From Equinox Publishing. From amazon.

I’m delighted to discover this new collection. I suspect we’ll do a course in the fall based on this book. Illich has been a powerful influence on my work for decades.

From the publisher:

The Loss of the Senses

byIvan Illich, Philosopher, Theologian & Social Critic (1926-2002)

The Loss of the Senses comprises seventeen essays that Ivan Illich (1926-2022) wrote between 1987 and 1998 and continued to edit until the end of his life. This collection is unknown to the English-speaking world.

The essays cut across academic disciplines and range over different facets of contemporary life. Included among the many topics are the roots of the service economy, the history of the gaze, the idea of technology as a Western invention, and the co-related eclipse of the university and the text in the twenty-first century.

Despite the variety of subjects treated, these essays cohere for two reasons. As Illich’s Deschooling Society and Medical Nemesis did before, they confirm that being immersed in a technological milieu disables our native capacities to learn, heal, and move. Furthermore, they imply that we must deeply historicize the present to rightly understand the nature and effects of present-day socio-technical systems.

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Khôral Notes

We Don’t Have to Live in Someone Else’s Dream: A Discussion on Hillman and Corbin with Tom Cheetham

In this episode, Danny, Gareth, and Rob welcome Tom Cheetham—author of After Prophecy: Imagination, Incarnation, and the Unity of the Prophetic Tradition (amongst many other works)—for a wide-ranging conversation on James Hillman, Henri Corbin, and the recovery of the imaginal as a real mode of knowing. Cheetham begins with the story of how Hillman brok…

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13 days ago · 3 likes · 1 comment · Danielle A. Layne, Tom Cheetham, and Gareth

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The Song of the Sensuous

Near the end of The Dream and the Underworld James Hillman writes of the love necessary for working with dreams:

There is a loving in dreamwork . . . Let us call it imaginal love . . . This love does not reach only towards unifying as we have been so tediously taught. When we love, we want to explore, to discriminate more and more widely, to extend the intricacy that intensifies intimacy.

This kind of loving extends beyond dreamwork to encompass everything, because we are always in images, in language, in Imagination. Come along with us as we explore what I have come to call the Near Imaginal - the angelic function of even the most humble and unremarkable beings.

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As we finish the last week of our reading of All the World an Icon, it’s clear to me that I need to go ahead and finish this project of reading all of my books in sequence. So we’ll take a week off and then launch into Imaginal Love. Please join us at whatever level of support you can afford.

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Cy Twombly, Treatise on the Veil

These six lectures with Q&A will address the final 5 chapters of my fourth book, All the World an Icon. This series doesn’t require Part One as a prerequisite. I’m looking forward to talking explicitly about Chapter 8, which produced a profound change in my life - writing this essay was a true visionary recital for me - but not the kind of vision that I would have expected. I haven’t read it since it was written.

Chapter 5: Imagining the Imaginal: Henry Corbin Meets C. G. Jung

Chapter 6: The Vale of Soul-making

Chapter 7: On the Bridge

Chapter 8: The Test of the Veil

Chapter 9: The Ignorance of Angels

In a series of brilliant books, Tom Cheetham has single-handedly brought the work of Henry Corbin in its depth and originality to the English-speaking world. Writing in prose at once lucid and inspired, Cheetham conveys the vision of Corbin into the Persian mystical tradition in ways that kindle reflection on the part of the reader. Drawing on extensive knowledge, Cheetham accomplishes what every serious scholar of this tradition seeks: to place the mark of thought upon a living legacy.

—Edward S. Caset

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Helmholtz Resonators

As participants in my classes over the years have heard many times, Henry Corbin thought and felt in musical registers. One of his key intuitions was about the ontological importance of the phenomenology of the “middle voice” as it exists in ancient Greek and other languages. The kind of relationality implicit in this verbal form is crucial for the structure of his psychocosmology. (A related and more contemporary analysis of middle voice relationality can be found in Luce Irigaray’s In the Beginning She Was).

In “Cyclical Time & Ismaili Gnosis” Corbin writes,

“To be in Paradise, or to come into this world, designates above all different modes of being and understanding… Fundamentally we may say that since the reality of the act, of the event, is reduced to the person who enacts it and understood as that person’s mode of existence, every verb is mentally conjugated in the middle voice (e.g., the apophaineisthai of the phenomenology which shows itself the phainomenon).”

