Saturday, November 7, 2020

"Fruit Of The Loom"


"It has arrived! Those who have been patient, my sincerest thanks. 

27 essays taken from Groupname for Grapejuice from 2012 to 2015 plus one yet unseen introduction. Four hundred and two pages, seven major sections, their titles composing a Lovecraftian tale of seven lines. 

Gorgeous original cover and interior art by Kaylee Pickinpaugh -- a new zodiac gyring out or spiraling into an interior empyrean of the Earth and transfiguring the whole text into a magic item. Endless curling details. Flanked by Moon and Sun, bridged at usura and Eleusis, shining throughout. Thoth and Pan.

Editing and layout wizardry by Alan Abbadessa and Jason Barrera of Sync Book Press. A melange of fonts, formats and letter dimensions: start it anywhere, bibliomantic and aphoristic. A tactile object that's exactly the right smoothness, size and weight in one's hands." 

~B(oo)k! : Death Sweat of the Cluster

(from Chapter 8)

Finn MacCool, or Fionn mac Cumhaill, was a mythical warrior of ancient Ireland and the son of a great leader. As a boy he left his home and came to be the servant of the shaman-poet, Finn Eces. This strange yet powerful man was on a quest to catch the Salmon of Wisdom, a fish whose flesh would grant all of the world's knowledge to the first person who ingested it.

The salmon had itself eaten nine hazelnuts that had fallen into the primordial Well of Wisdom, the ultimate source of Ireland's major rivers. After seven years, Finn Eces finally caught the fish and, desiring to eat it and attain omniscience, asked his young apprentice, Finn MacCool, to cook it for his dinner. The story goes, though, that young Finn, while touching the fish to test if it was cooked, burned himself on the scalding fish fat and bit his thumb in pain. The fat touched his tooth and all of the knowledge of the world flowed into the mind of Finn MacCool.

Finnegans Wake, then, is the dream of one who knows, or once knew, everything.  However, as the illuminating essay, "Celtic Cauldrons at the Wake," explains the Wake is the story of the Fall of Finn and the forgetting of this knowledge. 

By washing in a sacred cauldron and placing his thumb to his tooth he could recall everything ever known. In the Wake, however, it is suggested that Finn somehow lost this power, that the cauldron became dry, and that this act of forgetting is equated with the Fall

All of the symbols being tracked on this blog -- the cauldron, the fish, the tooth, the feminine waters of the sacred river -- are present in the story. This tale of the young Finn is equivalent to the Welsh story of the poet Taliesin, mentioned before in this blog. Identical symbols are involved in the anamnesis experience of Philip K. Dick in February of 1974.

Dick is suffering from an impacted wisdom tooth when he meets a young woman at his door wearing a fish symbol necklace. The woman herself -- the dark-haired girl -- appears frequently in Dick's writing and is the embodiment of the divine Sophia. She is equivalent to the river goddess Annah of Irish myth. The symbol of the cauldron, grail or cup in Dick's writing is the subject of a previous post.

The most remarkable thing, though, is that these events show two different episodes in the same story. Finn is forgetting or falling asleep, and Dick is in the process of remembering or waking up. 

There is a fish at the start of the story and a fish at the end. Two fishes.

The Two Sons of God 

These two fishes are the subject of a major study by Carl Jung entitled Aion. In this text, Jung makes the case that the original early Christian ichthys symbol -- the one which blasted PKD to his core when it appeared on his doorstep -- is related to the two fishes comprising the astrological sign of Pisces. 

The over two thousand years of the Age of Pisces has almost entirely coincided with the age of Christianity. Jung is quick to emphasize, though, that "there is no evidence in the old literature that the Christian fish symbolism was derived from the zodiac," and that the connection he makes is purely a "synchronistic concomitant." 

As a synchronicity, though, it is extremely profound. One problem in attempting to correspond these two symbols is that the first has one fish and the second has two. In Jung's view, though, the Pisces symbol is merely more complete. He explains "that in the astrological interpretation Christ is in fact only one of the fishes, the role of the other fish being allotted to the Antichrist." The ichthys refers just to Christ, ruling over the first thousand years of the Age, while the Antichrist is the second inverted fish of the zodiacal sign.
Astrologically interpreted, the designation of Christ as one of the fishes identifies him with the first fish, the vertical one. Christ is followed by the Antichrist, at the end of time. The beginning of the enantiodromia would fall, logically, midway between the two fishes. We have seen that this is so. The time of the Renaissance begins in the immediate vicinity of the second fish, and with it comes that spirit which culminates in the modern age. 

