC
CRISI - S
CENTERS afjre.
Rfreus Lshan a
cV Ca(
Mlameli Cons Mulel
Basllh
Anaile


We woy uen hird B doclino d Guciile
Celenre Ittre de-4-ds suicidel L Lo kencd
te len Ae suivided
Caheio
ud 2 1
junut- nysle
The hesety


medicl speuice
NOTE:
hee han tae accen, kmex od E A pmn
) D' ceiti Lh M) nehr he
hial
men geen 2 cluiicl x - a C
neid-pin Lal epidefiri le kis gale
St auy -
prent umzin
Au NADS-
hoy ar ac Hanardy h
preveti
Selon ed
at Algdirg
pedialolon,
IEA Aur
Aoe hope. Khou C pufec
herifi At.


Aroluis
Anomis
Le Lle doSi. kemois i oue S
anie, E : ke Av
rnoels he whed L
hyp iic
velisue o lastems Jullack eilte Im
poo.t deny A clildlood 7 lu ttre andir
cullar, Zui pheuneun he i 5 hoc - C baubt
- Ae
epe / pociloc-h -
un Lo G
aifp bv daymp. ricp
Lr I
ues
a ucoluhe
doy
praic
tincav.
we Lo hoyre A -
Zono A Lp
tA he tawai 5 Ac heal - "
elie
Wr er allife 5
p cen
ME rere
Kal 5 en - 7
L til
k nuec
bumsansy
RgE
allind
8 CD
bh 2
Levv Jrit >nt5)99
de - à wl anelre wP
in L
han
/ tol
al umt
Pans
K I - ths
ntl
fle ild
A emcls 15
Les
- Frf
rlu
All
mhiue yir
Lisde
Aacen dil
lee Iol-y to
reel
lue
itna L
raliul
sim)p
ditar


al a Sulr yuin
1 Hun hisls arlf-
Tue mats
entanne D Drmnis-
toryual k
alse
popan
kha the tiahare
ca * Jern
Exl
Z milljurs
hoplu)
Seclir
abhwrd
brudo
dinactis
kho
inwo elre 2
Icrefose siide
Iel d
2as t
rell
L bonks
clm
in resfo
Lne
vapnon C
Le 5
L ean
Dt -
tc t1
ferd
melin.
gnrh
ad ponel
rrcli
dein)
dorinl


Tue deep - rifrrveme
'ereatie
popaus, ael
cre
Enges
Cuevu,
ackarop
tri
uphani n halilinie
prevatiy, / S
attitus, davins Xm
fm Lociatia,
ryulits J Jof cnd poernl
middle clume, pnvests; te ves
haep
realisalti Ity pugint ls sainht.
ary
agcuni 21 frenti Pus ceny frneas
Iem, hecan Is Iced the cluere E Ca
th Hae tendirad atrie Ayce tavra
paiet e url h dlitow A
Dhes ry
cos
adl L tic hw hy hol- ces
Jocial
7 enllane hnlilecls 2 19 ur
k malo Hor decin A
t +h
dinin, 7 Jhu He derin (ie,
lane cretoi hoc pcor -
ureng
Chtf a d. mbla
de tcon,
a ) Gdt 2
cole
y u 2
At the
tpaitr a pniul pufou aics honh
freuoli donse
dedldy donli
a ceordii
Lo Hten dolt ro, nexv
phi con,
kttre uaods 2 7tre
lechr


B te meolis, the bedeet
phammac cartuil
GENIUS
d Hhe
dug
The nicidal
Kle larouy Le clua Ler
the
apte -
Ira
FRE
luedical uifomal, Uno har had
L the
30yean 7 rafris Sp
hild c C heuntgin ced
lele
Jidenisine
mullas, Horacic
hrutuit
enfeit
goul ule + pateir Jahy.
Ace bruttiy Car ag be Cmi 1ds pargolgude - 4
Cowetiel
snstclir desf 1
tist holte up
te kffrseg.
Thue i a Juron d
Juie
deef- infeneuac dretuie. cit t eafha Lhi
7 the repc Realty ao uurol Lol itc -
Hre util the udivideirp ha aifhi,
utr hrth he Caunok be a uuino diidet
- denous 2t
kul
- th DLlE
HALT
hralt
Ltpred L
fasuefud gur,
e th
tre
a kc.C
Rte
Jome ugparip Itafn
dlay
preen He Ata puct nce caunol relan /s wyn
hun dechie clz
dul Relbl a
Larfe tu GEr
lujonis Uicl 5 sheer cuestis A CC
w al ducile n Itie
cxfa
level)
mauliblit


Ya huur
hne -
yr Ulr
Ginse'l
the ny
me io a mlre
qu verf, y drfit, y tegie
il ed 5r suice clp 2 Lnl
3p laul
lnhe
Hlive
all pruor
So Ineh amn the
hous Ie
ayy:
a I-. Vill
Ite uvhaled
Ahe gunen
G IUE
h ula IS
qlea v
2re
deslt -
cu f t
Mume f
i J i
UL elode
Z - Guls d. - hil L
A e le
Areet
Grits
Francises


he whulihost
i Hae
A muruie
m'll
dufmens
gm n Ho huua
Veul a
Hae mme be - Lrire jrut, ad
the sm ciduo diine remaur
Hu cudebeclit
N whe deteclil, tu nad umichs asi6 en Co
uplu >l ele h metu, uucelen lyor
Ge Hhe unbol tusebo
-/mil K
dednh C- themhn, C
t duie)
Tune
leesl


"Meditaen
Mune H uedtaa supliannd
tre Inar 7
L ai
- ashrur
Sialrgs Le litte Du i doua
medtelt R
Tri sphens i (proti vitgydie te dayp)
ralay prid) 5 chanting.
ihou haal denolcs, 2 127o stinsg Sohn
Loi ber Ind Le nle apnont L (ner uffoinbce
ag ilallielCup.