[The parenthetical phrase is an homage to Heidegger’s Being & Time, which Corbin read as a sort of modern European gloss on Suhrawardi’s visionary cosmology. Heidegger writes, “Thus phenomenon means: what shows itself, the self-showing, the manifest. phanesthai itself is a middle voice construction of phano, to bring into daylight, to place in brightness… The “being true” of logos as means to take beings that are being talked about … as apophanesthai out of their concealment; to let them be seen as something unconcealed; to discover them.”]

What use are we to make of this? One suggestion comes via Charles Olson, the American poet. Olson had a fascination with the middle voice which predated his encounter with Corbin’s writings. The term first appears in the poem“Tyrian Businesses” written in the spring of 1953. In May of 1961 Olson published “Grammar – a book” in Floating Bear #7, edited by Diane Di Prima and LeRoi Jones, in which he further plays with notion of the “middle voice.” He got the idea from Stefan Wolpe, a pianist and composer and colleague of Olson who taught at Black Mountain College from 1952 to 1956. Wolpe had told him that the middle voice is “the thing that makes music work.”

I find this thrilling. This is the context for approaching Corbin’s use of the idea, given how profoundly Corbin thought and felt in musical terms.

To stay with Olson just a bit more, “Maximus, at the Harbor” (Oct. 1961) refers among other things to what is perhaps the core of Corbin’s thinking on phenomenology and angelology – the ontological significance of the middle voice in revealing the action of the Angel in us.

In “Maximus, at the Harbor” we read this:

II  
apophainesthai  
got hidden all the years  
apophainesthai : the soul,  
in its progressive rise 

apophainesthai  
passes in & out  
of more difficult things  
and by so passing  
apophainesthai  

the act which actuates the soul itself --  
she loomed before me and he stood  
in this room — it sends out  
on the path ahead the Angel  
it will meet  

apophainesthai  
its ascent is its own mirage  

III  

The great Ocean is angry. It wants the Perfect Child  

In spite of the chasm that separates Olson from Corbin, I think that in Olson’s thunder we can find another version of the “sonorous space” (Corbin’s phrase) in which to imagine the resonances and harmonies of the music of relation (Irigaray’s between-us).

This was all swirling in my imagination while I was recently online pursuing my increasing interest in handpans. I played one for a few minutes three years ago in Brazil, and I have not forgotten the weirdness of the experience. I spontaneously used it as if it were a drum (and my hands showed the folly of this for a few weeks). But these instruments are not drums. I eventually discovered the website of the originators of the handpan who were basing their original work on the steel drum traditions of the Caribbean. In a book from 2013 Felix Rohner and Sabina Schärer write as follows:

“In order to take account of the acoustic richness of this resonator which is capable of reactivating the inner sources of the human being, we need a new way of hearing, or rather of listening attentively. Anybody who opens himself to really listening to the hang is amazed by the immediate response of the resonator. One is never really quite sure of where the sound comes from, it just takes possession of the listener, something like magic. This immediate effect goes deep. It results from a complex acoustic incident to which hang makers refer as an “impulse”. The impulse is given by the player, but at the same time the impulse gives the player energy in return. The impulse revitalizes and simultaneously soothes the body and the mind, as conscious thought is subdued. The highly strained shell responds directly and immediately to even the finest touch. And since our hands are also extremely sensitive, the interaction between hand and hang must be correspondingly gentle. There cannot be a particular technique for this process. There is no string to be plucked, no skin to be put into oscillation, no air column to be blown into. Playing the hang is a path — a path that leads to oneself.n order to take account of the acoustic richness of this resonator which is capable of reactivating the inner sources of the human being, we need a new way of hearing, or rather of listening attentively. Anybody who opens himself to really listening to the hang is amazed by the immediate response of the resonator. One is never really quite sure of where the sound comes from, it just takes possession of the listener, something like magic. This immediate effect goes deep. It results from a complex acoustic incident to which hang makers refer as an “impulse”. The impulse is given by the player, but at the same time the impulse gives the player energy in return. The impulse revitalizes and simultaneously soothes the body and the mind, as conscious thought is subdued. The highly strained shell responds directly and immediately to even the finest touch. And since our hands are also extremely sensitive, the interaction between hand and hang must be correspondingly gentle. There cannot be a particular technique for this process. There is no string to be plucked, no skin to be put into oscillation, no air column to be blown into. Playing the hang is a path — a path that leads to oneself.” —From Hang - Sound Sculpture, 2013, by Felix Rohner and Sabina Schärer.

