Clarissa Pincola Estes - Women Who Run With The Wolves - Myths And Storie by the Wild Woman Archetype (5 page)

women to live, right next to the fertile
huevos
, their eggs, their female seeds. There the tiniest ideas and the largest ones are waiting for our minds and actions to make them manifest.

Imagine the old woman as the quintessential two-million-year- old woman.
⁷
She is the original Wild Woman who lives beneath and yet on the topside of the earth. She lives in and through us and we are surrounded by her. The deserts, the woodlands, and the earth under our houses are two million years old, and then some.

I’m always taken by how deeply women like to dig in the earth. They plant bulbs for the spring. They poke blackened fingers into mucky soil, transplanting sharp-smelling tomato plants. I think they are digging down to the two-million-year-old woman. They are looking for her toes and her paws. They want her for a present to themselves, for with her they feel of a piece and at peace.

Without her, they feel restless. Many women I’ve worked with over the years began their first session with some variation of: “Well, I don’t feel bad, but I don’t feel good either.’’ I think that condition is not a great mystery. We know it comes from not enough muck. The cure?
La Loba.
Find the two-million-year-old woman. She is caretaker of the dead and dying of woman-things. She is the road between the living and the dead. She sings the creation hymns over the bones.

The old woman, Wild Woman, is
La voz mitológica
. She is the mythical voice who knows the past and our ancient history and keeps it recorded for us in stories. Sometimes we dream her as a disembodied but beautiful voice.

As the hag-maiden, she shows us what it means to be, not withe
red, but wizened. Babies are born
wizened with instinct. They know in their bones what is right and what to do about it. It is innate. If a woman holds on to this gift of being old while she is young and young while she is old, she will always know what comes next If she has lost it, she can yet reclaim it with some purposeful psychic work.

La Loba,
the old one in the desert, is a collector of bones. In archetypal symbology, bones represent the indestructible force. They do not lend themselves to easy reduction. They are by their structure hard to burn, nearly impossible to pulverize. In myth and story, they represent the indestructible soul-spirit. We know the

oul-spirit can be injured, even maimed, but it is very nearly impossible to kill.

You can dent the soul and bend it. You can hurt it and scar it You can leave the marks of illness upon it and the scorch marks of fear. But it does not die, for it is protected by
La Loba
in the underworld. She is both the finder and the incubator of the bones.

Bones are heavy enough to hurt with, sharp enough to cut through flesh, and when old and if strung, tinkle like glass. The bones of the living are alive and creatural in themselves; they constantly renew themselves. A living bone has a curiously soft “skin” to it It appears to have certain powers to regenerate itself. Even as a dry bone, it becomes home for small living creatures.

The wolf bones in this story represent the indestructible aspect of the wild Self, the instinctual nature, the
criatura
dedicated to freedom and the unspoiled, that which will never accept the rigors and requirements of a dead or overly civilizing culture.

The metaphors in this story typify the entire process for bringing a woman to her full instinctual wildish senses. Within us is the old one who collects bones. Within us there are the soul-bones of this wild Self. Within us is the potential to be fleshed out again as the creature we once were. Within us are the bones to change ourselves and our world. Within us is the breath and our truths and our longings—together they are the song, the creation hymn we have been yearning to sing.

This does not mean we should walk about with our
hair hanging
in our eyes or with black-ringed claws for fingernails. Yes, we remain human, but also within the human woman is the animal instinctual Self. This is not some romantic cartoon character. It has real teeth, a true snarl, huge generosity, unequaled hearing, sharp claws, generous and furry breasts.

This Self must have freedom to move, to speak, to be angry, and to create. This Self is durable, resilient, and possesses high intuition. It is a Self which is knowledgeable in the spiritual dealings of death and birth.

Today the old one inside you is collecting bones. What is she re-making? She is the soul Seif, the builder of the soul-home.
Ella
lo hace a mano,
she makes and re-makes the soul by hand. What is she making for you?

Even in the best of worlds the soul needs refurbishing from time to time. Just like the adobes here in the Southwest, a little peels, a little falls down, a little washes away. There is always an old round woman with bedroom-slipper feet who is patting mud slurry on the adobe walls. She mixes straw and water and earth, and pats it back on the walls, making them fíne again. Without her, the house will lose its shape. Without her, it will wash down into a lump after a hard rain.

