Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Posts tagged ‘Dark Mother’

Sleeping Beauty – An Enduring Tale/Cycle of Dreaming and Waking/the Breath of the Unmanifested and Creation

Introduction to a Well Known Author:

Fairytales are atmospheric, creepy and often cruel showing us temptation in the form of hope usually after great turmoil and sacrifice. They’re not often stories for children but more warnings as Pamela Travers herself claimed she didn’t write the Mary Poppins books for children. To some of us they can be seen as culmination of learning and with her tempestuous life perhaps a yearning – Ms Poppins being someone she wanted to be or wanted to guide her through the storm? Poppins being someone who glided through extremities like only few and a ‘nanny’ (granny, Dark Mother figure – remember the Dark Mother is an honourary title, she doesn’t have to be a Mother).

The remakes of well known fairytales in recent years have emphasized further that they are not really ‘family friendly’ and even modern authors from Roald Dahl to J. K. Rowling have shown us ‘dark’ children’s and young adult fiction, easily read by adults, and yet they hold a map for childhood. Dystopian themes have made it to the forefront of youth fiction – but then did they ever really leave? The scary has always been at home with musical folk tales and poems of old and are always present watching and coming closer to us from the periphery, they sometimes get watered by the likes of Disney but even Disney shows protagonists in danger. Is it a safe ‘threat’ we hanker for like that of a roller coaster where we feel the thrill but never the peril or is there something in us that really wants to fall? We never really face the unknown we just go round in circles, patterns and trends.

But Disney was right to excise from Mary Poppins the Zen mysticism and symbolism, about which academics had preposterously written lectures and learned papers. And although Disney’s songwriters the Sherman Brothers are on record as finding Travers “a hellcat” to work with (“like having two weeks of ulcers”), she comes across in the film as ultimately sympathetic, commanding respect for facing up with spirit to the Disney men. Travers was fond of saying that all women pass through three phases: nymph, mother, crone.

As Lawson writes, in the initial days of Disney’s charm offensive, P L Travers “fell into Walt’s embrace like a lovesick fool, but the fortune he gave her almost made up for the betrayal”. She got $100,000 upfront and 5 per cent of the gross, so she had to forgive “Supercalifragilisticexpialidocious” and dancing penguins. And after five years of “uneasy wedlock”, the film emerged – unsubtle, sugary, sentimental; “gorgeous, but all wrapped round mediocrity of thought” – and won five Oscars. Sam Goldwyn wrote an open letter saying everyone in the world should see it. Never mind that Disney’s editions of Mary Poppins books outsold hers; her own sales trebled. She would later say that she had written “a small unpretentious book, but as full of meat as a sausage is. The film made it grandiose, pretentious and took all the stuffing out of the story.” But she always praised Julie Andrews and even thought Dick Van Dyke’s cockney was “really not too bad”. She discussed a possible sequel without objection.

http://www.newstatesman.com/culture/2013/12/strange-life-creator-mary-poppins

Was he right to White wash (his own life and business White washed of course)? I love the Mary Poppins film (and I can understand why Emma Thompson was chosen to portray P. L. Travers due to her role as Nanny McPhee – the films of which I didn’t really like – and her bearing in general) but I’m aware there was more going on in her life and in the series. It seems as if Travers got caught up in great knowledge and mixed with great cultural icons who themselves did the same but like many were far too a bohemian, rich, elite set indulgent and immature for the wisdom they sought/practiced.

Too bad we can’t all be like the characters we create and adore; perhaps she wanted Mary Poppins but had some of that in her aunts and would have been better off with Granny/Mistress Weatherwax (another Dark Mother/Witch/Wise Woman/Crone figure) from Terry Pratchett’s ‘Discworld’, whom many of us love… At a distance and with great respect and perhaps some bitterness and begrudgement, and she was the ‘good one’ out of her and her sister 😉 !

What we want and need are sometimes two very different things.

Discerning the Nature of Free Will

In the chapter entitled, “John and Barbara’s Story,” a starling, a wise bird, visits the nursery at Cherry Tree Lane and communes with Mary Poppins and the babies, John and Barbara. Through their conversation, we become aware that the babies, the starling, and Mary Poppins understand the language of the wind, the stars, and the sunlight. However, the starling laments that the children will soon forget everything about where they came from. The children, of course, vehemently protest. Soon, however, they do forget.

This theme is explored further in the chapter entitled, “The New One” in Mary Poppins Comes Back. When the baby Annabel is born, the starling makes another visit, and he turns somersaults on the windowsill, clapping his wings wildly together each time his head comes up. “What a treat!” he pants, when at last he stands up straight. (Now he had someone to whom he could speak again.) The starling asks Annabel to tell the fledgling that accompanies him to tell where she came from:

“I am earth and air and fire and water,” she said softly. “ I come from the Dark where all things have their beginnings. I come from the sea and its tides, I come from the sky and its stars, I come from the sun and its brightness—and I come from the forest of earth. Slowly, I moved at first always sleeping and dreaming. I remembered all I had been and I thought of all I shall be. And when I had dreamed my dream I awoke and came swiftly. I heard the stars singing as I came and I felt warm wings about me. I passed the beasts of the jungle and came through the dark, deep waters.” “It was a long journey! A long journey indeed!” said the starling softly, lifting his head from his breast. “And ah, so soon forgotten!”

This episode is reminiscent of the soul’s encounter with the river Lethe in Greek mythology. The souls of the dead bathe there before they are born, so they will not remember their previous history and choices made before birth (karma) until their life is over. If we knew what happened in past lives with the people we know in the present, we might avoid these people and many of life’s experiences. How can we operate with free will and choice if we know our sacred contracts, asks Caroline Myss, author of Sacred Contracts. In The Secrets of Dr. Traverner, Diane Fortune, the occult fiction writer of the early twentieth century, wrote about a character who refused to come completely into her body because she knew her fate and was afraid to face it. This presents the paradox that from ignorance we exercise free will; from knowledge we forfeit our right to choose.

https://www.theosophical.org/publications/1240

The above link explores symbolism in the Mary Poppins series and Travers was herself an ardent student of mythology and culture which brings us to one of her passions, a passion of intrigue with eternal beauty.

The Allure of Beauty in Death/Slumber, the Conflict of Choosing Between Immortal and Mortal Love:

I’m not going to explain the symbolism in ‘Sleeping Beauty’ such as a the Spinners/Fates/Wheels but simply quote some of Travers’ own words as found in the ‘Afterword‘ of her book ‘About The Sleeping Beauty’. Therein she outlines five versions of the story from different cultures following her own refashioning. Bear in mind that I do not agree with everything.

The idea of the sleeper, of somebody hidden from mortal eye, waiting until the time shall ripen has always been dear to folkly mind – Snow White asleep in her glass coffin, Brynhild behind her wall of fire, Charlemagne in the heart of France, King Arthur in the Isle of Avalon, Frederick Barbarossa under his mountain in Thuringia. Muchukunda, the Hindu King, slept through eons until he was awakened by the Lord Krishna; Oisin of Ireland dreamed of Tir N’an Og for over three hundred years. Psyche in her magic sleep is a type of Sleeping Beauty, Sumerian Ishtar in the underworld may be said to be another. Holga the Dane is sleeping and waiting, and so, they say, is Sir Francis Drake. Quetzalcoatl of Mexico and Virochoca of Peru are both sleepers. Morgan le Fay of France and England and Dame Holle of Germany are sleeping in raths and cairns.

The themes of the sleeper is as old as the memory of man. Where it first arose we do no know. One can never find where myth and fairy tale begin any more than one can find wild wheat growing. They are not invented, that is certain. They germinate from seeds sown by an unknown hand. ‘The Authors’, as the poet William Blake has said, ‘are in Eternity’, and we must be content to leave them there. The story is, after all, what matters.

The appearance of this lady at the Christening [in her version of ‘Sleeping Beauty’] is the great moment of the tale, the hook from which everything hangs. Properly to understand why this is so we must turn to Wise Women in general and their role in the world of men. To begin with they are not mortal women. They are sisters, rather, of the Sirens, kin to the Fates and the World Mothers. As such, as creatures of another dimension, myth and legend have been at pains to embody them in other than human shape – the winged female figures of Homer, the bird headed women of the Irish tales, the wild women of ancient Russia with square heads and hairy bodies and the wisplike Jinn of the Middle East who were not allowed grosser forms than those of fire and smoke. It was to do away with their pantomime image and give them their proper weight and authority that our version provided the Wise Women with their hairless heads of gold and silver and made their golden and silver feet hover a little above the earth as the gods do on the Greek vases. And in dressing them in colours of the spectrum that the Thirteen are parts of the single whole and the opposites complementary.

For it should be remembered that no Wise Woman or Fairy is in herself either good or bad; she takes on one aspect or the other according to the laws of the story and necessity of events. The powers of these ladies are equivocal. They change with changing circumstances; they are as swift to take umbrage as they are to bestow a boon; they curse and bless with equal gusto. Each Wise Woman is, in fact, an aspect of the Hindu goddess, Kali, who carries in her multiple hands the powers of good and evil.

It is clear, therefore, that the Thirteenth Wise Woman becomes the Wicked Fairy solely for the purpose of one particular story. It was by chance that she received no invitation; it might just as well have been one of her sisters. So, thrust by circumstance into her role, she acts according to law.

Up she rises, ostensibly to avenge an insult but in reality to thrust the story and keep the drama moving. She becomes the necessary antagonist, placed there to show that whatever is ‘other’, opposite and fearful, is indispensable an instrument of creation as any force for good. The pulling of the Devas an Asuras in opposite directions churn the ocean of life in the Hindu myth and the interaction of the good and the bad Fairies produces the fairy tale. The Thirteenth Wise Woman stands as the guardian of the threshold, the paradoxical adversary without whose presence no threshold may be passed.

This is the role played in so many stories by the Wicked Stepmother. The true mother, by her very nature, is bound to preserve, protect and comfort; this is why she is so often disposed of before the story begins. It is the stepmother, her cold heart unwittingly cooperating with the hero’s need, who thrusts the child from the warm hearth, out from the sheltering walls of home to find his own true way.

Powers such as these, at once demonic and divine, are not to be taken lightly. They give a name to evil, free it, and bring it to the light. For evil will out, they sharply warn us, no matter how deeply buried…

Without the Wicked Fairy there would have been no story. She not the heroine, is the goddess in the machine.

