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Speaker 1: Hello everyone.

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Speaker 2: It's the Halloween season, and I've talked about Halloween several times.

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I've talked about monsters several times, and so I was

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wondering what I could talk about this year, and I

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figured I could connect this with a surprise that we're

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going to tell everyone is that on October thirty first,

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on the day of Halloween, we are going to launch

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a new fairy tale, Little Red Riding Hood, And so

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we decided to launch it on Halloween because.

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Speaker 3: There is a very strange connection between Little.

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Speaker 2: Red Riding Hood and Halloween, and so I thought that

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would be a good subject for the video.

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Speaker 1: Today, this is Jonathan Pehel, Welcome to the Symbolic World.

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Speaker 2: We have been teasing it for a while, but now

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is the official announcements. We are publishing a version of

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Little Red Writing Hood, Little Red Writing Hood and the

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Big Bad Wolf, written by me, of course, and illustrated

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beautifully by Chris Weaver. It is a very important tale

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to tell right now and deals with a lot of

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the issues that we're seeing in our culture. And so

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we've also added the symbolism of in the book. So

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the fairy tale and the symbolism of is contained in

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the same book.

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Speaker 3: We're starting the pre orders.

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Speaker 2: Today on Halloween, and all people that pre order it

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will get an audiobook version of the book that I've

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recorded myself, and the first one thousand people to order

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the book will be invited to a special Q and

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A which we will discuss and have fun and talk

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about all of the questions surrounding liter ret or ridinghood

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and whatever else you want to talk about. And so

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go to store dow thesymbolic world dot com and.

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Speaker 3: Order your book today.

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Speaker 2: One of the things that characterizes Halloween, of course, is

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the trick or treating. This is the aspect that we

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have preserved the most, that we know the most, and

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so intricate treating. What you have is someone who comes

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in a disguise to your house to ask for a treat,

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to ask for something to eat, and if you don't

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give them something to eat, then you get a trick.

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And so in some ways you have to propitiate the monster, right.

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It really is, as I've mentioned in my other videos,

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it is a little moment where you kind of understand

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the problem or the issue of when these little monsters

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come to you, and so you give them a little something,

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a little something to eat.

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Speaker 3: Then they go away.

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Speaker 2: They will come back, but they will go away for

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a little while. Now, what is the connection between Little

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Red Riding Hood. Now, of course you probably guess it

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already as I'm telling you what Halloween is about. But

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what is the difference between it. Of course, in the

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story of Little Red Ridinghood, you have a monster, you

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have a wolf, you have something that will devour you, right,

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and that is very important to understand in some ways

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what a monster is, especially in the case of Halloween.

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It is something that comes from death. It is something

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that is there to hurt you, to destroy you, a

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vampire or were a wolf, all these different things. And

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so this monster comes to the house of the grandmother.

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And so now the sequence of the events is different

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from Halloween. But this is of course how symbolism works.

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Once you kind of understand you can notice that you

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have to be able to lay out the land and

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understand things how they relate to each other. And sometimes

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the sequence of the way they come together is not

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the same, but it will still point to the same

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kind of symbolism. And so the wolf comes to the

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house of the grandmother in a disguise. He pretends to

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be Little Red riding Hood, and so you have already

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a kind of opposite of what happens at Halloween. In Halloween,

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you have little children that are innocent that come dressed

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as monsters. So you have this kind of strange situation

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where in some ways it is the opposite of Halloween.

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In the story of Little Red Riding Hood, the wolf

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plays the trick at the outset and so asks the grandmother,

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you know, if he can come in as Little Red

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riding Hood. And once the grandmother lets the wolf in,

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then he eats the grandmother. And so you can see

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that the elements are kind of there, all there, but

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they're not in the same order.

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Speaker 3: Of course.

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Speaker 2: In Halloween, it is children dressed as monsters. They come

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to the house and they ask for a treat, and

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if they don't, then they trick you. Here, the wolf

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comes to the house dressed as a little girl. It

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doesn't ask for a treat, tricks you and then eats you.

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All right, And so what's important to understand is to

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really kind of understand it as a basic structure. The

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best way often to think about this in terms of space.

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So you have your home, you have your house, and

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your house is the place where you are safe. It's

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the place where you find your identity, it's the place

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where you find your origin. And then on the outside

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of that house are strangers. There are different levels of strangers.

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Of course, there are your neighbors, and those neighbors usually

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are not dangerous. But then there are strangers that are

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farther away from you that you don't know what their

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intentions are. And then they're strangers that are in some

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ways so far from you that they don't have your

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good in mind, right, because they don't identify with you,

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and for that reason, they don't feel like they necessarily

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have your good in mind.

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Speaker 3: And therefore this is of course, you know what a

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war is.