She is the keeper of the soul. Without her, we lose our shape. Without an open supply line to her, humans are said to be soulless or damned souls. She gives shape to the soul-house and makes more house by hand. She is the one in the old apron. She is the one whose dress is longer in the front than in the back. She is the one who patta-pat-pats. She is the soul-maker, the wolf-raiser, the keeper of things wild.

So, I say to you with affection, imagistically—be you a Black wolf, a Northern Gray, a Southern Red, or an Arctic White—you are the quintessential instinctual
criatura.
Although some might really prefer you behave yourself and not climb all over the furniture in joy or all over people in welcome, do it anyway. Some will draw back from you in fear or disgust. Your lover, however, will cherish this new aspect of you—if he or she be the right lover for you.

Some people will not like it if you take a sniff at everything to see what it is. And for heaven's sakes, no lying on your back with your feet up in the air. Bad girl. Bad wolf. Bad dog. Right? Wrong. Go ahead. Enjoy yourself.

People do meditation to find psychic alignment. That's why people do psychotherapy and analysis. That's why people analyze their dreams and make art. That is why some contemplate tarot cards, cast I Ching, dance, drum, make theater, pry out the poem, and fire up their prayers. That’s why we do all the things we do. It is the work of gathering all the bones together. Then we must sit at the fire and think about which song we will use to sing over the bones, which creation hymn, which re-creation hymn. And the truths we tell will make the song.

These are some good questions to ask till one decides on the song, one’s true song: What has happened to my soul-voice?

What arc the buried bones of my life? In what condition is my relationship to the instinctual Self? When was the last time I ran free? How do I make life come alive again? Where has
La Loba
gone to?

The old woman sings over the bones, and as she sings, the bones flesh out We too “become” as we pour soul over the bones we have found. As we pour our yearning and our heartbreaks over the bones of what we used to be when we were young, of what we used to know in the centuries past and over the quickening we sense in the future, we stand on all fours, four-square. As we pour soul, we are revivified. We are no longer a thin solution, a dissolving frail thing. No, we are in the “becoming” stage of transformation.

Like the dry bones, we so often start out in a desert. We feel disenfranchised, alienated, not connected to even a cactus clump. The ancients called the desert the place of divine revelation. But for women, there is much more to it than that.

A desert is a place where life is very condensed. The roots of living things hold on to that last tear of water and the flower hoards its moisture by only appearing in early morning and late afternoon. Life in the desert is small but brilliant and most of what occurs goes on underground. This is like the lives of many women.

The desert is not lush like a forest or a jungle. It is very intense and mysterious in its life forms. Many of us have lived desert lives: very small on the surface, and enormous under the ground.
La Loba
shows us the precious things that can come from that sort of psychic distribution.

A woman’s psyche may have found its way to the desert out of resonance, or because of past cruelties or because she was not allowed a larger life above ground. So often a woman feels then that she lives in an empty place where there is maybe just one cactus with one brilliant red flower on it, and then in every direction, 500 miles of nothing. But for the woman who will go 501 miles, there is something more. A small brave house. An old one. She has been waiting for you.

Some women don’t want to be in the psychic desert They hate the frailty, the spareness of it They keep trying to crank a rusty
jalopy and bump their way down the road to a fantasized shining city of the psyche. But they are disappointed, for the lush and the wild is not there. It is in the spirit world, that world between worlds,
Río Abajo
Rio
, that river beneath the river.

Don’t be a fool. Go back and stand under that one red flower and walk straight ahead for that last hard mile. Go up and knock on the old weathered door. Climb up to the cave. Crawl through the window of a dream. Sift the desert and see what you find. It is the only work we
have
to
do.

You wish psychoanalytic advice?

Go gather bones.

CHAPTER 2

Stalking the Intruder:
The Beginning Initiation

Bluebeard

In a single human being there are many other beings, all with their own values, motives, and devices. Some psychological technologies suggest we arrest these beings, count them, name them, force them into harness till they shuffle along like vanquished slaves. But to do this would halt the dance of wildish lights in a woman’s eyes; it would halt her heat lightning and arrest all throwing of sparks. Rather than corrupt her natural beauty, our work is to build for all these beings a wildish countryside wherein the artists among them can make, the lovers love, the healers heal.