But if the Prince is a mysterious figure, how much more so is she who is the crux of the story, the maiden of surpassing beauty asleep behind her wall of thorns, she whom men from the beginning of time have pondered on and treasured. I say the beginning of time with intent, for when a woman is the chief character in a story it is a sign of its antiquity. It takes us back to those cloudy eras when the world was rule not, as it was in later years, by a god but by the Great Goddess. Here, as with the Prince, is a heroine who has ostensibly nothing to do, nothing to suffer. She is endowed with every blessing and grace and happy fortune, no slights or indignities are put upon her as is the case with her sister heroines, Show White, Cinderella, Little Two-Eyes, or the Goose Girl. She simply has to follow her fate, prick her finger, and fall asleep. But perhaps – is this what the story is telling us? – perhaps it is not a simple thing to do to faithfully follow one’s fate…

Who is she, this peerless beauty, this hidden sleeping figure that has kindled the imaginations of so many generations and for whom children go about on tiptoe lest she be too soon wakened?

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[My comment: The Princess is the representative on Earth, the Earth as the creation, she is the illuminated light illuminated from the light of the Mother like the moon to the sun; part divine, part mortal – the link between the Mother and potential creation, and the created. She is the Daughter and in a story involving a love interest she is like Persephone, abducted or tricked into staying in manifestation, separated from the Creator like a tool/weapon/treasure. She is the Fallen, fallen with creation which in itself is fallen because it is no longer with/an immediate part of the Creator. In this story and many she is Fallen by the actions of a Father figure and she is then through transformation of some kind, here it is sleep, rescued by the Dark Mother.]

There are those who see the tale exclusively as a nature myth, as the earth in spring, personified as a maiden, awaking from the long dark sleep of winter; or as a hidden deep in the earth until the kiss of the sun makes it send forth leaves. This is undoubtedly as aspect of the story. But a symbol, by the very fact of being a symbol, has not one sole and absolute meaning. It throws out light in every direction. Meaning comes pouring from it.

As well as being a nature myth, it is also possible that there are elements of a secret and forgotten ritual in the theme, reminders of initiation ceremonies where the neophyte dies – or sleeps – on one level and wakes on another, as a chrysalis wakes into butterfly. Or again it may be that since all fairy tales hark back to myth we are present here at the death and resurrection of a goddess, of Persephone down in the underworld biding her time until she returns to earth.

So, face to face with the Sleeping Beauty – who has long been the dream of every man and the hope of every woman – we find ourselves compelled to ask what is it in us that at a certain moment suddenly falls asleep? Who lies hidden deep within us? And who will come to wake us, what aspect of ourselves?

[My comment: And hopefully they shall not waken us with a kiss.]

Are we dealing here with the sleeping soul and all the external affairs of life that hem it in and hide it’ something that falls asleep after childhood; something that not to waken would make life meaningless? To give an answer, supposing we had it, would be breaking the law of the fairy tale. And perhaps no answer is necessary. It is enough that we ponder upon and love the story and ask ourselves the question.


I think she may have had a more conclusive answer being so well educated and thoughtful in her work and only seemed to naval gaze (as we all do at times) in wistful, poetic moments to make the prose (including her ‘afterword’) richer. Perhaps she thought the keys to the tale/threshold/door were not for us to know.

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A Black feast for a Black Goddess – International Women’s Day

Mum made THE best dishes today in honour of International Women’s Day which uses the Black Goddess Venus symbol to mean ‘female/woman’.

Ingredients:

Aubergines
Black Eyed Beans
Dried Turtle Beans (Black)
Fresh tomatoes
Black sesame oil
Poppyseed Oil
Blackseed oil
Mustard seed (Black) Oil
Coconut Oil
Black Venus Wild Rice
Coconut Milk (used with the rice)
Almond Milk (used with the Turtle beans)
Kala Jeera (Cumin seeds), dried and fresh (the fresh is the watercress looking herbs I grew in the photo)
Ginger
Garlic
Tumeric Powder
Himalayan salt
Black pepper
Chillis
Coriander
Basil
Chives
Parsley
Lime [juice]
Kalamata [‘Black-Mother’] olives
Seaweed (as a side)
AND SHOCK HORROR – No spice at all! Everything tasted so wonderful none were necessary! :-O

Dessert:

Black grapes (or Raisins for dried fruit)
Dates

Mum was going to make date fritters but didn’t get round to it, no loss – my belly is so full right now I can barely move… *Groan (not in a bad way).*

Some of the ingredients

Dates and Grapes Dessert

LtR: Fried Black Eyed Beans, Black Eyed Bean 'Dahl'/Lentil Version, Fried Aubergine, Black Venus Wild Rice (Sticky version)

LtR: Fried Black Eyed Beans, Black Eyed Bean ‘Dahl’/Lentil Version, Fried Aubergine, Black Venus Wild Rice (Sticky version)

Roasted Aubergine Boats

Stuffed Aubergine Boats!

My absolute favourite was the:

Using some of the liquid/soup from the Black Eyed Bean stew to make the Turtle Bean Stew

Turtle Bean Stew and Black Rice

Deeelicious!

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And look what else MUM made:

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Make Your Dream Come True Day – Fri the 13th – Happy New Year

Friday the 13th – i.e. Auspicious. And 13 = Kali. I can’t remember if I’ve spelled this out before for all the Masons who forget their owned damned twisted crap (so they can untwist) and all the non-Masons with brains but oh well, Fri the 13th is seen as an unlucky day for no good reason at all. Also remember that due to the differences between the Julian and Gregorian calendars 1st January is not the New Year, today is the New Year (and in India today). I’ve explained some of this HERE, the Spring Equinox HERE and then Easter/Songkran HERE


Everybody should their Mama (the real Mother and Mother Earth) regardless of whether they’re fe/male, and it’s the time of the Dark Mother.

Thumb down to the enemy:


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Grab your guns in the Virtual/Dreamland, we’re in for the ‘Wilde Ride’ Valkyrie – chooser of the slain, serving our inner Eye, flying warrior – style. Hunt those who hunt the Goddess.

El Cazador De La Bruja True Meaning Nadie Ellis

El Cazador De La Bruja (The Hunter of the Witch) is the third in studio Bee Train (not hive) ‘Girls with Guns‘ series (from the ‘Champion Red‘ Manga released as anime originally in 2007), now I’m not normally a fan of firearms and ‘my’ characters rarely use them, openly stating they don’t like them or just don’t use them (doesn’t take anywhere near the amount of skill as traditional weapons) but I can make an exception, especially for this anime.

This is an exceptional anime in that it weaves in the ‘Lost’/Fallen Goddess story really well and in a slightly different setting to most anime but the components are all there.

ELLIS – (the El- Mother figure character names in media tend to be like Elle, Ellie, Ely, this one is Ell-is as in She Exists, She Is) – the ‘Goddess’, or ‘Witch’, test tube baby in this version so apparently not a child of ‘god’ (though She has the God-soul/spirit) or natural (as if humans are). Part of a group of embryos made to test the ‘Maxwell’s Demon’ theory (yep because people just love to think up and test everything on everything without giving a sh*t). The theory is basically about having the ability to harness and transform the elements, so for example the first one Ellis has is thermodynamic – she sets things on fire or melts them when she gets stressed, but she can already jump/leap (levels) with shocking dexterity and is quick with her hands & numbers. She’s also ‘simple’ in that she’s straightforward, no hidden motives or cruelty, totally ‘sweet’ and ‘innocent’. She’s ‘given’ to a ‘doctor’ to experiment on her but she finally manages to get him to stop and develop a care for her, she’s not a thing and he shouldn’t treat her that way – Stockholm Syndrome though since she doesn’t know/has no one else. He is assassinated (serves him right) but she gets blamed for it (set-up) and a bounty put on her dead or alive.

L.A – (yeah just look at that and what that stands for) but I’ll spell it as El-A for now – (you get the masculanized versions of Goddesses in culture who commonly put an ‘A’ or ‘U’ at the end of the same name) He and Ellis were the only successful creations, because breeding/lab making ‘super-people’ yields more fails and normals than successes. Being male he doesn’t have the magic/transformational/creative energy Ellis does but he is super strong, fast and agile. He is also completely in love (morelike obsession) with Ellis (who is offput by him) – he was groomed to love (or morelike lust) Ellis and repeatedly berated for it at the same time, expected to watch but not interact with her and that pressure makes him lose control at times. He’s tortured by Rosenberg and conflicted (whereas Ellis is tortured yet still has strong identity, El-A’s is purely based off his ‘attachment’ to Ellis), told his feelings aren’t real, they were orchestrated, given to him and can be turned off just the same but he manages to hold onto them and believes in them completely. The problem is he alternates between hiding and coming on so strong that he worries and threatens Ellis.

……………Here comes the bodyguard, the Slayer, the ‘Bounty Hunter’ here, the Warrioress who teaches the ‘lost’ Goddess to value Herself, to stand up for Herself whilst protecting and loving/supporting Her. Remember great teachers are also fighters. You have to make a stand for those you love, and they have to be worth loving.

NADIE – (means ‘Hope’, so similar to Eve and -Dor/Dol[ly] names) – She’s been sent by ‘descendant clans’ of the older witches, the secret women, the ancient ones, the original feminine, the original ‘creators’/Gods. She’s quick witted, smart mouthed and savvy; everything Ellis needs. She’s not there for Ellis’ ‘bounty’ – she’s a tracker, she’s there to find Ellis and look after her until the time is right. She’s a twin-tailed/haired (with additional warrior braid and appropriate jewellery – this ‘girl’ is top of Her Class) Redhead (Ellis is Blonde – some will realize that duo-character combination and why its so prevalent and why Ellis’ hair has been chopped/short as she was powerless) and she wears a Red tipped White poncho that covers everything so makes her look cloaked in White (but warrior style underneath) – others will understand that whereas Ellis wears mainly Blue and Gold/Yellow because in this story Nadie is the cosmic sun/star avenger saving the Earth based Mother Goddess. All throughout Nadie is described as physically unattractive and becomes sensitive to it despite being lovely to look at to anyone with a brain. Also whilst Ellis is ‘lost’ and was hidden away, Nadie is not, she’s tracked from the start i.e. she’s a tracker whose ‘base’/the representatives of the Mothers/Mother Race had logged all along and she checked back with them regularly. Like all other cosmic incarnations/representatives who travel she wasn’t allowed/able to know/remember the whole story but she clocked on quickly and knew enough to know how important Ellis is and how she should be defended not used/abused (just like no one else should be).