Te Marului A
The
rypclur
Jociag
lispora
7 ART i li hnk
ag SECOND BIRTH
- tle L 7 tha
allowred C -tthe
docisg the
nin.
CAB tte te
wnrulis rfmn
lociig ixaceg
the
honssonog i
rflue,
7 uncine
das
Lake
Conace,
Ithe
Lieple 2 moltie nepacni ak EmS
AU all
cost
REGRESSION ktie uistha ha hea custailue.
Auercan sociog ne Guld das The the cluild : yecfid
hne lplemidp. An the ume, ve Iti tra tifs euugie
Chelh honn leue 2 nudaris).
( Hue Yar, 7 Apporcn - ast
CNielgne.)
trangon
the riislm
d taymats Ca
etamal' setiy. Jha Hy
pen
toul
gpece
hane Cthe i
km BIRTH TRAUMA / MR).
Arite hreud u Otts - Rank (Jho C cling ori
a hone called Brrth Traum) rppiing aphs nond ths
neen t *e traume n priual auxiaf
Ter, Tha
difined ha derie I rofr en
k re- -erlo
But
tre Traule 2 hitt lie - leviy elerit, ci
lus I6
beif ciropped -
then
the revine
tt 2 'Hae umb
hueaun Le wit,uadis els eip! Jom In a
BKTH
applie
hahag, the t 1 ar ENTERIN G


Miouluis Lo H richise 20 aif
hol L DEAARTURE.
lu enlane dn the Tranennen
1 the umullad prenoun nxistaa, y we cre ucluind Is
tte. Janarin) c rue I hul Sadin Uhicl uave 5
hature erenre auxiet.
l the helnge hints
the cliild suilu sweurg. irtead 2 egiy ( elam
i L plep tre hck, hecase tae Traala
Oudisg
nade suook X di.
Ar i - 1 - aucl lifwracs 1 ftre Cliunia
umd ( und d eahuh be plecal tp Ita
nth
ary
Ak aelil 2 Hre kid /
ute do citi
recaure N
rcrela the kadennen 7
the Sudie-
eudnved cith - Kreadoe, Jice ho Alu Locig
(Ceniene Dapaneue, Peuvias, Gophei, Brhylais)
heeded ( do le Cardo L secmd - hst Techuu
rendis availelle
te 18 mmauki Cncah t 2
alunlig 2
cal (
tte atvv (usunly poypi dos "poct" Sra Hhp
elamne, Am
hake this donc 7 obevatin) Ce SIcK,
I the arn 2iseep 2 rle
tu conphon grymg
suiel ho - 7hs vehiteg,
decoal -hol mocan
ukuoorys.


Maruline hottie ryaclot- docis
Re L rilg makiif an merata t
Le han
Kunp
olel k al the molt ryjectin values
nuu Is dlilo i u ilantile reltin 2p + hi nm
Wy, i an C nestif reipice 2 uodia -/nmali,
RE CL hé Sucline
casne
dl to
afo
5 mipal k. dee hi Le hol
Apamiar et c
haujortac 2 hi malilis X dt tre socisf ho
Ll capleteg.
Bgels samlyois wag hoi helfped
Ai hue I uh iE
ennolo sipuili he Shohe
pren Cin / feike dm reseiti
eppre caiee ca uurl
feriu tm reilig
Néfnas >
Diogercs ar
Itre
allemaltie
X Apallmia
heiy
ecsta IE
dey ixpmeni mise cloenti reeuire
len
= LE a dense Is Co h
unel L
p-mipay anoliecy
Li (ad the Gresk!)
atteyl / maufin me 2 tte forn 2 Je unol a
2nt 7 e degant puren dusecly
are
difl ereice helies tha Aplmiar at the


Manulins holte ugeclin prejile
Dinganin, , Nistigeds, 5 enchiag te
Gatureo
the crestai 2 a aphoenlp runlen
STuclure
ad He
rafuie 2
tinalen truep
C thi sole itu
lhe crzatuie fein 5f
Yacle k P ealie JTile -
ki rjuits? t
pmls aral uead 2 rul st 07t alusu
uel lmy 2 i
A rafuri Ce 7 cd the cccenitif
4 mean
K c clecire stactinesels
h fen huag stin a air hu (s
Cue y - Ayuulp - orgfuan) tLc A ryy
7 d
'healed
14 lI Lno lur hon srljet, clerue Kn
malieip- k Loe tai I tac / udasd Keosl Ar
harnne Saclar, the
dlasp Tucin 7 tho wk
bealr eule cleares.
Fu tre noadl k e Suchire
atuis
Ypa dly aua degute tre miuld uhfp
h as - frmu,
a caolanie
mete udio N
anir hewe s clicue Tragedy, Mr velac (
pecaoual
sere relaruieg Imjal aea 2 A Vese,
Shol
priece, elc,
PORL Uie elreley dav TRAGEDY a
Welhay the Apllaiar d Diomgona -
2ru


