Mitochondrial Eve

July 21, 2019

Estimated to have lived approximately 100,000-200,000 years ago,
Mitochondrial Eve is the matrilineal most recent common ancestor of all humans alive today.

Please go down and thank her
under the arched branches
where she sits on her heels

arranging a circle of leaves
for a good bed. And on the inside
of her skin thank the mosaic.

Take what little she has and
give it back – one piece
and another, marked with plastic

tags. How high can she count
from your sieves submerged
in water sorting her shards

that lay a mosaic over the earth?
You know the entry when
you see it, in fact

you’d recognize her anywhere –
Reclining in pain on her bed
under a mile of boulders

always with the door open.

Sarah Rose Nordgren

Bridge of tits

July 13, 2019

The Ponte delle Tette, the bridge of breasts in Venice. Here in the 16th C prostitutes would expose their breasts (and more) to attract potential customers.  At night they would use lanthorns to illuminate their bared breasts,  thus enticing the lustful into their arms –

It was hoped by the authorities that by allowing these fleshy displays male homosexuality would be discouraged: the idea being that no man, faced with a bridge full of tits, could remain gay for very long…!?!

In a key sense, regular racism — against blacks and Latinos, for example — is the opposite of anti-Semitism. While both ultimately derive from xenophobia, regular racism comes from white people believing they are superior to people of colour. But the hatred of Jews stems from the belief that Jews are a cabal with supernatural powers; in other words, it stems from the models of thought that produce conspiracy theories. Where the white racist regards blacks as inferior, the anti-Semite imagines that Jews have preternatural power to afflict humankind.

This is also why the left is blind to anti-Semitism. Anti-Semitism differs from most forms of racism in that it purports to “punch up” against a secret society of oppressors, which has the side effect of making it easy to disguise as a politics of emancipation. If Jews have power, then punching up at Jews is a form of speaking truth to power — a form of speech of which the left is currently enamoured.

In other words, it is because anti-Semitism pretends to strike at power that the left cannot see it, and is doomed to erase — and even reproduce — its tropes…

The Jew becomes a magical creature: brilliant, cunning, greedy, stealthy, wealthy and powerful beyond measure. Anti-Semitism imagines a diabolic overclass to be exposed and resisted…

…In Article Twenty-Two of its charter, Hamas describes the preternatural power of the worldwide Jewish cabal:

“With their money, [the Jews] took control of the world media, news agencies, the press, publishing houses, broadcasting stations, and others. With their money they stirred revolutions in various parts of the world with the purpose of achieving their interests and reaping the fruit therein. They were behind the French Revolution, the Communist revolution and most of the revolutions we heard and hear about, here and there. With their money they formed secret societies, such as Freemasons, Rotary Clubs, the Lions and others in different parts of the world for the purpose of sabotaging societies and achieving Zionist interests. With their money they were able to control imperialistic countries and instigate them to colonize many countries in order to enable them to exploit their resources and spread corruption there.”

How Anti-Semitism’s True Origin Makes It Invisible To The Left
John-Paul Pagano

[And I feel sure that this is Jeremy Corbin’s problem. He’s unable to see the wood for the trees]

Dune had to be made. But what kind of spaceships to use? Certainly not the degenerate and cold offspring of present-day American automobiles and submarines, the very antithesis of art, usually seen in science fiction films, including 2001. No! I wanted magical entities, vibrating vehicles, like fish that swim and have their being in the mythological deeps of the surrounding ocean. The ‘galactic’ ships of North American technocracy are a mouse-gray insult to the divine, therefore delirious, chaos of the universe. I wanted jewels, machine-animals, soul-mechanisms. Sublime as snow crystals, myriad-faceted fly eyes, butterfly pinions. Not giant refrigerators, transistorised and riveted hulks; bloated with imperialism, pillage, arrogance and eunuchoid science.

Alejandro Jodorowsky
Jodorowsky’s Dune

In December 1974, a French consortium led by Jean-Paul Gibon purchased the film rights to Frank Herbert’s epic 1965 science fiction novel Dune and asked Jodorowsky to direct a film version. Jodorowsky planned to cast the Surrealist artist Salvador Dalí, in what would have been his only speaking role as a film actor, in the role of Emperor Shaddam IV. Dalí agreed when Jodorowsky offered to pay him a fee of $100,000 per minute of screen time.[26] He also planned to cast Orson Welles as Baron Vladimir Harkonnen; Welles only agreed when Jodorowsky offered to get his favourite gourmet chef to prepare his meals for him throughout the filming.[27] The book’s protagonist, Paul Atreides, was to be played by Jodorowsky’s son, Brontis Jodorowsky. The music would be composed by Pink Floyd and Magma.[26] Jodorowsky set up a pre-production unit in Paris consisting of Chris Foss, a British artist who designed covers for science fiction publications, Jean Giraud (Moebius), a French illustrator who created and also wrote and drew for Métal Hurlant magazine, and H. R. Giger. Frank Herbert travelled to Europe in 1976 to find that $2 million of the $9.5 million budget had already been spent in pre-production, and that Jodorowsky’s script would result in a 14-hour movie (“It was the size of a phonebook”, Herbert later recalled).[28] Jodorowsky took creative liberties with the source material, but Herbert said that he and Jodorowsky had an amicable relationship. The production for the film collapsed when no film studio could be found willing to fund the movie to Jodorowsky’s terms. The aborted production was chronicled in the documentary Jodorowsky’s Dune. Subsequently, the rights for filming were sold to Dino de Laurentiis, who employed the American filmmaker David Lynch to direct, creating the film Dune in 1984.