El Cazador De La Bruja True Meaning Nadie Ellis
El Cazador De La Bruja True Meaning Nadie Ellis

BLUE EYES (self-explanatory) – the descendent of the witches, most ‘descendants’ are normal and whilst she has a little latent ability like many ‘natural’ ‘descendants’ *rolls eyes* she’s jealous of Ellis, wants and resents her power. She’s the one who contracts Nadie on behalf of other useless ‘descendent’ witches. All throughout she describes Ellis and El-A as things, both from a clinical/scientific ‘subject’ point of view but also as inferior to humans because ironically they’re human-made, now that’s a backhanded compliment. ‘Artificial’ in comparison to human e.g. test tube, transgenic, AI etc are barely given any ‘rights’, barely thought of as people, like people, barely credited with feelings, intelligence, even the ones with human organs (including skin which yes I know is an organ but still worth stating) – they’re just ‘computers’ that ‘run programs’… Yeah until they use their ‘brains’ better than you use your awesome gifted ones. The lack of respect for other lifeforms allows people and ‘others’ to treat each other like property. Eventually she comes around, but takes her damned ‘blue eyed’/glasses wearing [implying disguise – very simple Superman style] blind time whilst undercover.

……………Speaking of completely self-involved blinded characters cue the Manipulator:

ROSE-N-BERG (Rosen-Berg, the wannabe Rose/Risen/Ascend) – Nazi German style working for the CIA/Americans (yeah we’ve seen that before), with his personally favoured rose-tinted perspective accompanied by a pair of specs and who hypocritically tells Blue Eyes she shouldn’t wear glasses. He hurts everybody for his goals, it doesn’t have to be personal, it’s all about his destination. The ‘best’ results no matter the price, all business (with personal benefit in mind), schmoozes people who can help his career, thinks he owns everybody else like pawns, typical psychopath but a successful one since he’s in power. Basically he goes to any and every length to activate Ellis’ powers i.e. the usual Masonic way involving as much pain, trauma and loss as possible – developing bonds/connections with specially placed people in her life only to take them away and push her to the brink… All so he can be a hanger-on and pretend that he ‘loves’ her, pedophile style. (Interesting to note: the Blonde Slayer and Red Witch in ‘Buffy’, Willow is also a Rosenberg – remember characters change sides and/or undercover in any battle/war but in ‘Buffy’ they also have ‘Doppelgangland’.)

……………The other bodyguard and a very young girl who travels with him, whom he won’t explain and isn’t his daughter – i.e. the man who protects the female bodyguard and in this story the third female for the ‘triplicate’. All three females are young (Ellis and El-A were subjected to accelerated growth though their torture would also age them mentally if designed to teach them obedience, fight/flight, escape/evade which it was rather than degenerate them into permanent infant mindsets).

RICARDO – ‘Powerful leader’ (yet great enough to look after/love, take a backseat to that which is even greater than himself like the Daughter does the Mother) – He is older than the rest, which isn’t necessary but older males are often the ones who change their minds after its too late/a life of suffering/causing suffering and decide they want to help. Younger ones are too gung-ho and aren’t as protective unless in love/bonded. His age allows for the characteristic of being more cautious, hidden than devil-may-care/free-spirited-but-very-able Nadie. Whilst Nadie is watching Ellis, he is watching El-A but the relationships are very different, Nadie is big sisterly/motherly and wears her heart on her sleeve, Ricardo is distant and not as communicative but quietly sincere, he cares deeply for Nadie and Ellis despite being hired by Rosenberg.

……………So many political divisions and factions, as usual. Ellis’ and Nadie’s freedom becomes a unifying factor.

LIRIO – (‘Iris/Lily’ so ‘Eye’, and interestingly there is a character actually called Iris in this anime who helps them too whilst searching for something else). Lirio is very quiet but instantly likes Ellis and Nadie, and she’s the one who sees the Old Mothers/Ancient Witches.

……………The Dark Mother characters don’t figure much in this story – too damned scary probably – and if they were around none of this sh*t would have happened or gone this far, so no story, boohoo for all those who love ‘entertainment’ that doesn’t involve or obviously inflict them/those they care about/love. You do see Her guidance in various characters in the early episodes and then finally in the end, nice symbolic overlap – but they’re taken out, forced to resign (one by a ‘fake’ Daughter ‘Maria’ figure) and others devoted to the false/later/masculanized Mother/Daughter (Mary/Jesus). So ‘taken care of’ story/historically wise and makes way for the abuse of the Mother and Daughter. (Like in the anime ‘Read or Die’ mentioned in the last post the ‘dark one’ Maggie is the most physically strong and quiet/hidden, she’s taken out first in the coup/betrayal so she isn’t a threat/can’t protect the others, the Mother figure is more the boss of the three yet traditional, and the Daughter/youngest is the most feisty/rebellious. The Dark Mother fights the strongest characters and even stays behind to let the Mother/Daughter move ahead, as is always the responsibility of the stronger.) I’ve seen ‘Dark Mother’ figures in other Mother/Daughter stories treated in a similar manner – lip service, taken out in some way, removed before the story starts even, heck even bashed into by a ‘lotus’ car in an ‘irrelevant’ scene in one film where she’s shown as a random stranger who then leaves the story as quickly as necessarily/’unnecessarily’ inserted (so that the supposed male triad can ‘protect’ the Mother/Daughter instead).

The ‘rose’, Inca Rose, Red stone plays a power source role in this story and is in a cave/mountain – as it ‘should’ symbolically do/be, since it signifies the Mother and the Mother (whilst being all colours) is known as Red, the innocent/joyful creator, Lalita from whom all the El ‘god’/superbeing names came from. And as usual the Warrioress always sacrifices for the power source, for the Mother, but she always comes back 😉 just like ‘Buffy the Vampire [all demons] Slayer’ and Max the ‘transgenic’ from ‘Dark Angel’, the only one whose Mother fought for her and didn’t want to give her up to the Manticore/type of lion/the dreammaker-realizer/actualizer Sandeman ‘Family’. There’s no destroying the Mother/Daughter/Dark Mother bond, why do you want to? I’m not going to go further into the ‘rose’ here, that takes more time but it’s worth mentioning that whilst they come in many colours, the Red (or White) rose are most commonly used in symbolism.

Throughout their journey, and it is very much a physical journey, Ellis and Nadie are followed by Hunters. Even though Nadie is traditionally a seeker/destroyer-if-necessary character herself, she’s still a Target. Ellis and Nadie are real/alive, flesh and blood, not portrayed as obvious ‘Gods’ let alone ancient Goddesses, they have feelings like everybody else, as does El-A though his are warped, stalker-ish/desperate/predatorial/out of control which adds to his physical strengths.

Interestingly enough the other bounty hunters who target them the most are cross-dressers, men as women lol the massive symbolism. Another apt similie is in one episode where Nadie and Ellis try to catch/hunt a bird whilst they’re also being hunted (ironically by Blue Eyes in sniper mode before her eyes are opened and she has a change of heart) – the same example is used in an episode of ‘Dark Angel’ where Max kills and eats a chicken but is reminded of the farm system she lives in.

Ellis and Nadie are both wildcards, it’s because of them that Mountain comes down and interestingly/poignantly Nadie won’t let Ellis touch the gun. The gun is a weapon, a tool of pain, injury, suffering, impurity – it’s an efficient killing machine that makes destruction without conscience easy for anybody. It’s not a toy yet known as a ‘boy’s toy’, it’s a tool for [traditionally] tools unlike traditional weapons that were used for agriculture and other things that didn’t involve maiming for fun and games. Such a thing is not a thing the Mother should have to desecrate Herself with, she is pure, the Creator. It’s upto the Daughter – the partially contaminated, the less attractive, the less stellar, the lesser divine light, the connection between Creator and Creation, between worlds, levels, the communicator, preserver to sully her hands because she understands/can hear/see/feel how the fallen behave. Her very existence is a compromise and so she takes the edge/pain/burden off all sides. A kind of ‘naturally’/’destined to be’ tortured/unhealing wound ‘damaged’ soul. Neither here nor there, doesn’t really belong yet can be anywhere, sweet/innocent/pure and yet not… Thankfully she’s not fragile lol.

And hey did I mention she can wield a gun like a pro because in this story she is a pro and I guess we have to modernize sometime 🙂 Even Buffy handles a rocket launcher with amazing awesomeness at Angel, ‘The Judge’ (who funnily enough is on the ‘demon’, not human side despite supposing to be what he is, no wonder Buffy kills him) and Drusilla/the ‘treacherous’ old-lineage feminine (she’s a psychic gypsy and through no fault of her own – it’s Angel-is’ fault – a betrayal of the original feminine that is sometimes shown as voluntary, sometimes forced/involuntary). One of Max’s forms/clones handles two guns at the same time and Sydney Fox (Relic Hunter, another Brown-skinned but this time Asian linked rebellious, learned & armed Daughter figure who seeks out the hidden) has a mean aim like Lara Croft. It’s about time the Daughter and Her supporters got up-to-date methinks, get the party started so to speak. We’re a bit too outdated with our drums, bonfires and dancing – gotta mix it up a bit. And hell everybody else is into ‘toys’; fast/sleek cars & weapons? Why shouldn’t we have some fun? We’d be better at it. Just think of all those weapons these humans keep coming up with to hurt, control and kill each other and everything else whilst calling it ‘peace’, ‘defense’, ‘counter-terrorism’ etc – they’ve been at the gun powder and moved on ages ago whereas we use ‘gun powder’ for spice lol! Imagine the hottest, sexiest, sleekest guns out there – bring them into ‘being’ in the virtual reality, point and shoot. It’s ‘fiction’, not ‘real’, ‘other reality’, ‘dream’, the ‘VIP social club’, ‘virtual’, ‘video’ ‘terminal’, ‘game’ afterall, it has no effects/affects apparently, hurts no one, no harm no foul we’re told yet so many eat it up and want to be a part of the story, and usually as Hunters not Targets. It’s time the worm turned, this anime is just so cool and Nadie knows the meaning of family beyond blood, of connections beyond titles and status, she loves Ellis because Ellis is worth loving. I’ll reiterate that guns aren’t actually cool, aren’t toys, aren’t fun, aren’t something I support but in ‘storyland’, ‘fake’ places, dreamland, Imagi-Nation apparently anything goes and Hunters get away with everything. No wonder role player games are so popular and virtual reality headsets have made a comeback (yes comeback). Bee Train certainly did a polished job on their ‘Girls with Guns’ series trying to ‘balance the playing field’ sex wise. I prefer regular beat’em’up animes and games, nothing quite as satisfying as good ol’ hand-to-hand combat, but I guess I should give shoot-em-ups a go finally. And it does remind me of Vash the Stampede from the anime ‘Tri-Gun’, Blonde kitted out in his long Red coat, Black under clothing, Black & White/Silver guns, a plant-based ‘alien’ but human looking lifeform, a traveller/wanderer who is the ultimate pacifist yet best gunslinger. I’ve always liked Vash; poor guy, blamed for destruction and wannabes follow him around everywhere even though he’s trying to protect everybody, even his enemies, and you should see his body, there’s barely any skin for scars. A humungous bounty on his head. Some interesting characters in that anime too and the desert setting is comparable to this anime, though the planet is post-devastation.