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Speaker 2: A war is strangers that don't have your good in mind,

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that are willing to put your you know, your good

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to the service of theirs, right, And that is or

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is the danger with strangers is that sometimes strangers, because

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they're not aligned with our purposes, we don't know what

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they want, we don't know what their allegiance is to

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and of course sometimes this can turn into danger. Right.

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That's why you tell children don't talk to strangers. Of course,

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we used to tell children don't talk to strangers, not

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because strangers are immediately bad, but because strangers are unknown,

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and because we don't know what their allegiance is and

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we don't know what good they're pursuing. And so you

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have this stranger that is on the outside, and the

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stranger or the strange, right can be represented of course

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as a predator. If the stranger is there to it doesn't.

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Speaker 3: Have your good in mind.

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Speaker 2: If like in a war, the stranger sees you as

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food for them. They want to take your land, take

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your you know, make you a vassal state or whatever

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that is. And in that sense they see you as

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food for their for their sake. And then there's also

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the sense that they are a monster. That is, they

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are unknown, they are they they are a mixture, they're chaos.

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And in the story of Little Red Writinghood, we often

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don't realize that the wolf, of course, the talking wolf

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is already in that world. That is, a talking wolf

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is something like, you know, the speaking serpent in the

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garden is not a usual animal. It is in some

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ways an animal that is replying, right. It is an

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animal that is not, let's say, subject subdued by the human,

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but is rather speaking back. You could say and answering,

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or you know, trying to impose their meaning on you.

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And that in some ways is what it means for

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a monster to eat you, right, is that in general

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animals are subdued to us, that as we rule over

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the animals. But once in a while the animals come

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and they can devour us, the wild animals. And then

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you can represent that, of course as a monster. You

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can represent it as a speaking wolf or a speaking

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serpent that wants to impose their rule on you. And

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so you can see that this is what's happening in

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Little Red Riding Hood, and in Halloween you also have

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the same structure, that is the On the night of Halloween,

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we kind of put on a little play or a

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little game where we experiment the question of monsters and

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the questions of the strains, the question of that which

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is dead to us, which comes out and now roams

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the streets and comes up to our house and knocks

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on the door. So when they knock on the door,

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they are in some ways coming to your identity and

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asking to be let in. You could say, now, you know,

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when you deal with something that is from the outside,

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you also have to be careful to realize that what

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extent do you let it in?

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Speaker 3: You know, and this is of course something that you

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do every time.

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Speaker 2: You know, if a mailman comes to your house, you

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won't let them into your bedroom. You might maybe let

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them into the entrance door, you know, to get the

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letter or whatever. If a salesman comes to your house,

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you won't completely let them in.

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Speaker 3: But if your friend comes, you let them in.

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Speaker 2: Right. We've talked about this several times on this channel before.

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And the stranger or the monster then appears as this

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unknown thing that might want to hurt you, and of course,

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in the case of Halloween, what you do is you

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give them a little something so that they don't eat you, right,

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you could say, so that they don't trick you, so

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that they don't eat you.

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Speaker 3: It is really a version of propitiation.

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Speaker 2: And as I've said on several occasions, of course we

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think that that's weird, you know, it's kind of pagan,

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and maybe in some ways it is. But we have

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to understand that doing it as a game is a

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way to understand that.

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Speaker 3: We do it all the time.

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Speaker 2: Right, where we propitiate things that are outside from us.

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Speaker 3: We propitiate that.

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Speaker 2: Say, our desires that are there to that are trying

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to devour us, will give them a little something in

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order to keep them for a while. And this is

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of course what we do right all the time. So

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you know, you can see this happening in some ways

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right now in North America, where let's say, you could say,

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in order to keep people calm, you know, for a

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very long time. How can I explain this, in order

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to keep people calm, or in order to keep people

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from kind of bubbling up. Then in certain states, for

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example California, they've made shoplifting legal, like or not legal,

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they at least decided not to prosecute it up to

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a certain amount of money. And that is in some

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ways a way to propitiate, right It is in some

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ways you have these people that are hungry, you could say,

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and that are threatening.

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Speaker 3: And you give them a little something so that they

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don't so that they.

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Speaker 2: Go away, They go away for a while, but then,

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of course, like I said, the problem is that they

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come back. Now, this isn't in some ways neither can

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say neither positive nor negative. Uh. You know, when when someone,

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let's say, a homeless person comes up to you and

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asks you for money, in some ways, that's what you're doing.

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You have someone who's strange, whose intentions you don't know,

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someone who is roaming right, like the they could say,

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like the roaming spirits on Halloween. And that person asks

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you for something, and you give them something in order

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to to of course help them, but also in some

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ways to keep them calm right, so that they don't

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they don't like lose control and start to to rob people,

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because if they receive a little bit of something continuously

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in some ways, that can maintain their their peacefulness, you

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could say, in the world. And so, like I said,

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it's actually it's not a it's not a really a

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moral question most of the time.

