Carlos Castaneda's "Instruction in Self-Discovery: An Example" (from Jacob Needleman's Religion for a New Generation) reads like a cross between
Hunter S. Thompson's Fear and Loathing in Las Vegas
and any master/apprentice story. Taken at face value, it's the simple tale of a neonate magus desperate for knowledge. Castaneda is
eager to work with the sorcerer don Juan, but at the same time, frustrated by the seemingly impossible and pointless tasks he is
given.
He finds further confusion after going on a peyote bender. He is told he has actually parleyed with Mescalito, and
that Mescalito has, in an unprecedented event, played with him.
As with most stories, "Instruction in Self-Discovery" exists on multiple levels. At face value, it's a pretty pointless tale,
albeit comical in a trainwrecky sort of way when it comes to the rolling around on the floor and the piss fight between Castaneda and
the dog.
But the title of the piece makes it apparent the story cannot be taken at face value. There's more to it. After all, on a
cursory reading, Castaneda doesn't appear to have achieved any sort of self-discovery, unless it's in the simple fact that he is
strongly affected by peyote. The tale must therefore be an allegory.
Don Juan tells Castaneda to find a spot where he can feel "happy and strong" (Castaneda 487). Even if don Juan is
apocryphal, it does not change the subtext of the story. It's the journey which is important in this tale--not the existence of a
master. The "spot" Castaneda must find may be less of a physical place on a porch floor than a place within Castaneda's own mind
where he is at his best. It can be described as the centre of his true nature and demeanor.
Colour is also important in the story. Castaneda sees aura-like colours while searching for his spot. Whether or not these
colours are literal or figurative is indeterminable. I'm sure an analysis of colours in relation to the writings of Castaneda
exists, but the information within the scope of this story is insufficient for me to make any informed conjectures.
I also note the recurrence of urine in Castaneda's story. When he writes of don Juan's two trips to the chaparral, I was at first
compelled to shrug it off as descriptive writing: colourful, but essentially meaningless. However, since the end of the story is
also marked by a similar event, it appears the act of urination is symbolic. A toilet is also mentioned halfway through the story,
but Castaneda doesn't say if he used it or not. Perhaps the exchange of urine between Castaneda and the dog as Mescalito implies
something similar to blood brotherhood. Castaneda will always have something of the peyote in his psyche, and Mescalito will always
have something of Castanedo in his. They have melded together into one reeking, surreal entity.
Liquid in general is an important part of the story. Whether it's piss, vomit, water, saliva, or tequila, it seems vital.
Perhaps it symbolizes the fluid nature of existence. When the canine embodiment of Mescalito drinks water, it passes through the dog
throat, into his body, and shoots out through each hair. Soon after, Castaneda believes he is passing through a tunnel. Maybe this
means he is part of the water, and as the peyote goes through his system, he in turn is passing through Mescalito's.
The final paragraph of the story is one of the only parts which I believe can be taken at face value. According to
don Juan, "...fears are natural; ... all of us experience them and there is nothing we can do about it. But on the other hand, no
matter how frightening learning is, it is more terrible to think of a man without an ally, or without knowledge."
It is therefore a person's responsibility to him or herself to gain knowledge and comprehension.