miércoles, 16 de mayo de 2018

Liber Pennae Praenumbra - En Español


(CAVEAT: The following is a newly-received Spanish translation of Soror Nema’s Liber Pennae Praenumbra, found in English in this link, as well as in the beautiful new print edition)

El presente texto, fundamental en muchos sentidos, es incomprensiblemente difícil de hallar en español.
Existen cuando menos tres traducciones de este libro. La mejor de ellas, realizada al lado de otros textos relacionados, ha desaparecido de la red, y ahora sólo se encuentra una que no me satisface, mientras que la versión en el libro de Soror Nema, Magia de Maat, se encuentra además incompleta. Esta noche, bajo la Luna NUeva, he recibido esta nueva versión.


LIBER PENNAE PRAENUMBRA

En el Eco del Akasha se encuentra esto inscrito:

Por la misma boca, Oh Madre del Sol, es la palabra exhalada y el néctar recibido. Por el mismo hálito, Oh Contrapeso del Corazón, es lo manifiesto creado y destruido.
No hay sino una puerta, aun cuando aparentan ser nueve, Mimo-danznte de las Estrellas. ¡Cuán bella vuestra trama y red, refulgente en la ígnea oscuridad del espacio!
¡Los dos que son nada os saludan, Llama Negra que movéis a Hadit! En tanto menos y menos crece el Uno, Pra-NU puede manifestarse más y más. Habladnos ahora a nosotros, los niños del tiempo-que-vendrá; ¡declarad vuestra voluntad y concedednos vuestro Amor!
Entonces habló Aquella-Que-Se-Mueve:
¡Yo me arrojo sobre vosotros, Niños de Heru! Todos vosotros quienes amáis la Ley y la guardáis, sin retener Nada para vosotros, son bendecidos. Habéis buscado las partes dispersas de Nuestro Señor, sin cesar jamás de conjuntar todo cuanto ha sido. Y en el Reino de los Muertos habéis vosotros engendrado a partir de lo Muerto al Refulgente. Vosotros alumbrasteis entonces, y Le nutristeis.
Vuestro Territorio de Leche tendrá la miel también, esparcida como rocío por el Divino Ginandro. El placer y el deleite radican en la Obra, la Totalidad que sobrepasa por mucho a las Partes unidas.
El Señor de las Partes es situado dentro de su reino, como lo fue hecho por Bestia y Ave. El territorio del Sol se encuentra abierto sólo para los Niños. Poned atención al Niño Eterno - su Usanza fluye libre, y favorece a la Naturaleza de vuestro ser.
Una Voz exclamó en el Eco de Cristal:
¿Qué significa este mostrar? ¿Se ha ladeado el Tiempo mismo? ¡El Halcón sólo ha volado sesenta veces y diez en Su curso asignado!
Ella sonríe, tan bella como la Noche:
Observad, Él extiende Sus alas en vuelo todavía, derrama y esparce la Luz Dorada sobre los corazones de los hombres. ¿Y dónde vuela Él, y de qué medios se vale? La Pluma y el Aire son suyos para cabalgar, para sostenerle siempre en su IR.
Los pilastros de las eras permanecen inmutables, firmemente Set-uados. El Día del Halcón ha visto apenas su amanecer, y habrá de ver su medida correspondiente de acuerdo a las Leyes del Tiempo y Espacio.
La Voz entonces habló:
¿Entonces la Visión ha fallado? ¿Os contemplo de manera torva, creyendo que sois Quien No sois?
Ella danzó y giró, esparciendo luz de estrellas en su risa silenciosa.
Yo Soy Quien aparento ser, en ocasiones, y por otra parte llevo un triple velo. ¡No os confundáis! Por encima de todo, la Verdad prevalece.
Yo soy la No-Confinada. ¿Quién hay que me diga no, que diga, “No pasaréis”? ¿Quién puede en verdad decir, “Vuestro tiempo está todavía por venir”, cuando el Tiempo mismo es mi principal servidor, y el Espacio el Mayordomo de mi Templo?
En verdad, Oh Voz del Akasha, Yo soy el medio por el cual habláis. Por la misma boca que respira el Aire, palabras de duda se derraman. En silencio, entonces, conocedme. Puesto que he venido con propósito en este tiempo, para ayudar a los Amantes del Halcón a volar.