(Wikipedia entry for Alejandro Jodorowsky)

Blood drinking Devil

June 14, 2019

In fact, existing evidence forces us to accept that Vlad the Impaler was not the inspiration for Stoker’s Dracula. Although for many people today the two have become almost synonymous, the nature of the connection is highly speculative. There is no longer any doubt about where Stoker found the name “Dracula.” We know from his working papers (housed at the Rosenbach Museum in Philadelphia) that by March 1890 he had already started work on the novel and had even selected a name for his vampire—Count Wampyr. We also know from the papers that, in the summer of the same year while vacationing at Whitby, Stoker came across the name “Dracula” in a book that he borrowed from the Whitby Public Library: William Wilkinson’s An Account of the Principalities of Wallachia and Moldavia(1820). It contains a few brief references to a “Voivode Dracula” (never referred to as Vlad) who crossed the Danube and attacked Turkish troops. But what seems to have attracted Stoker was a footnote in which Wilkinson states that “Dracula in Wallachian language means Devil”. Stoker supplemented this with scraps of Romanian history from other sources (which he carefully listed in his notes) and fleshed out a history for his Count Dracula. Wilkinson is Stoker’s only known source for information on the historical namesake. Everything else is speculation.

Elizabeth Miller
Coitus interruptus: Sex, Bram Stoker, and Dracula

A psychotic world we live in. The madmen are in power. How long have we known this? Faced this? -And-how many of us do know it? Not Lotze. Perhaps if you know you are insane then you are not insane. Or you are becoming sane, finally. Waking up. I suppose only a few are aware of all this. Isolated persons here and there. But the broad masses…what do they think? All these hundreds of thousands in this city, here. Do they imagine that they live in a sane world? Or do they guess, glimpse the truth…?

But, he thought, what does it mean, insane? A legal definition. What do I mean? I feel it, see it, but what is it?

He thought, it is something they do, something they are. It is their unconsciousness. Their lack of knowledge about others. They’re not being aware of what they do to others, the destruction they have caused and are causing. No, he thought. That isn’t it. I don’t know; I sense it, intuit it. But-they are purposely cruel…is that it? No. God, he thought, I can’t find it, make it clear. Do they ignore parts of reality? Yes. But it is more. It is their plans. Yes, their plans.  The conquering of the planets.  Something frenzied and demented, as was their conquering of Africa, and before that, Europe and Asia.

Their view; it is cosmic. Not of man here, a child there, but an abstraction: race, land. Volk. Land. Blut. Ehre. Not of honourable men but of Ehre itself, honour; the abstract is real, the actual is invisible to them. Die Gute, but not good men, this good man. It is their sense of space and time. They see through the here, the now, into the vast black deep beyond, the unchanging. And that is fatal to life. Because eventually there will be no life; there was once only the dust particles in space, the hot hydrogen gases, nothing more, and it will come again. This is an interval, ein Augenblick. The cosmic process is hurrying on, crushing life back into the granite and methane; the wheel turns for all life. It is all temporary. And they-these madmen-respond to the granite, the dust, the longing of the inanimate; they want to aid Natur.

And, he thought, I know why. They want to be the agents, not the victims, of history. They identify with God’s power and believe they are godlike. That is their basic madness. They are overcome by some archetype; their egos have expanded psychotically so that they cannot tell where they begin and the godhead leaves off. it is not hubris,  not pride; it is inflation of the ego to its ultimate-confusion between him who worships and that which is worshiped.  Man has not eaten God; God has eaten man.

What they do not comprehend is man’s helplessness. I am weak, small, of no consequence to the universe. It does not notice me; I live on unseen. But why is that bad? Isn’t it better that way? Whom the gods notice they destroy. Be small…and you will escape the jealousy of the great.

Philip K. Dick
The Man in the High Castle

The truth is that the witch is a descendant of ancient goddesses who embodied both birth and death, nurturing and destruction, so it is not surprising that she has both aspects. But when religions decay and gods are replaced, there is a consistent dynamic: the gods of the old religion inevitably become the devils of the new. If serpents were once worshipped as symbols of magic power, they will later be despised as symbols of evil. If women were once seen as all-powerful, they will become relegated to obedience to men and feeling pain in childbirth. The symbols remain but their values are reversed. The snake in Genesis is now the devil. The first female, Eve, has gone from being a life-giver to a death-bringer. Good and evil are reversed. This is the way the politics of religion work.

The contemporary image of the witch incorporates detritus from many religious sects over many millennia. Like the wall of a Crusader castle in the Middle East, it rests upon a foundation of remnants from a variety of periods. Like Hecate and Diana, the witch is associated with the moon and lunar power. Like Aphrodite and Venus, she can make love potions and fly through the air. Each attribute of the witch once belonged to a goddess.

Erica Jong

Witches   

the meaning of books

March 30, 2019

The written word has taught me to listen to the human voice, much as the great unchanging statues have taught me to appreciate bodily motions. On the other hand, but more slowly, life has thrown light for me on the meaning of books.

 Marguerite Yourcenar

Memoirs of Hadrian

Lady Europe 1942 – The Nazi version. The Brits isolated.

 

Lady Europe today – Polly Dunbar’s view. The Brits isolated.

Shortly after the guillotine sliced its own bloody version of a necklace into the Queen’s throat, well-born women of Paris began tying thin red ribbons around their necks as a reminder of what they might soon suffer.

Caroline Weber
Queen of Fashion: What Marie Antoinette Wore to the Revolution