The Red Book: Liber Novus, A Reader's Edition

«THE YEARS, OF WHICH I HAVE SPOKEN TO YOU, when I pursued the inner images, were the most important time of my life. Everything else is to be derived from this.» — el Author's Note de 1957 con que se abre el volumen: Jung declara que los años de persecución de las imágenes interiores fueron el periodo capital de su vida y que todo lo demás deriva de ahí.

«My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life.» — sigue el Author's Note: describe su vida entera como elaboración de lo que irrumpió del inconsciente, corriente enigmática que amenazó con quebrarlo.

«Everything later was merely the outer classification, the scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then.» — cierra el Author's Note ordenando su obra posterior como clasificación externa y elaboración científica de un comienzo al que llama numinoso.

«Isaias dixit: quis credidit auditui nostro et brachium Domini cui revelatum est? et ascendet sicut virgultum coram eo et sicut radix de terra sitienti non est species ei neque decor et vidimus eum et non erat aspectus et desideravimus eum: despectum et novissimum virorum virum dolorum et scientem infirmitatem et quasi absconditus vultus eius et despectus unde nec reputavimus eum. vere languores nostros ipse tulit et dolores nostros ipse portavit et nos putavimus eum quasi leprosum et percussum a Deo et humiliatum. Cap. liii/i-iv.» — el Liber Primus, prólogo *The Way of What Is to Come* se abre con el epígrafe latino de Isaías 53 sobre el varón de dolores, en la Vulgata y sin traducir en el cuerpo.

«If I speak in the spirit of this time,5 I must say: no one and nothing can justify what I must proclaim to you.» — arranque del Liber Primus, prólogo *The Way of What Is to Come*: Jung declara que nada puede justificar lo que va a proclamar; el 5 dentro de la cita es la llamada a nota del volumen.

«I have learned that in addition to the spirit of this time there is still another spirit at work, namely that which rules the depths of everything contemporary.» — la distinción que gobierna el libro entero, enunciada en el Liber Primus, prólogo *The Way of What Is to Come*: junto al espíritu de este tiempo obra otro que rige las profundidades de todo lo contemporáneo.

«The spirit of this time would like to hear of use and value. I also thought this way, and my humanity still thinks this way.» — Jung caracteriza al espíritu de este tiempo por lo que pide —utilidad y valor— y se incluye entre quienes pensaban así (Liber Primus, prólogo *The Way of What Is to Come*).

«But that other spirit forces me nevertheless to speak, beyond justification, use, and meaning.» — la compulsión con que Jung describe su propio hablar en el Liber Primus, prólogo *The Way of What Is to Come*: más allá de justificación, utilidad y sentido.

«But I did not consider that the spirit of the depths from time immemorial and for all the future possesses a greater power than the spirit of this time, who changes with the generations.» — Jung sostiene en el Liber Primus, prólogo *The Way of What Is to Come* que el espíritu de las profundidades tiene más poder que el de este tiempo, que cambia con las generaciones.

«He took away my belief in science, he robbed me of the joy of explaining and ordering things,» — lo que Jung dice haber perdido a manos del espíritu de las profundidades: la fe en la ciencia y el gozo de explicar y ordenar (Liber Primus, prólogo *The Way of What Is to Come*).

«But the supreme meaning is the path, the way and the bridge to what is to come.» — la fórmula central del Liber Primus, prólogo *The Way of What Is to Come*: el sentido supremo es camino, vía y puente hacia lo que ha de venir.

«It is not the coming God himself, but his image which appears in the supreme meaning.» — la acotación que Jung pone en el mismo lugar: lo que aparece en el sentido supremo no es el dios venidero sino su imagen (Liber Primus, prólogo *The Way of What Is to Come*).

«The supreme meaning is not a meaning and not an absurdity, it is image and force in one, magnificence and force together.» — Jung define el sentido supremo por lo que no es —ni sentido ni absurdo— y por ser imagen y fuerza a la vez (Liber Primus, prólogo *The Way of What Is to Come*).

«The other Gods died of their temporality, yet the supreme meaning never dies, it turns into meaning and then into absurdity, and out of the fire and blood of their collision the supreme meaning rises up rejuvenated anew.» — Jung opone la temporalidad de los otros dioses a un sentido supremo que no muere y renace del choque entre sentido y absurdo (Liber Primus, prólogo *The Way of What Is to Come*).