Masmulin
otter
ayecin priefico
- -tlul the cnlinat ul
ults
h te
pine
ticpcis
Doiganes, the L te certelr, Juie
etrig dependel i hareit,
Lo hi, A
cnpulsine
7 blind' lemre - Itra fuun cire
CA Cretue gauin,
c phond / the nsushe
entintspiecuuel me - Garisume, D te
Aprlimias ani (oro ug peoducs abpealiy
repeA repulaire u
li altepe at tnilen ue - -
- lur rapomed 8 2 vehicla, hil Ur fuf
ALy
ppont): til the eneszé puin - efpelle, houour
he neunie
ha h
feestiifs Zechany
Tyhe
dyperal
dugs, vunou Dh tm rurtic STriunldin
Shiie mg niclusle bprindiiwfo sorhin re ltnap
+ dielin endl hopitel Uho Hhijinds maulai setate
tet
the acknen t
ocs S5 trealis the THfous
kuori - Khe daef - mdecel
- l miginep tra Dicinginc uansic ad
durc. hhice the CHORUS servheol + thesalve, te god,
aol lost all sese alcnalm fm halar, - friner
i - ragady amn Apallaia fom. )- Tte fongrmd,
day Xagises
- Apell mi un
lC tte lnchymd


Moouline uste ryedit Lo aif
tte
Dringne te
clienu, - Iuc sire, t hr.
Greace',
tragie
gruc Fe. le Lay : Thre
u cics
lest
Clmbi
belanse
lmy
Lor
a last
pendiy
itau antex
torh me
5 the mpanio).
Zise ther atrd, he said, a hec gorl
rupols 2 the ugiy and tem rplisd - Dimgrins
Zus the colicil, hice
dittioged y
ael thues
lennogel Ymgady -
(h truielspace
Omnctir hoc hocame the mp reslis)
( hei reruiad -
: ssms L maufactir, nu Ite Cerlu I sr
t. ( Lo lli
Le onte Suclor - H ud me, - - l7 surtoca A
cusiou, coupmet),
2 Lelioyss 2 tre Tagie
hur Rmpike u6, K
huee Snk JxrL SOCRATOR
A sisgees
Socaki lueau Ite DISCURSIVE
legncal
Jun 5 d N. a modan ton 2 rtei, vrwpaponler
the, >- te Diniganes pne;
and Srerale, elss
Aeta SCIENCE in tre modar deax.
N', dotuie v. uucl dypud
the iclen 2 the pai P oraliiary rxistac - (ie
- prial Traule
anxies).
Sclspan hausr Wr,


Morulie uott
rgictcr docinf
taclyond hti
hi teary
2: derie)
sclpelaur yle m'll - prir th
indentonly
16 ixi
Cusrious hoy n mauifest
arzouren.
lu - te tuig c . itref
C porrmal k
te thuy nlardy, doe R srience Ca, i part, endl
dennia hu &
newill I bliid enol pupoalen. 2e
- hol- cnholled S neam.
lE ha ho goal ree un
i uiedl ls ruel gonl, L6 tre make Lo afferncs,
t enprine ho pugns 7 achicure unal.
hur - gaspu
Raiss', ) l pmiim!
BUT thre 57 aushelhs
Ite cere-tunp
Lppinen, he Lory - -
1) WT luuu exzlee
we Mher
# Jeal
deslandip A Rour sot 5
fread
5 esr tha
becnue lie STen L
Koun;
h Colie hoas Kttre THING
R the clo ueiain 2%h uill,
ITSELF.
le ired 1 tra preyhi 2 -
IN -
Tii
hc hee
Eeab.
slku
gpre/feis ayicé
beanb Jhie
dretuis, Ke-),e tesl.
lden (epletai
ce d rro hiila
T tanie Krees
5 lytir u beyne space
he uind Le umes, Hile
will (n ejth Irauma- Me).
Idan co fo und
Mears, UNIVERSOL.
paint
Ca Jee Ttus
proue
he heind the
CENIUS,
Srapabow
the Viain |s Ohan -
llids


Marulie is to njrelios tociis
(Rez, Ite nalual srp-releese fn LH trauus).
Hruene, hasie i ht Hre Junpksz Ideas,
le -pprmcln ey we har cloial,
It- direc, citiar
medistion. (Aace cltepee - I das - MI) nol
tre iypece 2 Ae Chial, Lanti' Vier f
Oaclie
lE dou'v grive s koorolyy, Llge k
tha Reve 2 Iy, ad, feeij-p 2-a rue
UNI VERSAL C ppel.
- se Ca Locnolp -e. sefzo thryr the
haral ees
SYMPA THY - Jhere ke ego erols
elo the - . d R srabe
i idiidualis C
Jooden
He will and c Huni, k
vulis andl Jrot.
Bue eiltiv f Selspahauer I uore Iho
bue
It - lastep
E B
Restey -
2o1g
d dainthooel.
a rehein.
ad catmal wo,
thgr
tae
Ite serls
(uok tlue d Hegel
rhe leasl A "progren
relaie
16 - Ttei ida
e icn
Costeil
afpocce)
the -
ans
wwpai
Yran asmuntala
Note You Vielsebe ecloer
( Lof
kmhe ue raplymail
ider : -
I Teal ugnag foll
aid
suih, -
tte te Taly saisel
pnial
Tinolie a A
uoad,
uheep,
swmptsient


