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<v Speaker 1>You see something's going to happen.

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<v Speaker 2>What What's gonna happen?

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<v Speaker 3>What?

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<v Speaker 2>Help? Welcome to the Occult Rejects. This episode, we got myself,

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<v Speaker 2>Nick the Occult reject, we got Lisa the Occult reject,

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<v Speaker 2>mad Scientist, we got Ethan Indigo the Fourth Initiate, and

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<v Speaker 2>we got Jin the Ninja.

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<v Speaker 4>Uh.

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<v Speaker 2>Thank you all very much for joining me today and

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<v Speaker 2>the special guests that we have. We've got Julia Gordon Ramer.

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<v Speaker 2>But before we get to the guest, real quick, I

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<v Speaker 2>am gonna have the other people plug this stuff fast,

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<v Speaker 2>gin Please, sir, let everybody know where they can fund

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<v Speaker 2>your show.

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<v Speaker 3>Sure, thanks, boss. Okay, So, so I'm really excited for

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<v Speaker 3>this episode. Let me say I even I usually name

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<v Speaker 3>my own episodes after poetry, and I do have an

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<v Speaker 3>episode named Fire and Flowers, So don't call me out.

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<v Speaker 3>I'm owning it right now. And of course, thank you Lisa,

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<v Speaker 3>and thank you Ethan and Beg each of a guest

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<v Speaker 3>for also having me on. And you can find me

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<v Speaker 3>Twitter at Wukan Reborn or. My show is called Threshold Saints.

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<v Speaker 3>I have two episodes Onlina del Rey aside from the

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<v Speaker 3>episode on Fire and Flowers. So if people are interested,

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<v Speaker 3>they can check that out.

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<v Speaker 2>Awesome, thank you very much, and Neil, thanks will be

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<v Speaker 2>in the bottom. Ethan Indigo, sir, can you please let

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<v Speaker 2>everybody know where they can find your amazing work as well.

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<v Speaker 5>I'm honored to be here with you all as always,

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<v Speaker 5>and I have a couple of books that I've written,

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<v Speaker 5>and I tried to put articles out, just put one

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<v Speaker 5>out on a co research institute. And I am honored

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<v Speaker 5>to be here with Julia and here your insight. It's

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<v Speaker 5>into Sylvia Plath.

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<v Speaker 2>Thank you very much, sir. Again, his links will be

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<v Speaker 2>in the bottom. And last but not lease, Lisa the

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<v Speaker 2>ocult rejective mad scientist. How are you? What's going on?

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<v Speaker 1>I'm good, I'm good, thank you.

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<v Speaker 6>The only thing I have to plug is exactly what

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<v Speaker 6>Ethan was saying, is the Occult Research inst dot org,

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<v Speaker 6>where many, many of our wonderful contributors have contributed great

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<v Speaker 6>work in a literary form. So check us out there

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<v Speaker 6>Occult Research inst dot org.

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<v Speaker 2>All right, thank you. And finally to the guest Julia

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<v Speaker 2>Gordon Bramer. Real quick, I'll just put this in there myself.

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<v Speaker 2>She is a professional tarot card reader. She's a scholar

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<v Speaker 2>and an award award winning winning writer and poet and

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<v Speaker 2>former professional professor for the Graduate Writing program at Lyndenwood University.

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<v Speaker 2>So also the author of Fixed Stars, govern a Life,

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<v Speaker 2>Decoding Sylvia Plath, Taro Life Lessons, and The Occult Sylvia Plath.

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<v Speaker 2>Today we'll be talking about the occult Sylvia play. Thank

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<v Speaker 2>you again Julia so much. I guess if you want

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<v Speaker 2>kind of like plug yourself, let people know who you are,

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<v Speaker 2>what your deal is, and I guess after that, you know,

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<v Speaker 2>we'll get right into what got you doing this? So

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<v Speaker 2>thank you again?

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<v Speaker 1>Great? Hi, Yeah, plug myself. Wow. Uh, put me on

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<v Speaker 1>the spot there. I am, as you said, a professional

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<v Speaker 1>tarot card reader. I have clients all over the world.

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<v Speaker 1>I do readings by phone and by video. I do events,

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<v Speaker 1>so sometimes people fly me to events. Sometimes we do

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<v Speaker 1>events on video that can be fun and where they

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<v Speaker 1>stream me in much like we're doing this interview. And

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<v Speaker 1>uh yeah, So if anyone wants to hire me in

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<v Speaker 1>any capacity, they can look me up at Julia Gordon

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<v Speaker 1>Bramer dot com has that and then you know, the

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<v Speaker 1>writer thing is a whole other thing. But but yeah,

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<v Speaker 1>I make I make my living as a professional arrow

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<v Speaker 1>card reader, I'm one of Saint Louis's top ten psychics.

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<v Speaker 1>And yeah, I've been doing this for over forty five

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<v Speaker 1>years now.

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<v Speaker 2>Listen, yeah, yeah, yeah, yeah, you do have an impressive,

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<v Speaker 2>impressive resume on there. And that was another thing too,

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<v Speaker 2>when I even I when I had tried to contact you,

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<v Speaker 2>I had even told the other person I was dealing with,

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<v Speaker 2>I was like, I'm actually interested in her herself because

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<v Speaker 2>of the Taro. So hopefully, hopefully in the future you'll

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<v Speaker 2>also be back on for that. But yeah, Sylvia Plaid,

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<v Speaker 2>and I spoke to you earlier, fifteen years of research

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<v Speaker 2>this lady has done in.

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<v Speaker 1>Yeah, yeah, so so the occult Sylvia Plath. This was

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<v Speaker 1>specifically fifteen years of archival research. There was more time

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<v Speaker 1>that went into it in the writing and editing and

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<v Speaker 1>all of that. But when I was back in graduate school,

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<v Speaker 1>which I started in two thousand and seven, and I

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<v Speaker 1>had a poetry class, and I was getting my MFA

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<v Speaker 1>and create of writing in both poetry and fiction because

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<v Speaker 1>I write in both genres. And I went to my

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<v Speaker 1>poetry professor and I was looking at Platt's work and

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<v Speaker 1>Aerial in particular, and I said to my professor, doctor Schreiner.

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<v Speaker 1>I said, what's the deal. You know, there's taro all

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<v Speaker 1>over this. You know, here's the Night of Swords, and

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<v Speaker 1>here's the Ace of Copes, and here's this and here's that.

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<v Speaker 1>And I start pointing out and he just looks at me, bewildered,

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<v Speaker 1>and he says, I don't know what you're talking about.

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<v Speaker 1>And that was when I realized you had to be

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<v Speaker 1>both a Tarot scholar as I am. As I've been

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<v Speaker 1>doing this since I was sixteen years old. I'm sixty

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<v Speaker 1>one today, and you know, it was you know, and

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<v Speaker 1>a Plats scholar to connect the dots. But it's screamingly obvious.

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<v Speaker 1>And really, I mean, her poem Daddy, which is one

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<v Speaker 1>of her most famous poems, even says she's got a

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<v Speaker 1>line with my gypsy ancestress and my weird luck and

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<v Speaker 1>my taroq pack and my tarok pack. I may be

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<v Speaker 1>a bit of a Jew, that's the part of the poem.

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<v Speaker 1>And tarok is another word for taro. And what most

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<v Speaker 1>people don't understand is that the taro comes from the

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<v Speaker 1>Jewish cop Kabbalah, the Jewish mysticism. And so you know,

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<v Speaker 1>for me, it was like boying, like just out there

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<v Speaker 1>screamingly obvious, and then I realized all of this stuff

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<v Speaker 1>that Plat has literally been persecuted for. You know, what's

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<v Speaker 1>this Boston white girl identifying with Jews in the Holocaust,

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<v Speaker 1>and you know, like people just got it all wrong.

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<v Speaker 1>And she was working different levels of meaning because she's

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<v Speaker 1>a poet, and that's what poetry does. You know, we

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<v Speaker 1>have many metaphors, but she stacked the metaphors. You know.

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<v Speaker 1>She was a genius is genius and so anyway, as

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<v Speaker 1>my semester end project, it really became my life's work.

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<v Speaker 1>But I found her book Ariel, specifically Ariel, the restored edition,

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<v Speaker 1>which came out in I believe it was two thousand

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<v Speaker 1>and eight, and that was the ordering of the poems

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<v Speaker 1>that Plath had intended when Ariel came out back after

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<v Speaker 1>she died in the nineteen sixties or maybe even seventy,

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<v Speaker 1>I can't remember now, but the first publication of Ariel,

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<v Speaker 1>her husband Ted Hughes, had rearranged and so had I

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<v Speaker 1>seen the original publication, it might not have been so

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<v Speaker 1>obvious to me, but what Plath had done was each

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<v Speaker 1>poem and Ariel went in perfect correspondence with the Tarot

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<v Speaker 1>deck and so we've got the major Arcana, and then

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<v Speaker 1>we have the minor ARCon and the suits, and then

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<v Speaker 1>we have four cards at the end, which is that's

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<v Speaker 1>the four suits specifically, you know, But yeah, I mean,

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<v Speaker 1>it's just brilliant what she did. And each poem is

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<v Speaker 1>a reflection of the Tarot card. Many times it shows,

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<v Speaker 1>you know, she's describing even the beauty of the card,

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<v Speaker 1>and the colors and the symbols and the meanings of

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<v Speaker 1>the card of course are woven into each poem. And

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<v Speaker 1>so when you see the correspondence, all of a sudden,

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<v Speaker 1>it expands Plats poetry so far beyond what anybody has read.

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<v Speaker 1>And you know, and I got so excited, and I

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<v Speaker 1>immediately brought it to academia, into the Plath scholars, to

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<v Speaker 1>which I thought it would be really well received. But

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<v Speaker 1>they've built their careers on her being a pressive suicide

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<v Speaker 1>and they don't want to see anything else but that.

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<v Speaker 1>And they sure don't want anybody without a PhD. You know,

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<v Speaker 1>I've got an MFA, but that's not quite good enough.

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<v Speaker 5>You know.

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<v Speaker 1>They don't want anyone without a PhD to you know,

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<v Speaker 1>to usurp their research here. They believe they would have

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<v Speaker 1>found it first if it was there. I was told that.

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<v Speaker 1>In fact, even though they know nothing about Taro, and

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<v Speaker 1>Academia is by and large very atheistic, so they want

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<v Speaker 1>no part of any kind of faith or especially a

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<v Speaker 1>cult which is you know, very creepy in out of

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<v Speaker 1>their comfort zones. Even though Sylvia Plath was wildly fascinated

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<v Speaker 1>with the occult, and anybody who studied her knows this.

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<v Speaker 1>I mean the picture on my book, The Occult Sylvia Plath,

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<v Speaker 1>that's actually her with a crystal ball. And you know,

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<v Speaker 1>and she's had lots of She's got a long poem,

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<v Speaker 1>several poems referring to the wija board in different ways,

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<v Speaker 1>but a long poem called Dialogue over a wija Board.

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<v Speaker 1>And you know, there's there's just a lot in her

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<v Speaker 1>writings on Ontaro, on astrology. Her husband, Ted Hughes, who

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<v Speaker 1>she worshiped for much of their seven year marriage until

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<v Speaker 1>it all fell apart. He was, you know, he's been

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<v Speaker 1>vastly studied for his Kabbalah and his witchcraft and his

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<v Speaker 1>alchemy and all of this, and yet and and and

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<v Speaker 1>everyone knows he mentored her in every way, and everyone

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<v Speaker 1>knows they did hypnotizing together, and they did all these.

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<v Speaker 2>Meditative studies too, right anything, Yeah, yeah, they.

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<v Speaker 1>Did everything like this and and so nobody connected the

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<v Speaker 1>dots and it's just bizarre to me. And and they're

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<v Speaker 1>still not, you know, over over in academia. Uh so

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<v Speaker 1>all of the best response. I mean, I've been I've

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<v Speaker 1>been touring this book, and I was in the UK

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<v Speaker 1>last summer and I had two standing room only events

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<v Speaker 1>in Watkins' books where Plath and Hughes actually bought tarot

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<v Speaker 1>cards and some witchcraft books back in the day, and

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<v Speaker 1>also tread Wells, which I am very fond of tread Wells,

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<v Speaker 1>and I may be going back this summer actually. But

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<v Speaker 1>but you know, the London crowd is definitely more open

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<v Speaker 1>to mysticism, and they're readers too. They love Plath, they

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<v Speaker 1>embrace her as their own because she lived there in England,

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<v Speaker 1>and yeah, they have the open mindedness that Americans not

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<v Speaker 1>so much. It's it's real interesting to see how different

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<v Speaker 1>the audience is.

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<v Speaker 2>Something I did want to just bring up those two things.

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<v Speaker 2>One it's kind of like a little bit off the topic,

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<v Speaker 2>but it was something that you said that I was

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<v Speaker 2>kind of glad that you mentioned me and Jin. I

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<v Speaker 2>think maybe even ethan As might even have said this before.