«But nonsense is the inseparable and undying brother of the supreme meaning.» — el par que Jung no separa en el Liber Primus, prólogo *The Way of What Is to Come*: el sinsentido como hermano inseparable e inmortal del sentido supremo.

«The spirit of this time in me wanted to recognize the greatness and extent of the supreme meaning, but not its littleness.» — Jung se imputa a sí mismo la parcialidad de querer la grandeza del sentido supremo y no su pequeñez (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths spoke to me: “11 You are an image of the unending world, all the last mysteries of becoming and passing away live in you.» — el espíritu de las profundidades, figura con la que Jung dialoga en el Liber Primus, prólogo *The Way of What Is to Come*, le dice que es imagen del mundo sin fin y que en él viven los misterios del devenir y el perecer.

«But to explain a matter is arbitrary and sometimes even murder. Have you counted the murderers among the scholars?» — el espíritu de las profundidades llama arbitrariedad y a veces asesinato al explicar, y pregunta cuántos asesinos hay entre los eruditos (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of this time stepped up to me and laid before me huge volumes which contained all my knowledge. Their pages were made of ore, and a steel stylus had engraved inexorable words in them, and he pointed to these inexorable words and spoke to me, and said: “What you speak, that is madness.» — en el Liber Primus, prólogo *The Way of What Is to Come*, el espíritu de este tiempo le presenta a Jung volúmenes de mineral con su saber grabado y le dice que lo que habla es locura.

«It is true, it is true, what I speak is the greatness and intoxication and ugliness of madness.» — Jung admite el cargo en vez de defenderse: lo que habla es grandeza, embriaguez y fealdad de locura (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths stepped up to me and said: “What you speak is. The greatness is, the intoxication is, the undignified, sick, paltry dailiness is. It runs in all the streets, lives in all the houses, and rules the day of all humanity. Even the eternal stars are commonplace. It is the great mistress and the one essence of God.» — la réplica del espíritu de las profundidades en el Liber Primus, prólogo *The Way of What Is to Come*: lo que Jung habla *es*, y la cotidianidad enferma y mísera es la gran señora y la única esencia de Dios.

«I must also speak the ridiculous. You coming men! You will recognize the supreme meaning by the fact that he is laughter and worship, a bloody laughter and a bloody worship. A sacrificial blood binds the poles. Those who know this laugh and worship in the same breath.» — Jung se dirige a los hombres venideros y les da la señal por la que reconocerán el sentido supremo: risa y culto sangrientos a la vez (Liber Primus, prólogo *The Way of What Is to Come*).

«After this, however, my humanity approached me and said: “What solitude, what coldness of desolation you lay upon me when you speak such! Reflect on the destruction of being and the streams of blood from the terrible sacrifice that the depths demand.» — la humanidad de Jung, personificada como figura aparte, le reprocha la soledad y el frío que le impone y le manda pensar en la sangre del sacrificio (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths said: “No one can or should halt sacrifice. Sacrifice is not destruction, sacrifice is the foundation stone of what is to come. Have you not had monasteries? Have not countless thousands gone into the desert? You should carry the monastery in yourself. The desert is within you. The desert calls you and draws you back, and if you were fettered to the world of this time with iron, the call of the desert would break all chains. Truly, I prepare you for solitude.» — la respuesta del espíritu de las profundidades: el sacrificio no es destrucción sino piedra fundacional, el desierto está dentro y él lo prepara para la soledad (Liber Primus, prólogo *The Way of What Is to Come*).

«Something happened to my spirit, however, which I must call mercy.» — Jung nombra gracia lo que le ocurrió al espíritu tras callar su humanidad (Liber Primus, prólogo *The Way of What Is to Come*).

«The mercy which happened to me gave me belief, hope, and sufficient daring, not to resist further the spirit of the depths, but to utter his word. But before I could pull myself together to really do it, I needed a visible sign that would show me that the spirit of the depths in me was at the same time the ruler of the depths of world affairs.» — Jung consigna la condición que se puso antes de hablar: un signo visible de que el espíritu de las profundidades regía también las profundidades del mundo (Liber Primus, prólogo *The Way of What Is to Come*).

«It happened in October of the year 1913 as I was leaving alone for a journey, that during the day I was suddenly overcome in broad daylight by a vision: I saw a terrible flood that covered all the northern and low-lying lands between the North Sea and the Alps. It reached from England up to Russia, and from the coast of the North Sea right up to the Alps. I saw yellow waves, swimming rubble, and the death of countless thousands.» — la visión de octubre de 1913 tal como el Liber Primus, prólogo *The Way of What Is to Come* la cuenta: la inundación que cubre las tierras entre el mar del Norte y los Alpes.