Jung characterizes this spirit with the process of "dechristianization" in the West coinciding with "the Luciferian development of science and technology." He notes how the immense and almost unimaginable destruction of World War Two was often compared with the terrible vision of the end of the world and the coming of the Antichrist as presented in the New Testament. Without a doubt this same Luciferian and destructive spirit still dominates the present.

For Jung, just as every individual has a shadow side so there is a "dark half of the human totality, which ought not to be judged too optimistically." This dark side is precisely represented by the Antichrist, the inverted fish. In a civilization dominated by a highly dualistic ideology like Christianity the rift between the two halves is especially marked.
The psychological concept of the self, in part derived from our knowledge of the whole man... cannot omit the shadow that belongs to the light figure, for without it this figure lacks body and humanity. In the empirical self, light and shadow form a paradoxical unity. In the Christian concept, on the other hand, the archetype is hopelessly split into two irreconcilable halves, leading ultimately to a metaphysical dualism the final separation of the kingdom of heaven from the fiery world of the damned.
                 Lily: AT&T                                       Tara: Silicon Valley
Image result for lily name meaning
Lily is a feminine given name directly derived from lily, the flower. The popularity of the name increased steadily in most English-speaking countries during the late 20th century. ... The name is derived from the flower, whose meaning is "pure", "passion" and "rebirth".
Alternative spelling: LilyLillieLilly, Pugliana
Meaning: lilium
Related names: Pugliana
Gender: Feminine
The flower of new life and rebirth
1. The flower of new life and rebirth. ― cziehl 4/5/2016. 1. According to some, 'lilium' is the latinized form of Greek 'leirion' (λείριον).
God is abundance
Meaning of Lilly
Lilly means “God is abundance” and “God is my oath” (from Hebrew “el/אֵל” = god + “sheba” = abundance or “saba” = oath).

The flower lily is a symbol of innocence; purity and beauty.
Old English lilie, from Latin lilium, from Greek leirion.
The name is popular in Ireland and Australia. ... Tara is also used as a male or female name for Sikhs. Tara is a word originating from Sanskrit, meaning star, and it symbolises the light of the soul.
Meaning: Queen; Star; Goddess of the sea; Di...
Related names: TarjaTamara
Gender: Female and male

Milana Vayntrub

American actress



Milana Aleksandrovna Vayntrub is an Uzbekistan-born American actress, comedian, and activist. She came to prominence for her appearances in AT&T television commercials as saleswoman Lily Adams from 2013 to 2016, and again in 2020. Wikipedia
BornMarch 8, 1987 (age 33 years), Tashkent, Uzbekistan
Height5′ 3″
Full nameMilana Aleksandrovna Vayntrub


Astrological sign



Pisces is the twelfth astrological sign in the Zodiac. It is a negative, mutable sign. It spans 330° to 360° of celestial longitude. Under the tropical zodiac, the sun transits this area between February 19 and March 20. Wikipedia
Sign rulerJupiter and Neptune

Meaning of Milana
Milana means “dear”, “gracious” (from Slavic “milu”).
Weintraub is a Jewish German surname meaning "grape". It is cognate with the name Vayntrub and may refer to: Milana Vayntrub, American actress. ... Carl Weintraub, American actor. David Weintraub (official), an official of the U.S. government.

