Forthwith an excerpt from “An Encounter With Andrew Harvey", Eclectica Magazine, April – May, 2008
AH: You've got many years ahead of you to rejoice and to give and to love and to open yourself in all kinds of ways. In one year of real life you can make a hundred thousand lifetimes of progress. Just don't look back. And don't make this effort in any way a psychological reparation, rather do it as an act of pure giving. And as the opening of a door into a new of being, and living, and doing. Then you'll be saved from whatever agenda your subconscious has. It's very important.
She is your muse. She's your anima figure that you're projecting on her, she's your potential for redemption, these are the things you've flung out in the time we've been together.
AH: Each one of those things constellates archetypes, which have, potentially, very profound shadows and are dangerous. And the more you go into them.
JP: Please give me an example of a danger.
AH: An obsession of any kind has the danger that you would be smuggling in your own personal agenda and not paying attention to what Maria needs.
JP: How does this relate to my attempt to master my craft and my art? One could say that a professional musician is obsessive, in his constant practice. And of course I am obsessive in writing, with the object to be clear and to make something beautiful. Also I'm a photographer, which also is an obsessive path. If I do not shoot, shoot, shoot and if I do not write, write, write, I will never master them. And this is my thing.
AH: I know what you mean. For me, it's a purifying of the instruments.
JP: In what sense?
AH: You may write, write, write, but it all depends on the consciousness which is writing. How high is that consciousness, how clear is that consciousness, how pure is that consciousness, how devoted is that consciousness?
JP: Let's say that I will keep it at the level of journalism. I am trying to hone my skill to be able to say: THIS is what I saw, and this is what I heard, as clearly as I can. This is my job. I can't tell what's in someone's mind, but I can...
AH: But you can tell what I'm saying, which would be a good indication!
JP: Yes, I describe and report and make no comment as to my subject's thoughts or motives. And as for photography, well, the subconscious associations one makes when composing an image, I'm learning, is absolutely mind bending.
AH: The clearer you are, the more honored you are with all the possibilities and perspectives, the more insight you have into your own deepest motives, and the more aligned you are through contemplation, meditation and prayer, with divine love, then the more your photographs will be informed by that love, and your writing will secretly be governed by that love.
That is why the purification of the instruments is so important. Constantly polishing the mirrors by keeping your mind in a state of readiness and spiritual receptivity. That's the way. And also being psychologically aware of all these different archetypes that are leading you in this particular adventure. Each one of which could be redemptive but each one of which could be destructive. You are dealing with things that have great power.
AH: I think Maria probably will have to use [her] torment as a way of finding out who her real parents are. And our real parents aren't only the people who gave birth to us in this dimension, or this life. Our real parents are the divine father and the divine mother who are birthing the cosmos.
And very often really authentic spiritual searches are started by a troubling, disturbing problem with either one's father, or mother, or both. And there seems to be something written into the karmic law of those beings who are destined to have a very profound mystical opening in this life that shatters the normal links between parent and child. This shattering compels us to go on an archetypal journey to find the authentic parents of the universe.
And maybe what this whole thing is about is not only Maria's trying to find out if her biological mother is able to really understand the responsibility she has to her, maybe this whole journey is about Maria going beyond biography, going beyond the need to have any kind of parents in place, to find out her ground of being, or the light from which she is born, and to live the authentic spiritual existence that comes from that.
I know something about this because while I wasn't abandoned by my parents, but in a sense I was abandoned by my mother because I was sent to school at six. There was a complicated relationship with both my mother and my father. And the wound that was inflicted upon my psyche by the abandonment by my mother led me on the most passionate search to find her divine mother. Because I couldn't have existed or continued to exist had I not eventually found her. Beyond biography.
So I know what the wound of the parent can do. And how in the end if you stop being obsessed by the wound itself and start imagining why the wound has been given to you, what is the reason for this wound, what is the reason for this radical shattering of identity. Is it just punishment or craziness or madness or desolation?
It is partly, but I think the deeper reason is to compel your Maria to go on this search to find out who she really is, beyond sex, beyond biography, beyond parents, beyond everything.