. INTRODUCTION

On Saturday, 22 May 1971, I went to Sonora, Mexico, to see don Juan Matus, a Yaqui Indian
sorcerer, with whom I had been associated since 1961. I thought that my visit on that day was
going to be in no way different from the scores of times I had gone to see him in the ten years I
had been his apprentice. The events that took place on that day and on the following days,
however, were momentous to me. On that occasion my apprenticeship came to an end.

For years I had treated the idea of stopping the world as a cryptic metaphor that really did not
mean anything. It was only during an informal conversation that took place towards the end of
my apprenticeship that I came fully to realize its scope and importance as one of the main
propositions of don Juan's knowledge.

Don Juan and I had been talking about different things in a relaxed and unstructured manner. I
told him about a friend of mine and his dilemma with his nine-year-old son. The child, who had
been living with the mother for the past four years, was then living with my friend, and the
problem was what to do with him? According to my friend, the child was a misfit in school; he
lacked concentration and was not interested in anything. He was given to tantrums, disruptive
behavior, and to running away from home.

"Your friend certainly does have a problem," don Juan said, laughing.

I wanted to keep on telling him all the "terrible" things the child had done, but he interrupted
me.

"There is no need to say any more about that poor little boy," he said. "There is no need for
you or for me to regard his actions in our thoughts one way or another."

His manner was abrupt and his tone was firm, but then he smiled.

"What can my friend do?" I asked.

"The worst thing he could do is to force that child to agree with him," don Juan said.

"What do you mean?"

"I mean that that child shouldn't be spanked or scared by his father when he doesn't behave the
way he wants him to."

"How can he teach him anything if he isn't firm with him?"

"Your friend should let someone else spank the child."

"He can't let anyone else touch his little boy!" I said, surprised at his suggestion.

Don Juan seemed to enjoy my reaction and giggled.

"Your friend is not a warrior," he said. "If he were, he would know that the worst thing one
can do is to confront human beings bluntly."

"What does a warrior do, don Juan?"

"A warrior proceeds strategically."

"I still don't understand what you mean."

"I mean that if your friend were a warrior he would help his child to Stop the World."

"How can my friend do that?"

"He would need personal power. He would need to be a sorcerer."

"But he isn't."

"In that case he must use ordinary means to help his son to change his idea of the world. It is
not stopping the world, but it will work just the same."

I asked him to explain his statements.

"If I were your friend," don Juan said, "I would start by hiring someone to spank the little guy.
I would go to skid row and hire the worst-looking man I could find."

"To scare a little boy?"

"Not just to scare a little boy, you fool. That little fellow must be stopped, and being beaten by
his father won't do it.
"If one wants to stop our fellow men one must always be outside the circle that presses them.
That way one can always direct the pressure."

The idea was preposterous, but somehow it was appealing to me.

Don Juan was resting his chin on his left palm. His left arm was propped against his chest on a
wooden box that served as a low table. His eyes were closed but his eyeballs moved. I felt he was
looking at me through his closed eyelids. The thought scared me.

"Tell me more about what my friend should do with his little boy," I said.

"Tell him to go to skid row and very carefully select an ugly-looking derelict," he went on.
"Tell him to get a young one. One who still has some strength left in him."

Don Juan then delineated a strange strategy. I was to instruct my friend to have the man follow
him or wait for him at a place where he would go with his son. The man, in response to a
prearranged cue to be given after any objectionable behavior on the part of the child, was
supposed to leap from a hiding place, pick the child up, and spank the living daylights out of him.

"After the man scares him, your friend must help the little boy regain his confidence, in any
way he can. If he follows this procedure three or four times I assure you that that child will feel
differently towards everything. He will change his idea of the World."

"What if the fright injures him?"

"Fright never injures anyone. What injures the spirit is having someone always on your back,
beating you, telling you what to do and what not to do.

"When that boy is more contained you must tell your friend to do one last thing for him. He
must find some way to get to a dead child, perhaps in a hospital, or at the office of a doctor. He
must take his son there and show the dead child to him. He must let him touch the corpse once
with his left hand, on any place except the corpse's belly. After the boy does that he will be
renewed. The world will never be the same for him."

