Foreword by Alejandro Jodorowsky Ayahuasca: Illegal Drug or National Cultural Heritage? Introduction Inner Journey Notebooks August 1999-November 2010 Credits Prologue Yarinacocha Quarter Welcome A Good Drink, Peaceful Houston, Do You Read Me? A Whiff of Love Does You Good That Kounen, He’s Really Wacky Dying Over There Blueberry Madness (Part One) Blueberry Madness (Part Two) The Return of the Sierra Cactus Nausea Under the Stars Mystic Terror Tonight, Some People Will Encounter Fear The Wages of Fear Faced with a Breast The Serpent Breathes Out Twin Towers La Cucaracha Ayahuasca Movie at the Cannes Festival Star Wars in the Maloca Remembering the Closing Diet I Wanna Go Home Epilogue Ayahuasca Medicina, A Manual Forty Questions and Answers The Basics Ayahuasca Medicine, Diets, and Songs Preparing for Ayahuasca Mind, Ceremony, and Intoxication Visions Advice for Encounters with Scary Serpents and Talking Plants Songs Receiving the Ícaros After the Ceremony Determining if This Medicine Is Right for You Choosing a Healer Healer Recommendations and the Ethics of Paying for Treatment Treatments and Contraindications Receiving Plant Healing Safely Practical Preparations What to Bring and When and Where to Go Glossary of Plants A Small Shipibo Lexicon Four of Kestenbetsa’s Ícaros Bonus Track 1: My First Ceremony with Guillermo Bonus Track 2: My Final Ceremonies with Guillermo A Big Thank-You

“This is the first book that anyone thinking about taking ayahuasca, or taking it again, must own. The manual section is honest, revealing, invaluable, and packed with everything, including how to find a safe and sane teacher, how to sit during ceremony, what kinds of clothes to bring, and why dietas are necessary for real healing. Jan’s own journal of his progress is unusually candid in disclosing the obstacles and difficulties that arise even as your commitment to this path deepens.”

The BasicsAyahuasca Medicine, Diets, and Songs You have spoken of songs, of ícaros.What are they for?The songs, or ícaros, are the main therapeutic tool. They arise from the concepts of the medicina but also sometimes directly from spirits who position themselves and sing in the ear of the healer who then has only to sing what he hears. The healer, or curandero, uses them to guide and care for his patient. But he does so in his own language, and, even though the patient may feel in the melody the intention of the traditional doctor, understanding the meaning of the words, and therefore the concepts, does help the patient who is receiving the song.I have explored the sharing of this understanding and have had impressive results. In fact, I have seen changes in the nature of what I was experiencing by understanding the songs--not all the words of course, because I don’t speak the language, but enough to recognize at key moments the nature of the way the healer was operating. I had occasion to have this experience with others as well.During a ceremony with French ayahuasquero friends, someone suggested I sing and I did so in Shipibo and in French. Something different took place for them when the songs were in their mother tongue. From the moment I sang an ícaro in French, the person who received it was immediately connected to the work, and almost all the others who were present in the maloca as well. The visions were harmonized in the same worlds I had described.If you hear, “I descend into my intoxication” or “I align my senses . . . I align my thoughts, or my body” you concentrate yourself in your intoxication, in your senses, in your thoughts or in your body. No longer are you going to think, “Oh my gawd! Where am I, what is he dragging me into?” You have an object to direct your mind to.If you hear, “I open for you the world of ayahuasca, and I do it nicely,” you’re going to relax because there is no call to great, esoteric forces, things that you are perhaps in the process of thinking, since, with the opening of the world of ayahuasca, spirits come tumbling out.Since it will not always be possible to hear the ícaros sung in your native language, it’s valuable to be able to grasp the structure and a few Shipibo words in order to connect to the meaning of the songs.Here is a small, basic word list of traditional concepts that will help you comprehend the ícaros.Nocon: If the verse begins with Nocon, the healer is singing for himself. He can do that at any moment in the song and for a variety of reasons. At the beginning of the treatment, he needs to gather his strength and center it, a bit like a preparing for a race or an inner runway takeoff.Mi: If it’s Mi at the beginning, the healer is singing for you. He’s leaving his runway and beginning the treatment.Here’s an example of these words in use:Nocon shinan punteque.I center myself--in my mind and in my senses. I align myself.Nocon yora kuchi ayonban.I center myself strongly in my body and in doing this I give it strength. I align it.Nocon kuchi pae punteque.I center myself in the strong intoxication of the ayahuasca. (I don’t try to run away from it, on the contrary I let it unfurl.) I align the intoxication.If now the healer singsMi shinan punteque,this becomesI center you in your mind and in your senses.In a way, he is aligning your intoxication and beginning to harmonize your inner worlds through his dive into your world of visions and based on the stability of his own state.He may move back and forth from Nocon to Mi in the course of the song since, assuming that the flight has taken off, the treatment begins and then the flight is dragged into the patient’s emotions. He can chocar (collide with) negative energies, just as lightning can strike a plane. He then has to “reset the trim”--that is, level out the angle of flight. He turns the song back to himself, re-centers himself inside his own song, gathers up his drive once again and takes off again to tackle the clouds. Planes are intended to withstand lightning, healers are used to “shocking up against” energy. So don’t be upset if he sings for himself (nocon, nocon, nocon). When he aligns his intoxication and sings for himself, you benefit by that too. It’s all part of the treatment.If he sings Akon shaman akindra that means, “I do it nicely, I do it well, I do it with attention.” It’s always good to remember this one. It’s a phrase that recurs often; a beautiful intention.If you hear the words choro, pisha, sua, it’s because the cleansing phase is beginning. That means: throwing out, cleansing, evacuating, having done with it. These words are often associated with vainquin and vainchon and ramacayara: throw out, clean, do it now.Remember this because there’s a good chance you will have bad thoughts, and these words will be helpful at that point! For example, “his song isn’t doing me any good—blah, blah, blah . . .” This is your negativity, which is resisting the cleansing and manifesting itself in the field of your thoughts.The songs often finish or weave around harmonization:Senen paramayona: everything harmonizesMetsashama neteque: everything becomes beautifulParama youshamagen: harmony is put in placeA song can also be made up of a series of two or even three songs. For example, the first for the opening and alignment of the intoxication, the second for cleansing, and the third to give strength.