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

Posts tagged ‘Herstory’

Sleeping Beauty – The Dormition of Mary

I respect the young girl who was raped i.e. arranged marriage, to an old man, and then told by another ‘old man’ aka an ‘angel’ on behalf of an even older ‘man’ aka ‘God’ that she was having a special boy/son who was later called ‘the son of Man’ and even later ‘the Son of God’ and the baby was visited by ‘three Kings/Wise men’ (always the ‘three’). That poor girl her whole life and body was dominated by men, human and otherwise, and mansplaining. She had no chance, her existence was all planned out – if ‘he’ the chosen one, her son, was born knowing what would happen why choose to have his Mother’s life mapped out as well? He didn’t like how hard his life was/the direction in which it went and he knew in advance – both intentionally and unintentionally demonstrating that knowing something and go through it are two different things so why add to that and choose a girl who had no life/opportunity/choice at all? At least he could talk to God (or someone) and perhaps get an answer, she couldn’t at all as far as we know and it sounds like God or he and God (if they were even related in an immediate familial sense) picked a vulnerable/easily taken advantage of person to impose their plan(s) on. How nice. How good. Not. That is one of the types of innocent they were supposed to protect no? And no it wasn’t an honour or even an obligation/honour of duty as she may have seen it, she didn’t have a choice – she was a young girl she couldn’t make such big decisions herself let alone with informed, understood consent and she shouldn’t have had to – her choices were made for her. A child like the children in the world today who are married off and/or are children who have children and many of the rest of us in the world agree that even though it’s cultural we have moved on and/or we don’t like it/it’s not right and those who don’t mind are either of the ‘it’s not our children and there’s not much we can do about it so we don’t bother/just leave them to it’ mentality and those that want that kind of thing are deemed pedophiles.

Her festival including fasting period is almost overshadowed and even undone by:


‘The Feast of the Transfiguration of Jesus is celebrated by the most Christian denominations on August 06, 2017. Transfiguration is considered a major feast, numbered among the twelve Great Feasts in Orthodoxy. In all these churches, if the feast falls on a Sunday, its liturgy is not combined with the Sunday liturgy, but completely replaces it.

The Transfiguration is the second of the “Three Feasts of the Saviour in August”, the other two being the Procession of the Cross on August 1 and the Icon of Christ Not Made by Hand on August 16. The Transfiguration is preceded by a one-day Forefeast and is followed by an Afterfeast of eight days, ending the day before the Forefeast of the Dormition.

The Transfiguration of Jesus is an event reported in the New Testament in which Jesus is transfigured and becomes radiant upon a mountain. Jesus and three of his apostles go to a mountain (the Mount of Transfiguration). On the mountain, Jesus begins to shine with bright rays of light, the prophets Moses and Elijah appear next to him and he speaks with them. Jesus is then called “Son” by a voice in the sky, assumed to be God the Father, as in the Baptism of Jesus.

In Christian teachings, the Transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place for the temporal and the eternal, with Jesus himself as the connecting point, acting as the bridge between heaven and earth.

So even though I’m not Catholic or Christian I wouldn’t mind showing respect to this great female icon and I already have shown her recognition and sympathy by posting this and acknowledging this day two weeks ago but I don’t and didn’t need to fast even if I was of the necessary religious persuasion. Know why? I’m vegan and I fast/abstain more than that every day and I don’t even see it as fasting, vegans act every day for a better world via compassion to other creatures, the environment, human health and their own health. We don’t do too badly by the ethos of the New Testament do we. (Ha just recently I told a cleric I wasn’t going to have honey no matter what and outlined the reasons why even though it’s seen in many texts and science as a cure-all even in treatment for what I suffer from, so there. At first he was surprised and laughing but when I said I don’t laugh at his beliefs and it’s not funny he apologized, listened and quickly learned my ethos to be kind to all creatures great and small as something to be respected.)


“Dormition of the Virgin” redirects here.

The Dormition of the Mother of God (Greek: Κοίμησις Θεοτόκου, Koímēsis Theotokou often anglicized as Kimisis, Slavonic: Успение Пресвятыя Богородицы, Uspenie Presvetia Bogoroditsi) is a Great Feast of the Eastern Orthodox, Oriental Orthodox and Eastern Catholic Churches which commemorates the “falling asleep” or death of Mary the Theotokos (“Mother of God”, literally translated as God-bearer), and her bodily resurrection before being taken up into heaven. It is celebrated on August 15 (August 28, N.S. for those following the Julian Calendar) as the Feast of the Dormition of the Mother of God. The Armenian Apostolic Church celebrates the Dormition not on a fixed date, but on the Sunday nearest August 15.

Dormition fast

The Feast of the Dormition is preceded by a two-week fast, referred to as the Dormition Fast. From August 1 to August 14 (inclusive) Orthodox and Eastern Catholics fast from red meat, poultry, meat products, dairy products (eggs and milk products), fish, oil, and wine. The Dormition Fast is a stricter fast than either the Nativity Fast (Advent) or the Apostles’ Fast, with only wine and oil (but no fish) allowed on weekends. As with the other Fasts of the Church year, there is a Great Feast that falls during the Fast; in this case, the Transfiguration (August 6), on which fish, wine and oil are allowed.

In some places, the services on weekdays during the Fast are similar to the services during Great Lent (with some variations). Many churches and monasteries in the Russian tradition perform the lenten services on at least the first day of the Dormition Fast. In the Greek tradition, during the Fast either the Great Paraklesis (Supplicatory Canon) or the Small Paraklesis is celebrated every evening except Saturday evening and the Eves of the Transfiguration and the Dormition.[1]

The first day of the Dormition Fast is a feast day called the Procession of the Cross (August 1), on which day it is customary to have an outdoor procession and perform the Lesser Blessing of Water.

Significance of the feast

In Orthodoxy and Catholicism, in the language of the scripture, death is often called a “sleeping” or “falling asleep” (Greek κοίμησις; whence κοιμητήριον > coemetērium > cemetery, “a place of sleeping”). A prominent example of this is the name of this feast; another is the Dormition of Anna, Mary’s mother. [My comment – remember Anna and Anna-Marie stem from Ishtar and Inanna.]

Up until the 5th century Church Fathers do not mention the Dormition of the Virgin and to the 6th century Dormition was not celebrated among the Christians as a holy day.[2]

For example, Epiphanius of Salamis, a Jew by birth, born in Phoenicia, converted to Christianity in adulthood and lived as a monk for over 20 years in Palestine with 335-340 for 362 years, writes in “Panarion” in “Contra antidicomarianst” about the death of the Virgin Mary following: “If any think [ I ] am mistaken, moreover, let them search through the scriptures any neither find Mary’s death, nor whether or not she died, nor whether or not she was buried — even though John surely traveled throughout Asia. And yet, nowhere does he say that he took the holy Virgin with him. Scripture simply kept silence because of the overwhelming wonder, not to throw men’s minds into consternation [my comment – I doubt it was out of wonder and/or respect, morelike patriarchy like some people’s gospels downplaying Mary Magdalene’s role]. For I dare not say — though I have my suspicions, I keep silent. Perhaps, just as her death is not to be found, so I may have found some traces of the holy and blessed Virgin.[3]” “The holy virgin may have died and been buried — her falling asleep was with honor, her death in purity, her crown in virginity. Or she may have been put to death — as the scripture says, “And a sword shall pierce through her soul” — her fame is among the martyrs and her holy body, by which light rose on the world, [rests] amid blessings. Or she may have remained alive, for God is not incapable of doing whatever he wills. No one knows her end. But we must not honor the saints to excess; we must honor their Master. It is time for the error of those who have gone astray to cease.[4]” Christians in the late 4th century had different opinions regarding Mary’s death; some believed that she was martyred. For this reason, Ambrose, for example, wrote: “Neither the letter of Scripture nor Tradition does not teach us that Mary had left this life as a consequence of suffering from bodily ulcers.”[5]

The events of the Dormition of the Virgin, and the burial of several known apocrypha: “Tale of the Dormition of the Virgin” Pseudo-John the Theologian (V emerged in the mid-century or later),[6] “De transitu Virginis Mariae” Pseudo-Melito of Sardis (5th century),[7] the composition of Pseudo-Dionysius the Areopagite, “According to John, Archbishop of Thessalonica.” One of these apocrypha placed in the “History of the Church” Nikephoros Kallistos Xanthopoulos.[8] All listed Apocrypha quite late (5th and 6th century) and differ from each other content.

Therefore, the Church was not taken all their content, but only the basic idea that the Virgin Mary blissfully rested and Her soul was adopted by her Son Jesus Christ at Dormition. According to Nikephoros Kallistos Xanthopoulos in his “History of the Church,” the emperor Maurice (582—602), issued an edict which set the date for the celebration of the Dormition – August 15.[9] After that Christians in the empire began to celebrate the death of the Virgin Mary. Patriarch of Jerusalem Modestus (630—632) preaching, said at this celebration, regrets the lack of specific information about the death of the Virgin Mary.[10] In Rome the feast called Dormitio Beatae Virginis set by Pope Sergius I (687-701), borrowed from Constantinople.[11]

According to later Catholic tradition, Mary, having spent her life after Pentecost supporting and serving the nascent Church, was living in the house of the Apostle John, in Jerusalem, when the Archangel Gabriel revealed to her that her death would occur three days later. The apostles, scattered throughout the world, are said to have been miraculously transported to be at her side when she died. The sole exception was Thomas, who had been delayed. He is said to have arrived three days after her death in a cloud above her tomb and to have seen her body leaving to heaven. He asked her “Where are you going, O Holy One?” and then she took off her girdle and gave it to him and said “Receive this my friend” then she disappeared.[12] Thomas was taken to his fellow Apostles and asked to see her grave so that he could bid her goodbye. Mary had been buried in Gethsemane, according to her request. When they arrived at the grave, her body was gone, leaving a sweet fragrance. An apparition is said to have confirmed that Christ had taken her body to heaven after three days to be reunited with her soul. Orthodox theology teaches that the Theotokos has already undergone the bodily resurrection which all will experience at the second coming, and stands in heaven in that glorified state which the other righteous ones will only enjoy after the Last Judgment.[13]

Dormition versus Assumption

The Dormition of the Theotokos is celebrated on August 15 (August 28, N.S. for those following the Julian Calendar), the same calendar day as the Roman Catholic Feast of the Assumption of Mary. The Dormition and the Assumption are different names for the same event, Mary’s departure from the earth, although the beliefs are not necessarily identical.

The Orthodox Church specifically holds one of two Roman Catholic alternative beliefs, teaching that Mary died a natural death, like any human being; that her soul was received by Christ upon death; and that her body was resurrected on the third day after her repose, at which time she was taken up, bodily only, into heaven when the apostles, miraculously transported from the ends of the earth, found her tomb to be empty.[14]

While some Roman Catholics agree with the Orthodox that this happened after Mary’s death, others hold that she did not experience death and she was “assumed” into heaven in bodily form, just as her son Jesus ascended. However, Pope Pius XII alludes to the fact of her death at least five times, but left open the question of whether or not Mary actually underwent death in connection with her departure, in his Apostolic constitution, Munificentissimus Deus (1950), which dogmatically defined ex cathedra (i.e., infallibly) the Assumption.

On 25 June 1997 during a General Audience Pope John Paul II stated that Mary experienced natural death prior to her assumption into Heaven, stating:

It is true that in Revelation death is presented as a punishment for sin. However, the fact that the Church proclaims Mary free from original sin [my comment – sex though note that being raped and taken advantage of sexually in any way is still sex/sexual it’s not the victim’s fault and they are still innocent, perhaps even ‘innocent’ sexually in some people’s eyes too] by a unique divine privilege does not lead to the conclusion that she also received physical immortality. The Mother is not superior to the Son [my comment – was she not a chosen one as well? Who suffered and died not only for ‘God’/’his’ but for people as well?] who underwent death, giving it a new meaning and changing it into a means of salvation. Involved in Christ’s redemptive work and associated in his saving sacrifice, Mary was able to share in his suffering and death for the sake of humanity’s Redemption [my comment – ‘redemption’ nothing much has happened since has it? And the ‘second coming’ is supposedly about humanity’s ‘ascension’ – we haven’t even made up for any of our ‘crimes’ yet]. What Severus of Antioch says about Christ also applies to her: “Without a preliminary death, how could the Resurrection have taken place?” (Antijulianistica, Beirut 1931, 194f.). To share in Christ’s Resurrection, Mary had first to share in his death. The New Testament provides no information on the circumstances of Mary’s death. This silence leads one to suppose that it happened naturally, with no detail particularly worthy of mention. [My comment – seriously???] If this were not the case, how could the information about it have remained hidden from her contemporaries and not have been passed down to us in some way? [My comment – It’s called selective storytelling or truth telling, his-story and patriarchy, religious/culture ommission.] As to the cause of Mary’s death, the opinions that wish to exclude her from death by natural causes seem groundless. It is more important to look for the Blessed Virgin’s spiritual attitude at the moment of her departure from this world. In this regard, St Francis de Sales maintains that Mary’s death was due to a transport of love. He speaks of a dying “in love, from love and through love”, going so far as to say that the Mother of God died of love for her Son Jesus (Treatise on the Love of God, bk. 7, ch. XIII-XIV). Whatever from the physical point of view was the organic, biological cause of the end of her bodily life, it can be said that for Mary the passage from this life to the next was the full development of grace in glory, so that no death can ever be so fittingly described as a “dormition” as hers.”[15]

Both views agree that she was taken up into heaven bodily. The specific belief of the Orthodox is expressed in their liturgical texts used of the feast of the Dormition.[14]

The Eastern Catholic observance of the feast corresponds to that of their Orthodox counterparts, whether Eastern Orthodox or Oriental Orthodox.