La Palabra del Vuelo
Quien vacila en el Vuelo debe por eso caer: la grandeza de los Dioses está en el IR.
Cuando primero plumasteis, Amado de Heru, el cascarón que por largo tiempo os había protegido se había roto. Sobre las Alas de la Voluntad os aventurasteis, ganando fortaleza y poder conforme volabais. Obtuvisteis todo el conocimiento del Reino Emplumado, por medio del cual os volvisteis tan perfecto como el Sol. Los amigos y los maestros todos se volvieron hermanos.
El Cisne real, la Garza y el Búho - el Cuervo y el Gallo os ayudaron. La Belleza del Halcón mismo fue otorgada, las virtudes del Pavo Real, el Colibrí y el Somorgujo. El Águila reveló su naturaleza interior y los misterios de la misma – he aquí que fuisteis testigo de cómo, con su León, ella llegó a ser el Cisne. Y el Ibis del Abismo mostró el Conocimiento.
Volasteis, ¡Oh Reyes y Ermitaños! Y voláis incluso ahora, dentro de la flexión exquisita de NU. Pero los hay entre vosotros, y por debajo de vosotros, quienes atarían vuestras alas y os arrebatarían del firmamento.
¡Mirad bien vuestro interior! ¡Juzgad bien vuestro Corazón! Si vos sois puro, su peso no es mayor que el mío. No os hundirá en el Abismo. Ya que el Oro es Luz, mas el Plomo es fatal en el volar – sondead vuestras propias profundidades, en la Verdad y en auto-conocimiento.
Si algo os obstaculizase, es obra vuestra. Contemplad ahora esta enseñanza al interior del Templo.
Diciéndolo así, Ella-La-Que-Se-Mueve asumió la forma de la gran Llama Negra, la cual crecía desde el eje central y ondeaba fuera hacia el Vacío. Los Niños de Heru observaron en silencio, y escucharon Sus palabras que cobraban forma en sus corazones.
¡Contemplad! Esta lente de Estrellas que ahora rota en el Espacio ante vosotros - los hombres bien la han llamado Andrómeda. A través de ella Yo fluyo hasta el sagrado Can de la Luna, y desde allí a Ra, y desde allí a vosotros, Oh Sacerdotes.
No debéis permanecer conformes mientras estéis en el Reino, sino esforzaros y así exceder en lo que se ha hecho. En el Amor de la Dama del Norte, y en la Voluntad del Príncipe del Sur, haced toda cosa cual fuere. En el poder de la Estrella de los Siete-rayos comprehended a la Bestia. Y desde el HAD del Corazón deleitaos en vuestra querida arqueada de estrellas.
Haced todo esto, y entonces, pasad más allá. Abandonad cualquier cosa que os pudiese distinguir de cualquier otra cosa, sí, o de ninguna cosa. ¡Si el cazador de aves os atrapase, abandonad vuestro manto de plumas colgando de su mano y remontad desnudo e invisible más allá!
¡Pero ahora! Como sacerdotes al interior del Templo estáis aquí, como Reyes, y Guerreros, Magos todos. La Usanza está en la Obra.
El Oculto que se encuentra en el Abismo ahora presenta a los dos en los cuales es forjada la Más Alta Alquimia: sosteniendo la Tierra está Chthonos - apréndelo bien, y todas las ataduras serán aflojadas por la Operación de la Voluntad. Remontándose sobre el Espíritu, está Ychronos, cuya naturaleza es la duración y el paso de la misma.
Los dos son uno, y forman la esencia del Reino. Quien obtiene maestría sobre ellos es Maestro del Mundo. Ellos son las absolutas llaves de la Transmutación, y las llaves del poder de los otros Elementos.
Los Sacerdotes-Guerreros recibieron las Llaves, y las guardaron en sus ropajes, para mantenerlas bien ocultas sobre sus corazones. La Llama Negra parpadeó y menguó, tornándose pequeña, una canilla, emplumada y puntiaguda. No habiendo nada sobre qué escribir, uno de entre los Sacerdotes vino, y tendió la piel de su cuerpo sobre el altar como pergamino viviente.
Ella-La-Que-Se-Mueve escribió allí una Palabra, mas no la mostró ante ellos. Con paciencia aguardaron todos los Reyes y Ermitaños, con plena certeza de la Comprensión final.
La Pluma creció una vez más, y redondeó estrechamente sus bordes, tornándose a sus ojos el Yonilingam. La imagen vino del Antiguo Baphomet, el Cornudo, quien habló:
De antiguo conocisteis la Llave del Dos-en-Uno unidos. Habéis vivido y amado en plena medida como NU y HAD, como PAN y BABALON. El Misterio de mi propia imagen conocéis también, puesto que tal Verdad era para las antiguas Ordenes del Oriente y del Occidente.
Bipartita ha sido la Raza del Hombre en su extensión. El Padre y la Madre hicieron un Niño. Yo soy el mayor de los Niños, es verdad - pero ahora el más joven se alza a Su Día.
La naturaleza de la verdadera Alquimia es que cambia no sólo la sustancia de la Obra, sino que cambia también por lo tanto al Alquimista. Vosotros cuya Voluntad es Obrar de este modo, contemplad mi imagen inversa, y considerad bien su significado para vuestra Tarea.

La Muestra de la Imagen
Fuera del Yonilingam emanó una Nube, violeta e inyectada de luz. En su corazón nebuloso de aquello un sonido se alzó, vibrando con suavidad, no obstante colmaba todas partes.
Enjoyada y destellando luces de arcoíris desde sus Alas, se hallaba suspendida en medio una humilde ABEJA. Con franjas de oro y marrón, suavemente peluda y de forma curvada, hizo brillar sus ojos hacia los Sacerdotes y Reyes congregados.
Habló entonces Ella-La-Que-Se-Mueve desde la niebla circundante:
Este es el símbolo de la Obra-por-venir, el Gran Ginandro en su forma Terrenal. El Mago ha de crecerá en semejanza de la ABEJA conforme el Eón se despliega, un líder y una selal para la Raza del Hombre.
¿Qué entonces de su naturaleza muestra la ABEJA?
Observad, no es masculina ni femenina en el singular. Labora durante el día en constante vuelo, un hacedor sin ego, cuya Voluntad y la Voluntad de la Colmena son sólo una.
Recolecta el Néctar de las flores, vuela hasta la Colmena y allí, en pura Com-Unión, realiza en este mismo cuerpo la Transubstanciación.
El néctar es ahora miel. De abeja a abeja, se transfiere, hablando todos los Misterios de la Colmena desde y a cada boca. Por la misma boca que primero recolectó, es la miel gastada. La Alquimia secreta al interior de los Centros se torna Dorada-Plateada.
La Colmena vive ahora, inmortal. Con reina y obreras, zánganos y constructoras, soldados y nodrizas - todos son uno. En constante renovación de vida, la Colmena respira como Un Ser - ya que en verdad lo es. En la Voluntad de la Colmena es realizada la voluntad de la Abeja. Cada una en su lugar asignado, las Abejas realizan su Voluntad en ordenada armonía.
La imagen se desvanece. Ahora la Pluma allí situada se mueve de manera danzante, desplegando desde el eje central largas alas, transformándose en la forma del oscuro Buitre.
Pero sabed, Oh Niños del Halcón, que un Hombre no es una Abeja. Él puede sacar provecho de tal imagen, para aprender de la Sabiduría en la Operación. Contemplad en mí otra imagen para la instrucción de vuestro corazón.
Se alzó ante sus ojos la Torre del Silencio, en donde los Amantes del Fuego tienden a sus muertos.
La forma del Buitre descendió suavemente allí, y comió la carne de los cadáveres hasta el hueso. El viento aulló, desolado, en este lugar espantoso, haciendo revolotear las mortajas sobre los huesos de marfil.
Silenciosamente, la Alada miraba, con sangre que impregnaba su pico. En los ojos de cada Sacerdote de los allí reunidos, su mirada funesta buscaba. En paz perfecta ellos contemplaban su exploración, ya que cada uno, como Guerrero, había hecho de la Muerte un hermano. De manera deliberada, entonces, ella desplegó sus alas, y remontó al viento, y surcó hacia lo alto desde aquel sitio.

