KEEN: As I followed don Juan through your three books, I suspected, at
times, that he was the creation of Carlos Castaneda. He is almost to good to be
true--a wise old Indian whose knowledge of human nature is superior to almost
CASTANEDA: The idea that I concocted a person like don Juan is inconceivable.
He is hardly the kind of figure my European intellectual tradition would have
led me to invent. The truth is much stranger. I wasn't even prepared to make the
changes in my life that my association with don Juan involved.
How and where did you meet don Juan and become his apprentice?
I was finishing my undergraduate study at UCLA and was planning to go to graduate
school in anthropology. I was interested in becoming a professor and thought I
might begin in the proper way by publishing a short paper on medicinal plants.
I couldn't have cared less about finding a weirdo like don Juan. I was in a bus
depot in Arizona with a high-school friend of mine. He pointed out an old Indian
man to me and said he knew about peyote and medicinal plants. I put on my best
airs and introduced myself to don Juan and said: "I understand you know a great
deal about peyote. I am one of the experts on peyote (I had read Weston La Barre's
The Peyote Cult) and it might be worth your while to have lunch and talk with
me." Well, he just looked at me and my bravado melted. I was absolutely tongue-tied
and numb. I was usually very aggressive and verbal so it was a momentous affair
to be silenced by a look. After that I began to visit him and about a year later
he told me he had decided to pass on to me the knowledge of sorcery he had learned
from his teacher.
Then don Juan is not an isolated phenomenon. Is there a community of sorcerers
that shares a secret knowledge?
Certainly. I know three sorcerers and seven apprentices and there are many more.
If you read the history of the Spanish conquest of Mexico, you will find that
the Catholic inquisitors tried to stamp out sorcery because they considered it
the work of the devil. It has been around for many hundreds of years. Most of
the techniques don Juan taught me are very old.
Some of the techniques that sorcerers use are in wide use in other occult groups.
Persons often use dreams to find lost articles, and they go on out-of-the-body
journeys in their sleep. But when you told how don Juan and his friend don Genero
made your car disappear in broad daylight I could only scratch my head. I know
that a hypnotist can create an illusion of the presence or absence of an object.
Do you think you were hypnotized?
Perhaps, something like that. But we have to begin by realizing, as don Juan says,
that there is much more to the world than we usually acknowledge. Our normal expectations
about reality are created by a social consensus. We are taught how to see and
understand the world. The trick of socialization is to convince us that the descriptions
we agree upon define the limits of the real world. What we call reality is only
one way of seeing the world, a way that is supported by a social consensus.
KEEN: Then a sorcerer, like a hypnotist, creates
an alternative world by building up different expectations and manipulating cues
to produce a social consensus.
Exactly. I have come to understand sorcery in terms of Talcott Parsons' idea of
glosses. A gloss is a total system of perception and language. For instance, this
room is a gloss. We have lumped together a series of isolated perceptions--floor,
ceiling, window, lights, rugs, etc.--to make a totality. But we had to be taught
to put the world together in this way. A child reconnoiters the world with few
preconceptions until he is taught to see things in a way that corresponds to the
descriptions everybody agrees on. The world is an agreement. The system of glossing
seems to be somewhat like walking. We have to learn to walk, but once we learn
we are subject to the syntax of language and the mode of perception it contains.
KEEN: So sorcery, like art, teaches a new system
of glossing. When, for instance, van Gogh broke with the artistic tradition and
painted "The Starry Night" he was in effect saying: here is a new way of looking
at things. Stars are alive and they whirl around in their energy field.
CASTANEDA: Partly. But there is a difference.
An artist usually just rearranges the old glosses that are proper to his membership.
Membership consists of being an expert in the innuendoes of meaning that are contained
within a culture. For instance, my primary membership like most educated Western
men was in the European intellectual world. You can't break out of one membership
without being introduced into another. You can only rearrange the glosses.
KEEN: Was don Juan resocializing you or desocializing
Was he teaching you a new system of meanings or only a method of stripping
off the old system so that you might see the world as a wondering child?
CASTANEDA: Don Juan and I disagree about this. I
say he was reglossing me and he says he was deglossing me. By teaching me sorcery
he gave me a new set of glosses, a new language and a new way of seeing the world.
