AGAINST THE AMERICAN HERESY
BOOK ONE: ILLUSTRATIONS FROM THE POETRY OF K’LAKOKUM
CHAPTER ONE: A GREEN DANCE FOR NOSTRA DAVUS
Thine cigarette acanthian danglus
Nether the helixed furrow,
The Tourettian maw, gorged angrus,
Dark fleuron horripilate a-skirrow –
AND a two-by-four in hand! Thus
The threat strident synoptsCorinth
To effluous exculpt Thermaeus, invidious
And ichor, unequal spirits agin enlists.
Beware! Thy crepidoma as asparagus
Be clast, be caesured! Inflame us
And decoct’ll be thy lance! Is Thermae pus?
Sewage? Septic cess? And yet may frank debase,
UnthroneCorinth
Place your ASHO vis’ down to respect, with kiss, my Thermaenus!
Nether the helixed furrow,
The Tourettian maw, gorged angrus,
Dark fleuron horripilate a-skirrow –
AND a two-by-four in hand! Thus
The threat strident synopts
To effluous exculpt Thermaeus, invidious
And ichor, unequal spirits agin enlists.
Beware! Thy crepidoma as asparagus
Be clast, be caesured! Inflame us
And decoct’ll be thy lance! Is Thermae pus?
Sewage? Septic cess? And yet may frank debase,
Unthrone
Place your ASHO vis’ down to respect, with kiss, my Thermaenus!
CHORD KEYNOTE: THE ENTELECHIAL POSIT
[SIJA]...This poem is a plea for mutual forgiveness, reconciliation and balance of a wheel of karma which has an 11,000 year history between two entities in control of bodies currently known as Stardreamer and K’lakokum. The first sentence of the poem describes a mental condition witnessed outside the courtroom after conclusion of the trial partially described at:
[OWAA]...In layman’s terms, this sentence could be paraphrased: “your cigarette dangling at a 33 degree angle, below the frowning brow, mouth down-turned at the corners, face flushed with rage” with the phrase “two-by-four in hand” not applicable to this image, but serving to draw attention to the next related image. Note the grammar of this first sentence: it contains no verb. This is deliberate because the sentence describes a spiritual state, not any action of a physical body. This state between the two entities has remained unresolved since it first began in Atlantis 11 millennia ago.
[OIAA]...This state is described by quantum physics as the entelechial posit, a subject we shall delve into below, and a subject which has been deliberately designed into this poem.
[DKAA]... [A hinted summary of conditions 11,000 years ago, when four extra-terrestrial races contested for domination of this planet, leading to the expulsion of the Nefelim (Nebureans) [the creators of homo sapiens who are possibly returning with the Nebiru Crossing of 2012], the rapture back to Sirius and Orion of two of the races, the victory of the reptilean Hiburu, the sinking of five continents through technology run amok, and the Hiburean genetic re-engineering of homo sapiens to de-activate 10 of his 12 DNA strands, appears in part in each of these four books: THE BIGGEST SECRET www.davidicke.com EDGAR CAYCE ON ATLANTIS http://www.atlantisrising.com/backissues/issue12/ar12cayceatlantis.html
OVERLORDS OF ATLANTIS AND THE GREAT PYRAMID http://www.amazon.com/Overlords-Atlantis-Great-Pyramid-Steiger/dp/0938294636
CHILDREN OF THE LAW OF ONE www.atlantis.to .]
[SIJB]...Stardreamer was an Hiburu, K’lakokum was an Nefelim; both became trapped in the human wheel of karma and need to resolve that in order to ascend to their eternal domains.
CHORD NOTE MAJOR:
[EAJC]...The second (‘two-by-four’) image of this poem appeared in the Toronto Star in November, 1975. See: http://www.facebook.com/photo.php?pid=1426075&id=1311723916
[EAJD]...Here David Barron, a Scientologist, novitiate of the Children of Perfection (ultimately unsuccessful), and a postal employee on strike, is aggressively walking the picket line during the labour dispute. [He is the new David, ‘nostra davus’, of the poem’s title, with secondary play on costra nosa, as we shall see.] The dangling cigarette and recent forehead scar (10 stitches --‘helixed’, in the poem) are specifically portrayed, as is the spiritual state under discussion. The intent of introducing this third entity into the poem is for oblique reference to three themes which involve the primary protagonists.