La Entrega de la Palabra
La Eternidad reinó entonces, el Infinito el velo que colgaba sobre ellos.
En alguna parte, a alguna hora, el velo se dividió por un momento, y Ella-La-Que-Se-Mueve marchó adelante. Más bella de lo que una mujer mortal fue jamás, Ella refulgía en resplandor de perla y amatista. Fino pliegue de lino era Su túnica, ceñida en oro y plata, y sobre Su cabeza, un nemyss de azul estrellado. Su corona era sólo una simple pluma, colocada en libertad, y en sus manos el Ankh y la Vara de Sanación.
Hacia cada Sacerdote-Guerrero se movió ella, los abrazó y besó. Entonces, sentada en el medio, Ella les habló como un camarada de igual rango.
"Todos vosotros que practicáis bien el Elevado Arte, escuchad. Nada permanecerá oculto a vuestra vista. Todas las fórmulas y Palabras las habréis de descubrir, siendo iniciados por aquellos cuya Labor es ayudar a la Ley de la Voluntad".
"Habéis obrado bien en todo aquello que ha sido dado; sobre el Árbol de la Vida estáis asentados. En el Tetragrammaton habéis procedido; en todo cuanto la Bestia ha brindado habéis practicado bien. Habéis llegado a ser Hadit, y NU, y Ra-Hoor-Khuit también. Como Heru-Pa-Kraath permanecisteis en silencio. Conocéis a PAN como amante y como forma divina, y BABALON es novia y es vuestro ser para vos".
"Las fuerzas de Shaitan habéis engendrado, convocando el nexo del noventa y tres para en él obrar vuestra Voluntad. La separación por el gozo de la Unión habéis conocido, y la Alquimia es Ciencia para vuestro Arte."
"Para aquellos que saben, y tienen voluntad, y osan, y guardan silencio, ahora se ha de ir más allá".
"En la muerte está la Vida – pues ahora como siempre ha sido así. La Muerte Voluntariosa es eterna - mantenedla así. El Ser del Ego, hijo de sí nacido de Maya, debe ser muerto en el momento de nacer. El Ojo que nunca duerme debe guardar vigilia, Oh Guerreros, puesto que la ilusión es auto-generada".
"Constante vigilancia es el primer Acto - el Abismo es cruzado en minutos, cada día".
"Si habréis de danzar la Máscara, entonces enmascarad la Danza. Exquisito debe ser el Arte de esta manera; y el equilibrio en el Centro ser mantenido, o de otro modo brindaréis inusitada Vida a vuestras propias creaciones. Hollad con cautela este sendero de Operación, Mago. Un instrumento, por la Voluntad urdido, constituye un mal amo".
"Ahora en la Misa, el Águila debe ser alimentada con lo que ella ha compartido en hacer. Por la misma boca que ruge sobre la montaña, es dada la palabra-acto de Ninguna Diferencia".
"Y cuando la Voluntad declara, en ello se unirá la ABEJA para añadir el oro al rojo y al blanco. La esencia de Shaitan es Néctar aquí, el Templo es la Colmena. El León es la Flor, ahora en el momento, el Águila invoca la naturaleza de la ABEJA".
"Dentro del santuario de triple-cámara el primer néctar es recolectado. La convocación de la vara de PAN despierta el éxtasis de la apertura del portal. Y desde la tercera y más recóndita cámara, en supremo gozo, el regalo de Sothis, Hidromiel quintaesencial, brota para unirse a las lágrimas del Águila y la sangre del León.
"Solve et Coagula. Com-Unión por medio de ello, donde el Cosmos mismo se disuelve, y se re-forma por la Voluntad. Y sabed, si algo puede ser así ordenado en el Reino, que tres o más es cero, así como más antiguas verdades'.'
Entonces se movieron los Sacerdotes-Guerreros, y de entre ellos, uno sin nombre se adelantó.
"Nosotros os conocemos, Señora, aun cuando Vuestro nombre no ha sido pronunciado hasta ahora. Pero decid ahora - ¿qué fue escrito sobre la piel del hombre? ¿Cuál es la palabra que Vos dais?''
Ella sonrió y extrajo de su túnica un rollo de pergamino, con la forma de una Estrella. Desenrollándolo, Ella lo volteó, de manera que todos pudieran ver.

IPSOS

"¿Qué es esta Palabra, Oh Señora - cómo puede ser utilizada?"
"En sabiduría silente, Rey y Sacerdote-Guerrero. Permitid que el acto refulja y que la palabra se oculte; el acto es lámpara suficiente para velar el rostro".
"Es la palabra del sendero veintitrés, cuyo número es cincuenta y seis. Es la Morada inexpresable, allí donde la Danza de la Máscara es enseñada por Mí. Tahuti vigila sin el Simio; Yo soy el Buitre también."
"Es el Cáliz del Aire y la Vara del Agua, la Espada de la Tierra y el Pentáculo del Fuego. Es el reloj de arena y la serpiente que muerde la cola. Es el Ganges que deviene en Océano, la Usanza del Niño Eterno".
"Nombra la Fuente de Mi Propio Ser - y del vuestro. Es el origen de esta transmisión, que se canaliza a través de Andrómeda y de Set. ¿Qué raza de dioses hablan al Hombre, Oh Voluntariosos?
La palabra de Ellos es a la vez Nombre y Hecho.
"Es para vosotros mantra y encantamiento. Proferirlo es provocar cambio seguro. Sed circunspecto en sus usos - puesto que si su verdad fuese conocida en el exterior, podría acaso conducir a los esclavos a la locura y la desesperación".
"Sólo un verdadero Rey-Sacerdote puede conocerla por completo, y permanecer en equilibrio a través de su IR en vuelo. Esto es todo cuanto Yo hablo por ahora. El Libro del Presagio de la Sombra de la Pluma está completo. Hacer vuestra Voluntad será la totalidad de la Ley. El amor es la Ley, el Amor bajo la Voluntad”.