More info about the practises of Dormition and Assumption on the above link and here: https://en.wikipedia.org/wiki/Assumption_of_Mary

So being a pure being, Mary was ressurected like Jesus? Mary in relation to Ishtar/Inanna i.e. Venus (Venus the planet and Venus/Aphrodite) the Morning Star? Ishtar/Inanna are goddesses of a race(s) which isn’t always known for dying but when they do so it’s usually dramatic and can involve resurrection or at least metaphor for death an ressurection e.g. the decent into the underworld/netherworld giving up mortal ‘trappings’ such as sexuality and clothing/graces facing the Dark Mother, seven levels and then ascent. Obviously by the time they became Mary ‘Mother of [a] Christ’ (the earlier and longest lived in history ‘Christ’ in history being Krishna – and the fact that he (avatar of Vishnu), Shiv[a] and Brahm[a] are not the be all and end all nor absolute creators in Hinduism or even pre-Vedic Hinduism, they’re not creators at all and at times of extreme distress usually of their own making call forth and pretend to pay tribute to the Mother of all Lalit[h]a – she is above all of the Hindu Mother Goddesses, she was there first*) came along the sensuality, sexuality, aggressiveness and cleverness of Ishtar/Inanna/Venus/Aphrodite was turned into the perfect innocent (but still typically a rape victim – many goddesses and divine females suffer rape) non-sexual free of ‘sin’ being even though she was married and even though ‘God’ choosing to use her baby to either be or be possessed by another ‘soul’/character (later commonly known as ‘Jesus’).

Either way kudos to her, she had it tough.


P.S. Interestingly enough as per the Gregorian calendar August 15 [1947 after WWII] is the anniversary of the Independence of India – the oldest still living Mother Goddess (though twisted/morphed version) culture.


*Ancient gods and God herself are written/told to spend much of their time sleeping (‘dormition’/asleep), dreaming and breathing/meditating – the breath of/or brahma i.e. the inwards and outwards motion of breath is the same as the movement of the universe and creation predominantly our galaxy towards and outwards from its centre and the Maya is the illusion/dream/barrier/veil between creation and potential or dreaming and waking, truth and lie. Creation/existence as we know it is seen as a dream perhaps even a daydream or forced dream and part of the or a cycle of breath of God.


Predators and their lust for control

Those who want/need/desire the Mother and Daughter and will do anything to get/keep/pollute them.

This is an excerpt from a film review I wrote in June 2014:


The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.

In regards to public media the desired ending is always the same, no matter how much truth is in the vehicle e.g. film, song, series, characters etc, no matter how much they’re coded/symbolic. In regards to Momo – the point was to make the Mother figure into the Daughter figure to control her. And for those of you desperate for the ‘French connection’ in my life one of the names is in there.

In the book ‘Lolita’ – Dolores ‘Lo’ ‘Lola’ ‘Dolly’ at 12-years-old (when my ‘grooming’ was ‘activated’ with induced sleep paralysis) is sexually abused and turned into Lolita ‘the perfect lover’ [corrupted form of ancient Indian Ultimate Mother Goddess Creator of All ‘Lalit[h]a’] through the grooming, trauma/confusion/predatory behaviour and then ‘goes off the rails’ (out of the arches/off the train) only to be ‘rescued’ by her abuser/orchestrator/handler/contaminator. She is poignantly his ‘landlady’s’ daughter, and for his plot to work he must become the Father and her demoted in status to his daughter. Dolores/Dolly reminds him of an older/earlier ‘love’ Anna-Bel[l].


Plot Summary

Humbert Humbert*, a European literary scholar, describes the premature death of his childhood sweetheart, Annabel Leigh. He suggests his unconsummated love for her caused his fixation with nymphets (girls aged 9–14) and indulges in his sexual fantasies by pretending to read a book in a public park and being aroused by nymphets playing near him, as well as by visiting a prostitute who he believes is 16 or 17, and imagining her to be three years younger. After a misadventure when he requests a nymphet-aged girl from a pimp, Humbert marries an adult woman with childish mannerisms, Valeria, to allay suspicion. His marriage with Valeria dissolves, after she admits to having an affair with a Russian taxi driver. Humbert wants to kill her, but Valeria and the taxi driver leave before he gets the chance. After another visit to a psychiatric ward after a mental breakdown, he moves to the small New England town of Ramsdale to write.

Humbert fantasizes about meeting and eventually molesting the 12-year-old daughter of an impoverished family, the McCoos, from whom he agreed to rent an apartment. Upon his arrival in Ramsdale, however, he discovers that their house has burned down. A landlady named Mrs. Charlotte Haze offers to accommodate him instead, and Humbert visits her residence out of politeness. Humbert plans to decline Charlotte’s offer until he sees her 12-year-old daughter, Dolores (born 1935), known as “Lo,” “Lola,” or “Dolly”. He becomes infatuated with her, in part because of her uncanny resemblance to Annabel, and agrees to stay at Charlotte’s house only to be near her daughter, whom he privately nicknames “Lolita.”

Humbert starts a diary in which he keeps detailed descriptions of Lolita’s characteristics, along with moments that they spend together. The diary also contains hateful comments about Charlotte, along with a description of a picture in a magazine of a playwright (Clare Quilty), who Lolita has a crush on and who Humbert resembles.

Charlotte, Lolita, her friend Mary, and Humbert plan to go to Hourglass Lake for a picnic one Sunday. However, Mary’s mother phones to tell them that Mary is running a fever and that she can’t go. Mrs. Haze postpones the picnic and, as a result, Lolita refuses to go to church with her. Mrs. Haze leaves for church and Humbert and Lolita are left alone. While the two sing a song, Humbert secretly ejaculates in his pants as Lolita sits on his lap. She does not notice and leaves for the movies. After returning from a lunch in town, Charlotte tells Humbert that Lolita is going to camp Thursday and she won’t return until the next school year.

That Thursday, before getting in the car, Lolita runs back into the house and kisses Humbert goodbye. As Charlotte, who has fallen in love with Humbert, drives Lolita to summer camp, the housemaid delivers a letter to Humbert from Charlotte telling him that he must either marry her or move out to avoid embarrassment. To continue living near Lolita, Humbert agrees to marry Charlotte. After finding Humbert’s diary and learning his true feelings, Charlotte confronts him, calling him a “detestable, abominable, criminal fraud.” As Humbert goes into the kitchen to get them drinks, Charlotte runs out of the house with the letters that she had just written, but is killed by a passing car before she can mail them. A little girl gives Humbert the letters, and he later examines them: one was to Lolita telling her they were moving, another to a boarding school in which Lolita was to be enlisted, and a third to Humbert that suggested a possible reuniting between him and Charlotte in the future.

Humbert retrieves Lolita from camp, lying that Charlotte has been hospitalized, and takes Lolita to a hotel, where he plans to use a sleeping pill on Lolita and rape her while she is unconscious. As he waits for the pill to take effect, he wanders through the hotel and meets a man (Quilty) who inquires about Lolita. Humbert excuses himself from the strange conversation and returns to the hotel room. There, he finds that the sedative was too mild after seeing Lolita drifting in and out of sleep. He lies next to her all night, fantasizing about him and her together. However, it is she who initiates sex in the morning, showing him what she had learned at summer camp. On their way to the fake hospital that Charlotte was supposed to be staying at, Humbert tells Lolita that her mother is dead. Thereafter Lolita and Humbert drive around the country, moving from state to state and motel to motel. To keep Lolita from going to the police, Humbert tells her that if he is arrested, she will become a ward of the state and lose all her clothes and belongings. He also bribes her with food, money, or permission to attend fun events in return for sexual favors. After a year of touring North America, the two settle in another New England town, where Lolita is enrolled in a girls’ school. Humbert becomes very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys. The headmistress of the school see his strictness as the concern of a loving, though old-fashioned, parent. Humbert reluctantly grants Lolita permission to join the school play in exchange for more sexual favors. The play she joins is written by Mr. Clare Quilty, but Humbert doesn’t know it. Just before opening night, Lolita and Humbert have a ferocious argument, and Lolita runs away. Humbert searches frantically until he finds her bike next to the phone booth she was using. She brushes the phone call off and reconciles with him, saying she wants to go on another road trip with him, only this time she gets to choose where they go.

As Lolita and Humbert drive westward again, Humbert becomes suspicious that someone is following them, first thinking it’s a cop and then later one of Lolita’s admirers from school. Lolita falls ill and must convalesce in a hospital, while Humbert stays in a nearby motel. The hospital staff tells Humbert in the morning that her uncle checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, retracing his steps to every hotel that they’d been to thus far, but fails to track them. During his search, Humbert has a two-year relationship (ending in 1952) with a woman named Rita, whom he describes as a “kind, good sport” who “solemnly approve[s]” of his search for Lolita, while knowing none of the details.

Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert tracks down the address and finds Lolita, but her husband is not the man that kidnapped her. He promises to give her money in exchange for the name of the man who abducted her. She reveals that Clare Quilty checked her out of the hospital and tried to make her star in one of his pornographic films; but expelled her upon refusal because she only wanted to be with Quilty. She worked odd jobs before meeting and marrying her husband, Dick, who knows nothing about her past. Although she looks much older now, Humbert realizes that he still loves Lolita and repeatedly asks her to leave Dick and go with him, which she refuses. He gives her $4,000, which is much more than what she asked for, and then leaves. As he leaves, she smiles and shouts goodbye as if he was her own father. Humbert tracks down the dentist who knows where to find Quilty, and later kills Quilty in his own mansion. Shortly afterwards, he is arrested for driving on the wrong side of the road and running a red light. The narrative closes with Humbert’s final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died. The novel’s fictional foreword states that Humbert dies of coronary thrombosis after completing the manuscript, just one or two months after getting arrested. It also states that “Mrs. Richard F. Schiller” (Lolita) died giving birth to a stillborn girl on Christmas Day, 1952, at the age of 17, a month after Humbert’s death on November 16, 1952.

*Humbert – means ‘bright (light for you likers of ‘light’ vs ‘dark’) warrior’ ‘bearcub’ who becomes ‘famous/Hun’; he is ultimately the demi-urge, the deviation, the mutation, the mistake that raped his Mother and Creation/Daughter to conquer and became the singular and false Godhead. There’s nothing ‘romantic’ about that despite the ‘exquisite language’ fans of this book keep going on about and other ‘classics’ in general.

The reason why I mentioned the book ‘Pamela: Or Virtue Rewarded’ was because my Mum, Sis and I each had a book in our lives when we were younger; Mum was constantly reminded of ‘Lolita’, I had ‘Pamela’ (where Pamela, like Lolita ends up with her abuser(s) but respected/false hierarchical acknowledgement via being virtuously stubborn and resistant whereas Lolita is made as desperate and downtrodden as possible so she can’t even think) and my Sis had ‘Great Expectations’ (which she was too young to read) – I and my sis ‘chose’/were drawn to the books we had but they were telling of the situations we were in. I later decided an old dictionary suited me better (which recently some people wanted to ‘drown’/submerge/ruin) and my sis, well…

‘People’ have always ‘gifted’ me books they want me to be like or take notice of something in like an encyclopedia of ‘Alchemy’ i.e. masonic symbolism and Machiavelli’s ‘The Prince’ (another way of saying the modern masculanized version, Divine Child, of the The Princess/Daughter) but I prefer to choose my own; for example on on my many visits to Camden Market in London I only had a few minutes, so went into the indoor book market (takes up almost the whole ground level) near the Lock[e] (before the convenient fire and restructuring into a tardis type maze) and ‘said’ to the books that I wanted the one I was meant to have. I automatically went to a random area (can’t remember if they were in sections or jumble sale style mix), picked up a book, opened it at a random page and the only words in Italics (different/highlighted to the rest of the normal text) said ‘Hello Dolly’ (musical/song reference, written by someone also corrupting the Mother/Daughter story and sexualizing it). I still have that book and my dictionary, and ultimately they’re all I need unlike all the magi/witches/whatevers out there dependent on tools but that said I can makeshift if I have to ‘divine’ anything in a pinch, I’m an ‘oracle’/eye and a unicorn (the one horn/eye piercer of the veil, the ultimate self-driven living mount of the Goddess but also in Princess/Daughter form so mount and mouth) afterall and tools or ‘friends’ as I really see them [which are respected/appreciated] just help you focus; only people who have little to no ability rely on pomp, ceremony, regalia, perversion and control.

The separation and/or merging of the Mother/Daughter is very important to people and ‘people’ who want things to continue as they are, to get away with everything, like nothing happened, like its ok, downplay and hide everything.

Here’s an interesting song:

The lyrics have been changed multiple times to include ‘whisky’ (the mind confuser), ‘dollar’ (think Dorothy/Doll/Dor – hence the ‘eye’ on the separated/unattached capstone of the pyramid on the US dollar and a whole bunch of other symbolism for those who’ve followed the White rabbit – Alice in Wonderland reference – down the rabbit hole/opened pyramid/mountain i.e. secret knowledge for the initiated. Oz being the trickster/false magician, sleight of hand, illusionist, paper money over Gold, and her Silver shoes changed to Red for the Silver Screen version) and ‘pretty little boy’ (masculanization, modern version of the ‘Daughter’).


Well, show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
Show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next whisky bar

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whiskey, oh, you know why

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

Well, show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why

Show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next little girl

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why


The “Alabama Song”—also known as “Moon of Alabama”, “Moon over Alabama”, and “Whisky Bar”—is an English song written for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been notably covered by The Doors and David Bowie.*

Original version
The “Alabama Song” was written as a poem in idiosyncratic English for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925[1] and published in Brecht’s 1927 Home Devotions (German: Hauspostille), a parody of Martin Luther’s collection of sermons. It was set to music by Kurt Weill for the 1927 play Little Mahagonny (Mahagonny-Songspiel) and reused for Brecht and Weill’s 1930 opera Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), where it is sung by Jenny and her fellow prostitutes* in Act I. Although the majority of all three works is in German, the “Alabama Song” retained Hauptmann’s English lyrics throughout.

*David Bowie the ‘starman’ used this song on his ‘I-Solar II’ Tour (the II being Sol’s twin). Was also released with ‘Space Oddity’.