Once I read a bit of the linguistic philosophy of Ludwig Wittgenstein to don Juan
and he laughed and said: "Your friend Wittgenstein tied the noose too tight around
his neck so he can't go anywhere."
Wittgenstein is one of the few philosophers who would have understood don Juan.
His notion that there are many different language games--science, politics, poetry,
religion, metaphysics, each with its own syntax and rules--would have allowed
him to understand sorcery as an alternative system of perception and meaning.
CASTANEDA: But don Juan thinks that what he
calls seeing is apprehending the world without any interpretation; it is
pure wondering perception. Sorcery is a means to this end. To break the certainty
that the world is the way you have always been taught you must learn a new description
of the world--sorcery--and then hold the old and the new together. Then you will
see that neither description is final. At that moment you slip between the descriptions;
you stop the world and see. You are left with wonder; the true wonder of seeing
the world without interpretation.
Do you think it is possible to get beyond interpretation by using psychedelic
CASTANEDA: I don't think so.
That is my quarrel with people like Timothy Leary. I think he was improvising
from within the European membership and merely rearranging old glosses. I have
never taken LSD, but what I gather from don Juan's teachings is that psychotropics
are used to stop the flow of ordinary interpretations, to enhance the contradictions
within the glosses, and to shatter certainty. But the drugs alone do not allow
you to stop the world. To do that you need an alternative description of the world.
That is why don Juan had to teach me sorcery.
There is an ordinary reality that we Western people are certain is 'the' only
world, and then there is is the separate reality of the sorcerer. What are the
essential differences between them?
In European membership the world is built largely from what the eyes report to
the mind. In sorcery the total body is used as a perceptor. As Europeans we see
a world out there and talk to ourselves about it. We are here and the world is
there. Our eyes feed our reason and we have no direct knowledge of things. According
to sorcery this burden on the eyes in unnecessary. We know with the total body.
KEEN: Western man begins with the assumption
that subject and object are separated. We're isolated from the world and have
to cross some gap to get to it. For don Juan and the tradition of sorcery, the
body is already in the world. We are united with the world, not alienated from
CASTANEDA: That's right. Sorcery
has a different theory of embodiment. The problem in sorcery is to tune and trim
your body to make it a good receptor. Europeans deal with their bodies as if they
were objects. We fill them with alcohol, Bad food, and anxiety. When something
goes wrong we think germs have invaded the body from outside and so we import
some medicine to cure it. The disease is not a part of us. Don Juan doesn't believe
that. For him disease is a disharmony between a man and his world. The body is
an awareness and it must be treated impeccably.
This sounds similar to Norman O. Brown's idea that children, schizophrenics, and
those with the divine madness of the Dionysian consciousness are aware of things
and of other persons as extensions of their bodies. Don Juan suggests something
of the kind when he says the man of knowledge has fibers of light that connect
his solar plexus to the world.
My conversation with the coyote is a good illustration of the different theories
of embodiment. When he came up to me I said: "Hi, little coyote. How are you doing?"
And he answered back: "I am doing fine. How about you?" Now, I didn't hear the
words in the normal way. But my body knew the coyote was saying something and
I translated it into dialogue. As an intellectual my relationship to dialogue
is so profound that my body automatically translated into words the feeling that
the animal was communicating with me. We always see the unknown in terms of the
KEEN: When you are in that
magical mode of consciousness in which coyotes speak and everything is fitting
and luminous it seems as if the whole world is alive and that human beings are
in a communion that includes animals and plants. If we drop our arrogant assumptions
that we are the only comprehending and communicating form of life we might find
all kinds of things talking to us.
Lilly talked talked to dolphins. Perhaps we would feel less alienated if we could
believe we were not the only intelligent life.
We might be able to talk to any animal. For don Juan and the other sorcerers there
wasn't anything unusual about my conversation with the coyote. As a matter of
fact they said I should have gotten a more reliable animal for a friend. Coyotes
are tricksters and are not to be trusted.
What animals make better friends?
Snakes make stupendous friends?
