C.M. MAYO WORKS & NEWS – Page 12 – C.M. Mayo's Book Notes & Convos

Una ventana al mundo invisible (A Window to the Invisible World): Master Amajur and the Smoking Signatures

Una ventana al mundo invisible. Protocolos del IMIS
Editorial Antorcha, Mexico City, 1960.
[A Window to the Invisible world: Protocols of the IMIS]

I was a long ways into into the labyrinth of research and reading for my book, Metaphysical Odyssey into the Mexican Revolution, when I happened into Mexico City’s Librería Madero, expressing a vague interest in Francisco I. Madero and “lo que sea de lo esotérico.” When the owner, Don Enrique Fuentes Castilla, set this book upon the counter, I confess, the cover, which looks like a Halloween cartoon, with such childish fonts, did little to excite my interest. But oh, ho ho (in the voice of the Jolly Green Giant):

A Window to the Invisible World: Protocols of the Mexican Institute for Psychic Research Mexico City, 1960

This book, Una ventana al mundo invisible, is nothing less than the official, meticulously documented records of the dozens and dozens of research-séances of the Instituto Mexicano de Investigaciones Síquicas or IMIS (Mexican Institute of Psychic Research) from April 10, 1940 to April 12, 1952, members of which included– the book lists their names and their signatures— several medical doctors and National University (UNAM) professors; an ex-Rector of the UNAM, the medical doctor and historian Dr. Fernando Ocaranza; several generals; ambassadors; bankers; artists and writers, including José Juan Tablada; a supreme court justice; an ex-Minister of Foreign relations; an ex-director of Banco de México, Carlos Novoa; Ambassador Ramón Beteta, ex Minister of Finance; and… drumroll… both Miguel Alemán and Plutarco Elías Calles. *

Close up of the subtitle. Madam Mayo disapproves of the font. (Dude, what were you smoking?)

*I hate giving wikipedia links but as of this writing, the official webpage for the Mexican presidency doesn’t go back more than four administrations.

For those a little foggy on their Mexican history, Plutarco Elías Calles served as Mexico’s President from 1924-1928, and Miguel Alemán, 1946-1952. At the time of the séances documented in Una ventana al mundo invisible, Calles was in retirement, having returned from the exile imposed on him by President Cardenás in the 1930s.

President of Mexico, “El Jefe Máximo” Plutarco Elías Calles. In retirement he joined the IMIS and was a regular participant in the research-séances documented in *Una ventana al mundo invisible*

When Una ventana al mundo invisible was published in 1960, Alemán was long gone from power, and Calles had passed away.

I had heard, as has anyone who goes any ways into the subject, that Alemán and Calles and other Mexican “public figures” were secret Spiritists, but here, dear readers, in the Protocolos del IMIS, are the smoking signatures.

Yes, There are Other References to
Una ventana al mundo invisible

Mexican historian Enrique Krauze was one of the first to cite Una ventana al mundo invisible in his chapter on Calles in Biography of Power, as does Jurgen Burchenau in his biography, Plutarco Elías Calles and the Mexican Revolution. But, as I write these lines, Una ventana al mundo invisible remains surprisingly obscure.

Of course, I googled. A Mexican writer, Héctor de Mauleón, had discovered Una ventana al mundo invisible in a different Mexico City antiquarian bookstore and written up a summary for the October 2012 issue of Nexos. (But he complains of his copy’s missing the picture of the conjured spirit, “Master Amajur.” More about that in a moment.) And also recently, Grupo Espírita de la Palma, a Canary Islands Spiritist blog, which has posted several important bibliographic notes as well as a bibliography of Spanish works on Spiritism, posted this piece about the Jesuit Father Heredia’s involvement with the IMIS–thanks to his friend, none other than Calles–and about this book.

How about WordCat? Yes, there are several copies of the 1960 edition of Una ventana al mundo invisible in libraries in Mexico City. And three copies in the United States: the Library of Congress, the New York Public Library, and (why?) the University of West Georgia. Ah, and WorldCat also shows several copies in Mexico of an edition © 1993 and published in 1994 by Planeta and another, expanded edition published by Posadas in 1979.

(A research project for whomever wants it: to delve into the Mexican hemerotecas of 1960-61 for any newspaper coverage, and 1979 and 1994 for anything about the Posadas and Planeta editions. My guess is, not much, for the press was largely under the thumb of the ruling party and this sort of information about Mexican Presidents would have been, to say the least, unwelcome. But that’s just my guess.)

So, Now, Delving into the Contents…

Rafael Alvarez y Alvarez (1857 – 1955), Mexican banker and founder of the Instituto Mexicano de Investigaciones Síquicas (IMIS)

The copy Don Enrique was offering, and for a very reasonable price, still had its dust jacket, small tears in places along the bottom and the top, but intact (the image on this blog post is a scan of my copy). The rest of it was pristine; the pages had not even been cut. Don Enrique slit open a few for me in the bookstore, and once home, I continued with my trusty steak knife (read about my other steak knife adventure here.)

