Aicha Qandicha

In my novel, Tangier Gardens, CJ completed his term abroad design study by assembling a series of short stories documenting his unusual Moroccan landscape interactions. This is one of his stories. This is not a fantasy. It was CJ’s real life in Tangier.

Wikipedia describes Aicha Qandicha as a female mythological figure in northern Moroccan folklore.

But this wasn’t exactly describing CJ’s experience. Here’s how he told it.

Part One: We all have one

After I had the cast put on my ankle, I was immobile. My design study had gotten lost in the fog. I was desperate. I needed help. That’s when the Goblet stories began their reveal.

I learned some very unexpected things about myself in Tangier. The most intriguing occurred in October when I engaged in a disciplined chocolate and absinthe meditational cleansing. The cleansing was gentle. It revealed itself through subtle changes, internal realizations.

One morning before sunrise, I had finished the chocolate and absinthe treatment and was sitting quietly in my rooftop terrace garden when I found myself engaged in the strangest bit of internal conversation. A voice spoke to me. That voice spoke from a strange part of my head, near the inner ear or thereabouts.

It said, “Hello, my name is Goblet. I am your chalice keeper. I can help you.”

I needed help.

That was the beginning of a friendship—a kind of crystal ball friendship. I don’t know how else to describe my relationship with Goblet—sometimes there, sometimes not there. I could never be sure. But it was all built around my sense of hearing. Goblet explained the background.

Goblet told me, “There was a time when there was no such thing as white noise. Hearing always has had many configurable adjustment bands that could consciously, subconsciously, voluntarily, or involuntarily filter for hearing improvement. Then, as time passed, as environments morphed adjustment mechanisms failed. White noise and all iterative variations made hearing via air outright painful.”

Goblet continued, “For certain important messages, in order to hear them without extreme and torturous pain, it became necessary to go underwater to hear. Then finally today, resulting from the hard filters, we have so many sounds that are not understandable. It is for our safety that our ears now have a hard fixed filter that limits the sound waves we can hear. The ears’ capacity is only 15% of its total capability.”

Goblet’s historical perspective intrigued me.

Goblet added more, “That hard filter is not the only ear filter. Each of us also has a secondary filter, an intelligent, discretionary filter that is known generically as a chalice keeper. A chalice keeper is an angel—a personality with a duty to protect and to clarify that which appears unknowable in life. Chalice keepers are sexless. They pass on knowledge untainted by human vices.”

Goblet paused, weighing my comprehension, then continued, “You may wonder what is the chalice? It is the low-level network of control that regulates passage and transformations via the sensitive, multi-dimensional connection gates, the ports, the portals between sound waves, the hardware of the ear itself and the neuron transfer of sound via the nervous system in the brain. That control also includes the essential connections to the pineal glad and to the seat of intelligence in the heart itself.”

Back in the US, my world normally was a din. But while in Tangier that din expanded into a multi-layer aggressive—a confusing labyrinth.

While I was asleep, Goblet moved quickly and directly to solve what was troubling me. Goblet always found the way. Goblet found the intended destination by keen hearing.

Every time I went to sleep, Goblet could detach himself from me. Goblet could travel to the places it could never travel with me because in hours of consciousness I functioned as a restraint, as Goblet’s governor. My world fit into the constraints of time and space, while Goblet was free of those constraints. I walk through the world in 85% ignorance of what is around me. Goblet witnesses everything and is there in particular to assist me, should I choose to listen in times of stress and danger.

Chalice keepers are why most of us have magic in our ears. Goblet is why there was magic in my ears. Our ears bring us magic. They suspend time; they suspend place. They control the ports, the portals of connection to all worlds, real or imagined. For me, Goblet was active and motivated because, as a designer, I was an explorer. Chalice keepers are especially keen to help explorers. Goblet helped me. Goblet was my pass to the .

Here is how I came to understand it. Human’s gross sense organs are all severely filtered. The sense organs are limited so that the confusion of continuously multiple inputs does not overwhelm the need to act. If the human sense organs are overwhelmed, the human may become paralyzed—a sort of analysis paralysis where too many new inputs are occurring too frequently to allow for intelligent discrimination.

Goblet filters these inputs for me. Goblet hears everything as it is. Then when I am under stress, uncertain, anxious, Goblet feeds, via sounds direct to the ear, or dreams, or thoughts or ideas, the data to facilitate my discriminating and decision making. Goblet does not decide. In essence, Goblet is like a data base. Goblet filters, then feeds data to me. Then I assess those data and, via free will, decide on my own course.

