Michael Ende's The Neverending Story

luc

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After being intrigued by "Momo" of the same author, I'm currently reading The Neverending Story - has anybody read it / what are your thoughts?

I must say I'm again so impressed by the deep wisdoms conveyed in the novel - a LOT of connections to the Work and the material discussed here, so I can highly recommend it. For me it is very help- and insightful absorbing ideas that I learned about here in a more "fantastic" or emotional way.

Just to mention one thing that stood out for me: I felt the journey of the hero in the book might refer to what it's like in a 4D or in a parallel 3D universe where thoughts and matter are not perceived as separated. And one insight that struck me was that no matter the world we face, no matter which density/realm, there are always difficult lessons to learn - they are just different! So there is no point to feel self-pitty, as indeed all there is is lessons, and our hero's journey is here and now! I know this sounds obvious to many people here, but this book really brought home this point for me in a way not possible with descriptive/abstract texts.

And there's so much more in it.

I really wonder if Ende's work is somehow 6D-inspired...
 
Never having read the book myself, but I am more inclined to do so now. However, I have seen the 1984 film of the same name. The book may be different from the film in some aspects.

The Neverending Story is apparently going to be added to the list as discussed in the thread, "Disney movies - mothers missing?," since Bastian Bux's mother died before the story begins.
 
Zadius Sky said:
However, I have seen the 1984 film of the same name. The book may be different from the film in some aspects.

I saw the movie when I was a child but don't remember much. But I heard that it is very different from the novel and also covers only the first part of the book. I'm sure you won't find much of the deep stuff in there.
 
Zadius Sky said:
The Neverending Story is apparently going to be added to the list as discussed in the thread, "Disney movies - mothers missing?," since Bastian Bux's mother died before the story begins.

Never thought about that, interesting indeed - this post from the thread you referred to seems spot on:

Daenerys said:
Maybe this is the archetype of the hero because the divine feminine is missing, and it is this archetype that makes the hero by him finding it.
 
luc said:
Zadius Sky said:
However, I have seen the 1984 film of the same name. The book may be different from the film in some aspects.

I saw the movie when I was a child but don't remember much. But I heard that it is very different from the novel and also covers only the first part of the book. I'm sure you won't find much of the deep stuff in there.

In the wiki of the film of the same name: _http://en.wikipedia.org/wiki/The_NeverEnding_Story_%28film%29

Here we have:

This film adaptation only covered the first half of the book. The majority of the movie was filmed in Germany, except for Barret Oliver's scenes, which were shot in Vancouver, BC, Canada. It was Germany's highest budgeted film of the time. The novel's author, Michael Ende, felt that this adaptation's content deviated so far from his book that he requested they either halt production or change the name; when they did neither, he sued them and subsequently lost the case.

It appears that the film was "so far from the book."

It's interesting how I would watch the film, never the book, so I would see about the book. I have heard from other people over the years that if there is a book, they would wait until the film about the book comes out, so they would never have to read the book.
 
The film is not bad, regarding what kind of films they made nowadays, but the book is wonderful and "a must read". I read it twice, the second time was some 20 years ago. Maybe I can read it again :)
 
I have seen the film twice, but never read the book. It's next in line in my audiobook queue now -- thanks!
 
I've never read the book, either. But I've seen parts of the movie a few times a long time ago and found it interesting. Now I'm curious how much of the book never made it into the movie.
 
SeekinTruth said:
I've never read the book, either. But I've seen parts of the movie a few times a long time ago and found it interesting. Now I'm curious how much of the book never made it into the movie.

And I also love "Momo" - it seems to be available again in English since a few weeks:

http://www.amazon.de/Momo-Puffin-Books-Ende-Michael/dp/0140317538/ref=sr_1_1?s=books-intl-de&ie=UTF8&qid=1336582435&sr=1-1

See also this thread:

http://cassiopaea.org/forum/index.php/topic,5315.msg35446.html#msg35446
 
Michael Ende is my all time favorite author , Jim Knopf and Lukas der Lokomotive fuhrer was the first book I owned and its sequel Jim Knopf und die wilde 13 as well ,I read Neverending Story when it first came out...in hardcover...red with the snake symbol...and in two color print spooky
like the reader is part of the book
 
I finally got a chance to read this book this past week, and I have to say, it's an fascinating novel. I can most certainly tell major differences between the book and the movie version(s). I can surely recommend this book.