I dove right in and learned that the founder of the IMIS, to whose memory the book is dedicated, was Rafael Alvarez y Alvarez (1887-1955), a distinguished Mexican banker, a president of the Monte de Piedad, and a congressman and senator. (Looking at his portrait with my novelist’s eye– that gaze! the bow tie!– yes, the intrepid maverick.)

The introduction is by Gutierre Tibón, an Italian-Mexican historian and anthropologist, professor in the National University’s prestigious faculty of Philosophy and Literature, and author of numerous noted works, including Iniciación al budismo and El jade de México.

A Brief Bit of Background
on 19th Century Parapsychological Research

The goal of the IMIS was to progress in the tradition of pioneer American, English, and European parapsychological researchers. From my book, Metaphysical Odyssey into the Mexican Revolution, the first chapter, which provides 19th century background for Madero’s ideas about Spiritism, which he considered both a religion and a science:

“The exploits of mediums such as the Fox sisters, D.D. Home, the Eddy Brothers, and later in the nineteenth century, prim Leonora Piper (channel for the long-dead “Dr Phinuit” and the mysterious “Imperator”), and wild Eusapia Palladino (whose séances featured billowing curtains, floating mandolins and, popping out of the dark, ectoplasmic hands), spurred the studies of investigators, journalists and a small group of elite scientists. Noted German, Italian, and French scientists, such as Nobel prize-winning physiologist Charles Richet undertook the examination of these anomalous phenomena, but the British Society for Psychical Research, founded in 1882, and the American Society for Psychical Research founded three years later, led the fray. Though their ranks included leading scientists such as chemist William Crookes, naturalist Alfred Russel Wallace, physicist Oliver Lodge, and William James (the Harvard University professor considered the father of psychology). Yet their researches almost invariably met not with celebration, nor curiosity on the part of their fellow academics, but ridicule, often to the point of personal slander.”

On that note, for anyone interested in learning more about 19th century parapsychological research, a very weird swamp indeed, I recommend starting with science journalist Denorah Blum’s excellent Ghost Hunters: William James and the Search for Scientific Proof of Life After Death. (See also Blum’s website.)

Medium Luís Martínez
and “Spirit Guide” Dr. Enrique del Castillo

As James et al had Leonora Piper, and Richet and Lombroso, Eusapia Palladino, the IMIS employed the medium Luis Martínez, who was able to evoke a broad spectrum of phenomena, from ringing bells to apports, ectoplasm, breezes, raps and knocks, levitation, and so on.

In séances with Martínez, the IMIS heard from its spirit guide on the “other side,” one Dr. Enrique del Castillo, a Mexican doctor of the 19th century. According to Dr Tibón in his introduction to Una ventana al mundo invisible (p. 20, my translation):

“The way he looked was perfectly well known because once he “aported” his photograph, which was later made into a larger size, framed and displayed the Institute’s workroom. Another aport of Dr. del Castillo were his spectacles, identical to those in the portrait. He brought them on October 24, 1944, at 10:30 pm, in a séance that was documented in Cuernavaca, and he said these words, directing them to Rafael Alvarez y Alvarez: ‘In leaving my spectacles to you, dear son, it is with the wish that you will see clearly the future road we must take. May these spectacles take you on the path where we will always be companions.'”

Enter “Master Amajur”

Of special note was the séance on the evening of September 24, 1941, when Plutarco Elías Calles invited Carlos de Heredia, S.J., author of a book debunking Spiritism– and Father Heredia, sufficiently awed (and according to Calles, converted) affixed his signature as witness to genuine phenomena. That séance is documented in its entirety in Una ventana al mundo invisible. From Dr. Tibón’s introduction (p.21, my translation):

“That memorable night there materialized another spirit guide for the circle: an oriental doctor named Master Amajur; and he did not only show himself completely to Father Heredia, he also spilled a glass of water, saturated it with magnetic fluid, and gave it to him to drink. Then there appeared the phantom of Sister María de Jesús and, before the astonished cleric, illuminated her face in a most unusual manner. Finally, Dr Enrique del Castillo appeared, surrounded by many tiny lights. These levitated the medium, chair and all– the equivalent of raising almost 100 kilos– and silently left him in the other end of the room. This phenomenon was verified for the first time. Later, I had the fortune to attend its repetition and I literally saw the medium fly two meters into the air.”

Master Amajur started showing up from the first documented séance of May 8, 1940 (p. 89, my translation of some of the highlights):

“Master Amajur [appeared] very clearly, he touched all of us and he wrote a message which says: Go forward and I will help you. When we asked him [for a message] he left a message for Colonel Villanueva that says: It would be good for you to attend a séance. [… ]The first materialization produced an electric spark above the lightbulb that was loose in its socket[… ] There was an aport: a small bottle of perfume and its essence sprinkled above us. The music box passed over our heads. The Master gave us his cloak to touch, which seemed to all of us a piece of gauze. One again he produced a fresh breeze: it smelled of ozone.

