Barbara Guerrero AKA Pachita was a fairly well known con artist. Both Mexican director Jodorowsky and no less than fraud Carlos Castaneda attested to her.
https://translate.google.com/translate?hl=en&sl=es&u=http://www.cicloliterario.com/ciclo71abril2008/elcuchillo.html&prev=searcht is interesting to note that Pachita always acted together; It seems that the bodies of the helpers were necessary for the action of the "Spirit". His hands placed on the wounds or his intertwined arms and Pachita himself had the function of serving as a channel to other invisible hands that, however, Jacobo Grinberg said he had never seen. Other witnesses describe them, such as Memo, son of Pachita and who would inherit the "gift" of the mother (although, according to Jodorowsky, the one who continued to operate was another of his sons, Enrique) and Dona Candelaria, an old woman Which served as an operator in the operating room.
It is surprising the text that was given to Maurice Cocagnac by Pachita a few days after she died (the doctor who attended her - Jodorowsky says) could not immediately sign the death certificate because the chest of the corpse was hot. Only then could she be declared dead) in a state of trance that he calls
"Sleep of the awake" (Henri Michaux had spoken of this state in its book Modes of the asleep, ways of which it awakens) and where it is seen in action the concept of the lattice or hipercampo, created by Grinberg...
Carlos Castaneda also attended a session of operations of Pachita and is referred, incredulous, to Don Juan (The silent knowledge, Emece, 1987) who explains to him : "The art and the power of that woman consisted in erasing the doubts of the Gifts. In doing so, she could allow the spirit to move its lace points. Once those points were in a new position, anything was possible. In order to create an environment suitable for the intervention of the spirit, I had no compassion. "
The art of healing and writing are shown in the works of Grinberg, Jodorowsky, Cocagnac and Castaneda as simultaneous knowledge. These authors cross the border of the artistic and the scientific to enter into the "materializing power of language". The center is the literary, but the word developments touch the totality that allows the "consciousness of unity."
Love and terror
Jodorowsky's version confirms Pachita's relationship with Los Pinos (which would cost Grinberg to leave Pachita's group at the end of his book, for Margarita Lopez Portillo asked her not to say that she had met the shaman there): " Having heard so much about her, the wife of the President of the Republic (José López Portillo) invited her to a night reception in the courtyard of the Government Palace. There were numerous cages with various varieties of birds. When Pachita arrived, those hundreds of birds awoke and began to tread as if they saluted at dawn. " This situation between the healer and the birds is also recorded by Grinberg.
In narrating his encounter with Pachita, Jodorowsky describes how he is introduced to a room in penumbra. Several bodies wrapped in bloody sheets lay on the floor. Comfortably seated in an armchair was the old witch, wiping the blood from her hands. She was small, fat, with a long curved forehead and one eye lower than the other, like fallen, veiled by a white membrane. She accepts the visitor affectionately, he asks her to see his hands. Is surprised. The palm of that hand had the softness and purity of a fifteen-year-old virgin. And then there is an event of materialization. Between the base of his middle and ring fingers shone a metallic object, very small. It was a triangle inside which there was an eye (the symbol that Jodorowsky would use in the film The Mole ). He asks him to let him observe his operations and she quotes him for a later session. When he arrives, a few days later, Pachita makes him read a poem. Suddenly, the one who looked like a tired old woman, shouts, raises her right arm and begins to speak in a man's voice: Dear brothers, I thank the Father for allowing me to be with you again! Bring me the first sick man! Jodorowsky is witness of incredible things. To see that woman, possessed, wielding her great knife and plunging it into the flesh of the patients, giving rise to streams of blood, was astonishing. In the operating room there was only a narrow cot provided with a mattress lined with plastic. The patient had to bring a sheet, a liter of alcohol, a cotton packet and six rolls of bandages. Covering the bed with his sheet, the sick lay down. An attendant, ceremoniously, passed a long mountain knife to the healer. The hilt was covered and covered with a black tape to isolate and the blunt blade had an Indian plume engraved. Jodorowsky recounts a bladder operation: the old woman heard the inside of her belly, raised her hand, made a gesture, and scissors appeared. He cut something that produced an unbearable stench. Then he pulled out a nauseating mass of flesh that Enrique (his son) wrapped in black paper. Then he extracted the new bladder from a bottle. He placed it next to the wound and was absorbed, without anyone pushing it, into the body. He placed the cotton soaked in alcohol on the edge. He pressed them for a moment, wiped the blood and the wound, without leaving a scar, disappeared.