Goblet is not all knowing. Goblet goes out to gather information. When I am sleeping, Goblet does this. Goblet has limits to travel. Goblet must find and arrange material conveyances while problem solving for me. For transportation, Goblet communicates most regularly with dragonflies and storks. In the scheme of things, they have a duty to facilitate the required travel of chalice-keepers. They and the chalice keepers share knowledge and information without the constraints of time or space or language as we know it.

I was obviously under duress. My attempts to come to grips with the culture of Morocco, the street scene of Tangier, while simultaneously trying to reconfigure my design study caused me ceaseless stress. My goal had not changed. I still wanted to graduate and get on with my life in the professional world of landscape architecture. But my filters were clogged. Noise had weakened me. I had become a rebel without a clue.

Goblet definitely had work to do.

Part Two: In the bled Magrebi

Sometimes all needed was Goblet helping recall what I had slept through in history or geography classes—or books or stories that I had read.

Stork, known locally among his friends as Cico, pronounced seeco, knew he was on call; but he was comfortable sleeping in his nest on the top of an old column in Tangier’s La Montagne neighbourhood. He was on his winter vacation. He liked Morocco, quiet, drowsy kind of place—mild winters—early springs.

Cico was in a languorous daze. Pleasant, he was… then he heard his name being called… he thought, “It’s one of those chalice keepers… they are generally nice… but they have a knack of interrupting my sleep.”

Goblet was eager to get advantage of a large stork—traveling with a stork was almost like traveling first class on a commercial airline—large seats, lots of room, but better. Always a smooth flight; and thus easy to absorb information.

Cico responded, “Hello, who’s this and what’s this—a ride where?”

“My name is Goblet; and with your help I need to get out and into the countryside.”

“Countryside? I can get you there. Hop on. The countryside is pleasant at night.”

Goblet liked Cico’s helpful attitude and asked, “What’s it like here? Do you find it difficult? I was with Aeshna, the dragonfly recently, and we had a horrible intrusion by young humans.”

“No, it’s not bad down here—it’s like a winter vacation. But you can’t ever be sure about human youth. Most chalice keepers down here stay home. Most all the humans are content with their mosques and their mountains—but up north in Europe it’s different. Always dissatisfied, those Europeans—always seeking discoveries, answers. So it is hard work up there. Truth is most of the storks head south.”

Goblet preferred the storks—nice smooth rides—and soft smooth personalities. Not like the dragonflies—but oh, those dragonflies were colourful, beautiful, and riding them was exciting, fast…

“What are you looking for?”

“My master needs to get the aura of the countryside and its importance to humans here.”

“I can help; but first, can you tell me something about humans?”

“Sure, what is it?”

“Why is it that humans have such a hard time understanding the good and the bad at the same time? Why do they think that death is bad? Why do they not understand that life begets food for other life and that death is inevitable? I thought you chalice keepers were to help them with these big picture items?”

Goblet, noting the old tendency among storks toward verbosity, had to push gently to get a word in edge-wise. “Humans have this thing called hope and they must nourish it otherwise they have a tendency toward self destruction. Especially when lots of them congregate, they make swirling, massive interventions on the landscape.”

“Ok, we will sort out your master. Everyone counts—one by one. In the countryside, we should visit marabouts. They are filled with human historic endeavour to discover something better in this region.”

“Marabouts—in the countryside—tell me more.”

“The marabouts in the countryside, anywhere, can shelter both good and bad djinns—or either one, or the other… you never knew if no one told you or you had never visited—and over time they change. The bad ones mislead like a rascally boy, just happy to make a fool out of you. The good ones can part the cacophonic curtain of life, granting a visitor temporary peace or provide useful direction for the visitor’s life. Sometimes the same djinn can do either, depending on the attitude, the aura of the visitor.”

“Here’s one. This marabout has a mix of Christian, Moslem and Animist roots. Even so, Christians are not allowed, though some sneak in when no one is watching. This saint bestows barak, good luck on visitors who leave their fluss, their money, and promise to become in this world servants, instead of takers.”

Goblet looked about—looked ok on the inside—Goblet had brought my thoughts and set them on a ledge inside. Goblet and Cico sat still without talking—just listening, just feeling. Then Goblet felt a chill. Both simultaneously noted the creek just outside and downhill from the Marabout window.