On June 12, 1940 (p.90, my translation):

[…] the Master came in. This manifestation appeared first as a human hand covered with a veil, imitating a human figure. Then it increased in size and luminosity until it came txo a height of about 1.5 meters. Only the head and bust could only be seen. It was covered in a bluish white veil which I touched with my face. It gave me the impression of being a cotton fabric… It gave me a large glass of water to drink… It put flowers in our hands, it gave us a perfumed air, and when luminous blobs passed near my face I perceived the smell of phosphorous.”

On June 22, 1941 (my translation, p. 92):

“In front of all of us, Amajur left on the wall an inscription that said: Go forward. Upon request, he gave fluid to a magnolia and then he began to cut the petals. One by one these were deposited in the mouths of the participants.”

And so on. Séance after séance after séance–96 in all–with sparks, music, levitations, ectoplasmic this & that, perfumes, flowers, and frequent appearances not only by Master Amajur and sundry others, but also a childlike spirit, “Botitas” (Little Boots), who would tug on the participants’ pant legs.

Photographing Master Amajur

Close up of “Master Amajur” From the cover of *Una ventana al mundo invisible*

Skipping ahead to the séance of June 17, 1943– which Plutarco Elías Calles attended– Master Amajur has agreed to pose for a photograph. At first this doesn’t work; the photographer only captures a hand and then, suddenly, falls into convulsions. But then, after some further bizarre phenomena and friendly intervention by the spirit Dr. del Castillo, the photograph is achieved (p. 194, my translation):

“According to Mrs. Padilla [wife of Ezequiel Padilla, ex Minister of Foreign Relations, also in attendance on this occasion], and in agreement with all the other participants, at the moment of the explosion or flash from the photographer’s lamp, in the shadow could be seen the complete figure of the master, as if a statue of about 2 meters covered in a cloak, from head to foot. It was also noted that Master Amajur received a powerful shock and on asking him if he would permit another photograph to be taken, he said no.”

According to the dust jacket flap text, this is the very photograph that adorns the cover of the book. But, um, it looks more like a drawing to me. (As, by the way, many purported “spirit photographs” do. Google, dear reader, and ye shall find. Lots on eBay, by the way.)

Madame Blavatsky. The monumental figure of modern esotericism. Author of *The Secret Doctrine* and *Isis Unveiled, etc.* Founder, Theosophical Society

For historians of the metaphysical, it is interesting to note that Master Amajur claimed to be a member of the Great White Brotherhood, a term which came into use in the West with Madame Blavatsky, co-founder of the Theosophical Society, in the 19th century. She claimed that her teachers, who often met with her on the astral plane, were the Great White Brothers or Mahatamas, the Ascended Masters Koot-hoomi (Kuthumi) and Morya. Later, her follower A. P. Sinnett expanded on this topic in a sensational book of its day, The Mahatma Letters (1923). Over the decades, other psychics claimed to receive channeled messages from various Ascended Masters, most notably “St. Germain” and Alice Bailey’s “Djwahl Khul” or “The Tibetan.” It would seem that “Master Amajur” falls into this rather blurry and ever-morphing category.*

*So are the terms Great White Brother, Mahatma, and Ascended Master one and the same? In this article in Quest, modern-day Theosophist Pablo B. Sender elucidates.

Interesting to note also that a google search brought up the tidbit that “Amajur” was the name of an astronomer of 10th century Baghdad– though I hasten to add, according to the IMIS reports in Una ventana al mundo invisible, “Master Amajur” spoke Mexican Spanish. And of further note: there are Spiritist groups that continue to channel messages from Master Amajur today.

Dear readers, conclude what you will, and whether this finds you embracing a gnosis that “resonates” with you, cackling like a hyena, or just numbly confused, surely we can agree that this is all very remarkable.

So What, Pray Tell, Does All This Have to Do
with Don Francisco I. Madero?

**Francisco I. Madero**, President of Mexico 1911-1913; leader of the 1910 Revolution; and as “Bhima,” author of the 1911 *Spiritist Manual*

My book, Metaphysical Odyssey into the Mexican Revolution, is about Madero as leader of the 1910 Revolution and President of Mexico, 1911-1913 and how his political career was launched as an integral part of his Spiritist beliefs. (The book includes my translation of his secret book of 1911, Spiritist Manual, which spells it all out– all the way to out-of-body travel and, yes, interplanetary reincarnation.)

Not all– Enrique Krauze, Yolia Tortolero Cervantes, Javier Garciadiego, Alejandro Rosas Robles, Manuel Guerra de Luna, among others, are important exceptions– but most historians of Mexico and its Revolution sidestep, belittle, or even ignore Madero’s Spiritist beliefs. In my book, I have quite a bit to say about why I think that is (key words: cognitive dissonance), but in sum, few have any context for Madero’s ideas which, for most educated people in the western world, fall into the category of absurd nonsense and “superstition.”