I once had a conversation with a snake. One night I dreamt there was a snake in
the attic of a house where I lived when I was a child. I took a stick and tried
to kill it. In the morning I told the dream to a friend and she reminded me that
it was not good to kill snakes, even if they were in the attic in a dream. She
suggested that the next time a snake appeared in a dream I should feed it or do
something to befriend it. About an hour later I was driving my motor scooter on
a little-used road and there it was waiting for me--a four foot snake, stretched
out sunning itself. I drove alongside it and it didn't move. After we had looked
at each other for a while I decided I should make some gesture to let him know
I repented for killing his brother in my dream. I reached over and touched his
tail. He coiled up and indicated that I had rushed our intimacy. So I backed off
and just looked. After about five minutes he went off into the bushes.
CASTANEDA: You didn't pick it up?
It was a very good friend. A man can learn to call snakes. But you have to be
in very good shape, calm, collected--in a friendly mood, with no doubts or pending
KEEN: My snake taught me
that I had always had paranoid feelings about nature. I considered animals and
snakes dangerous. After my meeting I could never kill another snake and it began
to be more plausible to me that we might be in some kind of living nexus. Our
ecosystem might well include communication between different forms of life.
CASTANEDA: Don Juan has a very interesting theory
about this. Plants, like animals, always affect you. He says that if you don't
apologize to plants for picking them you are likely to get sick or have an accident.
KEEN: The American Indians had similar beliefs
about animals they killed. If you don't thank the animal for giving up his life
so you may live, his spirit may cause you trouble.
We have a commonality with all life. Something is altered every time we deliberately
injure plant life or animal life. We take life in order to live but we must be
willing to give up our lives without resentment when it is our time. We are so
important and take ourselves so seriously that we forget that the world is a great
mystery that will teach us if we listen.
Perhaps psychotropic drugs momentarily wipe out the isolated ego and allow a mystical
fusion with nature. Most cultures that have retained a sense of communion between
man and nature also have made ceremonial use of psychedelic drugs. Were you using
peyote when you talked with the coyote?
No. Nothing at all.
KEEN: Was this
experience more intense than similar experiences you had when don Juan gave you
more intense. Every time I took psychotropic plants I knew I had taken something
and I could always question the validity of my experience. But when the coyote
talked to me I had no defenses. I couldn't explain it away. I had really stopped
the world and, for a short time, got completely outside my European system of
KEEN: Do you think don Juan
lives in this state of awareness most of the time?
Yes. He lives in magical time and occasionally comes into ordinary time. I live
in ordinary time and occasionally dip into magical time.
Anyone who travels so far from the beaten paths of consensus must be very lonely.
CASTANEDA: I think so. Don Juan lives in an
awesome world and he has left routine people far behind. Once when I was with
don Juan and his friend don Genaro I saw the loneliness they shared and their
sadness at leaving behind the trappings and points of reference of ordinary society.
I think don Juan turns his loneliness into art. He contains and controls his power,
the wonder and the loneliness, and turns them into art.
art is the metaphorical way in which he lives. This is why his teachings have
such a dramatic flavor and unity. He deliberately constructs his life and his
manner of teaching.
For instance, when don Juan took you out into the hills to hunt animals was he
consciously staging an allegory?
Yes. He had no interest in hunting for sport or to get meat. In the 10 years I
have known him don Juan has killed only four animals to my knowledge, and these
only at times when he saw that their death was a gift to him in the same way his
death would one day be a gift to something. Once we caught a rabbit in a trap
we had set and don Juan thought I should kill it because its time was up. I was
desperate because I had the sensation that I was the rabbit. I tried to free him
but couldn't open the trap. So I stomped on the trap and accidentally broke the
rabbit's neck. Don Juan had been trying to teach me that I must assume responsibility
for being in this marvelous world. He leaned over and whispered in my ear: "I
told you this rabbit had no more time to roam in this beautiful desert." He consciously
set up the metaphor to teach me about the ways of a warrior. The warrior is a
man who hunts and accumulates personal power. To do this he must develop patience
and will and move deliberately through the world. Don Juan used the dramatic situation
of actual hunting to teach me because he was addressing himself to my body.