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<v Speaker 2>But I know for a fact me and Jin have

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<v Speaker 2>brought it up with Taro, and I would consider you

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<v Speaker 2>probably know way more about Taro than I do. And

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<v Speaker 2>you said it's associated with Kabbala. Yeah, I For some reason,

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<v Speaker 2>in the Taro community, this seems to be like people

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<v Speaker 2>don't even want to think about that or even admit that, Yeah.

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<v Speaker 1>It's interesting. I mean, Kabbala is a very intimidating subject,

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<v Speaker 1>that's right, And so I would never have even you know,

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<v Speaker 1>what I knew about Kabbala before I began my Plath

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<v Speaker 1>work was that, you know, Madonna and Britney Spears supposedly

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<v Speaker 1>wore red bands around their wrist, which meant something about it.

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<v Speaker 1>That was what I'd heard, you know, and that was

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<v Speaker 1>like the extent of it, you know. But I actually

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<v Speaker 1>got introduced to k through the plathwork, even though I

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<v Speaker 1>had been reading Taro since I was sixteen years old.

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<v Speaker 1>So most Tarot card readers probably are like how I

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<v Speaker 1>started Plath made me a much better Tarot card reader, honestly,

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<v Speaker 1>because when I got into Kabbala, which think of Kabbala

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<v Speaker 1>as sort of like the blueprint for all the occult sciences.

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<v Speaker 1>So it's kind of the structure of how they all work.

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<v Speaker 1>And if anybody can look up online, you can google

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<v Speaker 1>the Tarot Kabbala and you can see lots of pictures,

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<v Speaker 1>lots of diagrams of how there's a tarot card for

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<v Speaker 1>each station called the sefero in the Kabbala try of life,

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<v Speaker 1>and a card for each pathway that connects them, and

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<v Speaker 1>it works out perfectly. The Hermetic Order of the Golden

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<v Speaker 1>Dawn who did our most modern version, the Writer Weight,

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<v Speaker 1>they switched two cards in the original tarot to better

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<v Speaker 1>conform to the kabolotry of life, the number eight strength

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<v Speaker 1>and number eleven justice. They reversed it just to fit

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<v Speaker 1>the tree better. It's kind of interesting. Purists do not

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<v Speaker 1>do that. Plath in Hues did not do that, and

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<v Speaker 1>which I write in my book, and in my first

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<v Speaker 1>book I explained that. But but yeah, it's it fits

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<v Speaker 1>really well and and the kabolotry of life. You know,

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<v Speaker 1>you can apply astronomy astrology. I say astronomy too, because

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<v Speaker 1>back in the old days it was very intertwined mythology numerology.

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<v Speaker 1>It all fits and it all tells this sort of

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<v Speaker 1>same story with the same uh you know, human ind

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<v Speaker 1>visuation journey as Carl Jung would have called it the

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<v Speaker 1>hero's journey as of Campbell called it. Uh.

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<v Speaker 2>The other thing I wanted to bring up to I

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<v Speaker 2>could be wrong, but wasn't her parents kind of also

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<v Speaker 2>like practitioners are involved in the Yeah.

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<v Speaker 1>So you know, when I did all of the research,

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<v Speaker 1>I comed through lots of memoirs, lots of other biographies

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<v Speaker 1>to start, because initially I wanted to just put all

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<v Speaker 1>the information collectively together because people knew, okay, her father

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<v Speaker 1>was a freemason. I saw that somewhere they knew her

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<v Speaker 1>mother studied in graduate school. Parilsis the alchemist they and

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<v Speaker 1>they knew that Plath read all her mother's school books.

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<v Speaker 1>You know, they all the all the scholars know all

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<v Speaker 1>this stuff, but they hadn't put it all together. She

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<v Speaker 1>went to a Unitarian church, and if you go into

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<v Speaker 1>the archives, and that's where it really got fun, was

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<v Speaker 1>in the archives because I was going through her school

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<v Speaker 1>work and you know, her Sunday school work, which her

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<v Speaker 1>mother had saved everything and given it to the University

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<v Speaker 1>of Indiana's Lily Library, which is so it's pretty amazing

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<v Speaker 1>to see all this stuff. Her her elementary school Sunday

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<v Speaker 1>school work was on the zodiac.

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<v Speaker 4>You know, so she when she was in high school. Yeah,

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<v Speaker 4>when she was in high school summer camp, she carved

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<v Speaker 4>a hermetic Caducius, you know, the alchemical wand of Hermes,

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<v Speaker 4>which I actually owned that today, that that she carved.

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<v Speaker 4>It's it's kept in a safe. It's very prectaice. To me,

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<v Speaker 4>it probably is worth more than my house.

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<v Speaker 1>And I was lucky enough to be contacted by doctor

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<v Speaker 1>Richard Larshan, a family friend of the Plats, who had

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<v Speaker 1>inherited it. CC's had been written about just this object

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<v Speaker 1>and excuse me, and doctor Larshan wanted someone who understood,

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<v Speaker 1>who had the passion for plaths but understood that mystical side,

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<v Speaker 1>to be the one to possess it because he's getting

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<v Speaker 1>to be very old now. So so I lecked out there.

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<v Speaker 1>But yeah, the book pulls together all of these facts.

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<v Speaker 2>That is great. Good for you, nice Lisa or Jin.

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<v Speaker 2>Do you guys have any questions before you continue?

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<v Speaker 1>Jane, go ahead.

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<v Speaker 3>I just want to say that Julia, I'm so glad

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<v Speaker 3>you said that, and I'm so glad that Nick obviously

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<v Speaker 3>the Cabala boss asked that question because this is something

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<v Speaker 3>that is recurrent, Like I think when whenever I'm on

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<v Speaker 3>at least, this is something that we always talk about.

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<v Speaker 3>Is Kabala is the map, Like whatever you think of it,

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<v Speaker 3>it's a great map, and it makes a lot of sense,

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<v Speaker 3>and it goes with everything, and you can use it

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<v Speaker 3>as like a common language to just discuss magical experience

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<v Speaker 3>or more like historical call text. You can do both

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<v Speaker 3>things with it, and that's what makes it so great.

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<v Speaker 3>And I highly encourage people to study it if they

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<v Speaker 3>are so inclined, because I just feel very strongly that

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<v Speaker 3>it gives you like a whole different understanding of.

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<v Speaker 2>The world, not to not to keep going on it,

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<v Speaker 2>but like I even remember for myself, I used to

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<v Speaker 2>be a member of the Auto Temple Orientus THEOTO, and

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<v Speaker 2>I remember when I first started going, I was like

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<v Speaker 2>sitting on I was like sitting on the couch or whatever,

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<v Speaker 2>like waiting, you know, waiting for the temple to open.

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<v Speaker 2>And I'm like staring there looking at this big picture

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<v Speaker 2>and it's like the tree of life and it shows

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<v Speaker 2>you all the cards on it. I'm looking at it,

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<v Speaker 2>and I even remember at that time, it was like

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<v Speaker 2>I was intimidated by Kabbala for sure, and I was

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<v Speaker 2>even intimidated by Taro. So I really wasn't trying to

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<v Speaker 2>look at either one of them. But when I looked

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<v Speaker 2>at that, I was like, huh, maybe if I like

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<v Speaker 2>kind of look at it like that, And for some

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<v Speaker 2>reason that clickedon got me interested looking at it With

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<v Speaker 2>the Kabbalah. I started looking into the Cabala and I

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<v Speaker 2>was like, oh my god, why did I wait years

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<v Speaker 2>to look at this? I like fell in love with

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<v Speaker 2>it right away. And then once I started attributing tarot

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<v Speaker 2>to it, I was like, oh, this kind of almost

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<v Speaker 2>makes sense now a little bit.

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<v Speaker 1>Yeah, you know what, my first introduction to up to Kabbala,

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<v Speaker 1>I didn't know I was being introduced to Kabbala. And

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<v Speaker 1>when I was in my twenties, I read a book

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<v Speaker 1>by Hermann Hesse called The Glass Bead Game also known

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<v Speaker 1>as Manchester Has Time, and it's about this young monk

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<v Speaker 1>and he studies and he finds this formula and essentially,

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<v Speaker 1>you know, this great work of art. Let's say, you know,

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<v Speaker 1>the mona lisa equals a bach concerto, which equals something else,

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<v Speaker 1>and he realizes this formula is through all the great

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<v Speaker 1>things and and so I read it in my twenties.

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<v Speaker 1>I don't think Hesse ever said anything about Kabbala, but

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<v Speaker 1>it was. You know now that I look back as

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<v Speaker 1>a as a more mature person who's done a little

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<v Speaker 1>bit of studying. So so that's a fun way to

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<v Speaker 1>get an idea of this sprawling concept that's woven through everything. Uh.

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<v Speaker 1>And it's uh. And he did an excellent job of

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<v Speaker 1>that through fiction. If anyone's interested.

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<v Speaker 2>Awesome, Yes, all right, so I guess back to play.

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<v Speaker 2>Sorry I tore you took of a tangent with.

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<v Speaker 1>That was fun. Yeah, the only ones who asked me that.

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<v Speaker 2>No, I just think. I just think it is, like

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<v Speaker 2>I just a side I use like labyrinthos something whatever

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<v Speaker 2>I come across, and I use that a lot. It

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<v Speaker 2>always attributes it to the tree. It just makes sense

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<v Speaker 2>to me that way, Like I could see, well, I mean,

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<v Speaker 2>first off, I can't write, so I could never even

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<v Speaker 2>think about trying to write poems on all the Tarot cards.

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<v Speaker 2>But I could see if you did the twenty two

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<v Speaker 2>major kind of on the Tree of Life, that would

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<v Speaker 2>give you stories if you looked at the yard and

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<v Speaker 2>maybe your ideas of the tree that would definitely give

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<v Speaker 2>you work to work with to write poems for sure,

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<v Speaker 2>you know, so that's she did that.

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<v Speaker 6>And can I just interject, Really the thing about it,

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<v Speaker 6>Cabal you had said, I'm so glad you said, like

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<v Speaker 6>Jen and Nick were saying, I never really associated with Kabala.

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<v Speaker 6>With her, I knew about the taro and how layered

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<v Speaker 6>and in depth her poetry was, and it was like

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<v Speaker 6>almost like a stack telling a story and the ability

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<v Speaker 6>to channel or basically project all of her emotion that

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<v Speaker 6>she was going through through all of her poetry in

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<v Speaker 6>this kind of layered way. But what struck me interesting

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<v Speaker 6>and when you say Kabala, it makes sense now in

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<v Speaker 6>that there was some sort of methodology to it. And

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<v Speaker 6>I think she got that from her parents, because like

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<v Speaker 6>you had said, they were academics, and the way she

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<v Speaker 6>approached some of the occult topics, even though they were

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<v Speaker 6>just so kind of on the fringes, they were like

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<v Speaker 6>the viewers of her poetry. It was it was almost

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<v Speaker 6>as this academic tying it all in together. And when

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<v Speaker 6>I read that about her mom having done work on paracelsius,

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<v Speaker 6>as we have looked into some of these old occultists

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<v Speaker 6>or occultis of history that tend to side with Paracelsius.

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<v Speaker 6>They have these occultive tight leanings, and they're looking at Kabala,

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<v Speaker 6>they're looking at all these mysticisms, and so it just

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<v Speaker 6>now that you say that, it totally fits in.

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<v Speaker 1>Yeah, so thank you, thank you for saying that. Yeah,

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<v Speaker 1>oh sure, yeah, no, it's it's just so exciting to me,

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<v Speaker 1>you know, and what Plath did. And I haven't really

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<v Speaker 1>gotten into this, and it's a little too deep to

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<v Speaker 1>go into my first book, which is now out of print,

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<v Speaker 1>but I do sell it as a PDF, so anyone

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00:22:56.359 --> 00:22:59.480
<v Speaker 1>can reach out to me if they're interested. But it's

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<v Speaker 1>called Fixed Stars governor Life Decoding Sylvia Plath and I

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<v Speaker 1>go through the major arcana. I have yet to publish

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<v Speaker 1>on the minor, but Plath took each poem. It has

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<v Speaker 1>six different meanings working along with Kabbala within each set

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<v Speaker 1>of words. So if you can imagine, I mean, I

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<v Speaker 1>had a mathematician say, what is the possibility that this

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<v Speaker 1>is coincidence? And it's just not possible. It's like one

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<v Speaker 1>in a Google or something that it could have just

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00:23:35.960 --> 00:23:39.960
<v Speaker 1>randomly corresponded in every way But so what Plath did

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<v Speaker 1>was each each aerial poem, you can read it sort

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<v Speaker 1>of on the Tarot kabbala. You know level, this is

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<v Speaker 1>beyond her personal level. Okay, everyone's been reading it. It's

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00:23:52.079 --> 00:23:54.880
<v Speaker 1>just her personal autobiography. But you can read it in

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00:23:54.920 --> 00:23:58.680
<v Speaker 1>accordance with taro kabala. You can read it astrology and

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<v Speaker 1>astronomy because she reflects a lot of that. You can

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00:24:02.519 --> 00:24:06.559
<v Speaker 1>read mythology component, you can read history in the world,

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00:24:06.680 --> 00:24:10.359
<v Speaker 1>and you can read arts and humanities, and she reflects

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<v Speaker 1>all of this within each poem in alignment with that

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<v Speaker 1>tarot card. Like I mean, it's rather mind boggling, and

388
00:24:20.720 --> 00:24:23.960
<v Speaker 1>yet it makes her poems, you know, a lot. She

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00:24:24.039 --> 00:24:26.920
<v Speaker 1>has a lot of very challenging poems in aerial, like

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00:24:27.000 --> 00:24:32.279
<v Speaker 1>the Couriers, which people just don't get until they understand

391
00:24:32.559 --> 00:24:36.680
<v Speaker 1>the magician tarot card. And you know, the word of

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00:24:36.720 --> 00:24:39.440
<v Speaker 1>a snail on the plate of a leaf, and you know,

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00:24:39.519 --> 00:24:43.680
<v Speaker 1>and there are things that are being shown in the card.