T. Shukshin

Monday, November 2, 2020

Presidential Primer, Published 1913

Flashback to a little known corner of the blogosphere, an Underground Stream. Once penned a piece after being inspired by the empty chair ritual of Clint Eastwood where he said "we own this country". He being an "R" in name only, and a dweller of the forest where the owl ceremenony immolates tophet. I got his meaning they really do "own this country". In said piece I had been been inspired to match Presidents with lies in the Book of Lies. Specifically: 1 as George Washington, 11 as James Polk , 22/24 as Grover Cleveland , 33 Harry S. Truman and 44 as Barack Obama. With special mention of 16 as Abraham Lincoln, 35 as JFK, and 45, unknown at that time (being September 2012), one Donald Trump. Le Streghe's Bass Ackwards Spell. Since then I have waterboarded the entire Book of Lies as being a treatise on how American history had been crafted from 1776 up to 1913 and onwards to its "manifest destiny". A symbolic history from one of history's darkest crafters, leading the Many to its fateful conclusion that my intial findings of 2012 hinted at. I used chiastic structure, being the primary writing pattern of nearly all ancient literature for mnemonic reasons. Example thereof is a1,b1,c1,X,c2,b2,a2. X would the center idea and the parallels in and out of the X serving as memory keys for the writer or speaker. Conclusions since 2012: took the Lies and mirrored them to eachother with 1 and 90, 2 and 89, 3 and 88, etc., all the way to the X of the middle, that being 45 and 46 as a pair. All Lies are merely "false breaks" of One Ritual. The Freemasons eventually gobble up all the Antifreemasons and mockingly get them to be "Know Nothings". Its all rather clear as being a royal banker joke once you see it. Seeing is after all, believing. Oh wait that's "faith comes by hearing" and that is also one of the Lies. 45 is Chinese Music being the Presidency of Donald Trump. 46 is Buttons and Rosettes being an outcome not yet known. In destructuring the Lies I also did a one off set, ass backwards, so as to make 0 = 1 and 0 = 2 a proof. Each lie compared to history of all Presidents becomes a fairly open set of notes if you can play snakes and ladders, or aprons and altars. So as to share a something before the circle filling and boundary making goes on, being a game of ky klos castles, the final two forming the X of the Lies is given. The one off of 0 = 1 and 0 = 2, led to a result of Primes that revealed the 45th Lie of Chinese Music to be prime 93. 93 being the one and only numerical signature of "Do What Thou Wilt Shall be the Whole of the Law". The 46th Lie is entirely the One and the Many desiring each other as E Pluribus Unum; a Butts and Rosettes all a Koreybanter Konklusion. The original Lies by Agent 666 were penned in 1913 the same year the 4th Bank Charter became the law of chattel mortgage. Pike and Mazzini's Three World Wars would come to pass magically rooted to 1913. All peddling paper paupery people popping. Clearly a conspiracy leading to an end of US. The goad of all being eclipse disease of the Sun and Moon as 1080 + 666 + 30 = 1776. See John Michell on this most amazing numerical decode.
Post Election Script, a synchronous broadcast from McShapiro of the Dailygarrote, HA..

Wednesday, September 16, 2020

Leaving Gravity: It's Coming It's Real

If McLuhan was correct that print is heat, then what is the sun? 

The sun is light 🌞

Hell Is





Rotate your TV screen 90 degrees counter-clockwise 

Play Swans Leaving Meaning + Gravity by Alfonso Cuaron (at 00:00:37)

“It is something that behaves like imagination and matter without ever doing damage to the ontological status of one or the other. This sounds like pure pathology in the context of modern thinking because we expect things to stay still and be what they are and undergo the growth and degradation that is inimical to them, but no, the redemption of spirit and matter means the exteriorization of the human soul and the interiorization of the human body so that it is an image freely commanded in the imagination.”

🌜 do the snow angel 🌛

Wednesday, September 9, 2020

H is for Holy Grail

Circe: Franz Von Stuck 1913


Circe, Miller's second novel, was released on April 10, 2018.[11] The book is told from the perspective of Circe, an enchantress in Greek mythology who is featured in Homer's Odyssey. Circe was ranked the second-greatest book of the 2010s in Paste.[12] An 8-part miniseries adaptation of the book has been greenlit for HBO Max.[13]

Latinized form of Greek Κίρκη (Kirke), possibly from κίρκος (kirkos) meaning "hawk". In Greek mythology Circe was a sorceress who changed Odysseus's crew into hogs, as told in Homer's Odyssey. Odysseus forced her to change them back, then stayed with her for a year before continuing his voyage.

In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe is a strange child - not powerful, like her father, nor viciously alluring, like her mother. Turning to the world of mortals for companionship, she discovers that she does possess power - the power of witchcraft, which can transform rivals into monsters and menace the gods themselves. 

Threatened, Zeus banishes her to a deserted island, where she hones her occult craft, tames wild beasts and crosses paths with many of the most famous figures in all of mythology, including the Minotaur; Daedalus and his doomed son, Icarus; the murderous Medea; and, of course, wily Odysseus. 

But there is danger, too, for a woman who stands alone, and Circe unwittingly draws the wrath of both men and gods, ultimately finding herself pitted against one of the most terrifying and vengeful of the Olympians. To protect what she loves most, Circe must summon all her strength and choose, once and for all, whether she belongs with the gods she is born from or the mortals she has come to love. 