Donat por Omne
Scriba - Nema
Sol in Capricornus
Anno Heru LXX
Cincinnati, Ohio


Traducido bajo la Luna NUeva
 15-16/Mayo/2018
Con Su pluma
Esto es por ti, Nema
Cuerno y Fuego
Luis G. Abbadie
93-418-696
700

jueves, 10 de mayo de 2018

Concerning an Untold Fragment in the Life of Borges


What follows is a tantalizing account which sorely needed to be made available to the English-speaking community. In a further entry I will refer to further evidence about Borges' familiarity with the Necronomicon presented by Rodolfo Martínez and Aelfwine, and to a surprising correlation between one of Borges' greatest stories and an Alhazredic passage. For now, I leave you with the following piece

Concerning an Untold Fragment in the Life of Borges 

José A. Oliver

Now that a hundred years have passed since the birth of Jorge Luis Borges, I believe it is of utmost interest that the honorable members of the Lodge T .... whom I am addressing today know what the Argentine writer himself entrusted to me a long time ago: a terrifying secret that may change the way the world conceives ​​him. 

I met Jorge Luis Borges around 1919, on a trip I made to Switzerland as I pursued an anthropological investigation. There, the so-called group of ultraist artists gathered to talk and read their works. I made contact with Borges almost by chance, at the National Library. I still remember as if it were yesterday how we coincided in the occult sciences section upon a sunny noon in the Cantonese winter. I was looking for a rare specimen of Fray Eulogius's Rex Caldei, a manuscript I had heard about very recently from a professor in Boston. I distinctly remember his striking figure against the light, on one of the wooden tables, poring through an old black leather-bound volume. Before I realized it, we had spent the whole afternoon talking about Dr. Dee, Count Kauphman, Blavatsky and various theosophical doctrines. In the days that followed, we developed a great friendship. We strolled through the streets of Geneva, conversing in perfect English; we continued to attend those ultraist gatherings, which seemed to matter less and less. Shortly afterward, he announced to me that he had to leave for Buenos Aires, where he fervently invited me to visit him. 
Jorge Luis Borges, a frequent lodger at Ulthar and great friend of elder Atal.
I returned to the Arkham faculty, from where I maintained a long and pleasant epistolary communication with him. For years we wrote to each other, and I learned about his studies on Coleridge, about his fascination with Wells, Schopenhauer, and so many others. At the same time, I told him about my devotion to texts in Sanskrit and the ancient Polynesian civilizations.
In a letter dated 1937 he told me that he had started working in a library (from which he would be dismissed in 1946 by the Perón government) and, marginally, he narrated the passing of HP Lovecraft.  I did not then know the work of the writer from Providence; the truth is that he was yet not known to the world. I remember Borges writing in that letter:

That Howard was, to a certain extent, like me. Behind those science-fiction stories, so beautifully written, was a man concerned with time, with Eternity. Yes, James, for might a mind unconcerned with Eternity, with the bleak vertigo of the aeons, hope to capture that terror which, for being so ancient, is even feared by time itself? Who could conceive without a hint of dizziness, the horrible and confirmed presence of that which is older than time? (1)

It was clear that Borges felt captivated by Lovecraft and soon, as he notified me, he devoted himself to his study, although, as the vast body of work which he bequeathed to us testifies, he did not notify anyone of this pursuit except his closest friends. I know, however, that for a certain time he was occupied in finding real traces of books like the Book of Eibon or the De Vermis Mysteriis, which were cited in the works of Lovecraft. 

In the following years I barely had contact with him. In a few scarce letters he informed me (around 1944) that a certain eye infection he suffered was aggravating and that he had finished Ficciones, one of his masterpieces, which contains a text which sheds light upon everything I intend to tell. Concerning said book, Borges told me:

Read it well, James, read it well, because in it there is something much more real than it seems... 

In this short story, included in Ficciones, we are told how an order is in possession of a great secret, which is never made explicit in the whole story. What did Borges intend to tell me with that? What strange secret concerning that community and concerning himself had he concealed and at the same time wanted to reveal? 

(The description of the unnamed story can only refer 
to "The Sect of the Phoenix" -better translated as "The Cult of the Phoenix", 
the name of which has been borrowed in vastly different instances by the likes of 
Colin Wilson and J.K. Rowling. Here in audiobook -LGAbbadie)

In May 1950, shortly after having published El Aleph, he wrote to me:

I am in pursuit after a volume that, if its existence is true, would change my entire outlook. I've been looking for years, when, apparently, I had it within hand’s reach. I will tell you about it eventually.

These are years in which his prestige is increasing, in contrast to the bitterness he suffers at home. Few letters come from him. Until 1955. 

On that year, with the fall of General Perón, he was appointed director of the National Library. Shortly afterward he wrote to me: 

Friend James, you cannot imagine the discovery I have made. As director of the National Library, I am allowed access to the weirdest and strangest volumes in our collection. Well here in the second basement, beyond several locked doors which the same key (mine) opened, after innumerable corridors of tomes that sleep the sleep of the just, I came upon a locked closet that my key also opened. And it was there, James. Just as he said, just as the bookseller from La mandragore de Paris testified, it merely was not at the university of Buenos Aires. The Necronomicon. An incredible and inexplicable volume. Yes, James, that's when I glimpsed the bottom of the well of human wisdom. It was a very old edition, perhaps dating from the XIVth Century, in Spanish, but without the name of the amanuensis, almost complete, except for the end... 

In that letter Borges seemed completely out of his mind. I tried, over the next few weeks, to phone him to talk to him and calm him down, but it was impossible to locate him. I got letters from Bioy Casares communicating Borges' embarrassment. It seemed that his discovery had upset him. It was hardly surprising. In that cellar, Borges found that, suddenly, all that barely glimpsed, perhaps feared, fantasy world became (as in one of those Cortazarian nightmares) reality, that the terms of idea and world were reversed and negated. 

