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REVIEWS FOR “THE DOUBTING SNAKE”

“In the tradition quickened by the Celestine Prophecy, Bob Klein takes us to places at once far away, intimate, strange and familiar. The beauty is in the lush regions, cultures and cosmologies it describes, and in the invisible realms it remarkably and simply illustrates. The warrior within each of us in invited to: Wake up; deeply see and listen; remember what reality is really made of; and honor, cultivate and harness our connectedness, consciousness, power, and history in order to reinvent our culture in a Golden Age.”

Michou Landon, Shasta Magazine

“The Doubting Snake depicts a colorful world full of wild animals that take an active part in guiding Steve to his truth.  Filled with mystery, laughter, and insight, this book is a pleasure to read as we accompany Steve on his incredible journey to self awareness.”

Karen Porter, Indicator Magazine

Note: See information on “The Doubting Snake” by clicking onto our “Online Store”.  You will see this book listed on the left side of the page.  It is also available as an Amazon Kindle download.

ANOTHER EXCERPT FROM “THE DOUBTING SNAKE” NOVEL

Kano tapped me on the shoulder and pointed to a movement beneath some dead branches.  “That is a paca.  Go and get it.”

I walked over to the spot and discovered a paca which seemed to be full grown – about 25 pounds.   But as soon as I approached it, the little brown, creature ran away for a few yards and then froze.   Again and again I approached it and just as many times, it bounded away.

Finally I gave up and walked back to Kano.   “We have to set a trap first,” I said.

Kano merely walked over to the paca, reached down and picked it up.   He held its belly outwards with his arms under its front legs.  Then Kano put the creature down and it bounded under some nearby branches.

“Kano, why did you let it go?”

“So you could catch it.  I’m teaching you to catch paca.”

Again, I tried and failed.   I could hear Kano snickering.   I guess this was good for him to see.   He must feel mentally inferior to me and seeing that he does possess some skills which I do not, must make him feel better.

“What did I do wrong, Kano?”

“You didn’t catch the paca.”

“How were YOU able to catch it?”

“Because I know how”

“Then tell me how to catch it.”

“You just walk over and pick it up.”

“But when I walked over, it ran away.”

“You scared it.”

“How come YOU didn’t scare it?”

“Because I wanted to catch it.”

“So did I!”

“Then you shouldn’t have scared it.”

What a situation!  Kano knows a skill which I would like to learn.   Yet he doesn’t have the intelligence to explain it to me.  I tried once more.

“Kano, listen to me.  When you walk over to the paca, it doesn’t run away.   When I walk over, it does.   Obviously, we’re doing something different.  What?”

Kano thought for a moment and said, “You are scaring it away and I’m not scaring it away.  That is what is different.”

“O.K.   I understand that.   Now what can I do differently so it won’t get scared?”

“Don’t do anything differently.  You can just walk over and pick it up.   You can walk over any way you want, just don’t scare it.”

Kano walked over to the paca once more to demonstrate.   He skipped part of the way, jumped, twirled around and walked in various strange ways.   When he reached the paca, he bent down and picked it up as before.

I had heard that retarded people are good with animals.   The animals seem to be able to sense the retarded  person’s helplessness.  Perhaps Kano’s disability has actually helped him out in this case, although I don’t know how altruistic a paca can be.

The “empty one” insisted that I keep trying.   I wandered about, following the creature for almost an hour, but could never come within thirty feet of it.

Finally Kano picked the creature up and brought it to me.   He suggested we keep it as a pet and told me he thought it was cute.   It was a strange creature with a narrow face, a pudgy rear and slick fur.  I petted the creature and talked to it.

“Why are you so frightened of me?   I only want to eat you.”   I laughed yet I felt a tear come to my eyes.  It was certainly not because of sympathy for the paca.   I feel very comfortable with the idea of eating meat.   Perhaps my subconscious  remembered some painful event which was evoked by this situation. Kano released the paca and once again it bounded for the bushes.

“I thought you were going to keep it as a pet?”