This is a wonderful description of one way in which we can understand how “the middle voice is what makes music work.” The link just above is to a pdf version of the book and I recommend it highly. It’s a fascinating story from start to finish. Including the story of the physics of sound, and discussion of the work of Anthony Achong, the great master physicist of steelpan acoustics. I can just barely restrain myself from buying this 1200 page masterwork (which would be totally beyond my comprehension, but no doubt lovely to look at in wonder: Anthony Achong: “The Secrets of the Steelpan”.

I hope you’ll find something in all this that will spark something lovely…

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These six lectures with Q&A will address the final 5 chapters of my fourth book, All the World an Icon. This series doesn’t require Part 1as a prerequisite.

Chapter 5: Imagining the Imaginal: Henry Corbin Meets C. G. Jung

Chapter 6: The Vale of Soul-making

Chapter 7: On the Bridge

Chapter 8: The Test of the Veil

Chapter 9: The Ignorance of Angels

In a series of brilliant books, Tom Cheetham has single-handedly brought the work of Henry Corbin in its depth and originality to the English-speaking world. Writing in prose at once lucid and inspired, Cheetham conveys the vision of Corbin into the Persian mystical tradition in ways that kindle reflection on the part of the reader. Drawing on extensive knowledge, Cheetham accomplishes what every serious scholar of this tradition seeks: to place the mark of thought upon a living legacy.

—Edward S. Caset

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TUITION: $20 PER SESSION - $120 FOR THE SERIES

**OR AS ALWAYS, PAY WHAT YOU CAN**

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TO REGISTER CONTACT ME VIA EMAIL:

tcheetham@gmail.com

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I love this…

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Please take a look at this lovely essay on Proclus, Corbin and plants!

The Prayer of the Heliotrope

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These six lectures with Q&A will address the final 5 chapters of my fourth book, All the World an Icon. This series doesn’t require Part 1as a prerequisite.

Chapter 5: Imagining the Imaginal: Henry Corbin Meets C. G. Jung

Chapter 6: The Vale of Soul-making

Chapter 7: On the Bridge

Chapter 8: The Test of the Veil

Chapter 9: The Ignorance of Angels

In a series of brilliant books, Tom Cheetham has single-handedly brought the work of Henry Corbin in its depth and originality to the English-speaking world. Writing in prose at once lucid and inspired, Cheetham conveys the vision of Corbin into the Persian mystical tradition in ways that kindle reflection on the part of the reader. Drawing on extensive knowledge, Cheetham accomplishes what every serious scholar of this tradition seeks: to place the mark of thought upon a living legacy.

—Edward S. Caset

SIGN UP NOW

6 Live Sessions: Tuesdays & Thursdays, May 12 - May 28, 4-5:30 ET

TUITION: $20 PER SESSION - $120 FOR THE SERIES

**OR AS ALWAYS, PAY WHAT YOU CAN**

RECORDINGS INCLUDED - YOU DO NOT HAVE TO ATTEND LIVE

TO REGISTER CONTACT ME VIA EMAIL:

tcheetham@gmail.com

Thanks for your interest - and tell your friends! See you then.

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These six lectures with Q&A will cover the first 4 chapters of my fourth book, All the World an Icon. We’ll finish the rest in the next class, coming soon.

Chapter 1: The Spiritual Vision of Henry Corbin - An opportunity to introduce and summarize Corbin’s immense psychocosmology.

Chapter 2: Hermeneutics of the Soul: Cyclical Time - An analysis of the crucial and dense 1951 Eranos lecture.

Chapter 3: Hermeneutics of the Soul: the Visionary Recital - On the dynamics of angelomorphosis.

Chapter 4: In Search of the Lost Speech - On the cosmology and ontology of the poetic basis of mind.

“For anyone attracted to the elusive realm of creative imagination, this book draws out and makes explicit what lives so strongly as a lure within the heart, the desire to find again our first home, the imaginal worlds and their inhabitants, the angels of creativity. As acknowledged master interpreter of the great work of Henry Corbin, Tom Cheetham follows Corbin’s path of seeing all the world as living symbol of the divine worlds. More, he shows how to go through the portal of the world as symbol to enter the imaginal realms in their intimate autonomy, and develop impeccable trust in their spontaneous appearance as personal images. Here, in this writing, we can learn interior listening, discovering the inherent poeticizing action of the word. This beautiful volume goes beyond, way beyond, any of our usual self-serving inclinations and leads us into being servants of the angel of the Earth.”

