The Major Arcana and the Hero’s Journey: The Hanged Man, Part I

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This tarot image is only one of many mystical hanged men.

The one that comes most readily to the American mind is Christ, who was hung on a wooden cross till he died. But he returned to life so that all his followers could have eternal life.

Christ of St John of the Cross, Salvador Dali, 1951

The Norse god Odin pierced himself with a spear and hung upside down for nine whole nights on wind-rocked Yggdrasil, the World Tree. On the ninth night he saw the runes arrayed below him and knew their meanings and was free. Odin gave the runes to humanity to guide us in our spiritual quest.

The Buddha had it a bit easier, he merely sat beneath the Bodhi Tree. But he went without food and water until he gained enlightenment. He went forth and shared his insights and the rest is history.

The Native Americans of the central plains dance the Sun Dance every summer to obtain life renewal, visions, and assistance from the Great Spirit. After the dance they share these gifts with their people. The day before the dance begins they select a cottonwood tree, cut it down, and place it upright in the center of the dance circle. The dancers dance around the Sun Dance tree for two or three days (the number varies with the tribe) with nothing to eat or drink except sage tea. On the last day several of the many dancers who volunteered are selected. Medicine Men pierce these dancers’ chests with wooden pegs and attach the pegs to ropes fastened to the cottonwood tree. The dancers lean back against the ropes, gaze up into the sun and dance around the tree until the pegs come out of their flesh.

So what do these hanged men have in common?

 The most important thing is that they are all sacrificing themselves, and that their sacrifice is voluntary. The face of the tarot hanged man is serene.

 They’ve all made their sacrifice to gain enlightenment in one form or another, either for themselves or for others, or both.

 Their sacrifice is made on a tree or part of a tree. Trees, with their roots delving deep into the earth and their branches reaching for the sky, are a perfect symbol of connection. Their strong, serene energy suggests that they are at one and at peace with the universe. By alligning himself with the tree, the hanged man hopes to tap into these qualities.

 Some of the hanged men are physically upside down, and all of them are socially upside down because they have set themselves apart from the rest of humanity. They are the pioneers who are willing to reverse their perspective or walk a different path so they can see things in a new way.

 And lastly, they are all men. In fact, most of the animals I remember being sacrificed in the pagan literature are male. The Greek and Roman gods love bulls or male goats—especially white ones, and the Voodoo loas love a black cockerel. Masculine energy is more forceful and straightforward than feminine energy. When this sort of energy is sacrificed you get more bang for your buck (pun intended). Females usually aren’t sacrificed because they are more valuable. They make babies and the more women there are the quicker the population grows. If a woman is being sacrificed, you know the situation is dire.

This makes the meaning of The Hanged Man crystal clear—voluntary sacrifice to gain enlightenment. To do this, one must usually violate societal norms, often placing ones very life or way of life in jeopardy—or at least on hold.

The Strength-Justice Tarot Controversy

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Some of my best friends read with decks in which Strength is numbered 11 instead of 8 and Justice is 8 instead of 11. In fact, I own eight tarot decks and five of them use this numbering system.

Horrors!

How can this be?

The first tarot cards we know of, The Visconti-Sforza decks, were painted in Italy in the 15th century and didn’t number the major arcana cards. At least the ones I’ve found on line didn’t. Most subsequent decks did number them, but their order has been constantly switched and different cards, such as the virtues Faith, Hope, and Charity have been added and subtracted to accommodate various metaphysical theories. In The Devil’s Picture Book, Paul Huson mentions a 15th century manuscript with a marginal note that gives a number to each major arcana key. In this system, Strength is 9 and Justice is 20. The French Marseilles decks (1600-1700’s) were the first to use the Strength 11, Justice 8 numbering system. They are still popular today.