Cico said, “There are all different djinns—friendly djinns, nice but dim djinns, confusing djinns, threatening djinns, and djinns ready to cause bodily harm—but a creek next to this Marabout…”

Goblet and Cico looked at each other–they both knew what that meant. Aicha Qandicha— powerful djinn in this part of Africa.

Cico said, “She is always about the sources of water–she can smell the men who are strong, who are saving themselves, who know restraint, austerity…”

Aicha Qandicha could smell that masculine strength from the thoughts, my thoughts which Goblet had set down at the Marabout.

Cico continued, “She attaches herself to strong men. She craves the challenge of undermining them. She knows how to distract men with her beauty and then confuse them.”

Goblet snatched up tightly my thoughts and motioned to Cico. They sped as quickly as they could, away from the creek, up high in the air, away from the humidity that marked the area of the Marabout and the creek, hoping to disconnect from any trail my thoughts may have left behind.

Goblet hoped that Aicha Qandicha would not follow my thoughts back to Tangier. Goblet knew that the last thing I, already redlining with uncertainty—the last thing I needed were attentions from Aicha Qandicha.

***

To read more about the Moroccan landscape, visit my Tangier Gardens book page on Amazon.

Do druids look for jobs?

Looking for something? First job? New job? The last time I was looking for a job…

Looking for something? Need to put food on the table?

I had an open field. I had a level playing field. But…no job.

No result. In the distance I saw a forest—a well-known forest, everyone knows it, it’s the forest known as the ‘can’t tell the forest from the trees’ forest. I’d been there many times. But I needed a job, so I walked toward it.

That’s when something strange happened. I was pushing my way through a shrub thicket between the field and the forest when I heard… it wasn’t a voice; it wasn’t music… but something in between. I paused and examined the surrounding shrubs. One caught my attention.

Did I hear something?

It was still winter, but this shrub had flowers. I had heard of it before in my horticulture classes. In Latin I learned its name—Hamamelis virginiana. But it’s common name intrigued—witch hazel. I looked deeply into the bright yellow spindly flowers. Woody citric scent that had a floating sweetness with rusty tinges. The strange sweetness pulled me closer to one flower—as I examined—I heard what I should do to get my job; but I didn’t know it yet.

Flower fragrances—can they hypnotize? That’s how I felt as I walked home. I went online to do some research. Hamamelis sp. — a lot of them—virginiana, vernalis, intermedia and a slew of hybrids in the US. And the common name—witch hazel. Witch hazel? I did more research and learned that this plant had a long history of medicinal uses—the leaves, the stems, the seeds, the bark—the list of uses was too long to follow.

Botany–the ethnobotanical threshold.

That was before I saw a cross reference, a link to… I never thought about it—Druidry! The native Americans and the European Celtics—the druids—had another range of uses. Uses that never were covered in my university horticulture studies.

Before I knew it, I was deep into reading about the Hamamelis sacred tree profile and its magic, medicine, and mythology. Deep. I was in deep! Liniments, poultices, teas… and other uses smoking, dowsing, water witching and way-finding.

Way-finding caught my attention because I was looking for a way to find my next job. Was I on some kind of BS coincidence or was I really on the threshold of a new path—a new journey?

That is what I was thinking while I read more. ‘Witch hazel brings light and hope into dark places and dark times. Witch hazels help find things.’ My research told me that this shrub is important to work with if I am on a journey, seeking a new path, or trying to find my way through uncertain times.

‘Work with’ a plant? What the hell does that mean? Should I even take that seriously?

I went back outside and walked once again through the thicket of witch hazel on the edge of the forest. Without trying, I found myself next to the Hamamelis flower that, if I was to use my new language, the flower that tried to work with me.

What did I sense… something touching my heart? Time for a new path, a new job.

Writing—writing? There is a lot of time and space and energy between landscape architecture and druidry, yet both work daily with plants. As I mulled through the differences, as I examined the gulf, I saw they well equipped me to write about it.

Then I wrote Tangier Gardens. I set up CJ as a traditional landscape architecture university student who had a fondness for plants. But when he went to Tangier for his term abroad design study, he encountered experiences in the north west African landscape that caused him to re-evaluate what was the essence of landscape architecture. 

CJ had to re-think the relations between human culture and the landscape. He had to rethink the existential realities that linked humans and plants.