With unforgettably vivid characters, mesmerizing language and pause-resisting suspense, Circe is a triumph of storytelling, an intoxicating epic of family rivalry, palace intrigue, and love and loss as well as a celebration of indomitable female strength in a man's world.

Perdita Weeks was born on December 25, 1985 in Cardiff, Wales as Perdita Rose Annunziata Weeks. She is an actress, known for As Above, So Below (2014), Hamlet (1996) and Spice World (1997). She has been married to Kit Frederiksen since October 4, 2012. They have two children.  See full bio »

Perdita (Latin for "lost"), may refer to:

Odysseus' account of his adventures

Odysseus Overcome by Demodocus' Song, by Francesco Hayez, 1813–15

Odysseus recounts his story to the Phaeacians. After a failed raid, Odysseus and his twelve ships were driven off course by storms. Odysseus visited the lotus-eaters who gave his men their fruit that caused them to forget their homecoming. Odysseus had to drag them back to the ship by force.

Afterwards, Odysseus and his men landed on a lush, uninhabited island near the land of the Cyclopes. The men then landed on shore and entered the cave of Polyphemus, where they found all the cheeses and meat they desired. Upon returning home, Polyphemus sealed the entrance with a massive boulder and proceeded to eat Odysseus' men. Odysseus devised an escape plan in which he, identifying himself as "Nobody," plied Polyphemus with wine and blinded him with a wooden stake. When Polyphemus cried out, his neighbors left after Polyphemus claimed that "Nobody" had attacked him. Odysseus and his men finally escaped the cave by hiding on the underbellies of the sheep as they were let out of the cave.

As they escaped, however, Odysseus, taunting Polyphemus, revealed himself. The Cyclops prays to his father Poseidon, asking him to curse Odysseus to wander for ten years. After the escape, Aeolus gave Odysseus a leather bag containing all the winds, except the west wind, a gift that should have ensured a safe return home. Just as Ithaca came into sight, the sailors opened the bag while Odysseus slept, thinking it contained gold. The winds flew out and the storm drove the ships back the way they had come. Aeolus, recognizing that Odysseus has drawn the ire of the gods, refused to further assist him.

After the cannibalistic Laestrygonians destroyed all of his ships except his own, he sailed on and reached the island of Aeaea, home of witch-goddess Circe. She turned half of his men into swine with drugged cheese and wine. Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic. Odysseus forced Circe to change his men back to their human form, and was seduced by her.

They remained with her for one year. Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead. Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew. For Odysseus' encounter with the dead, see Nekuia.

Odysseus and the Sirens, eponymous vase of the Siren Painter, c. 480-470 BC (British Museum)

Returning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey. They skirted the land of the Sirens. All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song. He told his sailors not to untie him as it would only make him drown himself. They then passed between the six-headed monster Scylla and the whirlpool Charybdis. Scylla claims six of his men.

Next, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island. Zeus caused a storm which prevented them leaving, causing them to deplete the food given to them by Circe. While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle of Helios. The Sun God insisted that Zeus punish the men for this sacrilege. They suffered a shipwreck and all but Odysseus drowned. Odysseus clung to a fig tree. Washed ashore on Ogygia, he remained there as Calypso's lover.

Circe Offering the cup to Odysseus, John Waterhouse, 1891.


Circe’s sister, a powerful witch who marries Zeus’ mortal son Minos and becomes queen of Crete. She has several children with him, including Ariadne and Phaedra, and also contrives to become pregnant by a sacred white bull, giving birth to the Minotaur.

Helen Macdonald’s “H is for Hawk” arrives bearing accolades, including the Costa Prize for book of the year in Britain, where the memoir was first published last year. The recognition is ­well-deserved: The book is an ­elegantly written amalgam of nature writing, personal memoir, literary portrait and an ­examination of bereavement. Its considerable accomplishment is to hold all these parts in balance.

Macdonald was in her late 30s and a lecturer at Cambridge when her father, a photojournalist, died suddenly, and young, of what appears to have been a heart attack. The arc of the book — its flight — originates in the shock of that loss.

Macdonald found herself withdrawing from work, friends, family, human interaction. She was defined by grief. In this state, she seized upon a very personal refuge and also began to track a literary figure. From early childhood, she had been obsessed with falconry. She read the classic texts, absorbed precociously the upper-class terms associated with falconry and later flew her own falcons. While still young, she came upon a curious book called “The Goshawk,” an early work by T.H. White , who was later celebrated for “The Sword in the Stone” (1938) and “The Once and Future King” (1958). Macdonald’s book begins a fascinating dance with “The Goshawk” and its ­author.