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<v Speaker 1>There are things the card represents. There are you know,

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<v Speaker 1>there's the mythology behind the card, there's the the you

396
00:24:52.359 --> 00:24:54.720
<v Speaker 1>know all of it. I mean, you know, like I said,

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<v Speaker 1>it goes deep and I could go on just I

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<v Speaker 1>could do, you know, an hour on each poem, So

399
00:25:00.359 --> 00:25:04.519
<v Speaker 1>we won't go through that. But but she was a

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00:25:04.640 --> 00:25:10.039
<v Speaker 1>genius's genius. And it's my goal, you know, if I

401
00:25:10.160 --> 00:25:14.400
<v Speaker 1>was put here on this planet to do anything beside

402
00:25:14.440 --> 00:25:19.920
<v Speaker 1>had my children, it's to get this information out, to

403
00:25:20.039 --> 00:25:24.839
<v Speaker 1>redeem her reputation, to get her out of this depressive,

404
00:25:24.960 --> 00:25:29.119
<v Speaker 1>suicidal box that everybody wants to keep her shut in.

405
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<v Speaker 1>You know that there was that movie starring Gwyn's Paul

406
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<v Speaker 1>Tally two thousands called Sylvia, and it was lovely and

407
00:25:39.279 --> 00:25:42.200
<v Speaker 1>it was well done, except it had almost nothing to

408
00:25:42.240 --> 00:25:45.039
<v Speaker 1>do with her writing. It was only the drama, you know,

409
00:25:46.119 --> 00:25:50.000
<v Speaker 1>only about being beautiful and tormented and in a hellish marriage.

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<v Speaker 1>And that's a shame, you know, and she was so

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<v Speaker 1>much more than that.

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<v Speaker 2>Do you think you know, I'm just wondering because, like

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<v Speaker 2>you just said before, like something had like six different

414
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<v Speaker 2>meanings to it or you know whatever each each. Yeah,

415
00:26:08.160 --> 00:26:11.440
<v Speaker 2>I'm wondering, Like also just from I guess maybe my

416
00:26:11.519 --> 00:26:15.599
<v Speaker 2>opinion from my experience, I'm sure the late I mean

417
00:26:15.640 --> 00:26:20.079
<v Speaker 2>that the woman was probably very smart and educated regardless.

418
00:26:20.480 --> 00:26:23.680
<v Speaker 2>Oh yeah, but do you think that maybe because I

419
00:26:23.680 --> 00:26:28.039
<v Speaker 2>could see if she maybe actually had like and I

420
00:26:28.039 --> 00:26:31.200
<v Speaker 2>don't know what your idea of what a magical or

421
00:26:31.319 --> 00:26:34.880
<v Speaker 2>experience could be, but maybe she actually really had like

422
00:26:34.920 --> 00:26:38.039
<v Speaker 2>a magical experience or I would say cross the abyss.

423
00:26:39.240 --> 00:26:43.599
<v Speaker 2>And that's why she actually may have been so deeply

424
00:26:43.680 --> 00:26:47.759
<v Speaker 2>woven into the stuff, because like she really understood it, understood.

425
00:26:47.240 --> 00:26:54.400
<v Speaker 1>It absolutely and and really I would venture to say

426
00:26:54.400 --> 00:26:59.759
<v Speaker 1>that every creative person has a magical experience when we're

427
00:26:59.759 --> 00:27:03.680
<v Speaker 1>in that zone, you know, whether you're a musician or

428
00:27:03.720 --> 00:27:06.359
<v Speaker 1>an artist, and she was also an artist, by the way,

429
00:27:07.440 --> 00:27:13.119
<v Speaker 1>or you know, or a poet or a sculpt we're

430
00:27:13.200 --> 00:27:20.000
<v Speaker 1>all channeling something. Now when we're consciously calling the spirits,

431
00:27:21.000 --> 00:27:24.039
<v Speaker 1>that's a step into it again. And yes, she was

432
00:27:24.079 --> 00:27:29.000
<v Speaker 1>doing that. She and Ted Hughes meditated together and before

433
00:27:29.079 --> 00:27:33.079
<v Speaker 1>their work they pushed each other on different themes and

434
00:27:32.759 --> 00:27:35.319
<v Speaker 1>and uh, and it was very it was a very

435
00:27:35.400 --> 00:27:40.160
<v Speaker 1>conscious pursuit. Uh. They looked for information from the ouig

436
00:27:40.240 --> 00:27:45.559
<v Speaker 1>aboard and from bibliomancy and all of these things. So

437
00:27:45.559 --> 00:27:51.200
<v Speaker 1>so she was definitely quite conscious of her occult pursuits

438
00:27:51.759 --> 00:27:55.559
<v Speaker 1>what did feed into her creativity. But I believe the

439
00:27:55.599 --> 00:27:59.400
<v Speaker 1>creative act all by itself is a kind of magic.

440
00:28:00.599 --> 00:28:03.680
<v Speaker 1>Whether people want to accept that or not their choice.

441
00:28:04.200 --> 00:28:07.079
<v Speaker 2>Yeah, No, I just felt like I again, like you know,

442
00:28:07.240 --> 00:28:09.319
<v Speaker 2>just from my own self experiences like this one, I

443
00:28:09.359 --> 00:28:11.359
<v Speaker 2>could see having the passion to want to do something

444
00:28:11.400 --> 00:28:14.759
<v Speaker 2>so detailed because you're just so in love with it

445
00:28:15.119 --> 00:28:17.200
<v Speaker 2>because you had a magical experience and you're trying to

446
00:28:17.240 --> 00:28:19.599
<v Speaker 2>convey that something along those lines.

447
00:28:19.640 --> 00:28:24.960
<v Speaker 1>Yes, yeah, And really the scholarship that I did on

448
00:28:25.000 --> 00:28:28.680
<v Speaker 1>her work was that for me. I mean, it just

449
00:28:28.839 --> 00:28:32.799
<v Speaker 1>blew my mind sometimes, and there there were times that

450
00:28:32.920 --> 00:28:36.519
<v Speaker 1>I was afraid and I almost quit, which I can

451
00:28:36.559 --> 00:28:40.480
<v Speaker 1>talk to you about that, but it was, you know,

452
00:28:40.680 --> 00:28:44.000
<v Speaker 1>it was. It's really been some of the highest highs

453
00:28:44.039 --> 00:28:48.559
<v Speaker 1>and really affected me very deeply as a tarot card reader.

454
00:28:48.599 --> 00:28:50.640
<v Speaker 1>As I said, it made me a much better tarot

455
00:28:50.640 --> 00:28:53.799
<v Speaker 1>card reader to have this this breadth and understanding of

456
00:28:53.839 --> 00:28:57.079
<v Speaker 1>things like alchemy and kabbala which I had never even

457
00:28:57.319 --> 00:28:59.319
<v Speaker 1>you know, I knew the words and that was about it.

458
00:29:00.079 --> 00:29:05.359
<v Speaker 1>But yeah, to really go deep into some of these

459
00:29:05.400 --> 00:29:11.519
<v Speaker 1>things and experience it in incredible ways. One story that

460
00:29:11.640 --> 00:29:16.000
<v Speaker 1>I share in the introduction to my first book, Six Stars,

461
00:29:16.039 --> 00:29:19.559
<v Speaker 1>Governor Life, and this story I can be read free

462
00:29:19.640 --> 00:29:23.799
<v Speaker 1>online on my academia dot edu page. I have that

463
00:29:23.920 --> 00:29:27.599
<v Speaker 1>introduction uploaded and anyone can read it for free. But

464
00:29:27.839 --> 00:29:31.960
<v Speaker 1>I talk about when I was going through and I

465
00:29:32.039 --> 00:29:36.880
<v Speaker 1>got to her fifteenth poem, which you know that the

466
00:29:36.960 --> 00:29:40.400
<v Speaker 1>Tarot deck, the major arcana starts from the fool starts

467
00:29:40.400 --> 00:29:47.000
<v Speaker 1>from November zero, right, So it was Tarot card number fourteen,

468
00:29:47.640 --> 00:29:52.039
<v Speaker 1>but it was fifteenth and aerial and it's it was

469
00:29:52.200 --> 00:29:57.920
<v Speaker 1>the title poem Aerial. And as I was going through it,

470
00:29:58.240 --> 00:30:01.839
<v Speaker 1>doing all of my research and and unpacking these layers,

471
00:30:02.559 --> 00:30:08.440
<v Speaker 1>I found a prayer written by Alistair Crowley to the

472
00:30:08.559 --> 00:30:17.880
<v Speaker 1>Great Beast six sixty six that basically Plath had paraphrased,

473
00:30:18.920 --> 00:30:21.640
<v Speaker 1>and it was there was so much of it that

474
00:30:21.799 --> 00:30:25.119
<v Speaker 1>she had seen this, like there was just you know,

475
00:30:25.200 --> 00:30:28.839
<v Speaker 1>she she could have been tried for a little bit

476
00:30:28.839 --> 00:30:34.000
<v Speaker 1>of platurism here, you know. And but it horrified me

477
00:30:34.519 --> 00:30:38.799
<v Speaker 1>because I had this Christian upbringing, you know, I grew

478
00:30:38.960 --> 00:30:42.200
<v Speaker 1>up in the Episcopal Church, and I am about love

479
00:30:42.240 --> 00:30:44.880
<v Speaker 1>and light, and so I see this Great Beast sixty

480
00:30:44.920 --> 00:30:49.319
<v Speaker 1>sixty six shed and I'm like, oh my God, and

481
00:30:48.400 --> 00:30:52.119
<v Speaker 1>uh and and I thought, you know, I'm just gonna

482
00:30:52.160 --> 00:30:54.960
<v Speaker 1>put this away, like I don't even you know are

483
00:30:55.319 --> 00:31:01.039
<v Speaker 1>my heroes, you know, Satan worshipers. And I thought, I

484
00:31:01.039 --> 00:31:03.319
<v Speaker 1>don't want any part of this. And I went to

485
00:31:03.359 --> 00:31:07.400
<v Speaker 1>bed that night and it was the craziest thing because

486
00:31:07.759 --> 00:31:09.880
<v Speaker 1>just as I was drifting off to sleep. Of course,

487
00:31:09.920 --> 00:31:13.839
<v Speaker 1>this is anyone with psychic ability, well we all have

488
00:31:13.920 --> 00:31:16.680
<v Speaker 1>it to a degree, but anyone who actively uses their

489
00:31:16.680 --> 00:31:19.640
<v Speaker 1>psycha ability will know that just as we're waking up,

490
00:31:19.720 --> 00:31:21.799
<v Speaker 1>and just as we're asleep is where we get all

491
00:31:21.839 --> 00:31:25.400
<v Speaker 1>the downloads, you know. But I'm just starting to drift

492
00:31:25.400 --> 00:31:29.640
<v Speaker 1>off to sleep, and her words, her voice, which I

493
00:31:29.680 --> 00:31:32.640
<v Speaker 1>know very well from recordings because I've listened and listened

494
00:31:32.680 --> 00:31:37.000
<v Speaker 1>and listened. Her voice said in my ear, move through,

495
00:31:38.079 --> 00:31:41.720
<v Speaker 1>and she commanded me, and it was loud and it

496
00:31:41.920 --> 00:31:46.160
<v Speaker 1>woke me up, and it completely freaked me out. And

497
00:31:46.240 --> 00:31:51.519
<v Speaker 1>I said, okay, I'll do one more poem and I'll

498
00:31:51.559 --> 00:31:57.519
<v Speaker 1>see where that gets me. Well, the next poem, A

499
00:31:58.759 --> 00:32:05.279
<v Speaker 1>dozen company is an alignment with card number fifteen, the devil.