Was CJ a landscape architect or a druid? That is for readers to decide as they follow CJ’s Tangier experience. Learn more about Tangier Gardens and CJ on my Amazon book page.

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AREN’T WE ALL LOOKING FOR INSPIRATION?

The inspiration that enables us to reach our goals and higher?

Tolkien started a walk that changed his life and our lives.

In 1911, when John Ronald Reuel Tolkien was 19, he travelled on foot from Interlaken to Zermatt with a group of 11 companions, and saw the Lauterbrunnen waterfalls, the Swiss Alpine peaks and the Aletsch glacier, all of which were reproduced in his own drawings in his books.

But what really started his creative fire? And what could start your creative fire?

It can’t be a package tour itinerary, can it?

It can’t be a must see bucket list can it?

If it isn’t the overwhelming beauty of the landscape.

If it isn’t the peaceful quiet of the landscape.

If it isn’t the rich bounty of the landscape.

Then what is it?

All the senses at once consumed—the path to the pineal—and then what? Inspired? How did that happen? not photos, not movies, not virtual reality—but in real life something happened to Tolkien and something can happen to any of us.

Then what was, what is it? Not only was it what he saw. But he felt something—something that inspired him to a masterful effort. We can all see it; but just seeing is not enough.

We can access that spark—but the process is mysterious. How to find that door of inspiration in the landscape—that portal to exceptional effort, exceptional achievement.

Some say the harder we look the more difficult to encounter the reveal. The reveal that refreshes.

In Tangier Gardens, protagonist CJ defined that moment of inspiration in the garden, in the landscape as a portal. A portal.

I am certain Tolkien crossed a portal in the Jungfrau landscape. After which he was never the same. He took the portal experience and over years elaborated on it and shared it through his books and illustrations.

That originating experience remains in these Jungfrau Region mountain landscapes—but not everyone finds that magic portal. Some say it is the work of the pineal gland.

Drive it? Fly it? Take the train? Ride a bike?

Walk it. In the quiet of walk the portal may more easily reveal itself. When that light shines, there is no mistaking it. Can’t be seen, can’t be heard; but communication happens—like instant trance—beyond meditation.

Read how CJ discovers portals in Tangier Gardens. Find the portals for yourself.

Take your part in one of life’s greatest mysteries.

Credits:

Multimedia–Apple Music, Photos, Motion; Affinity Photo; Wonderdraft.

Photos–by author.

Music–C418-Minecraft-Volume Alpha by permission.

3D Map of Jungfrau Region by permission

CJ needs help, where can he find it?

PLANT PORTALS

Who is CJ?

He is the protagonist in the series, The Landscape Architect.

The Landscape Architect is the title of a series of fictional autobiographies. These are CJ’s autobiographies. In this series, CJ reveals the twists and turns in the development of his career as a professional landscape architect via his interactions with cultures, landscapes, gardens and plants of the world—where the unexpected and downright strange become daily facts of life.

Tangier Gardens is the debut novel in that series.

When you dig into Tangier Gardens, you will find a contemporary coming of age action novel about CJ (Christopher Janus), who like us is facing a broad range of distressing challenges.

CJ needs a break. He has been busting his hump full time six years at university with one more class till graduation.

He wanted just a few moments of repose before getting on with his career.

Didn’t happen. We all sadly know that story. But how did CJ deal with it? Tangier Gardens is that story.

CJ, studying landscape architecture, is into pedestrian towns and warm sandy beaches. For his last class, a term abroad design study, he’s on his way to Tangier, a town with sandy beaches on the Med and a historical pedestrian district, the medina. 

However, crossing the Strait of Gibraltar and landing in Tangier immediately upsets his planned easy observe-and-check-the-box design study. He is thrown off balance and he has to start all over from scratch–no more easy study.

With Andalusian legacies, languorous gardens, Moroccan markets and ancient medinas, Tangier Gardens brings Mediterranean life to the armchair traveler.

If you are: 

-A nature lover, into urban gardening or a landscape architecture aficionado;

-Curious about all things green–the environment, plants, gardens, landscape;

-Intrigued about the North African multi-cultural, mystical history of people and plants, then

Tangier Gardens IS A MUST.

Tangier Gardens is my debut novel in the series The Landscape Architect. Is the landscape CJ’s worst enemy or is he his own worst enemy? Can he design his way out of this conundrum? Could coming of age be more awkward?