KEEN: In your most recent book, Journey to Ixtlan,
you reverse the impression given in your first books that the use of psychotropic
plants was the main method don Juan intended to use in teaching you about sorcery.
How do you now understand the place of psychotropics in his teachings?
CASTANEDA: Don Juan used psychotropic plants
only in the middle period of my apprenticeship because I was so stupid, sophisticated
and cocky. I held on to my description of the world as if it were the only truth.
Psychotropics created a gap in my system of glosses. They destroyed my dogmatic
certainty. But I paid a tremendous price. When the glue that held my world together
was dissolved, my body was weakened and it took months to recuperate. I was anxious
and functioned at a very low level.
Does don Juan regularly use psychotropic drugs to stop the world?
CASTANEDA: No. He can now stop it at will. He told
me that for me to try to see without the aid of psychotropic plants would be useless.
But if I behaved like a warrior and assumed responsibility I would not need them;
they would only weaken my body.
This must come as quite a shock to many of your admirers. You are something of
a patron saint to the psychedelic revolution.
I do have a following and they have some strange ideas about me. I was walking
to a lecture I was giving at California State, Long Beach the other day and a
guy who knew me pointed me out to a girl and said: "Hey, that is Castaneda." She
didn't believe him because she had the idea that I must be very mystical. A friend
has collected some of the stories that circulate about me. The consensus is that
I have mystical feet.
CASTANEDA: Yes, that I walk barefooted
like Jesus and have no calouses. I am supposed to be stoned most of the time.
I have also committed suicide and died in several different places.
A college class of mine almost
freaked out when I began to talk about phenomenology and membership and to explore
perception and socialization. They wanted to be told too relax, turn on and blow
their minds. But to me understanding is important.
Rumors flourish in an information vacuum. We know something about don Juan but
too little about Castaneda.
That is a deliberate part of the life of a warrior, To weasel in and out of different
worlds you have to remain inconspicuous. The more you are known and identified,
the more your freedom is curtailed. When people have definite ideas about who
you are and how you will act, then you can't move. One of the earliest things
don Juan taught me was that I must erase my personal history. If little by little
you create a fog around yourself then you will not be taken for granted and you
will have more room for change. That is the reason I avoid tape recordings when
I lecture, and photographs.
Maybe we can be personal without being historical. You now minimize the importance
of the psychedelic experience connected with your apprenticeship. And you don't
seem to go around doing the kind of tricks you describe as the sorcerer's stock-in-trade.
What are the elements of don Juan's teachings that are important for you? Have
you been changed by them?
For me the ideas of being a warrior and a man of knowledge, with the eventual
hope of being able to stop the world and see, have been the most applicable. They
have given me peace and confidence in my ability to control my life. At the time
I met don Juan I had very little personal power. My life had been very erratic.
I had come a long way from my birthplace in Brazil. Outwardly I was aggressive
and cocky, but within I was indecisive and unsure of myself. I was always making
excuses for myself. Don Juan once accused me of being a professional child because
I was so full of self-pity. I felt like a leaf in the wind. Like most intellectuals,
my back was against the wall. I had no place to go. I couldn't see any way of
life that really excited me. I thought all I could do was make a mature adjustment
to a life of boredom or find ever more complex forms of entertainment such as
the use of psychedelics and pot and sexual adventures. All of this was exaggerated
by my habit of introspection. I was always looking within and talking to myself.
The inner dialogue seldom stopped. Don Juan turned my eyes outward and taught
me to accumulate personal power.
don't think there is any other way to live if one wants to be exuberant.
KEEN: He seems to have hooked you with the old
philosopher's trick of holding death before your eyes. I was struck with how classical
don Juan's approach was. I heard echoes of Plato's idea that a philosopher must
study death before he can gain any access to the real world and of Martin Heidegger's
definition of man as being-toward-death.
Yes, but don Juan's approach has a strange twist because it comes from the tradition
in sorcery that death is physical presence that can be felt and seen. One of the
glosses in sorcery is: death stands to your left. Death is an impartial judge
who will speak truth to you and give you accurate advice. After all, death is
in no hurry. He will get you tomorrow or the next week or in 50 years. It makes
no difference to him. The moment you remember you must eventually die you are
cut down to the right size.
think I haven't made this idea vivid enough. The gloss--"death to your left"--isn't
an intellectual matter in sorcery; it is perception. When your body is properly
tuned to the world and you turn your eyes to your left, you can witness an extraordinary
event, the shadowlike presence of death.
