Clarissa Pincola Estes - Women Who Run With The Wolves - Myths And Storie by the Wild Woman Archetype (4 page)

And finally, from the old Spanish land-grant fanners and Pueblo people of the Southwest, I heard one-line reports about the bone people, the old ones who bring the dead back to life; they were said to restore both humans and animals. Then, on one of my own ethnographic expeditions, I met a bone woman and have never been quite the same since. Allow me to present a firsthand account and introduction.

La Loba

There is an old woman
who lives in
a
hidden place that everyone knows in their souls but few have ever seen. As in the fairy tales of Eastern Europe, she seems to wait for lost or wandering people and seekers to come to her place.

She is circumspect, often hairy, always fat, and especially wishes to evade most company. She is both a crower and a cackler, generally having more animal sounds than human ones.

I might say she lives among the rotten granite slopes in Tarahu- mara Indian territory. Or that she is buried outside Phoenix near a well. Perhaps she will be seen traveling south to Monte Albán
³
in a bumt-out car with the back window shot out Or maybe she will be spotted standing by the highway near El Paso, or riding shotgun with truckers to Morelia, Mexico, or walking to market above Oaxaca with strangely formed boughs of firewood on her back. She calls herself by many names:
La Huesera
, Bone Woman;
La
Trapera
, The Gatherer, and
La Loba
, Wolf Woman.

The sole work of
La Loba
is the collecting of bones. She collects and preserves especially that which is in danger of being lost to the world. Her cave is filled with the bones of all manner of desert creatures: the deer, the rattlesnake, the crow. But her specialty is wolves.

She creeps and crawls and sifts through the
montañas
, mountains, and
arroyos
, dry riverbeds, looking for wolf bones, and when she has assembled an entire skeleton, when the last bone is in place and the beautiful white sculpture of the creature is laid out before her, she sits by the fire and thinks about what song she will sing.

And when she is sure, she stands over the
criatura,
raises her arms over it, and sings out That is when the rib bones and leg bones of the wolf begin to flesh out and the creature becomes furred.
La Loba
sings some more, and more of the creature comes into being; its tail curls upward, shaggy and strong.

And
La Loba
sings more and the wolf creature begins to breathe.

And still
La Loba
sings so deeply that the floor of the desert shakes, and as she sings, the wolf opens its eyes, leaps up, and runs away down the canyon.

Somewhere in its running, whether by the speed of its running, or by splashing its way into a river, or by way of a ray of sunlight or moonlight hitting it right in the side, the wolf is suddenly transformed into a laughing woman who runs free toward the horizon.

So remember, if you wander the desert, and it is near sundown, and you are perhaps a little bit lost, and certainly tired, that you are lucky, for
La Loba
may take a liking to you and show you something — something of the soul.

We all begin as a bundle of bones lost somewhere in a desert, a dismantled skeleton that lies under the sand. It is our work to recover the parts. It is a painstaking process best done when the shadows are just right, for it takes much looking.
La Loba
indicates what we are to look for—the indestructible life force, the bones.

The work of
La Loba
can be thought of as representing
uncuento
milagro
, a miracle story. It shows us what can go right for the soul. It is a resurrection story about the underworld connection to Wild Woman. It promises that if we will sing the song, we can call up the psychic remains of the wild soul and sing her into a vital shape again.

La Loba
sings over the bones she has gathered. To sing means to use the soul-voice. It means to say on the breath the truth of one’s power and one’s need, to breathe soul over the thing that is ailing or in need of restoration. This is done by descending into the deepest mood of great love and feeling, till one’s desire for relationship with the wildish Self overflows, then to speak one’s soul from that frame of mind. That is singing over the bones. We cannot make the mistake of attempting to elicit this great feeling

of love from a lover, for this womens' labor of finding and singing the creation hymn is a solitary work, a work
carried out in the desert of th
e psyche.

Let us consider
La Loba
herself. In the symbolic lexicon of the ’psyche, the symbol of the Old Woman is one of the most widespread archetypal personifications in the world. Others are the Great Mother and Father, the Divine Child, the Trickster, the Sorceress(er), the Maiden and Youth, the Heroine-Warrior, and the Fool(ess). Yet, a figure like
La Loba
can be considered vastly different in essence and effect, for she is symbolic of the feeder root to an entire instinctual system.

In the Southwest the archetype of the old woman can also be apprehended as old
La Que Sabe
, The One Who Knows. I first came to understand
La Que Sabe
when I lived in the Sangre de Cristo mountains in New Mexico, under the heart of Lobo Peak. An old witch from Ranchos told me that
La Que Sabe
knew everything about women, that
La Que Sabe
had created women from a wrinkle on the sole of her divine foot: This is why women are knowing creatures; they are made, in essence, of the skin of the sole, which feels everything. This idea that the skin of the foot is sentient had the ring of a truth, for an acculturated Kiché tribeswoman once told me that she'd worn her first pair of shoes when she was twenty years old and was still not used to walking
con los ojos vendados
, with blindfolds on her feet.