My aim in my book– and this blog post– is not to convince the reader of the truth or falsity of any religious beliefs (ha, neither do I poke tigers with sticks for the hell of it), but to provide a sense of the history and richness of the matrix of metaphysical traditions from which Madero’s beliefs emerged. And with this context, I believe, we can arrive at the conclusion that Madero was not mad, nor so naive and weak as many have painted him, but that, in fact, he was a political visionary of immense courage who found himself on a counterrevolutionary battlefield of such rage and chaos that, if it was fatal for him, would have been for almost anyone else as well.

Madero did not, like some mad alchemist, cook up his ideas by himself; they fit into what was then and is now a living tradition. Madero’s Spiritism was French, itself an off-shoot of American Spiritualism, and with roots in occult Masonry and hermeticism and mesmerism; in the early 20th century, Madero also adopted ideas from a wide range of difficult-to-categorize mystics, such as Edouard Schuré, and from the Hindu holy book so beloved of the Theosophists, Thoreau, and Mohandis Gandhi: the Baghavad-Gita.

After Madero, on the one hand, we see Spiritism melding with folkloric and shamanistic traditions, as with the mediumistic healers Niño Fidencio, Doña Pachita, and the “psychic surgeons” of Brazil and the Philippines. On the other hand, a very small and adventurous group of what was primarily members of the educated urban elite– as we see in Una ventana al mundo invisible– continued the international tradition of parapsychological research that, as we know from his Spiritist Manual and his personal library, Madero greatly admired.

Relevant Links:

>My book, now in paperback and Kindle:
Metaphysical Odyssey into the Mexican Revolution:Francisco I. Madero and His Secret Book, Spiritist Manual

>En español (Kindle):
Odisea metafísica hacia la Revolución Mexicana.Francisco I. Madero y su libro secreto, Manual espírita

>Resources for Researchers: Blogs, Articles, and More

>Mexico City’s incomparable Librería Madero

Why Translate? The Case of the President of Mexico’s Secret Book

Translating Across the Border

A Visit to El Paso’s “The Equestrian”

Find out more about
C.M. Mayo’s books, articles, podcasts, and more.

Writers’ Blogs (and My Blog): Eight Conclusions After 8 Years of Blogging

This is the edited transcript of my talk for the Associated Writing Programs conference panel discussion “Homesteading the Digital Frontier: Writers’ Blogs.”

How to blog, how not to blog… that was a hot topic a few years ago, when blogging was new, and indeed in 2008, for the Maryland Writers Association conference I gave a talk on the best practices for writers’ blogs. But that was then and this is now. Now I don’t have so much advice; what I have are some conclusions about what’s right for me and, sort of maybe kind of, by extension, for other literary writers. There isn’t any one right way to do this– what might annoy this reader enchants another, and anyway, someone is always barging in with something new.

To switch metaphors: this genre is built of jelly. Electrified jelly in rainbow hues.

I started blogging with Madam Mayo back in the spring of 2006. I kept at it, blogging once, twice, sometimes more often, every week. By the end of this March it will have been eight years. What have I concluded?

# 1. Maybe not everyone else is, but I remain charmed by the name of my blog, Madam Mayo.

It seems almost nobody gets that it’s a play on Madam Mao. Oh well! It still makes me chuckle.

As a reader, I appreciate fun or at least memorable names for blogs. A few examples:
Mr. Money Mustache
Pigs, Gourds and Wikis (Liz Castro)
Jenny Redbug (Jennifer Silva Redmond)
E-Notes (E. Ethelbert Miller)
Real Delia (Delia Lloyd)
Cool Tools (Kevin Kelly)
The Metaphysical Traveler (John Kachuba)
The Blue Lantern (Jane Librizzi)
Chico Lingo (Sergio Troncoso)
Quid Plura? (Jeff Sypeck)
Poet Reb Livingston’s now unavailable blog, Home Schooled By a Cackling Jackal, that was my all-time fave.

#2. Whoa, blogging has an opportunity cost!

For me, looking back at eight years, it’s probably a novel that didn’t get written, plus a few essays and articles in newspapers and magazines that didn’t get polished up, submitted and published. Do I regret that? Yes, but not hugely because in those eight years I did manage to publish three books (Mexico: A Traveler’s Literary Companion; a novel, The Last Prince of the Mexican Empire; and Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual), plus I published several Kindles (Miraculous Air; From Mexico to Miramar; The Building of Quality; El último principe del Imperio Mexicano), plus I promoted a paperback edition of my travel memoir; I also published several articles, scads of book reviews, poems, more translations, and over 30 podcasts. Oh, and I wrote an ebook of writing exercises and an ebook, Podcasting for Writers. So you can’t say I’m not a productive writer. But yes… (sigh)… I do wish I could have written that novel.