I realized then that throughout the years of our association don Juan had been employing with
me, although on a different scale, the same tactics he was suggesting my friend should use with
his son. I asked him about it. He said that he had been trying all along to teach me how to stop the
world.

"You haven't yet," he said, smiling. "Nothing seems to work, because you are very stubborn. If
you were less stubborn, however, by now you would probably have Stopped the World[ with any
of the techniques I have taught you."[/b]

ScienceWatch:
Bronchitis Oaroloye's core spiritual beliefs are based on a few HOAX/ FICTIONAL novels written by scammer Carlos Castaneda.

Read a brief extract on the fictional NAGUALISM below;

Following the distinction proposed by religious scholar Henri Corbin in his studies of Sufism, magical realism proposes and generates imaginal worlds, i.e., virtually existing, rather than imagined worlds, i.e., merely fantasized. Magical realism has been developed globally from Russia to Europe to the USA, but it has been primarily identified with South America where Castaneda was born (in Peru) and culturally and sexually imprinted. The premier masterpiece of magical realism, One Hundred Years of Solitude by Gabriel Garcia Marquez, was published in Spanish in 1967 (in English, 1970), less than a year before The Teachings of Don Juan. The proximity of these two books involves far more than a coincidence in timing.

The main difference in these works is that Marquez did not present himself as a character in his fiction, but Castaneda does. The inclusion of the author in the invention of the anthropological novel proved to be a tremendously successful narrative device—but equally so, a huge liability for the author. I reckon that for Castaneda it was a liability he simply could not handle.

Magical realism from South American writers flourished from the mid-1950s onward, a decade before Castaneda developed his unique approach to imaginal writing. Was he reading these works and getting ideas from them? No one knows how and when his creative breakthrough came about...
It appears to have occured around June 1961 when he claimed to have met Don Juan Matus for the first time at a bus station in Yuma, Arizona. Amy Wallace does not speculate on this event, which turned Castaneda toward what he would become: the Quixotic exemplar of his own invention. The chronology on sustainedaction.org indicates that Margaret Runyon, who Castaneda met in 1956 and married in 1960, may have suggested the device of subjective creative invention to him:

"If I came to you and I told you that I’d found the ultimate way of life and that I could tell you exactly how to do it, it would be very hard for you to accept. But if I said to you that I’ve got a mysterious teacher who has let me in on some great mysteries, then it’s more interesting . . . It’s much easier to accept." (A Magical Journey pp. 58-59.)

"Of all the arguments to be advanced in the defense of DIANETICS, that "IT WORKS!" is the least relevant."

. - FADS AND FALLACIES IN THE NAME OF SCIENCE, by Martin Gardner.

The suggestion to invent a teacher to convey a teaching on ultimate matters seems to have struck a note with Castaneda, but then he had to invent a pupil as well, didn't he? Representing himself as that pupil, he added a wild spin to the narrative form of magical realism, by then a well-established genre.

[b]In the summer of 1960, while I was an anthropology student at the University of California,

Los Angeles, I made several trips to the Southwest to collect information on the medicinal
plants used by the Indians of the area. The events I describe here began during one of my
trips. I was waiting in a border town for a Greyhound bus talking with a friend who had been my guide and helper in the survey.

Suddenly he leaned towards me and whispered that the man, a white-haired old Indian, who
was sitting in front of the window was very learned about plants, especially peyote. I asked my
friend to introduce me to this man.

My friend greeting him, then went over and shook his hand.me alone with the old man, not even bothering to introduce us. He was not in the least embarrassed.

I told him my name and he said that he was called Juan and that he was at my service. He
used the Spanish polite form of address.

We shook hands at my initiative and then remained silent for some time. It was not a
strained silence, but a quietness, natural and relaxed on both sides. Though his dark face and
neck were wrinkled, showing his age, it struck me that his body was agile and muscular.
I then told him that I was interested in obtaining information about medicinal plants.