Meruline tho - Hu vejedir Jocins
ak Ie 2olue tuis the aptems vinon ak the VylD ofporuce
fn L redespti -
fu Srepuchaenr Ite
desl
R K
X reeurs, und pein 5
feaan) re pheho
lend,
d Ssoiy lck (T selip (e. Aue relt d phu
LA fren Xe
eve pheara Le
Itre Itasj : ibeg Sicl
te Som, 2e) we Ca Ue vid 7 v.
fa N. teuai
pai
CC He asar
asl ho
pripe
Selopechs
2 tiip,
myect
He onid tue Creak +
dororlinf
vusur cialis.
The -nl
k ite Bnoolein vegatus
msfrit a pmo
h a
snced di, ud lils sud L:
Ll asr
Jue ha crut,
Apen- refnm
rte
umad (ruchiy
pnind
Dingrin i
noliiang
1 Ite lett
Tuo
2 erealwe
hglee
pocem,
teop .
beiy
a luen besne, briordid
ivis vnly
mund
16 a affinet
fec
Hre end ce
thl ixistace erd
Cn an aestholic phaushass Toald
lis Gfe.
Jhicl Ka
Itmybos
efenally giutpid
ttul N,
felopebsns
Oxpganris day
the ruetalai end
He sofey,
Calival Dinyain,
sy hest ad
peres
coliad ithL
ela 3 a aslurlf
tapoun,
tii Itre pai
beuer
N', joy Ju
elc - Mi wu Dioipuing
fell, Tken vodo
LO Joy
luer L A
god
U 3 the It loy - < ral -
een
ars peniun
I heittis
thi


penstialtd
Heaaca, Hey wwe
tn Lecol
heke Lert
Maplip
Eint,
nt 2
unrl Jhur ke inec
lo the
hinnscefuia
tinip,
Sehopechomr auinel alc b
defure Uetclis
hadnen.
23 ueeii
umy fa M nmd. ar t
(meak wand.
W, acle fr Ce und hm L hi, Fetrapte
à nar man -
difunslo
Diriya
he wro
thoty i coufleli deep-
fngafhen Yreo ples me H ke priial tan, ) Hhe amlols
Fn N. Coreck do cais r t moxt Hpinie
Arce geuins Les tha
pobeg
Care wole Hins S. i masrif L
ganise aric).
f S. t sn vt a har Jho hodbesn
te pesvidem speuat 7 tue reliy- bahid
N, Jho
phabohons.
ree + S til ta An unie unli adopliel 1
addasl Itu
oralinany
éfp,
Thn 82d le - clit, crol k ftel - su
cith tha fact 7lr Coreak lociif vo Card n
Movery.
iayit
ng Thn k povide the rp, te
geuin
Rivelry aud coupalil lan
e the unolio Bohid
astanct
kesh
podicti
hich
luderd
e Ike
1 M
Gulg.
PASh
domiiat motuie ii Greek GA
(FA sll 19 rtuc - tre fiol snen- Lo
Shice us hon retnad in - wilmaniz
notual talec Jmn Reneme S CONTEST.
cliy
mtwua cn polis Kouow ced Sloy (Hac -,
bareimnc rewardl). CFA all doy thc houoter-
uls Isday Bhased Creek Lo cing le Sar Le) lt


uus rtiu sgjeclie phollic -harinine bacherma i Stren,
Rt uolod, shold le hert.
2u7 U seury al
walue
i aulitan, Ll tha meventri 1 adulalci C
A snfos valve agaie xin.
Peackits 2 Ephe ne deswirs
Lw HERMODORUS uuimg the Sphariem, i derl away
trecaut) ti
gouiie ced Hael 'Ue CAll Ln uouo Shoeber
cad
auing us ) P ti be uy ncl, let ka be elsohwe
Okas!
Hvaclitur udh, tue Ire
: hei
auny
Sphenan,
Leer Khe leviy tha cib I
Creardlen lad (r CFA sill
relele tii kthe cull 2 y-hh, Juie - prt ) t
3 t
Tren / hudenad Lociag, ad cen iforel tolin
kdie cares).
aucidel duive, popnuiphofh
aldo
ad tei
hue Crech unld wn
savuge
rhiel
the
f N. Ur an ipural enevs
poslicad
L hum the
ttie uslt humale kee
enilinl
Greek,
han L te c tiaiu 2 emnelts,
2 anciat Tean,
Ari law - S
kaje ll dalight in dosTucai.
ths
( K foll
mle
3 C
/s ixecula ull
cilign
hee Gresh"hin
umue cuol cleilde L Maven
emuels i li feossole
2. sriit, had
c voupluo puy
Nae
tra
lhiad,
Huce the lattle pitoo
Grek
eye
tha
apit.
aol stenle Tng 2
uiev
catiel Tragic
5 Itu
r cits -onel Grece
Tia frir
a - kalrd.
emolg
ml 2. grand ewvy, Jitlan


651 FOReE N sop, Ca Yu recenfo -5 suk Ce lra ulal
Wa 3 2s neceny Is keal ttie fjaray mAl elive r au.
Toyu uo m rila luve tineg engue
the Greeh wn Hhe hionr dasilie l
beauls i ihe - ha
d h Mfritspais, Kom u the ne
Peniuin ulyinuad thui Soen, cudl purp
te horc tertre areere nucciice suicidel doclanta ca
uadlo un lhc. 2 THEOGNIS OF MEGARA - ( lue here
1oC Dull fn uan i uews khon lee hm, us deea
Ilia bealus 2 Ae humir dun )
failiuf ttii,, Is pan
R Ke
ad Ie cude
Ik gulia 2 Hade, ce Joion
mas
the
tam >
eash." (NA
Thaofnis
ganlls hiap 7
Cultare Jme, aol N uade Creak Ce
the Creeh a
ce 2 defeuis
heanle >
Huar
jaue
rin
pphre
the uisry
rif
Lbpiien
Jhice N
Ci Jed
We he
tuk an eril,
N nid
cenag,
Slaveg,
+ the
y alue
"olsfrin
uar 1
emppered
Tue veliian
i e -
me engum
heuis
lct Lin riggup
tk eril.
eal enl
Powr - Jut, -
tenefidlin
socieg Jhicl
the
CFA- Ru i the cun wnlalies 2
2oun Lecnd lir).
holnge