There are basically two journeys: Bastian's reading Atreyu's journey by reading a book and Bastian's own journey inside the said book. There are a lot of themes in this book that can be grasped by adults, so this book is not just for children (it meant to bring out the child in us).

I'd like to share my observations from this book (and it'll contain spoilers):

It was interesting to see that Atreyu's journey was really about bring Bastian into the story. It sort of a sense of dissociation - escaping into the story (or meeting of two selves) - and then Bastian became completely involved in the story and saved the Fantastica by giving the Childless Empress a name, which starts a new cycle of life in Fantastica. When Bastian became involved in the story, he was wearing the AURYN (medallion) that would grant him many wishes but down the road, it became clear that more wishes he wanted, the more memories he loses. And, he would lose his "self." Atreyu and Falkor are the ones who see the problem with the continuous wishing. The more Bastian wishful thinking, the less real he becomes. And, Atreyu had led a rebellion to go against Bastian and take the medallion away from him. In the end, Bastian lost all senses of who he was but with Atreyu's help, he was able to "go back home."

It appears that Bastian and Atreyu are different aspects of each other (since they saw each other in the Magic Mirror). Atreyu never stray from his goal and knew the dangers while Bastian was continuing to wishful think, wanting to be an "Emperor," and his wishes led to his downfall. Bastian's actions were surely STS and in the world where his wishes were become so true and real to him.

That reminds me of what the Cs said:

941022 said:
Q: (L) How can you be so sure it will fail?
A: Because we see it. We are able to see all, not just what we want to see. Their failing is that they see only what they want to see. In other words, it's the highest manifestation possible of that which you would refer to as wishful thinking. And, wishful thinking represented on the fourth level of density becomes reality for that level. You know how you wishfully think? Well, it isn't quite reality for you because you are on the third level, but if you are on the fourth level and you were to perform the same function, it would indeed be your awareness of reality. Therefore they cannot see what we can see since we serve others as opposed to self, and since we are on sixth level, we can see all that is at all points as is, not as we would want it to be.

There are bits of excerpts from the books that were of interest, at least to me.

Atreyu's conversation with Gmork the Werewolf:

page 151 - 153 said:
"All of us?" asked Atreyu in horror.

"No," said Gmork, "There are many kinds of delusion. According to what you are here, ugly or beautiful, stupid or clever, you will become ugly or beautiful, stupid or clever lies."

"What about me?" Atreyu asked. "What will I be?"

Gmork grinned.

"I won't tell you that. You'll see. Or rather, you won't see, because you won't be yourself anymore."

Atreyu stared at the werewolf with wide-open eyes.

Gmork went on:

"That's why humans hate Fantastica and everything comes from here. They want to destroy it. And they don't realize that by trying to destroy it they multiply the lies that keep flooding the human world. For these lies are nothing other than creatures of Fantastica who have ceased to be themselves and survive only as living corpses, poisoning the souls of men with their fetid smell. But humans don't know it. Isn't that a good joke?"

"And there's no one left in the human world," Atreyu asked in a whisper, "who doesn't hate and fear us?"

"I know of none," said Gmork. "And it's not surprising, because you yourselves, once you're there, can't help working to make humans believe that Fantastica doesn't exist."

"Doesn't exist?" the bewildered Atreyu repeated.

"That's right, sonny," said Gmork. "In fact, that's the heart of the matter. Don't you see? If humans believe Fantastica doesn't exist, they won't get idea of visiting your country. And as long as they don't know you creatures of Fantastica as you really are, the Manipulators do what they like with them."

"What can they do?"

"Whatever they please. When it comes to controlling human beings there is no better instrument than lies. Because, you see, humans live by beliefs. And beliefs can be manipulated. The power to manipulate beliefs is the only thing that counts. That's why I sided with the powerful and served them - because I wanted to share their power."

"I want no part in it!" Atreyu cried out.