Although in truth I was almost totally ignorant about peyote, I found myself pretending that I
knew a great deal, and even suggesting that it might be to his advantage to talk with me. As I
rattled on, he nodded slowly and looked at me, but said nothing. I avoided his eyes and we
finished by standing, the two of us, in dead silence. Finally, after what seemed a very long
time, Don Juan got up and looked out of the window. His bus had come. He said good-bye and
left the station.

I was annoyed at having talked nonsense to him, and at being seen through by those
remarkable eyes. When my friend returned he tried to console me for my failure to learn
anything from Don Juan. He explained that the old man was often silent or noncommittal, but
the disturbing effect of this first encounter was not so easily dispelled.

I made a point of finding out where Don Juan lived, and later visited him several times. On
each visit I tried to lead him to discuss peyote, but without success. We became, nonetheless,
very good friends, and my scientific investigation was forgotten or was at least redirected into
channels that were worlds apart from my original intention.

The friend who had introduced me to Don Juan explained later that the old man was not a
native of Arizona, where we met, but was a Yaqui Indian from Sonora, Mexico.[/b]

It appears to have occured around June 1961 when he claimed to have met Don Juan Matus for the first time at a bus station in Yuma, Arizona.

In Moby Dick, Melville does not place himself as a character in his novel, but his alter ego announces itself in the first line: "Call me Ishmael." Melville boldly proposes to the reader, call me (the author) by the name of the fictional narrator, Ishmael (the character). At the end of the novel the narrator says, "I alone survived." This is doubly true, because in the story Ishmael survived the wreck of the Pequod by floating on a coffin, and equally so because the author survived the act of writing the book. The author continues to live on, outside the fiction he invented, but his characters live within that fiction.

This is one way magical realism can work, but not the only way.

I regard Castaneda as a daring innovator of the genre. Few of the well-known masterworks of magical realism feature the author in the story, either as an Ishmael-like alter ego, or in person. The latter case is extremely rare, and Castanada is the outstanding example. By including himself as a first-person character in his own fiction, he threw a radical spin on the genre.[/b]

Magical realism (NAGUALISM) in Carlos Castaneda's treatment has an extraordinary pull for the reader for two reasons (and others as well). First, because it engages the reader empathetically or antipathetically in Castaneda's mixed and often balking reactions of what he undergoes on the path of sorcery. Second, because it involves the reader in an intimate way with the other fictional characters in the story. By first-person inclusion, Castaneda was able to liberate his fictional characters from the story and give them the freedom to inhabit an external magical world. Readers who felt compelled by this world then entered it by a vicarious act of participation, and don Juan, don Genaro, and the other characters in the serial novel became totally real and autonomous people within that participation.

ScienceWatch:
Bronchitis Oaroloye's core spiritual beliefs are based on a few HOAX/ FICTIONAL novels written by scammer Carlos Castaneda.

Read a brief extract on the fictional NAGUALISM below;

Following the distinction proposed by religious scholar Henri Corbin in his studies of Sufism, magical realism proposes and generates imaginal worlds, i.e., virtually existing, rather than imagined worlds, i.e., merely fantasized. Magical realism has been developed globally from Russia to Europe to the USA, but it has been primarily identified with South America where Castaneda was born (in Peru) and culturally and sexually imprinted. The premier masterpiece of magical realism, One Hundred Years of Solitude by Gabriel Garcia Marquez, was published in Spanish in 1967 (in English, 1970), less than a year before The Teachings of Don Juan. The proximity of these two books involves far more than a coincidence in timing.

The main difference in these works is that Marquez did not present himself as a character in his fiction, but Castaneda does. The inclusion of the author in the invention of the anthropological novel proved to be a tremendously successful narrative device—but equally so, a huge liability for the author. I reckon that for Castaneda it was a liability he simply could not handle.