The best selling Rider-Waite-Smith deck, published in December, 1909, was the first deck to make Strength 8 and Justice 11. Both Pamela Coleman Smith and Arthur Edward Waite were members of the Hermetic Order of the Golden Dawn and knowledgeable magicians. They assigned an astrological correspondence to each key and so switched Justice and Strength to make them correspond to Leo and Libra respectively. They also assigned a Hebrew letter to each of the twenty-two keys, but didn’t print it on the cards. Their system works so well and the cards are so dense with symbolism that after over a hundred years, the deck is still immensely popular. So much so that many modern decks are described as “Rider-Waite clones.” (Wikipedia, Rider-Waite tarot deck entry) One notable exception is the Crowley Thoth deck. Aleister Crowley, also a Golden Dawn member, and Waite were bitter enemies, and their feuding did much to tear the lodge apart. (Wikipedia, AE Waite entry) This may be one reason why Crowley decided to make Strength, or Lust, 11 and Justice, or Adjustment, 8—even though he kept the same astrological and Hebrew letter attributions as the Rider-Waite Smith deck. But you never know with Crowley.

Before the Rider-Waite-Smith deck, the 15th century Sola Busca tarot was the only deck to have pictures for the minor arcana number cards instead of just the appropriate number of cups, pentacles, swords, and wands. Pamela Coleman Smith probably saw them first hand in the British Museum. She was obviously influenced by them because her picture of the three of swords is nearly identical to the the Sola Busca three of swords.

Since I studied astrology before I got interested in tarot, the Rider-Waite-Smith system makes intuitive sense to me and adds another layer of meaning to the tarot’s already rich symbolism. That’s why I read with this deck and why I used this major arcana order in my first novel, Forging the Blade.

The Major Arcana and the Hero’s Journey: Justice, Part III

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Justice, key XI and the Wheel of Fortune, key X sit at the balance point of the Major Arcana. Ten cards precede them and ten cards come after them. Together chance and karma create the fulcrum around which the hero’s journey turns. If we consider the Wheel of Fortune to be the mechanism of manifestation, then Justice is the force within the cosmos that brings balance to the wheel. The wisdom of the tarot matches the Egyptian concept that it is Justice that brings balance to the universe.

Libra, the scales, is the astrological sign attributed to Justice. It sits smack dab in the middle of the zodiacal year at Fall Equinox and it’s all about balance, harmony, and beauty.

The Hebrew letter Lamed corresponds to Justice. As a verb it means “to teach or instruct” and as a noun it means an ox goad. The meaning of the letter Aleph is ox, and Aleph corresponds to The Fool who signifies pure cosmic energy. And so Justice is the instructor or shaper of cosmic energy. Because of its central position, Lamed is considered the heart of the Hebrew alphabet, and because it is the only letter that rises above the baseline it represents YHVH, or the King of Kings. It’s composed of the letters Vav (6) and Kaf (20), which add up to 26, which equals the numerical value of Yod Heh Vav Heh, the name of God. So the Jewish mystical system also agrees with the ancient Egyptians.

The Scales seldom balance.

Ancient Egyptians, Hebrew Mystics, and creators of the Rider-Waite-Smith deck all agree that Justice is vital to creation, so why does it seem to be in such short supply? The innocent are victimized, crimes go unpunished, hard work often goes unrewarded, war and famine claim countless blameless lives, might usually triumphs over right; the litany of injustices resounds through human history. This question troubles both theologists and sociologists. Is humanity basically flawed? Is there a relentless power of evil at work in the world? Is creation itself flawed?

I can’t provide answers to these questions, but as a writer I can make an observation. If everyone lived happily ever after and everything was balanced and harmonious, there would be no more stories. There would be nothing left to fight for, no villains to overcome, and no wrongs to right. Our universe is ever changing and evolving, and this forward momentum is always triggered by imbalance. Justice is the mysterious force within the universe that strives to create balance out of imbalance. The fact that it is sometimes spectacularly triumphant is what makes life worth living and a story worth telling.