CHORD NOTE MINOR: KEYTONE: HOPKINS
[OLAA]...The format of this poem is the Anglicized Italian Sonnet perfected by Gerard Manley Hopkins. Hopkins Hopkins
http://www.bartleby.com/122/12.html . The words ‘dangerous’ and ‘chevalier’ in Windhover are a specific reference to the life-long Hopkins-Morris dispute, now being re-enacted.
[UJAA]...Morris was an artist, poet, writer, architect, furniture designer, and textilist; i.e., a true post-Renaissance master, as Stardreamer is today. Many of the Morris colour combinations and patterns are now being repeated, in a different style, by Stardreamer, who is a superb artist in his own right [see http://stardreamers.com/history.shtml ] and ought not to be seeking Norval Morrisseau’s shadow or protégé status – he is his own master. The words – acanthian, danglus, helixed, Tourettian, fleuron, horripilate, skirrow, synopts, Corinth, exculpt, Thermaeus, crepidoma, caesured – are all variants of architectural terms actually used in the writings of William Morris, and are deliberately used in this poem to connect to the Hopkins-Morris relationship, and also to bring Morris’ numerology and magick into the poem. Morris’ book, Well at World’s End, created the template map used by almost all modern fantasy/magical novels (including the Harry Potter and Lord of the Rings series) and virtually all of the popular high-graphics video games of the younger generation – an enormous contribution (?) to our cultural heritage – but the book also rankly slandered and libeled K’lakokum (referenced in the poem by ‘pus, sewage, septic cess’). In fact, Well at World’s End was a highly-biased eye-witness account of actual psychic events in Atlantis; and the end-of-the-world pun in the title was deliberate.
[DAJE]...This poem repeatedly brings forth images derived from several life-times of the protagonists, and it does so in the Green Language style which is (falsely) attributed to Nostradamus. [For info on the source from whence Nostradamus stole his poetry, see:
[DAJF]...Hence, we have the word ‘Green’ in the title of this poem, and the use of ‘Nostra Davus’ is as a pun on ‘Nostradamus’, to draw immediate attention from first perusal to the multiplicity of meaning. In the green language of Nostradamus, every word or phrase evoked up to four images, mostly derivative of Latin, Greek and Hebrew homonyms to the French in which he wrote. The message of the poetry would be the fifth image [the void after the earth, wind, fire, water views] created by moving the four others into the same space matrix, with time removed, creating a time-less message popularly (and mistakenly) deemed to be prophecy.
[ETJJ]... [In art, this became a technique perfected by Salvador Dali, see an example in his piece, Madonna of Lligat here: http://www.facebook.com/photo.php?pid=4650087&id=86840486842 ]
CHORD NOTE MINOR: MAJOR TONE: ODIN vs. STARDREAMER
[SIJG]...In 325 ad, the Council of Nicea authorized the Bishop of Alexandria to finalize the Christian canon, which he did eventually in 367 ad. Under consideration for inclusion were seven manuscripts of which K’lakokum was the original author in three incarnations, and two manuscripts of which Stardreamer was the original author in two incarnations. Four of K’lakokum’s manuscripts did become part of Holy Scripture [Deuteronomy, Jeremiah, Lamentations, Hebrews; for details see:
[DLJH]...After the fall of Judah in 586 bc, Jeremiah [K’lakokum] and his editor, Simon Baruch [subsequently incarnated as Mark the Evangelist to edit Andrew’s Hebrews, and then as Robert Bridges to edit Hopkins; thrice being editor to the same entity], went into exile in Egypt, later (in 583 bc and 571 bc) making trips to Europe where Jeremiah left behind the Jewish princesses, his grand-nieces, Tarah (583 bc) and Cheneva [or Guenevera, whose granddaughter of the same name married Frisian King At-Ur-Mu = Arthur, which eventually brought the Jewish blood of David in direct line to the throne now occupied by Queen Elizabeth] (571 bc), to found the royal dynasties of Ireland and Wales. He was murdered in 567 bc in Frisia -- by Stardreamer -- and was buried in Varel. The stories connected with his visit to the Frisian Islands and with him being the originator of kabbalah, became part of the Fryslan and Norse mythology of Odin which we still commemorate in the names of our days of the week [wOdin’s day = Wednesday]. The real Jeremiah became the fictitious Odin. And this is back-story to ‘helixed furrow’ and ‘dark fleuron horripilate a-skirrow’.
