2008 - "Mythmaker"
2008
January 2, 2008
“Holt of the Elves”
- Peter leaves the Academy on the first major trip with Calliope’s Dream and returns to Robert’s Creek/Sechelt, the “elvish” realm tied to the Elphinstone Coat.
- Peter experiences strong relief in having a mobile home and frames it as new grounding in the Earth element.
- Peter stays in an RV camp and notices rabbits everywhere, reading them as a totem of passage between worlds.
- Peter continues regular misogi-style cold-water cleansing near the camp.
- Peter and North spend days walking the forests of Elphinstone, which Peter experiences as unusually pristine and nourishing.
- Peter senses the land trying to communicate deeper messages (echoing earlier “underwater forest” and other land teachings) but struggles to stay coherent.
- Peter returns to Copper Chris’s “Dreamberry Farm” and is introduced to ElfQuest, which Peter treats as an accurate cultural mirror of the people and place.
- Peter resonates strongly with ElfQuest’s concept of “recognition,” linking it to soul-bonding and to Peter’s relationship with North.
- The chapter ends by noting winter hardship in the trailer and Peter passing time with media and story-divinations.
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May 21, 2008
“The White Rabbit”
- Peter takes sanctuary in Vancouver with “pirate” allies while continuing to explore the musical instrument Whim.
- Peter feels guilt about a prior conflict and believes they compromised the integrity of the Gunslinger/Roland myth in their own story.
- To repair that, Peter performs a story-magic act: creating a “pocket world” narrative where Roland is freed from repetition.
- Peter connects their own journey to Stephen King’s multiverse imagery (the Tower, the Gunslinger, Jack, the Territories).
- Peter meets Don Schiff and reads Don’s appearance and manner as a “White Rabbit” archetype that helps initiate Peter into music.
- Peter notes that by avoiding a feared “ogre,” conflict doesn’t occur, and wonders if restraint changes the timeline into harmony.
- Peter takes the ferry and sets out toward the Valhalla mountains to reconnect with the Mythmaker.
- Along the drive, Peter feels embarrassed about earlier behavior and continues longing for love.
- The chapter closes with a character list naming Don Schiff and North.
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June 3, 2008
“Come the Mythmaker”
- In an Akashic Library frame, Peter recalls traveling in 2008 toward the Valhalla mountains to reach Hjeron O’Sidhe and the Mythmaker camp.
- Peter reads the road and place-names as signs of Norse resonance, describing travel as moving through “vibrational topography,” not just geography.
- Peter arrives with Calliope’s Dream in a meadow and feels the land as cleaner and closer to the “Green.”
- Peter describes the Mythmaker camp as a living myth: a caravan/ship of story moving across the world.
- Jagara (the Mythmaker bus) is described as the central vessel and symbol of the troupe.
- Peter observes the camp as full of distinct “avatars,” each embodying a facet of story, song, and craft.
- Peter highlights Joelique MacGregor creating a board game (“Sacred Storyteller”) that honors Story itself.
- Peter describes Hjeron as the chieftain/anchor whose earth-based leadership holds the group together.
- The chapter emphasizes Peter’s deep excitement at being among a tribe that feels like the “Free Folk” made real.
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August 3, 2008
“Faerieworlds”
- Traveling with the Mythmaker, Peter arrives at a festival called Faerieworlds and is stunned it exists at all.
- Peter compares it to a “faerie market” from The Books of Magic and treats it as a real-world convergence of fae-themed tribes.
- Road signage (“Suttle”/“Ridiculous”) is read as a playful omen: “Subtle” and “Ridiculous” describing the realm ahead.
- Peter describes the site as a distinct pocket realm with a clear boundary between mundane and faerie atmosphere.
- Peter notes Hjeron’s presence/strength in this space and includes a brief reminder note about it.
- Peter observes roadships and encampment life as part of the festival’s texture.
- Peter encounters “Clan Froud” and feels confused not to be recognized at a deeper level, prompting reflection on performance/industry layers behind public myth.
- Peter spends time photographing costumes and interpreting masks as partial reveals of deeper identity.
- Repetition in the page emphasizes Peter’s awe and the sense of empowerment people feel when embodying archetypes here.