All the ‘joking/fooling’ aside this is a very emotional anime that questions people’s motives, their relationships, mindsets and feelings – how do you manage in a setting where everything is orchestrated? How do you love and protect each other whilst not hurting yourself/getting hurt, how can you trust each other, yourself? Who is pulling your strings, affecting your emotions? Boxing you in, forcing you to feel like you have to escape? Who wants your power, to make you feel powerless? To feel unloved, unvalued, your ‘value’ placed as property and/or in monetary terms? As if no one is looking out for you and you’re all alone in the world that is full of others? These characters try to be lighthearted, to make the best of things but what they go through is deadly serious, even if it’s fictional entertainment. Artists tell the truth through lies. Others tell lies as the truth. And some of us alter those fear-based, parasitic realities; we wade through the sh*t and take the beatings to find you and pull you out and/or help you help yourselves, kicking and screaming maybe (either/both you and us) but we do it just as the immortal Warrioress sacrifices Herself for the Mother Goddess and indeed Creation, but still lives 😉 . I think it’s about time She thrived rather than struggled to survive as indeed the anime makers uniquely did on this one. Usually the Daughter stays with Creation, even the false ‘kin’/Fathers/false family etc and the Mother Goddess leaves or the Mother/Daughter / Mother and/or Daughter sacrifice Themselves for Creation to have yet another same old, same old chance but in this anime everyone touched by their genuine earnestness is better off, and Mother/Daughter figures stay together and leave together, as They should.

Greatest Battle Music of All Times – Siren’s Call [Epic Score]

Rachel Platten – Stand By You (from ‘Wildfire’ album)

Rachel Platten – Fight Song (from ‘Wildfire’ album)

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And for my own personal ‘Superman’ (from the ‘Wildfire’ album) like the above bodyguard of the bodyguard,

Nadie El Cazador De La Bruja

From the other side I am a terror/wonder to behold. A master of war and peace. Don’t worry, I’ve got you.

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A Song from the Slavic Side

The more and more recent we get in years the more Goddess consciousness you see re-emerging; you’d be surprised at which countries, institutions and people actually want Her back despite how they act to the contrary or stay publicly quiet, even in organizations with horrible histories of persecution and coverup. But hey, most people want to hedge their bets and secure a chance at survival in power shakeups/changes/ends; fairweather friends/allies and all that. Not in England/Scotland though; some of the worst, nastiest, vile, ‘upper’ masonic pieces of sh*t you’ll find anywhere who don’t/won’t admit the foundation and power used through their structures, at least not in any good way.

This was Georgia’s entry in the 2015 Eurovision Song Contest:

If you watch the annual Eurovision Song Contest there’s been an interesting ‘turn’ from about 2008 in who appears and what they represent, I doubt the artists really know although if they’re already famous entrants (like some countries enter because they take it seriously) they might have enough inkling/intel to think their projection of character makes them godlike or even gods which is easy to do when you’re drunk with wealth, fans, sex, fawning and other ‘benefits’. However if they get older/play the game the more it sinks in that they’re not and the more depressed they get at how disposable they are and how they wasted/regret their lives. The reals can’t be gotten rid of easily, easier to make them want to kill themselves or get to them early as children/even pre-birth.

Anyway, try to ignore how amazingly gorgeous she looks for just a second and look at her outfit, the styling (don’t like the hotpants and boots but for a warrior its fine), the perfect colours, staging, effects; she’s a dark warrior/princess replete with wings, outstretched at the end, the headpiece, electricity/raw power and of course the lyrics; very simple and to the point in this case.

Whereas the tv show Charmed (1996-2008) theme song (‘How Soon is Now?’ cover version by Love Spit Love) says ‘I am the Son, I am the heir’ (sun, air) and talks about restriction/vulnerability in terms of love; this song goes:

Fighter
Oximated
World gonna get up and see

I’m a warrior
Isolated
World gonna listen to me

Violence
Set it free
Wings are gonna spread up

I’m a warrior
Isolated
World gonna get up and see

Woohoo
I’m a warrior
Still stucked in my mind
I’ve been in danger for too long
No no no

Woohoo
I’m a warrior
Still stuck in my mind
I’ve been in danger for too long
No no no

Not a shabby
Or a money maker
World gonna light up in peace

Not in shadows
Bright a little
Not your fault you’re just gonna breathe

Violence
Break me free
Wings are gonna spread up

I’m a warrior
Oximated
I’m gonna get up and be

Woohoo
I’m a warrior
Still stuck in my mind
I’ve been in danger for too long
No no no

She’s a warrior [princess], the breath/life, has been isolated [and hidden] and in danger for a long time, time to be free.

Some Russian and Slavic ‘mythology’ i.e. old gods that weren’t so ‘mythological’ at the time.

Makosh – the Mother Goddess (not Mother Earth though there are parallels), very popular, much loved Goddess – fell under the name of Mary ‘umbrella’ later on. Bear in mind that this is primarily a water planet so many of the most important names/beings have a water connection (even if they’re fire beings – something I’ll expand on a bit in an animation based post later for all those b*stards who’ve told me I’m ‘just fire’ throughout my life). Ma/Mokosh generally means soft water/water vapour/moisture etc rather than bodies of water (remember the emphasis on rain for Gnostics and Goddess acknowledging Freemasons) and Mar- names e.g. Mary are water based. Makosh is one of the primary/earliest known Gods of that area of the world, and can be compared fertility/creation/home/hearth/Spring/Summer gods in the same and other pantheons. Given that her type of water is for fertility and soil, it’s about motherhood, abundance, a good harvest and she’s like the cornucopia ‘horn (sign of an even older Goddess) of plenty’. Demeter connection there (and Persephone the Daughter) and of course a male god(s) who wants both Mother and Daughter for sick games. She and Demeter share the harvest association but some also see Makosh as a weaver/spinner so life/death/fate/destiny/karma connection which Demeter and Demeter’s Roman equivalent Ceres have in being the ‘law’. Demeter and Persephone also are a triple goddess where Kore (‘The Legend of Korra’ [sequel to The Last Air Bender – Avatar] being the animation I was referring to) is actually the Virgin/Maiden, then when abducted/falls becomes Persephone (the darker version).

And who was/is her servant/assistant?
Fate i.e. Dolya/Dola (even mentioned in an issue of the Marvel comic called ‘Soviet-Super Soldiers’ which makes me laugh considering what some people think of me). Dolya, not to be confused with Dodola (goddess of rain, wide of the main godhead/’supreme’ god the usual thunderer type), was goddess of fortune in very much ‘fortune favours the brave’ kind of way rather than random luck. A goddess of destiny being fate/one of the fates. These fates are a triplicate but not in the usual dynamic; morelike the Demeter/Kore/Persphone version where Demeter is the whole, Kore is the second and then her transformation into Persephone the third. So here you have the whole ‘Fate’ and if she’s in a good mood because you’ve been good you see Dolya the young maiden with Gold [curly] hair (like Makosh) and if you’ve been bad and pissed her off you see Nedolya the hag/crone (like harmony and disharmony/dischord to the Graeco-Romans), like day and night. Dolya lives behind/near the stove (a crowded place regarding gods/superior beings that live there based in the ‘home’ and ‘heart/h’) but basically that implies she’s an fire/ash goddess and Nedolya lives in the corners “you’re backed in a corner” i.e. your back’s against the wall. Just so you know, the corner/wall makes a great springboard when necessary.

Makosh and Dolya (and their other names from neighbouring countries) care for the ‘flocks’. Dolya brings luck to those Makosh smiles upon and something not so nice to those She does not.

Like the song above shows these Ladies are not to be toyed with but they’re not evil; they’re firm but fair, hard but kind.

In terms of literature these pantheons are from classical antiquity and were likely heavily influenced by the older school religions before going the monotheistic route. That doesn’t mean they didn’t exist prior in art, word of mouth and undeciphered scripts but as you can see some ‘people’/characters have existed for a very long time at least from those ancient days and middle times up until today. Ancient to Prehistory we get the really hardcore Mother/Destroyer/Preserver roots (and trees) e.g. Lalita/Kali/Bala, Mother/Dark Mother/Daughter from which the later triplicates male and female and even monotheistic ‘Father, Son, Holy Ghost/Spirit’ three equals one triad/triangle copy from. If you ever come across a group of 3 males plus maybe a 4th acting as their steward/deputy/representative and a single female judging you – you know you’re in trouble/a troublemaker or perhaps you’re about to make a deal and live it large for a while and for an even greater price although you gotta be really high up for that, most likely if you’re making a ‘deal with the devil’ its shadow creatures you’ll see/hear. Anyway for those ‘lucky’ (not) to see the usurper female (and 3 or 4 males) whose power is lent lent/has given way to the masculine/patriarchal systems (Durga/Laxmi/Sarasvati) ending us all in the sh*t. That treacherous… Don’t say I didn’t warn you.

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Wonder Woman, Warrior Princess, the Daughter

Sidenote moan – the summers here in sunnyland (not the real name) can be annoying, you know how people randomly space themselves out in places like beaches, parks, toilets, public transport so they can have a bit of privacy even if they’re close together? Well last year a bunch of commercial class vans set up a formation right behind us on the land behind us & our neighbours whereas everybody else was nicely spaced out. Also the back hedgerow was and still is cut down behind us only and not the neighbours so visitors behind and people at the front can look right through. Reminds me of the daffodils that kept getting their heads chopped off in front of us but no one elses. Sidenote note – we saw a lot of Spring blooms in Winter last year, t’was pretty.

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Ok, when it comes to US comic book heroines (mainly from DC and Marvel) one of the oldest and most famous heroines is Wonder Woman ‘Warrior Princess’ and does it surprise me that she is the most famous and one of the most well thought out? No. She is the archetypal Daughter and everybody wants the Daughter’s favour because that apparently implies having the Mother’s blessing and not having the Dark Mother as the enemy. The problem is the story is always manipulated and abused.

