Six-year-old Randy conducts bloody wars in the sandtray, calling them "World War One," "World War Two," and "The War of the Ancient Dragon." He burns fires and bombs helpless victims, killing some and saving others. What could possibly be going on in his imagination?
The contents of his imagination—what the alchemists call the "realm of subtle bodies"—are revealed in his sandplay from one session to the next, and there we see the raw, autonomous dynamism that motivates Randy, already branded a bully and nearly expelled from first grade. We see fiery, destructive conflict, part his, part his culture's, part lived, part projected, a conflict of archetypal opposites that engulf Randy’s personality and fuel his violent behavior.
But also from Randy’s imaginal world, out of the very war between opposites that drives him, the unknown third possibility unfolds. Allowed to exist and be seen with a paradoxical healing aim, the war fights itself out over time in the safe container of the sandtray, finds its unpredictable resolution, and gradually releases Randy from its grip. He finally emerges, calling himself "king of the bloodfire," returned to the rule of his own emotional life. He has adapted to school, proud of his achievements, a star student in math.
Randy's process is thoroughly documented and amplified, unveiling the alchemical stages of transformation—nigredo, albedo, and rubedo—in a way that helps us relate to those chapters in our own individuation struggles. Psychological Perspectives editor Margaret Johnson writes that the work is "valuable above and beyond being a case study because it remarkably grounds what can be very illusive alchemical imagery into psychological experience."
A testament to the healing capacities of the imaginationWar of the Ancient Dragon guides us through the gritty realities of the alchemical process, helping us realize how they can manifest in everyday life, dream images, and fantasy.