“Do you really want to?”

“Sure!”

“Alright, you get it and bring it home.”  Apparently the paca had grown used to us as I had no trouble picking it up this time.

As we walked back to the hut, Kano said that we could really stuff ourselves on that much meat.

“What do you mean?  Are you going to eat it after all?”

“Of course.  I only said that stuff about keeping it as a pet so you would walk over to it with a friendly feeling.  I taught you how to catch it.”

“Kano!  How could you?  That’s not fair.”

“Not fair?   Why isn’t it fair?  I said I was going to teach you to catch a paca and I did.  That’s fair.”

“But there are morals here.  The only reason I was able to catch it was because I thought of it as a pet.  And now, in a way, I’m lying to the paca.  That’s not fair.”

“Lying to a paca?   I don’t know about such things.   I neither lie to paca nor tell them the truth.  I just eat them.”

EXCERPT FROM “THE DOUBTING SNAKE”

The next morning at breakfast Kano took a small portion of his meal and threw it away.   He did this at every meal.   I always assumed there was dirt on that portion.   But his persistence in this behavior finally caught my curiosity.

“Kano, why do you do that?”

“So you have noticed me sacrificing my food.   The food is what builds our bodies.   One day we will have to sacrifice our bodies.   So it is good to sacrifice a piece of each meal.  This way, we are always ready to sacrifice things.

“Why think in such negative ways – death and sacrifice?”

“I am a happy man, am I not?”  I had to agree that if Kano was nothing else, he was happy.

“And look what I have sacrificed.   Do you know what I have sacrificed?  I have sacrificed my understanding.”

“What do you mean you’ve sacrificed your understanding?   Did you, yourself do that?”

“Yes.  I sacrificed my understanding just as last night you gave up trying to figure out how to get home.   I once understood things, like you.  And yet, I couldn’t find my way home.  Then I gave up my understanding and now come home with ease.   And I am happy.

“I have a place to sleep, food to eat and friends with whom to pass my time.   When the mood strikes me, I sing and at times, I cry.  I don’t know enough to do otherwise and I am happy.

“I am happy whether I laugh or cry, for even in sadness there is joy.  I am happy to be a man, to be a living creature and when I call out to the forest, she gives me what I need.

“She sends me a butterfly to hold, but when it decides to leave, I let it go.  She gives me food, but when I am finished with it, I let it go in the outhouse.

“When I see her beautiful sunset, I let it go and night arrives.  When I have enjoyed the dry season for half the year, I let it go so the rains may come and the plants will grow.

“And when this life comes to a close I will look back at all the wonderful things that have happened to me. I will know that my joy in life would not have been possible without knowing how to let go of just those very things which brought me joy.   And so it will be with joy that I die.”

THE DOUBTING SNAKE by Bob Klein is now available on our “Online Store”.  Click onto the link in the  right hand area of this page.  You will then find the novel on the left side set of links on our online store home page (www.movementsofmagic.com).

LEARNING TO FEEL

Another episode of my experiences learning from the people of the jungle forests of Central America:

Carlos came down from the hills to our little “town” early in the morning.  Eduardo handed him a cup of coffee and we all waited for the cow to be milked for the cream.  When Eduardo’s son came running over with a bowl of cream, he spilled a little into each of our cups.  Carlos told me that he wanted me to come with him to his cousin up the river so as soon as the coffee was finished we began to walk up the trail alongside Rio Chepo.

A couple of hours later I asked Carlos how long it would take to get there.  He asked, “What difference does it make how long?”  I suggested that we could get there quicker by taking the canoe taxi which was a dugout canoe powered by a motor that took people up and down the river.  He said, “So?”  I explained that back home in the U.S. we tried to find the quickest ways to do things.  He turned and kept walking and reminded me that I was not home anymore.

On the way we met a troupe of howler monkeys in a tree.  Carlos extended his arm and several of the monkeys came over to him and they patted each other on the back.  I was surprised.  He motioned to them to pat me on the back and two of the monkeys actually shook their heads, “No” as if that was out of the question.  But Carlos convinced two of them to climb over to me and pat me.  They then quickly retreated into the tree as if they had just survived a daredevil act.