500
00:32:05.799 --> 00:32:09.400
<v Speaker 1>She was setting it up. It was a it was

501
00:32:09.440 --> 00:32:13.680
<v Speaker 1>an introduction here. So she had this. When you look

502
00:32:13.720 --> 00:32:17.519
<v Speaker 1>at Ariel, it has this seamlessness and each poem lifts

503
00:32:17.559 --> 00:32:20.480
<v Speaker 1>into the next and that so that's what she was

504
00:32:20.519 --> 00:32:24.440
<v Speaker 1>doing and I had just gotten too scared and so

505
00:32:24.880 --> 00:32:29.279
<v Speaker 1>oh okay, I got it and then I was able

506
00:32:29.319 --> 00:32:34.559
<v Speaker 1>to proceed, you know. But but yeah, it's been a

507
00:32:34.680 --> 00:32:41.839
<v Speaker 1>journey and I have had just, you know, incredibly moving

508
00:32:41.960 --> 00:32:46.440
<v Speaker 1>experiences where I've uncovered meanings and found myself in tears

509
00:32:46.839 --> 00:32:52.319
<v Speaker 1>because just becoming so emotional and the beauty and what

510
00:32:52.519 --> 00:32:56.359
<v Speaker 1>she pulled out of each of these and then and

511
00:32:56.400 --> 00:32:59.039
<v Speaker 1>then the frustration that nobody can see it, you know,

512
00:32:59.440 --> 00:33:02.440
<v Speaker 1>and it's like all I can do, like get out,

513
00:33:02.599 --> 00:33:05.160
<v Speaker 1>get it out there, get the message out. Let people

514
00:33:05.240 --> 00:33:10.640
<v Speaker 1>see this, this miracle in words, and you know, and

515
00:33:10.640 --> 00:33:16.359
<v Speaker 1>and there's forty of them and so anyway, yeah, it's

516
00:33:16.400 --> 00:33:21.680
<v Speaker 1>it's been like that. It's been a powerful, uh, transformational

517
00:33:21.759 --> 00:33:26.839
<v Speaker 1>experience to study Plath and one that I will never

518
00:33:26.920 --> 00:33:28.640
<v Speaker 1>forget and not soon be over.

519
00:33:30.599 --> 00:33:34.119
<v Speaker 2>Yeah, that's great. It's kind of like, I mean, it's

520
00:33:34.119 --> 00:33:36.240
<v Speaker 2>not the same thing, but probably close to it. Like

521
00:33:37.279 --> 00:33:40.319
<v Speaker 2>there's times I think I've even shown Lisa, maybe even Gin,

522
00:33:40.400 --> 00:33:43.160
<v Speaker 2>but like there's times and I don't put this man

523
00:33:43.200 --> 00:33:45.559
<v Speaker 2>on a pedestal, but I do think Alison Crowley, who

524
00:33:45.640 --> 00:33:48.640
<v Speaker 2>wasn't a cult genius, regardless of how personal life he

525
00:33:48.680 --> 00:33:50.200
<v Speaker 2>had regardless, what's real, what's true?

526
00:33:50.440 --> 00:33:50.720
<v Speaker 1>Weird?

527
00:33:51.160 --> 00:33:54.839
<v Speaker 2>Yeah, he was in a coult genius regardless. But it's

528
00:33:54.880 --> 00:33:56.799
<v Speaker 2>a lot of times I'll be looking at like old

529
00:33:56.839 --> 00:33:59.319
<v Speaker 2>alchemists or like really rare old books, and I'll be

530
00:33:59.319 --> 00:34:02.680
<v Speaker 2>coming across things are like visuals and I'll be like, ah,

531
00:34:02.720 --> 00:34:05.880
<v Speaker 2>this is where you got that idea from man. So

532
00:34:05.920 --> 00:34:08.800
<v Speaker 2>it's almost like it's like gets exciting for a second.

533
00:34:08.800 --> 00:34:12.280
<v Speaker 2>I was like, did I just figure something out that reuse? Yeah.

534
00:34:12.320 --> 00:34:17.000
<v Speaker 1>Crowley was actually a very fine poet also, which most

535
00:34:17.039 --> 00:34:22.519
<v Speaker 1>people don't don't realize, you know, I say, given his times,

536
00:34:22.559 --> 00:34:25.639
<v Speaker 1>I mean it was Victorian times right when Crowley was around,

537
00:34:26.000 --> 00:34:30.719
<v Speaker 1>and he was he did drugs, and he was openly bisexual,

538
00:34:30.840 --> 00:34:34.639
<v Speaker 1>and you know, and very promiscuous, and he refused to

539
00:34:34.679 --> 00:34:38.719
<v Speaker 1>go to church and those three things made the London

540
00:34:38.760 --> 00:34:42.639
<v Speaker 1>Times call him the wickedest man alive, you know, And

541
00:34:42.760 --> 00:34:47.079
<v Speaker 1>so you know today he's just any rock star, right, you.

542
00:34:47.000 --> 00:34:53.679
<v Speaker 2>Don't even have to be right, that is funny, how

543
00:34:53.719 --> 00:34:57.159
<v Speaker 2>like times have changed. I guess like a decent part

544
00:34:57.159 --> 00:34:59.000
<v Speaker 2>of the population would be considered the wickedest man in

545
00:34:59.039 --> 00:35:05.639
<v Speaker 2>the world, right, Yeah, yeah, damn. I was going to

546
00:35:05.679 --> 00:35:09.559
<v Speaker 2>ask something, and they told, oh, since you mentioned poetry

547
00:35:10.920 --> 00:35:14.519
<v Speaker 2>and Crowley, I was thinking, with Sylvia Plath, this is something.

548
00:35:15.079 --> 00:35:16.800
<v Speaker 2>Oh god, it might have been in Pedocles that we

549
00:35:16.840 --> 00:35:21.880
<v Speaker 2>brought this up. With the way he wrote with hexameter

550
00:35:21.960 --> 00:35:24.519
<v Speaker 2>and pentamonter. I forgot how to even say those. Did

551
00:35:24.559 --> 00:35:27.039
<v Speaker 2>you ever notice if she ever wrote in that style before?

552
00:35:28.559 --> 00:35:31.679
<v Speaker 1>Oh, I mean she used the rhythms and the iamic

553
00:35:31.760 --> 00:35:34.880
<v Speaker 1>pentameters and all of that. Yeah, I mean she she

554
00:35:35.119 --> 00:35:37.840
<v Speaker 1>was very well educated. You know, she went to Cambridge

555
00:35:38.039 --> 00:35:41.519
<v Speaker 1>and you know she was she was had a genius

556
00:35:41.599 --> 00:35:45.880
<v Speaker 1>IQ and and yeah, everything was quite precise. And even

557
00:35:45.960 --> 00:35:51.800
<v Speaker 1>though she wrote this very emotive, expressive stuff, she had

558
00:35:51.800 --> 00:35:56.039
<v Speaker 1>a form that others like like her friend Ann Sexton,

559
00:35:56.159 --> 00:35:59.320
<v Speaker 1>who also wrote in what they called the confessional style,

560
00:35:59.679 --> 00:36:03.559
<v Speaker 1>but Sexton didn't follow that kind of form and structure

561
00:36:03.599 --> 00:36:07.079
<v Speaker 1>that Pleth did. Plath was very careful about everything. She

562
00:36:07.320 --> 00:36:10.920
<v Speaker 1>was very careful about holding to the kabbala as well.

563
00:36:11.920 --> 00:36:15.559
<v Speaker 1>You know, it's interesting, Ted Hughes, I've been over his work,

564
00:36:15.599 --> 00:36:19.039
<v Speaker 1>her husband, I've been over his work of course, very

565
00:36:19.079 --> 00:36:23.280
<v Speaker 1>carefully as well. And he he had this playfulness with

566
00:36:23.519 --> 00:36:25.880
<v Speaker 1>the structure and order of his poems, so he may

567
00:36:26.000 --> 00:36:29.119
<v Speaker 1>start at the third card and go to the fourth

568
00:36:29.159 --> 00:36:31.679
<v Speaker 1>and the fifth and the sixth and then go backwards maybe,

569
00:36:31.960 --> 00:36:34.760
<v Speaker 1>and you know, and he would he would play this

570
00:36:34.880 --> 00:36:40.480
<v Speaker 1>sort of rhythm. But she was very fool magician, you know,

571
00:36:41.360 --> 00:36:45.079
<v Speaker 1>High Priestess, Empress, Emperor, and you know, in all in

572
00:36:45.239 --> 00:36:48.719
<v Speaker 1>exact order, and she never veered from that. And in fact,

573
00:36:49.159 --> 00:36:51.559
<v Speaker 1>I even see it throughout all of her fiction. The

574
00:36:51.599 --> 00:36:55.639
<v Speaker 1>bell jar is in Kabbala order. And that's another thing

575
00:36:55.679 --> 00:36:57.639
<v Speaker 1>for me to publish one day, and I have yet

576
00:36:57.679 --> 00:37:01.280
<v Speaker 1>to do it because it'll be an exhaustive pulling apart.

577
00:37:01.000 --> 00:37:05.719
<v Speaker 1>But I've got all my notes and you know, everything

578
00:37:05.800 --> 00:37:08.159
<v Speaker 1>she wrote she did that with because it was a

579
00:37:08.199 --> 00:37:09.880
<v Speaker 1>formula that works clearly.

580
00:37:10.239 --> 00:37:13.519
<v Speaker 2>You know, it's funny. Just trust this in. And I've

581
00:37:13.519 --> 00:37:15.239
<v Speaker 2>been saying for two years I'm going to do another one.

582
00:37:15.280 --> 00:37:17.599
<v Speaker 2>Who knows if I ever will. But I've done a

583
00:37:17.679 --> 00:37:21.360
<v Speaker 2>few DJ mixes before in the past, and the last

584
00:37:21.360 --> 00:37:24.440
<v Speaker 2>two that I did, I specifically actually use the tracks

585
00:37:24.440 --> 00:37:26.360
<v Speaker 2>to represent certain spheres on the train and that's how

586
00:37:26.400 --> 00:37:30.199
<v Speaker 2>I did my list to make the DJ mix actually

587
00:37:30.199 --> 00:37:34.559
<v Speaker 2>attributed to the Kaballistic tree. Yeah, it was somehow a

588
00:37:34.599 --> 00:37:37.920
<v Speaker 2>reference like a feeling or an idea that matched those fews. Ye,

589
00:37:38.960 --> 00:37:39.960
<v Speaker 2>that's always stung it along.

590
00:37:40.079 --> 00:37:43.400
<v Speaker 1>Yeah, Well, my book Tarot Life Lessons, I wrote this

591
00:37:43.480 --> 00:37:46.880
<v Speaker 1>in Kabbala order, but it's it's openly in Kabbala order.

592
00:37:46.920 --> 00:37:51.639
<v Speaker 1>Each chapter has a story in relation to a tarot card.

593
00:37:52.079 --> 00:37:54.760
<v Speaker 1>It's the it's the stories of of me being a

594
00:37:54.800 --> 00:37:58.599
<v Speaker 1>professional tarot card reader, kind of my real life client stories,

595
00:37:58.639 --> 00:38:01.360
<v Speaker 1>the ones that freaked me out, and and I matched

596
00:38:01.400 --> 00:38:04.119
<v Speaker 1>them each to a tarot card. So so I do

597
00:38:04.199 --> 00:38:06.400
<v Speaker 1>it too, and I've done it with my poetry, although

598
00:38:06.400 --> 00:38:10.800
<v Speaker 1>my poetry doesn't have half the layering of plats. How

599
00:38:10.880 --> 00:38:13.719
<v Speaker 1>she did that all and at thirty years old, you know,

600
00:38:14.480 --> 00:38:17.480
<v Speaker 1>I mean she was so young. On top of everything else,

601
00:38:17.559 --> 00:38:19.719
<v Speaker 1>you know, her brilliance is just off the charts.

602
00:38:19.880 --> 00:38:22.760
<v Speaker 2>I have problems like writing abbreviated texts. I can't even

603
00:38:22.800 --> 00:38:27.800
<v Speaker 2>imagine trying to like and you know the reason I

604
00:38:27.840 --> 00:38:30.719
<v Speaker 2>even brought that all up too. I'm not saying so

605
00:38:30.840 --> 00:38:33.039
<v Speaker 2>much with her, but Crowley, I've even wondered when it

606
00:38:33.039 --> 00:38:36.360
<v Speaker 2>comes to the hexameter or a pathameter, could there be

607
00:38:36.360 --> 00:38:39.360
<v Speaker 2>a different like if if I find that style in

608
00:38:39.400 --> 00:38:41.360
<v Speaker 2>his work, could there be a difference Because I know,

609
00:38:41.440 --> 00:38:45.480
<v Speaker 2>I think back in the day they considered hexameter. If

610
00:38:45.519 --> 00:38:49.239
<v Speaker 2>you were kind of channeling or oracle was giving that message,

611
00:38:49.480 --> 00:38:52.400
<v Speaker 2>that's how it was deemed okay, is if it was

612
00:38:52.440 --> 00:38:55.880
<v Speaker 2>in that style. So I'm wondering, could that maybe be

613
00:38:56.039 --> 00:38:59.440
<v Speaker 2>channelings if they're writing in that style differently, you know,

614
00:39:00.559 --> 00:39:03.119
<v Speaker 2>And I'm that's saying so much hurt, maybe more maybe

615
00:39:03.159 --> 00:39:04.960
<v Speaker 2>Croly Moore I'm saying, but not so much heart. But

616
00:39:05.000 --> 00:39:05.559
<v Speaker 2>I'm just wondering.