In the existential tradition, discussions of responsibility usually follow discussion
CASTANEDA: Then don Juan
is a good existentialist. When there is no way of knowing whether I have one more
minute of life. I must live as if this is my last moment. Each act is the warrior's
last battle. So everything must be done impeccably. Nothing can be left pending.
This idea has been very freeing for me. I am here talking to you and I may never
return to Los Angeles. But that wouldn't matter because I took care of everything
before I came.
KEEN: This world of
death and decisiveness is a long way from psychedelic utopias in which the vision
of endless time destroys the tragic quality of choice.
When death stands to your left you must create your world by a series of decisions.
There are no large or small decisions, only decisions that must be made now.
And there is no time for doubts
or remorse. If I spend my time regretting what I did yesterday I avoid the decisions
I need to make today.
How did don Juan teach you to be decisive?
He spoke to my body with his acts. My old way was to leave everything pending
and never to decide anything. To me decisions were ugly. It seemed unfair for
a sensitive man to have to decide. One day don Juan asked me: "Do you think you
and I are equals?" I was a university student and an intellectual and he was an
old Indian but I condescended and said: "Of course we are equals." He said: "I
don't think we are. I am a hunter and a warrior and you are a pimp. I am ready
to sum up my life at any moment. Your feeble world of indecision and sadness is
not equal to mine." Well, I was very insulted and would have left but we were
in the middle of the wilderness. So I sat down and got trapped in my own ego involvement.
I was going to wait until he decided to go home. After many hours I saw that don
Juan would stay there forever if he had to. Why not? For a man with no pending
business that is his power. I finally realized that this man was not like my father
who would make 20 New Year's resolutions and cancel them all out. Don Juan's decisions
were irrevocable as far as he was concerned. They could be canceled out only by
other decisions. So I went over and touched him and he got up and we went home.
The impact of that act was tremendous. It convinced me that the way of the warrior
is an exuberant and powerful way to live.
It isn't the content of decision that is important so much as the act of being
CASTANEDA: That is what
don Juan means by having a gesture. A gesture is a deliberate act which is undertaken
for the power that comes from making a decision. For instance, if a warrior found
a snake that was numb and cold, he might struggle to invent a way to take the
snake to a warm place without being bitten. The warrior would make the gesture
just for the hell of it. But he would perform it perfectly.
There seem to be many parallels between existential philosophy and don Juan's
teachings. What you have said about decision and gesture suggests that don Juan,
like Nietzsche or Sartre, believes that will rather than reason is the most fundamental
faculty of man.
CASTANEDA: I think
that is right. Let me speak for myself. What I want to do, and maybe I can accomplish
it, is to take the control away from my reason. My mind has been in control all
of my life and it would kill me rather than relinquish control. At one point in
my apprenticeship I became profoundly depressed. I was overwhelmed with terror
and gloom and thoughts about suicide. Then don Juan warned me this was one of
reason's tricks to retain control. He said my reason was making my body feel that
there was no meaning in life. Once my mind waged this last battle and lost, reason
began to assume its proper place as a tool of the body.
"The heart has its reasons that reason knows nothing of" and so does the rest
of the body.
CASTANEDA: That is the
point. The body has a will of its own. Or rather, the will is the voice of the
body. That is why don Juan consistently put his teachings in dramatic form. My
intellect could easily dismiss his world of sorcery as nonsense. But my body was
attracted to his world and his way of life. And once the body took over, a new
and healthier reign was established.
Don Juan's techniques for dealing with dreams engaged me became they suggest the
possibility of voluntary control of dream images. It is as though he proposes
to establish a permanent, stable observatory within inner space. Tell me about
don Juan's dream training.
The trick in dreaming is to sustain dream images long enough to look at them carefully.
To gain this kind of control you need to pick one thing in advance and learn to
find it in your dreams. Don Juan suggested that I use my hands as a steady point
and go back and forth between them and the images. After some months I learned
to find my hands and to stop the dream. I became so fascinated with the technique
that I could hardly wait to go to sleep.