We then went up a trail away from the river and into the hills.  I was a little worried.  I knew that there was a little store along the river trail and I was hungry.  I asked Carlos if there was a store along this new trail.  He assured me that this was not a shopping trip.  When I told him I was hungry he simply said we would have something when we got there and that was that.

We passed a few huts along the way and they were starting their evening cooking fires.  When we stopped at one hut I could see a little stream about fifty feet away.  Carlos sat down and began talking to the people, two men, two women and a few children.  They were not speaking Spanish but I understood that Carlos was explaining who I was – a zoologist from America who came to study reptiles. 

One of the men came over to me and started speaking but I didn’t understand him until he asked, “Don’t you speak English?”  I told him I wasn’t expecting anyone to speak English so I wasn’t prepared to hear it.  He told Carlos what I had said but Carlos said he knew enough English to understand me.  They both looked at each other and nodded and Carlos told me to just sit by the fire and relax.

An hour later both men came back and told me they had bought some cold soda from a nearby store that had a gas powered refrigerator.  They mixed it with some juice and gave me the mixture.  “You said you were hungry,” said Carlos.  I didn’t feel they were very good hosts.  A glass of juice and soda after a whole day’s walk?

They then brought me about ten minutes up the little stream and told me to sit on the earth.  Carlos said that Hector was good at explaining things.  That’s why he brought me here.  “Hector can explain things in English,” he said.  I asked Carlos why they use Spanish names for themselves when they are Indians.  He explained that they were “modern” Indians and needed modern names. 

Hector told me that I have to learn to hear the “old” language of the forest.  I am expecting to hear a “modern” language from the forest.  I told Hector that I don’t expect to hear any language from the forest, unless he means the noises of the animals.   He told me to just sit there and remember that I couldn’t hear his English because I wasn’t expecting to hear English.  There was some type of communication that I could hear or feel from the jungle that I wasn’t expecting.  He then left.

I was still hungry and the juice and soda didn’t satisfy me much.  In fact it was making me a little sick.  I must have fallen asleep and when I woke up I was still sitting on the earth.  It was very dark and I didn’t see Carlos or Hector.  I began to worry that a jaguar or other animal could attack me.  My specialty is the reptiles and I certainly wouldn’t mind a big boa crawling nearby.  But I wasn’t that familiar with jaguars.

The sounds of tree frogs and howler monkeys began to die down and all that was left was the sound of many insects.  It was an intricate orchestra of sounds and became louder and louder. 

Suddenly I became aware of the presence of an animal off towards the right about fifty feet away.  I couldn’t see it but my whole body responded to its presence.  My whole attention was focused on where I thought it was and dared not to move or I would give myself away.  But I somehow realized that it knew I was there.  My belly began to ache and pound.  My fear grew to such proportions that it became a huge presence of its own right in front of me.  I could not help but concentrate on that fear.  I forgot about the animal I thought was there and felt that I would be consumed by the fear itself.  Sharp pains and aches filled by belly.

When I heard a branch break I suddenly remembered the animal and realized that the fear had become a separate issue from the animal.  Fear fed the pain in my body and the pain fed the fear.  The two became partners against me.  Now the animal itself, which triggered the fear, didn’t seem so threatening.

I realized the idiocy of allowing fear to grow out of proportion, as if it were a real thing and I was able to let it go.  The pain in my belly subsided.  All that was left was the feeling of strong connection from my belly to some unseen animal in the forest.  There was no fear left.  I thought that there may actually not be any animal there but soon heard twigs breaking as the animal moved away and our “connection” broke. 

My experiences seemed very odd and then I fully understood the problem.  For some reason I was afraid that I experienced a communication with the animal that I could not see.  It was as if my sight needed to identify the animal that my “belly” felt and my sight itself became afraid. 