When Justice appears upright in a reading the reader can be sure that the events that happened or will happen to the seeker are a result of his karma, or his own actions. If Justice is reversed it could still be a result of karma; the seeker is reaping the rewards of a bad decision or unwise action. Or it could mean injustice, shit happened. As we saw earlier, the same is true of the Wheel of Fortune. It can mean both chance and karma. The other cards in the spread might tell the reader whether chance or karma is at work in the seeker’s life, but it often isn’t so cut and dry. All a reader can do is read the cards as they fall. The story that comes out is the reader’s truth; it is up to the seeker to decide if he is a victim or if he actually earned his fate. If the seeker is honest with himself, the answer is usually a little of both, but with emphasis on karma. But I will be the first to concede that sometimes shit just happens.

Justice in a tarot spread can mean a court decision, a determination that the seeker must make, restoration of balance in a situation, prudence, or foresight.

In the hero’s journey, real or perceived injustice is the inciting factor that creates conflict. Miss Gulch unfairly takes Toto away from Dorothy and Luke Skywalker’s aunt and uncle are killed by Empire storm troopers. The twin injustices of hate and prejudice drive the plot in To Kill and Mocking Bird.

Justice occurs in a story when a wrong is righted or avenged. In a murder mystery it occurs when the detective reveals the murderer and the murderer pays for his crime with either his life or a prison sentence.It is that wonderful moment in the Indiana Jones movies when the trumpets blare DAH DUH DUT DAH! and Harrison Ford comes to the rescue.

To Kill a Mockingbird, Image by Sarah-Murphy

In To Kill a Mocking Bird there are no Indiana Jones moments. Instead, Harper Lee includes many small instances of good prevailing over hate and injustice in her plot. These evils still exist in the world, but the events of the story give Scout the wisdom to deal with them.

The desire for Justice is what keeps the reader turning pages and moviegoers glued to their seats.

Summer in Words, 2011

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When I arrived at the Hallmark Inn & Resort last Friday the receptionist looked at me in that particular way that tells an experienced traveler that they’ve screwed up your reservations.

Rats, I said to myself, mimicking Molly Adair, my main character. And then I asked myself, What Would Molly Do? If Molly felt as desperate as I did at that moment, she just might have clobbered the receptionist with her practice stick. Fortunately for the woman, whose look had darkened even further, I’m not Molly. I smiled sweetly and waited for the verdict. Several minutes and many key tappings later she informed me that I was supposed to have arrived on Thursday and was scheduled to leave on Saturday. They’d already rented my room for Saturday.

“Why would I do that?” I asked. “The conference goes until Sunday.”

“I’ve found you another room,” she continued. “We won’t charge you for the upgrade. It has an ocean view, Jacuzzi, and fireplace.”

Yes!

View from my room - Cannon Beach and Ecola State Park

The conference was fabulous too. The theme was “Truth, Lies, & Risk” and my take-home lesson from the conference was that the theme or truth of a story should never be verbalized, but it must be evident.

Bill Johnson
According to Bill Johnson, author of A Story is a Promise, the theme should appear on the first page. He also used guided meditation to help us meet with our character and ask her what she wants and what she would lie about to get it. Molly said she would be glad to lie about most anything, but she’s such a lousy liar that no one believes her. Mostly she just neglects to mention things.

Emily Whitman, author of Radiant Darkness, a YA fantasy about what really happened

Emily Whitman
between Persephone and Hades, reminded us that secrets, lies, and denial create tension, mystery, and energy in a story. She suggested we give our main characters a dark secret that motivates their actions and adds to the theme. But that secret should never be told, or at most revealed at an appropriately dramatic moment. It should lurk beneath the story and direct the character’s responses. This is a technique Sigourney Weaver uses when she becomes a character. Emily also taught an excruciatingly useful workshop on cutting away your extraneous words to let the meaning of a piece shine through more clearly.

My other favorite was the workshop on narrative voice, taught by the conference organizer Jessica Morrell. A writer isn’t really a writer until she has a voice, or distinctive manner of speaking. When I had friends read the first draft of Forging the Blade they said they could hear my voice in the sentences. This was nice, but my main character was a fifteen-year-old girl. The voice didn’t match the character, so I had to change it.