Jodorowsky heard her say, "I know who will die here and when. I know how many days everyone has come to visit me "or" Do not worry about the drought. I'll rain tomorrow. " "I just give a push and leave my body. Sometimes I go to visit places: Siberia, Mount White, Mars, the Moon, Jupiter ". "When I fall into trance, I live in the astral. If someone breaks my body, the Brother rebuilds it "(Brother was the spiritual entity that occupied the body of Pachita when it entered in trance).
Like Grinberg, who doubts what he is seeing, Pachita forces Jodorowsky to get his hand into the wound of an operative. If it was a transfusion, because the patient was bleeding, the Brother put the end of a plastic tube in his own mouth and the other end into a hole in the arm and began to spit liters of red liquid. And as Grinberg had happened to him, the director of cinema returns to its house at twelve at night, hallucinated, covered with blood. But unlike this, Jodorowsky is not only witness and helper in these extraordinary practices, but also subject of an intervention.
On one occasion Jodorowsky was accompanied by a beautiful woman in a restaurant on Avenida Insurgentes, when a man who called himself Carlos Castaneda approached him, to be his admirer and willingly want to talk to him. This encounter is referred to by Jodorowsky in the same book in which he writes about Pachita ( The Dance of Reality ) and in some interviews. It is a delightful story because it is about who it is. The fact is that they are mentioned in the hotel of Castaneda and they are talking about the possibility of a collaboration to film a movie with real sorcerers, when suddenly Castaneda is attacked by a pain of stomach and fulminant diarrhea. They hurry off. From that day, Jodorowsky suffers an intense pain in the liver. Since he already operated with Pachita, he declared his illness. When she rubbed her belly with an egg, as she did with her patients, the saint informed her: "Dear child of the soul, here is a tumor. I'm going to operate to rip you out. " He sees him pale and laughing, he says the same thing he said to Grinberg: "I have been operating for more than 70 years, thousands of people have been opened by the Brother's knife. If there had been a mishap to one of the patients, he would have been in jail for some time. "
With an irresistible curiosity, Jodorowsky decides to surrender to the experience to know what it feels to operate in such rare circumstances. He takes off his shirt. A pair of scissors appears in the healer's hand. "He made a roll with my skin and cut it. I heard the sound of the two steel sheets. The horror began. This was not theater. I felt the pain of a person who cuts the meat with scissors! I ran the blood and I thought I was dying. Then he stabbed me in the belly and I felt I opened it, leaving my guts in the air. Frightening! I've never felt so bad. For a few minutes that seemed eternal, I suffered terribly and I remained white. Pachita gave me a transfusion. As I spit its strange red liquid through the plastic tube that had embedded in my wrist, I felt little by little that I invaded a pleasant heat. Then he lifted my bleeding liver and began pulling on an excrescence he had. 'Let's root it out,' said the Brother. And I suffered, apart from the smell of blood and the horrible sight of the garnet viscera, the greatest pain I had felt in my life. I shrieked without shame. He gave the last pull. He showed me a piece of material that seemed to move like a toad, wrapped it in black paper, put my liver in place, ran my hands down my belly and closed the wound, and then the pain disappeared. They bandaged me, wrapped me in the sheet, took me to the living room and lay me down among the other surgeries. I stood there for half an hour, happy to be alive. Pachita, wiping her blood, knelt beside me, took my hands and asked me what she called me. Then he held me in his arms and I surrendered to them with a thirst for a mother. The more I ordered, the more I gave. I wanted an infinite love, I had an infinite love. Yes, Pachita knew the human soul and knew how to use a therapy that blended love and terror very well. "
When Pachita died the "gift" passed to his son Enrique, who traveled to France to operate and there again found Jodorowsky, taking his daughter as a patient. He then notes that operations have declined in cruelty. An assistant is made aware of this, and the latter responds that from incarnation in incarnation the Brother was progressing, and that he had lately learned not to make patients suffer.