I now felt a very complex interaction of the forest with the center of my body.  Slowly my body became warmer until it felt as though I had no skin and was completely connected to the forest and aware of every part of it.  I didn’t need to see because the information coming in was, if anything, more detailed than what I could know with my sight. 

Hector suddenly appeared, pulled me up by the arm and walked me back to the hut, where everyone was sleeping.  He explained that I was afraid of the “old” parts of me, the parts that could “hear” the forest.  I asked him what those parts were and he replied, “The parts that can hear the forest”.  I wanted to know what specific parts of the body he was talking about but he shook his head and said, “Even when you know I am speaking in English, you can’t hear me!  You felt those parts tonight.  I sat behind you the whole time.  I could see you speaking to the jaguar.”

I asked him if it were a jaguar why it didn’t eat me.  “He was talking to you.  It wouldn’t be polite to eat you.”  He laughed and then said that jaguars don’t eat people.  Hector suggested that I pay attention to how my whole body felt the forest so that I could be as comfortable with the night as with the day.  “We have senses for both the night and the day.  People fear what they can’t see because they can’t feel.  They have been taught that feeling is the devil.  So they have a battle inside themselves.  What they see fights with what they feel.  Silly, isn’t it?”

He pointed to a plate of chicken, plantain, rice and vegetables on the table and finally let me eat.  Before going to bed he said, “Carlos wants you to stop fighting against yourself.”  I stayed up a couple of hours more because I didn’t want to lose the feeling of the forest.  The next morning I awoke on the patio floor.  The feeling of connection was gone and I was extremely tired.  Over the next month, more lessons would drive home this new sense of talking to the forest so that the feeling would never leave me again.

BEING HEALED AT RIO CHEPO

This is an episode of my experiences traveling the jungles of Central America.  If you would be interested in reading more such episodes, please let me know in the comments for this article.  I will be happy to write more.  (Note: These experiences formed the basis of my novel, “The Doubting Snake”).

A heavy rain danced on the swollen River Chepo.  I huddled under a bean pod tree in my dugout canoe, basically a long log carved into a canoe.  Once in a while, I grabbed a bean pod, opened it up to reveal the beans covered with fuzz and popped the sugary, fuzzy beans into my mouth, sucking out the juice. 

Suddenly Miguel appeared on the shore, walking along what appeared to be a trail along the river.  He grabbed a branch, leaned out over my canoe and asked, “Are you hiding from the rain?  It is good to get wet.”

I realized how ridiculous it was to hide from the rain when the temperature in this Panama jungle was over eighty degrees.  I saw other people paddling up and down the river in the rain.  So I returned to town (a group of about six stick huts). 

Miguel was already there and had apparently told people that I had hidden from the rain.  A few children ran up to me holding pieces of paper above my head (to protect me from the rain) and they laughed. 

Back on Long Island, my home, I hid from the rain and from the cold and from the traffic, etc.  It seemed that a large part of my life was hiding from things.  Here in the jungle, the mood of the people was to connect with the environment and with each other.  When I realized this difference, it was startling.  Hiding was the theme of my life up North and connecting was the theme here in Central America. 

Carlos was visiting and asked me to come back to his stick house up in the hills about three miles away.  He would answer the question I asked him yesterday about healing.  Carlos was an approximation of his Indian name.  The Spanish people of the town couldn’t (or didn’t want to) pronounce his real name.  Carlos was around seventy years old, wiry and vibrant and lived alone.  He was the best know healer of the area.

I had asked him, “When you heal, what do you feel?”

Carlos brought me into his hut.  After walking all those hills (and after having paddled up River from Chepo City to get supplies) I was ready to go to sleep.  But I was anxious to hear his answer to my question.  Carlos built a fire and kept adding wood to it.  Yet he didn’t seem to be preparing a meal.  Usually meals are cooked on a stone table.  Several sticks are laid on the table like spokes of a wheel and they are burned.  The pot is placed on top of the burning sticks.

