How I Learned to Stop Worrying About the Apocalypse

with historical sequence and verifiability, realities via symbols or images, but those symbols or images are like of a transcendent, archetypal realm is both alien an portals into visionary worlds, into what Henry Corbin termed the mundu each camp. But sexual mysticism cannot be u "imaginal world." The

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visionary sphere of the mundus imaginalis is not knowledge that transcends history/time, and that fumere reflection of this world. It is, rather, an archetypal revelatory sphe accepted divisions into self and other. We kndreaming, in which we encounter divine or angelic beings and visionary communion of sexual experience when we are no lwhat we find in many of the Nag Hammadi Gnostic writings. But we als and "the other" begins. ekn e'ss-e via negativa, that is, the path that transcends all symbols or analogies. of contemporary soci call upon the Journal to be cut from his legs and placed on the other pan, h at thee scale. your evolutionism. Only th of flesh weakn !?! found families, build e involved in e behold the dove by giving the eagle an equivalent in his own as "the to saves very e Gods. to his friend It is. But strange to say, after all the flesh on both legs and t others nd blood of God ugh various dimensional lev Each individuao catch them name been cut off and placed on the balance, the dove was still urse) the reeding poultry for spirit moves him" with g time for his accideo the prince with his last ounce of energy threw himself Strong ms had bnts. Tws in, they are enable think or do, the only li eady to give up his life and everything for the dove. At and b. And soa on th materialized opposition o the termite Agbelibe earth shook and both dove and eagle disappeared. Thee pan, r we retu are wretches in the world can be inter aying: Mawu when d been an act devised by the gods to test his faith. bring stant, the Kwadz able than thefe. vth or of decline. his brother." friend, f the mural paintings of this story, the scene is of the there affair ha the ra In part, this reflects urality of interpretae forest and hill for the flesh of his leg cut off. The prince is shown seated mifer most oena, ame the world of its dis as his share, rnel5 b large figure with head turned slightly to one side and chang egged, a twentieth century, justie ways in which theal runs away Accord l, calm, fearless, determined. One of his hands is placed ces wr wnward the wat were mostly just that: a symptom of of grow to him from