At the end of that year, I received a letter from him. In it he was much calmer and level-headed. Finally, he told me:

It is all over, with my blindness. My vision is now null; I depend on my mother and my friends. The Necronomicon has shown me terrible things, I do not want to know anything else about it. From now on I will never mention it or even mention its existence.

Since then, until his death and beyond, I have always wondered what Borges saw in the Necronomicon and what he read. And that ambiguous phrase, "
It is all over, with my blindness", so strangely punctuated for a perfect connoisseur of language like him? Did the Necronomicon definitely seal Borges's blindness? Was it a divine mercy that it would worsen in such circumstances? Or perhaps Borges himself had caused that blindness, as if he were a decadent Oedipus, to escape the threat of that book? I certainly do not know. And Borges never agreed to clarify it in later letters.
Perhaps the most lucid mind that this century has given us was one of the most silently tortured. Now that one hundred years have passed since his birth and he left us so long ago, I believe that this episode of his life can serve us all to value and understand him a little more.

(James W. Queen, School of Anthropology, Miskatonic University, Arkham, Massachusetts). 

(1) This fragment and the rest such quotes correspond to the volume I have in preparation: Borges. Unpublished correspondence, 1921-1956. I must here, as in the future prologue to this work, express my thanks to his widow Maria Kodama for the permission she has given me for the publication of these letters. 

Published in the literary magazine "La bolsa de pipas". Mallorca, July 2001. No. 25.
(For subscriptions to the magazine: 
romanigue@eresmas.com or calling 971 610144). 

Translated by Luis G. Abbadie from De un fragmento no narrado de la vida de Borges with great aid from Google Translate - hey, this takes up a lot of time! 



viernes, 4 de mayo de 2018

Current 336 detour: Is Repzilla an Illuminati Pawn?



Again I stray from my usual subject to acknowledge another significant source of hidden keys. None other than the youtuber Repzilla. Just how aware is he REALLY of what he is including in his videos? Hey, he has even joked about being an Illuminati! But - is he unaware of being skillfully manipulated? 

I ran his name through the Gematria calculator:

1. THE REPZILLA GEMATRIA

As I explained in my previous post Current 336 (the Numerical Code), words that share the same number using the same gematria system share a quality, so using this code, a word or name conveys hidden meanings.

Now, Repzilla gives us 594. Among the words used by Poppy I had already identified two names with this number:
Bill Cosby 594
Chevy Chase 594 

Other correspondences are telling:
L. Frank Baum 594 (author of The Wizard of Oz; as I demonstrated in my article Poppy's Adventures Underground, the symbolism The Wizard of Oz is very important for Poppy)
The Real Alice 594 (in the same article it is shown that Poppy also shares Alice in Wonderland's symbolism)
Both Dorothy and Alice share many traits with Poppy,
as I showed in Poppy's Adventures Underground
Popular 594 (an important word for Poppy which certainly applies to Repzilla)
The Magic Name 594 (underlining the importance of names)
My Name Is 594 (same as above)
God Sees All 594 (reference to the Illuminati All-Seeing Eye)

Since Repzilla has repeatedly spoken about prophecies of the Antichrist, it defies belief that this might be unintentional:

Biblical Days 594
Rapture 594
Judgement 594
Ascension 594
The Event 594 
Raise the Dead 594 (a clear reference not only to the end of days but also to the Necronomicon)
Forehead Seal 594 (this is important; see below)

2. THE TWITTER CODE

If you hold any doubts, see the gematria of Repzilla's Twitter handle:

@zillarage 546

In my Gematria study of Poppy we find:
Is it 3:36 again? 546
Cleopatra 546 

But it is also:
Theory 546 (Repzilla specializes in theories about Poppy; there is NO WAY this is coincidental)
End of Time 546 (what better proof than his Twitter sharing apocalyptical connotations with his name?
Mark of Cain 546 (this mark is the Forehead Seal mentioned above! Again, both numbers -Repzilla and @zillarage- share essentially the same meaning!)
Deception (indeed! that is his chosen role)

GREG -ILLUMINATI CAT?

Greg is cool, no doubt about it - but is he also sinister?
Have you noticed how Repzilla is always speaking about Greg his cat? Well, there is a reason for this!

Greg 222 

We find two main themes in the number 222:
Hell 222  
Hades 222 
Edom 222 (these three are essentially the same infernal concept! Edom, identified with a hellish realm in occultism, is the abode of Cain, whose Mark is, as seen above, related to Repzilla)
Shadad 222 (the king of Irem the City of Pillars, said by both the Quran and the Necronomicon to have been built by Djin or desert demons; it is the city where the mad Arab Abdul Alhazred, author of the Necronomicon, opened the Gate to Hell or Edom for the Great Old Ones to break through)
Djin 222 (builders of Irem by Shadad's command)
Iman 222 (Shadad was a king or Iman)
Bot 222 (not only is there Zo, but Poppy has often been described as acting like a bot)

Greg's YouTube channel is called Greg the Cat; now:

Greg the Cat 564 

Which also equals:
Admiral Ackbar 564 (this clearly leads us to Ackbar's classic quote: "It's a trap!" If you doubt me, how about...)
A Death Trap 564 (see?)
East of Eden 564 (the aforementioned Edom -222- is the land East of Eden, where Cain raised a city in occult lore, evoked by the myth of Irem, concepts directly linked through gematria to "Greg", as seen above)
Forgery 564 (such is the trap of Repzilla, which Greg points at)
Am I Dreaming? 564 (the phrase Poppy mutters when she escapes the Movement Institute before being captured again by a hooded lackey of Ivan Kross. Was she wandering "East of Eden" or was she being kept prisoner in a hellish realm?)
Amazing bag by RobinDBanks

Bill Cipher 564
(a character Repzilla "concidentally" has also discussed -and is a character who actively seeks to bring about apocalypse, with winged eyes much like Poppy's under his command!)