*Remember prostitutes don’t symbolize prostitution in freemasonry and secret/mystery schools, though they do represent the ‘fall’ of the Divine Feminine and the fall of original reproduction into what we consider normal/natural reproduction/sexuality. They were the ‘blood’ (Red), menstrual blood, women and blood priestesses. Sacred sexuality which is about the ability to create, preserve and destroy i.e. the Mother, Daughter and Dark Mother which later became the Maiden, Mother and Crone (in a ‘chronological’ and wrong order in order to encapsulate regular women/control their way of life). Sacred sexuality is innocent sensuality, but has been perverted to make out its about having sex, sex rituals, orgies, live sex shows etc, making and downgrading the pure into more and more ‘earthly’ physical, heavy, lower, disconnected to/from the mental and indeed sex abuse is used to disassociate people from their feelings of personal identity/awareness (many prostitutes and sex related workers say they ‘disassociate’ from themselves/the situation to manage), to traumatise, to confuse, distract, compartmentalize and ultimately control. On a sidenote – when you see references to ‘red geraniums’ in ‘classic’ books that implies the character was ‘whorish’/untrustworthy etc like in ‘To Kill a Mockingbird’, when I was very young people used to tell me my name meant [Red] flower without telling me what the name really meant and indeed what even the Red flower was and really meant – using surface symbolism such as in modern religion makes it look very bad but it was a prayer flower used for the Goddess Kali/Dark Mother/Root Goddess/Prehistoric and probably why some still call me Tiger Lily (and others use the Lily for the French/English competition). That isn’t what my name means as I’ve since found, ‘I am’ the Daughter not the Dark Mother but since they knew they couldn’t turn me into the Mother (though they’ve certainly obsessed about it) because they had the Mother/My Mother and there’s only one incarnation at a time (like with the Slayer, there’s only one Slayer and it’s always her reborn and she has the her own unique blood connection to the Warrior Goddess/the First/the Dark Mother – the primal, primordial, source, the dark/secret – The Mothers back ‘home’). Unlike regular lineage it doesn’t inherit through breeding, genetic modification or even wishing i.e. ritual invoking (like people do for ‘avatars’) and this is why we’re so rare/sought after. I/Eye/Iris/Lily/Lotus (not A.I as some would like to make out) the pine-apple came to find the [corrupted/hurt/tricked/imprisoned] Mother Goddess here, leaving my Mother/everyone’s Mothers back ‘home’ to do so hence becoming the [fallen] Daughter. This is why current masons call me the ‘Princess in the Pyramid’, ‘Divine Child’, ‘Prince’ instead of ‘Princess/Daughter/Goddess’ above/outside the [now false] Mountain, remember the Mother Goddess used to encapsulate the Mountain/Earth but now it’s represented as a Mountain/Pyramid/Triangle of false hierarchy. The Daughter came, she found, she battled, she called home, she waited, kept battling, kept protecting, kept falling, kept battling, kept protecting, kept falling to bring what is in the dark to the light, changing/piercing reality to merge the seen and unseen, to get them to interact/talk, come out into the open, pull whats hidden in plain sight out of hiding but also put the sacred back into the dark where it belongs – the secret – the Mother – which has been abused beyond words – back into the hands of the Dark Mother/form of the Dark Mother. And now They’re here.

There’s a counter story ready and basically having the same ‘illuminati’ ending ready for/set in 2019 (when/after I was supposed to ‘die’ at 36, I’m a Winterborn so there’s crossover in the calendar year but by sometime in 2019) where ultimately the ‘coming’ ‘comet’ has no affect at all even after thousands of years of warnings and preparations by blood/breeding and genetic modification cults/labs and she lives ‘happily ever after’ with the ‘man’ she loves who she was unable to touch previously, and life goes on as if nothing happened, just dealing with the ‘endless struggle’ as usual instead of a dramatic change, they get to keep the Daughter whose come round to their way of thinking through ‘love’. Most recently reiterated in the Jupiter Ascending film, and changing Venus to Jupiter because Jupiter is more likely to take the ‘beating’/get in the way of the Ma-tri-X system or so some people ‘hope’/want to convey/persuade the Daughter to think. I came up with a character when I was 14 called Dark Angel based on my personality to be a fighter for the WWE (fight entertainment company with their ‘stables’), she ended up as the basis for Max in Dark Angel:

Similar to the use of characters Chyna and Lita in Relic Hunter and Dark Angel.

Goes well with the feeling many of us feel (and one of my favourite songs just before the show was released), who do their best but in the end just come to leave, and the game continues.

VNV Nation – Darkangel

Look at the flag of Alabama, what do you see? Yes it’s a rotated version of the English flag – Britain being the place the Daughter figure (e.g. my Mother and Gabrielle in Xena) is taken to be violated, turned into the Mother (but ultimately is saved by the Dark Mother – something they don’t realize or want to) and in the Xena story they ultimately turn Gabrielle back into a Daughter figure and Xena ‘dies’ becoming the Holy Ghost/Spirit (still the Dark Mother) who for the sake of the story stays with Gabrielle but in ‘reality’-meta-reality-other-secret-reality means she’s made invisible/changes/demoted/tricked/leaves/becomes less imposing/more ethereal/mythical. So they get to keep the newly empowered Daughter (who has the Dark Mother’s chakra[m]) who can work for them.

US state flags
The Red and White stripes were mentioned to me following my French visit post about people who knew I’d be visiting back in 2009 and I didn’t know they’d know. Those of the Red and White stripes (and different use of the lions) were glad I’d rejected that and as usual saw it as an association with them instead, begging friendship but making it look like me choosing them. The Red and White stripes is another way of referring to the English flag, which has also been used in the places in the following link interesting ways (like with the moon which is a satellite and reflector of the sun, for the Earth it can be called a smaller/second sun, a reference Sol’s twin but a false one hence its false association with the ‘feminine’ which is really everything/every cosmic body but epitomized by stars): https://en.wikipedia.org/wiki/St_George’s_Cross

(Interestingly though I’m not too surprised, is the use of it for Georgia and some people knowing without me telling them and highlighting that Rome/the current ‘pop[e]’ isn’t actually adverse to the Goddess nowadays, whilst Britain particularly England and Scotland still is.)

And of course the notorious Red Cross ‘charity’…

The song was written for a false Red&Gold (divinity) (and false useless ‘inheri[heir]tors’ thinking they’re royalty, as well as mixing up the Red – cosmic, and Earth – Blue/Green, to make Purple) place:


The Little Mahagonny was based on five ‘Mahagonny Songs’, which had been published earlier in the year in Brecht’s collection of poetry, Devotions for the Home (Hauspostille), together with tunes by Brecht. To these five was added a new poem, “Poem on a Dead Man”, that was to form the finale. Two of the songs were English-language parodies written by Elisabeth Hauptmann: the “Alabama Song” and “Benares Song”. Using one or two of Brecht’s melodies as a starting-point, Weill began in May to set the songs to music and to compose orchestral interludes along the following pattern:

Song One | Little March | Alabama Song | Vivace | Song Two | Vivace assai | Benares Song | Sostenuto (Choral) | Song Three | Vivace assai | Finale: Poem on a Dead Man

The Little Mahagonny was first produced at the new German chamber music festival at Baden-Baden on 17 July 1927. Brecht directed, Lotte Lenya played Jessie, and the set-design was by Caspar Neher, who placed the scene in a boxing-ring before background projections that interjected scene-titles at the start of each section. According to a sketch published years later, they read:

-The great cities in our day are full of people who do not like it there.
-So get away to Mahagonny, the gold town situated on the shores of consolation far from the rush of the world.
-Here in Mahagonny life is lovely.
-But even in Mahagonny there are moments of nausea, helplessness and despair.
-The men of Mahagonny are heard replying to God’s inquiries as to the cause of their sinful life.
-Lovely Mahagonny crumbles to nothing before your eyes.

The song is written by ‘interesting people’ at an ‘interesting time’ as well, remember these are long term, very long term plans – a ’round’ in a game/battle – the wars of gods. Momo (the book, 1973, written by Michael Ende) and originally called ‘The Grey Gentlemen’ for example showed Brown-skinned Momo turning up out of nowhere, through a tunnel/hole/cave, and since no one wants to personally look after her they share her and say she can live in the amphitheatre. The song Alabama was written by a Beth/a-class Elisabeth Hauptmann (for Bertolt Brecht – who was focused on overt poli-tics rather than the symbolic/real rulers – so they had both sides, seen and unseen covered – and for those in the know the ‘hidden in plain sight’) who also co-wrote The Threepenny Opera starring a character of a name that one old influential and patriarchal family wanted me to have ‘Polly’ and as explained in the last post I made – an interview from Dr Salter done by Sott.net – they mention the PollyAnna Principle mentality of society (Anna being a Goddess connection too from the old Indian Annapurna aged/meaning 16 a reference/form of S[h]odashi the TriPura Sundari – or Lalita Tripura Sundari, both the and one of the Dasha (Ten) MahaVidyas (9 Kali/Dark Mothers forms completed made 10 as/by/of/with the whole Lalita, who were copied by later Durga’s imitations) who was then corrupted with the pairing of usurper Hinduism (male triad and fake ‘queens’ triad of Shaktism) with the ‘cradles of civilization’ where you also get Inanna/Ishtar. Annapurna keeps her food/plenty/fire/harvest/abundance connection in later Ishtar/Inanna versions in classical antiquity and by them completely even more corrupted/perverted/topsy turvy like ‘Mary’ style names, those names are often in the game/false Mountain rather than against/out of it). However, coming from a matrilineal line but who were corrupted by patriarchy I had to have an original not lesser/false Daughter name, because it means so much more to control the real thing. That said modern and ignorant but think they’re something masons in ‘sunnyland’ where we reside like to always call Mother by name instead of hers – Lalita (the original Creator, the G in their insignia – G standing both for Goddess and for ‘G’ as in ‘super’ from the Indian where you add ‘G’ at the end of the title to say ‘extra’ ‘super’ ultimate’, e.g. Mata Gi, Guru Gi, Master Gi – which they’ve lowered massively into ‘master’ and ‘grand master’.) They’ve always referred to her as Dolly instead of Lalita and have even consistently mispelled her name in multiple ways until I made them do it right every time and at other times call her ‘Molly’ or have someone standing near/passing addressed as ‘Molly’ instead. They refuse to acknowledge because they want the nicer Daughter instead, who they think will somehow give up the Mother for them the false ‘kin’ the manikins (especially those who’ve elevated/ascended/’rose’ – I’ll get to the ‘rose’ in another post – themselves to false god level and fear the Gods/Mothers) and if that doesn’t work will sacrifice herself [over and over again] and even the Mother [again].

Not happening and it’s too late anyway, so there motherf*ckers.


Set in Victor[y]ian London, the play focuses on Macheath*, an amoral, antiheroic criminal.

Macheath (“Mackie,” or “Mack the Knife”) marries Polly Peachum*. This displeases her father, who controls the beggars of London, and he endeavours to have Macheath hanged. His attempts are hindered by the fact that the Chief of Police, Tiger Brown, is Macheath’s old army comrade. Still, Peachum exerts his influence and eventually gets Macheath arrested and sentenced to hang. Macheath escapes this fate via a deus ex machina moments before the execution when, in an unrestrained parody of a happy ending, a messenger from the Queen* arrives to pardon Macheath and grant him the title of Baron.

The Threepenny Opera is a work of epic theatre. It challenges conventional notions of property as well as those of theatre.

* (Like Mac-beth, Scottish version.)

*Peach is an alternative softer/less knowing symbol for the apple, easier to control/abuse as a person. ‘You’re a peach… darl (doll), thanks [smirk/grin/wink or nowadays cough]’. ‘Life’s a peach’ goes well with the Pollyanna Principle and the story of the girl who played the glad game ‘gladly’ making the best of everything, rose tinted glasses, letting them get away with it – not intentionally but because people are taught to make the best of it and let the rest take care of it/themselves even if you’re using them, that can’t be helped, that’s just life. Bad things happen, then they pass, and look less bad over time (with revisionism, advertising and collective memory loss). Don’t worry it’ll all work out but really continues. ‘Keep Calm and Carry On’ with the [false] crown over it – an inversion of the Dark Mother in the book Aunt/Spinster Polly whose way would have actually been better for Pollyanna. The name wouldn’t have suited me for that reason but also because I’m not Dark Mother (and remember the Daughter and Dark Mother titles are honourary ‘Mother’ titles in that they don’t imply creative ability but are still carers/protectors.) Sorry (not) but I’m an ‘Angry [multi-element]Bird’ who was/is properly pictured as Red [fire/blood/star/divinity] though improperly portrayed as male 😉 and he does save the birds who can’t fly anymore because they’re so glad to live in glad/happyland society which they think is safe with all their rules/regulations/’events’ and then from the pigs/false security who steal their eggs/children/creative principle, very Animal Farm style.

*False ‘queen’ – Victory and Beth. Victory being the traditional/older reference for false queens (and a fusion from India-to-Britain).

(Think on why the Goddess figure – including masculanized figures like Superman – in superhero stories are often paired with/relationship wise a military or journalist male who doesn’t usually have her best interests at heart, but wants to keep her for [secret] ‘society’s agenda too.)

I hold the scythe, I am fate, I am the unicorn, I reign myself, the chooser of divinity and I was both chosen and have chosen myself the Daughter, I have found the Mother and signalled the Dark Mothers return and became the Dark side of my Daughter self. I rose from the ashes and I am the last. Death is my gift. Real Death not the false death of this poisoned planet. Death is a blessing/honour for the good and punishment for the bad. Death/She is beautiful, She is both radiant and dark. You’ve lost. Do yourselves a favour and surrender.


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.


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.


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


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.


All this Is-is nonsense

Modern Egyptians are not ancient Egyptians. I consistently come across people who if you don’t specify the difference will claim the culture/history & modern representations/paraphernalia of as their own from the iconography to the eyeliner.

Now one of the major figures in the later pantheon has been attributed to, I’ll be ‘nice’ and just call them another ‘group’/grouping, further away and to anyone in a negative way that doesn’t totally disagree with them or doesn’t totally agree with those doing the mis-name calling.