"Take it easy, you little fool," the werewolf growled. "When your turn comes to jump into the Nothing, you too will be a nameless servant of power, with no will of your own. Who knows what use they will make of you? Maybe you'll help them persuade people to buy things they don't need, or hate things they know nothing about, or hold beliefs that make them easy to handle, or doubt the truths that might save them. Yes, you little Fantastican, big things will be done in the human world with your help, wars started, empires founded..."

For a time Gmork peered at the boy out of half-closed eyes. Then he added: "The human world is full of weak-minded people, who think they're as clever as can be and are convinced that it's terribly important to persuade even the children that Fantastica doesn't exist. Maybe they will be able to make good use of you."

Atreyu stood there with bowed head.

Now he knew why humans had stopped coming to Fantastican and why none would come to give the Childlike Empress new names. The more of Fantastica that was destroyed, the more lies flooded the human world, and the more unlikely it became that a child of man should come to Fantastica. It was a vicious circle from which there was no escape. Now Atreyu knew it.

The above as bolded made me think, on some level, of the same energy being expressed through either one of two ways: creativity or non-creativity.

And, Bastian's journey after his visit to the City of the Old Emperors:

page 388 - 391 said:
The town was not very large, and Bastian had soon come to the edge of it. There he saw hundreds of ships of every size and shape. The town was a seaport, but of a most unusual kind, for all these ships were hanging from gigantic fishing poles and hovered, swaying gently, over a chasm full of swirling white mist. These ships, made of wickerwork like everything else, had neither sails nor masts nor oars nor rudders.

Bastian leaned over the railing and looked down into the Sea of Mist. He was able to gauge the length of the stakes supporting the town by the shadows they cast on the white surface below.

"At night," he heard a voice beside him say, "the mists rise to the level of the town. Then we can put out to sea. In the daytime the sun reduces the mist and level falls. That's what you wanted to know, isn't it, stranger?"

Three men were leaning against the railing beside Bastian. They seemed gentle and friendly. They got to talking and in the course of his conversation with them Bastian learned that the town was called Yskal or Basketville. Its inhabitants were known as Yskalnari. The word meant roughly "the partners." The three were mist sailors. Not wishing to give his name for fear of being recognized, Bastian introduced himself as "Someone." The three sailors told him the Yskalnari had no names for individuals and didn't find it necessary. They were all Yskalnari and that was enough for them.

Since it was lunchtime, they invited Bastian to join them, and he gratefully accepted. They went to a nearby inn, and during the meal Bastian learned all about Basketville and its inhabitants.

The Sea of Mist, which they called the Skaidan, was an enormous ocean of white vapor, which divided the two parts of Fantastica from each other. No one had ever found out how deep the Skaidan was or where all this mist came from. It was quite possible to breathe below the surface of the mist, and to walk some distance on the bottom of the sea near the coast, where the mist was relatively shallow, but only if one was tied to a rope and could be pulled back. For the mist had one strange property: it fuddled one's sense of direction. Any number of fools and daredevils had died in the attempt to cross the Skaidan alone and on foot. Only a few had been rescued. The only way to reach the other side was in the ships of the Yskalnari.

The wickerwork, from which the houses, implements, clothing, and ships of Yskal were made, was woven from a variety of rushes that grew under the surface of the sea not far from the shore. These rushes - as can easily be gathered from foregoing - could be cut only at the risk of one's life. Though unusually pliable and even limp in ordinary air, they stood upright in the sea, because they were lighter than the mist. That was what made the wickerwork ships mistworthy. And if any of the Yskalmari chanced to fall into the mist, his regular clothing served the purpose of a life jacket.

But the strangest thing about the Yskalnari, so it struck Bastian, was the word "I" seemed unknown to them. In any case, they never used it, but in speaking of what they thought or did always said "we."

When he gathered from the conversation that the three sailors would be putting out to sea that night, he asked if he could ship with them as a cabin boy. They informed him that a voyage on the Skaidan was very different from any other ocean voyage, because no one knew how long it would take or exactly where it would end up. When Bastian said that didn't worry him, they agreed to take him on.