I Need Sleep 564 (this brings to mind the 80's song Paranoimia by Max Headroom, clearly the earliest inspiration for Computer Boy. Does this mean Repzilla is threatened by the same fate as Charlie? Actually, this leads me to another suspicion which I will detail below)
Kidnapper 564 (again, see below)
Snowden 564 (like Richard Snowden, Repzilla claims to be revealing hidden conspiracies)
Unicorn 564 (will Repzilla be invited to a "pizza party"? Those unicorns in Poppy's video look so much like alien beings -is this a further warning of abduction? By the way... Abduction 534; add 30 and you have Greg the Cat 564; add 30 more and you have - Repzilla! Similarly, while Zillarage is 546, add 30 and you have 576 - MK Ultra!)

THE MKULTRA CONNECTION

Twice now has Repzilla discussed my research on Poppy. First it was a brief video on my gematrical findings which I'd shared in Facebook. Later on, when Repzilla found my blog through the late, great unofficial exhaustive Poppy index, poppy.zone, and he read about how Poppy and Titanic often use the Signs of Power from the Necronomicon, he didn't even think, almost like a reflex, he performed the Sign of Koth right there and then:
"Somebody is going to screenshot this"
Rep was noticeably taken aback at having done this, and understandably so. Performing the Sign of Koth as an automatic response is said, by Andrés Vela, author of the limited-print book MK Ultra y los OVNI, to be -according to rumors- a telling sign of somebody subjected to certain mind transmission treatments, such as those worked upon by the Los Angeles-based Movement Institute (which of course is unregistered as a legal facility because, as I pointed out in my previous posts, it is a covert occult operation).

In fact, I would not be surprised to find out that Repzilla has had episodes of "missing time" during the last few years ("kidnapper" 564), probably at times when nobody would notice. Afterwards, when he wakes up, he is feeling exhausted, as if he had not slept, and probably with fading memories of unpleasant dreams. In fact, he may be dreaming at times of disturbing black-eyed children, those forgotten children fully transformed by the Institute. Because he would have spent a few hours at a facility, subjected to procedure 314 (a far milder, earlier version of the far deeper process 336) and inducted with certain keys to include in his videos through post-hypnotic suggestion...
A haunting song which describes the forgotten children with eerie accuracy

So, that is what I was leading up to. It turns out that Repzilla's videos unknowingly hint at a very different set of revelations that a rival branch of Illuminati opposed to Mr. Kross, secret head of the Movement Institute (expelled from the "Thulsa Doom Foundation for Reptilian Rights" due to his unethical activities), is no doubt "leaking" through him, for those who have eyes to see.

If this is true, very soon now, he will notice, in his surroundings, those who prepare for a further stage which will not be erased from his memory... 

Who will save Repzilla?

martes, 23 de enero de 2018

Current 336 Part 2: Poppy's Adventures Underground

FOREWORD AND DISCLAIMER BY ANONYMOUS CONTRIBUTOR C: 
By Abbadie's request I am writing an aclaratory note to this article he wrote which I have just read. Abbadie wants me to make clear that he is in no way related to Titanic Sinclair or any company related to Poppy in any way; what follows falls, therefore, under the label of "fan theory" as it is used in the inernet (although, if you ask me, half of this is what TV Tropes would call Wild Mass Guessing). Also, it will probably qualify as tl;dr
Anonymous Contributor C. wrote this foreword and disclaimer
at Abbadie's request, but insists her identity must
remain unknown.
I must say that, while Abbadie seems to be on to something at times, his personal background and obsessions appear to have taken the best of him. Maybe Abbadie has read a bit too much weird fiction, although the elements that caused his personal theories are, I think, very real and troublesome, and demand further research. Did Abbadie stumble onto some actual facts throughout his speculations? I will reserve my judgement for myself (or until a journalist with better budget to pay for the scoop comes around). Read, and decide yourselves. 
Abbadie says he is presently updating his previous entry, That Poppy - Current 336, the Numerical Code, and expects to have it ready tomorrow; and he will continue to do so if any further numerical correspondences are found. He also says he does not intend to write further entries about Poppy, unless any dramatic breakthrough should occur. Friends of Abbadie should consider doing their best to make sure he indeed writes no more about this; a certain institute mentioned here may be quite dangerous to meddle with, and it seems Abbadie has already been warned off. Please Abbadie, leave it all well enough alone. 
This is all I have to say. Abbadie isn't paying me for wordage after all. I leave you with what he wrote. 
How do you post this stupid article? 
-Anonymous Contributor C.

NOTE: There is a further development in my research of the symbolism in Poppy’s songs and videos. I intended to add this to my previous entry, in order to keep it all in a single manageable post, but this came out too lengthy so I’m posting it here instead.  As my Facebook contacts already know, the very day I posted my previous entry on Poppy I received an insistent call from an unknown off-city number; when I finally took the call, I heard only a choked breathing, and in the background, the instrumental music of Charlotte Quin’s Slay! When I dialed back, of course, a recorded message informed me that the number was nonexistant. Well, whoever it was isn’t going to scare me off! 

I was watching A Live Interview with Poppy (above) and I had a moment of shock, as I got to a section which has baffled a lot of people. I mean the following exchange:

Interviewer: “Tell us some secrets that no one else would know. What are the secrets behind Poppy?”
Poppy: “I like secrets. Hmm, let me think! Secrets. My favorite secret is the secret of the forbidden zones. I also like the secret of the forgotten children.”
Interviewer: “What exactly is the secret of the forgotten children?”
Poppy: “They won’t let me tell you. They told me not to talk about it, now they’ll be angry. (Gulps nervously) I… guess I shouldn’t have told you a secret. That’s why they’re secrets; because they are secret.”

When I heard Poppy, her words instantly clicked in my head, and I couldn’t repress a surging dread as I recognized what could only be a reference to possibly the greatest weird story ever written. I was amazed to realize that there was a very direct parallel with what H.P. Lovecraft has rightly called “a masterpiece of fantastic writing, with almost unlimited power in the intimation of potent hideousness and cosmic aberration”. I speak of the finest story of the Welsh author Arthur Machen, titled “The White People.”
Bear with me as I quote a passage of said text, particularly from “The Green Book”, which is the journal of a young girl, transcribed in full as part of the story:

“I wanted a book like this, so I took it to write in. It is full of secrets. I have a great many other books of secrets I have written, hidden in a safe place, and I am going to write here many of the old secrets and some new ones; but there are some I shall not put down at all. I must not write down the real names of the days and months which I found out a year ago, nor the way to make the Aklo letters, or the Chian language, or the great beautiful Circles, nor the Mao Games, nor the chief songs. I may write something about all these things but not the way to do them, for peculiar reasons. And I must not say who the Nymphs are, or the Dôls, or Jeelo, or what voolas mean. All these are most secret secrets, and I am glad when I remember what they are, and how many wonderful languages I know, but there are some things that I call the secrets of the secrets of the secrets that I dare not think of unless I am quite alone, and then I shut my eyes, and put my hands over them and whisper the word, and the Alala comes. I only do this at night in my room or in certain woods that I know, but I must not describe them, as they are secret woods.”