Is stopping the images in dreams anything like stopping the world?
CASTANEDA: It is similar. But there are differences.
Once you are capable of finding your hands at will, you realize that it is only
a technique. What you are after is control. A man of knowledge must accumulate
personal power. But that is not enough to stop the world. Some abandon also is
necessary. You must silence the chatter that is going on inside your mind and
surrender yourself to the outside world.
Of the many techniques that don Juan taught you for stopping the world, which
do you still practice?
My major discipline now is to disrupt my routines. I was always a very routinary
person. I ate and slept on schedule. In 1965 I began to change my habits. I wrote
in the quiet hours of the night and slept and ate when I felt the need. Now I
have dismantled so many of my habitual ways of acting that before long I may become
unpredictable and surprising even to myself.
Your discipline reminds me of the Zen story of two disciples bragging about miraculous
powers. One disciple claimed the founder of the sect to which he belonged could
stand on one side of a river and write the name of Buddha on a piece of paper
held by his assistant on the opposite shore. The second disciple replied that
such a miracle was unimpressive. "My miracle," he said, "is that when I feel hungry
I eat, and when I feel thirsty I drink"
It has been this element of engagement in the world that has kept me following
the path which don Juan showed me. There is no need to transcend the world. Everything
we need to know is right in front of us, if we pay attention. If you enter a state
of nonordinary reality, as you do when you use psychotropic plants, it is only
to draw back from it what you need in order to see the miraculous character of
ordinary reality. For me the way to live--the path with heart--is not introspection
or mystical transcendence but presence in the world. This world is the warrior's
KEEN: The world you
and don Juan have pictured is full of magical coyotes, enchanted crows and a beautiful
sorceress. It's easy to see how it could engage you. But what about the world
of the modern urban person? Where is the magic there? If we could all live in
the mountains we might keep wonder alive. But how is it possible when we are half
a zoom from the freeway?
I once asked don Juan the same question. We were sitting in a cafe in Yuma and
I suggested that I might be able to stop the world and to see, if I could come
and live in the wilderness with him. He looked out the window at the passing cars
and said: "That, out there, is your world." I live in Los Angeles now and I find
I can use that world to accommodate my needs. It is a challenge to live with no
set routines in a routinary world. But it can be done.
The noise level and the constant pressure of the masses of people seem to destroy
the silence and solitude that would be essential for stopping the world.
CASTANEDA: Not at all. In fact, the noise can
be used. You can use the buzzing of the freeway to teach yourself to listen to
the outside world. When we stop the world the world we stop is the one we usually
maintain by our continual inner dialogue. Once you can stop the internal babble
you stop maintaining your old world. The descriptions collapse. That is when personality
change begins. When you concentrate on sounds you realize it is difficult for
the brain to categories all the sounds, and in a short while you stop trying.
This is unlike visual perception which keeps us forming categories and thinking.
It is so restful when you can turn off the talking, categorizing, and judging.
KEEN: The internal world changes but what about
the external one? We can revolutionize individual consciousness but still not
touch the social structures that create our alienation. Is there any place for
social or political reform in your thinking?
I came from Latin America where intellectuals were always talking about political
and social revolution and where a lot of bombs were thrown. But revolution hasn't
changed much. It takes little daring to bomb a building, but in order to give
up cigarettes or to stop being anxious or to stop internal chattering, you have
to remake yourself. This is where real reform begins. Don Juan and I were in Tucson
not long ago when they were having Earth Week. Some man was lecturing on ecology
and the evils of war in Vietnam. All the while he was smoking. Don Juan said,
"I cannot imagine that he is concerned with other people's bodies when he doesn't
like his own." Our first concern should be with ourselves. I can like my fellow
men only when I am at my peak of vigor and am not depressed. To be in this condition
I must keep my body trimmed. Any revolution must begin here in this body. I can
alter my culture but only from within a body that is impeccably tuned-in to this
weird world. For me, the real accomplishment is the art of being a warrior, which,
as don Juan says, is the only way to balance the terror of being a man with the
wonder of being a man.