617
00:39:05.639 --> 00:39:09.800
<v Speaker 1>Yeah, I don't know, you know, I'm not uh, I've

618
00:39:09.800 --> 00:39:14.159
<v Speaker 1>never been drawn to the dark side myself. And you

619
00:39:14.199 --> 00:39:16.480
<v Speaker 1>know what, what I'll say about Plath, I mean, just

620
00:39:16.519 --> 00:39:21.280
<v Speaker 1>a fun thing to notice about her work is so

621
00:39:21.280 --> 00:39:25.239
<v Speaker 1>so her her first poem, Morning Song, that's kind of

622
00:39:25.400 --> 00:39:32.599
<v Speaker 1>just a straight structure when you get you'll notice with

623
00:39:34.400 --> 00:39:37.719
<v Speaker 1>her poem for for card number two, the High Priestess.

624
00:39:38.400 --> 00:39:42.719
<v Speaker 1>That poem is the Rabbit Catcher, and it's written in couplets,

625
00:39:42.760 --> 00:39:45.320
<v Speaker 1>you know, for twos to echo that two on the

626
00:39:45.360 --> 00:39:49.679
<v Speaker 1>tarot card. And then the poem for the Empress is

627
00:39:50.599 --> 00:39:54.280
<v Speaker 1>it's it's written in triplets. And then you know, and

628
00:39:54.280 --> 00:39:56.239
<v Speaker 1>and and she went on and you know, and she

629
00:39:56.360 --> 00:39:59.599
<v Speaker 1>did and what are they called sin? Quins I think

630
00:39:59.639 --> 00:40:03.000
<v Speaker 1>for the wars and you know, and she played if

631
00:40:03.039 --> 00:40:06.679
<v Speaker 1>you count the lines, she even addresses the tarot cards

632
00:40:06.800 --> 00:40:11.400
<v Speaker 1>that way. Now getting into the actual meter, I think

633
00:40:11.519 --> 00:40:17.400
<v Speaker 1>she pretty much was an i amic contameter girl. But yeah,

634
00:40:17.440 --> 00:40:20.679
<v Speaker 1>I'm not an expert in meters. That's That's where I

635
00:40:20.880 --> 00:40:24.360
<v Speaker 1>just didn't get that into structure myself as a poet.

636
00:40:24.639 --> 00:40:26.360
<v Speaker 2>Oh again, like I said, I can't. I mean, I

637
00:40:26.360 --> 00:40:28.880
<v Speaker 2>can't structure anything. But it's something I have come across,

638
00:40:29.039 --> 00:40:33.920
<v Speaker 2>you know, researching, you know, occultists and other people. So

639
00:40:34.199 --> 00:40:36.519
<v Speaker 2>just wondered because because now they just when I when

640
00:40:36.519 --> 00:40:39.440
<v Speaker 2>I came across that, It's just there are other people

641
00:40:39.519 --> 00:40:41.400
<v Speaker 2>that have been known to write that way that seemed

642
00:40:41.440 --> 00:40:43.239
<v Speaker 2>to be a little bit on like the occult side.

643
00:40:43.280 --> 00:40:45.159
<v Speaker 2>Like Jim Morrison even used that stuff a lot, and

644
00:40:45.199 --> 00:40:47.239
<v Speaker 2>I think he was definitely into these. Yeah, so you

645
00:40:47.320 --> 00:40:50.679
<v Speaker 2>just start to wonder now, like again, poetry, you know,

646
00:40:50.760 --> 00:40:52.559
<v Speaker 2>And I would say Jim Morrison was a poet in

647
00:40:52.559 --> 00:40:56.000
<v Speaker 2>a sense. Uh you know, are they using that for

648
00:40:56.039 --> 00:40:58.440
<v Speaker 2>a reason? That's all I just wonder.

649
00:40:58.679 --> 00:41:01.760
<v Speaker 1>Yeah, yeah, you know, with Plath, I would venture to

650
00:41:01.800 --> 00:41:05.360
<v Speaker 1>say that everything she did had a reason. She was

651
00:41:05.599 --> 00:41:10.679
<v Speaker 1>very careful and very smart about getting milking everything to

652
00:41:10.719 --> 00:41:14.880
<v Speaker 1>the maximum. So there's no waste, there's no fat in

653
00:41:14.920 --> 00:41:15.400
<v Speaker 1>her work.

654
00:41:15.920 --> 00:41:18.320
<v Speaker 2>Yeah no, and I would assume not. Yeah, that's why

655
00:41:18.360 --> 00:41:21.159
<v Speaker 2>I was getting at before. Like's so detailed, you just

656
00:41:21.239 --> 00:41:25.719
<v Speaker 2>have to like wonderlay Lisa Argent. Was there anything you

657
00:41:25.760 --> 00:41:26.239
<v Speaker 2>wanted to ask?

658
00:41:27.639 --> 00:41:30.800
<v Speaker 6>I'll bring up I'll ask something real quick. Was there

659
00:41:31.039 --> 00:41:34.440
<v Speaker 6>Is there any credence to some of her poetry being

660
00:41:34.960 --> 00:41:40.840
<v Speaker 6>either censored or rewritten by Hughes and or kept away

661
00:41:40.920 --> 00:41:43.880
<v Speaker 6>from the public eye by Hughes. Is there any credence

662
00:41:43.920 --> 00:41:44.239
<v Speaker 6>to that?

663
00:41:45.079 --> 00:41:45.199
<v Speaker 2>Oh?

664
00:41:45.280 --> 00:41:51.000
<v Speaker 1>Yeah, yeah, so Ted Hughes when he first you know,

665
00:41:51.039 --> 00:41:55.559
<v Speaker 1>when Sylvia was found dead, her manuscript was on her

666
00:41:55.639 --> 00:42:01.239
<v Speaker 1>desk of Aeriel and it's he's he's made no secret

667
00:42:01.280 --> 00:42:05.320
<v Speaker 1>that he rearranged it. And he said he took out

668
00:42:05.400 --> 00:42:09.320
<v Speaker 1>poems that he thought were inferior. He thought he made

669
00:42:09.400 --> 00:42:12.960
<v Speaker 1>a better manuscript. That's that's what he has said now.

670
00:42:14.239 --> 00:42:18.800
<v Speaker 1>The poems he removed made him look especially bad, you know,

671
00:42:19.360 --> 00:42:23.280
<v Speaker 1>so if you're just reading it from the autobiography of

672
00:42:23.719 --> 00:42:28.320
<v Speaker 1>autobiographical context. So so there was that too, you know,

673
00:42:28.440 --> 00:42:31.639
<v Speaker 1>And it can be argued in Hughes's defense he had children.

674
00:42:32.159 --> 00:42:35.519
<v Speaker 1>They you know, their children, and he was raising them,

675
00:42:35.599 --> 00:42:38.480
<v Speaker 1>and you know what was he leaving beyond? What were

676
00:42:38.519 --> 00:42:40.960
<v Speaker 1>they going to be growing up with? And you know,

677
00:42:41.440 --> 00:42:43.719
<v Speaker 1>he was maybe trying to sanitize it a little bit.

678
00:42:44.599 --> 00:42:48.119
<v Speaker 1>What doesn't get talked about a lot is there was

679
00:42:48.159 --> 00:42:55.119
<v Speaker 1>an editor in London, El Alvarez, who talked pleas into

680
00:42:55.199 --> 00:43:00.719
<v Speaker 1>removing some lines from Lady Lazarus, and he thought she

681
00:43:00.840 --> 00:43:02.880
<v Speaker 1>was going too far with some of the World War

682
00:43:02.920 --> 00:43:08.800
<v Speaker 1>two imagery. She had one line, I may be Japanese. Nevertheless,

683
00:43:08.840 --> 00:43:12.239
<v Speaker 1>I am the same identical woman. He had her remove

684
00:43:12.280 --> 00:43:15.559
<v Speaker 1>that I may be Japanese line, and then there there

685
00:43:15.639 --> 00:43:18.159
<v Speaker 1>was another one that is escaping me off the top

686
00:43:18.199 --> 00:43:23.719
<v Speaker 1>of my head. But but he he she's recorded them

687
00:43:23.719 --> 00:43:27.599
<v Speaker 1>with the original lines. So if you listen online to

688
00:43:27.840 --> 00:43:32.119
<v Speaker 1>Sylvia Plath reading Lady Lazarus, you can hear all of

689
00:43:32.159 --> 00:43:36.039
<v Speaker 1>the lines. But but if you read it in Ariel,

690
00:43:36.239 --> 00:43:39.960
<v Speaker 1>even an Aeriel, the restored edition, the lines are missing

691
00:43:40.400 --> 00:43:43.880
<v Speaker 1>that Alvarez suggested she cut. And uh, and I think

692
00:43:43.920 --> 00:43:48.599
<v Speaker 1>it's a shame that she cut them because in my work, uh,

693
00:43:48.800 --> 00:43:51.760
<v Speaker 1>you know, and and and I've got I've got two

694
00:43:51.760 --> 00:43:56.280
<v Speaker 1>books that that you didn't mention Decoding Sylvia Platz Lady

695
00:43:56.360 --> 00:44:00.480
<v Speaker 1>Lazarus and Decoding Sylvia Plats Daddy and and in the

696
00:44:00.559 --> 00:44:03.800
<v Speaker 1>Lady Lazarus book, and those are both available on Amazon,

697
00:44:04.480 --> 00:44:07.800
<v Speaker 1>and they're just quick reads, they're just studies of single poems.

698
00:44:08.320 --> 00:44:11.800
<v Speaker 1>And in those in that book, I kind of get

699
00:44:11.840 --> 00:44:18.400
<v Speaker 1>into her identification with the Japanese women who were especially

700
00:44:18.440 --> 00:44:21.639
<v Speaker 1>downtrodden at the time, and you know, and just this

701
00:44:21.719 --> 00:44:25.519
<v Speaker 1>sort of extra baggage she was packing into the poem

702
00:44:25.880 --> 00:44:30.320
<v Speaker 1>basically that that got cut with that single line. So

703
00:44:30.320 --> 00:44:34.239
<v Speaker 1>so she was censored a bit. Certainly. She sent a

704
00:44:34.320 --> 00:44:36.920
<v Speaker 1>lot of poems out in her lifetime that were rejected.

705
00:44:37.719 --> 00:44:41.880
<v Speaker 1>There were many people who thought she was too savage

706
00:44:41.960 --> 00:44:46.320
<v Speaker 1>and angry in her writing to publish, you know, especially

707
00:44:46.320 --> 00:44:49.039
<v Speaker 1>for a woman back in the nineteen sixties. You know,

708
00:44:49.079 --> 00:44:53.000
<v Speaker 1>they still wanted women to write pretty and so Plath

709
00:44:53.239 --> 00:44:57.079
<v Speaker 1>was really a groundbreaker, and you know, and rightly so.

710
00:44:57.360 --> 00:45:01.239
<v Speaker 1>She is famous as a literary feminist for just you know,

711
00:45:01.960 --> 00:45:07.400
<v Speaker 1>having a new voice, just real quick, sorry, just it's

712
00:45:07.440 --> 00:45:10.480
<v Speaker 1>just who remind it's so reminiscent of like Frida Calo

713
00:45:10.679 --> 00:45:15.039
<v Speaker 1>in that she kind of slipped under Dio Rivetta's.

714
00:45:14.199 --> 00:45:19.239
<v Speaker 6>Shadow, and I see how Sylvia slipped under Ted Hughes's shadow,

715
00:45:19.440 --> 00:45:23.960
<v Speaker 6>and so, yeah, you look at these literary artists, you're like, well,

716
00:45:24.079 --> 00:45:26.400
<v Speaker 6>why are people not discussing these people more?

717
00:45:26.880 --> 00:45:30.079
<v Speaker 1>Yeah, and you know, at the time in the early

718
00:45:30.199 --> 00:45:34.599
<v Speaker 1>nineteen sixties, I mean you can see plus ambivalence and

719
00:45:35.280 --> 00:45:38.239
<v Speaker 1>really almost a bipolar you know. I mean it could

720
00:45:38.280 --> 00:45:42.039
<v Speaker 1>be taken literally, she may have been bipolar, back and

721
00:45:42.079 --> 00:45:44.960
<v Speaker 1>forth of I want to be the best wife and mother,

722
00:45:45.280 --> 00:45:48.599
<v Speaker 1>and I want to be subservient to my man, and

723
00:45:48.639 --> 00:45:52.039
<v Speaker 1>then this sort of feminist streak of you know, I

724
00:45:52.079 --> 00:45:54.440
<v Speaker 1>am me and I you know, I am, I am,

725
00:45:54.480 --> 00:45:55.239
<v Speaker 1>I am you know.