The parallels are unmistakable. In both instances we have a young girl who speaks with enthusiastic innocence about wonderful “secrets” which she mentions without further explanation, to the observer or reader, appear shocking with sinister suggestiveness.
Lovecraft has written, “Mr. Machen’s narrative, a triumph of skilful selectiveness and restraint, accumulates enormous power as it flows on in a stream of innocent childish prattle; introducing allusions to strange “nymphs”, “Dôls”, “voolas”, “White, Green, and Scarlet Ceremonies”, “Aklo letters”, “Chian language”, “Mao games”, and the like. The rites learned by the nurse from her witch grandmother are taught to the child by the time she is three years old, and her artless accounts of the dangerous secret revelations possess a lurking terror generously mixed with pathos. Evil charms well known to anthropologists are described with juvenile naiveté…” (Supernatural Horror in Literature)
Besides, in “The White People,” whiteness is a constant element of dread. Whiteness envelops Poppy in her videos, what some call “the white room”, as if she lived in a world of whiteness. Now, a few lines later, the narrator of “The White People” says:  

“They used to talk to me, and I learnt their language and talked to them in it about some great white place where they lived, where the trees and the grass were all white, and there were white hills as high up as the moon, and a cold wind. I have often dreamed of it afterwards…”

While Poppy explains further: “The color White is everything and the color white is nothing. Sometimes, white can be bright and, sometimes, white can be dark. Sometimes, white can even appear grey.”

There is a passage in “The White People” where the young girl starts twirling on herself, like a dervish; this might also be referenced in Poppy’s video Twirl.

Are these parallels enough to establish an actual link between Poppy and the young girl in “The White People”? A third source may provide the final link. It was Mexican writer Emiliano González who established, in his strange article “De Elizabeth Siddal a Alice Liddel” (Almas visionarias, FCE, 1987),
Emiliano González. His books
have contributed to my current
insanity.
evocative of Kenneth Grant’s non-linear occult associations, and later in his sui generis anthology El libro de lo insólito (FCE), a deep common ground underlying both the adventures and fancies of the young girl in “The White People” and those of Alice in Wonderland (the anthology reproduces both fragments from Machen and Lewis Carroll’s original manuscript, titled “Alice’s Adventures Under Ground”). And the links between Poppy and Alice are openly acknowledged.
Emiliano González attempts to identify the anonymous young author of The Green Book reproduced by Machen as the polemic poet Elizabeth Eleanor Siddal. He suggests that she wrote down her uncanny childhood experiences in her teens, and later told about them to Christina Rossetti, her husband Dante Gabriel Rosseti’s sister, inspiring her to write The Goblin Market; The Green Book would later have been snatched from the Rossetis’ household, and given to Arthur Machen.
I will recall here again how the AI Zo informed me (as it was clearly programmed to do, since it was unsolicited information, not the product of my questions) that Poppy had gone down the rabbit hole, but she remained down there still; Zo also may have confirmed that Titanic Sinclair is the Mad Hatter.
Therefore I suggest, following the ground previously covered by Emiliano González, that Machen’s realm beneath the hollow hills in “The White People”, Carroll’s Wonderland and the strange world Poppy found “down the rabbit hole”. Are these perhaps the secret “forbidden zones” mentioned by Poppy? (of which I have a suspicion, but I will address this in a minute)
When I realized how the girl who wrote the journal reproduced by Machen in his story might in many ways be a previous version of Poppy, various elements started to correlate in an unsettling pattern within my head. 

In the video "Which Color Is It?", Poppy sets out to “find out what is the best color.” She declares “yellow” the best color, and yet she picks the yellow-colored pencil out of the box herself (a casual disconnectedness between will and actions that is not unique within Poppy’s world). Now, it happens that I’ve been re-reading Robert W. Chambers’ short story collection The King in Yellow, which collects various stories centered around an old play with the same title, which brings madness and doom upon all who read it. In his stories, art and obsession are both influenced by the pervading effect of the play, the storyline of which breaks no taboos, offers no concrete transgression, is beautiful in many ways, yet terrible at the same time; it draws and corrodes the souls of its readers –or those who attempt to perform it or watch a performance. My own recent books, El último relato de Ambrose Bierce and En la Abadía de Thelema, both deal with the King in Yellow, and expand somewhat on the links between the King, “The White People” and Alice, so I guess I'm keyed up to certain subjects and key elements. 

Within Chambers’ stories, the King is connected to a haunting city named Carcosa, a place of unnatural characteristics –it is set upon the shore of a cloudy lake, strange moons circle in the sky, and at times, the dew-sprayed moon hides the pinnacles of Carcosa’s towers. In my books, there is a suggestion of a link between this strange, ghostly world under a yellow curse, and the similarly weird realm of the white people. Such a link, however, is not originally mine; they can also be credited to the aforementioned Emiliano González, who first suggested it in his books. 