But Carlos made a fire in the ground in the middle of his hut.  After a couple of hours there was a large pile of burning coals in the fire and it had gotten dark outside.  I was still waiting for him to answer my question but knew not to rush him.  Everything to him was a ritual.  He threw some herbs on the fire.  I can only describe their smell as “friendly” or “delightful”. 

We both continued to stare into the coals until I realized that it was morning.  I don’t believe I slept at all.  I remember either a sensation or perhaps, it was a dream.  The coals were burning away an army of what I would call “antagonists” which “lived” in my back.  I could only interpret this as the tension in my back (probably caused by sitting in one position all night).  The coals seemed to burn away these antagonists or bad feelings and my back was filled with warmth. 

Then my sternum seemed to split open and I felt another “army of antagonists” living in the front of my body also burn away (again probably tension).  As the front and back of my body seemed to melt and open, the “friendly” smell of the burning herbs filled my body as if to take the place of the bad feelings.  I felt very happy and positive as if I didn’t need to know anything else. 

My concentration was broken as a woman started talking outside and I smelled breakfast of eggs, rice and beans.  Carlos said something to her in an Indian language and she brought the food inside.  He told me to go outside before eating.  I looked at him wondering why I needed to go outside, especially since it was raining.  Then I remembered that I shouldn’t be afraid of the rain.  I went out expecting him to follow but Carlos stayed inside.  The cynical thought came to me that he was going to eat all the breakfast.

Suddenly that thought felt like one of those antagonistic feelings living in my back.  As the rain poured down my body, this feeling was quickly washed away.  Little by little, a lot of feelings inside of me were washed away.  Soon, there was little of me left, as if the coals had burned me up and now the rain was washing away the cinders. 

Carlos called me back in and I sat down.  The woman, middle aged with a hint of a little girl still inside of her, gave me a plate of breakfast.  As I began to eat, Carlos told me to look outside (the door was just a big opening in the hut).   The rain had stopped and the sun was bright.  Butterflies and birds began to visit the plants around the hut and every plant was glistening.

“Like that!” Carlos said.  I said, “What?” 

“I feel like that when I heal,” and he nodded out the doorway.  I continued to watch the flurry of wildlife activity against the glistening plants as I finished my breakfast. Perhaps I understood what he meant or there was just too little left of me to care.  I wanted to go out and be in the hills.  As I looked back at Carlos, he poked his chin towards the door as if to say, “I answered you so now go home.” 

As I walked the hills back to the little “town”, there was less of me than before and more of the jungle.