The testimony of Father Maurice Cocagnac as an assistant to Pachita illuminates from a different perspective what happened in that exclusive, and largely anonymous, circle that the saint called. Unlike Jacobo Grinberg, who combines in his book on Pachita the vivid description of operations, his own introspection-for he, on the other hand, begins an internal dialogue with the Brother-and his synergistic theory; And of Alejadro Jodorowsky, who is mainly concerned with the "technique" that he would later apply in his own practice (to psychomagia, psycho-mechanism and psychogenealogy - the inictic massage would create him influenced by another shaman: Doña Magdalena), Cocagnac accentuates The spiritual nature of the disease before Pachita. Truly written in a state of "increased consciousness," his book includes a revealing fragment that makes us think of lattice theories and superstrings, the latter commented on by Miguel Paz (
http://homepage.mac.com/penagoscoscorzo/ Tests5.html) in his comparative article between this theory of modern physics (created by Michio Kaku) and the Grinberg Sinteria. If we read the fragment of Cocagnac in the light of these ideas, we can imagine that they refer to the same thing. It should be remembered that for Grinberg we (ie our brain, and here we can also write "the soul") "interact with an informational matrix or informational field that encompasses and encompasses it and contains to each of its portions all the information . It is a holographic type matrix. At this level of quality of experience there are no objects separate from each other, but rather an extraordinary information field of enormous complexity. "
In superstring theory, says Paz, the material structure of space-time is a web or warp of infinitely thin, unidimensional strings, which, depending on their phase, can be perceived as particles. Why are there so many of them? Asks Michio Kaku. In superstring theory, a string has a size of 10 to 20 (10 raised to 20) times smaller than that of a proton (absolutely invisible to the human eye). Peace report that for this theory a subatomic particle is only a mode of the string vibration. Each particle thus corresponds to a different resonance. No particle is fundamental in itself. An electron is not more fundamental than a neutrino ... it is when we have the means to see its ultimate structure. According to this theory, if we could supermagnify any particle, we would finally see a small vibrating string (a vibration that - incidentally - could only take place in 10-dimensional universes). In fact, according to this theory, matter is nothing other than the harmonies created by these vibrating strings.
Grinberg quotes Pachita: "A set of spiritual vibrations gather around me to diagnose." And he reflects: "When Pachita operates, she, the Brother and the sick, form a unity. Actually Pachita operates herself when she grafts a kidney, she crosses herself when she uses her mountain knife. " And Dona Candelaria, perhaps the oldest assistant of Pachita, makes this observation to Grinberg when it moves in a certain way inside the champaign's operating room: "You are altering energy. You pull the 'chords' and you should not do it. "
Now we will summarize what, already dead, Pachita (in dreams) told the friar Cocagnac: "The soul needs a ligament. It is a set of independent fibers. Too independent. The fibers of the soul can be defibrated, like those of wood, like a sheaf when the rope is cut. Each fiber stretches by its side. And each fiber stretches forces that surpass us. (..) The soul is an interlaced construction (..). Sometimes you have to turn off the soul when the fibers overlap, become injured, stretch each one by its side. These fibers need to be spread out, redistributed and ordered to interweave them again. The ligament of the soul does not detract from its freedom. The ligament is the freedom of the soul. You can not speak of the soul if there is no ligament. The fibers of the soul and body are of the same nature (...). In man there are fibers that hold everything. At first they are very fragile. Over time they become more resilient than sisal. The real doctor's job is to strengthen the fibers of the ligament. There are plants that have the spirit of the ligament. (...) Do not stretch too much of the ligament. Or it breaks, and the soul defibrates, or the ligament strangles the soul. The ligament must support, maintain, and flexibly. It is not easy and can be dangerous. The fibers of the soul are the fibers of the body that have become luminous. Joints are bright. Separated or too tight, they become black and rot. Sometimes you have to loosen up and sometimes you have to squeeze, that's health. It is to die by keeping the luminous fibers tightly. (...) The true physician helps the man to develop. "
One more thing: the torn flesh, the wounds opened by Pachita's knife, are cold, not hot. This is proved by Jodorowsky when the saint forces him to play. A member of the group of operations (Guillermo Leuder, who led Jodorowsky to Pachita, as well as to Maurice Cocagnac) tells him: it is because the Brother does those works in an astral dimension, different from ours. And Pachita explains, in turn: "When I fall into a trance alive in the astral, if someone breaks my body, the Brother rebuilds it".
