On the Emergence of the Divine Feminine...
An Interview with Celeste Allegrea Adams
Author of “Keepers of the Dream”
By Donna Strong
Reading “Keepers of the Dream” was a profound pleasure. The author, Celeste Allegrea Adams, has written a story that illuminates the unified magical web of life, a kindred community that is intact, despite appearances. “The Cultural Creatives” authors, Paul Ray and Sherrie Ruth Anderson, have addressed the vacuum that currently exists regarding ecological vision. Ms. Adams has risen to the challenge, providing a kaleidoscopically-rich landscape to inspire our ability to perceive new ecological possibilities of connection and kinship on this planet.
Told as a quest for the holy grail of the heart, this story involves three women: The great mother figure Eartha Mae, her ethereal sixteen-year-old daughter Evangeline, and Betina, an archeologist in a mid-life crisis. On a search to be reunited in a living connection with the sacred earth feminine, spirit calls each one to a different way of being. Through rekindling the connection of the heart; this trinity of women rise up to cut through depression and despair, analysis and doubt, victimized pain and suffering.
With a spiritual vibrancy and a poignant humanity that is compelling, this work of bold vision tantalizes and tickles us to expand and open the doors of perception. Ms. Adams has provided a true compass of the heart, inspiring a direction for the positive potential of living intelligence to emerge. “Keepers of the Dream” is a work that uplifts and rejoices, inviting us to celebrate the magical splendor of creation.
DS: Why did you write “Keepers of the Dream?”
CAA: One purpose of “Keepers of the Dream” was to create a feminine metaphor for the sacred-life energies that live in all things. All religions have their own set of metaphors, but as Joseph Campbell points out, trouble arises when people get stuck in the metaphors and interpret them as fact. Imbalances have occurred in Western civilization for thousands of years because the dominant metaphor has been the trinity of Father, Son, and Holy Ghost.
In the feminine trinity depicted in “Keepers of the Dream,” Eartha Mae is the self-proclaimed incarnation of the Great Mother, and Evangeline is the divine daughter. Their story is book-ended, in the beginning, by Betina’s references to the ancient Great Mother spirit (whose archaeological remains are the focus of her studies), and at the end in her daughter, the young earth spirit, (who emerges as the voice of the mystery text announcing the possibility of a New World of pristine beauty).
DS: How can we transform into a Creatrix, like your character Eartha Mae?
CAA: We become a Creatrix when we lose interest in living as a victim of circumstance and decide to live in a world of our own creation. As a Creatrix, we recognize that we can choose how we respond to any situation. By creatively finding opportunities in all situations, events do not shape our life — we shape the event. Our life is more than a reaction — it is an act of creation.
Those who choose to see themselves as creators of their world, move into a place
of enormous personal power. A Creatrix enjoys taking responsibility for
everything in their life and feels compelled to shift the things that aren’t
working in the world.
Eartha Mae’s journey down the Mississippi is about her transformation into a Creatrix. When we first meet her, she is in a depression and sleeps for days on end, waking only to eat. The wind carries Evangeline’s voice to Eartha Mae, bringing with it an idealized image of her mother. This dream helps Eartha Mae transform from a victim of her husband’s brutality, to a Creatrix of all things.
Like most people, there are times when she believes in her highest self and her greatest potential, and other times when she doubts that she is capable of anything extraordinary. She is stunned when she realizes how seriously her misery impacts the world and slowly recognizes the power of her intention.
We all have this same power to affect the world. The idea that the flapping of the wings of a butterfly could alter local wind patterns so they would affect the formation of tornadoes, came from Lorenz’s work on chaos theory. This concept is a reminder that our influence and power is far greater than anything we imagine.
DS: The two minor characters, Malcolm and Peter, have very different perspectives on the earth changes. Why are these shifts happening and what is your perspective on the idea of earth cycles?
CAA: Both Malcolm and Peter are knowledgeable about calendric systems, though they respond very differently to the shifts taking place. Malcolm hides out in an underground shelter to survive the apocalyptic cataclysms. Peter, on the other hand, sees it as a galactic New Year and is excited about the changes that will occur.
The shift in cycles is popularly described as an end of the Piscean Age and the beginning of the Aquarian Age. The Piscean Age began at the time of Christ and is symbolized by two fish swimming in opposite directions, a time when polarities of perception dominate. Now we are at the beginning of a new 2,000-year period, the Aquar-ian Age — it is described by some as a time when there will be a balance between male and female energies and by others as a time when feminine energy will reign. According to the Hindu tradition, quite a number of cycles are coming to an end. The 438,000-year cycle known as the Kali Yuga, the 1.8 million-year Satya Yuga, the 4.4 million-year cycle called the Maha Yuga, and the 4.4 billion-year cycle called the Kalpa are all ending at once.
Change is the only constant in the universe, since the pulse of life moves through everything in cycles. By choosing faith and trust over fear in response to earth changes — and even to the current threat of terrorism, and the potential of war — we move into a position of our greatest personal power.
DS: What kinds of myths do we need for the new millennium?