THE CENTER OF THE DRUM

American Indians use the drum as a form of meditation and as a metaphorical representation of the development of consciousness. Imagine a hand-held drum made out of a six-inch wide ring of wood. An animal skin forms the head of the drum. A long strip of leather winds in and out of holes drilled into the ring of wood. The leather strip crosses the inside of the drum at many points, weaving through the holes on the other side of the ring. The result is that on the inside of the drum, you have many strips of leather across the center. The drummer holds the place where the strips cross.
Imagine that the ring represents the world and that each strip across the inside of the drum represents one aspect of our being (one “element”). One may represent the body, another the thinking mind, emotions, will, memories, the senses, creativity, attention, etc. When you hold the drum at the center, you are “balancing the elements”. This means that you are controlling the relationship among all these aspects of your being.
The beating of the drum represents time. The sound that results represents how your individual spirit (individual Tao) creates the quality of your life, as you live your life through time. The drummer varies the tightness or looseness of the various leather strips as he or she drums, to vary the sound. This represents the way we can be creative with our spirit in the way we interact with the world (the wood ring of the drum).
Drumming then becomes a beautiful way to understand how we form our lives by creating a cohesive feeling of who we are (represented by the center of the strips that the drummer holds) based on the relationship of the elements. Each person usually emphasizes one element more than the others and uses that element as the center around which the others are balanced. For some, the thinking mind may be the most important element. For others, it is the emotions. The skill in balancing the elements in all ancient cultures is to keep all the elements balanced.
Yet I have found that in all the cultures I have studied, one element is considered the best to use as the balance point. Those of you who have followed these weekly lessons will not be surprised to read that this element is, attention. It is consciousness itself. Balancing the elements really means paying attention equally to all the aspects of our being. We need to pay attention to our physical health as well as our mental development as well as our emotional balance, etc. Within the body, we need to pay attention to all those muscles, joints and other parts, making sure that each is relaxed or flexible or whatever quality that part needs to have to function well. We too often neglect our bodies in general or, even if we exercise, we may not practice an exercise that works all parts of the body and relaxes as well as strengthens.
The drum analogy also points out another aspect of training that is important in Zookinesis and Tai-chi. Those strips across the back of the drum are constantly varying in their tightness and looseness. The drum wobbles back and forth to create interesting sounds. Too often we get stuck in one dynamic of how those elements behind the “drum” (behind our everyday lives) blend and play with each other. We become rigid in our thinking, in our emotional state and other qualities and loose our creativity. The “sound” that comes from our lives becomes a dreary beat of time leading to our sad deaths.
The alternative is to live our lives as if we were creating joyful music with each day. What can you do this day to be creative with your life? It may be something small, such as eating a different breakfast than usual. But if you get used to asking yourself how you can be creative each day, that will gradually bring creativity into your life. It will bring your attention to how you can use the elements to live a creative life. That hand that grabs the center of the leather strips and plays creatively with them, is you. It is the interaction of attention and creativity, the interaction of yin and yang. Attention centers. Creativity varies.
We may complain that the everyday problems of life make it hard to stay with our practice. We just don’t have the time or energy. Let’s go back to the drum. We have the drum and the hand holding the drum. Yet can it make a sound without being hit? The stick hitting the drum is the everyday problems and activities of life. The resulting sound comes from the interaction of how we “hold” our spirit and how the everyday activities of life resound on that spirit. In this way, drumming represents life itself. When you listen to a drummer or to any musician, you can tell whether he is playing from his spirit or if his music is just technical. He may be technically proficient but that alone will not stir an audience. You may have another musician who is not all that great technically but his spirit shines through the music. We can forgive the lack of technical proficiency. The lack of spirit is harder to forgive.
In the same way there are people who are very proficient at certain elements. They may be good at acquiring wealth or have great knowledge. But what is the quality of their spirit? Each of us has a great wealth. We have the wealth of our attention and creativity that is given to every person in the world. We can stay centered (not give in to anger, greed or jealousy) and be creative (love the challenge of doing the most with what we have). We can make every day of our lives an act of balancing the elements, of facing the problems of life with creativity. That stick will continue to hit our drum but we can determine what sound it will make.
When we practice our Tai-chi form or Zookinesis exercises, remember the interweaving strips that meet at the center behind the mechanics of the movements. Bring your attention to the center and from this center, be creative. At one moment your mind may kick in, the next moment, your emotions or your will or a memory. Allow this interplay with the elements but don’t shift your attention from the center.
The interplay of the elements should not be suppressed as long as your attention does not get pulled by any one of them. Sometimes an element may try to steal the attention from the center. A thought, for example, may try to convince you that you need to pay full attention to it and abandon the center. You can develop the ability to quietly be aware of the “antics” of the thinking mind without getting caught up in them. You are like the parent, watching the antics of a child and the thinking mind is usually very much like a child. It wants all of your attention and does anything it can to get that attention. It is jealous of any attention you give to any other part of you.
For many people, the elements of their being are very much like jealous children and there is chaos inside of them. The practices of Tai-chi, Zookinesis and drumming are designed to create harmony where there was chaos by keeping the attention centered and creativity active. I love studying how other cultures try to achieve the same results as the Taoist culture. The teaching techniques may vary but the goal is obviously the same. The external harmony of music not only reflects the internal harmony of the musician but also resonates a harmony in the listener. When you see a Tai-chi practitioner doing a Tai-chi form, that also resonates in the viewer. Harmony is the interplay of centeredness and creativity. If everyone in the world had such a practice in their lives, how the world could change for the better!