NIE T25CHE
H.A. Roghun
hndo: Me chiilla 1948.
> hi Unn STalamere Is Lanourg
k N did, R
Li Jugoe, - - 7 korihy
melan chog souis
indeed hid uo denie A surle Gi Ges,
( Jaid
( ryorie - .
k duik daeply vend h siy kt pipes;
Iryhis khn i hand Hre taumboo br: '
Ads
No usTal han, a Lon ca % L covered sett
a A foet doin ne Lo ulo 2 Ganaphote i Erhs
reyo nced -
ay huse ot he - O unie 2 lyr pipe,
uth recerip.h fipb 2 Disyriu
Babdds
lisbs
teis lull make ' Yen man. nle sit L
head? 1
brliec ad
caro ur unshakip
Ahhne
Aale-
fuciill
7 2 N., Hhere 5 nf
Roh
het, 2 desth belif, danth- posmasel)


Reaver wn % 7ule god,, Wa pris motti S tamel al
denn, Keres - Funii, Haspis, Sreu d femiino moudks
Hecl, Gram MORMO, LAMIA, GELLO SMPISA.
FA - apmid C t dese 2 C tali Grakliue
i mopuct 2miw punslire 8 -he uatinel apoun Cysphie
seligin
. de fnci Itue the umai 3 A HIGALY VALVE),
t . nfut D Hhe . A Lacures pulzuss. Lo we tahs the
hoa >ra revulsin Srice dec i 1 Creik tnd, mol coma 1> c clinar
ChiTeobor spponds the taial wlin the Huus elE.
C C. sevenal duet te collepre 2 the sacret,
The venarlinz it
3o omgodslen ISIS. he
hue relinh. Unen - Span do u F uf. tre unduumel cdl
Cestai finlier ner 2 The desd lans nie end lrtt opr
aal Travel 6 *e helz Dio Su- Gry heck a Gfn
1 brpt
ls U t Egaplia telint.
fie uixel uth Coreak i CRETS,
Expliani plunen
fomip ite Myconcai . eftre.


Snci)e (FA)
Iyoctiv, violeice, 2oxualig.
En and Manalos wie Imlplt
tu umld.
We Jole distqiid i sonip c Mohi
- aide
duive t the defesal L 2. chanin prront L the
5 ustong"
U6 a Tikrr


Sncidi (FA)
AUS and sucide
iv i chriurg den ttel the micidal duire - uol
C cnnius hescen, cud te Ce cre das iy rtie ttr cillefore 7
tte lelinme
Me f Ali Leln
à the rynalo 2
Aci deine halng tre sltidiwel ) the umm npte!
alan N 3 arip Ahunkon, caidl fe lickpp en/sts r
Tue theme 2 FA - Auv al duresse al
death it es seuilis - muicide
/ saep-cliosor damise.
Bolint te foela lon Hhun - 0 cill, a Hihiy (
d Lvi dul.
aend JL abpan Ilp
11 kamic" danaxi,
lulf mlin
lag also I leafy plaunad i e way
uws enoriou
a n thor sfic
wiind rups cahhol
prap
lu ADS cuol Rupen, caxual tex Reelun l-le ere tiil
nol we L pagiig ttil
REFE Camual dex S
SThen relalld.
Sren reducen IP i clildrer,
ad 3 neslucer tha
Yp isiey 2 ttre
ueewe ryrn feeneey, do uucyhe
5 purnes the nipee Lost rapoaL facla i
d uge.
le che thrfm Loyip Iac 1n4
pus dicip
C t i mal ser - ) nifent Jois elE
nge
The
- aro y
ulses
uhe En m ad,y ngtig,
Yhe nuciolal duire miel he
culmplace syopla - )
duppnd this culila f He nupiif


Suici)e (FA)
Hin hemns ysTan Arcilr h igfunice Iy hml prpral tuselin
R i BURN-OUT
Aupoee hlunsee)
pnulin ne-ver,
Janltin kid 2ureh, lm cliad Shocldeg, worth
hyuntp Aald Jes, es)rucidp dui the hurallave exwtu, te
ueum ymo, te in ttilals tyuh atradiclisy cnndl uinyp
R Able, teire Ik 2 aillnon i agghip, STmp dspeduu
5 Ahen Chuil, Lenk deli, Hort shnik ef), nd C
lely k teal vichan cred II uo cus ppnes we). Al thi,
lenol 2 the rlonope dg Ca he dee
6 dibtaie Crid
M onicide
a hd + te bro ouilied str' unld.
On hifiral i Lidlola suicile dogiy Huc fu:
umla si er on, 7 i "oey ale nols enogt
I Ihqe, -
Ghu brie cill h.
Au idelin, Hal ha driffend
westen umle tice Yhe efhtalh cales. deferal,
hahe yhe meidere eralate 5 it Kalic I Inis. ue
the heed - nee -
kmh duitace
h. Grenk umel wa
emd tekald 5 THE
OTHER.
he Uholo Mcditim nQ
n llire
- a dunlypel
ft te docline 2 te Reapri umisk, - beuild 5
dent
klli
Hu idanlen - abwel Ce AdR
noide
alr relesn,
& ecenan 2 al hope + the ttie,
- death.
spetts,
- bedind Moslitimnse I