Unlike Grinberg and Jodorowsky, who relate very bloody scenes, Cocagnac does not describe the nature of his vision although he acknowledges that "all the attendees see the same thing." It is interesting to note how the experience with Pachita arouses (although everyone sees the same) different reactions and reflections. Grinberg is the scientist who can speculate according to his concepts in the very act of healing: "I put a lot of attention in the cut and I noticed (...) that it seemed not to exert any pressure or to make considerable effort and that it was enough with the contact Subtle metal of the blade of the knife on the skin, so that it opened (..) That knife is not really what it looks, even it would not even need to be used ". In the process of these experiences Grinberg thinks: "We are one and our body has no limits. In contemporary physics a particle apparently separate from others is actually the intensification of a frequency range of the same and unique Quantum Field. The same thing happens with the conscience. Each consciousness comes from a global consciousness and unifying the whole. Each being is on the road to unity with the whole and undergoes different experiences to arrive. The frequency of the Neural Field increases with evolution. At a certain stage, the field is confused and becomes indistinguishable from the structure of space. One becomes one with the latter and thus the individual consciousness is established in an intimate contact with the absolute and undifferentiated. " With Pachita, Grinberg discovers that "space is organized and that one of the bases of contact is to reproduce such an organization in the nervous system."
Jodorowsky is the artist who recognizes the action of Pachita as sacred art or therapy (he does not emphasize his bond with the Brother and does not attribute his healing capacity to an external entity). "I saw her open a head, get cancerous brain and put new brain tissue there. That optical and tactile illusion, if illusion was, was accompanied by olfactory effects, the smell of blood, the stench of cancers and damage ... and of auditory effects: the watery noise of the viscera, or the resonance of bones cut by A saw of carpenter. (...) If they were traps, they were sacred traps. "
Cocagnac is the mystic: "I see open sores that refer me to my secret wounds, I touch deteriorated tissues that remind me that the soul can also have ecchymosis." The knife of Pachita, "plans not to cut the skin, but to cut the stalk that transmits the anguish to the heart". Cocagnac enters the symbolic roots of the act: "I look in the trembling clarity of the room the knife of Pachita that becomes a ritual sword, not a caricature of a scalpel. Its symbolic edge penetrates the joints of the soul and separates the self filled with fear that is kept beyond the reach of terror. "
That would be the function of the act lived in Jodorowsky's own flesh, to separate. The knife breaks the "point of union" of which Cocagnac speaks, or the "point of lace", referred to by Don Juan, or unifies the "neuronal field" with the lattice or hyperfield, mentioned by Grinberg.
All attendees see the same thing, says Cocagnac, but he will not tell what they see, because "one wonders if it is a collective hallucination. It could be if it is understood by that expression more than a rambling or extravagance. In fact, it is rather a different way of perceiving sickness and death, otherwise receiving its own fragility and the precursory signs of its own disappearance. " The French priest, within the group that surrounds Pachita, feels "trapped in a force field that overflows me and I do not miss the coincidence of the vision." Pachita's knife is "the weapon that can kill death" How? Why? How do you operate to achieve it? Cocagnac explains that Pachita causes a psychological regression of the patient to infancy ("What do you want, boy?" "Dear child of the soul" "How are you my affectionate?" "My child", etc.), and although his voice is masculine In the voice of the Brother, does not cease to be at all times the mother, who with the only directionality of her voice towards the subject, detaches from her his ego, his belief that he is irreplaceable, his obtuse concern for himself. As soon as he enters that room in darkness, the patient begins to tremble, terror is a beginning of this cure. "When man does not cease to sympathize with his fate, he becomes obtuse and sometimes dangerously idiotic, whatever his IQ. The arrow of the spirit loses its edge and feathers, it can no longer fly beyond self-preoccupation, "then the knife changes the obtuse" point of union "by its acute supplement," separates self filled with fear of Which remains beyond the reach of terror. "
Cocagnac states that the body has internal consciousness. "Pachita believed that the human body has a conscience of its own, knows things that the conscience expressed in language has difficulty understanding." The Dominican friar submerges himself next to the saint, always in a state of prayer: "On the fringes of the wave of fear I feel submerged, with Robert (the patient who accompanies), in a bath of pure friendship. A prayer that asks for nothing. I have opened my eyes to something else, not to another world or to a ghostly past, but to this world here, liberated from fear, from the anguish that overpowers it, paralyzes it and gives it without defense to the whims of fate. I better understand the expression servile fear : Mr. Fear holds the end of the chain, where the condemned are trapped to live under his empire. In some cases the disease is an escape, an attempt to escape from the galley of fear. "Or, as Jodorowsky says:" Illnesses from a certain point of view are dreams, messages that denounce unresolved problems. "