Like Macdonald, White was at one time withdrawing from the world. In the mid-1930s he was a desperately unhappy, fearful man, anguished about his homosexuality and an awareness of his own sadism. White abruptly left his own teaching position and moved into a cottage at the edge of the school grounds where, he decided, he would deploy extremes of patience and calm to train a goshawk. That he had no idea how to do this and made a fearful mess of it, damaging both himself and his hawk, is a key part of Macdonald’s book.

This link (two writers, two wounded withdrawals) might feel precious or contrived were it not so clearly the case that Macdonald’s decision to buy and train not a falcon but a far more formidable goshawk (a bird she had never loved) sprang directly from her engagement with White and the book he wrote — a book that had mystified and angered her as a child.

The threads are woven skillfully. We engage with the modern woman coping (badly, she makes clear) with loss, and also with T.H. White, beset by many demons. Both trying to become one with a raptor, to share in its force and freedom while engaged in the process of taking away that freedom. (By Guy Gavriel Kay February 26, 2015 WA Post)

The Once and Future King is a work by T. H. White based upon the 1485 book Le Morte d'Arthur by Sir Thomas Malory. It was first published in 1958. It collects and revises shorter novels published from 1938 to 1940, with much new material.

Le Morte d'Arthur (originally spelled Le Morte Darthur, ungrammatical[1] Middle French for "The Death of Arthur") is a 15th-century Middle English prose reworking by Sir Thomas Malory of tales about the legendary King ArthurGuinevereLancelotMerlin and the Knights of the Round Table—along with their respective folklore. In order to tell a "complete" story of Arthur from his conception to his death, Malory compiled, rearranged, interpreted and modified material from various French and English sources. Today, this is one of the best-known works of Arthurian literature. Many authors since the 19th-century revival of the legend have used Malory as their principal source.

King Arthur (WelshBrenin ArthurCornishArthur GernowBretonRoue Arzhur) was a legendary British leader who, according to medieval histories and romances, led the defence of Britain against Saxon invaders in the late 5th and early 6th centuries. The details of Arthur's story are mainly composed of folklore and literary invention, and modern historians generally agree that he is unhistorical.[2][3] The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin.[4]

Arthur is a central figure in the legends making up the Matter of Britain. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).[5] In some Welsh and Breton tales and poems that date from before this work, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh otherworld Annwn.[6] How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.

Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established a vast empire. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the magician Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann, and final rest in Avalon

The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media.

The first collection of Joseph Campbell’s writings and lectures on the Arthurian romances of the Middle Ages, a central focus of his celebrated scholarship, edited and introduced by Arthurian scholar Evans Lansing Smith, PhD, the chair of Mythological Studies at Pacifica Graduate Institute.

Throughout his life, Joseph Campbell was deeply engaged in the study of the Grail Quests and Arthurian legends of the European Middle Ages. In this new volume of the Collected Works of Joseph Campbell, editor Evans Lansing Smith collects Campbell’s writings and lectures on Arthurian legends, including his never-before-published master’s thesis on Arthurian myth, “A Study of the Dolorous Stroke.” Campbell’s writing captures the incredible stories of such figures as Merlin, Gawain, and Guinevere as well as the larger patterns and meanings revealed in these myths. Merlin’s death and Arthur receiving Excalibur from the Lady of the Lake, for example, are not just vibrant stories but also central to the mythologist’s thinking.

The Arthurian myths opened the world of comparative mythology to Campbell, turning his attention to the Near and Far Eastern roots of myth. Calling the Arthurian romances the world’s first “secular mythology,” Campbell found metaphors in them for human stages of growth, development, and psychology. The myths exemplify the kind of love Campbell called amor, in which individuals become more fully themselves through connection. Campbell’s infectious delight in his discoveries makes this volume essential for anyone intrigued by the stories we tell - and the stories behind them.

Composed in the early thirteenth century, Wolfram von Eschenbach's Parzival is the re-creation and completion of the story left unfinished by its initiator Chrétien de Troyes. It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Yet this is not simply a tale of chivalry, but an epic quest for spiritual education, as Parzival must conquer his ignorance and pride and learn humility before he can finally win the Holy Grail.

    (The middle way)

H is for Circe

H = 8
C = 3

82 = New Earth

"This winged comparison is too swift for unripe wits."
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