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Speaker 3: Sometimes it can be a more question. But in the

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case of literary.

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Speaker 2: Writing hood, then you can really see the structure play

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out really in the sense of you have a strange

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monster that is pretending to be something that it is

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not right.

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Speaker 3: It is a wolfman.

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Speaker 2: Dressed as a little girl, or parading as a little

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girl in order to come in and eat the grandmother,

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and then parading as the grandmother in order to eat

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little red riding Hood, etc.

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Speaker 3: Etc.

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Speaker 2: So you can kind of see a good example of

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what happens if you're not careful of what it is

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that you let in to the house, and why we

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say that you have to you tell your children to

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be careful around people whose intents you don't know, to

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be careful around strangers. And so in our version of

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Little Red Riding Hood, we in some ways are really

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you could say, hitting the nail right now, because it

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feels like some of these questions of a a hybrid,

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you know, creature that wears women's clothing, you could say

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that you know, is impersonating grandmother in order to eat

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your children. It seems strangely relevant in or at least

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has been strangely relevant in the last few years. So

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we thought it'd be important to, you know, publish a

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version of that story in order to help our children

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to know that, you know, to be able to distinguish

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or to be able to recognize the wolves, the wolves

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that are dressed in your grandmother's clothing, so that so

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that they don't get devoured. So in our version of

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the book, what we've done is, of course, I've added

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some sections. I think you will enjoy them. I've made

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the story a little longer, I've added a whole extra

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little bit at the end, which I think kind of

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helps you understand what the story is about. And in

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this particular version, we've also put the symbolism of Little

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Red writing hood at the end of the book. And

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so in one volume you get at the beautifully illustrated

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fairy tale by Chris Weaver, and at the end you

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also get a kind of symbolism of Little Red riding hood.

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So one of the aspects of Halloween that makes it

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so relevant is that in some ways it is the moment,

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you could say, where we start to notice, of course

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that the days are getting shorter, right, that the sun

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is going away, and so there is a relationship between

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the feast of the dead, between the idea of death

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and the sun getting lower in the sky, the days

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getting shorter moving towards the solstice. Now you know, symbolism.

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The way it crosses over, and these are techniques that

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can help you kind of interpret stories, is that there's

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a relationship of course between the idea that this happened,

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that the monster comes out and you know, comes out

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when the day is getting shorter, right with the idea

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of the midnight hour, right in the darkness, this is

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where the monster kind of comes out out and in

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Little Red Writing Hood the idea of going off the path.

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Speaker 3: Now, going off the path can be understood.

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Speaker 2: You can imagine the sun has a path, and then

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the sun is kind of disappearing into the darkness, right,

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is disappearing in the sky and going into the forest

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is related of course to night, and it is related

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to the idea.

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Speaker 3: Of losing your way. You know, if you lose your

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way when it's.

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Speaker 2: Dark, things are not clear, and there is a kind

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of ominous sense of not being in the place of life,

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you could say, right, And that is of course what

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happens when the sun goes down, especially in the lands

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where Halloween would have been developed, in the lands where

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we have fall and we have winter, and we watch

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things die, and we notice that the days are getting shorter.

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Things the world is getting colder, and there is death.

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That is that is happening, and that is of course

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connected to Little Red Riding Hood. When she moves off

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the path, one of the things she's doing is that she's.

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Speaker 3: Moving away from her identity.

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Speaker 2: Now, this is harder to understand, but if you meditate

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on the story of Little Red Writing Hood, you will

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understand that one of the main issues of Little Red

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writing Hood is about the idea of maintaining lineage, right.

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And so what you have is you have a mother,

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and you have this young girl who is usually twelve

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years old, who's usually right at the moment of puberty.

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And this young girl at the moment of puberty is

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sent to her grandmother's house, right, And so the mother

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gives her food and then sends her alone to her

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grandmother's house. So what you have in the case of

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Little Red writing Hood is a young woman, a young

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girl who is in between, right, is in between stages

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and is on the verge of kind of becoming a

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mother herself or becoming a wife herself. And so there

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is a sense in which this connection in the woods,

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you could say, of a path that connects the grandmother

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with the mother and then ultimately to her, is an

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image of identity and an image of lineage. And so

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when she and of course in the story is very

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particular because you know, her mother gives her a purpose, right,

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and the purpose is to serve her grandmother, right. So

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in some ways it is that's why it's so connected

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to identity. It's like, here's your lineage, and now you

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will bring food to your lineage. So you can maintain

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your lineage by helping your grandmother survive, but also by

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following the purpose that I'm giving you. So you can

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see in the story how purpose and lineage are connected.

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Speaker 3: And so when little Red riding Hood.

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Speaker 2: Leaves the path, she is of course going out into darkness.