Magical realism from South American writers flourished from the mid-1950s onward, a decade before Castaneda developed his unique approach to imaginal writing. Was he reading these works and getting ideas from them? No one knows how and when his creative breakthrough came about...
It appears to have occured around June 1961 when he claimed to have met Don Juan Matus for the first time at a bus station in Yuma, Arizona. Amy Wallace does not speculate on this event, which turned Castaneda toward what he would become: the Quixotic exemplar of his own invention. The chronology on sustainedaction.org indicates that Margaret Runyon, who Castaneda met in 1956 and married in 1960, may have suggested the device of subjective creative invention to him:

"If I came to you and I told you that I’d found the ultimate way of life and that I could tell you exactly how to do it, it would be very hard for you to accept. But if I said to you that I’ve got a mysterious teacher who has let me in on some great mysteries, then it’s more interesting . . . It’s much easier to accept." (A Magical Journey pp. 58-59.)

"Of all the arguments to be advanced in the defense of DIANETICS, that "IT WORKS!" is the least relevant."

. - FADS AND FALLACIES IN THE NAME OF SCIENCE, by Martin Gardner.

The suggestion to invent a teacher to convey a teaching on ultimate matters seems to have struck a note with Castaneda, but then he had to invent a pupil as well, didn't he? Representing himself as that pupil, he added a wild spin to the narrative form of magical realism, by then a well-established genre.

[b]In the summer of 1960, while I was an anthropology student at the University of California,

Los Angeles, I made several trips to the Southwest to collect information on the medicinal
plants used by the Indians of the area. The events I describe here began during one of my
trips. I was waiting in a border town for a Greyhound bus talking with a friend who had been my guide and helper in the survey.

Suddenly he leaned towards me and whispered that the man, a white-haired old Indian, who
was sitting in front of the window was very learned about plants, especially peyote. I asked my
friend to introduce me to this man.

My friend greeting him, then went over and shook his hand.me alone with the old man, not even bothering to introduce us. He was not in the least embarrassed.

I told him my name and he said that he was called Juan and that he was at my service. He
used the Spanish polite form of address.

We shook hands at my initiative and then remained silent for some time. It was not a
strained silence, but a quietness, natural and relaxed on both sides. Though his dark face and
neck were wrinkled, showing his age, it struck me that his body was agile and muscular.
I then told him that I was interested in obtaining information about medicinal plants.

Although in truth I was almost totally ignorant about peyote, I found myself pretending that I
knew a great deal, and even suggesting that it might be to his advantage to talk with me. As I
rattled on, he nodded slowly and looked at me, but said nothing. I avoided his eyes and we
finished by standing, the two of us, in dead silence. Finally, after what seemed a very long
time, Don Juan got up and looked out of the window. His bus had come. He said good-bye and
left the station.

I was annoyed at having talked nonsense to him, and at being seen through by those
remarkable eyes. When my friend returned he tried to console me for my failure to learn
anything from Don Juan. He explained that the old man was often silent or noncommittal, but
the disturbing effect of this first encounter was not so easily dispelled.

I made a point of finding out where Don Juan lived, and later visited him several times. On
each visit I tried to lead him to discuss peyote, but without success. We became, nonetheless,
very good friends, and my scientific investigation was forgotten or was at least redirected into
channels that were worlds apart from my original intention.

The friend who had introduced me to Don Juan explained later that the old man was not a
native of Arizona, where we met, but was a Yaqui Indian from Sonora, Mexico.[/b]

It appears to have occured around June 1961 when he claimed to have met Don Juan Matus for the first time at a bus station in Yuma, Arizona.

In Moby Dick, Melville does not place himself as a character in his novel, but his alter ego announces itself in the first line: "Call me Ishmael." Melville boldly proposes to the reader, call me (the author) by the name of the fictional narrator, Ishmael (the character). At the end of the novel the narrator says, "I alone survived." This is doubly true, because in the story Ishmael survived the wreck of the Pequod by floating on a coffin, and equally so because the author survived the act of writing the book. The author continues to live on, outside the fiction he invented, but his characters live within that fiction.

This is one way magical realism can work, but not the only way.