[OYJI]... [We are beginning to see that the relationship between these two entities is akin to that of the cat and the rat in the Peter Andreas manuscript Kreus: K’lakokum the cat; Stardreamer the rat. See: http://www.worthyofpublishing.com/book.asp?book_ID=10478 .]
[DLJI]...Odin is the patron god of poets and wordsmiths because he is the one who ‘discovered’ the runes which became the Fryslan futhork. These 22 symbols were, however, merely variants of the Hebrew and Gaelic/Basque alphabets which have survived as the closest approximation to man’s original language, the official language of Atlantis. The Hebrew alphabet was brought to Frisia by Jeremiah; he merely changed the script to Teutonic symbols already in use. Because he used the runes mathematically as well as phonetically (also true of Gaelic/Basque), the Fryslan myth became intertwined with the history of Jeremiah’s tetrahedronic creation of Lamentations as the first kabbalah textbook. Odin is also the patron god of anti-gravity and zero-point energy, and both of these patronages stem from an eye-witness account of the battle between Jeremiah and Stardreamer recorded in the Havamal (verses 138 to 144). When the Fryslan futhork was esoterized into Tarot, centuries later, Odin became The Hanged Man and Stardreamer became The Queen of Cups. In the legend, Odin is hung upside down on a wooden gallows, his side pierced by a lance, dying as a sacrifice for the world. On the ninth day, he resurrects himself and ‘seizes the runes’ from out of nowhere.
[MQJJ]...This is the first relatively modern account we have of a scalar event.
[DLJJ]...Odin gets hung because he loses the battle when he is attacked on his blind side – in a previous event in the myth he voluntarily gives up an eye for ‘future considerations’; i.e., in the future he will receive wisdom (‘seize the runes’, as it turns out. See K’lakokum’s first published English-language poem before the age of 16 below; [his first published German-language poem was at age 6], which is a comment on the significance of seizing the runes):
ALPHABET
all the wisdom of the wise
within the alphabet it lies
but only he who letters bands
the wisdom under stands
all the wisdom of the wise
within the alphabet it lies
but only he who letters bands
the wisdom under stands
[UHAA]...For K’lakokum’s Hanged Man self-portrait, see the cover of South of Tuk #105 at:
CHORD NOTE MINOR: MINOR TONE: CHRIST vs. STARDREAMER
[DLJK]...David’s ten stitches were acquired in a battle with Kangaroo Poet John David Caveney over the affections of Kangaroo Poet Andrea Riel-Lean. This was a battle which David won, and in which JDC permanently lost the sight of one eye. Another component of this third image refers to the apostles John and Andrew (K’lakokum) attending the site of Christ’s crucifixion, where they witnessed Stardreamer plunging the spear into Christ [as he is now repeating with Morrisseau’s legacy]. Hence: ‘unequal spirits’.
THE QUANTUM: MUSIC, MATHEMATICS, MAGIC AND METAPHYSICS
[OAAA]...Stardreamer has publicly professed to be a practitioner of magic. He has not specified his credentials in the present incarnation, but he certainly has demonstrated them in previous incarnations. As has K’lakokum. In his present incarnation, K’lakokum comes to his mastership in magic from four sources: at the age of nine, he was apprenticed as a shaman by the Interior Salish Indians of the Okanagan Valley
[SIJH]...The magical history of both protagonists spans millennia. Indeed, both are descendants of themselves in the history of magical continuity. K’lakokum is a 27th generation descendant of himself when he was Gjorg von Harten (1202-1347 ad), one of the twelve Knights founding the Order of the Black Eagle in 1238 ad and building the Royal Chapel in Koenigsberg (destroyed by Russian troops in 1945) which is the spiritual shrine of Frisian-rite freemasonry and Stauffenberg’s German Mysticism. Stardreamer is a 23rd generation descendant of himself when he was the Saint Clair who built Rosslyn Chapel which is the spiritual shrine of Scottish-rite freemasonry.
[UEAA]...Both buildings were replicas of Solomon’s Temple, a symbol of magic which was itself a replica of the Tabernacle of the wilderness, which was a replica of the temple of Edom, which was a replica of Thoth’s Repository of All Wisdom (which remains unexcavated below the Sphinx of Giza), which was a replica of the royal chapel in Atla, capital of Atlantis, (which remains unexcavated on Saint Michael’s Island in the Azores), which was a replica of a temple on another world outside our solar system (i.e., in heaven).