At nightfall the mists began to rise and by midnight they had reached the level of Basketville. The ships that had been dangling in midair were now floating on the white surface. The moorings of the one on which Bastian found himself - a flat barge about a hundred feet long - were cast off, and it drifted slowly out into the Sea of Mist.

The moment he laid his eyes on it, Bastian wondered what propelled this sort of ship, since it had neither sails nor oars nor propeller. He soon found out that sails would have been useless, for there was seldom any wind on the Skaidan, and that oars and propellers do not function in mist. These ships were moved by an entirely different sort of power.

In the middle of the deck there was a round, slightly raised platform. Bastian had noticed it from the start and taken it for a sort of captain's bridge. Indeed, it was occupied throughout the voyage by two or more sailors. (The entire crew numbered fourteen.) The men on the platform held one another clasped by the shoulders and looked fixedly forward. At first sight, they seemed to be standing motionless. Actually they were swaying very slowly, in perfect unison - in a sort of dance, which they accompanied by chanting over and over again a simple and strangely beautiful tune.

At first Bastian regarded this song and dance as some sort of ceremony, the meaning of which escaped him. Then, on the third day of voyage, he asked one of his three friends about it. Evidently surprised at Bastian's ignorance, the sailor explained that those men were propelling the ship by thought-power.

More puzzled than ever, Bastian asked if some sort of hidden wheels were set in motion.

"No," one of the sailors replied. "When you want to move your legs, you have only to think about it. You don't need wheels, do you?"

The only difference between a person's body and a ship was that to move a ship at least two Yskalnair had to merge their thought-powers into one. It was this fusion of thought-powers that propelled the ship. If greater speed was desired, more men had to join in. Normally, thinkers worked in shifts of three; the others rested, for easy and pleasant as it looked, thought-propulsion was hard work, demanding intense and unbroken concentration. But there was no other way of sailing the Skaidan.

Bastian became the student of the mist navigators and learned the secret of their cooperation: dance and song without words.

Reading the above really brought me thinking about Odysseus's experience during his stay in Skheria in the Odyssey, and how the Phaeacians said to have possessed ships that can be steered by thoughts. Skaidan = Skheria? Hmm...

All in all, it's an interesting reading and this novel challenges one's imagination in regards to the fantasy world. When we are drawn to living in fantasies (positive dissociation?), we can always return to reality with new eyes and new energies as simulated by these fantasies, such as fairy tales (with deep meanings to them, unlike the modern "stories"/films that are only achieved nothing more than entertainment and energy-draining).

fwiw.
 
Thanks Zadius Sky, I agree with pretty much all your observations.

Currently, I'm reading "Zettelkasten" by Michael Ende, which is a collection of some of his writings and essays he left when he died. (I don't think it is available in English.) Amazing stuff!

It turns out that Ende was arguing for a "re-marriage" of science and mysticism, that he was into the paranormal and argued that spiritual realms must exist... He said one of the last "reservations" of truth is the realm of children literature, which is allowed to a certain degree by the otherwise hostile materealistic society to grow the children's souls, but just to separate them completely from the "fantastic world" when they become adolescents.

Just saw that there are some English quotes from some of his essays online here:
_http://www3.plala.or.jp/mig/michael-uk.html

Some quotes from that site:

Michael Ende link=http://www3.plala.or.jp/mig/talk-uk.html#3 said:
"It's the question of whether our freedom is recognized or not. If there's a freedom, you'll be unable to explain all our acts by the cause-and-effect theory. On the other hand, if you apply such theory for human beings, there'll be no freedom and no creativity. Our creativity is to produce something utterly new without being tied to the cause-and-effect theory's restriction... And I believe it's inside such creativity where human beings' values are."

"Bees never makes up a pentagonal hive... Science is surely ruled by the cause-and-effect theory. But something the most humanly of the human beings, or our potentiality to produce something new from our inside and to work on the whole world from out of such theory, or something called "creativity," will be taken away if such theory is applied for us. Once we begin analyzing us after denying perfectly such potentiality we'll be more and more aggressive, for we feel ourselves confined into the internal prison. We grow violent because we feel our freedom is taken away. These days all the human beings are generally more and more aggresive, but I suppose it's a reaction to resist to such viewpoint based on the cause-and-effect theory."