The other workshops were also excellent. Jessica interviews Randall Platt, Deborah Reed, and Adam O’Conner Rodriguez, editor of Hawthorne Books, in the Summer in Words, 2011 blog.

Just getting to talk to these authors was inspiring. But they didn’t get where were by sitting around being inspiring. They all worked hard and smart to get published. And took plenty of risks. That was my other take-home lesson.

I read the first seven pages of my second manuscript, Molly Adair, Beware, out loud to some of the conference attendees and workshop presenters. Once I got started the jitters calmed and I actually enjoyed it. They liked the concept of a school of magic hidden inside a public school, but they wanted the action to start more immediately and suggested a chapter break to add emphasis to a revelation.

I also learned that there is a woman who lives just two blocks from me who has a son that just graduated from Grant High School. My sons graduated from Grant eleven years ago. She writes YA fantasy. So do I. And her next book is set at Grant. So is mine. Networking is amazing. I need to meet this woman!

The Major Arcana and the Hero’s Journey: Justice, Part II

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The Ancient Greeks’ concept of Justice was more pragmatic than the Egyptians’. According to Egyptian mythology it was Maat, or Justice that set order to the universe at the moment of creation, and so Justice is the primary force of their world. (see Justice, Part I) The Greeks claim that it was Ananke, the primordial goddess of compulsion, inevitability, and necessity, that set everything to order. She emerged fully formed at the very beginning of time, a serpentine spirit intertwined with her mate, Khronos, or Time. Together, Time and Necessity hold the egg of the universe fast in their powerful coil. She is the mother of the Fates, or Moirae and although even mighty Zeus defers to her, she’s not a popular or commonly worshiped goddess. Nobody, except perhaps a politician, enjoys bowing to her. As far as we know, only one temple to Ananke ever existed. It was in Corinth, and this most powerful of all goddesses had to share it with Bia, meaning violence or violent haste. With time her worship disappeared completely as Greek culture redefined and gilded the web that held creation together. It became the sparkling net of Eros, the god of love. (Wikipedia, Ananke entry)

Themis was the first oracle of Delphi, red-figure Kylix, 5th century BCE

There is a Greek Goddess of human justice. Her name is Dike and she is the daughter of the Titan Themis, goddess of Divine law. Both of them are, of course, subservient to Ananke. In other words, Justice must always bow to Necessity.

Dike battling Adikia (Injustice) Athenian red-figured Amphora, 6th century BCE
Justitia, Justizpalast,, Muench

But it is actually the Roman goddess Justitia that lurks in front of, on top of, or inside of hundreds of modern courthouses around the world. As far as I can tell, she is the one who first held the scales that weigh the facts in one hand and the sword that separates right from wrong in the other. Many of these sculptures are called Themis, but I wasn’t able to find any ancient statues or pottery that show either Themis or Dike with either a sword or scales. And besides, Themis rules divine law, the big picture, which is not quite the same as the laws that govern men, which are Dike’s and Justitia’s territory.

And none of these goddesses were ever depicted blindfolded. The first known representation of blind Justice is Hans Gieng’s 1543 statue on the

Lady Justice, Bern

Gerechtigkeitsbrunnen (Fountain of Justice) in Bern, Switzerland (Wikipedia, Lady Justice entry). I realize that the blindfold is supposed to represent impartiality, that the law does not see race, social status, or religion as a determining feature in its deliberations, but I have trouble with the image. When considering a case, it is important to “see” all it’s sides, to “see” all the relevant pieces of information, and to “see” the prejudices and motivations of both the defense and the prosecution. You can’t do this if you’re “blind”. Apparently many sculptors agree with me, because there are lots of Lady Justice statues out there without that blindfold.
To be continued…

What Does Drawing Snowflakes Have to do with Writing Novels?

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Randy Ingermanson
Last Tuesday I went to the monthly Willamette Writers meeting at The Old Church in downtown Portland, Oregon. The Speaker was Randy Ingermanson, software engineer, novelist and author of Writing Fiction for Dummies. Over 26,000 people read his on-line advanced writers zine. He was there to talk about how drawing a snowflake is like designing a novel.