Isis was a Roman-Egyptian goddess, a major one, a mother goddess whose schools (and no I don’t agree mystery schools, secret societies, hidden knowledge be they kohl wearing, sitting on mountains, or ‘everyday men’ at lodge parties) were the remnants of the unity all-is-one/source values at the time/place i.e. that of the divine mother/feminine/the galactic centre. She represented a creator, carer and saviour – those who loved her (and yes she was very popular) needed security and protection, those who sought her out and got initiated into hierarchies, well that’s an organized beast of elitism. She was paired with Osiris and later described as the mother of Horus – a figure used in much US symbolism. She was not an Egyptian goddess or the mother goddess proper, she was a later representation – it’s easier for invading/newer peoples to take dominance by not totally destroying what was there already but by incorporating it like missionaries in India dressing and parading Mary statues like Indian goddesses.

Isis came about at the later point of the goddess Aset of Kemet/Khem (pre Graeco-Egypt and meaning Black Land) many say they’re the same or that Isis was based on Aset, they have a lot of parallels and confusion with the demises of Ra and later Osiris doesn’t help and the motherhood of Horus but they grew apart as Isis was more Roman and later more likened to Demeter and Cybele. It really depends on the part of Egypt and timeframe e.g. Hathor is sometimes also called the mother of Horus. It’s so convoluted. Bat, Maat etc are former Mother goddesses proper. Isis has also been associated with Hathor and Western & Central Asian goddesses like Inanna, Ishtar, Astarte, Asherah, Al-lat etc though as usual there’s overlapping and differences in the stories, and the astronomical associations like with the planet Venus, the moon and constellations. She was later associated with Aphrodite. The Inanna (Anna)/Ishtar characters in part are representations of the primordial Daughter later in the ‘game’ called daughter goddesses (and making of the Dark Mother into an evil entity though she is shown as a sister in their story but later referred to by some as a Dark Mother figure) – so a big mish mash of Mother Goddess inspired/stolen culture juxtaposed into malefic systems with the likes of Anu/Enki/Enlil.

The A’s: Astarte, Asherah, Al-lat (all in the origins of Hebrew and Islamic culture) are more Isis like than Inanna/Ishtar so why not use their names then? Isis is more well known by name, easier to pronounce/spell/use as an acronym and easier to tie to those other people seen as similar in some way and lumped together (like how many don’t seem to realize there are loads of types of Brown people, a couple of major groups whose cultural hate for each other goes back further & is bloodier yet they’re both being put in the same group on sight/association – heck I used to get treated rudely by both anti-South & Central Americans and anti-Muslims in US airports and I’m neither – nor am I religious or give a crap about skin colour). Though as usual the use of branding is easily confused by trash talking and blurring the lines i.e. Isis was popular in the Roman empire but that seems easily forgotten nowadays. Her tradition later known as a cult was reduced or changed, like a lot of things/people, by later Romans who preferred the total devastation, hide everything before & criminalize technique. The ancient Greeks were master chameleons, pretenders of ‘goodwill’ like they were doing other people a favour (even by things like mass forced marriage i.e. controlling the gene pool) & loved that they could take on the grandiose nature of the Egyptian cultures and mix it with their own. They were more of the force them beneath and keep ‘em alive style – but both elite Greeks and Romans liked slavery, personal decadence, bloody entertainment and generally feeding/living off those around them – like any tyrant from anywhere.

It’s a tough one deciphering between goddesses and wannabe goddesses i.e. the tools. Most of the modern goddesses who are thought of as ancient by modern standards (I’ve used the word ‘ancient’ thus far for ease of understanding/introduction but I’ll stop that now to put cultures and systems as we currently know them into bigger perspective) are figures in a patriarchal framework and those who need them are between a rock and a hard place so settle since digging takes time and energy. The same characters (man, woman, child, other species) are recycled all over with different names & faces and when there are differences in attributes it’s usually due to local circumstances and/or regime changes. Many of the goddesses we know today are straight up degradations of older goddesses who are incorporated and demoted or representations/figures with superimposed identities from before i.e. avatars. The same goes for the males who were goddesses or added for the sake of public theatre/politics/religion, some are still known for their sex changing and gender bending ways. Many of these altered goddesses or later versions were from mafioso style families/pantheons rampant in religion worldwide and later omitted or masculinised or changed to consorts/figureheads or further demoted to saints with one major exception, Shakti-ism – get to that in a bit. Goddess culture came to be known as fertility cults, sex cults, with sacred prostitutes, ritual killing – all a bunch of bs, and things both obvious and harboured in patriarchal systems. Amazing how those systems have been so visibly anti-homosexuality and incest yet so many male gods and deities were at it with everyone/’thing’ and each other and many of their human counterparts aka the upper echelons saw mating with females as a chore but necessary to keep the bloodlines ‘pure’.

Modern priestesses, nuns etc in major systems where some feminine presence or iconography is still in use are not representatives of Mother Goddess/divine feminine culture, and chanellers of anybody/’thing’ are an issue. Not even Shakti priestesses are representatives proper, if you can find any let alone many brahminis (though according to modern lore there’s supposed to be a male and female practitioner for major rituals). Shakti-ism is one of the major parts of modern Hinduism and when I say modern I mean post-vedic mainly (though also post-diluvian) since most translations of the well known scriptures came from/were sponsored by other cultures e.g. British and there are scores and scores of scripture all throughout India not in English or common. It’s in modern Hinduism where the former almighty Shakti force is demoted to a branch and where the male triad plus 1 come into prominence; the manliest having a feminine name, the ganymede being his part-time lover and the other claiming the personification of Brahma (again feminine). Calling Isis the Mother Goddess (and then associating her with anti disciples) is like calling durga et al Lalita aka the primordial Mother Goddess, the ParaBrahma, MahaKali etc. It’s total crapola. Durga and friends are umbrella goddesses who’ve been added and shape shifted to fit. They’ve done it to an extent with Kali, the only primordial who survived into public consciousness but as a mirror of shiv(a), it’s claimed she is part of durga and basically a feminine version of shiv(a) but she pre-dates them. People include her because they’re scared not to – though again with her adjusted image it’s easy to confuse and attach things to her. Speaking of adjusted image – reptilian themes became prevalent in modern Hinduism. Parts of goddess culture also remain in parts of modern Buddhism but less obviously since they are no longer referred to as any of the many goddesses carried over from Hinduism and already made locals like Quan Yin (the Daughter, and Queen of Heaven – there was no king), later demoted to bodhisattvas, dakinis and then streamlined to yin as a ‘balance’ to yang. That yin/yang business is what’s been latched onto in the Western idea of Buddhism but much of the remaining in Asia think of women as inferior beings or at least practise it that way. There are parts in Hinduism and Buddhism that consider being female as an advantage/ahead on the road to enlightenment and spirituality but even their practise has been corrupted like thinking of the left hand as dirty/impure and feminine which doesn’t help with ideas about eating, going to the bathroom, palm reading or doing yogic practise that say women should do certain mudras on the left hand and men on the right hand.

I’ve written about various goddesses because it’s important to know they exist/ed. If the use of history continued in the same way even the modern female tools would be seen as relics of the past or forgotten, most not even incorporated or in this case further abused. The further forward (newer/later) in history we go the less history we have yet the further back we search the more history they had. Older Indians said Earth was over 4 billion years old, the older Lebanese said the crust was over 3 billion years old. They were right. The later religions allow for races and potential time periods before them yet don’t really talk about them (not in the obvious streamlined, mainstream versions anyway) or at least not in context with their interactions with other races, their lens is very focused. Why, because they don’t know or is it easier to say time began or really began or it’s only important to think of history from when they took over? Older people talk a lot more about beings from the stars, other planets and other Earth land and underground habitants – these allowed for other races in modern religions show them as the pantheons & divine hierarchies e.g. god and angels. The G in the compass and the square from a system rife with mixed symbolism are just tools eh. Some infer it’s sexual intercourse others say it represents the Goddess and/or nature, or nature and/or a personification of hence captured, caged and conquered. Many have called it Satanism due to goddess symbolism rather than the behaviour of those partaking, blaming the wrong parts in a twisted context because otherwise they’d have to acknowledge system similarities and what they want to believe can’t be bad. (Let’s get this straight, I had been told to worship Shiva from a young age, then I liked Kali but then went off religion early preferring to peel back layers, theories, times and let that lead me to comparisons, contrasts, lies, part lies and ‘truths’ (grammar marks used because I can’t be certain on those, I’d need to be near omnipresent for that and belief doesn’t come easily for the sake of it to me.) I talk about Mother Goddess culture because it’s important to know and because it’s there; hidden, trodden on, stolen from, convoluted but it’s there and has been throughout known past, it’s a culture that goes beyond tribe, it’s unwelcome and puts people on auto-defensive.) It’s really no wonder goddess culture and girls/women have been and still are a massive underclass, when allowed to be thought of as people with thoughts/feelings at all and not property of male members of the family who are aided by females disposed to tradition (remember it was only a handful of years ago in here that women could be legally raped by husbands because it wasn’t considered rape as they were property and were apparently always up for it and they couldn’t testify against husbands.)

The Earth Mother and Mother Goddess/Galactic Mother also have a blurred line, sometimes seen as separate, sometimes as one but either way not from the religions common now and prior to the ones people call ancient. Her/their presence goes back tens of thousands of years at least. The known remnants of Her are through the names Gaia, Dea, Lalita, Kali, Bala, Sophia. Though it’s easier and less racial to say Mother, Dark Mother, and Daughter (later known in a sometimes sexist way as Maid, Mother and Crone).

On a sidenote – I don’t dislike all later goddesses, I feel sorry for many in that the male family members loved raping them, human and non-human females. But I don’t like those that ordered/orchestrated the rape of other females or who were generally power hungry, treacherous pieces of crap that put me in mind of the idea of the Orion queens. That said I’ve never found a male deity I could like for being caring or nice, male characters from people and supposed other races yeah a few like anyone else but from the divine/’down there’ lot? No way.

Is(is) seems to be mainly an English speaking Western media term. If the actual group/s is using it now then it just adds to the nonsense. A misogynistic grouping using a major goddess name from a rival empire in its known and popular rival form as a straight up banner… That happens when people are using goddess belief/energy/culture whilst degrading and subverting it – oh wait they are patriarchal so they could be doing that but then they’d change the name again, or give it some hidden meaning (unless they’re going along with it for the overarching goal of goddess desecration but it’s looking like the name is going to be cut to IS – or is that only after the damage is done?). Why not use one of the many male or masculinised names. Funny how it fits in with the re-emergence/remembering of the Mother Goddess or divine feminine. Gotta drag the idea through the mud, but just in case use a ‘fake’/morphed identity (version linked to a prior character(s)/theme) anyway from one of the later goddesses that was superimposed on and background/story confused. (I knew a guy who has an ancient goddess based tattoo over his heart but would denounce and be scared of the goddess the shapes come from/are really associated with but wanted to benefit from anyway hedging his bets. That attitude describes the pack behaviour regarding goddess culture throughout history.) Does Isis have any link to the group (who are being publically denounced by many in the same areas and neighbours)? No, unless a figure associated with the former use of Isis is helping with the battle plans but that can be said of all ‘sides’. Just stop calling them a goddess already, a wannabe goddess maybe but still that’s too confusing. They don’t deserve the title and those of us who are interested in goddess culture even the his-story don’t need the extra helpings of shit to plough through for remnants of truth, growth & natural harmony. I don’t mean manure when I say shit, manure is important.

You want a link? Ok much earlier people would say the Great Mother Goddess (more than or including the Earth Mother) created everyone/body/thing including all the bastardos whether domestic or alien and all those who love the divide and conquer and control way of life. They weren’t made on purpose but an abnormality/mutation, not as some idea of free will to be f* ups. She’s different to the later interpretations that became masculinised and/or monotheistic in which it seems the creator wandered off somewhere, is disinterested, perhaps died, is an overlord, had a child that somehow wiped out all sin by being sinned against & then sin continued or perhaps started afresh afterwards hence needing another ‘coming’, or is everywhere yet ineffectual. Oh wait that link applies to everybody regardless of colour, creed, nation doesn’t it. Whoops how inconvenient and demonizing her is to everybody/one/thing’s detriment. Those much earlier people also believe/said she was taken advantage of, tricked, enslaved and violated by her own children/creation. Many modern people are thinking the same of each other let alone the Earth, non-human animals or a Celestial Mother; we ain’t one big happy family. Unlike the fathers from newer religions she gets angry out of fierce protective love, she doesn’t rape her children or advocate it, she doesn’t sleep around like some vampire ‘creator/parent/lover’ or impregnate and call it an honour, she’s not spiteful and is generous to a fault. What have we done with her, where is she? That’s the problem. Knowledge of her is being remembered/found but of course it’s being buried and shamed at the same time. Some speak of a ‘correction’, her correction of this situation, but that doesn’t mean a ‘reset’ or continuance. Mother goddesses in the various religions have consistently been seen as eternal whereas other deities even so-called and self proclaimed creator deities die, find another host or morph/clone. Egyptians and others ‘mummy’-fied (a pun) themselves albeit in different ways to ‘live forever’ (then there’s cryogenics and transhumanism) or maintain their individuality after passing on from this reality, to cheat yet be a part of source. Using Mother ethos whilst seemingly being jealous of her/wanting to be her hasn’t stopped.

Too much confusion and distraction, this is just a reminder – amnesia isn’t cool.


Momo – The Mysterious Dark Skinned Girl From No/Everywhere

Momo Dark Divine Mother Daughter Goddess Kali

Rating: ‘West Germany 6’ I can’t find the pre-Fall of the Berlin Wall rating system but it relates to the current German ‘Green 12’ or ‘12’ corresponding to the UK’s ‘ PG’ or perhaps ‘U’.
Runtime: 101 min.

Momo (1986) is a film adaptation of the German novel by Michael Ende (author of The Never Ending Story), a book which had a few names including The Grey Gentlemen or The Men in Grey. The original film is in German but there is an English dubbed/audio version, and also an Italian cartoon and English language opera amongst other adaptations. Mum and I watched this on Friday (‘Honey’ Moon, Full Moon, on Fri 13th first time in 95 years) and were surprised at what we found. I’d passed over it a couple of times recently, interested but ‘not the right time’, then just decided to watch it on Friday, I didn’t know what it was about other than the girl going up against the ‘Greys’ which is interesting in and of itself.