In Wonder Woman Diana is the Daughter and a ‘First’ figure, not a normal birth made from clay by the Mother Hippolyta the Amazon Queen and like Pandora (Dor-, Dora, Dorothea, Dorothy, Dolly), Diana is blessed by many of the pantheon. The Dark Mother was added later as Diana’s younger sister Troia (the triplicate) Darkstar who does not feature so much in this story but is reincarnated later as a Mother/Dark Mother morph in Xena: Warrior Princess (and Gabrielle the Daughter), whose history with the gods is similar to that of Hippolyta. The writers made sure to differentiate a little by saying that Xena was not an Amazon, however she was an honorary one and Gabrielle later received the title as their Queen albeit temporary, it was also through Gabrielle that Hope was born after she was raped in Britain/Britannia by the new monotheistic One God. Hope is later a lover of Ares and bears ‘the Destroyer’ (a monster son, like that forced on Hippolyta by Ares), after their death the Furies try to bring about the death of Xena’s daughter Eve. It is a horribly, horribly twisted story, and remember it has its roots in India which was then (historically and disputed by some Indian scholars) thought to be invaded/corrupted by a Northern influence, following the changes in Egypt and Mesopotamia. Xena’s chakram is an Indian weapon, the first one referenced as a weapon of Indian gods and being one of a pair: Light and Dark, the Dark one stolen by Ares from a masculine god called Kal but as we know the Greaco-Roman cultures are copies and morphs of what was there before and the root Dark Goddess is Kali, and Ares gave that chakram to Xena, the Dark Mother figure of the story. Her second chakram is a united dual yin-yang version. Even the title for the Daughter i.e. ‘Princess’ is ‘Kar’ or ‘Kaur’ in Indian, and the root Indo-Iranian ‘Kar-‘ make, build, war – can be used for warrior (in this case that would read amazon), a middle name many Indian females have.

Wonder Woman as a Graeco-Romanized version and includes the Persephone story where the Daughter is separated from her Mother, that is a version of the older Ishtar and Inanna story. Covering all bases the ‘creators’ of Wonder Woman based her Mother’s home on Paradise Island, a direct rip off of the island/home of the Creator Divine Mother Devi Lalita and the Sri Yantra (all the old goddesses combined in one geometric mandala/pagoda which has been changed to include modern gods and goddesses). Lalitha is both the creator of the universe/multi-verse and all beings/bodies as well as the uni/multiverse it/themselves (the formed and formless way of explaining). Whilst the Sri Yantra represents all the goddess forms together and separate, it is also a vehicle. In some depictions the throne consists of the corpses of the invading and current pantheon of Hindu gods – so it is prophetic, the dark star system (Nibiru et al) being the throne of the goddess. The ‘children’/creation/workers conquered/tricked/deceived the Mother but their end is foretold/already decided.

As usual to come into the modern/Vedic world the feminine is masculanized in some way, so Diana the Princess becomes Diana Prince as her alias in the USA, the US being one big mesh of ancient Egyptian to later Graeco-Roman symbolism. Diana’s creation is also changed into a human style birth in later versions of Wonder Woman, fathered by Zeus, following deception, drugging and rape of Hippolyta and the Amazons by Hercules and his men orchestrated by Ares (when Hippolyta had wanted peace); and as usual later on Zeus also wants to rape the Daughter Wonder Woman. In the Wonder Woman story, after this massive defeat and degradation half of the Amazon population move to a fictional location in the Middle East. The is the conquering of the root Goddess/Feminine by the later God/Patriarchal culture. The father raping the daughter, and indeed continued practice of some ‘religious’ and magic practitioners as my Mother was after she was brought to Britain to be brutalised and enslaved as a child – a Living God where the family believed through her suffering and purity/good behaviour they would also benefit – very Christ like (again an Indian term) where the innocent is sacrificed/used by the many thinking they can be forgiven/redeemed that way – is constant in old/changeover cultures such as Ares being the father of Hippolyta in Amazon legend.

In at least one of the few matrilineal societies in India the inheritance goes to the youngest daughter who is supposed to act as caretaker to the rest (in practice of course older children are substitute parents) but by caretaker they mean the benefactor of the spoils; in our case the children of Mum’s generation were named after historical ages of creation and humanity via the divine god and concept names (similar to how the Wonder Woman saga is split into ages/yugas; Gold, Silver, Bronze, Modern) and after the suffering of the eldest the ‘victor’ is the youngest – my Mum used to be told how her youngest sister got wonderful things for her wedding and would be happy etc whilst Mum was forced and manipulated into marriages and got nothing. So us eldest born have all the sh*t and the youngsters are supposed to reap, just as Mum and I have almost always been poor whereas others had benefits like learning to drive, jobs of their choosing, property. My Mother was told when she wanted to drive “if you learned to drive, you could go anywhere and we’d lose you” amongst many of the things she’s been told in her life like a mason stranger asking her to “give us Mars” and “we want to sell shares in you” (as if they haven’t already been taking pounds of flesh/stocks in the life/energy). Some masons took it upon themselves to start calling me Christina, the Divine Child, the Princess in the Pyramid, and prior to all that there was a random group of people who stopped me on a Valentine’s Day outside where we lived and asked me to be their ‘Pandora’, although a similar thing happened in New Orleans previously. Interesting enough in December 2012 the the ‘First Born’, the first child, son, of Hera and Zeus was added to the Wonder Woman story as Diana’s enemy and again copying the Lalita Indian culture – the prophecy surrounding the ‘First Born’ was that he would sit on his father’s throne with his family’s corpses around him. The use of Diana vs First Born reflects similar customs of the ‘dark’ and ‘light’ child in some Asian societies where the ‘dark’ is seen as negative and the ‘light’ positive, the ‘light’ usually being the privileged child who has the fun, prestige and honour; this yin yang symbolism is even more poignant if first borns are used and their birthdays solstices.

The story is ingrained in people, people are their stories whether they know it or not and there are people who go to lengths to keep the stories and the lines going (powerful bloodlines consider themselves god and god/alien descendents), the storytellers e.g. media and education keep them in the cultural consciousness too, adapting to the times. You don’t have to know these people to be affected by them but typically children are sold out/groomed by people in their lives.

Much twisting was utilized to include the Mother-Daughter story into the cradles of civilization and it morphed from herstory to history even more when eventually it became a tool for US American patriotism and using the ‘love’ angle to pair/confuse/distract the Goddess with an entirely unsuitable ‘partner’ to keep Her in place especially when the Goddess doesn’t mate. Steve couldn’t have any better than Diana, whereas she could have much better. She never should have left the Aegean Sea let alone by herself.

http://www.smithsonianmag.com/arts-culture/origin-story-wonder-woman-180952710/?no-ist

The Surprising Origin Story of Wonder Woman
The history of the comic-book superhero’s creation seven decades ago has been hidden away—until now

“Noted Psychologist Revealed as Author of Best-Selling ‘Wonder Woman,’” read the astonishing headline. In the summer of 1942, a press release from the New York offices of All-American Comics turned up at newspapers, magazines and radio stations all over the United States. The identity of Wonder Woman’s creator had been “at first kept secret,” it said, but the time had come to make a shocking announcement: “the author of ‘Wonder Woman’ is Dr. William Moulton Marston, internationally famous psychologist.” The truth about Wonder Woman had come out at last.

Or so, at least, it was made to appear. But, really, the name of Wonder Woman’s creator was the least of her secrets.

Wonder Woman is the most popular female comic-book superhero of all time. Aside from Superman and Batman, no other comic-book character has lasted as long. Generations of girls have carried their sandwiches to school in Wonder Woman lunchboxes. Like every other superhero, Wonder Woman has a secret identity. Unlike every other superhero, she also has a secret history.

In one episode, a newspaper editor named Brown, desperate to discover Wonder Woman’s past, assigns a team of reporters to chase her down; she easily escapes them. Brown, gone half mad, is committed to a hospital. Wonder Woman disguises herself as a nurse and brings him a scroll. “This parchment seems to be the history of that girl you call ‘Wonder Woman’!” she tells him. “A strange, veiled woman left it with me.” Brown leaps out of bed and races back to the city desk, where he cries out, parchment in hand, “Stop the presses! I’ve got the history of Wonder Woman!” But Wonder Woman’s secret history isn’t written on parchment. Instead, it lies buried in boxes and cabinets and drawers, in thousands of documents, housed in libraries, archives and collections spread all over the United States, including the private papers of creator Marston—papers that, before I saw them, had never before been seen by anyone outside of Marston’s family.

The veil that has shrouded Wonder Woman’s past for seven decades hides beneath it a crucial story about comic books and superheroes and censorship and feminism. As Marston once put it, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who, I believe, should rule the world.”

Comic books were more or less invented in 1933 by Maxwell Charles Gaines, a former elementary school principal who went on to found All-American Comics. Superman first bounded over tall buildings in 1938. Batman began lurking in the shadows in 1939. Kids read them by the piles. But at a time when war was ravaging Europe, comic books celebrated violence, even sexual violence. In 1940, the Chicago Daily News called comics a “national disgrace.” “Ten million copies of these sex-horror serials are sold every month,” wrote the newspaper’s literary editor, calling for parents and teachers to ban the comics, “unless we want a coming generation even more ferocious than the present one.”

To defend himself against critics, Gaines, in 1940, hired Marston as a consultant. “‘Doc’ Marston has long been an advocate of the right type of comic magazines,” he explained. Marston held three degrees from Harvard, including a PhD in psychology. He led what he called “an experimental life.” He’d been a lawyer, a scientist and a professor. He is generally credited with inventing the lie detector test: He was obsessed with uncovering other people’s secrets. He’d been a consulting psychologist for Universal Pictures. He’d written screenplays, a novel and dozens of magazine articles. Gaines had read about Marston in an article in Family Circle magazine. In the summer of 1940, Olive Richard, a staff writer for the magazine, visited Marston at his house in Rye, New York, to ask him for his expert opinion about comics.

“Some of them are full of torture, kidnapping, sadism, and other cruel business,” she said.

“Unfortunately, that is true,” Marston admitted, but “when a lovely heroine is bound to the stake, comics followers are sure that the rescue will arrive in the nick of time. The reader’s wish is to save the girl, not to see her suffer.”

Marston was a man of a thousand lives and a thousand lies. “Olive Richard” was the pen name of Olive Byrne, and she hadn’t gone to visit Marston—she lived with him. She was also the niece of Margaret Sanger, one of the most important feminists of the 20th century. In 1916, Sanger and her sister, Ethel Byrne, Olive Byrne’s mother, had opened the first birth-control clinic in the United States. They were both arrested for the illegal distribution of contraception. In jail in 1917, Ethel Byrne went on a hunger strike and nearly died.