[SIJI]...We can now begin to explain how the threat becomes strident. In the first image, we have a description of a state of intent – a description of a thought-shape. Through the metaphysical law of attraction, that thought-shape draws towards itself other affinitive and resonant thought-shapes, and we have a two-by-four in hand in the second image; i.e., the beginning of action, the beginning of incarnating the thought. In the third image we find Christ with a spear in His side, JDC blind in one eye, and Jeremiah dead on the gallows. Those three latter images are able to be portrayed as a single image, or synopted image, because they have resonant numerological values, and we shall now explain how that image is inserted into the poem.
[OIAB]...Everything which exists in the universe vibrates, with a virtually infinite variety in the frequencies of such vibration. That vibration can be expressed musically and mathematically. Everything has a vibration which can be musically expressed as a chord. That chord has three notes, and each note has seven tones. This total of twenty-one tones can be expressed mathematically, so that everything which exists in the universe can be described by a unique 21-string set of numbers. [The individual tones are: Chord Key Tone, Major Note Key Tone, Minor Note Key Tone, Key Note Second Tone, Major Note Second Tone, Minor Note Second Tone, Key Note Third Tone, Major Note Third Tone,
Minor Note Third Tone, Key Note Mid Tone, Major Note Mid Tone, Minor Note Mid Tone, Key Note Echo Tone, Major Note Echo Tone, Minor Note Echo Tone, Key Note Sixth Tone, Major Note Sixth Tone, Minor Note Sixth Tone, Key Note End Tone, Major Note End Tone, Minor Note End Tone.]
[OIAC]...Around 1980, developments in quantum physics began to reverse the trends of the final epoch of the Age of Pisces, described by revisionist historians as the Victory of Satan Epoch. Of this we shall have a great deal of comment later in the body of this book, since the American Heresy was the one developed during the Victory of Satan. In the present context, we only wish to refer to the trend which separated science from religion. All civilizations which we have studied during the Age of Pisces, including the most primitive of jungle tribes, have been led by a trinity of King-Priest-Wizard, or State-Church-Science. This is an earthly reflection of heaven above – as above, so below; as below, so above – i.e.; the Holy Trinity of Father (King), Son (Priest) and Ghost (Wizard). The epochal trend to separate state and church and science was largely unsuccessful – there are, for example, only two states in the Western hemisphere which are officially God-less [the United States of America (the Great Satan) and the Republic of Cuba] – but the epochal trend has dominated the thought-intention of the squawk since about 1840.
[OIAD]...Countering this since about 1980, quantum physics has been able to verify by science many propositions which were previously considered to be metaphysical statements – unscientific statements – during the Victory of Satan Epoch. In an attempt to produce a unified field theory, melding the physics of subatomic particles (quantum mechanics) and gravity (relativity), the late professor Burkhard Heim postulated that the key to understanding the relationship of these two phenomena lay outside four-dimensional space (length, width, height, time). He termed this outer realm “entelechial”.
[OIAE]...This is the dimension of pure thought, which is time-less. Here is the realm of creation, where subsets of probabilities are sorted before a final outcome is manifested on the physical plane as a real event or material presence. Physicists began to observe that at subatomic levels human thought greatly influences the outcome of experiments.
[OIAF]...Thought is a physical presence, which can move objects and change the potential outcomes of reality. This is why thought in the form of prayer, meditation, or change in will, does have an overwhelming effect on observed reality. Quantum physics brought the magical, the metaphysical and the supernatural back into the realm of rational events. Magic is about probability enhancement, but everything works according to universal laws, now explainable, and God is no longer supernatural but obedient to the natural laws he created. Entelechy is derived from én (in), télos (end, or purpose) and échein (to have). Entelechy means purpose. It is the entelechial posit of an acorn to become an oak tree. Entelechy is the vital force that guides what we grow into.