The wild essence that inhabits nature has been called by many names and crisscrosses all nations down through the centuries. These are some of the old names for hen
The Mother of Days
is the Mother-Creator-God of all beings and doings, including the sky and earth;
Mother Nyx
has dominion over all filings from the mud and dark;
Durga
controls the skies and winds and the thoughts of humans from which all reality spreads;
Coatlicue
gives birth to the infant universe which is rascally and hard to control, but like a wolf mother, she bites her child's ear to contain it;
Hekate
, the old seer who “knows her people" and has about her the smell of humus and the breath of God. And there are many, many more. These are the images of what and who lives under the hill, far off in the desert, out in the deep.

By whatever name, the force personified by
La Loba
records the personal past and the ancient past for she has survived generation after generation, and is old beyond time. She is an archivist of feminine intention. She preserves female tradition. Her whiskers sense the future; she has the far-seeing milky eye of the old crone; she lives backward and forward in time simultaneously, correcting for one side by dancing with the other.

The old one, The One Who Knows, is within us. She thrives in the deepest soul-psyche of women, the ancient and vital wild Self. Her home is that place in time where the spirit of women and the spirit of wolf meet—the place where mind and instincts mingle, where a woman's deep life funds her mundane life. It is the point where the I and the Thou kiss, the place where, in all spirit, women run with the wolves.

This old woman stands between the worlds of rationality and mythos. She is the knucklebone on which these two worlds turn. This land between the worlds is that inexplicable place we all recognize once we experience it, but its nuances slip away and shape- change if one tries to pin them down, except when we use poetry, music, dance, of story.

There is speculation that the immune system of the body is rooted in this mysterious psychic land, and also the mystical, as well as all archetypal images and urges including our God-hunger, our yearning for the mysteries, and all the sacred instincts as well as those which are mundane. Some would say the records of humankind, the root of light, the coil of dark are also here. It is not a void, but rather the place of the Mist Beings where things are and also are not yet, where shadows have substance and substance is sheer.

One thing about this land is certain, it is
old...
older than the oceans. It has no age; it is ageless. The Wild Woman archetype funds this layer, emanating from the instinctual psyche. Although she can take on many guises in our dreams ana creative experiences, she is not from the layer of the mother, the maiden, the medial woman, and she is not the inner child. She is not the queen, the amazon, the lover, the seer. She is just what she is. Call her
La
Que Sabe
, The One Who Knows, call her Wild Woman, call her
La Loba
, call her by her high names or by her low names, call

her by her newer names or her ancient ones, she remains just what she is.

Wild Woman as an archetype is an inimitable and ineffable force which carries a bounty of ideas, images, and particularities for humankind. Archetype exists everywhere and yet is not see- able in the usual sense. What can be seen of it in the dark cannot necessarily be seen in daylight.

We find lingering evidence of archetype in the images and symbols found in stories, literature, poetry, painting, and religion. It would appear that its glow, its voice, and its fragrance are meant to cause us to be raised up from contemplating the shit on our tails to occasionally traveling in the company of the stars.

At
La Loba'
s
place, the physical body is, as poet Tony Moffeit writes, "a luminous animal,”
⁴
and the body's immune system seems, via anecdotal reports, to be strengthened or weakened by conscious thought. At
La Loba'
s
place, the spirits manifest as personages and
La voz mitológica
, The Mythological Voice of the deep psyche, speaks as poet and oracle. Things of psychic value, once dead, can be revived. Also, the basic material of all stories existent in the world ever, began with someone’s experience here in this inexplicable psychic land, and someone’s attempt to relate what occurred to them here.

There are various names for this locus betwixt the worlds. Jung called it variously the collective unconscious, the objective psyche, and the psychoid unconscious—referring to a more ineffable layer of the former. He thought of the latter as a place where the biological and psychological worlds share headwaters, where biology and psychology might mingle with and influence one another. Throughout human memory this place—call it Nod, call it the home of the Mist Beings, the crack between the worlds—is the place where visitations, miracles, imaginations, inspirations, and healings of all natures occur.

Though this site transmits great psychic wealth, it must be approached with preparation, for one may be tempted to joyously drown in the rapture of one’s time there. Consensual reality may seem less exciting by comparison. In this sense, these deeper layers of psyche can become a rapture-trap from which people return unsteady, with wobbly ideas and airy presentments.

That is not how it is meant to be. How one is meant to return is wholly washed or dipped in a revivifying and informing water, something which impresses upon our flesh the odor of the sacred.

Each woman has potential access to
Río Abajo Río,
this river beneath the river. She arrives there through deep meditation, dance, writing, painting, prayermaking, singing, drumming, active imagination, or any activity which requires an intense altered consciousness. A woman arrives in this world-between-worlds through yearning and by seeking something she can see just out of the comer of her eye. She arrives there by deeply creative acts, through intentional solitude, and by practice of any of the arts. And even with these well-crafted practices, much of what occurs in this ineffable world remains forever mysterious to us, for it breaks physical laws and rational laws as we know them.