Momo Dark Mother Daughter Goddess Divine

It’s currently available on Amazon.co.uk as an import (all regions) with English sub-titles for £19.89. The dubbed version can be watched on Youtube here:

It’s going to be hard to write this in cohesive form as there’s simply so much going on (yeah I know, an oxymoron) – the surface layer is one of friendship, devotion, community; the middle layer is about corruption of those, of ever-increasing change to modernity, losing what is valuable; and the huge, hidden (or not so hidden, hidden in plain sight) layer is all the symbolic power and meaning in the names, faces, characters, scenes and props. If you thought the Never Ending Story trilogy was packed with ancient metaphors and allegories then Momo is bursting at the seams yet unlike the aforementioned it’s not filmed in a glamorous, glossy, colourful, high-tech (for the time) way. It makes more sense because Momo is set in reality as we know it on Earth, but also because the author Michael Ende was unhappy with the portrayal of The Never Ending Story and lack of spirit from his book. Momo was written before TNES but made into a film afterwards and Ende had more of a say in the filming. That said, Momo switches back and forth between ‘reality’ and ‘other worldliness’ due to the nature of the non-human characters involved plus the use of colour and tempo of movement makes it somewhat strange and surreal.


It starts as a figurative journey, on a train, in a cabin with two passengers (reminds me of ‘Night on the Galactic Railroad’ in more ways than one, novel published in 1934). One passenger is the author Michael Ende in a cameo role and the other is the storyteller of the film and one of the main characters, Master Secundus Minutus Hora (Second, Minute, Hour) who appears in the cabin out of ‘Nowhere’. This is a point that isn’t noticeable or referred to in the film, but relates to a pivotal point in the later plot, emphasized as both men wear glasses and exchange them for a moment. What the passenger played by Ende sees shows the audience (in hindsight) where in the narrative the film begins and that Hora is asleep/dreaming/traveling out of body which is somewhat confirmed by his dialogue about time. ‘Master’ Hora goes on to tell the reluctant co-passenger the story of Momo.

In an unnamed Italian town on the outskirts of a city a street sweeper called Beppo Streetcleaner is doing his daily rounds when he ‘chances’ upon a girl sitting in a hole in a wall, the audience does not see her but hears her as she answers his questions, her name being Momo and her answer to why she is there “Home”. He leaves her to get her something to eat and whilst doing so describes to his friend a cafe owner that he’s found a Momo, a child, an “it”; the ‘it’ reference is continued until we see Momo come out of the hole (a practical reference to an unborn even if the sex is known because it is still a dependent on the Mother’s body and not viable or its own person or able yet – more on that later).

It turns out she is living in an amphitheatre, though the hole Beppo originally saw her in is different to one we and the local community are introduced to her in. It’s not one of the colossal amphitheatres we’re used to seeing in epic films; it’s a small town, a relatively poor one, in which the people don’t earn much having “an occupation that doesn’t bring in much money, but still manages to supply him (the women work too) with the free time for fun and fighting”. It seems that the people are generally happy or “a little mad perhaps, but likable”. To today’s standards the town would seem ‘merry’, ‘jovial’ and ‘welcoming’. After some cajoling Momo enters the light from the darkness and we see her for the first time. She is a young girl, homeless as we would see it, describes herself as much older than she is “100” and in the homogenously White community is dark skinned – a fact that is never mentioned. The people assume that she’s run away from an orphanage and cannot count, but akin to baby Annabel in the Mary Poppins books who says to the star-ling bird that she is everything, everywhere and comes from “darkness where all things have their beginning” Momo says the hole/cave is her home and “As far as I can remember… I’ve always been around.”

Momo Dark Mother Daughter Goddess Divine Cave

No one takes her in but they make her cave/inner room more habitable with furnishings and random items, she can now cook and is deemed a member of the townspeople, one that the people soon realize is a very valuable member indeed. Momo listens, really listens, to spoken, the unspoken, voices we perceive and the whispers of the wind, the rain, the air and her sincere listening calms, soothes and heals the troubles in others. People and animals feel better for having been around her.

So all seems ‘content’ in the town but not all is as it seems. Working against the healing tide of Momo are the ‘Men in Grey’ (not the Men in Black but probably a close association of 😉 ). A race of beings that look like human males, all bald, pale skinned, bald, clad in Grey suits with bowler hats, have numbers instead of names and addicted to cigars – they puff like there’s no tomorrow. They move around unseen unless they want to be, are not remembered afterward (except by Momo) and they are very, very organized.

“They made their presence felt in all part of the cities and seemed indefatigably occupied. They had plans for people’s time, wide scope and meticulously laid plans.”

They represent an institution/entity called the Timesavings Bank and can complete extensive calculations in a blink of an eye, in this confusing/mind boggling way of breaking down a person’s life into numbers they illustrate to people the flaws in their day to day lives, how much time they spend doing this and that with little time to themselves. They take advantage of that by getting people to save time doing things more efficiently or doing less and that ‘time is money not to be wasted‘. The people/’clients’ then start saving time seemingly under the allusion that they’ll get that time back perhaps like a retirement fund but instead it’s needed/used by the Greys as lifeforce and so the time saved is lost instead.

The Greys

The people don’t know that their efforts are in vain and drastically change, they become increasingly worried and agitated about saving time, cutting costs, thinking in terms of deadlines and overheads, having less time for each other and obsessing about how they spend time, surviving but not living.

(The above episode is from a show called ‘Tales of Tomorrow’ 1951-53 featuring the bank of time and what it does to people.)

Momo and her two friends Beppo and Gigi (Guido in the book, a ‘jack of all trades’) are very worried at this “epidemic” but as Momo has the ability to heal she does her best to overturn the damage.

“And so Momo got one friend after another back where they belonged. In the process she was thwarting the Grey gentlemen turn by turn and that was not something they were prepared to put up with for very long.”

They try to bribe her but she rejects them and tries to warn the town, so the Greys try to kidnap her. But there are others watching and so Momo meets Master Hora via a tortoise called Cassiopeia. They want to defeat the Greys and the Greys want to perform a coup d’état on him. This takes the film into scenes of further supernatural nature as well as institutional corruption and social degradation.

Having met Hora makes things more complicated for the Greys but also presents an opportunity, then plot her downfall by isolating her from those she cares about, distracting them, making life even more difficult and complex. Can they use her knowledge as stepping stone or can she stop them and regain stolen time or will time come to a dead end?


The film is and would probably seem dated to first time viewers, and the pace is a little slow to begin with. There aren’t any extra special or obvious CGI effects akin to modern movies but there are visual effects to separate the world of Hora, humans and the Greys. Effects to slow and speed up time in Hora’s domain and lot’s of smoke and Grey for well, the Greys. Light and dark contrasting is also used throughout the film to focus and hide at the same time e.g. a scene in a police station is characterized by appearing to be shaded in thick stripes, with the light coming through in hazy, horizontal lines alternating with the dark. The policeman is elevated and you can’t really see him whereas the civilian is highlighted. Dark is also used as a background to emphasize light such as when Momo leaves her cave or when the Greys drive in the dark and we can only really see their headlights whilst they walk in the shadows.

Speaking of which, the colour in the film is clear but not vivid or glossy – it’s not exactly drab/gritty like UK filming was known for but the atmosphere is always medium. For example the weather is clear and warm but the sky tends to be lacklustre and the architecture and ruins in the town tend to blend in with it.

The sound is clear and though it’s a dub the voiceovers are not that obvious, the voice actors were well cast and convincing in their parts. I’ve seen a dubs with voices I’d never have thought belonged to a character, or obviously and consistently out of step with the mouths but here all the voices are rich and soulful in their own way – except the Greys, who aren’t supposed to be soulful anyway. There are a few songs but they are short and I would not call this a musical.

The setting is very authentic looking, they picked interesting locations – everything stone or complimentary brick, well placed ruins interspersed with ‘modern’ dwellings. The only ‘strange’ part would be the widening of the roads motorway style in the latter part of the film, where the town is still small scale in comparison to a city but probably illustrates the modernization of the town trying to be city-like as well as Momo’s increasingly busy/difficult journey.



I would write about Momo first but it’s easier to explain Momo’s position/heritage this way.

The name ‘Hora’ refers to the Greek goddesses of the seasons and time, we’d translate it as ‘hour’. Hence, Hora would be one of the hours of time. These goddesses were based off the earlier Fibonacci goddesses morphed from the Mahavidyas, worker forms of the Daughter/Mother/Dark Mother (One being split into three mostly referred directly to in the old Gnosticism and pre-Vedic/diluvian/Dravidian Hinduism though found through the Mother of all Gods in every old world religion and whose roots can be found by going back through the etymology in modern religions e.g. the three Abrahamic ones). The Horae (plural) are made up of triads, following the again age old triad formation of the Daughter/Mother/Dark Mother, Bala/Lalita/Kali, Maid/Mother/Crone going through many, many incarnations gradually being brought down, made into consorts and then absorbed or switched altogether by male versions e.g. the Spinners/Werdes later to become the Fates/Norns/Wyrds (based on the Mahavidyas and so Horae are connected to), Al-Lat/Al-Uzza/Manat, Qudshu/Astarte/Anat, Isis, Hecate, Brigid, Morrigan all the way to modern day Son/Father/Holy Ghost whose ancient counterpart still in common knowledge is the Hindu Shiv/Brahma/Vishnu (Vishnu more commonly known as Ram or Krishna) and their consort, wannabe Mother Goddess triad Laksmi/Pavarti/Saraswati. So why Hora is written as a man is just… uh? A way to fit in the third male ‘close’ influence in Momo’s life (more on that later) as well as the usual patriarchal supplanting.

Hora can also be seen as ‘Father Time’ – where does the image of Father Time from? Well this actually ties into the character Momo herself. One of the oldest Goddesses we know is Kala the Black, aka Kali the Destroyer/Protector, the Dark Mother whose name means ‘Black’ and ‘Time’ and one the items she holds is a sickle. Kali is part of a triple Goddess who is really One split into three, Bala/Lalita/Kali as aforementioned the primordial Daughter/Mother/Dark Mother. In many accounts when the Goddess appeared to humans in a non aggressive form it was as a child, usually at two age ranges 9-10 and 15-16 (the 15-16 one is often referenced in Japanese manga/anime for girl characters with god-like power). The term ‘Mother Time’ and indeed ‘Grim/Black Reaper’ though can be connected to a later version, Rhea Kronia aka the later revised male Chronos/Kronus. She was the Dark Mother in that she destroyed/took back her offspring/deities who’d failed to look after their charges/rest of creation hence covered in blood and carried a sickle. Such images were switched and replaced down the line with the ‘bearded guy in the sky’ image hence Master Hora has a modern god look, aged old man with White beard in a White home (except his inner, private apartments), yet in a Black robe (reaper style and Momo asks him if he’s Death). He cannot beat the time thieves/Greys and they cannot overcome Momo, both need Momo to try and defeat each other.

Hora has special ‘all-seeing glasses’ (spectacles) that images focused by surrounding blurriness. When the audience is shown what is seen through the glasses the presented image is kind of hard to see without pausing the film. The perimeter/outer/rim of the lenses are not clear, sometimes they have patterns and what you need/can look at is the centre image – so basically the lenses are curved and the clarity is lacking unless you’re adept at looking through a crystal ball. Thankfully I used to be good at picking out the image in those 3D images on the back of magazines. One time the outer rim is spinning and as the lenses show you ‘real/live-time’ perhaps it’s an ode to time as we know it being made by spinning/turning/rotation, when you stop spinning time stops or effectively stops due to heaviness. That is linked to the way time works in Hora’s domain.

Momo 1986 All Seeing Glasses

His place of residence, ‘Nowhere House’ in ‘Never Alley’, is pure White and architecture curved like in a lens (remember his all-seeing-glasses), a great wind pushes visitors/intruders back – everything is reversed (like Father Time’s imagery itself) and writing upside down – so you have to walk backwards and slowly to go forwards at walking pace. (Stereotypically his place is reached by going upwards and the Grey’s by going downwards.) In keeping with reverse time and that time is heavier/slower the ‘lower down’/more physical a place/being is, 1 day in Hora’s place is 1 year and 1 day in ‘our’ reality.

To reach Hora you must follow a tortoise called Cassiopeia – who can see 30min into the future and communicates via writing that appears on her shell. (More about her later.)


Momo doesn’t look like the rest of the town, the book cover shows a South Asian looking girl by way of features and skin and the actress chosen was noticeable darker skinned than the others, she’s poor, homeless, and wearing old clothes/rags. Interestingly enough she wears an oversized men’s blazer, obviously for warmth/coverage but also perhaps symbolizing the she is wrapped in a form we as humans can see in our way of perception. She cannot read or write yet expresses a kind of universal language in her aura – when people are around her they feel at ease, comforted, and that they’re really being listened to and the effect the Greys have on them is undone. All the items she’s given are hand-me-downs and things that have been thrown away/found in the rubbish. It’s assumed she ran away from an orphanage but she doesn’t claim to have parents, or to have been in any human place beforehand nor thinks she has amnesia. Good and/or vulnerable divinity is usually poor or impoverished.

Momo Mother Daughter Dark Divine Goddess Poor

She’s found in a hole in the wall, this is representative of the cave analogy where the Daughter was sacrificed by/for creation that had fallen and resurrected from the cave much like the later stories of Ishtar/Inanna, later Persephone, other male versions and then the obvious predominant male version of this time period Jesus. The cave is symbolic of the vagina and birth.