[MKAA]...The Wright Brothers are credited with first flight in 1903. At the same time that they were experimenting in the sand dunes of Carolina , however, Alexander Graham Bell was experimenting in the sand dunes of Nova Scotia , the Sievkin Brothers were experimenting in the sand dunes of the Frisian Islands , and Lord Londonderry was experimenting in the meadows above the Cliffs of Dover. The Russians and Japanese claim similar experiments, which we have been unable to verify except circumstantially; i.e., in the Nebiru Crossing archives we have a 1906 book entitled Fotografie des Russisch-Japaner Krieges wherein one of the 200 grisly, gory and graphic photos pictures aerial combat. If, less than 28 months after the Wrights flew, both Russians and Japanese used aircraft in their 1905-1906 war, they must have started development about the same time as the Wrights. If we now run ‘flight’ through one of the number calculators [more on this below] to generate the 21 numbers of its entelechial posit, and then also run the four verifiable experimenters through the calculator, we get a 17 of 21 numbers match in all four cases. Each of the four generate 17 numbers which match the 21 numbers of the entelechial posit, but none of the four generate the same 17 numbers. We do achieve a perfect 17 of 21 synopsis.
[OOJA]... [Note that none of these four experimenters knew of each other’s work before 1906, and even then, the only ones who made contact with each other were Londonderry and the Sievkins. All four experimenters independently absorbed an idea ‘whose time has come’ from the same entelechial posit in the field of One.]
[BEJB]...The first sentence of this poem has 22 words corresponding by homonym to the 22 runes of the Fryslan futhork. However, one of the words is differentiated by being written in upper case letters; that word is AND, indicating that the meaning to be conveyed is the sum of the other 21 tones. The 21 chord keys; i.e., the numeric expression of the key tone for each of those 21 words, is a perfect numeric match for the 21-numeric-string entelechial posit of the synopted (third) image.
[BEJC]... In the second example, the alphabet poem, we have 21 words corresponding by homonym to the runes of the futhork. The missing rune is homonym to the word ‘I’ in the Fryslan language, indicating that the subjective observer is a necessary ingredient to understanding the poem as it is specifically directed to him, and him only; a concept to which we shall return below, and which is expressed in the poem itself in the words: ‘but only he’.
[DLJL]...When Jeremiah wrote Lamentations, it required fourteen years for him to complete all of the mathematical calculations necessary to ensure that the poem perfectly represented the desired geometric shape of the star tetrahedron as expressed mathematically in the numerological meaning of every Hebrew letter used within the poem. Nowadays, these calculations can be performed in a few seconds by personal computers, and there are hundreds of thousands of 21-strings of Jesus Christ Numerology (first used by Jeremiah) available on the internet. Follow numerous links from here:
[DNJD]...The verb, in our second sentence of this poem, is ‘synopts’. This is poetic license of a word normally used as an adjective, as in, for example: the synoptic gospels. If we take a close look at those gospels, we will find many contradictions. For example, one gospel states Jesus cast the money-lenders from the temple in his first week of public ministry; another gospel states it was in his last week. One gospel puts the crucifixion on a Thursday, another puts it on a Friday. The genealogies vary considerably. There are at least 30 major contradictions which cannot be explained away – in each case, therefore, Christian doctrine holds them both to be true. Each gospel was directed to a different audience, by a different author, and therefore needs a different frequency or vibration in order to be attractive (resonant/magnetic) to both that audience and that author.
[GCJE]...Michael Drosnin is the author of The Bible Code. [See http://www.facebook.com/photo.php?pid=4765336&id=86840486842 ]
We disagree with much of the content of his book, but in computerizing the entire Bible into a single numeric string, Drosnin has done the world a favour: we can cut the string anywhere we like to examine the numbers of a particular passage. If we put the entire string of each gospel into our number calculator, we find that each gospel is a 19 out of 21 string match for the string ‘Jesus Christ’. Not the same 19, just as it wasn’t the same 17 in our ‘flight’ analysis above.
[DNJE]...The syllable ‘syn’ in our verb ‘synopts’ also occurs in the word ‘synchronicity’. Synchronicity is the experience of two or more events, persons or things which are not related by cause and effect, but are experienced (initially emotionally) as related in a meaningful manner. Such events, persons or things are unlikely to occur together by random chance. Many people have stories about co-incidences which they can explain only by attribution to mysterious forces such as spiritual guides. These are experiences or circumstances which are not planned or expected – we have not consciously attempted to cause these effects. [It is an indication of our divine nature that we try to explain things, i.e.; we try to find cause and effect to create order. God is ‘not the author of confusion’; hence, the Divine nature continuously turns chaos into order, or turns noise into music, i.e.: creates a harmony of tones; it is this aspect of Divinity in our lives which is meant by the ‘made in His image’ scriptures.] But synchronicities are relationships which can be described musically and mathematically.