Exotic

Nigh onto 10 years ago I had just finished 25 years building gardens and landscapes in the Arabian Sands. The Sands were my life. 

But be sure about this…the Sands are more than sand. 

To reflect the huge unknowns of the Sands, my blog banner became part of the enigma of the Sands. Exotic for a Midwestern American, you bet. But exotic is a 25cent tourism marketing adjective. The Sands are not.

Ten years have passed. I live in another exotic landscape, this time a mountain landscape. Ten years of explorations in this new landscape have enthralled me, so I am updating the blog banner.

Exotic? Borders on magic realism, neo-romanticism and eco-gothic. They are all alive and well in exotic landscapes. as are rarely predictable and always inspiring plants and gardens. Just take a walk, open your eyes and ears. Listen, feel, see, discover.

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Old banner–the sands–always an enigma–sun but no soil or water.

flahertylandscape2021Update

New banner–the plentitude of soil and water.

Forests, Dreams and Fairytales

Forests and Dreams (1)

Have you ever been where black forests white, only to feel winter pushing at the edge, unleashing colored dreams?

These are the forests of fairytales. Forests, where blacks and whites dissolve…into the always gray, always shady dreams…or do they?

Color or gray, dreams invariably have misty, shapeshifting edges where certainty and uncertainty jostle. And the fairytales? Were they once dreams, or…?

Portals

I have talked about, that is, written about portals…portals and plants.

What do I mean when I say portals? It is more about what words can not describe. What?

Perhaps you remember some TV shows, Twilight Zone, One Step Beyond…but this is about real life. That’s right, real life.

For centuries, dare I say, millennia, people, humans have spoken about, written and explored the indescribable relationships between plants and humans. Portals is my effort to continue that chain of communication.

GnomeAdvent

This last week I had a birthday. I received from my dearest friend two books of illustrations by the Swiss, Ernst Kreidolf. Both images in this post are his work. He spent his lifetime addressing the communication relationship between people and plants.

Ernst used gnomes and elves to describe these indescribable relationships.

Let me share some of Ernst Kreidolf’s life story.

He was born over one hundred years ago in Switzerland. He was a classic artist, a pioneer of children’s illustration and picture books…and gnomes in the popular imagination! His magical illustrations have a timeless quality. To this day, his art is still very popular in Switzerland.

Ernst Kreidolf und die Pflanzen

Kreidolf’s famous books first appeared in 1901 Die schlafenden Bäume (The Sleeping Trees), in 1902 Die Wiesenzwerge (The Meadow Dwarves), and in 1903 Schwaetzchen fuer Kinder (Chit Chat for Children).  In 1904 Kreidolf was involved in Richard Dehmel’s Buntscheck, ein Sammelbuch für Kinder (Patchwork, a Scrap-book for Children).  In 1905 the book Alte Kinderreime (Old Nursery Rhymes) appeared followed by in 1908 Sommervoegel (Butterflies).  The latter was highly acclaimed by Hermann Hesse.  In 1911 Der Gartentraum (The Garden Dream) was published.

In 1920 Blumen Ritornelle (Flower Chorus), in 1922 Alpenblumenmaerchen (Alpine Flower Fairy-tales), in 1924 Ein Wintermaerchen (A Winter’s Fairy-tale), in 1926 Lenzgesind (Servants of the Spring), in 1928 Das Hundefest (The Dogs’ Party), in 1929 Bei den Gnomen und Elfen (With the Gnomes and Elves), in 1931 Grashupfer (The Grasshopper), in 1932 Aus versunk´nen Gärten (From the Sunken Gardens) and in 1935 Die Himmelreich-Wiese (The Kingdom of Heaven Meadow).

 His illustrations carry us off to the world of fairytales and dreams, where plants play a leading role.

Snognomobile

One cannot but wonder at his ability in both identifying the key characteristics of plants and giving humans a unique interaction with them.

His legacy endures as a tender ode to Mother Nature’s glory. The best illustrated web site with Kreidolf biography–a fantastic display of his water-color work.

And portals? His work was all about portals.

Jungfrau in cloud

Clouds, almost like lingerie on a quiet, sunny winter day–the level of mystery–what is really there that I can’t see? I want to see more.

Lord Byron saw it in storm and had quite a different take, documented in his poem, ‘Manfred‘.

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The view south toward the Jungfrau massif from the Interlaken region. Real estate agents might call this the million dollar view.