# 3. But on the plus side, like a workout sprints for a marathoner, blogging helps me stay in shape as a writer.

Indeed, if I hadn’t been blogging over these past 8 years, perhaps I would not have been as productive as a writer. So maybe the opportunity cost was the other way around! But that’s probably wishful thinking. My sense is I blogged just the right amount for me at the time. I blogged more frequently the first couple of years, back when I was still trying to get my mind around the nature of the genre. Looking forward: Best for me to blog once a week, maybe twice.

# 4. Although my ego would like Madam Mayo blog to draw legions of passionate followers, all perched at the edge of their seats for my next post, ready to fly to their keyboards with their hailstorm of comments… The fact is, writing that strives for an ever-larger following is not the best strategy for me as a literary artist or as a person.

Egos are like big dogs. They protect you, they love you, but they bark a lot and sometimes they slobber. For me—a literary writer whose focus through several books in multiple genres has been examining various regions and aspects and periods of Mexico in an international context, numbers of followers… well, let me put it this way: If what I’d really wanted was a mass following, I wouldn’t be writing the kinds of books I’m writing. QED.

# 5. Not all, certainly, but a sizable number of people who trouble to comment on blogs seem stuck in Emotional Kindergarten.

One day they shall evolve to their next educational opportunity; meanwhile, I am not in the business of managing snotty little brats pushing each other off the swings in Blogland. Therefore I do not manage nor publish comments on my blog. But because I hope I am not shouting into the wind here— I do care about hearing from thoughtful, civilized readers— I always include a link that goes to a contact page on my website. So, with two clicks away from my blog post, any reader can send me an email. What I have very happily learned is that spammers and trolls don’t bother. That extra click and knowing in advance that their comment will probably not be published, wow, that is a Mount Rainier-sized barrier. With my no comments but email link in place, so far, fingers crossed, I have yet to receive an email from anyone but the readers I want to have, that is, courteous and intelligent people.

# 6. Blogging is very much like publishing a literary short story or book— it goes out into the world to an opaque response.

We might scare up some numbers, say, as how many people clicked on a blog post and at what time of day via which search engine, or how many bookstores ordered how many copies of a book. But even with endless hours of crunching through, say, Google Analytics, we may never know the reaction of every single reader. All of us read thousands of things we never comment on, dozens and dozens of books we will never review, we will never write to the author—although some of these works may prove deeply meaningful to us in the course of our lives. As anyone who has published a blog or a book knows, sometimes the silence can be downright eerie. So if you want to write a book or a blog post, it helps to have the tough-mindedness to accept that maybe… you will never know the true, full nature of the response. Maybe the person who will most appreciate a given blog post has not yet been born. Or maybe my best blog post will find its biggest fan next week. Maybe what I said yesterday changed someone’s life today in… Australia. I don’t know. And that’s OK. I write anyway. That is the kind of writer I am.

# 7. More on the plus side: sharing what I call cyberflanerie and celebrating friends and colleagues and books and all wonder of things is a delight.

(In ye olden days, we would take scissors and cut things out of magazines and end up with overstuffed files full of yellowing papers. Difficult to share.)

# 8. Madam Mayo blog is not so much my so-called “platform,” but rather, a net that catches certain special fish— the readers who care about the things I care to write about.

This last conclusion is the one that took me the longest to reach. It seems obvious to me now, and it probably will for you also, but back when blogs were new it was difficult to appreciate both their nature and their potential. Back when, most people thought of them as a diary—a web log— which is how we got the term “blog.” The idea, supposedly, was to talk about yourself, frequently. I know it turned off a lot of writers at the time. I had zero interest in blogging about my personal life.

Another way writers thought about blogs— and at first I had a foot in this camp— was as a digital newspaper column. If you were good, if you put out well-crafted and witty and super informative posts, you’d get readers. You’d be famous! You could sell more of your books! Wow, maybe even sell ads and ka-ching, ka-ching!

But of course, anybody can start a blog. The gates blown open, suddenly, there popped up a million wonderful and a zillion crappy blogs, and everything in between, all muddled up together. Back in 2007, 2008, most serious writers I knew turned their noses up at blogging, as something for wannabes, for kids. But by 2009, 2010, those same writers, nagged by their publishers’ marketing staffs, had started blogging to promote their books. (From what I can see from all those blogs that petered out once the book tour was over, or sometimes not even halfway through, if marketing a book is the only goal, one is unlikely to be able to sustain the energy to keep at it for more than a few months, at best.)

But here’s the wonder: The diary and the newspaper column of yore were not searchable the way digital material is. The paper diary was tucked in someone’s drawer; the newspaper, after a day, lined the bottom of the proverbial parrot cage. OK, a very few people might go search things cataloged in a library. And a collection of newspaper articles might end up in a book… one day. But basically, massive an audience as some newspapers columnists enjoyed, before the digital revolution, their writing was ephemeral.

A blog, however, can be found at anytime by anyone anywhere (OK, maybe not in Burma). As people search for words, phrases, topics, names, and come upon Madam Mayo, and its many blog posts with many links to whatever interests me and all about my works, books, ebooks, podcasts, articles, newsletter, and so on and so forth, it serves as a kind of net that catches a certain kind of fish. Over time, as I continue to blog, to add tags and links, my fishnet grows. So now, after 8 years, I have a very big fishnet. And some very nice fish have come in. Though I don’t know who you all are, I sincerely appreciate you, dear readers. Cheers to you!