[DNJF]...When two events, persons or things share as few as 3 of 7 tones of one of the 3 notes in their 21-string chord, they are highly probable to be synchronized. This is why we say that ‘opposites attract’: although such persons only resonate on 3 of their 21 tones, i.e.; they are eighteen-twenty-oneths different from each other, the 3-tone synchronicity still justifies, attracts and brings about a personal relationship. [There are other factors as well, which we shall analyze when we deal with James Churchward’s interpretation of the sciences of Mu.]
[MKAB]...Synchronicities occur in time, in space, or in emotion. In our flight example, the same activity occurred at the same time, but in a different space. In the third, synopted, image of our poem, we have three events in three different times in three different spaces, but with an emotional parity and resonance which makes them all the one same event. That event can be described mathematically, and those mathematics have been inserted into the poem.
[AHHY]...In subsequent chapters we will be discussing the ‘threat’ of the second sentence of our poem, both in individual instances of it and in its synchronized or synopted form. One of the individual instances of it is related to the artistic heritage of Canadian painter, Norval Morrisseau. We are working on a study of the Wang Report [see http://www.facebook.com/notes/nebiru-crossing/norval-morrisseau-elegance-of-curves-part-one/114167228628280] which deals with a scientific, but essentially numerological, examination of that artist’s brush strokes. We believe that further work using the Wang Report’s number calculation software will likely prove in future that both groups of paintings examined will resonate 19 or 20 out of 21 with the entelechial posit for ‘Vishnu’, thus affirming authenticity for all of the paintings. Norval Morrisseau was the tenth and final incarnation of the entity worshipped by the Hindu religion as the god Vishnu. When we do the numbers on the titles which he gave to many of his paintings, we can find many 21-string matches to Morrisseau’s previous words when he was Vishnu, as recorded in the Bhagavadgida. It is not a co-incidence that the Bhagavadgida matches the paintings. It is interesting to note here, that Morrisseau’s frequent spelling errors are essential to achieving this numerological synchronicity – they were not mistakes, they were divine inspiration!
[DLJM]...Jeremiah spent 14 years doing the math for his life-work poem, only a fragment of which has survived in Lamentations. He had less than 4,000 words to enumerate, many of them frequently repeated in the poem, so that there were only about 2,800 primary calculations to be made. Isaac Newton’s biographers estimate that he spent 20 years of his life filling pages with numbers for some project which he never completed and which no-one has been able to decipher. The average person does not have the time or inclination to constantly have a calculator in hand and to consciously examine the numbers implicit in every moment of his life. This brings forth two questions which we still wish to examine in this chapter: will the intended recipient of the poem understand it? And, what did people do before quantum physics explained the numbers; how were things examined if numbers were not used?
[OLAB]...Every creating of any kind has an intended recipient or benefactee. Adam, before his fall, was a 21-string match with the Word of God, as the intended recipient of the objects of Creation. For all creators, the primary intended recipient is themselves; they create to produce their own pleasure, a pleasure described by Hopkins Hopkins
[DBAA]...Prior to the Victory of Satan Epoch, most things created in the Christian world were created as an act of worship, with the ultimate recipient being God. This required a craft: the knowledge of how to physically insert the frequencies of love (the 21-string number) into the created work, whether it be a chair, a dinner, a poem, a reputation, a painting, a home, a garden – and this ‘magical’ knowledge of each craft was zealously guarded, passed on in secret from generation to generation, lest anyone should attempt to use knowledge for destruction or evil. All knowledge had the same purpose and meaning: it was to be used to be reflected back to its source. Knowledge and love, (the ‘twin pillars’ of Frisian-rite freemasonry), were both reflected back from every creation to its creator, both temporally and spiritually. During the Victory of Satan Epoch, this was reversed. Today, the ordinary overpaid lout working an assembly line does not add any spiritual value to his production, does not imbue his production with love – with the consequence that over 90% of everything created in Western society today is thrown away, discarded or used up within five years of its creation. The output must reflect the input. Our society is literally creating garbage, in every sense of the word. This is poverty, both temporal and spiritual. The industrial revolution introduced wide-spread poverty into an age of abundance. Consider that a single individual, before the Victory of Satan Epoch, could support an entire household (which then averaged ten persons), by working 144 days per year, the remaining 221 days all being religious holy-days. Consider also that obesity is not a symptom of abundance – it is a symptom of starvation: the body is not receiving proper nutrition – it is being starved of goodness. Likewise fat-cat Western society today.