—Robert Sardello

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Or better, become a free member of Howl in the Wilderness on Patreon to watch the entire conversation: On Patreon

E219 — Personal Myths & Psycho-Cosmologies | Tom Cheetham | HITW 219

Howl in the Wilderness

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I think we need this today.

At other times when I hear the wind blow

I feel just hearing the wind blow makes it worth being born.

I don’t know what others will think when they read this;

But I think it must be good because I think it without effort…

Pessoa

I. The astonishing reality of things and persons — this is the object of pure

attention.

II. True attention does the work of bringing forth. It is the aperture through which

the latency of things and persons becomes present. “Mere” attention, ordinary

attentiveness, is useful, standing in relation to the world like the opening,

closing, entering, and exiting of the sensible doors in a well-maintained house.

But unmixed attention — pure attention to what cannot be used, to what no one

already wants, to what promises no knowledge or gain— does not require doors,

because it walks through walls.

III. This true attention, given to objects, unerringly reveals the presence of

others.

IV. True attention allows potentialities latent in human relations and encounters

— often immediately stifled by the weight of the everyday and by the hegemony

of what is agreed to exist and to require attention — to flower and to flourish. It

nourishes the implicit forms of being together that are emergent within human

interaction and which are constantly interrupted.

V. An attentional path is the trace left by a free mind. To submit to the

attentional path of another, to retrace it, is a form of attention. Retracing the

attentional path of a free mind is one of the keenest pleasures we can take in

each other and in the world.

VI. In this sense we must recognize a dialectic of attentional freedom: true

attention consists in the ability to submit one’s attention to the attentional path

traced by another. The absence of freedom of attention may thus feel like

freedom (endless solicitation). Freedom of attention may feel like unfreedom

(deliberate submission).

VII. This dialectic has been deliberately manipulated by market structures and

technologies to the point that we are increasingly incapable of true attention.

Our attention has never been more free, or more continuously entrapped. Our

attentional environments are thus catastrophic. True attention is fundamentally

endangered.

VIII. Escape from our attentional nightmare will not unfold in a singular event.

The exercise of a truer attention requires the carving out of spaces in the world

where it can survive and thrive — new environments. This might manifest literally

through the creation of spaces that facilitate new ways of gathering, but it also

requires that we strengthen the relationship between our inner lives and our

outer lives. Sharing our individual sensory experiences with others is a means of

reconciling a world that is otherwise broken. A world, that is, in which our ability

to think for ourselves and to desire on our own terms is consistently threatened.

IX. “Sanctuaries” of this sort for true attention already exist. They are among us

now. But they are endangered, and thus many are in hiding, operating in self-

sustaining, inclusive, generous, and fugitive forms. These sanctuaries can be

found, but it takes an effort of attention to find them, and this seeking is also

attention’s effort to heal itself. This attention-which-seeks often takes the form of

an intense and near-devotional expectation and anticipation that refuses to know

what it expects and anticipates.

X. What is needed is an ethics of attention. This is akin to a practical mysticism.

Practical mysticism is not impractical. It is no more and no less than the effort to

draw closer to the astonishing reality of things, through those forms of pure

attention that are unmixed with evaluations of utility and judgment, and free

from the deforming grasp of a seizing hand (or eye or mind).

XI. True attention takes the unlivable and makes it livable. It is a lung that

replenishes the air it breathes. If suddenly you feel that you can live and breathe

in the place where you are, you or someone around you has committed, enacted,

or bestowed attention. This is our work.

XII. This work is the work of freedom and understanding. It is a work, through

attention, of world-building. This work is fundamentally political.

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Image from Andrei Tarkovsky’s Nostalghia

These six lectures with Q&A will cover the first 4 chapters of my fourth book, All the World an Icon. We’ll finish the rest in the next class, coming soon.

Chapter 1: The Spiritual Vision of Henry Corbin - An opportunity to introduce and summarize Corbin’s immense psychocosmology.

Chapter 2: Hermeneutics of the Soul: Cyclical Time - An analysis of the crucial and dense 1951 Eranos lecture.

Chapter 3: Hermeneutics of the Soul: the Visionary Recital - On the dynamics of angelomorphosis.

Chapter 4: In Search of the Lost Speech - On the cosmology and ontology of the poetic basis of mind.