More anon.

The Manuscript is Ready—Or is it? What’s Next?

“The Typewriter Manifesto” by Richard Polt,
Plus Cyberflanerie on Technology

An Interview with Alan Rojas Orzechowski
about Maximilian’s Court Painter, Santiago Rebull

Jiddu Krishnamurti and “The Lives of Alcyone”

Still revising the introduction for my translation of Francisco I Madero’s Spiritist Manual of 1911… and the introduction is turning into a book itself… meanwhile, here’s a brief excerpt from a new bit about the Theosophists— it’s the part where I go through Madero’s personal library. (For those of you new to the blog, Francisco I. Madero was the leader of the Mexican 1910 Revolution and President of Mexico 1911-1913. His Spiritist Manual has never before been translated.)

. . . . One book apparently did not belong to Madero: Las últimas treinta vidas de Alcione, Federico Climet Terrer’s 1912 Barcelona translation of Annie Besant and C.W. Leadbeater’s Lives of Alcyone, inscribed to Sara Pérez Vd. de Madero, Habana, Oct 18 1918. (Sara Pérez, Widow of Madero).

Now, as we see in Madero’s own library, Spiritist and Theosophical ideas so overlapped and intertwined, it behooves us to venture a little ways down another rabbit hole for the answer to the question, Who, pray tell, was Alcyone?

Alcyone (and Other Lives) in the 20^th Century

Greek answer:A star-nymph, daughter of Atlas and lover of Poseidon.
Literal answer: Jiddu Krishnamurti, a sickly Brahmin boy.
The Theosophists’ answer: As revealed by the Mahatmas, the vehicle for the Lord Maitreya, the Christ, the World Teacher.

It was C.W. Leadbeater who had discovered the adolescent Krishnamurti playing on a beach in 1909, identifying him as said vehicle by clairvoyant means. Alas, no story of the Theosophical Society gets told without the taint of Leadbeater’s, shall we say, intimate involvement with other young boys. Prior to this, in 1906, after vociferous complaints from parents, Leadbeater was obliged to resign. By 1909, however, his old friend and fellow Initiate before the Mahatmas, and expert on the Bhagavad-Gita, Annie Besant, had taken the reigns of the Theosophical Society and readmitted Leadbeater. In the Theosophical Society’s headquarters in Adyar, together Besant and Leadbeater arranged Krishnamurti’s care and education, and almost immediately, Leadbeater, by psychic means known only to himself, began researching the “Akashic” or astral records, on the lives of “Alcyone,” that is, the previous incarnations of Krishnamurti, in which Annie Besant appeared under the code-name “Heracles,” Leadbeater as “Sirius,” and various other Theosophists under various other names in mind-numbing permutations reaching back to 22,662 B.C. Mary Lutyens, daughter of the Theosphical Society’s benefactress Lady Emily Lutyens, and both childhood friend and biographer of Krishnamurti, in her memoir, To Be Young, recalled of the Lives of Alcyone, “a great deal of heart-burning and snobbery.”

“Are you in the Lives?” Became the question most constantly asked by one Theosophist of another, and, if so, “How closely related have you been to Alcyone?”

At night, by means of their astral bodies, Leadbeater took Krishnamurti to study with “Master Kuthumi,” that “Great White Brother” first introduced to this world by Madame Blavatsky, and in the morning, in his octagonal office, Leadbeater obliged Krishnamurti, whose English and writing skills were what one would expect of a little boy whose first language was Telegu, to record what he could remember of those lessons. Flash forward two decades to 1929, and the world traveling, English-educated World Teacher, venerated Head of Leadbeater and Besant’s creation, the 43,000 member-strong Order of the Star in the East, took the stage at Erde Castle in Holland before 3,000 members and, with a solemn salaam, dissolved that order. Krishnamurti did not deny being whatever they conceived him to be; he said:

“I maintain that Truth is a pathless land, and you cannot approach it by any path whatsoever, by any religion, by any sect… I do not care if you believe I am the World Teacher or not… I do not want you to follow me… You have been accustomed to being told how far you have advanced, what is your spiritual status. How childish! Who but yourself can tell you if you are incorruptible?… You can form other organizations and expect someone else. With that I am not concerned, nor with creating new cages, new decorations for those cages. My only concern is to set men absolutely, unconditionally, free.”

That, as one might guess, signaled the decline (though not the disappearance) of the Theosophical Society, as well as Annie Besant’s health. But fantastically, Krishnamurti’s career, unmoored from official disciples, continued to flourish. Like Teresa Urrea and the Niño Fidencio, Krishnamurti had a serene and childlike quality and an ability to draw and mesmerize crowds, but unlike them, Krishnmurti exuded an urbane polish, and he wrote some 30 books that articulated a philosophy of freedom and that appealed to such diverse figures as physicist David Bohm, writer Aldous Huxley, Indira Gandhi, and the Dalai Lama.