Here’s a very abbreviated version of The Snowflake Method:

*When you are ready to begin writing, think of one sentence of that describes your novel. The closer to fifteen words you can make it the better.
For example:
A sailor barely escapes drowning when the great white whale his demented captain is chasing smashes the ship. Moby Dick, Herman Melville
or
A grieving fifteen-year-old girl falls into a parallel universe and becomes a warrior mage. Forging the Blade (my book, new title)

*Write a one-paragraph description of the plot. Use five sentences. The first sentence sets up the story, the second describes the first conflict point, the second describes the conflict which takes place in the middle of the story, and the third describes the ending conflict.

*Expand each of the above sentences into a paragraph to make a one page synopsis. Include major characters.

*Write a full or half page description of each main character. Randy makes the important point that if each main character is well developed, that character probably thinks he or she is the hero, so go ahead and tell your story from each character’s point of view.

*Expand the one page summary to a four page summary and make the big, strategic plot decisions.

*Make very detailed character charts. Include height, weight, eye and hair color, religion, childhood traumas, basic life philosophy, etc. Be obsessive!

*Lay out each scene. A spreadsheet format works best.

*Write the first draft.

And voila! You started with a simple triangle (or idea) and built it into a complex, beautifully designed snowflake (or novel).

Randy is almost positive that whether you’re a seat of the pants writer or a compulsive outliner, you will be able to use at least some of his ideas.

The Hero’s Journey and the Major Arcana: Justice, Part I

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Maat is the Egyptian goddess of truth, justice, balance, and harmony. She regulates the stars, seasons, and the actions of both mortals and the deities and set the order of the universe from chaos at the moment of creation. She is a most ancient goddess; archeologist have found depictions of her from the middle of the Old Kingdom, c. 2600 BCE. To the ancient Egyptians, she was not just the goddess of truth and justice, she was truth and justice. The early kings described

Maat’s symbol is an ostrich feather.

themselves as “Lords of Maat” who spoke aloud the Maat they conceived in their hearts. The Pharaoh’s Vizier, who was a combination of Prime Minister, Chief Security Officer, and Chief Judge, was the High Priest of Maat. Paul Doherty’s fascinating ancient Egyptian mystery series features Chief Judge Amerotke as its sleuth. He not only invoked Maat everyday before he entered the courtroom but also had a very rich and fulfilling relationship with her.

In the underworld, Anubis weighs the deceased’s heart in the balance against Maat, the principle of moral law, justice, and truth, in the form of her feather. If his heart is light, like the feather, he is sent to the lovely realms of Aaru, but if it is heavy with guilt, he is fed to the demoness Ammit, who is part lion, part hippopotamus, and part crocodile, the three biggest killers (besides humans) on the Nile.

Anubis weighing the deceased’s heart as Ammit waits hungrily and Thoth records the event.

The thing to notice about Maat, or truth and justice, is that the Egyptians considered her to be so essential to creation that the world as we know it couldn’t exist until she overcame chaos and set the universe in order. And she continues to be essential. No one in her right mind is against justice. People down through the ages have given their lives for truth and justice. There is even honor amongst thieves.

Achilles, Greek black-figure vase, c. 530 BCE

In his book, Achilles in Vietnam, Jonathan Shay, a psychiatrist for a group of Vietnam War veterans with severe, chronic post traumatic stress disorder, theorizes quite convincingly that Achilles suffered from this same trauma. He further asserts that the event that started him down that road to insanity occurred when Agamemnon took away Achilles’s war prize, his beloved princess Briseis. In ancient Greece, a soldier’s war prize was equivalent to a Purple Heart in our army. So Agamemnon, his commander, not only stole Achilles beloved, but also dishonored him. Now, a soldier’s universe is truly polar. It consists of his army, the good guys, and the opposing army, the bad guys. He is laying down his life to save the good guys from the bad guys. He’s fighting for “What’s right”

Brad Pitt as Achilles

as Shay says, or for Justice. So what happens when the good guys become bad guys? When Justice fails and you can’t tell the difference between the devil you’re fighting against and the devil you’re fighting for? The ancient Egyptians knew damn well what happens—your universe falls apart! Shay calls it post traumatic stress disorder.