The care with which this psychic state must be entered is recorded in a small but powerful story of four rabbis who yearned to see the most sacred Wheel of Ezekiel.

= = =

The Four Rabbinim

One night
four rabbinim were visited by an angel who awakened them and carried them to the Seventh Vault of the Seventh Heaven. There they beheld the sacred Wheel of Ezekiel.

Somewhere in the descent from
Fardes,
Paradise, to Earth, one Rabbi, having seen such splendor, lost his mind and wandered frothing and foaming until the end of his days. The second Rabbi was extremely cynical: “Oh I just dreamed Ezekiel’s Wheel, that was all. Nothing
really
happened.” The third Rabbi carried on and on about what he had seen, for he was totally obsessed. He lectured and would not stop with how it was all constructed and what it all
meant...
and in this way he went astray and betrayed his faith. The fourth Rabbi, who was a poet, took a paper in hand and a reed and sat near the window writing song after song praising the evening dove, his daughter in her cradle, and all the stars in the sky. And he lived his life better than before.
⁵

= = =

Who saw what in the Seventh Vault of the Seventh Heaven, we do not know. But we do know that contact with the world wherein the Essences reside causes us to know something beyond the usual hearing of humans, and fills us with a feeling of expansion and grandeur as well. When we touch the authentic fundament of The One Who Knows, it causes us to react and act from our deepest integral nature.

The story recommends that the optimal attitude for experiencing the deep unconscious is one of neither too much fascination nor too little, one of not too much awe but neither too much cynicism, bravery yes, but not recklessness.

Jung cautions in his magnificent essay “The Transcendent Function”
⁶
that some persons, in their pursuit of the Self, will overaestheticize the God or Self experience, some will undervalue it, some will overvalue it, and some who are not ready for it will be injured by it. But still others will find their way to what Jung called“the moral obligation” to live out and to express what one has learned in the descent or ascent to the wild Self.

This moral obligation he speaks of means to live what we perceive, be it found in the psychic Elysian fields, the isles of the dead, the bone deserts of the psyche, the face of the mountain, the rock of the sea, the lush underworld—anyplace where
La Que Sabe
breathes upon us, changing us. Our work is to show we have been breathed upon—to show it, give it out, sing it out, to live out in the topside world what we have received through our sudden knowings, from body, from dreams and journeys of all sorts.

La Loba
parallels world myths in which the dead are brought back to life. In Egyptian mythos, Isis accomplishes this service for her dead brother Osiris, who is dismembered by his evil brother, Set, every night Isis works from dusk to dawn each night to piece her brother back together again before morning, else the sun will not rise. The Christ raised Lazarus, who had been dead so long he “stinketh.” Demeter calls forth her pale daughter Persephone from the Land of the Dead once a year. And
La Loba
sings over the bones.

This is our meditation practice as women, calling back the dead and dismembered aspects of ourselves, calling back the dead and dismembered aspects of life itself. The one who re-creates from that which has died is always a double-sided archetype. The Creation Mother is always also the Death Mother and vice versa. Because of this dual nature, or double-tasking, the great work before us is to learn to understand what around and about us and what within us must live, and what must die. Our work is to apprehend the timing of both; to allow what must die to die, and what must live to live.

For women, “El
río abajo río
, the river-beneath-the-river world,” the Bone Woman home place, contains direct knowing about seedlings, root stock, the seed com of the world. In Mexico, women are said to carry
la luz de la vida
,
the light of life. This light is located, not in a woman’s heart, not behind her eyes, but
en los ovarios
, in her ovaries, where all the seed stock is laid down before she is even b
orn
. (For men, exploring the deeper ideas of fertility and the nature of seed, the cross-gender image is the furry bag,
los cojones
,
the scrotum.)

This is the knowing to be gained in being close to Wild Woman. When
La Loba
sings, she sings from the knowing of
los ovarios
, a knowing from deep within the body, deep within the mind, deep within the soul. The symbols of seed and bone are very similar. If one has the root stock, the basis, the original part, if one has the seed corn, any havoc can be repaired, devastations can be resewn, fields can be rested, hard seed can be soaked to soften it, to help it break open and thrive.

To have the seed means to have the key to life. To be with the cycles of the seed means to dance with life, dance with death, dance into life again. This embodies the Life and Death Mother in her most ancient and principled form. Because she turns in these constant cycles, I call her the Life/Death/Life Mother.

If something is lost, it is she to whom one must appeal, speak with, and listen to. Her psychic advice is sometimes harsh or difficult to put into practice, but always transformative and restorative. So when something is lost, we must go to the old woman who always lives in the out-of-the-way-pelvis. She lives out there, half in and half out of the creative fire. This is a perfect place for