- The chapter continues into “midnight mythos,” suggesting more events beyond the visible excerpt.
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August 10, 2008
“Nymphs and Apples”
- Peter continues traveling toward Mt. Shasta and hears from McLain about a Rainbow Gathering that McLain is attending, but without an explicit invitation.
- Despite that, Peter follows signs and ends up at the exact location anyway, treating it as synchronicity.
- Peter frames the journey as constant divination: what is photographed and noticed reflects inner and outer energies.
- Peter observes McLain’s protective, inclusive nature and briefly reads it through a “Noah” archetype of carrying seeds of the future.
- Peter witnesses a “Rainbow Wedding” and a lush riverside environment, emphasizing stone-and-water presence.
- Peter encounters a scene of nymph-like figures bathing in sunlit water with apples floating around them.
- Peter interprets the moment as archetypally mythic without being staged—an unplanned tableau that mirrors classic imagery.
- Peter reflects on the growing blur between fact and myth, and the sense of moving through an authored archetypal landscape.
- The chapter includes ongoing travel north and ends by introducing the Ashland Shire as the next named location and noting a “red dragon” sign.
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August 27, 2008
“Blackrock – The American Dream”
- Peter returns to Blackrock City in 2008, this time traveling with Evon (“Lady Ash”).
- Peter and Evon walk the perimeter of the campsite, treating it as laying down an intentional energetic “container” for their stay.
- Peter notices ash on their hand forming a heart-like mark and wonders if it signals finding love in the desert.
- The chapter shows ongoing movement across the playa (walking the dune sea) and navigating dust storms.
- Peter and Evon meet Patience Yanderling, who is seated with a guitar.
- Peter photographs Hjeron in the city, highlighting the archetype of presence and leadership through imagery.
- The chapter includes scenes of mythic costuming and performance (e.g., lightsabers, “Joust of the Djedi”).
- Peter describes the ritual climax of burning the Man.
- Peter notes “glyphs of the temple” and suggests a photographed staircase/temple detail will make more sense later when returning to the Academy.
- A character list anchors the larger cast present during this Blackrock chapter.
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September 19, 2008
“Changing of the Guard”
- After Blackrock City, Peter returns to the mountains and marks the passing of a great wolfhound who was an ally during the Academy period.
- The page frames this as a “changing of the guard,” emphasizing cyclical transition.
- Peter includes several photos of the dogs and the woodland setting.
- Peter runs through the faerie woods, remembering shared time and what the land taught.
- The chapter is brief and primarily memorial/ritual in tone, focused on loss and transition.
- A short character line at the end names North, anchoring the ongoing companion presence.
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“The Ashland Shire”
- The page contains only a title (“The Ashland Shire”) and two photos.
- The only descriptive line states this is Peter’s first time in Ashland, tied to a “sign of the Red Dragon” and “the staircase of the Gods.”
- No further events, dialogue, or scene details are provided in the body.
- The content functions as a visual/location marker rather than a complete written chapter.
- The images appear to document place or arrival context without explanatory text.
Read More“Stewarding the Myth”
- Peter introduces this chapter as an action that troubled them for years, implying a major relational rupture.
- Peter reflects on the events with hindsight, describing sadness and confusion about why they acted as they did.
- Peter insists there was no conscious intent to “steal” Hjeron’s crew or challenge leadership, yet acknowledges unconscious forces at play.
- Peter describes refusing to drive back (even though it was only a nine-hour trip) and not understanding their own obstinacy.
- Peter frames the situation as a shared “shadow of the Divine Masculine” pattern involving dominance, warriorship, and leadership models.
- Peter sees themselves not as a chieftain but as “stewarding the myth,” trying to carry the troupe forward responsibly.
- A neon “Chieftain Pub” sign appears as a divinatory mirror of the archetype Peter is entangled with.
- Peter describes a later ritual moment (“Clearing the Warrior Waters”) after discovering Hjeron’s belongings damaged in murky water.
- Peter uses neutrality practices learned at the Academy to sense the edge between self and Hjeron, visualizing Vikings, shields, and a round table.
- The chapter closes by explicitly naming the conflict theme: alpha dominance versus a round-table ideal.
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