CAA: We need more myths and stories about healing and nurturing and less stories about aggression, destruction, and warrior power that dominate our national mythology and Hollywood films. By creating new myths for the earth, and reviving and reinterpreting old earth-centered myths, we can take a stand for nature and our environment.
The role of the artist is crucial in helping people to become more aware of the transcendent beauty of the earth and of all creatures on it. This new mythology needs to be created in all forms, including television, novels, short stories, poetry, and paintings, and in the feature films that Hollywood sends to countries all over the world.
DS: You talk about worship of the great mother in prehistoric times and allude to Marletta and Fogarth’s heretical worship of the feminine in Medieval times. What is the connection between the two and what effect will the emergence of the divine feminine have on society in the new millennium?
CAA: Western Civilization once had an earth-based spirituality where society was built on partnership rather than domination, (to use Riane Eisler’s terminology). These societies worshipped the Great Mother in the Mediterranean region before patriarchal systems took over. The pervasive power of the feminine did not completely end when Christianity and the trinity of Father, Son and Holy Spirit were embraced.
The feminine aspect of divinity continued to be worshipped in the form of the
Virgin Mary, though the myth of Immaculate Conception made her into a chaste
vessel and stripped her of her former power as Creatrix and fertility goddess.
Recent scholarship suggests that heretical groups like the Freemasons, the Cathars, the Knights Templar and the Priory of Sion secretly embraced the feminine, in the form of Mary Magdalene. The black Madonna was worshipped along with Mary Magdalene, in places that might once have been pagan centers.
Scholars such as Lynn Picknett and Clive Prince, in “The Templar Revelation,” suggest that the black Madonna may have been Mary Magdalene. Worship of the power of the feminine and of sexuality as a pathway to God went underground during the 2,000 years of Christianity. Now we have entered a new millennium where the re-emergence of the feminine aspect of divinity should shift cultural values away from war and aggression, to peace, tolerance, and sharing.
DS: Will feminine energies dominate in the new millennium or will we move into a balance between the masculine and feminine?
CAA: I think there is a continual evolution between cycles of masculine domination, periods of balance, and cycles of feminine domination, since change is the nature of being alive. At the present time, we are experiencing a feminine emergence which will lead to a period where there will be a dominance of feminine energy. I have enjoyed hearing my friend, Choc-taw Shaman Many Knives, speak of these shifting energies as a beautiful dance, between the sky father and the earth mother, with each one allowing the other to take the lead at different times, and each one caring for the needs of the other.
DS: How did you find the voice of the ancient mystery text?
CAA: Discovering the voice of the ancient text was one of the most electric, emotional, and mystical experiences of my life. Chills ran up and down my body like a current, while tears streamed down my face. I was blinded by the radiance of this young earth spirit and realized that it had to be the voice of the ancient mystery text as well as one of the final voices in my novel. I started typing and there was magic all around me — spark-ling light and singing.
I believe that above all else, this will be the voice of the future — the voice that brings the renewal of wonder, mystery and celebration of life. I look forward to the luxury and blessing of accessing and sharing the exquisite fullness of this voice in future writings. Et inhoresco et inardesco.
DS: What is your spiritual back-ground and orientation?
CAA: As a child I attended Unitarian services where we honored the wisdom found in all religions and appreciated many different pathways to the Great Mystery that is in all things. As a teenager, my focus and passion was on tuning myself to the celestial Music of the Spheres — my artwork and short animated film was a daily meditation on this theme.
During my teenage years, I read everything from Gurdjieff, to Carlos Casteneda, to writings on Pythagoras, and then began exploring ritual and spirituality in cultures all around the world. I have camped out with the Bedouins, Berbers and Tuaregs, explored ancient ruins around the world, and participated in shaman gatherings and modern-day rituals like Burning Man.
My faith is deeply personal and has no name. I feel an electric connection that alerts me to profound truths — these moments tell me everything I need to know and guide me on my path. You could say that sometimes I am an ecstatic, often I am a Creatrix — when I write and create my world — but always I am a Celebrant in that I live the dance and song that celebrates the Mysterium Tremendum.
DS: It’s easy to visualize this book as a film.
CAA: I originally wrote it as a script, and it is my hope that it will be picked up by the right production company so it can be made into a film. We need to move away from the violent films with warrior themes of the past century, and remind ourselves that we can create the world of our dreams, by holding a vision of possibility in our hearts. Like the emerging magician archetype, found in films like “Harry Potter” and “Lord of the Rings,” the character of the Creatrix, Eartha Mae, reminds us to honor our dreams and visions for the highest good, above all else.
Celeste Allegrea Adams is writing a non-fiction book on “Becoming A Creatrix,” and is conducting workshops on the subject. You may visit her website at www.CreatrixStudio.com for workshop dates. You can order “Keepers of the Dream” on that website; call (310) 829-6407 or e-mail info@CreatrixStudio.com
Donna Strong is a writer and inspirational speaker. Writing on issues of public policy she has covered the arts, grants, work programs, regional planning and development, and public resources. She can be reached at (714) 235-7346 or www.donnastrong.com
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