An amphitheatre – a theatre of blood and war, rich and poor, beast and person, slaves for the entertainment of tyrants and watchers who’re glad it’s not them so visibly take part in the audience as raucously as they can. As if in reply to the cries for help there it becomes the home of the ‘saviour’ and ironically a playground for children. In one scene they symbolically play out a story from the imaginations pretending to be on a ship in a storm, they call out to Momo who appears to them from on high through an arch and then sings as a tribal goddess. The arch and pillars are representative too as an ancient vaginal symbol which is why many ancient temple designs incorporate pillars and arches at entrances/exits and the further back you go they are usually at the end of dark and/or narrow passages. Also bear in mind that the meaning of the name ‘Lalita’ – the Mother Goddess from which the Daughter (Bala) and Dark Mother (Kali) come from is ‘She Who Plays’ and ‘Red’.

Momo Daughter Mother Dark Divine Goddess

She has three main friends in the film, including Beppo and Gigi who both claim bonds with her that surpass what they obviously know about her in this reality/life. Beppo says to Momo that they knew each other in a past life and helped made the amphitheatre in the past. He said he knew that because of 5 stones that he found. I have heard of the usage of 5 stones before but it’s not that widespread/often – there are the Sankara magic stones in later Hinduism (twisted in the massively misconstrued Indiana Jones and the Temple of Doom), the five stones David used against Goliath and Graham Hancock’s only work of fiction ‘Entangled’ (2010) though based on his extensive research in ancient history and archaeology – in which one of the two female protagonists Ria is given 5 magic stones for protection (Ria is closely associated with the other female lead Leoni – both Goddess connections). Beppo is overheard in his claim and is implied to be crazy (further yet falsely implied via police corruption as he’s forced into a stretch at a mental ward) – in many of the Indian god films I’ve seen where the Mother Goddess is invoked and comes to live amongst the people who called to help them, it’s usually an outcast and/or ‘crazy’/mentally young or slow person who sees her for what she is.

Gigi’s claim is made in the book and not the film (but interestingly relates hence I’m referring to it) when he tells Momo a story of ‘fictional’ characters Prince Girolamo (his alter ego) and Princess Momo – a story in which her and he get married to ultimately become immortal. Therefore the three main ‘friends’/al-lies of Momo are three men who are all ‘older’ (would be wiser/more cunning since older in this reality) than her; one who acts like a father, one like an uncle/friend and one like a lover – this is a complete mirror of the Fall of the Daughter story, where She is tricked by creations/demi-urges and trapped in the mundane/profane ‘our’ world. They are not really her friends and She needs to be rescued.

Men in Grey

Part of what they represent is the breaking down of the old for the new, one paradigm/time era after another which is shown in the films by the ‘ancient’ ruins, the current/present that people live in which is old fashioned to our standards or part-rural/suburban/small town and the future i.e. cityscapes, full industrialization/capitalism and consumerism (with ‘kinder storage’ aka holding children like prisoners and brain washing them). The Greys are the breakdown of life from living/breathing/being to components. They know everything about the people they take time from. Interestingly enough they also have their own version of CCTV before CCTV was publicly implemented.

They bring physical coldness to the area around them as if sucking the heat out of the place – they are sucking the time out of the people and making them worry, stress, dis-eased making them lose track of themselves becoming more automaton than human. Hence taking away their warmth and the time people save is taken/used by the Greys so that they can exist. Their behaviour, structure and purpose well fits the stereotypical aliens people know as the Greys.

They Men in Grey wouldn’t be complete without their cigars. What are cigars? In the story each person’s individual’s time is represented by a flower from their heard so the cigars are an easy to consume, suitably distasteful (a perversion of beauty) container. Symbolically the heart’s flower is the heart chakra. Flowers when looked upon from a bird’s eye view show the Fibonacci sequence and are the basis of all yantras/mandalas/chakras – symbols (including swastikas) of the Goddess and building blocks of life/creation, all geometric/sacred geometric hence many yantras have what looks like flowers on them. Cigars are apt not only as a phallic symbol but as the smoke, the Greys live in the smoke/veil/shadows – and the smoke is Grey. Also has the mundane meaning that cigars/smoking is unhealthy – as the Grey men breathe in other people’s time, people become ill, the cigars poison the flower.

Momo: “Why are they all so grey in the face?”
Hora: “Because they feed on dead matter. They live in people’s time, as you know, but time dies – literally dies – once it has been wrested away from its rightful owners. All human beings have their own share of time, but it survives only for as long as it really belongs to them.”


The story signifies a travel, journeys and the ways in which transport are used. The film starts with a train, Gigi lives in a minivan/bus, cars are used to pursue, surround and harass – transport to weapons, another old world parallel where vehicles were used frequently by deities and aliens for the same purposes be it traversing the stars or fighting battles here on Earth. In Hinduism the ‘gods’ are depicted to travel on animals but are actually hi-tech ships called Vimanas. In contrast to the transport used by Hora and Men in Grey, the transport characters use to find Momo are always damaged, imaginary or metaphysical e.g. a ship and bicycle. The ship used by children fighting their way through a storm calling for Momo and a Beppo on a bike trying to find Momo but the bike is broken by the cars of the Greys.

Momo hunted by the Greys Divine Daughter Dark Mother Goddess

Momo tends to travel on foot though ultimately elevates to something different. In a metaphysical sense though her travels with Cassiopeia are interesting in their significance and the way they are shown to the audience. Cassiopeia is a tortoise and Momo has to follow her to get to Nowhere House at the end of Never Alley where Hora is. That implies that Momo follows the constellation Cassiopeia to get to the destination, and that would mean travelling through space and space is known as a ‘sea’ but Cassiopeia is a tortoise not a turtle. Yamuna/Kalindi from the Hindu pantheon, a later/changed version of Kali is known as a River goddess (a tributary of the Ganges/Ganga) and a death goddess (but in the patriarchal change was given a husband and made a consort), rides a tortoise not a turtle on the water and has Black/dark skin. This further intimates that Momo, Master Hora and Cassiopeia are actually based on Kali, direct part of the Mother of All Gods, Divine Mother. In the filming sense when Momo follows Cassiopeia she’s always walking on slopes, upwards or downwards it’s always on an incline.

Cassiopeia Tortoise Momo 1986 Daughter Mother Dark Divine Goddess


The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.


Italian city – remember that Italy, in particular Sicily, and Catholicism have the modern carryover of the Dark Mother, the Black Madonna though she is rarely seen nowadays and usually placed outside the doors of the churches who still acknowledge her. The Black Madonna is a morph of many of the dark Goddesses of the Mediterranean and Africa traced back past the Sumerians/Phoenicians, Egyptians through to the Canaanites and of course to tribal African goddesses (e.g. the morph and demonizing from old culture into Graeco-Roman Medusa) and others from all ancients peoples, distinct likenesses to the older Time, Death, Protector Goddess Kali Maa the Dark Mother.


Along with all the religious, supernatural and physical/mundane (the way society works/lives) representations in the film, philosophical questions are fitted in such as ‘Where does time come from?’ We are not told but shown the answer, or the symbols for it i.e. a ball/oval that opens to a lotus flower petal shapes, within which is a lily and turning hourglass, in addition to Momo seeing herself in a ‘reflection’ in water but not as she currently/physically looks, a self that is surrounded by flowers. Her time comes from within her heart, the lotus has always been representative of the Goddess upon which she sits whilst it floats and she holds a lily (amongst other things), flowers in general are symbols of life and creation.

Momo Heart Time Flower Chakra Yantra Mandala Sacred Geometry Goddess Universe Creation

I don’t really know what other films to compare this seemingly simple yet massively complex film to. I vaguely remember having seen one or two similar in filming style and perhaps in plot but don’t recall them enough to lookup the names. In nature something about it reminds me of Metropolis (1927) but mostly the closest cultural reference I can think of is Terry Pratchett’s Discworld series. Those are books but include a race of beings called the Auditors with distinct similarities to the Men in Grey. They work as a consensus, a collective mind with many bodies that analyse situations like a committee but without the endless arguing and getting little done. They calculate possibilities or know them just as ‘instantly’ as the Men in Grey and meticulously orchestrate events to suit their agenda. Interestingly enough Terry Pratchett, like Michael Ende also played a cameo role in the BBC adaptations of his own books ‘The Colour of Magic’ and ‘The Light Fantastic’ and ‘Earth’/Discworld in his series features a turtle swimming in the sea of space.

On a superficial level this film would probably appeal to those who like somewhat nostalgic films with a sense of working together and generally friendly community in a supernatural/sci-fi genre. The social commentary is light but poignant, the plot compelling and acting convincing. Probably for older children and above in order to understand the plot/dialogue.

On another level there’s a lot to see here but remember “The most dangerous thing in life is to have your dreams come true.” Especially when they’re nightmares or tricks disguised as desires. Or as Momo replies to Gigi when he tells her not to worry about the town not listening to their warning and that they’ll find a new game: “This was no game”.

Momo Daughter Mother Dark Goddess Divine Lalita Bala Kali Mahakali

(Above film screenshots credit to: http://screenshotworld.blogspot.co.uk/2007/07/momo-1986.html)


Ready or Not Friday the 13th – Invocation

Lalita MahaKali Rajarajeshvari Goddess

Mum – Rajarajeshvari

I was writing a review on Monday when I suddenly stopped and started to write a poem (in which I stopped to do some designing) but later on I heard that Friday is World Invocation Day. Invocations are a calling, they can be likened to prayers, spells, mantras – they often don’t sound like much to the casual reader but it’s the intention/feeling of those who need to read/hear it.

I was going to post this on Friday – heck how could I pass up Friday the 13th on a Full Moon? But I’ve decided to post two days in advance. A Full Moon is the point (usually summarized as a day/night) where the Moon is fullest from where those who are looking at it are. However the full range of a Full Moon is three days so I’m posting this in advance of the Full Moon totally. So there 😛

I’ll note that World Invocation Day is known to many as a day for Christ invocation. Many confuse Christ/Christ consciousness with the character Jesus A/The Christ. Christ is not a singular term for one person/creature, names and titles have gotten shortened or changed. He is a character known and changed through time from the Daughter all the way to the masculanized Krishna (though still noted for his feminine qualities aka a ganymede) and Horus e.g. note the distinct likeness in depictions of Isis (who herself was taken down from the top to a consort) and Horus to Mary and Jesus. Anyway, Christ simply refers to Crystal or Crystalline energy which anyone could of attained or started off with but with all the literature it’s something that decreased and become rare like with many abilities/attributes ascribed to beings on Earth previously. Crystalline energy is the Crown Chakra working, known as the seventh chakra above the head (though there’s more than seven chakras/major energy flow points). It’s known as Purple (or Violent according to rainbow understanding) but the shade does vary and it can also found along with or blended with Fuschia/Hot Pink. When people experience Crystal energy their front eyes can be open or closed but they generally experience what seems like warmth at the top of the head and White light coming down/taking the upper part of vision. It doesn’t tend to last long but those who exercise their pineal gland can see the Purple/Pink. It is that energy which is depicted as a/the halo in pictures of ‘divine’ beings and has been done so long before Jesus A/The Christ. So he is now known as Jesus Christ like how his other title Son of Man was changed to Son of God. Regime changes = belief system changes.


Special mention to http://www.crystalrivers.com/prayers/kali.html for this chant:

Hymn to Kali
Goddess of Life and Death

(strongly rhythmic – monotone chant
accompanied by a sudden sound
such as slashing or drumbeat)

Mother! Of all creation    Kali
Listen, and hear my call    Maha Kali

We call , upon your mercy    Kali
For the, great sins of all    Maha Kali

I name, your secret words    Kali
I intone, your name divine    Maha Kali

You are, the deepest cavern    Kali
From whence, the great light shines    Maha Kali

You are, the forest carpet    Kali
Dark yet, the source of life    Maha Kali

You are, heaven’s wrath    Kali
With great torch, and sacred knife    Maha Kali

You are, the depths of matter    Kali
Home of, the spiritual fire    Maha Kali

I am, encased in matter    Kali
I pray, to travel higher    Maha Kali

Save us, from the veiled snares    Kali
Give us, the truth you know    Maha Kali

Dance for us, with flute and drum    Kali
Make the land throb, with your feet    Maha Kali

Come down, o gentle mother    Kali
That we, may be complete    Maha Kali

Chase away, all fearful demons    Kali
With your fierce, and wrathful forms    Maha Kali

Give us love, and sweet protection    Kali
Shelter us, within your storms    Maha Kali

Raise your fists, and give us power    Kali
Show your heart, that we may rise    Maha Kali

Stand tall, upon a mountain    Kali
Spread your banners, through the skies    Maha Kali

We lay, our heads before you    Kali
Prostrate, o terrible one    Maha Kali

Shatter, destroy our bodies    Kali
Bring us, o bring us home
Maha Kali
Mother Kali
Maha Kali


Kali Maa Creator Destroyer Protector Mother Goddess Divine Lalita

Kali is part of the Daughter/Mother/Dark Mother (Bala/Lalita/Kali) triad, she is an ancient remnant which survived even the post-diluvian/Vedic Arayan wave (long before the most well known takeover in Afrika i.e. Graeco-Roman) which changed the early tribal gnosticism to the foundations of Hinduism leading to modern Hinduism and Gnosticism. Branches of those modern systems used for later monotheistic religions e.g. the Indian prince otherwise known as Buddha spreading a diluted and more friendly version of modern Hinduism i.e. no untouchables/low caste to widen the net of believers and for which many disillusioned/outcast could ‘safely’ be transfered to. It then conveniently became monotheistic and masculine but by then the Zoroastrian method was rampant and in no chronological order along came Judaism, Christianity; prophets and gurus were allowed divinity with Islam and Sikhism and of course worshiping oneself or focusing on the self with Jainism (not to be confused with the hedonistic and nihilistic ‘self’ promoted with the version of free will where the individual is ‘god/divine self’ – for the masses rather than religious/political/cultural founders that ideology is more 19th/20th century).