On YouTube, I found an old film of the white-haired Krishnamurti holding forth in a tent in Ojai, California, and what struck me was not anything he said—he sounded halting and vapid to my ears— but the faces of the hundreds of people sitting on the lawn before him, eyes shining, jaws slack. I could not help but think of Niño Fidencio— and the strange power I had seen in Francisco Madero in the films and photographs of his political rallies.

I welcome your courteous comments which, should you feel so moved, you can email to me here.

Why Translate? The Case of the President of Mexico’s Secret Book

Reading Mexico:
Recommendations for a Book Club of Extra-Curious
& Adventurous English-Language Readers

Biographers International Interview with C.M. Mayo:
Strange Spark of the Mexican Revolution

The Arc of Writerly Action

Last Saturday I gave a talk on writing historical fiction at the annual American Independent Writers Association, held this year at the Writer’s Center in Bethesda, MD, just outside Washington DC. It was great fun– and an honor– to sit on a panel with such fine writers as David Taylor (moderator), Barbara Esstman, author of the novel The Other Anna, and Natalie Wexler, author of A More Obedient Wife. My own point of reference was my novel based on the true story, The Last Prince of the Mexican Empire, which came out in paperback last spring from Unbridled Books, as well as some of my other books, both fiction and nonfiction.

I began by introducing what I call “the arc of writerly action.” Imagine the following arrayed in a half circle:

1. Writing the beginning of first draft

2. Writing the middle of first draft

3. Writing to the end of the first draft

4. Inviting feedback

5. Revising (looping around 4 and 5 multiple times)

6. Selling (submitting to agents, publishers)

7. Moving through the process of production, including further revisions and copyediting

8. Marketing the book (readings, lectures, book signings, book festivals, book clubs, interviews, blogging, etc.)

9. Interacting with readers

10. Integrating the resulting changes into one’s personal and professional life

At each stage the writer risks bogging down. Some writers, dreaming for years of their novel, never get the traction to even start, while others might race through the first several stages, then, after multiple rejections from agents, stop. Some manage to publish their book but, wincing from a first sharp review, dive deep into hiding.

The two main reasons writers get stuck, it seems to me, are first, they just don’t care that much; and/or second, anxiety about rejection / criticism overwhelms their ability to take action.

So for many writers, the middle of the first draft, just where things start getting tricky, is the most likely place they will falter. Others stop dead at the first critical reactions to their manuscript. “I’m no good,” “I don’t have talent,” “this is a crazy waste of time,” and so on– I’ve heard so many writers muttering this sort of thing to themselves, and so they keep themselves stuck in the muck.

The emotional exhaustion– or shall I say anxiety fest/ despair?– of accumulating agents’ and editors’ rejections is another cause for freeze-up. I would venture that there are more novels abandoned in drawers and boxes than are ever published.

Point 7 in the arc, moving through the production process, is especially challenging for writers aiming to self-publish. There are a thousand and eleven choices (which printer? print on demand? Smashwords, iUniverse, Lulu? Ebook, Kindle, Nook, and/ or PDF? Encypted PDF? What price? What type of cover, how to do the design it? How to distribute? Hire a fulfillment company? Rent space in a warehouse? Taxes? Do I need to file a “doing business as”? What are ISBNs? Should I get a barcode? etc)– and so, a thousand opportunities to procrastinate.

Point 8, the marketing phase, can tangle down even the most intrepid writers. Especially women, so “nice girl” careful to not be “self promoters,” and/ or — both sexes fall prey to this one– assuming the airy attitude, “I am the artist / serious scholar I do not dirty my hands in the commercial world.” As I always say, book promotion is not self-promotion. Book promotion is book promotion, and when you have a real publisher, that publisher has employees and they are making their living, and not a very good one, probably, in working for your book and it is not, in any way, helpful to any of them for you to play tortoise.

Also, even though they work for your book, no one knows nor cares about your book as much you do, so it behooves you to get out there and do something for it. (Or, pray tell, why did you bother to write it?) Open a donut shop and see if you can sell even one of the hot-out-of-the-oven chocolatissimo yummies, by stashing your sign in the back of the mop closet.

Point 9, interacting with readers: here I am learning. I try to keep up with e-mail but I admit, I have fallen behind. I’m working on it…

Finally, point 10, integrating the changes resulting from publishing the book into one’s personal and professional life: for some, this is a minor thing. But for others, it’s more daunting than the Matterhorn. I think it’s like anything else– graduating from college, getting married, buying a house, getting a job, having a baby, taking a trip, and so on… whether in a small way or a large way, publishing your book will change you. It will change how you see yourself, how others see you, and your responsibilities and opportunities. And this can take a little or a lot of adjustment. Should that come as any surprise? Alas, for some writers, it does. But that’s life, yes? All about learning.