But what shall we do with those inner beings who are quite mad and those who carry out destruction without thought? Even these must be given a place, though one in which they can be contained. One entity in particular, the most deceitful and most powerful fugitive in the psyche, requires our immediate consciousness and containment—and that one is the natural predator.

While the cause of much human suffering can be traced to negligent fostering, there is also within the psyche naturally an innate
contra naturam
aspect, an “against nature” force. The
contra naturam
aspect opposes the positive: it is against development, against harmony, and against the wild. It is a derisive and
murderous antagonist that is born
into us, and even with the
best
parental nurture the intruder’s sole assignment is to attempt to turn all crossroads into closed roads.

Stalking the Intruder: The Beginning Initiation

This predatory potentate
¹
shows up time after time in women’s dreams. It erupts in the midst of their most soulful and meaningful plans. It severs the woman from her intuitive nature. When its cutting work is done, it leaves the woman deadened in feeling, feeling frail to advance her life; her ideas and dreams lay at her feet drained of animation.

Bluebeard is a story of such a matter. In North America, the best known Bluebeard versions are the French and the German.
²
But I prefer my literary version in which the French and the Slavic are mingled, like the one given to me by my Aunt
Kathé
(pronounced “Katie”), who lived in Csibrak near Dombovar in Hungary. Among our cadre of farmwomen tellers, the Bluebeard tale is begun with an anecdote about someone who knew someone who knew someone who had seen the grisly proof of Bluebeard’s demise. And so we begin.

= = =

There is a hank of beard
which is kept at the convent of the white nuns in the far mountains. How it came to the convent no one knows. Some say it was the nuns who buried what was left of his body, for no one else would touch it. Why the nuns would keep such a relic is unknown, but it is true. My friend’s friend has seen it with her own eyes. She says the beard is blue, indigo-colored to be exact It is as blue as the dark ice in the lake, as blue as the shadow of a hole at night. This beard was once worn by one who they say was a failed magician, a giant man with an eye for women, a man known by the name of Bluebeard. ’Twas said he courted three sisters at the same time. But they were frightened of his beard with its odd blue cast, and so they hid when he called. In an effort to convince them of his geniality he invited them on an outing in the forest. He arrived leading horses arrayed in bells and crimson ribbons. He set the sisters and their mother upon the horses and off they cantered into the forest. There they had a most wonderful day riding, and their dogs ran beside and ahead. Later they stopped beneath a giant tree and Bluebeard regaled them with stories and fed them dainty treats.

The sisters began to think, “Well, perhaps this man Bluebeard is not so bad after all.”

They returned home all a-chatter about how interesting the day had been, and did they not have a good time? Yet, the two older sisters' suspicions and fears returned and they vowed not to see Bluebeard again. But the youngest sister thought if a man could be that charming, then perhaps he was not so bad. The more she talked to herself, the less awful he seemed, and also the less blue his beard.

So when Bluebeard asked for tier hand in marriage, she accepted. She had given his proposal great thought and felt she was to marry a very elegant man. Marry they did, and after, rode off to his castle in the woods.

One day he came to her and said, “I must go away for a time. Invite your family here if you like. You may ride in the woods, charge the cooks to set a feast, you may do anything you like, anything your heart desires. In fact, here is my ring of keys. You may open any and every door to the storerooms, the money rooms, any door in the castle; but this little tiny key, the one with the scrollwork on top, do not use.”

His bride replied,
“Yes,
I will do as you ask. It all sounds very fine. So, go, my dear husband, and do not have a worry and come back soon.” And so off he rode and she stayed.

Her sisters came to visit and they were, as all souls are, very curious about what the Master had said was to be done while he was away. The young wife gaily told them.

“He said we may do anything we desire and enter any room we wish, except one. But I don’t know which one it is. I just have a key and I don’t know which door it fits.”

The sisters decided to make a game of finding which key fit which door. The castle was three stories high, with a hundred doors in each wing, and as there were many keys on the ring, they crept from door to door having an immensely good time throwing open each door. Behind one door were the kitchen stores, behind another the money stores. All manner of holdings were behind the doors and everything seemed more wonderful all the time. At last, having seen all these marvels, they came finally to the cellar and, at the end of the corridor, a blank wail.