«This vision lasted for two hours, it confused me and made me ill. I was not able to interpret it. Two weeks passed then the vision returned, still more violent than before, and an inner voice spoke: “Look at it, it is completely real, and it will come to pass. You cannot doubt this.» — la voz interior que le dice a Jung que la visión es real y sucederá, tras repetirse dos semanas después (Liber Primus, prólogo *The Way of What Is to Come*).

«I wrestled again for two hours with this vision, but it held me fast. It left me exhausted and confused. And I thought my mind had gone crazy.» — Jung consigna lo que la segunda visión le dejó: agotamiento, confusión y el pensamiento de haber perdido la razón (Liber Primus, prólogo *The Way of What Is to Come*).

«In the year 1914 in the month of June, at the beginning and end of the month, and at the beginning of July, I had the same dream three times: I was in a foreign land, and suddenly, overnight and right in the middle of summer, a terrible cold descended from space. All seas and rivers were locked in ice, every green living thing had frozen.» — el sueño triplicado de junio y julio de 1914: el frío terrible que baja del espacio en pleno verano (Liber Primus, prólogo *The Way of What Is to Come*).

«One laughs about it, and laughter, too, is. Do you believe, man of this time, that laughter is lower than worship? Where is your measure, false measurer?13 The sum of life decides in laughter and in worship, not your judgment.» — el espíritu de las profundidades pregunta si la risa está por debajo del culto y decide por la suma de la vida, no por el juicio del hombre de este tiempo (Liber Primus, prólogo *The Way of What Is to Come*).

«but out of the impossibility of finding those words, I speak in images. With nothing else can I express the words from the depths.» — la razón que Jung da para hablar en imágenes en el Liber Primus, prólogo *The Way of What Is to Come*: no puede expresar de otro modo las palabras de las profundidades.

«On what basis should I presume to teach you? I give you news of the way of this man, but not of your own way.» — Jung acota lo que su libro puede dar al lector: noticia del camino de un hombre, no del camino ajeno (Liber Primus, prólogo).

«The way is within us, but not in Gods, nor in teachings, nor in laws. Within us is the way, the truth, and the life. Woe betide those who live by way of examples! Life is not with them. If you live according to an example, you thus live the life of that example, but who should live your own life if not yourself?» — la tesis con que Jung rechaza el ejemplo y la ley como vía: el camino está dentro, y vivir según un ejemplo es vivir la vida de ese ejemplo (Liber Primus, prólogo).

«Laws and teachings held in common compel people to solitude, so that they may escape the pressure of undesirable contact, but solitude makes people hostile and venomous. Therefore give people dignity and let each of them stand apart, so that each may find his own fellowship and love it.» — la objeción de Jung a la ley común: empuja a la soledad y la soledad envenena, de modo que lo que propone es dar dignidad y dejar a cada quien aparte (Liber Primus, prólogo).

«I will be no savior, no lawgiver, no master teacher unto you.» — Jung declara qué no será para el lector, en un libro que se abre con epígrafes mesiánicos (Liber Primus, prólogo).

«The one eye of the Godhead is blind, the one ear of the Godhead is deaf, the order of its being is crossed by chaos.» — la imagen de la divinidad que el prólogo enuncia: ciega de un ojo, sorda de un oído, con el orden de su ser atravesado por el caos (Liber Primus).

«[2] When I had the vision of the flood in October of the year 1913, it happened at a time that was significant for me as a man. At that time, in the fortieth year of my life, I had achieved everything that I had wished for myself. I had achieved honor, power, wealth, knowledge, and every human happiness. Then my desire for the increase of these trappings ceased, the desire ebbed from me and horror came over me.» — apertura del capítulo I, *Refinding the Soul*, en segunda capa —el volumen la marca con el 2 entre corchetes—: a los cuarenta años Jung tenía honor, poder, riqueza y saber, y el deseo de acrecentarlos cesó.

«The vision of the flood seized me and I felt the spirit of the depths, but I did not understand him.33 Yet he drove me on with unbearable inner longing and I said:» — el paso de la visión al diálogo: Jung dice haber sentido al espíritu de las profundidades sin entenderlo, y haber hablado empujado por un anhelo insoportable (Liber Primus, cap. I).