[OOCA]...Things are created for the pleasure of their creator. This applies to the pecuniary and the mundane: something made for the sole conscious purpose of deriving monetary gain therefrom, still brings pleasure to the creator when he receives material compensation. And this applies to objects made as gifts for loved ones or in worship towards God, because the pleasure reflected back from loved ones or from God produces pleasure in the creator. To be certain to ‘religare’ such pleasure, the creator must synchronize or harmonize the creation with the frequency possessed or desired by the recipient. The 21-string number of ‘love’, which once applied to everything made by a craftsman, is still at least a 3-of-7-of-3 match for all other frequencies in the universe -- any person, thing or event imbued with love will thus have synchronicity with the entire universe.
[AHHA]...Many creatings of human creators will persist beyond the life-time of their creator. The pleasure reflected back from the creation will then continue to be received by anyone synchronous to its frequencies. Many creatings are produced for the pleasure derived by the creator in the process of creation itself, without consideration of the future possessor or recipient of the item created – such are merely graces (or ‘increments’, in the language of Social Credit) which are an unintended by-product of the process, and may be of no concern or even interest to the creator. It is these two categories within which the artistic legacy of Norval Morrisseau falls.
[AHHB]...Norval Morrisseau had no concern or even interest in the ultimate destiny of his paintings. He repeatedly stated that each painting would find its proper owner. That is, by emanating its unique frequencies, by the law of attraction the painting would bring to itself that person with a synchronous frequency who is ultimately destined to become the owner. In the meantime, anyone with a 3-of-7-of-3 synchronicity will like the painting even if unable to perceive its full message i.e.; its pictorial representation of a passage from the Bhagavadgida. Such liking will assure persistence of the object until the owner is found. [The gifts to the future, from Atlantis, have persisted to this age in which they can finally be interpreted, through this 3-of-7-of-3 synchronicity.]
[MHJA]...Viktor Schauberger sat on riverbanks in the forests of Austria New York City to Albany
[OICA]...’By their fruit you shall know them’, Jesus said. We are able to perceive the results of creation, without our conscious mind dealing with the underlying mathematics. The subconscious mind, which operates faster than the speed of light, does, however, receive and interpret the numbers instantaneously to give us our first momentary emotional response to something new – person, thing, or event – to either attract us to, or repel us from, conscious and five-sensual further examination of the person, thing, or event. It was by the fruit that we consciously understood meaning prior to quantum physics.
[OACA]...The specific poem under discussion here has had three intended recipients. The first of these received it in 2004, the second in 2009, the third in 2010. There are very minor variations in the three versions to fine-tune the frequency to a 21-string match to each recipient (the three recipients are a 20 of 21-string synopt with each other). One letter of one word was changed between the first and second recipient; that letter was restored for the third recipient, but two letters of another word were changed. Stardreamer, the third recipient, will understand the poem’s intent. Even if, like the rat in the afore-mentioned Kreus manuscript, he suffers from a temporary or partial amnesia of past-life experiences; even if he lied when he claimed magical credentials in this life-time, or even if he is not properly trained in magic, lacking the numerological foundation – yet he will understand the message of the poem. After a report is given at a meeting conducted under parliamentary Rules of Order, the meeting will hear a motion to ‘receive’ or ‘accept’ or ‘adopt’ that report. A vote to ‘receive’ the report simply acknowledges that it has been heard. A vote to ‘accept’ the report means that any recommendations in the report are accepted, but with further discussion concerning ways and means. A vote to ‘adopt’ the report means that implementation of any recommendations in the report will proceed immediately according to any ways and means specified in the report. It is unknown, at this point, whether Stardreamer has ‘received’, ‘accepted’ or ‘adopted’ this poem.
[OLAC]...Does the past stride into the future? Does the past threaten the future? In our analysis of this poem’s first sentence, we have dealt only with images of past events. Do these establish an entelechial posit which MUST be fulfilled? Shall the acorn mature into an oak? In the next chapter, we shall introduce a new poem related to those questions, and then move on to the second sentence of A Green Dance for Nostra Davus.