As with hi-story in general her path has been skewered over time and her position, ‘stories’/actions, abilities/role(s) have changed e.g. originally the Dark Mother from the Mother from the Void, she was later described as from Pavarti/Durga who is the wannabe Mother Goddess substitution when ancient Hinduism became ‘modern’ Hinduism and the male triad made up of created beings not original beings from source was substituted over the female source triad (Daughter/Mother/Dark Mother). The consorts or their queens were then used as replacements to keep the status quo of a female triad for the sake of the populace who couldn’t let go or fully forget (like Christian missionaries adorning statues of Mary in traditional Indian ceremonial garb and parading Hindu style or the Black Madonnas – usually left purposely outside of churches). This juxtaposed female triad was then placed under the male one and the male one was streamlined over time aka the father, son, holy spirit.

The following quote has summarized various cultural likenesses/versions of Kali, as aforementioned bear in mind the differences between the newer cultures to the older ones.


Some of the more striking similarities between Kali and Goddesses of other parts of the world are as follows:

We find Kali in Mexico as an ancient Aztec Goddess of enormous stature. Her name is Coatlicue, and her resemblance to the Hindu Kali is striking. The colossal Aztec statue of Coatlicue fuses in one image the dual functions of the earth, which both creates and destroys. In different aspects she represents Coatlicue, “Lady Of the Skirt of Serpents” or Goddess of the Serpent Petticoat”; Cihuacoatl, “the Serpent Woman”; Tlazolteotl, “Goddess of Filth”; and Tonantzin, “Our Mother,” who was later sanctified by the Catholic Church as the Virgin of Guadalupe, the dark-faced Madonna, La Virgen Morena, la Virgen Guadalupana, the patroness and protectress of New Spain; and who is still the patroness of all Indian Mexico. In the statue her head is severed from her body, and from the neck flow two streams of blood in the shape of two serpents. She wears a skirt of serpents girdled by another serpent as a belt. On her breast hangs a necklace of human hearts and hands bearing a human skull as a pendant. Her hands and feet are shaped like claws. From the bicephalous mass which takes the place of the head and which represents Omeyocan, the topmost heaven, to the world of the Dead extending below the feet, the statue embraces both life and death. Squat and massive, the monumental twelve-ton sculpture embodies pyramidal, cruciform, and human forms. As the art critic Justino Fernandez writes in his often-quoted description, it represents not a being but an idea, “the embodiment of the cosmic-dynamic power which bestows life and which thrives on death in the struggle of opposites.”

We find Kali in ancient Crete as Rhea, the Aegean Universal Mother or Great Goddess, who was worshipped in a vast area by many peoples. Rhea was not restricted to the Aegean area. Among ancient tribes of southern Russia she was Rha, the Red One, another version of Kali as Mother Time clothed in her garment of blood when she devoured all the gods, her offspring. The same Mother Time became the Celtic Goddess Rhiannon, who also devoured her own children one by one. This image of the cannibal mother was typical everywhere of the Goddess of Time, who consumes what she brings forth; or as Earth, who does the same. When Rhea was given a consort in Hellenic myth, he was called Kronus or Chronos, “Father Time,” who devoured his own children in imitation of Rhea’s earlier activity. He also castrated and killed his own father, the Heaven-God Uranus; and he in turn was threatened by his own son, Zeus. These myths reflect the primitive succession of sacred kings castrated and killed by their supplanters. It was originally Rhea Kronia, Mother Time, who wielded the castrating moon-sickle or scythe, a Scythian weapon, the instrument with which the Heavenly Father was “reaped.” Rhea herself was the Grim Reaper.

We find Kali in historic Europe. In Ireland, Kali appeared as Caillech or Cailleach, an old Celtic name for the Great Goddess in her Destroyer aspect. Like Kali, the Caillech was a black Mother who founded many races of people and outlived many husbands. She was also a Creatress. She made the world, building mountain ranges of stones that dropped from her apron.

Scotland was once called Caledonia: the land give by Kali, or Cale, or the Cailleach. “Scotland” came from Scotia, the same goddess, known to Romans as a “dark Aphrodite”; to Celts as Scatha or Scyth; and to Scandinavians as Skadi. Like the Hindus’ destroying Kalika, the Caillech was known as a spirit of disease. One manifestation of her was a famous idol of carved and painted wood, kept by an old family in Country Cork, and described as the Goddess of Smallpox. As diseased persons in India sacrificed to the appropriate incarnation of the Kalika, so in Ireland those afflicted by smallpox sacrificed sheep to this image. It can hardly be doubted that Kalika and Caillech were the same word. According to various interpretations, “caillech” meant either an old woman, or a hag, or a nun, or a “veiled one.” This last apparently referred to the Goddess’s most mysterious manifestation as the future, Fate, and Death–ever veiled from the sight of men, since no man could know the manner of his own death. In medieval legend the Caillech became the Black Queen who ruled a western paradise in the Indies, where men were used in Amazonian fashion for breeding purposes only, then slain.

Spaniards called her Califia, whose territory was rich in gold, silver, and gems. Spanish explorers later gave her name to the newly discovered paradise on the Pacific shore of North America, which is how the state of California came to be named after Kali. In the present century, Irish and Scottish descendants of the Celtic “creatress” still use the word “caillech” as a synonym for “old woman.”

The Black Goddess was known in Finland as Kalma (Kali Ma), a haunter of tombs and an eater of the dead. The Black Goddess worshipped by the gypsies was named Sara-Kali, “Queen Kali,” and to this present day, Sara is worshipped in the South of France at Ste-Marie-de-la-Mer during a yearly festival.

Some gypsies appeared in 10th-century Persia as tribes of itinerant dervishes calling themselves Kalenderees, “People of the Goddess Kali.” A common gypsy clan name is still Kaldera or Calderash, descended from past Kali-worshippers, like the Kele-De of Ireland. European gypsies relocated their Goddess in the ancient “Druid Grotto” underneath Chartres Cathedral, once the interior of a sacred mount known as the Womb of Gaul, when the area was occupied by the Carnutes, “Children of the Goddess Car.” Carnac, Kermario, Kerlescan, Kercado, Carmona in Spain, and Chartres itself were named after this Goddess, probably a Celtic version of Kore or Q’re traceable through eastern nations to Kauri, another name for Kali. The Druid Grotto used to be occupied by the image of a black Goddess giving birth, similar to certain images of Kali. Christians adopted this ancient idol and called her Virgo Paritura, “Virgin Giving Birth.” Gypsies called her Sara-Kali, “the mother, the woman, the sister, the queen, the Phuri Dai, the source of all Romany blood.” They said the black Virgin wore the dress of a gypsy dancer, and every gypsy should make a pilgrimage to her grotto at least once in his life. The grotto was described as “your mother’s womb.” A gypsy pilgrim was told: “Shut your eyes in front of Sara the Kali, and you will know the source of the spring of life which flows over the gypsy race. We find variations of Kali’s name throughout the ancient world.

The Greeks had a word Kalli, meaning “beautiful,” but applied to things that were not particularly beautiful such as the demonic centaurs called “kallikantzari,” relatives of Kali’s Asvins. Their city of Kallipolis, the modern Gallipoli, was lefted in Amazon country formerly ruled by Artemis Kalliste. The annual birth festival at Eleusis was Kalligeneia, translatable as “coming forth from the Beautiful One,” or “coming forth from Kali.”

Lunar priests of Sinai, formerly priestesses of the Moon-Goddess, called themselves “kalu.” Similar priestesses of prehistoric Ireland were “kelles,” origin of the name Kelly, which meant a hierophantic clan devoted to “the Goddess Kele.” This was cognate with the Saxon Kale, or Cale, whose lunar calendar or kalends included the spring month of Sproutkale, when Mother Earth (Kale) put forth new shoots. In antiquity the Phoenicians referred to the strait of Gibraltar as Calpe, because it was considered the passage to the western paradise of the Mother.

The Black Goddess was even carried into Christianity as a mother figure, and one can find all over the world images of Mother Mary, the mother of Jesus Christ, depicted as a black Madonna.

Grim Reaper


As times, usually when they are desperate or sucking up/worshiping so fixedly for a wish, the commonly known top level hierarchy aka the false male triad and their nearest and dearest will admit to the existence of  Mother Goddess. The following excerpt from the Devi Gita, one of their early works describing ancient times, shows Her importance in the detailed fervour and pretend admiration/respect they use to beg. More than unfortunately it also shows just how giving and humble She can be to lower Herself to talk to them in such a friendly tone on ‘their’ level, to see Her in a form that wouldn’t kill them by the sheer radiance and then – as all the cultures show – to separate a part of Herself to live amongst them. All beings are creations but to separate Herself is a distinction between creation/realities and her own separate/private sphere which is higher/purer. There is the created/children and those who look after them and design their homes. So to have a part of Herself amongst the children is a higher level being but not so high as to be unable to live there. Such a being is usually called a Daughter, or a Daughter of the Daughter aka a part of the original Daughter from the Daughter/Mother/Dark Mother triad who is all One Lalita anyway. Confusing but creation is a branch.

The Cosmic Form quote from the Devi Gita:


The Goddess displays her Cosmic Form

1-19. The Devî said:–“O Girirâja! This whole universe, moving and unmoving, is created by My Mâyâ S’aktî. This Mâyâ is conceived in Me. It is not, in reality, different or separate from Me. So I am the only Chit, Intelligence. There is no other intelligence than Me. Viewed practically, it is known variously as Mâyâ, Vidyâ; but viewed really from the point of Brahman, there is no such thing as Mâyâ; only one Brahman exists, I am that Brahma, of the nature of Intelligence

p. 711

I create this whole world on this Unchangeable Eternal (Mountain-like) Brahma, (composed of Avidyâ, Karma, and various Samskâras) and enter first as Prâna (vital breath) within it in the form of Chidâbhâsa. O Mountain! Unless I enter as Breath, how can this birth and death and leaving and retaking bodies after bodies be accounted for! As one great Âkâs’â is denominated variously Ghatâkâs’a (Âkâs’â in the air), Patâkâs’a (Âkâs’â in cloth or picture), so I too appear variously by acknowledging this Prâna in various places due to Avidyâ and various Antahkaranas. As the Sun’s rays are never defiled when they illumine various objects on earth, so I, too, am not defiled in entering thus into various high and low Antahkaranas (hearts). The ignorant people attach Buddhi and other things of activity on Me and say that Âtman is the Doer; the intelligent people do not say that. I remain as the Witness in the hearts of all men, not as the Doer. O Achalendra! There are many Jîvas and many Îs’varas due to the varieties in Avidyâ and Vidyâ. Really it is Mâyâ that differentiates into men, beasts and various other Jîvas; and it is Mâyâ that differentiates into Brahma, Visnu and other Îs’varas. As the one pervading sky (Âkâs’a) is called Mahâkâs’a Ghatâkas’a (being enclosed by jars), so the One All pervading Paramâtmâ is called Paramâtmâ, Jîvâtmâ (being enclosed within Jîvas). As the Jîvas are conceived many by Mâyâ, not in reality; so Îs’varas also are conceived many by Mâyâ; not in essence. O Mountain! This Avidyâ and nothing else, is the cause of the difference in Jîvas, by creating differences in their bodies, indriyas (organs) and minds. Again, due to the varieties in the three Gunas and their wants (due to the differences between Sâttvik, Râjasik and Tâmasik desires), Mâyâ also appears various. And their differences are the causes of different Îs’varas, Brahma, Visnu and others. O Mountain! This whole world is interwoven in Me; It is I that am the Îs’vara that resides in causal bodies; I am the “Sutrâtman, Hiranyagarbha that resides in subtle bodies and it is I that am the Virât, residing in the gross bodies. I am Brahmâ, Visnu, and Mahes’vara; I am the Brâhmâ, Vaisnavi and Raudrî S’aktis. I am the Sun, I am the Moon, I am the Stars; I am beast, birds, Chandâlas and I am the Thief, I am the cruel hunter; I am the virtuous high-souled persons and I am the female, male, and hermaphrodite. There is no doubt in this. O Mountain! Wherever there is anything, seen or heard, I alway exist there, within and without, There is nothing moving or unmoving, that can exist without Me. If there be such, that is like the son of a barren woman. Just as one rope is mistaken for a snake or a garland, so I am the One Brahma and appears as Îs’vara, etc. There, is no doubt in this. This world cannot appear without a substratum.

p. 712

And That Substratum is My Existence. There can be nothing else.

20. The Himâlayâs said:–“O Devî! If Thou art merciful on me, I desire, then, to see Thy Virât form in the Fourth Dimensional Space.

This sight is developed when the mind resides in the heart centre or in the cenlre of the eye-brows. A proper teacher is necessary.

21-41. Vyâsa said:–“O King! Hearing the words of Girirâja, Visnu and all the other Devas gladly seconded him. Then the Devî, the Goddess of the Universe, knowing the desires of the Devas, showed Her Own Form that fulfils the desires of the Bhaktas, that is auspicious and that is like the Kalpa Vriksa towards the Bhaktas. They saw Her Highest Virât Form. The Satyaloka is situated on the topmost part and is Her head; the Sun and Moon are Her eyes; the quarters, Her ears; the Vedas are Her words; the Universe is Her heart; the earth is Her loins; the Bhuvarloka is Her navel; the asterisms are Her Thighs; the Maharloka is Her neck; the Janarloka is Her Face; the Taparloka is Her head, situated below the S’atyaloka; Indra and the Devas and the Svarloka is Her arms; the sound is the organ of Her ears; the As’vin twins, Her nose; the smell is the organ of smell; the fire is within Her face; day and night are like Her two wings. The four-faced Brahmâ is Her eyebrows; water is Her palate; the juice thereof is Her organ of taste; Yama, the God of Death, is Her large teeth; the affection is Her small teeth; Mâyâ is Her smile; the creation of Universe is Her sidelooks; modesty is Her upper lip; covetousness is Her lower lip; unrighteousness is Her back. The Prajâpati is Her organ of generation; the oceans are Her bowels; the mountains are Her bones; the rivers are Her veins; and the trees are the hairs of Her body. O King! Youth, virginity, and old age are Her best gaits, positions or ways (courses) paths, the clouds are Her handsome hairs; the two twilights are Her clothings; the Moon is the mind of the Mother of the Universe; Hari is Her Vijnâna S’âkti (the knowledge power); and Rudra is Her all-destroying power. The horses and other animals are Her loins; the lower regions Atala, etc., are Her lower regions from Her hip to Her feet. The Devas began to behold Her this Cosmic (Virâta) appearance with eyes, wide awake, with wonder. Thousands of fiery rays emitted from Her form; She began to lick the whole universe with Her lips; the two rows of teeth began to make horrible sounds; fires came out from Her eyes; various weapons were seen in Her hands; and the Brâhmanas and Ksattriyas are become the food cf that Awful Deity. Thousands of heads, eyes and feet were seen in that form. Crores of Suns, crores of lightnings flashes, mingled there. Horrible, Awful, That appearance looked terrific to the eyes, heart and mind. The Devas thus beheld and began to utter cries of horror and consternation; their hearts trembled and they were

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caught with immoveable senselessness. “Here is the Devî, our Mother and Preserver.” this ides vanished away at once from their minds.