I regard Castaneda as a daring innovator of the genre. Few of the well-known masterworks of magical realism feature the author in the story, either as an Ishmael-like alter ego, or in person. The latter case is extremely rare, and Castanada is the outstanding example. By including himself as a first-person character in his own fiction, he threw a radical spin on the genre.[/b]

Magical realism (NAGUALISM) in Carlos Castaneda's treatment has an extraordinary pull for the reader for two reasons (and others as well). First, because it engages the reader empathetically or antipathetically in Castaneda's mixed and often balking reactions of what he undergoes on the path of sorcery. Second, because it involves the reader in an intimate way with the other fictional characters in the story. By first-person inclusion, Castaneda was able to liberate his fictional characters from the story and give them the freedom to inhabit an external magical world. Readers who felt compelled by this world then entered it by a vicarious act of participation, and don Juan, don Genaro, and the other characters in the serial novel became totally real and autonomous people within that participation.

hoMegas:
Bronchitis oaroloye

oaroloye:
SHALOM!



If you are going to kill someone, it is most efficient to do it when they are children, and cannot fight back, nor escape.

I am not familiar with this movie.

I think it rude not to state sources.

The ANCIENT EGYPTIANS murdered Israelite Male Infants, to keep their numbers down.

Roman-sponsored King Herod slaughtered all the children in YAHSHUA'S Region to try to kill his prophesied possible replacement. This would be standard Roman Procedure.

The Mesopotamians in general were into or down with MARDUK-WORSHIP, which involved Ritual Sacrifice of infants.

Who were your ancestors that make you better than our forefathers?

oaroloye:
SHALOM!



If you are going to kill someone, it is most efficient to do it when they are children, and cannot fight back, nor escape.

I am not familiar with this movie.

I think it rude not to state sources.

The ANCIENT EGYPTIANS murdered Israelite Male Infants, to keep their numbers down.

Roman-sponsored King Herod slaughtered all the children in YAHSHUA'S Region to try to kill his prophesied possible replacement. This would be standard Roman Procedure.

The Mesopotamians in general were into or down with MARDUK-WORSHIP, which involved Ritual Sacrifice of infants.

Who were your ancestors that make you better than our forefathers?

hoMegas:
Bronchitis oaroloye

oaroloye:
SHALOM!



Of what importance can it be, how Carlos Castaneda came about his Knowledge? What is supposed to matter is: DOES IT WORK?

THE IDEAS OF L. RON HUBBARD were vilified during the beginning of his Ministry, and then people started stealing them, even claiming originality. NAGUALISM and SCIENTOLOGY are both a serious threat to the ILLUMINATI .............

The following excerpt is from PAGE 3 of THE TEACHINGS OF DON JUAN: A YAQUI WAY OF LIFE, published in 1968, which was his PhD. Thesis. He claimed in his PUBLISHED THESIS to have met Don JUAN MATUS in 1960, but according to SCIENCEWATCH'S SOURCE, Carlos Castaneda claimed to have met Don Juan “AROUND JUNE 1961.” WHY the discrepancy? I don't KNOW, and I DON'T CARE- these stupid accusers ARE NOT RELEVANT!

As a CHRISTIAN, I learned early that JESUS is THE FOUNDATION, and that EVRYTHING has to be EVALUATED in RELATION TO HIS TEACHINGS. Therefore, when I quite ORGANIZED CHRISTIANITY, I did NOT stop believing in The Name of Yahshua- but THE GOSPEL seemed to be FALSE ..........
Therefore, I DON'T CARE what people SAY about CARLOS CASTANEDA. I ONLY care about HIS TEACHINGS.
How could Don JUAN ridicule THE BIBLE, when he was able to do many of the things depicted in The Bible, INCLUDING ASCENSION INTO HEAVEN AT WILL?

THAT should ECLIPSE any argument against CARLOS CASTANEDA- but it appears that people are more interested in knowing Carlos Castaneda's Travel Plans, what his WIVES have to say, what his Academic Colleagues have to say, than what CARLOS CASTANEDA had to say about THINGS WE SHOULD ALL KNOW FROM THE BIBLE.

oaroloye:
SHALOM!



Of what importance can it be, how Carlos Castaneda came about his Knowledge?

What is supposed to matter is: DOES IT WORK?