CONTENTS OF HOARDINGS BOX ODAA:
see note on The Hoardings: http://nebirucrossing.blogspot.com/2012/02/hoardings.html
FOR SALE
Today’s book selections:
[CB]ITEM CB04…SIE KAMEN AUS DEUTSCHEN LANDEN Alfred Apsler $6
[WC]ITEM BW75…MY LIFE IN HOCKEY Jean Beliveau $9 ISBN 0771011085
[WC]ITEM WC08…HOCKEY HOCKEY HOCKEY TRIVIA Weekes $1
Consider yourself an expert hockey fan? Challenge your NHL knowledge with hundreds of who's, what's, when's, and where's about the greatest game on ice. Score mental goals with multiple-choice and true-false questions, quizzes, and puzzles.
1995 softcover; ISBN 1550544527
[WC]ITEM YG75…HOCKEY TRIVIA Don Weekes $1
Hundreds of puzzlers, stumpers and brainteasers about the most exciting game on ice. Challenge your hockey IQ with bests and firsts, weirdests and worsts, record makers and record breakers. Face off against multiple-choice and true-false questions, quizzes, and games. Now rabid hockey fans can test their knowledge against hundreds of puzzlers, stumpers, and brain teasers. Hockey Trivia is chock-full of bests and firsts, weirdests and worsts, record makers and record breakers. Anyone who loves the game will be entertained and enriched by this all-star collection of facts, stats, and lore.
1994 softcover; ISBN 1550541463
[WC]ITEM YU28…AWESOME HOCKEY TRIVIA Don Weekes $1
Which NHL All-Star was born in Texas
[YE]ITEM YC51…1001 BRILLIANT WAYS TO CHECKMATE Fred Reinfeld $8
[YE]ITEM YD78…THE OXFORD
ITEM ZQ08...KLONDIKE CATTLE DRIVE Norman Lee $9
ITEM YG73...THE GLIMPSES OF THE HARIMANDIR THE ABODE OF GOD by Sarup Singh Alag $30
0103…THE SACRED VALLEY OF THE INCAS, MYTHS AND SYMBOLS $30
[MF]0104…TUT-ANKH-AMEN: LIVING IMAGE OF THE LORD Gadalla $15
[EE]0105...SKETCHES OF UPPER CANADA
ITEM YF24…I CAUGHT FLIES FOR HOWARD HUGHES Ron Kistler $12
ITEM YB16…SEEDS OF FIRE Gordon Thomas $15
[DK]ITEM YB52…THE ATLANTIS ENIGMA Herbie Brennan $17
The legend of Atlantis has been intriguing people for centuries. This book explores the wealth of evidence available that supports the claim that Atlantis was a real continent with a cultured society, able to build great cities, grow crops, inscribe written records and sail the oceans ISBN 0749920629 condition: good+
[CD,FA]ITEM AA09...DEAD MEN DO TELL TALES William R. Maples $8
See http://www.facebook.com/photo.php?fbid=393902996842&set=a.383705166842.163071.86840486842&type=3
[ET]ITEM XA14…MARY CASSATT: PAINTER OF MODERN WOMEN Griselda Pollock $20
This radically new study redefines the American artist Mary Cassat's status in the Parisian avant-garde and in American art, placing her work in the wider context of 19th century feminism and art theory. Cassatt's art explores a New Woman's perspective on the spaces of modernity: at the theatre, in the drawing-room and garden, in the studio. Admired by Degas -- who invited her to show with the Impressionists in 1877 -- Cassatt's work reveals her profound study of Old Masters and keen responses to contemporary French and Spanish painters. Griselda Pollock puts a new emphasis on Cassatt's interest in Manet and her influence on American collections of French modernism. She also argues that Cassatt's experimentation with etching and pastel from the late 1880s enabled her to represent children and women without sentimentality but with a deepening awareness of a complex psychological charge.
1998 softcover; ISBN 0500203172; CONDITION: glue residue from sellers' marks on cover, otherwise good+; 184 illustrations; 55 in colour
Other items:
none
MANUSCRIPT NOTES OR RESEARCH:
none
PERSONAL/FAMILY STUFF:
HP recovery discs, manual, warranty, etc
Miscellaneous Christmas cards, gift tags, ribbons, wrap, etc
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