SUICIDE (FA)
Tle momer U La V dea im lly -
niiddle
niro
dest tre homat U Yp h C dueln h
the a
allaypai
pell, Vhon uidicala S 7 - eidap stides
Feasip
det aud loting tnonal hdat 3 Hre Jame Arrp: danth
i seen (eitt paifull, E plumuls) en tca guillelci fhe
stoducs astt ha 2e, euo thon ttui - arg he e STilz 2
elanel Uiin
Ruc Hrur - Lounwr else k yo:
L Caue at tui
Oaclie Lol I lus lerve 13 dastt) Huis Macar, ac Kas
Saicline l tho Cils
tlal to Jice Lr -dfrve
Trnep.
he newhm cluila eunto Lt ter - etmnplue
sit Alfices ayuns kmale lache
Kthe
Sctor,
50% 2 the
ifaicy urtelip C dus (c
dou'l boathe
apres 7 Lruth coatn
2e hab diff
los t Ocep.
Zuu the vsun Tas itkdrawep sm
CAr C 7he hem YT.
aerin
On nernu yle i C hsteulain NA
prnis the eneys ak Jo wre - He gunbues
A the nerms
Ca s used t Tolze Slbdrawel
Fhe luils
blecti Jhoch, heel,
Auahu
ithdraurt mr
pait
YIT
the
Jeo
Wc Jee
Tc . La l
ATeE aerin
anolle
Le ofece, 2 dug. lvy- Em, alk prpu have Jrnred


Te 11
Cu sro -
IL telley CR 7
Tue dochuie 7 Ae
Cu sieu, Idl
vitaoly, a morpry ruday L bedaulle he hole
dirumim 2 Uhe cafries the seep.
Z. atellre
Keiny the peati - the aih lu men ryme,
ke codif ud uL2
II A eunin, cesaue
anti-
noeni / lihe 8G 2
aree 9 dark, ungrided
enrrdude The he Lnvel ueve.
1E - vo Afl-
k relise
Lo i Z
Icult fn
Jaday
Becanre
costeil alese r
Oned 7 Coll undd fecm dpend a
elc 3
han
d uolr
porn cnlicil poren, The
- uol ett all
Hhl ttre sely hauifers -
C ull tlac
ttu
hoh
Cn rrious
l the wc ku
self
L rioe LL


Por.
iu Ameuica
brodinn
Grenl',
aulpinis haue lznded
k avoid
apha sin
the desth ciive
- pal hu H
Ja lacaniand
chner
h 5th the puroloxiial naulk tue ha
aon
ercapoulited ak
Lany t7
et # rtt
aol h
nakel ord
AL phot k
Belupy ke
2 Maip,
harey
no C
dnlle-
reuvéy cluciilala.
Jziid 2
edfed ccceplurce.
Pat tici neun Thie Mt Hac
auicile C tais emg auoy pycloungge
Jna Lle ka the uo 0 Ite fuaral papellci crdf
le hon L lem ixjuctil,ht nued urno cloyurs
neselc 1
the seluctace Is tece Jhi Hue duire
low ablls ud u cne sdwe( ll
Jheth L - ginal
V uyy
ko -
re . C -
sriuse
begnalis
hv pm -
. la
eradicalo
(gims
(aplm
k hetieet
idonsvre)


IFA
Caanunin (Aueris)
/ mui nny Hhe ld
doo Jui iur clo 1o 7 Lan
luli,
A uma m ddlul 2 ( bou uan
Jun e VE
Imel, lulia ( Bntai 7
he lune kw wl alc Yire' eudad
hude.
A jusk 2 Tue - tha a pened.
A tte
Enmnm Junre. -
poriaed
temi Lne Enhe US nu ICL U H
At Ly musl I
( wd - C hesper nmolii u
su colurdind tre cclu (
l redel
Poin
1 the
Brjuli Ronee,
lypu,
Mehr gmuf. the Rai e sju, 2
- Auri
ntir hid Reeir doct nldl Lon Ce
muLr5
hone (Nelut bluuile
Roypen
al It
9 Gmy) jue
2iho
the uon
hospy
Ite Arera
ved,
th uul
atto
aens adsted
capleae


Li Itre ruij Jucu C
chiniul- 5m Ahis 5n
) fe R
rU La bom l dan. Ac aurep A -
lecli 2 mriail cola cai
Tofle - le aur clo
hus 2 us ad hilf I>l ltase Impre
y A 5 gny
k tu lnd
L ( lo
ff khe ML 1
K tanliy
hip hicz 7 I
2 untel
chiis Mypa. deil ( dea
caflea aforig 14 sudrd
unth The lu LII - The Lael a 5 ha aury
Auea cityi
Una the Ivann veur hha
al viv le Sh asl tre Ae
tuu
el lans S rupil pplo
7v oniol ( Gre 5
dyy Lefs


Tu teuinin
) uo uel
alusu uurnu
4 Ve weak aitg
ItU - loo una Sur
Ite peus 2u Anerier Jelin lcund Kh 2 helpla.
ausen Maviny ciphes
fr to cliny LA
t I Jufines o L Cl
rlise 4 Hiv wne
S Rlual
tu feuinin
hle lur clus Iugnu
IC 3 u jmhuy 6 fir
rte ho <
Un fine sumtd Is C hy
)u 3 u
Ca umuar' usuoul
Ul- as
mne 2
Hul vsil K kual
A t
aun
ttu h € N
Am - - a
i thre
peiu
eni
k ludins
Ju 2 l
umen us, C cendlit
Auclulech
Juo
ture Viceny Coenal
nlalet
The hisue K luel (clii
Hir ,
the Ratn clula : luslia U cadanf
inver
I elGral
ho dirinua befme
hes k
cmr
t aen
As y.
1 C cnfys
haal
Ll ruthd
wne
aples
celaif
clen
2 - S Saal fuin
clrfia stny


