Surrealpolitik

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There were 7 results from your search for keyword(s): 'Hallucinogens'.

  1. "The trouble is that when they have taken Peyote, they no longer obey us."

    "It is the same with Peyote as it is with everything human. It is a marvelous magnetic and alchemical principle, provided one knows how to take it -- that is to say, in the proper doses and according to the proper gradations. And above all, provided one does not take it at the wrong time or in the wrong place. If after taking Peyote the Indians seem to go mad, it is because they are abusing it in order to reach that point of disorderly intoxication in which the soul is no longer subject to anything. In so doing, it is not you whom they are disobeying but Ciguri itself, for Ciguri is the God of the Prescience of the just, of equilibrium and of self-control. He who has truly imbibed Ciguri, the true meter and measure of Ciguri, MAN and not indeterminate PHANTOM, knows how things are made and he can no longer lose his reason, because it is God who is in his nerves and who guides them.

    Source: The Peyote Dance, p. 28
  2. "There is inside me something horrible which rises and which does not come from me, but from the shadows that I have in me, where the soul of man does not know where the I begins and where it ends, or what made it begin as it sees itself. And this is what Ciguri tells me. With Ciguri I no longer know untruth and I no longer confuse that which wills truly in every man with that which does not will but mimics being with ill will. And soon that is all there will be," he said, retreating several steps: "this obscene mask of someone sniggering between the sperm and the dung."

    These words of the Priest which I have just reported are absolutely authentic;...he had just taken Peyote and I was not surprised at his lucidity.

    Source: The Peyote Dance, p. 35
  3. 'There is me, there are the others. You know, with the LSD, we're finding, the distinction begins to vanish. Egos lose their sharp edges. But I never took the drug, I chose to remain in relative paranoia, where at least I know who I am and who the others are. Perhaps that is why you also refused to participate, Mrs Maas?' He held the rifle at sling arms and beamed at her. 'Well, then. You were supposed to deliver a message to me, I assume. From them. What were you supposed to say?'

    Oedipa shrugged. 'Face up to your social responsibilities,' she suggested. 'Accept the reality principle. You're outnumbered and they have superior firepower.'

    Source: The Crying of Lot 49, p. 104
  4. All this may have been a collective hallucination although nobody has yet explained to me what a collective hallucination actually means. The monstrous Queen Bee slowly revolved over the water, beating her crystalline wings so rapidly that they emitted a pale light. As she faced me I was thrilled to notice a sudden strange resemblance to the Abbess. At that moment she closed one eye, as big as a tea cup, in a prodigious wink.

    Source: The Hearing Trumpet, p. 117
  5. I took Peyote in the mountains of Mexico, and I had a dose of it that lasted me two or three days with the Tarahumara, and at the time those three days seemed like the happiest days of my life.

    I had stopped tormenting myself, trying to find a reason for my life, and I had stopped having to carry my body around.

    I realized that I was inventing life, that that was my function and my raison d'être, and that I suffered when my imagination failed, and Peyote gave it to me.

    A human being stepped forward and drew the Peyote out of me with a blow.

    I made it into real shreds, and the cadaver of a man was torn to shreds and found torn to shreds, somewhere.

    rai da kanka da kum
    a kum da na kum vönoh

    Granting that this world is not the reverse of the other and still less its half, this world is also a real machinery of which I have the controls, it is a true factory whose key is inborn humor.

    sana tafan tana
    tanaf tamafts bai

    Source: The Peyote Dance, p. 82-83
  6. The usual slight distinction between shape and hue seemed wholly to have vanished. Colour was more intensely image than it can usually manage to be, even in that art. A beam of wood painted amber was more than that; it was light which had become amber in order to become wood.

    Source: All Hallows' Eve, p. 17
  7. What we also see is that an illness of the body is a bodily attempt at inscribing a history of otherness within the body that is the self, a tentative yet life-saving historiography that finds the dead hand of the past never so terribly alive as in the attacks by the spirits of the restless dead, such as Rosario's fiancé, or as in the sorcery of the envious. Through misfortune and its changing definition with attempts at healing, this picturing of the bodily self as the locus of otherness ineluctably enters into the exchange of magical powers established between Indian shamans and the Church, an exchange that operates with the powerful medium of visual images. Hallucinogens and points of rupture in everyday life -- illness, accident, coincidence, dusk -- can make this image-realm manifest and manifestly empowering, and it was Rosario's task to tie the power of the pagan to the power of the Church, ensuring in this circulation of images their dialectical solidarity.

    Source: Shamanism, Colonialism, and the Wild Man, p. 168