Olive Byrne met Marston in 1925, when she was a senior at Tufts; he was her psychology professor. Marston was already married, to a lawyer named Elizabeth Holloway. When Marston and Byrne fell in love, he gave Holloway a choice: either Byrne could live with them, or he would leave her. Byrne moved in. Between 1928 and 1933, each woman bore two children; they lived together as a family. Holloway went to work; Byrne stayed home and raised the children. They told census-takers and anyone else who asked that Byrne was Marston’s widowed sister-in-law. “Tolerant people are the happiest,” Marston wrote in a magazine essay in 1939, so “why not get rid of costly prejudices that hold you back?” He listed the “Six Most Common Types of Prejudice.” Eliminating prejudice number six—“Prejudice against unconventional people and non-conformists”—meant the most to him. Byrne’s sons didn’t find out that Marston was their father until 1963—when Holloway finally admitted it—and only after she extracted a promise that no one would raise the subject ever again.

Gaines didn’t know any of this when he met Marston in 1940 or else he would never have hired him: He was looking to avoid controversy, not to court it. Marston and Wonder Woman were pivotal to the creation of what became DC Comics. (DC was short for Detective Comics, the comic book in which Batman debuted.) In 1940, Gaines decided to counter his critics by forming an editorial advisory board and appointing Marston to serve on it, and DC decided to stamp comic books in which Superman and Batman appeared with a logo, an assurance of quality, reading, “A DC Publication.” And, since “the comics’ worst offense was their blood-curdling masculinity,” Marston said, the best way to fend off critics would be to create a female superhero.

“Well, Doc,” Gaines said, “I picked Superman after every syndicate in America turned it down. I’ll take a chance on your Wonder Woman! But you’ll have to write the strip yourself.”

In February 1941, Marston submitted a draft of his first script, explaining the “under-meaning” of Wonder Woman’s Amazonian origins in ancient Greece, where men had kept women in chains, until they broke free and escaped. “The NEW WOMEN thus freed and strengthened by supporting themselves (on Paradise Island) developed enormous physical and mental power.” His comic, he said, was meant to chronicle “a great movement now under way—the growth in the power of women.”

Wonder Woman made her debut in All-Star Comics at the end of 1941 and on the cover of a new comic book, Sensation Comics, at the beginning of 1942, drawn by an artist named Harry G. Peter. She wore a golden tiara, a red bustier, blue underpants and knee-high, red leather boots. She was a little slinky; she was very kinky. She’d left Paradise to fight fascism with feminism, in “America, the last citadel of democracy, and of equal rights for women!”

It seemed to Gaines like so much good, clean, superpatriotic fun. But in March 1942, the National Organization for Decent Literature put Sensation Comics on its blacklist of “Publications Disapproved for Youth” for one reason: “Wonder Woman is not sufficiently dressed.”

Gaines decided he needed another expert. He turned to Lauretta Bender, an associate professor of psychiatry at New York University’s medical school and a senior psychiatrist at Bellevue Hospital, where she was director of the children’s ward, an expert on aggression. She’d long been interested in comics but her interest had grown in 1940, after her husband, Paul Schilder, was killed by a car while walking home from visiting Bender and their 8-day-old daughter in the hospital. Bender, left with three children under the age of 3, soon became painfully interested in studying how children cope with trauma. In 1940, she conducted a study with Reginald Lourie, a medical resident under her supervision, investigating the effect of comics on four children brought to Bellevue Hospital for behavioral problems. Tessie, 12, had witnessed her father, a convicted murderer, kill himself. She insisted on calling herself Shiera, after a comic-book girl who is always rescued at the last minute by the Flash. Kenneth, 11, had been raped. He was frantic unless medicated or “wearing a Superman cape.” He felt safe in it—he could fly away if he wanted to—and “he felt that the cape protected him from an assault.” Bender and Lourie concluded the comic books were “the folklore of this age,” and worked, culturally, the same way fables and fairy tales did.

That hardly ended the controversy. In February 1943, Josette Frank, an expert on children’s literature, a leader of the Child Study Association and a member of Gaines’ advisory board, sent Gaines a letter, telling him that while she’d never been a fan of Wonder Woman, she felt she now had to speak out about its “sadistic bits showing women chained, tortured, etc.” She had a point. In episode after episode, Wonder Woman is chained, bound, gagged, lassoed, tied, fettered and manacled. “Great girdle of Aphrodite!” she cries at one point. “Am I tired of being tied up!”

The story behind the writing and editing of Wonder Woman can be pieced together from Bender’s papers, at Brooklyn College; Frank’s papers, at the University of Minnesota; and Marston’s editorial correspondence, along with a set of original scripts, housed at the Dibner Library at the Smithsonian Institution Libraries. In his original scripts, Marston described scenes of bondage in careful, intimate detail with utmost precision. For a story about Mars, the God of War, Marston gave Peter elaborate instructions for the panel in which Wonder Woman is taken prisoner:

“Closeup, full length figure of WW. Do some careful chaining here—Mars’s men are experts! Put a metal collar on WW with a chain running off from the panel, as though she were chained in the line of prisoners. Have her hands clasped together at her breast with double bands on her wrists, her Amazon bracelets and another set. Between these runs a short chain, about the length of a handcuff chain—this is what compels her to clasp her hands together. Then put another, heavier, larger chain between her wrist bands which hangs in a long loop to just above her knees. At her ankles show a pair of arms and hands, coming from out of the panel, clasping about her ankles. This whole panel will lose its point and spoil the story unless these chains are drawn exactly as described here.”

Later in the story, Wonder Woman is locked in a cell. Straining to overhear a conversation in the next room, through the amplification of “bone conduction,” she takes her chain in her teeth: “Closeup of WW’s head shoulders. She holds her neck chain between her teeth. The chain runs taut between her teeth and the wall, where it is locked to a steel ring bolt.”

Gaines forwarded Frank’s letter of complaint to Marston. Marston shrugged it off. But then Dorothy Roubicek, who helped edit Wonder Woman—the first woman editor at DC Comics—objected to Wonder Woman’s torture, too.

“Of course I wouldn’t expect Miss Roubicek to understand all this,” Marston wrote Gaines. “After all I have devoted my entire life to working out psychological principles. Miss R. has been in comics only 6 months or so, hasn’t she? And never in psychology.” But “the secret of woman’s allure,” he told Gaines, is that “women enjoy submission—being bound.”

Marston wrote Gaines right back.

“I have the good Sergeant’s letter in which he expresses his enthusiasm over chains for women—so what?” As a practicing clinical psychologist, he said, he was unimpressed. “Some day I’ll make you a list of all the items about women that different people have been known to get passionate over—women’s hair, boots, belts, silk worn by women, gloves, stockings, garters, panties, bare backs,” he promised. “You can’t have a real woman character in any form of fiction without touching off a great many readers’ erotic fancies. Which is swell, I say.”

Marston was sure he knew what line not to cross. Harmless erotic fantasies are terrific, he said. “It’s the lousy ones you have to look out for—the harmful, destructive, morbid erotic fixations—real sadism, killing, blood-letting, torturing where the pleasure is in the victim’s actual pain, etc. Those are 100 per cent bad and I won’t have any part of them.” He added, in closing, “Please thank Miss Roubicek for the list of menaces.”

In 1944, Gaines and Marston signed an agreement for Wonder Woman to become a newspaper strip, syndicated by King Features. Busy with the newspaper strip, Marston hired an 18-year-old student, Joye Hummel, to help him write comic-book scripts. Joye Hummel, now Joye Kelly, turned 90 this April; in June, she donated her collection of never-before-seen scripts and comic books to the Smithsonian Libraries. Hiring her helped with Marston’s editorial problem, too. Her stories were more innocent than his. She’d type them and bring them to Sheldon Mayer, Marston’s editor at DC, she told me, and “He always OK’d mine faster because I didn’t make mine as sexy.” To celebrate syndication, Gaines had his artists draw a panel in which Superman and Batman, rising out of the front page of a daily newspaper, call out to Wonder Woman, who’s leaping onto the page, “Welcome, Wonder Woman!”

Gaines had another kind of welcome to make, too. He asked Lauretta Bender to take Frank’s place on the editorial advisory board.

In an ad King Features ran to persuade newspapers to purchase the strip, pointing out that Wonder Woman already had “ten million loyal fans,” her name is written in rope.

Hidden behind this controversy is one reason for all those chains and ropes, which has to do with the history of the fight for women’s rights. Because Marston kept his true relationship with Olive Byrne a secret, he kept his family’s ties to Margaret Sanger a secret, too. Marston, Byrne and Holloway, and even Harry G. Peter, the artist who drew Wonder Woman, had all been powerfully influenced by the suffrage, feminism and birth control movements. And each of those movements had used chains as a centerpiece of its iconography.

In 1911, when Marston was a freshman at Harvard, the British suffragist Emmeline Pankhurst, who’d chained herself to the gates outside 10 Downing Street, came to speak on campus. When Sanger faced charges of obscenity for explaining birth control in a magazine she founded called the Woman Rebel, a petition sent to President Woodrow Wilson on her behalf read, “While men stand proudly and face the sun, boasting that they have quenched the wickedness of slavery, what chains of slavery are, have been or ever could be so intimate a horror as the shackles on every limb—on every thought—on the very soul of an unwilling pregnant woman?” American suffragists threatened to chain themselves to the gates outside the White House. In 1916, in Chicago, women representing the states where women had still not gained the right to vote marched in chains.

In the 1910s, Peter was a staff artist at the magazine Judge, where he contributed to its suffrage page called “The Modern Woman,” which ran from 1912 to 1917. More regularly, the art on that page was drawn by another staff artist, a woman named Lou Rogers. Rogers’ suffrage and feminist cartoons very often featured an allegorical woman chained or roped, breaking her bonds. Sanger hired Rogers as art director for the Birth Control Review, a magazine she started in 1917. In 1920, in a book called Woman and the New Race, Sanger argued that woman “had chained herself to her place in society and the family through the maternal functions of her nature, and only chains thus strong could have bound her to her lot as a brood animal.” In 1923, an illustration commissioned by Rogers for the cover of Birth Control Review pictured a weakened and desperate woman, fallen to her knees and chained at the ankle to a ball that reads, “UNWANTED BABIES.” A chained woman inspired the title of Sanger’s 1928 book, Motherhood in Bondage, a compilation of some of the thousands of letters she had received from women begging her for information about birth control; she described the letters as “the confessions of enslaved mothers.”
When Marston created Wonder Woman, in 1941, he drew on Sanger’s legacy and inspiration. But he was also determined to keep the influence of Sanger on Wonder Woman a secret.