«My soul, where are you? Do you hear me? I speak, I call you—are you there? I have returned, I am here again. I have shaken the dust of all the lands from my feet, and I have come to you, I am with you. After long years of long wandering, I have come to you again. Should I tell you everything I have seen, experienced, and drunk in? Or do you not want to hear about all the noise of life and the world? But one thing you must know: the one thing I have learned is that one must live this life.» — la llamada al alma con que se abre el capítulo I: tras años de vagar, lo único que Jung dice haber aprendido es que hay que vivir esta vida.

«A publication in arrangement with the Foundation of the Works of C. G. Jung, Zürich W. W. Norton & Company New York • London» — el pie de la portada: el volumen se publica en acuerdo con la Foundation of the Works of C. G. Jung y lo imprime Norton en Nueva York y Londres.

«Edited and with an Introduction by SONU SHAMDASANI PREFACE BY ULRICH HOERNI TRANSLATED BY MARK KYBURZ, JOHN PECK, AND SONU SHAMDASANI» — la portada reparte los papeles del volumen: Shamdasani edita y firma la introducción, Hoerni el prefacio, y la traducción va a tres manos.

«More than a decade has passed since the memorable decision of the former society of heirs of C. G. Jung to release The Red Book for publication.» — [Hoerni] abre el prefacio a la Reader's Edition fechando en más de una década la decisión de la sociedad de herederos de liberar el libro.

«Much consideration was given to what kind of audience this multilayered work should be directed: Professional readers of works on the history of psychology? The general reader? Visually receptive people, orientated toward images? Lovers of calligraphy? Collectors of beautiful books?» — [Hoerni] enumera los públicos que se discutieron para la edición: historiadores de la psicología, lector general, gente de imágenes, amantes de la caligrafía, coleccionistas.

«These questions weren’t easy to answer, since even the physical appearance of the precious original seemed to contain a message.» — [Hoerni] da la razón de la dificultad: la apariencia física del original le parecía llevar mensaje.

«It was W. W. Norton that finally found the appropriate solution: a complete facsimile edition, which was presented in its original format in 2009.» — [Hoerni] atribuye a Norton la solución adoptada, el facsímil completo presentado en su formato original en 2009.

«Overwhelming success proved that the publisher was right. The work rapidly spread worldwide and is already available in nine languages.» — [Hoerni] mide el resultado de esa decisión por la difusión: nueve lenguas.

«However, two names especially deserve to be mentioned, Jim Mairs (W. W. Norton) and Sonu Shamdasani (Philemon Foundation).» — [Hoerni] destaca dos nombres entre los acreedores del éxito, Jim Mairs por Norton y Shamdasani por la Philemon Foundation.

«The present Reader’s Edition contains the complete text of the original. It is specifically aimed toward those who would like to engage deeply with the literary documentation» — [Hoerni] declara qué es esta edición: el texto completo del original, dirigida a quien quiera leer de cerca la documentación literaria del desarrollo interior de Jung.

«It would undoubtedly accord with Jung’s intention if this edition helps readers to make their reading more fruitful for their own development.» — [Hoerni] cierra el prefacio con una conjetura sobre la intención de Jung, no con una afirmación: la edición concordaría con ella si ayuda al lector en su propio desarrollo.

«The year 1913 was pivotal in Jung’s life. He began a self-experiment that became known as his “confrontation with the unconscious” and lasted until 1930.» — [Hoerni] fecha en 1913 el inicio del autoexperimento que Jung llamó confrontación con el inconsciente, y en 1930 su término.

«He later called this method “active imagination.” He first recorded these fantasies in his Black Books. He then revised these texts, added reflections on them, and copied them in a calligraphic script into a book entitled Liber Novus bound in red leather, accompanied by his own paintings. It has always been known as the Red Book. Jung shared his inner experiences with his wife and close associates. In 1925 he gave a report of his professional and personal development in a series of seminars at the Psychological Club in Zürich in which he also mentioned his method of active imagination.» — [Hoerni] nombra el método —imaginación activa— y sitúa en los seminarios de 1925 del Club Psicológico de Zúrich el primer informe público de Jung sobre su desarrollo personal.