Justice is, IMHO, even more important to humanity than religion, maybe even more important than life itself.

Three Bits of Advice from a Pro

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The opening chapters of The Remaking needed something. I wasn’t quite sure what it was, but they weren’t ready to send out to agents. The best thing for me to do when I get stuck like this is talk to another writer, so I invited Kris out for a lunch of gourmet grilled cheese sandwiches. We watched the weather do what it always does in Portland in late May—dither about raining and then raining. We also talked about my manuscript. Because she is my friend as well as an English teacher and a writer, she listened to me as I drowned my sorrows in Coke and cholesterol and rambled on about the plot’s back-story. When I was all done she said:

 You need to include more of that back story right up front so I have a better understanding of your character.

By golly, I thought, she’s right.

Figuring out how much back-story to include is tricky. The reader doesn’t want to wade through massive information dumps, but he still needs to be able to follow the plot and know enough about the main character’s history and personality so that he actually cares whether she makes it through the next few chapters. I had told the reader that Molly was depressed and that her parents were dead, but this wasn’t enough. He needed to know that she’d been having nightmares about falling to her death for the past year and that when her parents died in a plane crash, not only did she have to deal with grief and loss, but also with guilt. If she had just told them about her dream, maybe they wouldn’t have gotten on that plane and died. I also needed to include the tantalizing fact that Molly’s grandmother had warned her father not to take that flight. Now the reader has questions he wants answered and much more sympathy for Molly.

Kris also said:

 Select the Edit-Find function on the tool bar of you computer and have it find all the was-es and were-s and see if you can replace them with more interesting verbs.
 Keep an eye on your sentence structure. It’s usually best to vary it.

The Fry Graph—No, You Won’t Find It in a Cookbook!

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When my friend, Kris, who teaches English and Writing at a community college, critiqued the first few chapters of my manuscript, one of the first things she did was analyze them using the Fry Graph readability formula.

Unfortunately this formula doesn’t tell an author how much his readers will enjoy his writing, but it does calculate how easy or difficult his writing is to read. The Fry Graph result is a grade level. If the analysis result is 6.4, that means that most sixth graders would be able to read it. It counts the number of syllables and sentences in a hundred-word writing sample, and plots words vs. syllables on a graph. The more syllables and the fewer sentences there are, the higher the grade level.

It’s best to use descriptive or narrative parts of a piece of fiction, not dialogue.

The analysis is simple. This is how to do it.

So that’s great, you say, but what good is it?

Edward Fry developed the formula in 1969 as a quick way of determining the reading level of a book or document and it’s been in use ever since. Teachers and librarians love it because it helps them match a book with someone who can read it. Government agencies love it because it helps them make sure their public documents and instruction sheets are comprehensible to everyone, and writers love it because it helps us make sure we’re writing for our target audience.

But it says nothing about the complexity of the work’s subject matter and concepts. Kris says that John Steinbeck’s Of Mice and Men is written at a 6.5 grade level, but the book deals with complex ideas and adult subject matter.

And then there’s Ernest Hemingway. I applied the Fry Graph formula to five randomly chosen hundred word segments from the first part of The Old Man and the Sea. Three of those scores fell in the dark area marked Long Sentences, which means that, according to Fry, the work of one of the great American fiction writers is invalid. But any middle school student could have told you that. Nice, short, easy words, but killer long sentences. The other two samples were at a 6.5 and a ninth grade level.

Three randomly chosen samples from my manuscript came out to 3.5, 6.5, and 9, which tells me that my language varies and that it may not be challenging enough for a young adult audience. But the subject matter is definitely young adult level.

So do I need to beef up my language?

I’m still thinking about it.