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She is forgetting her purpose, She's forgetting the reason why

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she's on the path bringing food to her mother. She

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gets distracted, you could say, by the things on the

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edge of the path and the things that could tempt her.

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And of course that is when she encounters the wolf. Now,

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of course, in this particular story, in the story of

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literle Red writing Hood, there is also a kind of

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sexual element, you could say, related to this, because of

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course literle Red Writing Hood is reaching puberty, and so

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that is the moment when she will, of course become

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someone who can perpetuate the lineage of her family, perpetuate

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the limit of her grandmother and her mother. And so

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you can kind of understand that transition between these two

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places also as the transition of her becoming a woman. Now,

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in that transition there are all kinds of dangers, right,

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she can get distracted, she can become the prey of

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a predator, the prey of a sexual predator, the prey

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of someone who would trick her into all kinds of

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things and that would devour her lineage. Now you know

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this is sometimes people think that this is weird, but

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they're they're literally in some versions of the early Little

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Red writing Hood where the wolf when Little Red writing

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Hood arrives in the in the house of the grandmother

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and discovers her grandmother that has been replaced by the wolf.

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Speaker 3: The wolf will offer her food.

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Speaker 2: Which turns out to be of course her grandmother, right,

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So you can see that in the whole thrust of

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the story, there's this whole idea of this notion of

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destroying your lineage by something like cannibalism, which is a

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which I've talked about before. Cannibalism is of course a

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breakdown in normal causality, right, where you devour your your elder, right,

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and so you are made out of your elder, right,

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so your elder makes you and then and then you

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eat them, and so you kind of break You kill

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your own parents, but you also do them, and so

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all causality kind of breaks down. There's no you know,

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it's like who are you at that point if you

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eat their body and it becomes your body, everything becomes confused.

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So cannibalism is often an image of that type of transgression,

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but of course the transgression is there, you know, also

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in the way in which little Red Ridinghood is the

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prey of all kinds of predators that would prevent her

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from participating properly in the lineage right becoming a mother,

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becoming a grandmother, et cetera, et cetera, And so like

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the person that goes through puberty, and it's a kind

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of transition from one state to the other, it is

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represented as a little dying. Right. Of course, that little

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dying can be represented in all kinds of way in

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terms of the beginning of the menstrual cycle. All of

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these images and fairy tales are they're kind of there

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floating around you see that.

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Speaker 3: Of course, in.

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Speaker 2: The the story of Gyrus's Daughter, which is this twelve

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year old girl that dies, you know, the relationship between

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the issue of blood, all of this is integrated, of

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course in this story. So you can understand, and this

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is going to be a bit of a stretch for

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all of you, hopefully you can understand. You can also

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understand that when the sun goes down into the sky, right,

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when the days become darker and darker, there is less

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fertility in the land, right, so the land will not

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produce fruit. And so that transition is also related, you

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could say, to the fallow part of the fertility cycle,

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the normal fertility cycle of a human. So there's a

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connection between the idea of this aspect, right, a notion

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of death and of transition, and also of you could say.

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Speaker 3: Missed humans, right, or the idea of a residue.

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Speaker 2: Right, So the monsters they are in some ways residues.

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There's a connection of course between between the idea of

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not incompletely formed children and monsters. You know, if you

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know a little bit about stillbirth and you know a

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little bit about what happens sometimes, that many of the

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legendary monsters seem to have a connection, at least in

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terms of phenomenology, with the way that people saw stillbirths,

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and how certain stillbirths would have characteristics that would be

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similar to monstrosity.

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Speaker 3: And so this.

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Speaker 2: Idea of a failure of fertility is of course there

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in the notion of the moment of Halloween when the

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monsters come out, right, and then everything is kind of

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upside down. Instead of you know, the sun acting on

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the world and causing things to grow, now it's death

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that's coming out, and it looks like death is going

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to eat the cycle. It looks like darkness is going

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to take over. Of course, because we know the story,

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we know that it will return, that for utility will return,

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and that the sun will also return. But this is

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all related to the symbolism of course with literad writing hood,

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but also the symbolism of Halloween, you know, and so

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a lot to think about.

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Speaker 3: I hope that this makes sense to you.

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Speaker 2: This in some ways is a little more esoteric than

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what I usually talk about, but a lot of this

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symbolism is going to be there in the symbolism of

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liter red writing a book that is accompanying the fairy tales.

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So thanks everyone for your attention and talk to you

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suit bye bye. If you enjoy these videos and podcasts,

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00:23:37,319 --> 00:23:39,960
please go to the Symbolic World dot com website and

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see how you can support what we're doing.

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Speaker 3: There are multiple subscriber tiers with perks.

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00:23:44,680 --> 00:23:47,160
Speaker 2: There are apparel in books to purchase, So go to

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00:23:47,200 --> 00:23:50,039
the symbolic World dot com and thank you for your support,