Clarissa Pincola Estes - Women Who Run With The Wolves - Myths And Storie by the Wild Woman Archetype (3 page)

and with hope, when I later grew old enough to read fairy stories printed in books, the latter seemed curiously starched and ironed flat in comparison.

As a young adult I migrated west toward the Continental Divide. I lived amidst loving Jewish, Irish, Greek, Italian, Afro- American, and Alsatian strangers who became kindred spirits and friends. I’ve been blessed to know some of the rare an
d old Latino communities from th
e southwestern U.S.A., such as Tra
mpas, and Truchas, New Mexico. I
was fortunate to spend time with Native American friends and relatives, from the Inuit in the North, through the Pueblo and Plains peoples in the West, to the Nahuas, Lacandones, Tehuanas, Huicholes, Sens, Maya-Quiches, Maya- Caqchiqueles, Mesquitos, Cunas, Nasca/Quechuas, and Jivaros in Central and South America.

I’ve traded stories with sister and brother healers at kitchen tables and under grape arbors, in henhouses and dairy barns, and while patting tortillas, tracking wildlife, and sewing the millionth cross-stitch. I’ve been lucky to share the last bowl of chili, to sing with gospel women so as to raise the dead, and to sleep under stars in houses without roofs. I’ve sat down to the fire or dinner, or both, in Little Italy, Polish Town, the Hill Country, Los Barrios, and other ethnic communities throughout the urban Midwest and Far West, and most recently traded stories about
sparats
, bad ghosts, with man
-griot
friends in the Bahamas.

I have been double-lucky that wherever I’ve gone the children, the matrons, the men in their prime, and the old coots and crones—the soul-artists—have crept out of the woods, jungles, meadows, and sandhills to regale me with caws and kavels. And I too, to them.

There are many ways to approach stories. The professional folklorist, the Jungian, Freudian, or other sort of analyst, the ethnologist, anthropologist, theologian, archeologist, each has a different method, both in collecting tales and the use to which they are put. Intellectually the way I developed my work with stories was through my training in analytical and archetypal psychology. For more than half a decade during my psychoanalytic education I studied amplification of leitmotifs, archetypal symbology, world mythology, ancient and popular iconology, ethnology, world religions, and interpretation.

Viscerally, however, I come to stories as a
cantadora
, keeper of the old stories. I come from a long line of tellers:
mesemondok
, old Hungarian women who might as easily tell while sitting on wooden chairs with their plastic pocketbooks on their laps, their knees apart, their skirts touching the ground, or while wringing the neck of a chicken... and
cucntistas
, old Latina women who stand, robust of breast, hips wide, and cry out the story
ranchera
style. Both clans storytell in the plain voice of women who have lived blood and babies, bread and bones. For us, story is a medicine which strengthens and arights the individual and the community.

Those who have taken on the responsibilities of this craft, and are committed to the numen behind the craft, are direct descendants of an immense and ancient community of holy people, troubadours, bards, griots, cantadoras, cantors, traveling poets, bums, hags, and crazy people.

I once dreamt I was telling stories and felt someone patting my foot in encouragement. I looked down and saw that I was standing on the shoulders of an old woman who was steadying my ankles and smiling up at me.

I said to her, “No, no, come stand on
my
shoulders for you are old and I
am young.“

“No, no,” she insisted, “this is the way it is supposed to be.”

I saw that she stood on the shoulders of a woman far older than she, who stood on the shoulders of a woman even older, who stood on the shoulders of a woman in robes, who stood on the shoulders of another soul, who stood on the shoulders...

I believed the old dream-woman about the way it was supposed to be. The nurture for telling stories comes from the might and endowments of my people who have gone before me. In my experience, the telling moment of the story draws its power from a towering column of humanity joined one to the other across time and space, elaborately dressed in the rags and robes or nakedness of their time, and filled to the bursting with life still being lived. If there is a single source of story and the numen of story, this long chain of humans is it.

Story is far older than the art and science of psychology, and will always be the elder in the equation no matter how much time passes. One of the oldest ways of telling, which intrigues me greatly, is the passionate trance state, wherein the teller “senses” the audience—be it an audience of one or of many—and then enters a state in the “world between worlds,” where a story is “attracted” to the trance-teller and told through her.

The trance-teller calls on
El duende
,
⁵
the wind that blows soul into the faces of listeners. A trance-teller learns to be psychically double-jointed through the meditative practice of story, that is, training oneself to undo certain psychic gates and ego apertures in order to let the voice speak, the voice that is older than the stones. When this is done, the story may take any trail, be turned upside down, be filled with porridge and dumped out for a poor person's feast, be filled with gold for the taking, or chase the listener into the next world. The teller never knows how it will all come out, and that is at least half of the moist magic of story.

This is a hook of tellings about the ways of the Wild Woman archetype. To try to diagram her, to draw boxes around her psychic life, would be contrary to her spirit To know her is an ongoing process, a lifelong process, and that is why this work is an ongoing work, a lifelong work.

So here are some stories to apply to yourself as soul vitamins, some observations, some map fragments, some little pieces of pine pitch for fastening feathers to trees to show the way, and some flattened underbrush to guide the way back to
el mundo sub- terraneo,
the underground world, our psychic home.

Stories set the inner life into motion, and this is particularly important where the inner life is frightened, wedged, or cornered. Story greases the hoists and pulleys, it causes adrenaline to surge, shows us the way out, down, or up, and for our trouble, cuts for us fine wide doors in previously blank walls, openings that lead to the dreamland, that lead to love and learning, that lead us back to our own real lives as knowing wildish women.