Michael Ende link=http://www3.plala.or.jp/mig/einstein-uk.html#2 said:
"What's called now the children literature goes back to the beginning of the 19th century. Before then Maerchen(fables) had already existed, but it was not only for children: Fables were more significant than today and both children and adults lived in the fables' world. But the modern intellectualism began to exclude all the traditional European spiritualty, and expelled all the personifying world view with the flamboyant passion, making the whole world literally unhumanistic."

Michael Ende link=http://www3.plala.or.jp/mig/einstein-uk.html#2 said:
The Time War has Already Begun(Chapter 1)
Actually this book starts with the first interview with Ende bofore the above-mentioned essay. "I suppose the World War III has already begun: only we are unaware of it," says Ende, telling us that this war isn't against the terriories as were the other past ones, but is against the time which will eventually destroy our descdendants. This word must sound heavy to those who see Ende just as a fabulist, but the reason he did such a judgment is he, unwilling to escape from the reality, thought it was necessary to describe all what he sees without deforming. A lot of problems have occurred along with the technological development, people are still optimistic to the situation by believing that such problems can be solved by the further technological advance, but he says they're more radical and fundamental.

It is much better though to read Ende's original texts... I'm convinced that either Ende was involved in some form of channeling (he said he wrote his books in a sort of "let it flow" way...) or at least knew a lot about esoteric concepts.

This comes to mind:

session 980725 said:
A: (...) At least you should by now know that it is the soul that matters, not the body. Others have genetically, spiritually and psychically manipulated/engineered you to be bodycentric. Interesting, as despite all efforts by 4th through 6th density STO, this "veil remains unbroken."

fwiw.
 
Thanks for the quotes from Ende's, luc. Interesting stuff.

I am very much interested to read his Mirror in the Mirror (English version), but it is so pricey on Amazon. I can't read German, though.

Zadius Sky said:
All in all, it's an interesting reading and this novel challenges one's imagination in regards to the fantasy world. When we are drawn to living in fantasies (positive dissociation?), we can always return to reality with new eyes and new energies as simulated by these fantasies, such as fairy tales (with deep meanings to them, unlike the modern "stories"/films that are only achieved nothing more than entertainment and energy-draining).

To add what I have posted above, I just read a bit from Bettelheim's The Uses of Enchantment that may be relevant here, in terms of "returning to reality":

page 62 - 63 said:
Soon events occur which show that normal logic and causation are ancient and most unique and startling events occur. The content of the unconscious is both most hidden and most familiar, darkest and most compelling; and it creates the fiercest anxiety as well as the greatest hope. It is not bound by a specific time or location or a logical sequence of events, as defined by our rationality. Without our awareness, the unconscious takes us back to the oldest times of our lives. The strange, most ancient, most distant, and at the same time most familiar locations which a fairy tale speaks about suggest a voyage into the interior of our mind, into the realms of unawareness and the unconscious.

The fairy tale, from its mundane and simple beginning, launches into fantastic events. But however big the detours - unlike the child's untutored mind, or a dream - the process of the story does not get lost. Having taken the child on a trip into a wondrous world, at its end the tale returns the child to reality, in a most reassuring manner. This teaches the child what he needs most to know at this stage of his development: that permitting one's fantasy to take hold of oneself for a while is not detrimental, provided one does not remain permanently caught up in it. At the story's end the hero returns to reality - a happy reality, but one devoid of magic.

As we awake refreshed from our dreams, better able to meet the tasks of reality, so the fairy story ends with the hero returning, or being returned, to the real world, much better able to master life. Recent dream research has shown that a person deprived of dreaming, even though not deprived of sleep, is nevertheless impaired in his ability to manage reality; he becomes emotionally disturbed because of being unable to work out in dreams the unconscious problems that beset him. Maybe someday we will be able to demonstrate the same fact experimentally for fairy tales: that children are much worse off when deprived of what these stories can offer, because the stories help the child work through unconscious pressures in fantasy.