726
00:45:55.239 --> 00:45:55.320
<v Speaker 5>And.

727
00:45:57.119 --> 00:46:00.320
<v Speaker 1>It's all there, and she was all of it, but

728
00:46:01.400 --> 00:46:04.599
<v Speaker 1>she wrestled with it because the times wanted her to

729
00:46:05.199 --> 00:46:08.719
<v Speaker 1>shut up and be an agreeable little wife, and she

730
00:46:08.880 --> 00:46:10.519
<v Speaker 1>kind of wanted that too, you know.

731
00:46:13.760 --> 00:46:15.679
<v Speaker 2>Ethan you had a question, mamam.

732
00:46:16.000 --> 00:46:18.199
<v Speaker 1>Yeah, this is so fascinating.

733
00:46:18.360 --> 00:46:23.519
<v Speaker 5>I wonder with her poetry in the sense there were

734
00:46:23.559 --> 00:46:27.679
<v Speaker 5>so many powerful overt similes, as you pointed out, with

735
00:46:27.800 --> 00:46:31.400
<v Speaker 5>the Japanese woman and maybe also with the idea of

736
00:46:31.480 --> 00:46:38.320
<v Speaker 5>the German Man in Daddy. Did that overshadow Did those

737
00:46:38.360 --> 00:46:41.440
<v Speaker 5>overt similes related to the war and all the really

738
00:46:42.159 --> 00:46:48.920
<v Speaker 5>powerful situations that just happened. Did that overshadow or even

739
00:46:49.119 --> 00:46:54.719
<v Speaker 5>eclipse any consideration of the Tarot layer to her poems?

740
00:46:54.719 --> 00:46:58.280
<v Speaker 1>And yeah, well, I'm glad you mentioned Daddy because that

741
00:46:58.480 --> 00:47:00.719
<v Speaker 1>was one of the decoding books that I had to

742
00:47:00.760 --> 00:47:03.639
<v Speaker 1>write and publish right away because it's so such an

743
00:47:03.679 --> 00:47:08.840
<v Speaker 1>important poem. But if you read Daddy with an eye

744
00:47:09.639 --> 00:47:14.599
<v Speaker 1>on Sigmund Freud, Okay, you can lie back now, Daddy,

745
00:47:14.760 --> 00:47:20.079
<v Speaker 1>you know in that chair, you know, it's it's the

746
00:47:20.119 --> 00:47:24.639
<v Speaker 1>story of Sigmund Freud. Actually, you know, the snows of

747
00:47:24.679 --> 00:47:27.800
<v Speaker 1>the Tear, all the clear beer of Vienna, you know,

748
00:47:28.000 --> 00:47:31.880
<v Speaker 1>I mean, it's all Freud. The other thing that those

749
00:47:31.920 --> 00:47:34.679
<v Speaker 1>words are doing, I mean they're doing a lot. But

750
00:47:34.760 --> 00:47:37.960
<v Speaker 1>the other, like big scream out kind of thing is

751
00:47:38.000 --> 00:47:42.960
<v Speaker 1>it's Joseph Conrad's Heart of Darkness book, which she read

752
00:47:43.000 --> 00:47:46.280
<v Speaker 1>with Ted Hughes. So there's this, Daddy is such a

753
00:47:46.480 --> 00:47:51.199
<v Speaker 1>monumental tribute to all of these things. You know. There

754
00:47:51.280 --> 00:47:53.639
<v Speaker 1>was a statue of Freud that she used to walk

755
00:47:53.679 --> 00:47:56.119
<v Speaker 1>past often, and I went to see it in London

756
00:47:56.159 --> 00:47:59.079
<v Speaker 1>and I took pictures and it's just as she describes it,

757
00:47:59.360 --> 00:48:05.039
<v Speaker 1>ghastly statue with one gray toe big as a Frisco seal.

758
00:48:05.239 --> 00:48:08.280
<v Speaker 1>You know, it's a weird statue the way they you know,

759
00:48:08.320 --> 00:48:10.559
<v Speaker 1>the toe is sort of unformed, you know, as it

760
00:48:10.760 --> 00:48:15.320
<v Speaker 1>blends into the rock. And you know, she's she was

761
00:48:15.400 --> 00:48:19.039
<v Speaker 1>so brilliant. I mean, I just like, I am almost

762
00:48:19.079 --> 00:48:24.159
<v Speaker 1>in tears just I get so excited about it. And so,

763
00:48:24.920 --> 00:48:27.280
<v Speaker 1>you know, I don't know, I suppose I got all

764
00:48:27.320 --> 00:48:30.119
<v Speaker 1>excited there and I lost track of what your actual

765
00:48:30.239 --> 00:48:31.000
<v Speaker 1>question was.

766
00:48:31.079 --> 00:48:35.039
<v Speaker 5>He well, I was essentially asking, like she had so

767
00:48:35.159 --> 00:48:38.960
<v Speaker 5>many personal elements or what people pointed to the personal

768
00:48:38.960 --> 00:48:42.320
<v Speaker 5>elements of her poems with her father and in the

769
00:48:42.360 --> 00:48:47.280
<v Speaker 5>case of Daddy and the German figure that everyone had

770
00:48:47.400 --> 00:48:52.079
<v Speaker 5>just dealt with and so forth and Mammy, that these

771
00:48:52.559 --> 00:48:57.239
<v Speaker 5>were these tarot elements kind of overlooked. And I wanted

772
00:48:57.280 --> 00:49:00.159
<v Speaker 5>to ask too, that was that part of the thing

773
00:49:00.280 --> 00:49:04.280
<v Speaker 5>that might have frustrated her and her husband as artists

774
00:49:04.760 --> 00:49:13.280
<v Speaker 5>and trying to share the Yeah.

775
00:49:10.000 --> 00:49:13.079
<v Speaker 1>So you know that the German, of course is her background.

776
00:49:13.159 --> 00:49:16.639
<v Speaker 1>She had an Austrian mother and a German father, and

777
00:49:16.719 --> 00:49:20.360
<v Speaker 1>so most people just say Daddy, okay, auto Plath her father,

778
00:49:20.800 --> 00:49:25.920
<v Speaker 1>and that aspect is there. Others will say, you know,

779
00:49:26.079 --> 00:49:28.599
<v Speaker 1>panzer Man, panser Man. You know that, like you know,

780
00:49:28.679 --> 00:49:32.639
<v Speaker 1>she's the Nazi aspect she's they're saying, she's projecting it

781
00:49:32.719 --> 00:49:36.800
<v Speaker 1>onto Ted Hughes. That aspect's also there too. But as

782
00:49:36.840 --> 00:49:40.159
<v Speaker 1>I said, we're also looking at Sigmund Freud, who was

783
00:49:40.800 --> 00:49:45.519
<v Speaker 1>a racist by the way, you know, and very very

784
00:49:45.599 --> 00:49:50.480
<v Speaker 1>much that that way were And as I said, addressing

785
00:49:50.519 --> 00:49:55.480
<v Speaker 1>Joseph Conrad's Heart of Darkness and that book, so there's

786
00:49:55.719 --> 00:49:58.159
<v Speaker 1>all of this layering and all of this stuff and

787
00:49:58.199 --> 00:50:00.920
<v Speaker 1>how it works in all these different ways. Now that

788
00:50:01.239 --> 00:50:06.719
<v Speaker 1>poem interestingly aligns with the suit of the queens in

789
00:50:06.760 --> 00:50:09.519
<v Speaker 1>the Tarot deck. And at first, you know, you would

790
00:50:09.559 --> 00:50:12.119
<v Speaker 1>think you would think it should be kings, right, but

791
00:50:12.840 --> 00:50:16.480
<v Speaker 1>her queens are upside down, they're in reverse, and they're mad,

792
00:50:17.840 --> 00:50:22.360
<v Speaker 1>and it's and so we get into climb clemen Estra

793
00:50:22.719 --> 00:50:24.880
<v Speaker 1>and we you know, and and and you know and

794
00:50:25.039 --> 00:50:29.199
<v Speaker 1>Medea and and all of these mythological queens that are

795
00:50:29.360 --> 00:50:33.400
<v Speaker 1>just so pissed off, and it's all in there too.

796
00:50:34.000 --> 00:50:37.360
<v Speaker 1>And so what you know, what my book does is

797
00:50:37.400 --> 00:50:41.599
<v Speaker 1>it it tells each of each of the mythological's queen stories.

798
00:50:42.039 --> 00:50:44.440
<v Speaker 1>So you read that story and then you look at

799
00:50:44.440 --> 00:50:48.800
<v Speaker 1>the Plas poem and go, oh, it's climen Isstra And

800
00:50:48.840 --> 00:50:53.400
<v Speaker 1>then you read you know, Medea and her story, and

801
00:50:53.440 --> 00:50:57.440
<v Speaker 1>then you look and oh, she isn't there too. And

802
00:50:57.480 --> 00:51:01.360
<v Speaker 1>then you read Joseph Conrad's Heart of Darkness synopsis of it,

803
00:51:01.400 --> 00:51:04.880
<v Speaker 1>and then you're like, holy smoke, that's been there too.

804
00:51:05.159 --> 00:51:07.840
<v Speaker 1>And then you read about Sigmund fre Like what she

805
00:51:08.039 --> 00:51:12.800
<v Speaker 1>could do with one set of words is so mind blowing.

806
00:51:13.480 --> 00:51:16.000
<v Speaker 1>I mean like, I've never seen it. I've studied a

807
00:51:16.039 --> 00:51:18.960
<v Speaker 1>lot of poetry. I'm sixty one years old, I taught

808
00:51:19.000 --> 00:51:23.519
<v Speaker 1>creative writing in graduate level. I've never seen anything like

809
00:51:23.559 --> 00:51:27.800
<v Speaker 1>what Plas has been able to accomplish. And I think

810
00:51:28.000 --> 00:51:32.840
<v Speaker 1>she's she's beyond a one in a lifetime. She's one

811
00:51:32.880 --> 00:51:36.920
<v Speaker 1>in a you know, in an eon in my opinion.

812
00:51:37.440 --> 00:51:41.559
<v Speaker 1>I mean, I just believe this is divinely channeled stuff,

813
00:51:42.400 --> 00:51:46.880
<v Speaker 1>and so it's my purpose to talk about it.

814
00:51:50.639 --> 00:51:52.800
<v Speaker 2>That's great, that's great, A Lisa, did you want to

815
00:51:52.840 --> 00:51:53.559
<v Speaker 2>say something.

816
00:51:54.559 --> 00:51:55.760
<v Speaker 1>I was just going to touch upon.

817
00:51:56.199 --> 00:52:00.679
<v Speaker 6>She has been very influential to a lot of musicians.

818
00:52:01.559 --> 00:52:05.519
<v Speaker 6>You almost hear her propped a lot, or even lines

819
00:52:05.559 --> 00:52:10.000
<v Speaker 6>from her poetry within their lyrics. What do you think

820
00:52:10.119 --> 00:52:12.440
<v Speaker 6>I mean, is that like an I mean, obviously because

821
00:52:12.440 --> 00:52:14.079
<v Speaker 6>of her genius and all that other stuff.

822
00:52:14.360 --> 00:52:18.679
<v Speaker 1>Is that like a nod to her leanings?

823
00:52:18.960 --> 00:52:22.039
<v Speaker 6>Was it more of a I don't.

824
00:52:21.880 --> 00:52:26.559
<v Speaker 1>Know, what do you think inspired them to use her? Yeah? Yeah,

825
00:52:26.599 --> 00:52:29.920
<v Speaker 1>well it's freney. But it's funny because she was not

826
00:52:30.039 --> 00:52:32.800
<v Speaker 1>into rock and roll at all, not at all. You know,

827
00:52:32.840 --> 00:52:35.480
<v Speaker 1>the Beatles were just kind of coming out like now

828
00:52:35.880 --> 00:52:39.599
<v Speaker 1>they were Beethoven, Plath in Hughes. They they liked their

829
00:52:39.599 --> 00:52:43.239
<v Speaker 1>classical music. Plath liked opera, so she was she was

830
00:52:43.280 --> 00:52:50.320
<v Speaker 1>not very hips as a young person. But what I

831
00:52:50.360 --> 00:52:53.800
<v Speaker 1>can say is that I think the attraction, I mean,

832
00:52:53.840 --> 00:52:57.199
<v Speaker 1>we're all caught up with with the beauty of Sylvia

833
00:52:57.239 --> 00:53:00.119
<v Speaker 1>Plath and Ted Hughes. We're all caught up with that,

834
00:53:00.320 --> 00:53:02.519
<v Speaker 1>you know, the physical beauty. We're all caught up with

835
00:53:02.599 --> 00:53:07.360
<v Speaker 1>the tragedy of her story and really kind of her

836
00:53:07.400 --> 00:53:13.079
<v Speaker 1>bravery in killing herself, and you know, and and and

837
00:53:13.159 --> 00:53:18.480
<v Speaker 1>her words were so raw and so powerful, and I

838
00:53:18.639 --> 00:53:24.519
<v Speaker 1>just think, you know, she became a myth. And you know,

839
00:53:24.840 --> 00:53:27.760
<v Speaker 1>she called her father a high weight, flying myth, and

840
00:53:27.960 --> 00:53:33.000
<v Speaker 1>I think she became that herself. And you know, it's

841
00:53:33.039 --> 00:53:35.840
<v Speaker 1>one of those you know in the rock star world,

842
00:53:36.480 --> 00:53:39.039
<v Speaker 1>which I also have a music background, I don't didn't

843
00:53:39.039 --> 00:53:42.719
<v Speaker 1>even mention that, but I you know, there's the twenty

844
00:53:42.760 --> 00:53:46.119
<v Speaker 1>seven Club where all the famous rock stars Jim Morrison,

845
00:53:46.199 --> 00:53:50.639
<v Speaker 1>Jennis Joplin, Jimmy Hendrix, Kurt Cobain, they die at twenty

846
00:53:50.679 --> 00:53:53.000
<v Speaker 1>seven years old, you know, at the sort of peak

847
00:53:53.039 --> 00:53:56.519
<v Speaker 1>in their career, and it's thought that, you know, that

848
00:53:56.679 --> 00:54:00.239
<v Speaker 1>for some reason immortalizes them because they're at the height

849
00:54:00.320 --> 00:54:02.360
<v Speaker 1>of their career, at the height of their power and

850
00:54:02.400 --> 00:54:07.159
<v Speaker 1>their talent and their beauty. And that happened with Plath two.

