Flex Mentallo

A couple of new ones

Stunning!

A couple of recent pick ups

Allan Anderson - my favorite mermaid cover

Great cover, previously unknown to me.

I like this Doolin cover

This Biro cover always tickles me.

Nice but I've always preferred 71. 65,66,71,72 - and Man O'Mars. Very hard to separate. Adam - could you post your little group of Spokanes here and I'll add my #65?

WOW... what a great cover... that one should go on the Best Covers thread for sure thanks, sir. that guy at bottom right was stolen from a pioneer cover, and i'm gonna try to find that one, as well, for kicks. What a nice copy of what seems to be rapidly becoming a key book. Who is the artist Billy? It's not Powell is it?

It's just about my favorite cover.

Nice but I've always preferred 71. 65,66,71,72 - and Man O'Mars. Very hard to separate. Adam - could you post your little group of Spokanes here and I'll add my #65?

Favorite Quinlan cover by a mile. Though I'm also very fond of this one.

There is something macabre about these Matt Fox Chilling tales covers that sets them apart.I think this is the best of them.

So many great Frazetta covers but this one has always stood out for me.

Far and away my favorite LB Cole cover.

It's impossible to decide which is the best Whitman cover, but in the end I'd have to go with this, by a hair.

The Red One: "I greet you, man on the high tower. I saw you from afar, looking and waiting. Your waiting has called me." T. R.: "Don't you recognize me, brother, I am joy!" I: "Could you be joy? I see you as through a cloud. Your image fades. Let me take your hand, beloved, who are you, who are you?" Joy? Was he joy?

"The door of the Mysterium has closed behind me. I feel that my will is paralyzed and that the spirit of the depths possesses me. I know nothing about a way. I can therefore neither want this nor that, since nothing indicates to me whether I want this or that. I wait, without knowing what I'm waiting for. But already in the following night I felt that I had reached a solid point. "I find that I am standing on the highest tower of a castle. The air tells me so: I am far back in time. My gaze wanders widely over solitary countryside, a combination of fields and forests. I am wearing a green garment. A horn hangs from my shoulder. I am the tower guard. I look out into the distance. I see a red point out there. It comes nearer on a winding road, disappearing for a while in forests and reappearing again: it is a horseman in a red coat, the red horseman. He is coming to my castle: he is already riding through the gate. I hear steps on the stairway, the steps creak, he knocks: a strange fear comes over me: there stands the red one, his long shape wholly shrouded in red, even his hair is red. I think: in the end he will turn out to be the devil." The Red Book

"I have heard what the prophets said, that prophesy lies in my name, saying, I have dreamed, I have dreamed. How long shall this be in the heart of the prophets that prophesy lies? Yea, they are prophets of the deceit of their own heart; Which think to cause my people to forget my name by their dreams which they tell every man to his neighbour, as their fathers have forgotten my name for Baal. The prophet that hath a dream, let him tell a dream; and he that hath my word, let him speak my word faithfully. What is the chaff to the wheat? saith the Lord." Jeremiah 23: 25—28

"The Red Book's compensatory message, however, is that while the pursuit of rational, scientific psychology is important and justified, it risks leaving out other of psyche's voices that must be heard. This point, made discursively in Psychological Types, is made narratively, artistically, and experientially in The Red Book. Jung's idea is that our quest to attain a full perspective on the psyche or soul must be initiated from positions that are not only rational and scientific, but also experiential, intuitive, and imaginative, and, in short, inclusive of the whole man. A psychologist, one might be inclined to say, must not only pursue psychological knowledge, but must also be open to the lived experience, imaginative possibilities, and artistic and spiritual pursuits that complement and give live to that knowledge. This not only means that psychology should reopen its boundaries to other disciplines, including those that are artistic and literary, but that it should also consider the possibility that things of great significance can be better or only expressed in modalities such as music, art, and literature that are neither scientific nor rational in the narrow sense of the term. Jung's use of mandalas and other paintings as a vehicle for achieving and expressing "wholeness" is a case in point." Sanford L Drob

"...Jung often spoke of dreams as compensating for a one-sided conscious standpoint... What conscious attitude on the part of psychology does The Red Book challenge or serve as a compensation for? To answer this question, we need to think in rather broad historical manner about the developments in psychology since Jung's death in 1961. In the past 50 years psychology has become increasingly scientized, far more so than in Jung's own time, and the practice of both psychiatric and psychotherapeutic treatment has become increasingly medicalized ... What Jung, in the Red Book, referred to as the "spirit of this time" (the scientific, hyper-rational mode of thinking) is, within the discipline of psychology, gaining a stranglehold on the academy and profession." Sanford L Drob

Dark matter. Dark matters. For light cannot exist without it.

The absence of comprehension is not the absence of meaning. If anything, the presence of comprehension is a barrier to the apprehension of life's mysteries.

Perhaps no-one could have been better prepared or equipped to address the meaning and symbolism of UFO's because to Jung, life is a mystery, and that which is unconscious and immeasurable is as essential as that which is conscious and measurable.

The Red Book is Jung's voyage of discovery into his deepest self.