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6 Live Sessions: Tuesdays & Thursdays, April 14 - April 30, 4-5:30 ET

TUITION: $20 PER SESSION - $120 FOR THE SERIES

**OR AS ALWAYS, PAY WHAT YOU CAN**

RECORDINGS INCLUDED - YOU DO NOT HAVE TO ATTEND LIVE

TO REGISTER CONTACT ME VIA EMAIL:

tcheetham@gmail.com

Thanks for your interest - and tell your friends! See you then.

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A SERIES OF WEBINARS EXPLORING STRATEGIES FOR CULTIVATING POSSIBILITY IN DEFIANCE OF BRUTALISM

Sponsored by the the SFU Institute for the Humanities, J. S. Woodsworth Chair in the Humanities and EcoCultureLab Vancouver.

ABOUT THE SESSION

“Finding Psyche in Feverish Times”

Are we anxious enough yet? In the firehose of current crises and challenges—from Trump and the Epstein Files to Iran, Venezuela, Gaza, and Ukraine, to climate change, conspiracy cults, the weirdness of AI, and all the rest—is there any place where we might find ourselves, or the agency to resist, or something solid and comforting behind or beneath the onslaught? Or is there too much of ourselves already, and not enough opening to the otherness that we fear or resist? Where in the maelstrom is ‘nature,’ or God, or our common humanity?

Speakers will include ecopsychologist Andy Fisher, author of Radical Ecopsychology: Psychology in the Service of Life (2013); Lacanian psychoanalyst Hilda Fernandez-Alvarez, co-founder of the Lacan Salon and president of Corpo Freudiano Vancouver; and psychological anthropologist Josh Brahinsky, author of Tongues of Fire: How Charismatic Prayer Changes Evangelical Brains and Inspires Spirit-Filled Activism(2026). They will be joined in conversation with poet Clint Burnham. Hosted and moderated by Adrian Ivakhiv.

ABOUT THE SERIES

In his book Brutalism, African philosopher Achille Mbembe defines his titular term as “the process through which power as a geomorphic force is constituted, expressed, reconfigured, and reproduced through acts of fracturing and fissuring.” Borrowing the term from architecture, Mbembe aims to capture “an age gripped by the planetary-scale pathos of de­moli­tion and production of stocks of darkness,” a “becoming-black of the world” that parallels the enslavement of African bodies in the Atlantic slave trade by an imposition of the logic of war onto populations with nowhere else to go. Military designs are, in this sense, added to today’s pressures of changing climates, deteriorating environments, competition for dwindling resources, and the dismantling of public service systems, as powerful interests engineer fear, confusion, and disengagement while touting the false solutions of “reborderizing,” ethnonational wall-building, and the technological evasions of geo-engineering and artificial intelligence.

In this context, where can we find causes as well as realistic strategies for creative hope toward a more life-enhancing, difference-harboring, and ecologically viable world? “Creative hope” is not the idle hope of facile optimism; it is the active effort to find and seize opportunities for creating a better world than the one being handed to us. It is a radical hope (radic-, radix is Latin for “root”) because it identifies and removes the obstructions toward the flourishing of human and nonhuman life in its beauty and diversity. It reverses the brutal reduction of humans to mobile laborers and consumers, and of the world to resource and datafied commodity.

This series of “first Tuesday” noon-time webinars will explore the work of artists, critical thinkers, digital activists, and communities responding to the challenges of war, authoritarianism, disaster, and climate change in ways that build the possibilities for hopeful, collaborative, and richly more-than-human futures.

TIME AND PLACE

Tuesday, April 7th, 2026

12:00PM Pacific Time

Zoom Webinar (registration required)

RSVP NOW

CONTACT

Huyen Pham

Communications Coordinator

insthum@sfu.ca

To receive notifications about future J.S. Woodsworth Chair events, please sign-up HERE.

The Institute for the Humanities respectfully acknowledges the traditional, unceded and continually occupied territories of the Sḵwx̱wú7mesh Úxwumixw (Squamish), səl̓ilw̓ ətaʔɬ (Tsleil-Waututh), kʷikʷəƛ ̓ əm (Kwikwetlem) and xʷməθkʷəy̓əm (Musqueam) peoples.

Institute for the Humanities

Simon Fraser University

#3150 - 515 West Hastings Street

Vancouver, BC V6B 5K3

www.sfu.ca/humanities-institute

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The Maze to Metanoia

The Container Problem

Jean Delville, The Cycle of Passions, 1890…

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3 months ago · 10 likes · 2 comments · Meredith Spearman

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