I read somewhere in a book review that The Neverending Story is also meant to bring out a child in us and this book is not just for children, also for adults. An adult who grew up without fairy tales or fantasy reading as a child tend to live out their lives...well, almost empty, or troubled. Recently, fairy tales in general got me thinking and I never read any of the actual fairy tales as a child (except what were being portrayed through television, i.e., Disney). Each fairy tale has its own lessons that a child can understand through symbols and imagery, even a child in ourselves, to further our growth. The modern "stories" and/or films appears to be just for entertainment only.

I just saw The New York Times article of Ende's death and there is a quote from an interview with him:
_http://www.nytimes.com/1995/09/01/obituaries/michael-ende-65-german-children-s-writer.html

The Neverending Story, published in 1979 (and in 1983 by Doubleday in the United States), is the tale of a boy whose perusal of a dusty book leads him on a journey through a magical fantasy world in which he discovers his own courage.

"The only mainspring that drives my work is the desire for the free and undirected play of the imagination," Mr. Ende once said in an interview. At another point, he declared: "If people forget that they have an inner world, then they forget their own values. The inner world must be added to the exterior world, it must be created and discovered. And if we do not, now and then, make a journey through our inner life to discover these values, they will be lost."
 
Zadius Sky said:
I read somewhere in a book review that The Neverending Story is also meant to bring out a child in us and this book is not just for children, also for adults. An adult who grew up without fairy tales or fantasy reading as a child tend to live out their lives...well, almost empty, or troubled. Recently, fairy tales in general got me thinking and I never read any of the actual fairy tales as a child (except what were being portrayed through television, i.e., Disney). Each fairy tale has its own lessons that a child can understand through symbols and imagery, even a child in ourselves, to further our growth. The modern "stories" and/or films appears to be just for entertainment only.

Thanks, Zadius Sky, very interesting. The theme of getting into a "childlike state" seems very important in light of the Work. In the book "Zettelkasten" Ende also regrets that there seems to be a huge gap between the world of fairy tales, fables etc. and the adult world, where once this gap didn't exist as it does today.

BTW, I'm currently reading "Haroun and the Sea of Stories" by Salman Rudhdie - great as well! Even though I prefer Ende's writing style (and his stories seem to me more "spot on" with regards to esoteric concepts) there are a lot of interesting thoughts in "Haroun" as well.

_http://www.amazon.de/Mirror-Michael-Ende/dp/067080682X

Haroun on Amazon said:
Set in an exotic Eastern landscape peopled by magicians and fantastic talking animals, Salman Rushdie's classic children's novel Haroun and the Sea of Stories inhabits the same imaginative space as Gulliver's Travels, Alice in Wonderland, and The Wizard of Oz. In this captivating adaptation for the stage, Haroun sets out on an adventure to restore the poisoned source of the sea of stories. On the way, he encounters many foes, all intent on draining the sea of all its storytelling powers.

I find it so refreshing to read about concepts that are discussed here in a more "fantastic" way, kind of absorbing it more with the feeling center than with the intellect. It feels like diving into a parallel world where the same archetypes are played out in a totally different form - and maybe this is also what happens in our unconscious mind? Or that we remember them there?


Zadius Sky said:
I am very much interested to read his Mirror in the Mirror (English version), but it is so pricey on Amazon. I can't read German, though.

I have this book in German, but only read a few pages yet. From that I can tell it's fascinating stuff, also disturbing, and quite surrealistic - like visions and dreams. But I need to read on to tell more. Such a pity that it's not available in English anymore...
 
It may be true that the movie doesn't include much of the novel itself (I've never read it), but I watched the movie as a pre-school kid many times at my grandmother's place and it touches me to this day. So even though Ende rebelled against it, I think it still fulfilled some kind of purpose for the very young generation.

In Momo, I also found the concepts of the grey, time-eating entities interesting, who fight Momo, who is guided by a word-spelling turtoise called Kassiopeia. :)

Both movies were produced in Bavaria/Germany, and I think back then the film studios were state of the art, comparable to Hollywood.

Edit: Here is a behind the scenes documentation (German): http://www.youtube.com/watch?v=lXWj5EdBmGk
 
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