851
00:54:07.199 --> 00:54:10.760
<v Speaker 1>It wasn't twenty seven, it was thirty, but she was,

852
00:54:11.119 --> 00:54:16.960
<v Speaker 1>you know, forever captured in that moment, and there's just

853
00:54:17.000 --> 00:54:21.639
<v Speaker 1>this mystique to it, like with the rock stars, and so,

854
00:54:23.320 --> 00:54:27.039
<v Speaker 1>you know, I sometimes wonder. I think all the time,

855
00:54:27.480 --> 00:54:32.199
<v Speaker 1>could a Plath poem be published today, like if it

856
00:54:32.280 --> 00:54:36.079
<v Speaker 1>was unknown, and I would think probably not. They're probably

857
00:54:36.119 --> 00:54:39.920
<v Speaker 1>not smart enough to get it. Plus today there's this

858
00:54:40.480 --> 00:54:45.400
<v Speaker 1>political agenda that even all the arts are pushing, you know,

859
00:54:45.440 --> 00:54:48.960
<v Speaker 1>they're sort of like this higher we've lost the art

860
00:54:49.039 --> 00:54:53.800
<v Speaker 1>and it's all politics today and that makes me crazy.

861
00:54:52.320 --> 00:54:55.960
<v Speaker 1>But you know, so I think she probably wouldn't be

862
00:54:56.079 --> 00:54:59.039
<v Speaker 1>noticed today. In the same way, I also wonder if

863
00:54:59.039 --> 00:55:03.119
<v Speaker 1>she had been allowed to grow old, if if she

864
00:55:03.119 --> 00:55:06.719
<v Speaker 1>would have if it would have quieted down perhaps maybe

865
00:55:06.840 --> 00:55:09.519
<v Speaker 1>maybe not. You know, everyone says, what more could she

866
00:55:09.559 --> 00:55:12.079
<v Speaker 1>have done? And yeah, I mean maybe she could have

867
00:55:12.199 --> 00:55:15.039
<v Speaker 1>gone on. I kind of do think of her as

868
00:55:15.159 --> 00:55:18.880
<v Speaker 1>like a Van go or even a Kurt Cobain of

869
00:55:19.039 --> 00:55:22.360
<v Speaker 1>just you know what, jerro Jack Kerouac said that Roman

870
00:55:22.440 --> 00:55:26.239
<v Speaker 1>candle that you know, just exploding it all early in life,

871
00:55:26.639 --> 00:55:33.280
<v Speaker 1>burning it out fast, and you know, I it's it's

872
00:55:33.320 --> 00:55:37.840
<v Speaker 1>a tragedy, but it's a beautiful tragedy, and the rock

873
00:55:37.880 --> 00:55:43.000
<v Speaker 1>stars get that, you know.

874
00:55:43.280 --> 00:55:46.840
<v Speaker 6>The It's interesting because most of her poetry is landscape

875
00:55:47.360 --> 00:55:50.920
<v Speaker 6>and when I think of some of the Victorian era

876
00:55:51.079 --> 00:55:54.159
<v Speaker 6>of that time, they were writing a lot about landscapes

877
00:55:54.360 --> 00:55:58.000
<v Speaker 6>and kind of had tying that into the human frailty

878
00:55:58.199 --> 00:56:00.840
<v Speaker 6>kind of you said, ben Go that on is that.

879
00:56:02.599 --> 00:56:03.320
<v Speaker 1>Or what have you?

880
00:56:03.760 --> 00:56:06.679
<v Speaker 6>But it's also interesting that I think you need the

881
00:56:06.719 --> 00:56:09.920
<v Speaker 6>backdrop of what was going on at the time as well.

882
00:56:10.159 --> 00:56:16.960
<v Speaker 6>Where's been very disassociated and I think that presented a

883
00:56:17.000 --> 00:56:19.880
<v Speaker 6>perfect thing. But you know, you said thirty it's interesting

884
00:56:19.880 --> 00:56:22.800
<v Speaker 6>because she had that Weathering Heights poem. And Emily Ronton

885
00:56:22.920 --> 00:56:24.519
<v Speaker 6>died at thirty two, didn't she?

886
00:56:24.880 --> 00:56:30.280
<v Speaker 1>Or yes, yeah, you know something the occult Sylvia Plath really,

887
00:56:30.519 --> 00:56:32.280
<v Speaker 1>you know, what I really tried to do was show

888
00:56:32.280 --> 00:56:35.719
<v Speaker 1>the historical context. So, like we have a series of

889
00:56:35.760 --> 00:56:39.159
<v Speaker 1>poems Plath wrote in October nineteen sixty two. They're called

890
00:56:39.159 --> 00:56:43.039
<v Speaker 1>the October Poems. Well, gosh, what was happening in October

891
00:56:43.119 --> 00:56:47.079
<v Speaker 1>nineteen sixty two The Cuban missile crisis And so if

892
00:56:47.119 --> 00:56:49.440
<v Speaker 1>you know what, if you read it with that in mind,

893
00:56:49.599 --> 00:56:52.480
<v Speaker 1>you're going to see all the nuclear war imagery. You're

894
00:56:52.480 --> 00:56:55.159
<v Speaker 1>going to see the missiles, You're going to see the radiation.

895
00:56:55.360 --> 00:56:58.440
<v Speaker 1>You're going to see Hiroshima and Nagasaki in the poem

896
00:56:58.480 --> 00:57:02.440
<v Speaker 1>Aerial by the way, you know, it's the whole, It's

897
00:57:02.519 --> 00:57:06.519
<v Speaker 1>all there, and yet people are missing it and they're

898
00:57:06.639 --> 00:57:10.519
<v Speaker 1>just reading her drama. It's crazy. But even getting back

899
00:57:10.559 --> 00:57:14.159
<v Speaker 1>to her story, you know, people talk about how Klatt's

900
00:57:14.199 --> 00:57:19.239
<v Speaker 1>mother smothered her and was very suffocating. Well in New

901
00:57:19.280 --> 00:57:22.559
<v Speaker 1>England at the time she was growing up, the Lindbergh

902
00:57:22.599 --> 00:57:26.559
<v Speaker 1>Baby had just been kidnapped, and that baby disappeared and

903
00:57:26.599 --> 00:57:29.440
<v Speaker 1>then was found dead and you know, and all the

904
00:57:29.519 --> 00:57:32.039
<v Speaker 1>mothers were like, oh my god. You know, for those

905
00:57:32.119 --> 00:57:35.000
<v Speaker 1>times that they hadn't that they didn't catch the guy,

906
00:57:35.559 --> 00:57:40.480
<v Speaker 1>everybody was hysterical about their babies. And so it makes

907
00:57:40.519 --> 00:57:42.440
<v Speaker 1>a sense. You know, you just have to read it

908
00:57:42.480 --> 00:57:46.920
<v Speaker 1>all in context. And everybody's missed this. They're just all

909
00:57:46.960 --> 00:57:49.639
<v Speaker 1>caught up in the drama. And Ted Hughes is a

910
00:57:49.679 --> 00:57:53.360
<v Speaker 1>bad guy and she's raging on her husband, and it's

911
00:57:53.400 --> 00:57:55.800
<v Speaker 1>so much more than that, so much more than that.

912
00:57:58.480 --> 00:58:00.760
<v Speaker 3>Sorry, Julie, I just wanted to add this one. It's

913
00:58:00.800 --> 00:58:02.840
<v Speaker 3>more of a note than a question, but I think

914
00:58:02.880 --> 00:58:05.599
<v Speaker 3>maybe you'll find it interesting. It's something that you and

915
00:58:05.679 --> 00:58:08.079
<v Speaker 3>Lisa both said, and I'm going to make it. I'm

916
00:58:08.079 --> 00:58:12.039
<v Speaker 3>going to draw it into synthesis. So you said that

917
00:58:12.480 --> 00:58:16.280
<v Speaker 3>she was much more formulaic using the tree with her

918
00:58:16.360 --> 00:58:20.320
<v Speaker 3>poems or the terror or vice versa, where yes, Hughes

919
00:58:20.480 --> 00:58:24.199
<v Speaker 3>was much more flexible or playful, as I think you

920
00:58:24.280 --> 00:58:26.840
<v Speaker 3>phrased it, and he was able to sort of go

921
00:58:26.920 --> 00:58:29.679
<v Speaker 3>back and forth. This is a very cabalistic idea that

922
00:58:29.719 --> 00:58:33.280
<v Speaker 3>women are less dense than men, so they can climb

923
00:58:33.360 --> 00:58:36.800
<v Speaker 3>the tree more easily, but they have to do it

924
00:58:37.000 --> 00:58:41.559
<v Speaker 3>using a fixed map, otherwise they won't have any orientation

925
00:58:41.760 --> 00:58:46.639
<v Speaker 3>to where they are, whereas men. Sorry about that.

926
00:58:48.000 --> 00:58:51.480
<v Speaker 1>Yeah, you just taught me something about kabala because I

927
00:58:51.519 --> 00:58:56.400
<v Speaker 1>didn't know that. That's really fascinating. It makes perfect sense, right.

928
00:58:58.440 --> 00:59:02.880
<v Speaker 3>Absolutely, And then men have are stronger with the spoken word,

929
00:59:03.320 --> 00:59:06.599
<v Speaker 3>so it makes them more mercurial and more playful. So

930
00:59:06.639 --> 00:59:11.239
<v Speaker 3>they're more Oh, they're not so fixed necessarily in the

931
00:59:11.280 --> 00:59:14.719
<v Speaker 3>suffer particularly, but maybe they get fixed in the past.

932
00:59:15.480 --> 00:59:18.039
<v Speaker 3>Maybe men are more playful in the past. So I

933
00:59:18.039 --> 00:59:22.239
<v Speaker 3>think that there's an idea there that there's like, I

934
00:59:22.360 --> 00:59:25.679
<v Speaker 3>like that you can apply that sort of idea to

935
00:59:26.519 --> 00:59:29.400
<v Speaker 3>them as archetypal people or as poets in general.

936
00:59:30.599 --> 00:59:34.960
<v Speaker 2>It's a path much more of a path person myself, honestly,

937
00:59:35.039 --> 00:59:37.000
<v Speaker 2>especially when it comes to even like symbolism on my

938
00:59:37.079 --> 00:59:39.880
<v Speaker 2>own stuff. To use the paths instead of the see

939
00:59:39.920 --> 00:59:41.880
<v Speaker 2>of themselves. That's interesting.

940
00:59:42.599 --> 00:59:42.880
<v Speaker 1>Yeah.

941
00:59:43.760 --> 00:59:48.599
<v Speaker 2>Uh, is there anything Julia in the book that you

942
00:59:48.599 --> 00:59:50.880
<v Speaker 2>would like to I guess make sure that you do

943
00:59:51.039 --> 00:59:52.800
<v Speaker 2>talk about before we wrap it up, or something that

944
00:59:52.840 --> 00:59:55.440
<v Speaker 2>you would really like to mention that is important to you.

945
00:59:57.000 --> 00:59:57.239
<v Speaker 7>Yeah.