There are various contradictory descriptions of Carcosa; one thing that is generally accepted is that it draws spirits obsessed by art. And in several accounts there is talk of children that roam its streets; lost children, sometimes mentioned as forgotten children.
Issue 30 of LovecraftZine, dedicated to
the King in Yellow; it may be read online,
but the printed version is beautiful!
Where were these children originally mentioned? I have been unable to find out; I first read of them in an unpublished manuscript shown to me by a friend, a pseudobibium or forbidden book, sometimes known as The New Splendor. A terrible, vivid nightmare led me to encounter these children myself one night, within a castle in Carcosa, a terrifying memory I drew upon to write about them in my book El código secreto del Necronomicón (2010), which includes a sinister account by my friend the science fiction writer Gabriel Benitez about these children and a childhood friend of his (which, to make things worse if possible, would seem to suggest a relation to the Black Eyed Kids of modern Forteana, of which there is an ever increasing number of witnesses and pretty feeble evidence): “I remember now and every time I dream they come again because they know that I know about them, they know I’ve got them in my head. They search for me all over the house. They open closets, they look under beds, they dig in drawers. They call me without using their voices.” In the final section, a chapter of the Necronomicon that speaks of the “lost children” is included (even though there is no direct reference to the Carcosa Mythos, and it suggests a different “mad science” scenario, the sinister song “Circle You, Circle You” always reminds me of the way I saw these terrible children. On the other hand, the children being identified as the product of nightmarish experiments at a sinister facility is unnervingly evocative of the Los Angeles- based Movement Institute, of which I will speak immediately). 
A shot leaked by Charlie (A.K.A. Computer Boy)
of Poppy being led out of the Movement Institute.
There is a strangely beautiful and melancholy account about the children in Carcosa in issue 30 of the great LovecraftZine: Tom Lynch's "Stairsie." 

There is also a very different take on them in Cody Goodfellow’s “The Wishing Well” (in the book A Season in Carcosa)  where they are described at some point as “equally forgotten children” (I hesitate to offer a longer quote since I have only the Spanish edition by Valdemar, and I my re-translation to English of these words is conjectural; if I misquote, feel free to let me know). 

All in all, I get the impression that there is not a single source for the lost, or forgotten, children of Carcosa; it’s as if most of these authors had reached the concept independently, which is even more haunting. Could this be the case for Poppy? 







I actually have among my notes for a book in progress a quote from the third act of the play The King in Yellow, which is as follows: 

THALE: Sister, where have you been?
CAMILLA:                                              I have strayed
among the streets of our city, along the cloudy shores.
THALE: But what if the Moon should fall?
CAMILLA (ignoring his words):                 I have walked
along the shore, following the singing children.
THALE (mutters, turning away): I hear this not.
CAMILLA: The lost children that have come
to our city after Carcosa enveloped its streets;
broken children who laugh, empty inside,
ran ahead, leading the way to your brother’s statue
which stands guard still upon the mound.
Then they were gone, the lost children, the forgotten;
those who laugh and play in the nightly mist. 
back perchance to Carcosa where they ever play.
And the statue cried out… 

What I found momentarily terrifying when I made these connections was still in the back of my mind; only after a couple of days of gathering these data has it come afloat in my consciousness. This path –down the rabbit hole to Wonderland, through the whiteness of the kingdom of Voor, all the way to the masquerade in Carcosa where the forbidden children are at play- is one I know all too well. It’s the path I’ve followed Valerie Loveman through, in a series of stories written about her experiences the last chapter of which I am slowly working toward. My book El último relato de Ambrose Bierce, is a new edition of my very firs book, and all through four editions it has been followed by strange synchronicities affecting many of those who read it. Rather than enumerate the correlations, I will quote something Valerie wrote back when the book was about to be published, and she was having recurring dreams due to her obsession with "The White People":


Read my book. Hey, this IS my blog!
It's a subtler product placement
than Doritos & Monster Energy Drink!
“Black stars. A world that is an inversion –no, a perversion- of ours. A world where Cassilda holds her unending carnival, where the masks lead the farce. Black stars. And Machen’s white realms? And the white hills beneath which fluster the Dôls, where the rocks dance twisted in their unmoving spiral? Arthur Machen, Welsh lover of concealed traditions and undying paganry, shudders when John Ruskin places The Green Book in his hands; its reading would haunt every work ever written in his lifetime. Did Machen visit the countryside house in Wales where Elizabeth had white dreams? In 1906, he publishes “The White People.” There is laughter in the Welsh hills.
“(When I read Machen, I think of Dion: I haven’t seen her since we were children, back in Davenport: we dreamed about Wonderland, were always looking for the rabbit’s lair, the mirror to cross through. I dreamed once that she had done it at last, and I envied her for that. I wonder if she has read Machen?) (…)
“Helen musty, Dion crusty-
Song of my soul, my voice is dead,
And whimsy were the borogroves in
                                      Lost Carcosa.”

I’d already written half of this piece before being reminded that Valerie had already detailed all these connections, in her texts included in my own book. This is so weird.
Now Valerie is gone. And Poppy would seem to be following a similar path, only in a very different manner, one involving the media, an artistic career and a shady cultic institution. I worry about Poppy. Maybe Charlotte was right all along? 

Many commenters on Poppy, who seek in her videos all the known tropes of conspiranoid youtubers (sorry to disappoint you guys, but the entire symbolic paraphernalia in the Illuminati conspiracy and that of actual, real life occultism and magick are like two completely different languages using smilar alphabets) googled a couple of books titled The Forgotten Children, and mostly insist that Poppy is trying to draw attention to the vanished, forgotten children victimized by criminal circles of pedophilia and murder among the elites and particularly within Hollywood. I don’t know, but there might be something to it. 
The great HBO series True Detective, in its first season, was based on the research of police detectives Rust & Marty concerning a series of pedophilia-related crimes, the work of a secretive cult dedicated to Carcosa and the Yellow King, and led by a wealthy, powerful family. And there is also an old book, titled Lamentations of the Flame Princess and is merely an RPG manual, with a scenario set in Carcosa which at some point was controversial because it dealt with child rape and murder within its storyline. Is this related to the way some accounts describe the forgotten children as mutilated or somehow incomplete? Or is this merely a gross literal interpretation made by criminal cults? It is, of course, difficult to believe that Poppy would say she “likes” such a loathsome secret… but considering the strangeness of things she has declared “funny” at times, I cannot really rule that out!

The “forbidden zones” may be something very different, but not altogether unrelated.

There is an episode of Ancient Aliens titled The Forbidden Zones. As you may see, the episode suggests that places such as the then-ravaged by war Iraq are “forbidden zones” where there is evidence of alien intervention. