Unlike all the other figures in this reading, this guy is upside-down and HOT PINK. Even if it is odd, it will be loved by its audience for the simple reason that it is bright in a bleak world. What would happen if you knew that most people would like this esoteric novel? What would happen if loving money wasn’t an opposition to writing exactly what you want to write?Įvery idea and mindset you’re willing to cast aside will become the fodder for some strange, beautiful flower, some wonderful fruit. Ask the questions that will let you rest and dream instead of the questions that won’t limit your options. Stop trying to make distinctions between what sells and what you want to write. In the dark of your room, your best ideas will grow sharper and more wicked. Outside, the stars will keep spinning in the dark. Keep a sword at your side in case someone tries to rush you in the night (which is not likely). Hang up your ideas about what people want, what makes money, and how much to care about it all and go to sleep. After walking in darkness, the moon will rise for you. There’s no need to brandish it when you know you could level anyone if you wanted to. The king walks in a sideways sky and holds a sword down at his side. Are you using them rightly? Are they using you? Is mastery possible-or even desirable? As the mood of the reading, the King of Swords indicates that the way to find grace with a tool-or a weapon-is perhaps to not need to use it. There’s a sense that the underlying question really has to do with your relationship to your materials. In each one, a human figure is using a sword or a spear: for balance, for burden, for protection. The reaper is willing to wear the mask, to set the mood, and walk at the end of the parade. In some sense, every moment of life is just as inevitable as life’s end, so they could all stand in for one another. In some ways, it’s almost arbitrary to see death as the end of a cycle, rather than fruiting, flowering, or reproductive completion. I love how this card shows Death walking in flowers and rotting peaches there is constant rebirth wherever Death treads. Death to the squishy shapes, when the bones underneath are what hold us up.
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You can even sleep with one at your side if you so choose.Īnd how to stop caring? Death, of course!ĭeath to old ideas. The swords will always be there if you wake up and find that you need to defend yourself. Stop carrying the cross of others’ opinions. Leave aside all of your imagined perfect novels. Put down the tools of thought and passion entirely and allow the tools of dreaming to take over. The ideal outcome is the Four of Swords, which is an invitation to rest. The thing is, even if you don’t want to care about how people might react to an unusual book, you do care, and that’s okay.
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We have no idea how free we could feel, how light we could be. Sometimes we’ve been carrying our burdens for so long that we don’t even notice them anymore. If you worry about what people will think as you write, you’ll also be writing dozens of other imaginary books, each calibrated to a reader with a different tolerance for esotericism and general literary off-roading. Too many passions can break your back, even if each one is brilliant on its own. The problem is simply that you’re carrying too much too many ideas, too many projects, too many goals for too many people. At those times when I’ve been most depressed, I’ve also considered myself to be most logical. That’s the funny thing about logic: You can apply its machinery to things that make no sense. After all, a sword is a tool it will do what you want it to. You can just as easily use your swords to cut away the illusions that assumptions produce. But underneath these distinctions, you’ll find a number of axioms and beliefs. You’re seeking to make distinctions between what you want to write and what people will tolerate, between doing what you want to do and making money. A little bit on the chilly side, as you can see in all the Swords here. Swords represent the intellect, the kind of knowing we arrive at by dissecting, comparing, analyzing. You can’t get what you want unless you admit you want it. And that’s the problem with seeming serenity: It can camouflage a standstill. In order to hold both swords in balance, you also guard your heart. And peace-peace is good! But ultimately, not what you want. Which one should you swing? There’s a moment of perfect peace before any decision. You’re standing there in the dark of the moon holding your two swords: On the one hand, you could write something commercial and hope it makes a million smackers, and on the other, you could write an esoteric book so bizarre it makes readers scale a mountain just to turn the first page.
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