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Journey to Ixtlan (eng. Journey to Ixtlan) is the third book by Carlos Castaneda, published by Simon & Schuster in 1972. Castaneda claimed that, like the previous book, "Journey to Ixtlan" is a description of real events that happened to him, but this fact is questioned by some readers and the scientific community. Writer Joyce Carol Oates has published a review in the magazine the New York Times Book Review, expressing his bewilderment in their review on what was a blatant fiction.[1]

The book´s title was taken from the allegory, Castaneda told a colleague his "benefactor" Genaro Flores. Ixtlán (the toponym is of Aztec origin) is a metaphorical homeland, which is trying to return "man of knowledge". The acquired knowledge makes it different from ordinary people, who appear to him to be only "ghosts". The essence of the story is that after a person acquires knowledge, he never can return home to their former way of life.

Journey to Ixtlan significantly alters generated in the first two books look at the doctrine. Castaneda reassesses received from don Juan´s knowledge, especially regarding "stopping the world" to which he refers only as a metaphor.
In this book, Castaneda describes the events in 1971, where he again meets don Juan and describes the practice of "stopping the world" and "erasing personal history". Since drug use was strictly defined goal — to shift the stiffness of describing the world and discover new possibilities, now Carlos is complete without the peyote. In the first Chapter of the book he returns to his first acquaintance with don Juan. In this book, don Juan turns to the teacher, to talk about death and inaction (Chapter 15) trying to make Carlos hunter. He further teaches to control the dream through trying to dream up your hands (10 GL) and controlled movement (Chapter 11). While don Juan and Carlos are traveling together through a desert Mexican mountains in search of signs and strength. One day when Carlos was able to talk with a coyote in a mixture of English with Spanish, don Juan said that that was the stop of the world, that is, deliverance from patterns of perception (Chapter 19). The theme of Ixtlán appears in the conversation of don Genaro — friend don Juan — like manner unattainable back home.
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