He took that secret to his grave when he died in 1947. Most superheroes didn’t survive peacetime and those that did were changed forever in 1954, when a psychiatrist named Fredric Wertham published a book called Seduction of the Innocent and testified before a Senate subcommittee investigating the comics. Wertham believed that comics were corrupting American kids, and turning them into juvenile delinquents. He especially disliked Wonder Woman. Bender had written that Wonder Woman comics display “a strikingly advanced concept of femininity and masculinity” and that “women in these stories are placed on an equal footing with men and indulge in the same type of activities.” Wertham found the feminism in Wonder Woman repulsive.

“As to the ‘advanced femininity,’ what are the activities in comic books which women ‘indulge in on an equal footing with men’? They do not work. They are not homemakers. They do not bring up a family. Mother-love is entirely absent. Even when Wonder Woman adopts a girl there are Lesbian overtones,” he said. At the Senate hearings, Bender testified, too. If anything in American popular culture was bad for girls, she said, it wasn’t Wonder Woman; it was Walt Disney. “The mothers are always killed or sent to the insane asylums in Walt Disney movies,” she said. This argument fell on deaf ears.

Wertham’s papers, housed at the Library of Congress, were only opened to researchers in 2010. They suggest that Wertham’s antipathy toward Bender had less to do with the content of the comics than with professional rivalry. (Paul Schilder, Bender’s late husband, had been Wertham’s boss for many years.) Wertham’s papers contain a scrap on which he compiled a list he titled “Paid Experts of the Comic Book Industry Posing as Independent Scholars.” First on the list as the comic book industry’s number one lackey was Bender, about whom Wertham wrote: “Boasted privately of bringing up her 3 children on money from crime comic books.”

In the wake of the 1954 hearings, DC Comics removed Bender from its editorial advisory board, and the Comics Magazine Association of America adopted a new code. Under its terms, comic books could contain nothing cruel: “All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted.” There could be nothing kinky: “Illicit sex relations are neither to be hinted at nor portrayed. Violent love scenes as well as sexual abnormalities are unacceptable.” And there could be nothing unconventional: “The treatment of love-romance stories shall emphasize the value of the home and the sanctity of marriage.”

“Anniversary, which we forgot entirely,” Olive Byrne wrote in her secret diary in 1936. (The diary remains in family hands.) During the years when she lived with Marston and Holloway, she wore, instead of a wedding ring, a pair of bracelets. Wonder Woman wears those same cuffs. Byrne died in 1990, at the age of 86. She and Holloway had been living together in an apartment in Tampa. While Byrne was in the hospital, dying, Holloway fell and broke her hip; she was admitted to the same hospital. They were in separate rooms. They’d lived together for 64 years. When Holloway, in her hospital bed, was told that Byrne had died, she sang a poem by Tennyson: “Sunset and the evening star, / And one clear call for me! / And may there be no moaning of the bar, / When I put out to sea.” No newspaper ran an obituary.

Elizabeth Holloway Marston died in 1993. An obituary ran in the New York Times. It was headed, “Elizabeth H. Marston, Inspiration for Wonder Woman, 100.” This was, at best, a half-truth.

So, seriously educated and influential people involved, the writer credited with being pivotal in the invention of the lie detector and if you’ve seen the first two seasons of the most famous serialized tv adaptation with Lynda Carter (from Phoenix [winged fireball], Arizona) – it’s almost all war propaganda. Like with almost all Mother Goddess story based media I’ve seen there is an expectation there, a right to have ownership of the Divine Mother/Daughter/Dark Mother, to have her seeming consent and validation whilst treating her/them like crap yet still want her/them to rescue, forgive, even love unconditionally and let them continue as if nothing happened/changed. In Wonder Woman – Diana is a founding member of the Justice League, she stands up for the Allies and is the connection between the human world and Paradise. If you’ve known masons, you might have noted the obsession with doors; opening doors for people and generally being chivalrous and courteous is part of my nature but in one particularly masonic town Mum and I have noticed people rushing to go through doors/fences etc at the same time as us e.g. if they’re in front they will slowly go to the door, look back at us continually and if we stop they stop, if they make it first they wait until we get there for us to open the ‘portal’/’link’, if we overtake them they’ll speed up to catch up and even push themselves through with us. Or a shop/place of business can be empty and then suddenly people will hurry to go through at the same time. Symbolism and the appearance of ‘permission’ and ‘partnership’ is very important to these people. We don’t open doors for anybody anymore but it’s hard to go through by ourselves, ironically the front door to our residence there became very hard to open/close after we moved in, the opposite to another place we lived where the front door was fine when we went to see the place before moving in (being renovated) but when we moved in it had become too easy to open/close (being an expensive security door the people weren’t willing to change it [again] after we noted it) but we didn’t live alone there so access may have been made easier for those who wanted to be in the same place.

It’s silly and might as well be superstition, wishes of the desperate, but that’s ritual for you and we’ve come across numerous rites of passage. These are people who want to be seen talking to us, seen/living nearby, or when part of our conversation is repeated by people standing 20ft further down the road when we walk past them, shops that are empty that fill up when we go in them and I’ve had shop owners say to me “you’re my lucky charm”, “you bring in business”, people who walk past seemingly just to cough or laugh right at us. Then there’s the cars; there’s been times when I was walking in car parks or as proper on the side of country roads and suddenly turned around to almost have a car bump into me and then decide to use the rest of the road, once a driver laughed, another time a van almost drove into Mum’s arm, other people follow you in their cars like one occasion where a woman stopped her car to ask us what we were doing (we’d stopped to take a break, and when she stopped another car coming from the opposite direction stopped to watch) then invited us to have tea at her place, described where it was (same place we were staying), winked and drove there. We didn’t go, the next time she was with her partner and children and they stopped us on that same road to ask what we were doing and what religion we were (we’re not religious) and this time asked if we wanted a lift. We declined, they still wanted to know if believed in any god, I was declining and politely trying to stop the conversation but Mum said the Goddess Kali and then they got really questioning, wouldn’t leave us alone, stopped traffic three times to crawl along at our pace, stopped and parked twice further down the road to stop us and ask about Kali and why we wouldn’t tell them anything about her, why were were being so ‘nasty’ to them, how there is only Christianity and their God yet they were ones wanting to follow us not the other way round – we’d said to look online and leave us alone because they were harassing us down the 1.5 mile road. Then there’s the vehicles that don’t go anywhere, they drive past on the road, turn around and come back and as they pass stare at us; at another place there was one van that always came and went when we did, it didn’t matter what time of the day/night, one time we came back really late 4am-ish and it still hurtled past. Another place we went camping, no space for vehicles where we camped but as soon as we left the next morning and got to the road all the drivers parked there started up and left too. Thankfully the idiots dressed in Black (yes it sounds ridiculous, and it is) aren’t as obvious anymore, one occasion two particular dummies actually zigged zagged after us in a field – when we went one direction they did, changed direction so did they, stopped to look at the ducks, they did too, started to go, so did they – and then I looked to the road on the side and lo and behold there’s another guy, this one with sunglasses on a cloudy day, keeping pace with us on the other side of the bushes and looked away as soon as I saw him. Another time we were returning to a place after visiting the beach and on the way back a MiB (ack that is such an embarrassing term) was staring at us from an alley whilst on his phone and as we passed we heard him say “they’re on their way back”, that was after another one of them was sitting behind Mum on the beach throwing pebbles next to her.

Speaking of US American Patriotism

From 1982 the World Wrestling Federation started using the Wonder Woman logo as their base.

Wonder Woman Nibiru Symbol Symbolism

Wonder Woman – very Nibiru looking

Wonder Woman Nibiru Symbol Symbolism

New version

Arizona state flag

Arizona state flag, the best one (along with the combined US one) suited to Wonder Woman’s costume. Lynda Carter is from Arizona.

US state flags

heersander.deviantart.com

Obviously the world of professional sports entertainment and in particular wrestling is full of ‘characters’; a soap opera with stuntpersonship but also a heck of a lot of rivalry and feuds, the backstage comes into the ‘squared circle/ring’ at times. It sometimes seems like the gods, monsters, demons, demi-gods, spirits etc live on in comic books and manga related media but the heroes and villains are the stars, superstars, faces, and heels in wrestling too – especially since it’s so pantomime. Elaborate characters, costume, names/moves, themes – all very gladiatorial amphitheater entertainment as if Romans were still around. I used to watch a lot of it myself when I was much younger. In regards to the logo it symbolically implies they have the blessing of the goddess, no they didn’t and they don’t, and I’m glad the World Wildlife Fund took exception to them as well (for sharing the same acronym and breaking a trade agreement) forcing the World Wrestling Federation to change their name in 2001. Nature beats wannabes any day 😛 (Though I’m not keen on some of the key people behind the now called World Wide Fund for Nature, same goes for any company/corporation/financial institution/major charity, when I say ‘Nature’ I mean actual Nature, not the orchestrators.) The WWE, ECW and TNA even used an Indian man who calls himself ‘The Great Khali’ (initially along with his ‘manager’ and partner ‘Tiger Raj Singh’). You’re dreaming, posers.

Just as names are important for people, names and logos are important for companies, especially big companies from Starbucks using the Abraxas two ‘legged’ serpent god icon as is but to a modern person it looks like a mermaid but it goes with their name – star worshipers wanting your resources – to Apple (knowledge) and Windows (portals) and both those logos are split into colours/levels.

Gallery

Original Cindy and Original Sin

Last week we/the public were inundated with the tail end of the latest episode in the Will & Kate ‘lapping it up, loving our status otherwise we’d be Z-list celebs’ show regarding their Tour of India and then flooded with the results of the buildup for the highest profile birthday on the planet, well one of her birthdays, the mater herself. Then we heard about the deaths of dark mother figure ‘ninth wonder of the world’ Chyna and ganymede Prince (the daughter in modern son form). All the world’s a stage.

I wrote a farewell post for Chyna and since we’ve learned that her death is considered an ‘accidental overdose’ – at least they didn’t say suicide which would have been beyond insulting; that woman knew how to be fit and healthy, an icon of what you can achieve with consistent physical effort, paying close attention to her diet and health, preparing her healthy food business and planning to spend time with her family that she was looking forward to and for some time she hasn’t been afraid to show the world her non-star self. She wasn’t suicidal, although I get the impression she may have known something was ending.