«Beyond this, Jung was guarded. His children, for example, were not informed about his self-experiment and they did not notice anything unusual. Clearly, it would have been difficult for him to explain what was taking place. It was already a mark of favor if he allowed one of his children to watch him write or paint.» — [Hoerni] mide la reserva de Jung por sus hijos: no se les informó del autoexperimento y ver escribir o pintar al padre era señal de favor.

«Thus for Jung’s descendants, the Red Book had always been surrounded by an aura of mystery. In 1930 Jung ended his experiment and put the Red Book aside—unfinished. Although it had its honored place in his study, he let it rest for decades.» — [Hoerni] describe el lugar del libro en la familia: aura de misterio, término del experimento en 1930, libro dejado inconcluso en sitio de honor del estudio.

«Although Jung actively considered publishing the Red Book, he never took the necessary steps. In 1916 he privately published the Septem Sermones ad Mortuos (Seven Sermons to the Dead), a short work that arose out of his confrontation with the unconscious. Even his 1916 essay, “The Transcendent Function,” in which he described the technique of active imagination, was not published until 1958. There are a number of reasons why he did not publish the Red Book. As he himself stated, it was unfinished. His growing interest in alchemy as a research topic distracted him.» — [Hoerni] da dos razones de la no publicación en vida: el libro estaba inacabado por declaración del propio Jung, y la alquimia lo distrajo.

«In hindsight, he described the detailed working out of his fantasies in the Red Book as a necessary but annoying “aestheticizing elaboration.”» — [Hoerni] cita el juicio retrospectivo de Jung sobre su propia labor de elaboración de las fantasías, que llamó necesaria y a la vez fastidiosa.

«As late as 1957 he declared that the Black Books and the Red Book were autobiographical records that he did not want published in his Collected Works because they were not of a scholarly character.» — [Hoerni] recoge la razón que Jung dio en 1957 para excluir los Black Books y el Red Book de las Collected Works: son registros autobiográficos sin carácter académico.

«As a concession, he allowed Aniela Jaffé to quote excerpts from the Red Book and the Black Books in Memories, Dreams, Reflections— a possibility which she made little use of.» — [Hoerni] consigna la concesión que sí hizo —permitir a Aniela Jaffé citar extractos en Memories, Dreams, Reflections— y que ella la aprovechó poco.

«In 1961, Jung died. His literary estate became the property of his descendants, who formed the Society of Heirs of C. G. Jung.» — [Hoerni] fecha en 1961 la muerte de Jung y el paso del legado literario a la Society of Heirs.

«In his will, Jung had expressed the wish that the Red Book and the Black Books should remain with his family, without, however, giving more detailed instructions.» — [Hoerni] cita el testamento —los libros debían quedar en la familia— y señala que no dejó instrucciones más detalladas, que es el hueco sobre el que decidieron los herederos.

«Since the Red Book was not meant to be published in the Collected Works, the Society of Heirs concluded that this was Jung’s final wish concerning the work, and that it was an entirely private matter.» — [Hoerni] expone la inferencia de la Society of Heirs: de la exclusión de las Collected Works dedujeron que ésa era la voluntad última de Jung y que el asunto era privado.

«The Society of Heirs guarded Jung’s unpublished writings like a treasure; no further publications were considered.» — [Hoerni] describe la política de custodia que siguió a esa inferencia.

«In 1984 the newly appointed executive committee had five photographic duplicates made for family use. For the first time, Jung’s descendants now had the opportunity to take a close look at it.» — [Hoerni] fecha en 1984 los cinco duplicados fotográficos de uso familiar, primera ocasión en que los descendientes pudieron mirarlo de cerca.

«The Red Book’s well-preserved state is due, among other things, to the fact that it has only rarely been opened in decades.» — [Hoerni] atribuye la buena conservación del manuscrito precisamente a que casi no se abrió.

«Yet whether and how this substantial material could be published remained an open question. At first glance, the style and content appeared to have little in common with Jung’s other works. Much was unclear and by the mid-1990s there was no one left who could have provided firsthand information on these points.» — [Hoerni] declara el estado de la cuestión a mediados de los noventa: el estilo y el contenido parecían tener poco en común con el resto de la obra y ya no quedaba nadie que informara de primera mano.

«However, since Jung’s time, the history of psychology had been gaining in importance and could now offer a new approach.» — [Hoerni] adjudica a la historia de la psicología el enfoque que hizo viable la publicación.