Shamanic medicine - Cocagnac tells us - acts on the signs of the body, which are the symptoms, the manifestation of an organic disorder but also a factor of disorder. The French state that "the ritual of magically erasing the signs of disease can deprive the symptom of its power of distress, which is a negative factor. The shamanic cure is not a play of hands, establishes a kind of transference on the healer and reduces the resistances, beginning with those that are expressed with language. In fact, the patient hardly asks and joins in a silence that becomes abandonment, trust, availability. In that silence, the healer can see his sick and see his illness, that is, perceive his patient as a whole, and illness as fragile or rupturing points of his organic ligament. (...) Pachita, through suggestion, captured his patients to take them to their infancy, when the body of the in-fans expressed themselves without being imprisoned in a learned speech. "
Jacobo Grinberg, however, unlike Jodorowsky and Cocagnac, can clearly distinguish Pachita from the entity that owns it: "I realized that I no longer confused Pachita with the Brother and that I saw them as two personalities separated one from other". The integration of Jacobo in the operations team allows him to interview other protagonists of the events. Candelaria says: "I see that there are other hands around his hands (of Pachita and the helpers). The truth is that I only see the body of the patient without clothes and hands. I hardly see his hands, or Pachita's. Those other hands shine brighter and always scare me. That's why you see that I do not approach. Yes, they use instruments. Cut and saturate and stop the blood and are very fast. The truth is that your hands are occupied by those shiny hands and I know that when you move a finger, they are the ones that do it but you do not realize it. " And Armando, assistant, refers: "The operative work does not end with the operation. Beings continue to work the grafts, ligating ducts, giving energy and restoring and fortifying cells. " And a patient who is interviewed by Grinberg: "I saw lots of hands. I felt them very clearly inside my body. They were 10 or 20 or 40 hands that quickly touched my kidneys and bladder. Some had fingernails and scratched me, but they all worked and did not get in the way. "
With Pachita, Jodorowsky realizes that "in the magical world, not only did faith play an essential role but also obedience." Cocagnac points out something about this disturbing issue, since the signs or symptoms "are not merely significant elements, but may also constitute one of the factors of evil. (...) The person who fears to have cancer can interpret some benign disorders as signs of existence Of that evil. That mistake can influence your body, alter your defensive system and become a morbid factor. Says Pachita (quoted by Grinberg) to a patient who returns nevertheless has already been operated: "My loving little woman, her cancer is cured and you have not understood it. When you think you are wrong, your body becomes sick. " And Grinberg completes: "Pain is the transformation of the conscious experience of what is previously a management of neuronal logic through hypercomplex circuits."
Cocagnac accompanied two sick people from France, says Jodorowsky (did not agree with him in his stay, but he learned of the case and after his book). To both patients, before they returned to their country, Pachita told them: "Dear children, they are already cured. Stop taking medicines and do not see a doctor for six months. "One, he just returned to Paris," gathered a medical board. The results were lapidary: the cancer was still there. The man died a month later. In contrast, the other operator stopped taking pills and did not see doctors for six months. When they examined him, they remained open-mouthed: the heart was healthy, functioning like a young boy's. " Jodorowsky writes that "even if he did not believe in the power of the witch, it was convenient to give him every possibility of acting in accordance with his instructions. Later I applied this to Psychomagia. A psychomagic act must be performed to the letter, as a contract. The consultant agrees to obey. If he does not do it or if he transforms the indications, out of prejudice, fear or comfort, the unconscious realizes that he can disobey and the healing does not take place. "
Several times the Brother, through Pachita's mouth, insists Grinberg: " Look, we never made sacrifices, we did what you saw (.) That was for learning. It's not true that we did it out of cruelty, we were investigating. "
....The existence of Pachita is a medical, mystical, cultural phenomenon, but essentially it is an energetic manifesto. The mass of people who passed through their hands had an impact still unsuspected in the popular psyche (what's more, comic strips like Hermelinda Linda are perhaps no stranger to their activity). The legacy of therapies such as those propagated by Jodorowsky have Pachita at its base. Physical theories like the one created by James Grinberg are based on the proven actions of the shaman; Mexicanidad subculture permeating a wide range of expressions, in the name of Pachita an argument of its significance and even the finest, such as the dominico Cocagnac, theological thought accept the purity of their spirituality. Door editions of the work of Jacobo Grinberg, will be an event to renew his enigmatic message, located in the root and the surface of Mexican culture.