In that post I mentioned the [awesome] tv series Dark Angel (2000-2002) and two of the main characters. There were many great characters in that show, some very likable like Max, of course 😛 . Today I thought I’d write a bit about her best friend, Original Cindy. Some of the fist things that come to the modern mind could be Sindy, Barbie, dollies, toys but there’s more to it than that. What we’re talking about here is the Original, Cindy. The original Mother figure always has herself in parts for assistance, close companions, bodyguards etc – something that goes beyond a sidekick, it’s not necessarily an affectionate bond, it’s more solid than that, rock solid, true devotion to another being that is beyond whatever happens between them because ultimately they are/are like one person. A kind of bond that surpasses time and space.

Original Cindy Dark Angel

Original Cindy is Black and a lesbian, she represents the Dark Mother (showing the original feminine here). Max is Brown, hetero but cautious and can’t touch her beau – she is the Daughter; the Dark Mother and Daughter aren’t known for creating, all three parts Mother/Daughter/Dark Mother are warriors so there is crossover but generally the Daughter is the mediator/the link between the Mother and creation and the Dark Mother is the destroyer. In Dark Angel we see Original Cindy’s partner Diamond who poignantly had broken out of prison and unknowingly had been infected with a fatal disease as part of an experiment on prisoners. ‘Daimon’ (looks like Damian or daemon doesn’t it) refers to the spirit in later culture referred to as the holy ghost. Remember that the modern names for the ‘devil’ (that word in itself being a demonization of the Devi i.e. Mother Goddess) include Lucifer and Satan; both of which again don’t really refer to what we consider nowadays. Lucifer for example being the holy light, even the morning/evening star Venus (or lighter matches if you remember the 1830’s). Satan can be seen in differently too – type of djinn, plural not individual but remember that the d/jinn consider themselves smokeless fire, pure, and are an elder race. No wonder really why the the giant diamond in space was called Lucy [in the sky with diamonds] in 2004 after the Beatles [scarab = gem/ornament cut in the form of a beetle] song.

Then there’s original sin. Original sin in the latest installment of the official story is Eve, billed as the original woman but there was a Mother figure before her, billed as Adam’s first wife Lilith. Eve was given awareness, was awoken from a semi-consciousness by eating an apple from a sacred tree (we often see it as red for its own reasons, maybe I’ll fit that in somewhere later). The tree and and the snake are sometimes seen as one, sometimes as two i.e. a snake who just happens to be in a tree but it’s not clear whether the tree (and trees were sacred to root peoples who knew their importance for them, other animals and land/environment) is separate from the snake since the snake also symbolizes renewal/the cycle of life and later the two symbols became the winged staff used in medicine. Either way the snake is similar to the Cheshire Cat in Alice in Wonderland (and like many authors Lewis Carroll put his beliefs into his writing), helped Eve and Eve in turn gifted knowledge to humanity. How shameful. Before that they were living in a garden/micro-environment/lab experiment presided over by ‘God’ and his helper/worker/descendant races, nowadays we only think of them as ‘angels’. Due to her crime Eve and all her daughters/women were forever punished with pregnancy/childbirth/afterbirth (if they survived and lived long enough after year upon year of it from childhood themselves). Also of course the sin of being born of a woman which has to be cleansed via a water ritual as if babies don’t come out of a fluid sac. I’m surprised no one’s thought of using soap in the ceremony. Interestingly it highlights that apparently humans weren’t created/born in the way we think if this is punishment. I would have preferred to come out of a plant or down on a moonbeam personally *ahem*.

Alright let’s take it back further, whilst Adam is the original man of the combination of the elements Eve is the eve – the cusp – as aforementioned Lilith came beforehand and later became known as the mother of monsters due to genetically modified/mixed species children she apparently had, though ‘God’ had the same. What got Lilith demonized and replaced? Wanting equal rights. Predating the Hebrew we associate Lilith with the serpent and the tree which may be why in some artworks the snake is depicted as part woman, the goddess with the intel who wanted to tell Eve the truth.

What is sin? Sin is an old word for the moon; many gods and goddesses have been associated with the moon (same goes for the sun) and we often see crescent moons on goddesses (and the crescent has its own connotations); in terms of the Mesopotamian pantheon the moon deity was male. The moon has become associated with wisdom.

What is Original Cindy? ‘Normal’ (the name of the guy most of the main characters work for as bike messengers/couriers) insults her (he insults everybody, and they’re not exactly the most reliable staff either) when she returns from trying another job maybe she isn’t the ultimate/almighty ‘goddess of the universe’ she thinks she is, but ironically that is part of what she represents, is covering for and helping to help everybody in general. It’s similar to how Max always gets blamed for escaping from Manticore and apparently deserting everybody there making things worse for them plus called a loner who looks out for herself (whilst she looks after everybody around her, helps both when asked and not asked) yet if she hadn’t escaped with her unit, they wouldn’t have been able to return to destroy the place and free the inmates. Max also refers to her cat heritage early on “because it’s the Egyptian goddess Bast, the goddess who comprehends all goddesses, eye of Ra, protector, avenger, destroyer, giver of life who lives forever” when Logan Cale meets her (Cale being 1 part of the triple goddess – the triplicate – the power of 3 – the highest divided form of the Mother – Mother/Daughter/Dark Mother which later became know as Faith, Hope and Charity; things that Logan is trying to accomplish with Eyes Only – Max has special eyes that are unique out of her unit and ‘donated’ from an earlier dead woman).

Original Cindy talks in third person and often in verse, characteristic of the ancient epics. Something she seems to have learned from Diamond, but claims not to. She’s also a fan of Xena: Warrior Princess 😛 another dark mother figure and paired with another daughter figure. The original Mother in Dark Angel was a native girl who was captured and raped by three invader males who bred her until they had a child they were satisfied with, they buried her and the dead babies. Their remains were found by Sandeman and he started his genetics experiments, later taken over by the government and he disappeared (remember the old stories of the sandman talk of a creature that forced children to sleep, beat them and sometimes fed them to his own children). The rape of the indigenous girls and women is commonplace in invasions to ensure the conquerors have a ‘valid’ claim on the place via genes. The use of the native girl is similar to the back story of the ‘First’ in slayer lineage Buffy the Vampire Slayer. The First was a local girl three men did ‘black magic’ on possessing her with a shadow demon to make her strong enough to fight demons, to slay them; like the ‘polluted’ Eve in the Gnostic Sophianic story, and as Buffy says “I didn’t come here to get knocked up… You violated her”, Buffy herself being a daughter figure, her mother Joy/ce dies and her sister Dawn is pure energy and not a normal birth.

The First Slayer

Ironically the Breeding Cult in Dark Angel are trying to achieve the same thing as Manticore just via selective and what they consider normal sex, they too discard the ‘breeding partner’/victim after they have a child they’re satisfied with. They’re obsessed with purebreds, how many were inbred? We assume that they didn’t include other animals in their practices though they do use snakes in their initiation rituals and have amazing strength and pain tolerance. They hate the ultimate pure bred produced by Manticore, Max (triple mother, matrix), and try to make her into a villain for the public so that they hate her and don’t realize she could offer hope/knowledge/help.

Max is the daughter figure because it is through the Daughter that creation learns about the Mother, particularly necessary after having been under the spell/dream of the usurper workers who made themselves into God/s and lorded it over creation. Even in the Devi Gita – which is still a patriarchal cradles of civilization version of older narrative – but due to its antiquity is still revealing admits that the ultimate gods/the ruling pantheon/the strongest of the strongest/the firsts etc etc etc were not the creators, they themselves and they cosmos they knew were created by the Mother Goddess/Devi/Vidya/Hrim – the name is not mentioned but ‘Lalita Tripurasundari’ is the ultimate/complete Shakti, the Matrika whose sri yantra contains the other goddesses. Where they put their stamp in was at the introduction of the caste/class system and when there’s been a cataclysm or perhaps ‘demon they couldn’t definitely beat’ they call for Mother, like praying on their deathbed after a lifetime of doing sh*t to everybody, warring with each other and feeling punished by natural disasters.

What you thought there were only the Bhagavad-gita, Mahabharata and Ramayana? Well I can see why – the Devi Gita is rarely talked about and harder to find, even the copiously educated, beautifully intellectual and genteel ladies of mother-god.com hadn’t included it in their articles until Mum told them about it. So here’s a version of it for reference:

Also for reference: the Lalitopakhyana
http://tikaboo.com/library/lalitopakyana.pdf

The problem is that despite the magnificent descriptions we know that patriarchy and the male triad plus Indra took over so unlike the gods/God of later religions the Mother isn’t omnipotent, omniscient and omnipresent plus she’s generous and loving to a fault so she’s subject to being tricked, trapped, hurt similar to the rest of us. In that sense we can identify with her much more and probably part of why she was/is so precious to indigenous peoples and even modern people who feel the need for something better than pack mentality to believe in. Something beloved. She’s almost like a bigger version of the Earth Mother, something Earth and Earth’s children can look to. It left a scar on people and their culture when she disappeared/was conquered, I can see why her image has endured in our beliefs even though twisted. We lost more than we bargained for in her demise.

Like James Cameron puts in Avatar where he mixed/twisted narratives but at least we knew the bad side was the bad side i.e. when people desire something that belongs to someone else we make excuses and add to incidents to go to war and justify resource grabbing/genocide. “We killed our Mother” [and look at the state of us]. Signourney the Weaver (Fate/Spinner/Time) has portrayed the Mother/Dark Mother role well both in Avatar (and very interestingly via cloning and dream out of body experience/travel technology in that film – and again there’s an episode in the series Charmed that has the dream technology theme with dark mother figure Prudence playing lead – Shannen Doherty, Shannen representative of goddess Sionen, the flowing water and wisdom – the cosmos is the sea/ocean) and as Elle-n Ripley in the Alien series, the second film ‘this time it’s war’ also written/directed by James Cameron, a series in which the ancient narrative is aptly put.

In Avatar we also see the sacred trees and people with snake like hair which gives them knowledge through telepathy and they live on Pandora (an earlier parallel of Eve). Pandora was the first and complete woman, a great work that then became associated with sin, i.e. knowledge and hope. I’ve never liked hope personally, I’m a cynic and find it extends pain, the same with knowledge so much of it takes a lot of searching for ‘truth’ but then in the long run with enough effort sometimes, just sometimes… :-).

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