«But a historian of psychology would be able to present it to the modern reader as a historical document. With the help of primary sources he could embed it in the cultural context of its genesis, situate it within the history of science, and relate it to Jung’s life and works.» — [Hoerni] define el encargo editorial: presentar el libro como documento histórico, incrustarlo en el contexto cultural de su génesis con fuentes primarias y relacionarlo con la vida y la obra.

«Indeed, Jung let close friends have copies of transcriptions and discussed these with them. He did not categorically rule out publication; he simply left the issue unresolved.» — [Hoerni] apoya lo anterior en la circulación de transcripciones entre amigos, y matiza que Jung no descartó la publicación sino que dejó el asunto sin resolver.

«Moreover, Jung himself stated that he had gained the material for all his later works from his confrontation with the unconscious. As a record of this confrontation the Red Book is thus, beyond the private sphere, central to Jung’s works.» — [Hoerni] cierra el argumento por el peso de la obra: si Jung declaró haber sacado de esa confrontación el material de todos sus trabajos posteriores, el registro de ella es central y no meramente privado.

«Finally, the Society of Heirs decided democratically that the Red Book could be published. It was a long journey from that decision to the present publication. The result is impressive. This edition would not have been possible without the» — [Hoerni] consigna que la decisión final se tomó por votación y que el trayecto hasta la publicación fue largo.

«In 1983 the Society of Heirs placed the Red Book in a safedeposit box, knowing that it was an irreplaceable document.» — [Hoerni] fecha en 1983 el traslado a caja de seguridad; el troceo une el guion de corte y el verbatim sale *safedeposit* donde el volumen imprime *safe-deposit*.

«It turned out that there was an entire corpus of drafts and variants pertaining to the Red Book. From this it emerged that the missing part of the calligraphic text existed as a draft and that there was a manuscript entitled “Scrutinies,” which continued where the draft ended, containing the Seven Sermons.» — [Hoerni] refiere el hallazgo del corpus de borradores: la parte faltante del texto caligráfico existía como borrador y había un manuscrito titulado *Scrutinies* que continuaba donde el borrador terminaba y contenía los Siete Sermones.

«publication proposal following these guiding principles. On the basis of this proposal the Society of Heirs decided in spring 2000—not without discussion—to release the Red Book for publication and to hand over the task of editing it to Sonu Shamdasani.» — [Hoerni] fecha la decisión de los herederos en la primavera de 2000, tomada según su propia acotación no sin discusión, y el encargo de la edición a Shamdasani.

«Jung himself did not—as it had seemed— consider the Red Book a secret. On several occasions the text contains the address “dear friends”; it is, in other words, directed at an audience.» — [Hoerni] da el argumento que hizo cambiar el criterio: el texto se dirige repetidamente a unos *dear friends*, o sea a un público, de modo que Jung no lo habría tenido por secreto.

«C. G. Jung is widely recognized as a major figure in modern Western thought, and his work continues to spark controversies.» — [Shamdasani] abre la introducción situando a Jung como figura mayor del pensamiento occidental moderno cuya obra sigue en disputa.

«His work has had its widest impact, however, outside professional circles: Jung and Freud are the names that most people first think of in connection with psychology, and their ideas have been widely disseminated in the arts, the humanities, films, and popular culture. Jung is also widely regarded as one of the instigators of the New Age movement.» — [Shamdasani] sitúa el mayor efecto de Jung fuera del gremio —artes, humanidades, cine, cultura popular— y recoge que se le tiene por uno de los instigadores del New Age.

«There can be few unpublished works that have already exerted such far-reaching effects upon twentieth-century social and intellectual history as Jung’s Red Book, or Liber Novus (New Book).» — [Shamdasani] mide la anomalía del caso: pocas obras inéditas han tenido efectos tan largos sobre la historia intelectual del siglo XX.

«The first few decades of the twentieth century saw a great deal of experimentation in literature, psychology, and the visual arts.» — [Shamdasani] abre el apartado del momento cultural con la experimentación de las primeras décadas del siglo XX.

«Writers tried to throw off the limitations of representational conventions to explore and depict the full range of inner experience—dreams, visions, and fantasies.» — [Shamdasani] describe el programa de los escritores del periodo: sacudirse las convenciones representativas para explorar sueños, visiones y fantasías.

«Artists and writers collaborated to try out new forms of illustration and typography, new configurations of text and image.» — [Shamdasani] señala la colaboración entre artistas y escritores en nuevas formas de ilustración y tipografía, que es el marco en que sitúa el libro caligrafiado y pintado de Jung.