NOVEMBER, 2002…

Ten years ago — 2002 — right about now: 70,000 free copies of the 56-page Arthur Magazine No. 1 somehow hit the streets across North America.

Thank you to everyone who helped get this train rolling.

Thank you, publisher Laris Kreslins and art director W.T. Nelson. Thank you, adfellow Jamie Fraser.

Thank you, senior advisors Mark Lewman, Paul Cullum and Shawn Mortensen (RIP).

Thank you, contributors Paul Moody, Byron Coley and Thurston Moore, Geoff Mcfetridge, Spike Jonze, Neil Hamburger, David Berman, Ian Svenonius, Dame Darcy, Eddie Dean, Joe Carducci, Camille Rose Garcia, Jason Amos, Joseph Durwin, Daniel Pinchbeck, Alan Moore, Pat Graham, Dave Brooks, Steve Giberson, Mike Castillo and John Henry Childs.

Thank you, all the agents in our improvised guerrilla distribution network across the continent.

Thank you, all the entities that spent money to advertise in our untested pages.

Thank you to everyone thanked on Page 3 of the mag: Brendan Newman, Kreslins Family, Oma, Kristaps, Gary Hustwit, Chris Ronis, Kate Sawai, Janis Sils, Bernadette Napoleon, Vineta Plume, Fred Cisterna, Richard Grijalva, Ned Milligan, Lizzy Klein, Robin Adams, Jack Mendelsohn, John Shimkonis, Prolific, Chris Young, Ed Halter, Mike Galinsky, Jim Higgins, Plexifilm Family, Alie Robotos, Domainistudios, Fistfulayen, Natalie and Zach, Janitor Sunny Side Up, Yasmin Khan, Rachel Stratton, Lady Montford, John Coulthart, Henry Childs and Joshua Sindell.

Thank you, Sue Carpenter.

Thank you, Darcey Leonard.

Thank you, John Payne and Andrew Male.

Thank you, Robin Turner.

Thank you to the bands that played Arthur’s launch party at Spaceland in Silver Lake (thank you, Jennifer Tefft): Fatso Jetson, Chuck Dukowski Sextet… I’m not sure who else.

Thank you, Matt Luem.

Thank you, Steve Appleford, for being a real journalist.

Thank you to everyone who played a role who I’ve forgotten or neglected to post here. (Please be in touch!)

And thank you to everyone who found the magazine, picked it and read it.

We’re coming back.

"Fellowship of the Vine": an interview with shamanic psychonaut-author Daniel Pinchbeck (Arthur No. 1/Oct 2002)

Originally published in Arthur No. 1 (October, 2002)

“The Garden of Magic; or, the Powers and Thrones Approach the Bridge” by Alan Moore (1994)

Fellowship of the Vine
An interview with shamanic psychonaut-author Daniel Pinchbeck

Daniel Pinchbeck is a New York-based writer and journalist who co-founded the literary magazine Open City in the early ‘90s. The son of the writer Joyce Johnson (a member of the Beat Generation and author of Minor Characters) and the painter Peter Pinchbeck, Pinchbeck has been on a passionate intellectual quest for the last years that has taken him across Nepal, India, Mexico, the Amazon and West Africa, writing pieces on art, psychedelics, and altered states of consciousness for Rolling Stone, The Village Voice, Wired, Salon, and The New York Times Magazine, among others. His new book, Breaking Open the Head: A Psychedelic Journey Into the Heart of Contemporary Shamanism (Broadway), is an account of that quest, blending cultural history, personal narrative, and metaphysical speculation. The original interview was conducted by Joseph Durwin on the eve of Breaking Open the Head’s publication; there’s been some slight futzing of the text by Arthur’s editor.

Arthur: In your book, you talk about exploring many of the same hallucinogenic drugs—LSD, magic mushrooms, ayahuasca—that postwar Westerm bohemians like the Beats and the Hippies were interested in. How does your quest compare to those of people like William Burroughs, Allen Ginsberg, Ken Kesey and Timothy Leary?
Daniel Pinchbeck: The Beats were working by instinct and intuition. They realized that modern society had become a horror show, and that their task was to begin to uncover, in Allen Ginsberg’s words, “a lost knowledge or a lost consciousness.” They took that process as far as they could in the context of their times and their individual personalities.

I believe that my approach—and my book—is more scientific and analytic, because that is the task of the “counterculture” in our time. Perhaps I am the only person who feels this way, but I see a clear goal ahead. This goal is a direct legacy of the counterculture —but it is actually hundreds, if not many thousands, of years older than that. In fact, it is the mission that we must somehow accomplish. Think of it as a secret raid to be carried out deep behind enemy lines, despite incredible odds, and with no possibility of failure.

The Beats and the Hippies saw through the abrasive insanity gnawing at the soul of America–this warmongering, money-mad, climate-destroying monstrosity, which is now casting a dreadful shadow across the planet. Where the Beats acted intuitively, from the heart, we now have the necessary knowledge to put together a new paradigm that is simultaneously political, ecological, spiritual, and far more scientifically accurate than the out-dated Newtonian-Darwinian model which is propping up the doom-spiraling status quo. The psychedelic experience supports the physicist David Bohm’s vision of a “holographic universe,” which is also identical to the alchemical perspective of “As above, so below.” We now have the tools to reinstate the archaic cosmological perspective on a firm scientific basis. Once that sinks in, it becomes obvious that the true goal of human existence is psychic and spiritual development, and the entire thrust of the capitalist system is a samsaric delusion that is keeping humanity from recovering its birthright.

Perhaps there is a reason that humanity has been frantically seeking to develop a “global brain” through the Internet, cell phones, and satellites: I suspect that a moment will come when complete social transformation becomes not only possible, but inevitable. That moment may be sooner than we think.

What were the circumstances that led to pursuing the experiences you relate in your book?
I first tried mushrooms and LSD in college–as many people do—and my experiences left me intrigued but puzzled. It seemed extraordinary that such vast alternative dimensions of consciousness could be revealed with such shocking immediacy. And it was equally extraordinary that the mainstream culture didn’t find this a worthy subject of discussion or thought. After college, I put psychedelics aside to enter the “real world.” When I hit my late twenties, I began to feel increasingly desolate and despairing. I was lucky enough to be connected to the New York media world, the art world, and the literary world, but all these scenes began to seem unbearably empty to me. I realized that I needed to know for myself if there was a spiritual dimension to existence–I really thought that I might literally go insane or prefer to die without access to some form of deeper knowledge. I didn’t think a bit of yoga was going to do the trick. At a bookstore, I heard about iboga, an African tribal psychedelic plant used in Gabon and the Congo that is said to show initiates the African spirit world. Most people just take it once in their lives–it lasts for thirty hours. I got an assignment to go to Africa and go through the initiation, and that was where my quest began.

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