946
00:59:58.000 --> 01:00:01.639
<v Speaker 1>Magic showed up in Plants Life very early on. One

947
01:00:01.639 --> 01:00:05.000
<v Speaker 1>of the things I point out is she saw her

948
01:00:05.039 --> 01:00:08.559
<v Speaker 1>own life, her own story in books she read, and

949
01:00:08.639 --> 01:00:11.280
<v Speaker 1>they're throughout And I know this because I actually read

950
01:00:11.320 --> 01:00:14.159
<v Speaker 1>the books that she read. They're all in the archives,

951
01:00:14.599 --> 01:00:18.440
<v Speaker 1>and I noted the underlinings and the stars and the

952
01:00:18.480 --> 01:00:24.119
<v Speaker 1>margin notes that she wrote, and she saw all these correspondences,

953
01:00:24.159 --> 01:00:28.960
<v Speaker 1>all these magical relationships that you know, there's a book

954
01:00:29.000 --> 01:00:31.559
<v Speaker 1>she read as a little girl called The Silver Pencil

955
01:00:32.079 --> 01:00:35.360
<v Speaker 1>that was essentially, you know, about a girl losing her

956
01:00:35.400 --> 01:00:39.559
<v Speaker 1>father at a young age, and she identified with it

957
01:00:39.679 --> 01:00:42.639
<v Speaker 1>so closely, and it had a lot of weird correspondences,

958
01:00:42.679 --> 01:00:45.360
<v Speaker 1>you know, the German father and he was a school

959
01:00:45.400 --> 01:00:48.320
<v Speaker 1>teacher and you know, and all of these similar things.

960
01:00:49.199 --> 01:00:53.039
<v Speaker 1>But maybe most interesting is throughout the later part of

961
01:00:53.119 --> 01:00:56.400
<v Speaker 1>the book when Plath was with Hughes. She had read

962
01:00:56.440 --> 01:01:00.519
<v Speaker 1>through Middle March, George Eliot's Middle March a number of times,

963
01:01:00.880 --> 01:01:06.159
<v Speaker 1>lots of underlinings, and it was eerily her story with

964
01:01:06.239 --> 01:01:09.199
<v Speaker 1>Ted Hughes and the things that were said, and she,

965
01:01:09.719 --> 01:01:13.000
<v Speaker 1>you know, she would write in the margins, ha, you know,

966
01:01:13.119 --> 01:01:17.760
<v Speaker 1>when she'd get, you know, very angry at something that

967
01:01:18.440 --> 01:01:21.239
<v Speaker 1>Hughes had just done, that the character had done. Also,

968
01:01:22.039 --> 01:01:25.599
<v Speaker 1>you know, it's just amazing stuff. And so I wanted

969
01:01:25.639 --> 01:01:28.079
<v Speaker 1>everyone to see that that she had this sort of

970
01:01:28.760 --> 01:01:33.159
<v Speaker 1>spiritual connection with what she was reading, and she was

971
01:01:33.360 --> 01:01:36.400
<v Speaker 1>very aware of that too. And lots of notes, lots

972
01:01:36.440 --> 01:01:42.400
<v Speaker 1>of underlinings, lots of stars, and it's really fun to

973
01:01:42.440 --> 01:01:46.280
<v Speaker 1>see how she interacted with her reading material. That's why

974
01:01:46.519 --> 01:01:49.679
<v Speaker 1>fifteen years in the archives, I mean, I didn't get

975
01:01:49.679 --> 01:01:53.480
<v Speaker 1>through at all. I probably could spend another fifteen you know,

976
01:01:53.519 --> 01:01:57.440
<v Speaker 1>reading all the books she read and all of her notes,

977
01:01:57.440 --> 01:01:59.440
<v Speaker 1>but I think I got through most of it, and

978
01:02:00.239 --> 01:02:02.639
<v Speaker 1>I think I've done it right, so I feel pretty

979
01:02:02.639 --> 01:02:04.039
<v Speaker 1>good about it.

980
01:02:04.119 --> 01:02:06.599
<v Speaker 2>Listen, Well, that was really great. I mean, you can

981
01:02:06.639 --> 01:02:09.039
<v Speaker 2>honestly tell that you are very passionate about it, you know,

982
01:02:09.360 --> 01:02:11.239
<v Speaker 2>just the way you spoke about Yah, know the way

983
01:02:11.239 --> 01:02:13.599
<v Speaker 2>you spoke about it. I mean, not too It's been

984
01:02:13.599 --> 01:02:15.639
<v Speaker 2>a while anyway, but I mean I've had a lot

985
01:02:15.679 --> 01:02:17.400
<v Speaker 2>of authors on the show, and there's a summer you

986
01:02:17.440 --> 01:02:20.039
<v Speaker 2>could tell, like who's really passionate about what they wrote?

987
01:02:20.199 --> 01:02:21.679
<v Speaker 2>You know what I'm saying. And you could definitely tell

988
01:02:21.800 --> 01:02:24.719
<v Speaker 2>like this is this is something that you know was

989
01:02:24.760 --> 01:02:25.840
<v Speaker 2>part of you? Where is part of you?

990
01:02:26.119 --> 01:02:26.280
<v Speaker 3>You know?

991
01:02:26.960 --> 01:02:27.880
<v Speaker 2>That's great to see it.

992
01:02:27.880 --> 01:02:29.039
<v Speaker 1>It is. It's why I'm here.

993
01:02:29.440 --> 01:02:32.400
<v Speaker 2>Yeah, that's great stuff. Uh do you want to remind

994
01:02:32.440 --> 01:02:34.960
<v Speaker 2>everybody again with like where they can find your stuff

995
01:02:35.039 --> 01:02:36.480
<v Speaker 2>and your books and yeah?

996
01:02:36.719 --> 01:02:40.559
<v Speaker 1>Yeah, well my website is Julia Gordon Bramer dot com.

997
01:02:40.760 --> 01:02:43.559
<v Speaker 1>That's probably the easiest way to find me. You can

998
01:02:43.599 --> 01:02:46.119
<v Speaker 1>write me through there. You know, I'm on all the

999
01:02:46.159 --> 01:02:49.920
<v Speaker 1>social networks. I'm on Instagram and Facebook and Twitter or

1000
01:02:50.159 --> 01:02:56.559
<v Speaker 1>x I. You know, I'm pretty interactive. So I would

1001
01:02:56.719 --> 01:02:58.719
<v Speaker 1>love to talk to anybody if they wanted to reach

1002
01:02:58.760 --> 01:03:02.960
<v Speaker 1>out and and I love talking class, I love answering

1003
01:03:03.039 --> 01:03:07.039
<v Speaker 1>questions and and of course if they're interested in a

1004
01:03:07.039 --> 01:03:09.039
<v Speaker 1>tarot card reading, look me up there too.

1005
01:03:09.880 --> 01:03:11.440
<v Speaker 2>Listen. That's great. Yeah, but we'll have to get you

1006
01:03:11.480 --> 01:03:13.519
<v Speaker 2>back on one day for tower and cabbala. It would

1007
01:03:13.519 --> 01:03:14.840
<v Speaker 2>be a very interesting.

1008
01:03:14.440 --> 01:03:16.639
<v Speaker 1>I would love it, Yes, I would love it.

1009
01:03:17.119 --> 01:03:20.000
<v Speaker 2>Yeah. Especially I love, you know, promoting tarot people that

1010
01:03:20.519 --> 01:03:22.920
<v Speaker 2>use kabbala. I just feel like you get much more

1011
01:03:23.559 --> 01:03:25.719
<v Speaker 2>value out of those, This is my opinion.

1012
01:03:25.840 --> 01:03:26.159
<v Speaker 1>Yeah.

1013
01:03:27.599 --> 01:03:31.679
<v Speaker 2>Yeah, good stuff, I guess and real quick, Ethan, real quick.

1014
01:03:31.679 --> 01:03:32.960
<v Speaker 2>Do you just want to remind people where they can

1015
01:03:32.960 --> 01:03:33.679
<v Speaker 2>find your stuff again?

1016
01:03:34.840 --> 01:03:37.559
<v Speaker 5>Yeah, I got a website. I think you usually link

1017
01:03:37.599 --> 01:03:40.519
<v Speaker 5>it below and I'm on all the social media and

1018
01:03:40.920 --> 01:03:44.599
<v Speaker 5>I'll be following you, Julia. I was very interesting and

1019
01:03:45.400 --> 01:03:48.559
<v Speaker 5>love to hear about your story related to her story,

1020
01:03:48.559 --> 01:03:50.599
<v Speaker 5>and so thanks for coming.

1021
01:03:51.519 --> 01:03:52.719
<v Speaker 2>Yes and Gin.

1022
01:03:54.119 --> 01:03:59.079
<v Speaker 3>Sorry okay, so thank you guys. Thank you Julia so much.

1023
01:03:59.119 --> 01:04:02.639
<v Speaker 3>Thank you Lisa than and of course Nick. Awesome to

1024
01:04:02.679 --> 01:04:05.920
<v Speaker 3>be invited. Obviously, I really love poetry at what plot,

1025
01:04:06.000 --> 01:04:09.599
<v Speaker 3>so it's kind of a perfect fit for me. I

1026
01:04:09.679 --> 01:04:12.840
<v Speaker 3>wanted to say that we should have discussed Ariel that

1027
01:04:12.880 --> 01:04:16.239
<v Speaker 3>obviously the poem, not the entire work, but because I

1028
01:04:16.280 --> 01:04:18.360
<v Speaker 3>think Nick would have found it really interesting with the

1029
01:04:18.400 --> 01:04:21.639
<v Speaker 3>colors that she uses right away he likes He also

1030
01:04:21.880 --> 01:04:25.280
<v Speaker 3>likes those colors. He's a bana enjoyer, as the I

1031
01:04:25.280 --> 01:04:29.760
<v Speaker 3>would say. So I just I just thought it was interesting.

1032
01:04:29.800 --> 01:04:33.480
<v Speaker 3>But people can find me in the links, yeah, I

1033
01:04:33.519 --> 01:04:35.960
<v Speaker 3>think the and on Twitter with Conrie Bourne. You can

1034
01:04:35.960 --> 01:04:39.000
<v Speaker 3>follow me and of course the show account Threshold Saints.

1035
01:04:39.039 --> 01:04:41.760
<v Speaker 3>Threshold Saints on Apple and Spotify listen.

1036
01:04:41.960 --> 01:04:45.079
<v Speaker 2>Thank you very much, so Unlisan, Lisa, thank you very

1037
01:04:45.119 --> 01:04:46.360
<v Speaker 2>much for joining us.

1038
01:04:46.880 --> 01:04:49.679
<v Speaker 6>Yes, thank you, thank you Ethan Jin, and thank you

1039
01:04:49.760 --> 01:04:52.679
<v Speaker 6>Nick for inviting me. Julia, thank you so much for

1040
01:04:52.719 --> 01:04:55.679
<v Speaker 6>doing such a wonderful job. I look forward to your book.

1041
01:04:56.039 --> 01:04:59.960
<v Speaker 6>I am going to order it, and you've done her justice.

1042
01:05:00.199 --> 01:05:01.199
<v Speaker 6>Thank you so much.

1043
01:05:01.320 --> 01:05:06.920
<v Speaker 1>And oh it's audiobook also, so if anyone's.

1044
01:05:06.559 --> 01:05:07.360
<v Speaker 2>Interesting, that's cool.

1045
01:05:07.440 --> 01:05:11.039
<v Speaker 7>Yeah, yeah, I'm going to throw this out there and

1046
01:05:11.079 --> 01:05:13.760
<v Speaker 7>then maybe we can have you on just specifically for Ariel,

1047
01:05:14.280 --> 01:05:18.480
<v Speaker 7>since Jin put it out there, I would love analyze Aeriel.

1048
01:05:18.599 --> 01:05:20.440
<v Speaker 6>And so we look at that because I think it

1049
01:05:20.519 --> 01:05:25.199
<v Speaker 6>is up. It's a series that really needs very in

1050
01:05:25.320 --> 01:05:28.480
<v Speaker 6>depth looking in, you know, meticulousness and teasing it all

1051
01:05:28.519 --> 01:05:30.920
<v Speaker 6>out because it's so layered, it's so in depth. So

1052
01:05:31.480 --> 01:05:37.639
<v Speaker 6>if if ever there's that, but thank you again, and yes, thanks,

1053
01:05:37.719 --> 01:05:38.119
<v Speaker 6>that's it.

1054
01:05:38.559 --> 01:05:41.679
<v Speaker 2>Thank you, Lisa. Awesome and again Julia, thank you so much.

1055
01:05:41.880 --> 01:05:44.440
<v Speaker 2>Really I had a blessed. This is really a great time.

1056
01:05:45.199 --> 01:05:47.239
<v Speaker 2>Thank you, and uh, we definitely would like to get

1057
01:05:47.280 --> 01:05:49.880
<v Speaker 2>you back on for sure in the future if you're

1058
01:05:49.920 --> 01:05:53.480
<v Speaker 2>interested in her stuff. Again, everybody's links, but especially hers

1059
01:05:53.559 --> 01:05:56.079
<v Speaker 2>will be in the bottom, so check it out. And

1060
01:05:56.360 --> 01:05:58.599
<v Speaker 2>that's the end of another Occult Rejects and until the

1061
01:05:58.599 --> 01:06:01.000
<v Speaker 2>next one, everybody be well. Leda
