Inkblot Moon: The Complete Quantum Poetry

“…an emotionally deeply satisfying and intellectually stimulating masterpiece.”

Claudius van Wyk,
holistic thinker and
founder of the
Holos Earth Project

“A masterful poetic testament to the vision that human beings can yet become a beneficial keystone”

Inkblot Moon: The Complete Quantum Poetry has been described as “a masterful poetic testament to the vision that human beings can yet become a beneficial keystone species on planet Earth”. It brings the four parts of the Quantum Poetry series together in one book. It contains the three volumes of poetry in reverse order, starting with part III and going back to part I before closing with part IV, the essay on the origin and meaning of Quantum Poetry. In this way, two of the series’ several inherent strands are revealed more clearly.

Poetry is not just art—it is ecological action, a living thread in the web of life

Firstly, the bringing together into one book and ordering as I have, brings its deep ecological consciousness and its evolving relationship to self, nature, and the cosmos to the fore: art and poetry are not separate from the ecological and cosmic realities they engage with. The Quantum Poetry series embodies this principle with increasing depth across the four volumes. This is what makes my work also part of a perspective known as ecosophical aesthetics—a term rooted in Arne Naess’s ecosophy and expanded into the realm of poetic and aesthetic philosophy. It is a perspective which emphasizes relationality, interconnectedness, and a reverence for the Earth as both a physical and metaphysical reality.

I have come to see my Quantum Poetry series as a profound and embodied expression of ecosophical aesthetics. It moves from the despair of ecological alienation (Volume I) to the emergent beauty of relational becoming (Volume II), toward archetypal integration (Volume III), and finally arrives in a deep sense of homecoming (Volume IV). I hope that my sense of my writing translates into the reading experience in so far as that the aesthetic of the work is both visionary and ethical: the voice of my inner self is my call not merely to observe but to participate in the world’s unfolding, to become stewards of its beauty and wholeness.

In this way, I hope you will agree, poetry is not just art—it is ecological action, a living thread in the web of life.

In my poem The Oath of the Quantum Poet on His Inner Journey, there is a hidden plea for the conscious participation in life’s generative processes:

How can the splendour
of this Tree of Life…
not be the lesser
because of me but the more?

A bridge between worldviews

Secondly, another way of looking at the four volumes of the Quantum Poetry series is that the four volumes embody a psychospiritual pilgrimage from “Trapped in the City” (Volume I) to “At Home in the Universe” (Volume III):

• Volume I speaks from a place of being stuck in the mechanized, urban landscape, yearning for belonging.
• Volume II finds the ability both to soften and find the courage to break through inner constraints and shed old skins.
• Volume III moves into an experience of integration and archetypal wholeness in self, nature, and cosmos.
• Volume IV returns to the ground of the Earth with an embodied homecoming into cosmic participation through the reflective essay which also serves as “origin story”.

This spirit and journey of the descent and ascent of the self is present in lines such as the following, taken from the long-poem Wyrd Awakening:

I fell
through the membrane
at the edge of psyche
and matter…
cleft open
the wound there
of my selfhood.

There is a reflection here of the nigredo of alchemy and Jung’s process of individuation: the poetic I confronts the wound at the threshold of matter and spirit. This descent into shadow, in turn, gives rise to the light of transformation.

In another section of the same poem, the experience of the world as fractal leads to a non-dual perspective, integrating opposites into a new whole. There is an echo here of Iain McGilchrist’s call for the re-integration of right and left brain hemispheres of our brain structure where linear logic serves the greater wholeness of embodied experience:

The edge is always infolded
back into its centre
and the centre
is the edge of the field.

This outer world experience is also bridged into the inner world when the poem recognises inner archetypal and archetonal patterns in the outer ecology: nature itself holds the mythopoetic matrix that animates human experience:

Archetypes of the community of land
whether above or below sea…
woven together into patterns and flows.

The inkblot becomes a portal

In these ways and more, the two strands of ecosophical aesthetics and the integral perspective, are opened up and explored through the framing of the book’s title: Inkblot Moon:

“Is there a light beyond or even within the inkblot that may become available to me if I engage with it?” I ask in Vol. IV, the concluding essay.

In this series, the inkblot becomes a portal, inviting deep participation and active surrender. Its light signifies emergence: the interplay between shadow and soul, psyche and cosmos, revealing that meaning arises through engagement, not avoidance.

For me, this is not escapism but a hard-won realization that wholeness is both inner and outer, immanent and transcendent.

 

I hope you agree that Inkblot Moon is a profound integration of inner and outer worlds, uniting psyche, cosmos, and matter. It stands as an offering to human agency, ecological consciousness, and the vertical dimension of being—a poetic exploration of what it means to become whole in a fragmented world.

 

Available in hardback, paperback and also as Kindle eBook from Amazon (paid link)