Ituihas uol aoi
d Y
gnust
cgy 128 rlun
5 P deslt J Jelem
n It tt rtu
continy
Lmuer
Hre juu, Urcar HS aree
c eyiili uctti Kree.t K. ll Ge imy.
Cnele - i desti ( imue
h. pein llefie.
20 Cu Itar Tmnal
1 cnellg -
lta ny
hu tuniiie
nyut U
ttl
crully - -
myinse
k ecl rmbal aol pemele
Lei cluy
Iull
mala c > unl.
rajuce
n nol.
Lbleis
Ln the cuilly
Sx/m
SC Lul Hunh
- the hut lie Yr tial
femiin
Tanfrua 2 the Jd
le ettitus 1 PRIMAL REPRESSION Joc cisll
5 A a ul rr hhido
Is myece tt V ea peis - how 7 (s
Poete
mrt
sxer ::
otinly,)- ANOMALY
3d S
tiolonial
Ttre
hie
Je - A a Loyy
mencis
SEE
No mue reasl rhas asllm C rles
OTTO
le cel
RANK
hotice, Tha
tty d
ntes
M. lu
aner, anptits, jaslay
Unckaty Tta
: C Tte tislh, - - -
ws 2 Uui tte "ocl


Au dealt i rucide t the west, C Hie deule
Itie N E voulan Chend's
toun Ita Itoypigre n
te Cnozious
cendl Ca
cutip -7, C cenalii
a Leep - ankihilala
hot at ll tre desth a cheo Dedgral
- the a ciau umd, ercapmnliliol - the srl
ul lutfeleg / ad duvivif eure Ittr day, udlamestt
huoden replicin uy valohn
muditn ea
Cnalues
Muce dirunen
lut the clantt
duve utod
desth leip - uy way sifinss, quila
Ce f p usede au agreas elc l a i
Card
Y te -
diale definila ha hald Hyghore
tislig.
AgIc Zescalles
the srestin crealit 2 dart
hecen anf claced.
Gnt n& Tha human
Lial
le Coule L racl stt tte diviie
pegug ixince, /
dead
ine C
hind i he cenerf Apesid
ao /s 6
G deasl halwe,
dead ceniimel kufdon /
Hh thi,
ufp
ripnbiie
api rip Aegru
gme
h An duil
ad the slos, S?
tus
a euronk lnel )
tha
arllechial ) ed
Rihan
8 hokiy ecadcric i
d mal
< LaR : the wen, C schon-
A R
IC I cuite


Try teliy aws hior 2 tha puge, LC CL a ulunal
Jho seeuips Car
puge finp
herdy bratha,olk in fetiile
uno
nutzrep,
dfero khm Itle Chan - hi amdig - OE huaa
beig. H i called ( hulliane )
Hroill lete, pnill el
DA hav- uuirif, couvaz thui hillieice tu
l de na/va
CNica acliissk nt yuvo popc.
HGALE Guite
keriey
Tint degais Sarse ke
u - aee uifalibe caude €
1 Ee eu uded h mauyeaaf i CL acl Ce Alivaed
wau Aerinn - ablinee Xu
mm nhl
kz themy
ha eu uk nuinsd
Pypen geshig he freudices
adenang
te Lacana
bestti deive sohjur Liez the micidap dive,
Ereud Lay tuc La Itre
sexual deine
( Mle
deoth diiu neix' Ay pides sadion
Ansl cer
ase aemdeds indeinte tmus, - lealu
arlilzhs
e alunal i the sTuclive, CUT mnd rsalver
k ur - : l, o lL ee um al
n'th la -plusice
A cohernle Juie hu A - hes ayuoliss
tre Lituy 7 crl slisi ertto
Arom
mvestn.
A -8 uemal 7 enual
hol
this dndin lice uue hir do led,
Der
Ahal Leu a 5
hos,
esserried k the hle
t Slinp
the
2 Ihe 2 duie er,
thyn
ofurie
adiil cmpmal,


clemic
The Mornngi Itrer Ld welts uicl
uninwi CRtiial u- prodectiin, - Ireop fhe mai
Kom ak refnen i 2' te micile. IC ercprbl,
tha Iyne
the mparrm,
frens 9.
ryidti 2
Lui hreine : Iius, f Casiena ttaly.
L unith iHte /s do uth waikiy lT float L
k Ure Aremal
ces? elannd cighe, a cerreli
cllad tro
nevvaus - prepc,
ad his dentzas
tuly
10 - do serpe 7. nicihs
Jhl lier n the nti ride, : tu auxief
len ttei, ade


Falles
Augee
Caflie i
Caies the ad deol soul panue, au ttae
Fpan, te udded paltut ad the
aolded
L stonisaup e Hre
buiide vale 1 Uu'tl
hole han iienered mg Jem Tha
2poi6, 7 tn 18.1
1476, pe 100.000 pgulitu; Jaile Suie
feanele sulicde (AA4 i a d h 5.3t
Ite Lohe jid -
al gh ul 1
udcl Jt
feunlen t 18 f
Amebe
whits
he lette vli,
crr poryy clue +.
Ite preniu loy nisline
dureile 1t thore tmps anol k an ecrulini
do tUL 5 Muel capect
MERA hyin ls
Hap
nles
Gom
ae Ny 22 /s the meser
Celu K Htenelt SENZUS
hite dmp.
(Nakaie 2-pe 2 Health, Sluet - wepur unpeDo
l6s Gae pmin Tue) the runh aG nll
decliie C te Jurc
Opleni OL
auicioke'
2 It lta tte lunr Mair cu
te Cali the paysicl icl
6r cin Urr
cnpliti
Isen pplay iC
Cau L 2 C
The km 2
R sTrem)ylis -