Stories like “Bluebeard” bring us news of just what to do about the women’s wound that will not cease its bleeding. Stories like “Skeleton Woman” demonstrate the mystical power of relationship and how deadened feeling can return to life and deep loving once again. The gifts of Old Mother Death are to be found in the character of Baba Yaga, the old Wild Hag. The little doll who shows the way when all seems lost raises one of the lost womanly and instinctual arts to the surface again in “Vasalisa the Wise."
⁶
Stories like “La
Loba
,”
à
bone woman in the desert, teach about the transformative function of the psyche. “The Handless Maiden” recovers the lost stages of the old initiation rites from ancient times, and as such offers a timeless and lifelong guidance for all the years of a woman’s life.

It is our brush with the wild nature that drives us not to limit our conversations to humans, not to limit our most splendid movements to dance floors, nor our ears only to music made by human- made instruments, nor our eyes to “taught” beauty, nor our bodies to approved sensations, nor our minds to those things we all agree upon already. All these stories present the knife of insight, the flame of the passionate life, the breath to speak what one knows, the courage to stand what one sees without looking away, the fragrance of the wild soul.

This is a book of women’s stories, held out as markers along the path. They are for you to read and contemplate in order to assist you toward your own natural-won freedom, your caring for self, animals, earth, children, sisters, lovers, and men. I’ll tell you right now, the doors to the world of the wild Self are few but precious. If you have a deep scar, that is a door, if you have an old, old story, that is a door. If you love the sky and the water so much you almost cannot bear it, that is a door. If you yearn for a deeper life, a full life, a sane life, that is a door.

The material in this book was chosen to embolden you. The work is offered as a fortification for those on their way, including those who toil in difficult inner landscapes, as well as those who toil in and for the world. We must strive to allow our souls to grow in their natural ways and to their natural depths. The wildish nature does not require a woman to be a certain color, a certain education, a certain lifestyle or economic class ... in fact, it cannot thrive in an atmosphere of enforced political correctness, or by being bent into old burnt-out paradigms. It thrives on fresh sight and self-integrity. It thrives on its own nature.

So, whether you are an introvert or extrovert, a woman-loving woman, a man-loving woman, or a God-loving woman, or all of

the above: Whether you are possessed of a simple heart or the ambitions of an Amazon, whether you are trying to make it to the top or just make it through tomorrow, whether you be spicy or somber, regal or roughshod—the Wild Woman belongs to you. She belongs to all women.

To find her, it is necessary for women to return to their instinctive lives, their deepest knowing.
⁷
So, let us push on now, and remember ourselves back to the wild soul. Let us sing her flesh back onto our bones. Shed any false coats we have been given. Don the true coat of powerful instinct and knowing. Infiltrate the psychic lands that once belonged to us. Unfurl the bandages, ready the medicine. Let us return now, wild women howling, laughing, singing up The One who loves us so.

For us the issue is simple. Without us, Wild Woman dies. Without Wild Woman, we die.
Para Vida
, for true life, both must live.

CHAPTER I

The Howl:
Resurrection of the Wild Woman

La Loba
,
The Wolf Woman

I must reveal to you that I am not one of the Divine who march into the desert and return gravid with wisdom. I’ve traveled many cookfires and spread angel bait round every sleeping place. But more often than the getting of wisdom, I’ve gotten indelicate episodes of
Giardiasis, E. coli
,
^l
and amebic dysentery. Ai! Such is the fate of a middle-class mystic with delicate intestines.

Whatever wisdom or notion I espied on my travels to odd places and unusual people, I learned to shelter, for sometimes old father Academe, like Kronos, still has an inclination to eat the children before they can become either curative or astonishing. Over-intellectualization can obscure the patterns of the instinctual nature of women.

So, to further our kinship relationship with the instinctual nature, it assists greatly if we understand stories as though we are inside them, rather than as though they are outside of us. We enter into a story through the door of inner hearing. The spoken story touches the auditory nerve, which runs across the floor of the skull into the brainstem just below the pons. There, auditory impulses are relayed upward to consciousness or else, it is said, to the soul ... depending on the attitude with which one listens.

Ancient dissectionists spoke of the auditory nerve being divided into three or more pathways deep in the brain. They surmised that the ear was meant, therefore, to hear at three different levels. One pathway was said to hear the mundane conversations of the world. A second pathway apprehended learning and art. And the third pathway existed so the soul itself might hear guidance and gain knowledge while here on earth.

Listen then with soul-hearing now, for that is the mission of story.

Bone by bone, hair by hair, Wild Woman comes back. Through night dreams, through events half understood and half remembered, Wild Woman comes back. She comes back through story.

I
began my own migration across the United States in the 1960s, looking for a settling place that was dense with trees, fragrant with water, and populated by the creatures I loved: bear, fox, snake, eagle, wolf. The wolves were being systematically exterminated from the upper Great Lakes region; no matter where I went, the wolves Were being hounded in one way or another. Although many spoke of them as menaces, 1 always felt safer when there were wolves in the woods. Out West and in the North in those times, you could camp and hear the mountains and forest sing, sing, sing at night.

But, even there, the age of scope rifles, Jeep-mounted klieg lights, and arsenic “treats” caused an age of silence to creep over the land. Soon, the Rockies were almost empty of wolves too. That is how I came to the great desert which lies half in Mexico, half in the United
States. And the further south I
traveled, the more stories I heard about wolves.

You see, it is told that there is a place in the desert where the spirit of women and the spirit of wolves meet across time. I felt I was onto something when in the Texas borderlands I heard a story called
“
Loba
Girl” about a woman who was a wolf who was a woman. Next I found the ancient Aztec story of orphaned twins being breast-fed by a she-wolf till the children were old enough to stand on their own.
²