At this moment the Vedas that were on the four sides of the Devî, removed the swoon of the Devas and made them conscious. The Immortals got, then, the excellant Vedas; and, having patience, began to praise and chant hymns in words choked with feelings and with tears flowing flowing from their eyes.

42-53. The Devas said:–“O Mother! Forgive our faults. Protect us, the miserable, that are born of Thee. O Protectress of the Devas! Withhold Thy anger we are very much terrified at the sight of Thy this form. “O Devî! We are inferior immortals; what prayers can we offer to Thee! Thou Thyself canst not measure Thy powers; how then can we, who are born later, know of Thy greatness! Obeisance to Thee, the Lady of the Universe! Obeisance to Thee of the nature of the Pranava Om; Thou art the One that is proved in all the Vedântas. Obeisance to Thee, of the form of Hrîm! Obeisance to Thee, the Self of all, whence has originated the Fire, the Sun, and the Moon and whence have sprung all the medicinal plants. Obeisance to the Devî, the Cosmic Deity, the Self in all whence have sprung all the Devas, Sâdhyas, the beasts, birds, and men! We bow down again and again to the Great Form, Mâhâ Mâyâ, the Self of all, whence have-sprung the vital breath Prana, Apâna, grains and wheats, and Who is the source of asceticism, faith, truth, continence and the rules what to do and what not to do under the present circumstances. The seven Prânas, the seven Lokas, the seven Flames, the seven Samidhs, the seven Oblations to Fire, have sprung from Thee! Obeisance to Thee, the Great Self in all! Obeisance to the Universal form of the Deity of the Universe whence have sprung all the oceans, all the mountains, all the rivers, all the medicinal plants and all the Rasas (the tastes of all things). We bow down to that Virât Form, the Great Self, the Mahâ Mâyâ, whence have originated the sacrifices, the sacrifical post (to which the victim about to be immolated is bound) and Daksinâs (the sacrificial fees) and the Rik, the Yajus, and the Sâma Vedas. O Mother! O Mahâ Mâyâ! We bow down to Thy front, to Thy back, to Thy both the sides, to Thy top, to Thy bottom and on all sides of Thee. O Devî! Be kind enough to withhold this Extraordinary Terrific Form of Thine, and sbew us Thy Beautiful Lovely Form.

54-56. Vyâsa said:–“O King! The World Mother, the Ocean of mercy, seeing the Devas terrified, withheld Her Fearful Cosmic Form and showed Her very beautiful appearance, pleasing to the whole world. Her body became soft and gentle. In one hand She held the noose, and in another She held the goad. The two other hands made signs to dispel all their fears

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and ready to grant the boons. Her eyes emitted rays of kindness; Her face was adorned with beautiful smiles. The Devas became glad at this and bowed down to Her in a peaceful mind and then spoke with great joy.

Here ends the Thirhy-third Chapter of the Seventh Book on the Devî’s Virât Rûpa in the Mahâ Parânam, Sri Mad Devî Bhâgavatam, of 18,000 verses, by Maharsi Veda Vyâsa.


Happy New Year/Happy Goodbye

Songkran – The days allocated/celebrated as the first day of the year for many Asian countries. In places such as Thailand, Sri Lanka, Nepal, Cambodia, Lao and Burma Songkran (otherwise related to the Resurrection) is celebrated from 13-15th April, with some places starting on the 12th or ending on the 16th. It coincides with numerous ancient Asian calendars. (https://en.wikipedia.org/wiki/Songkran_(Thailand))

Easter significantly occurs after Songkran and to many old world systems (and most importantly Nature herself) the transcendence of darkness to light, or separation to wholeness or symbolically (but with more gravity than the word ‘symbolism’ usually attracts) the journey into the manifested creation or ‘cave’ begins and is hence prior to the exiting of the cave/the resurrection. Easter is another ancient marking of time that pre-dates Christianity (http://www.mother-god.com/easter.html) and what is now thought to mark a journey of three days is actually three weeks n’est pas? The Entrance, the Suffering and the End. (The Gnostic and pre-vedic early Hindu Creation scriptures are most commonly known through the later, and altered, Inanna/Ishtar and Demeter/Persephone ‘myths’ where the Daughter has to go through the netherworld to be reunited with the Mother and the Dark Mother is usually misconstrued or confused with the Traitor Goddess in an attempt to insert the Maiden/Mother/Crone triad.)

Asian countries such as China, Vietnam and Taiwan just had their tomb-sweeping festival (https://en.wikipedia.org/wiki/Qingming_Festival) where they tend to the graves of their ancestors who have ‘passed’, or transcended or in transition since ‘death’ in this world is now not really Death but a passage which is why we pray for the dead, give offerings that could be of help to them and hope for their souls to be handled properly as if they are not completely gone. Death is the cessation of existence but the Qingming Festival exemplifies that death here is an extension of existence, just different to how we think of/feel it and its position between Easter and Songkran is no coincidence. The ancient calendars are processional and even though people may look and sound different, fundamentally they are the same and the various Asian cultures are more obviously linked though on the World stage we are all linked by our roots.

Easter – the Entrance. Qingming – the ‘dying’/suffering and passing. Songkran – the End/Resurrection of the Daughter in unification with the Mother, also celebrated on May 1st/Maia 14th with the Feast of the Exaltation of the Queen of Heaven. To read about this beautiful festival, its history and meaning: “The Exaltation of the Queen of heaven“.

All About Easter

The Dawn of the World

Eastre, or Easter, is the Great Feast of the Death and Resurrection of God the Daughter.

People who are new to this often imagine that it is taken from Christianity. It certainly does sound very similar, doesn’t it?

Let us begin by looking at the word Eastre/Easter. What does it mean in relation to Christianity? Answer: absolutely nothing.

Easter comes from the name of the Teutonic goddess of Spring and Dawn, Eostre. The name is closely connected to Greek Eos, goddess of Spring and Dawn; Sanskrit Ushas, goddess of the Dawn; and Babylonian Ishtar, the goddess whose descent into the under-world is celebrated in Her spring festival.

The name, as associated with spring/dawn, is so deep-rooted in human language that it goes beyond the normal linguistic “families”. For example, we find the same syllables in the Japanese words asa (morning) and ashita (tomorrow – recall that in most languages, the concept of “tomorrow” is closely connected to that of “morning” – the new dawn, cf mañana, Morgen or the original English meaning of morrow).

So, when we say the word Eastre, or Easter, we are invoking the concepts of morning/dawn, of spring, and of the goddess who rules them. The word has no connection whatever with the Christian “Easter” mythos, except that it is connected with a goddess who dies and is resurrected, descends into the under-world and returns.

None of this should be very surprising. The mythos of the dying-and-rising god-savior is found again and again in ancient religion, and naturally this “god” began as Deity in Her original feminine form and was only “masculinized” by later patriarchal editing.

Why spring and dawn? Because spring and dawn are the equivalent points in the cycle of the day and in the cycle of the year. Spring is the dawn of the year. When cycles were more deeply understood, it was natural that the word for one should also be the word for the other. A very closely associated word is “east” – where the sun rises – and we may note that in the Wheel of the Year Easter comes at the eastern point of its “compass”.

However, the cycle runs deeper than that of mere this-worldly events. “As above, so below”. Things of the world are but reflections of those things that transcend, predate, and are the causes of all worldly being.

Thus the rebirth of the day, and of the year, are but shadows of the rebirth of the cosmos itself and of Deity Herself.

We are here dealing with something fundamental to being. Something that goes deeper than any merely physical science can into the very questions of what existence is and why there is any universe at all. We are entering into regions that are beyond our limited human understanding, but which have been explained to us from the beginning in terms of a mythos that we can understand and relate to.

We know that there is ultimately only one Reality, and that is the Absolute, the Divine, the Atma. We also know that there appears to be a universe and beings (such as ourselves) that exist separately from Her.

How can this be? How can there be a world apart from the Sole Reality? This is the Mystery of Manifestation. The Sole Reality manifests some of the infinite potentialities that lie within Her “outwardly” in the form of a universe. Thus, from our perspective, She is the Creatrix of the world.

However, in order to maintain a world in apparent separation from Herself, She must enact a paradox, since if anything were truly separate from Her, it would instantly cease to exist, because She is existence. Therefore She must come to the place-where-She-is-not.

This Mystery of the separation of the Absolute from the Absolute is enacted in the Nativity mythos.

The Mistress of All Things rose to Her feet. For She had conceived a Daughter that was not separate from Her, but one with Her, and the Child of Her Light.

The Daughter is the Lesser Light of the Mother. While the brightness of the Solar Mother is “too great for us [i.e. the manifest cosmos] to look upon” the Daughter’s Lunar light reflects upon, and sustains, manifest creation. [Naturally we are speaking of the supernal and universal Solar and Lunar principles here – not merely of the astronomical bodies that providentially reflect them for our particular world-system].

Thus the feminine Holy Trinity (or so-called “triple Goddess”) of Mother, Daughter and Dark Mother, are, like the Hindu Trimurti, respectively the Creatrix, the Sustainer, and the (ultimate) Destroyer of manifestation.

The Daughter protects manifestation by being present in every part of the manifest cosmos, even the very lowest: descending “into the nether regions, giving up the Divine light and going down into that place wherein is no light, but only the profoundest darkness”.

With the descent of the Daughter into the nether regions, the world is subjected to that cutting-off from the Divine Source of Being that would have happened if the Daughter had not existed. And when the Daughter is slain, the world’s source of existential sustenance is severed:

1. Now from the time when the Daughter of Heaven had passed through the first gate of Hell, a barrenness had fallen on the earth; and neither bird had sung nor any flower showed its beauty forth; nor was there joy in any heart. 2. But when the Maid was slain upon the pillar of the world, an awful darkness fell on all the earth. 3. And the rivers of the earth ceased to flow, but drained away into the salt sea, and the sea ceased to move, but stood still in awful stagnancy.

Note the imagery of the rivers ceasing to flow. The river is a symbol of the connectedness of all things to their Source. It is precisely this connection that is severed here.

This is the Divine Sacrifice upon which the existence of the cosmos is founded.

Within the Wheel of the Year, Eastre is the three-day event that marks the end and the re-beginning of the cycle. The three days are as follows:

Kala: Moura 28th (March 19th, or 18th on leap years). Kala is the last day of the year. It is also the last day of the fifth season and thirteenth month of Moura which leads up to the Kala event. On this day, Our Lady passes through the Seven Gates of Hell and is slain upon the Pillar of the World.

Hiatus: No date. This day does not “exist” in the Filianic Calendar (March 20th, or 19th and 20th on the two-day hiatus of a leap year). This is the Day that Has No Date – the Day that Is No Day. On this day Our Lady is dead and the cosmos is dying. All statues and pictures of Mother and Daughter are covered in dark veiling. On this day one should try to avoid referring to, or even thinking of, the future. One should act as if this were the Last Day. This is a hard discipline and almost never can it be done perfectly, but even the attempt gives a very profound sense of the Ending and enables one to experience the Resurrection and New Year at a surprisingly deep level.

A special chant used during the Hiatus may be found here.

“And Her Daughter rose again and was alive again.

And amid tears of joy, They embraced and were one.”

Resurrection/New Year: Culverine 1st (March 21st). This is the first day of the year, the day of the Resurrection of Our Lady and the Rebirth of the World:

20. And when they beheld Her, the children of the earth rejoiced, and the rivers flowed again, and the sea began to move.

21. And the children of the earth cried: lift up your voices in song and laughter, for the Princess of the World was dead and is alive again, was broken and is whole; and there is no place whereto Her joyous rule does not extend. 22. Give praise to the Mother of All Things and praise to Her Daughter.

23. Rejoice, for the world is renewed.

After the preparation of Moura, the sacrifice of Kala, and the strange non-time of the Hiatus, the sense of a complete world-renewal for believers is almost uncanny. Our alignment with the world’s most ancient ritual system, and with the fundamental mythos that underlies cosmic manifestation, is remarkably powerful, for we are participating in the world’s most ancient “magic” – the “magic” that is creation itself.

These dates are ‘continuous’ and cyclic only as we ‘know’ them in our existence, in our lives, hence the events they acknowledge seem to repeat but remember that they are only there to remind us of an event, not repetitive events, not a story that is re-told. Our lives are no longer in sync with the cosmic passage of events and what we remember seems like déjà vu because we are multi-dimensional non-linear beings that have been extremely condensed so people confuse past, present and future (e.g. when ‘new discoveries’ are made which are actually the uncovering of past memories). The real Entrance, Suffering and End is one event that we mark in our ‘years’ or timelines that have been set and assigned to us by ruling establishments and so it seems continuous as if we are living our lives and events over and over again through the years but really our lifetime is one unit, one passage of time and the events that we are marking are happening once and once only.

We are almost at Songkran and interestingly enough:

The traditional greeting is “สวัสดีปีใหม่” (sawatdi pi mai), basically “Happy New Year”. Sawatdi is also used for “hello” or “goodbye”. Pi and mai mean “year” and “new” respectively in Thai. Another greeting used is “สุขสันต์วันปีใหม่” (suk san wan pi mai), where suk san means “happy”.

There is also a Total Lunar Eclipse combined with the full moon on the 14/15th April making a Blood Red Moon, all in good time 🙂