3 as and lopua L toe


hot
MNT
VIII.
suicilip
Hheuda
erl
VIII.
fhln
In Oxygenesis sessions the 'suicidal disposition lis
detectable in the breath, One of our medical informants,
who has had thirty years' f clinical experi ence in neurology
and epidimology, tells us that shallow thoracic brea thing
is a general rule among her patients. K
Such brea thing can only be corrected by prolonged guidance.:
Snatching deep correctional breaths will only worsen the
matter.s The result of guidance is that the unconscious dea th-
preoccupation, masked under various stratagems and "structures,
begins to disappear.
Efficient oxygen-utilisation rehabilitates
the organi sm in a remarkable way.
There is one thing that self-improvement doctrines, with
their emphasis on the right healthy way, overlook, and that is
the fact that until the individual has his own unique breath
he cannot be a unique individuàl.
Phisiethe very basis of
Oxygenesis:
len
The discovery of the unique breath is nothing else than
the dhyanic process, without which the human race cannot return
to its unique manifestations but must follow present sign's and
symptoms, and gradually decline into a helpless suicidal
uniformi ty. The race will reach the levei of experimental
paical animals helplessly manipulated-ted-by/the-mediay and theadvertisers
free
financing the media. For, short' of knowing it ts own genius,
the human organism simply cannot function in the sense of
organising its environment. Today, the human, race simply does
not know what its fate will be, whe ther or not its environment
will disappear, or déeerierate
slowly, or poison
furutre generations, or Hender racianteren the
unusuable for perhaps
thousands of years. it is under 'expett guidance', except tha t
. - pce
this guidance works in a hundred contradictory directions,
u finally confounding it tself.
sedl
'Creative' quests usually prevent the very self-realisation
they set out to achieve. The objective of any genuine creative
process consultant thus becomes one of leading the client away
from the traditional (and essentially nineteenth centuryo
RLYEE*IXREX 'artistic' objectives precisely in order to discover.
the uniqueness of the self, and on the basis of that, not
any social or cultural predilection,/whether-there 1s real
artistic interestyand ifnot where /the ge ius of the organism
lies. The true creative process is this process of
discovery.
Orwell's 1984 was bothex a description and a prediction
of mas s suicidem FALLEN ANGELS/declares that this ia, already
upor
halinsw
LENGTH: 80.000 words.


oryp
teckinn
3 C
in >
inr
Cril
clser (
kot 92
I 1
lashio
Cdl
edL
Imulf,
iimed
matle
caL
eelol
2 hu
cluck
ala tt
Lefor
Rty


CASS
CANFIE hD
Ly uetinit d ADS adl
7 tue:
huspe c( tie Cent
pupn-l
uot kea Al S the
ak ) tae
uni playu! Ya
agtir
steelyples
laef
C Amizos
frtal collpre 2 he A A
nnlene ryile S ts kott
ares d
2 Uhicl Hus
2 sexul dibee
lelarre ty doeu (be Trun aatap
S deme (ch hipl f iac eral pentratif vin,
til
besse), are mi Le
colicals
lr naot us
o ll los e 1 ralaphe
le Sobotf doue
tne ysure
15 examire
enlo I dalmple rtl foip
20 wll 9 glevet
the huina nal ion) ( Rene
A or - Vitan C theedt totre P IChr - hea nure 2ote,
uld le ( help.
- lany
leenegn T
/ uob
Teet 7 tue
a de
Itinid C dnar deal 1
auphnt d
hn Cel :
loclis
- re
h d a
uedical
YC dos ue)


te lon hillel
musralne
the
lnG, I' u C
unld, Juo strdid
aulse
uol Ileie U
Havarel Tel ce
urAt Arlr
ADr-par l
d ItL
no's
PS< b te Is
horritet +
nclu
es A
de Jalal du
Lpoce 2 vlew 7 - L
a a 4
) cra Hu S lug Jti helm
cldle cA
C mrpig L
lnee
tre
Derl
oee
rale
2 ante tc
Jelin
ho e
Ficlorey
dit
ORt
to bert Le Ee tetti
the
- teasp
cat * lroe
LEtELe
FA eudi nA. C auicialae
Nalemue
ho ue A
S C cliel
Itre
bl itieep unlel tt
tte
ytuiine
relatirt
prent
poyau
REL
Arce
seoru 2
the uuto lu beire mply)
Tou n A C
sipls
tlhe
ttypl
1A - cliaryt
Le ctopt
trnedu Tar
ttr
L te a 5 nr unal M T
estrciop
has
huur heiz
c ouian Iy
gutenln
cnfunli
eefsalticli
TiL Lis i
ADI mevert A
n ho de el
AD1
Hhafda E
u uccers,
cn. cle


XA, lupnt wy lelyh mila lesi 2t won, ho While Aol te
Aray) K euilyso Hhu Lahecu htver fhe saxual ensl H
lentt kuive i cy ditail, Ho si, Lalar - d
dal ek u C luer gr delu Lia
I Rendin gmf : tu: caulsi lisur Atn had L ull
d Genal', cacefit
te coith diive.
- tt
ae Said l
he tb Ze
isaplown a
2 oduce.
le -vodelu
IX ercim,
grue htliie 6
a te
fxit
utilisala
reoun
oxyge
cofacy
F 1 br
gel in tte 2
Jrouecy.
K slisrarer
fer 2
croacliy donth, tramerie
uacl ( ie
the madiial
hener a
usedl-al
Coria
cruinf'
r Itar - 2 Ite rzain)
cill
f t
d Juode ce tre mnpt zun
ETHog
Lour
A ttan fer 2 dleth L rot(
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