Of course, we all talked about research. I’ll leave that subject for another blog post.

Here’s the handout I provided at the event:

WRITING HISTORICAL FICTION
C.M. MAYO
www.cmmayo.com
Panel on Writing Historical Fiction
American Independent Writers Association Conference
The Writer’s Center, Bethesda, MD, June 11, 2011

A 3 Pronged Process
(kind of sort of… prongs are webbed…)

1. Mastering the Techniques of Fiction

Boorstin, Jon, Making Movies Work:Thinking Like a Filmmaker
Gardner, John The Art of Fiction: Notes on Craft for Young Writers
McKee, Robert, Story: Substance, Structure, Style, and the Principles of Screenwriting
Prose, Francine, Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them
Scarry, Elaine, Dreaming by the Book
Wood, James, How Fiction Works

2. Mastering the Management of Your Time and Creative Energies

Baum, Kenneth, The Mental Edge: Maximize Your Sports Potential with the Mind-Body Connection
Cameron, Julia, The Artist’s Way
Flack, Audrey, Art & Soul: Notes on Creating
Lamott, Anne, Bird by Bird: Some Instructions on Writing and Life
Leonard, George, Mastery: The Keys to Success and Long-Term Fulfillment
Maisel, Eric, PhD., Fearless Creating: A Step-by-Step Guide to Starting and Completing Your Work of Art
Pressfield, Steven, The War of Art: Winning the Creative Battle
See, Carolyn, Making a Literary Life

3. Seeing, Knowing, and Telling the Truth

Butler, Robert Olen, From Where You Dream: The Process of Writing Fiction
Ricco, Gabriele Lusser, Writing the Natural Way: Using Right-Brain Techniques to Release Your Expressive Powers
Smith, Pamela Jaye, Inner Drives: How to Write & Create Characters Using the Eight Classic Centers of Motivation
Simon, Mark, Expressions: A Visual Reference for Artists

What Is Writing (Really)? Plus A New Video of Yours Truly Talking
About Four Exceedingly Rare Books Essential for Scholars of
the Mexican Revolution

From the Writer’s Carousel: Literary Travel Writing

Q & A with Timothy Heyman on the Incomparable Legacy of
German-Mexican Novelist B. Traven

Michael Talbot’s “The Holographic Universe”

One of the books that has most influenced my writing, and in particular, my ideas about narrative structure, is Michael Talbot’s The Holographic Universe. When I came upon it a few years ago, I was already a fan of the works of Canadian novelist Douglas Glover and his concept of the story as net. In other words, even without the scaffolding of a formal plot (ye olde Fichtean curve), a net of images can cohere and indeed so powerfully resonate in the reader’s mind that the net is the story. A satisfying story. It was directly— literally, less than an hour— after reading Glover’s essays on the story as net and the novel as poem (now collected in Notes Home from a Prodigal Son) that I sat down wrote the one that became the title story for my first collection, Sky Over El Nido. In this story the images, woven throughout, have to do with flight: birds, nests, eggs, airplanes. What’s the “plot”? A fistful of air.

Later, before beginning to write my novel, The Last Prince of the Mexican Empire, I happened upon Talbot’s The Holographic Universe, an elegantly lucid and very accessible overview of some of the (then) most cutting-edge theories in quantum physics and in particular, those of David Bohm. If the universe itself is a hologram, or has holographic characteristics, then this could explain why nets of images— the suggestion of the whole in each of its parts— can resonate with such strange power in a reader’s mind.

Does my novel have that power? You decide. But one of the several paradigms I worked with while writing it was, again, the story as a net and, to borrow the title of one of Douglas Glover’s essays, “The Novel As Poem.” Yes, The Last Prince of the Mexican Empire is a poem. And the main character is not a person but an idea— the prince as living symbol of the future of the empire. Where does such an idea live? In many minds— ergo, the novel has a crowd of characters, indeed, a net of characters, woven in among each other’s minds and actions.

Just of few of the fleeting and repeating images: the Totonac bowl, Egypt, birds, sweets, twilights, composers, asparagus.

(Though indeed it does have a plot, and I worked with various paradigms— Fichtean curve, Syd Field’s three acts, and others— while constructing it.)

Last night, I happened upon a video of psychologist Jeffrey Mishlove’s interview with Talbot. It’s well worth watching in its entirety. Alas, Talbot died of leukemia in 1992.

From the Writer’s Carousel: Literary Travel Writing

A Visit to the Casa de la Primera Imprenta de América in Mexico City

Marfa Mondays’ Shiny New Website

Find out more about
C.M. Mayo’s books, articles, podcasts, and more.

A Visit to Las Pozas, Xilitla, San Luis Potosí

This photo, by my amiga N., is from a recent visit to Sir Edward James’s Las Pozas, a surrealistic garden in Xilitla, San Luis Potosi, Mexico. One of the little-known but spectacular treasures of Mexico.

Watch the superb documentary film by Avery Danziger, “Edward James, Builder of Dreams:”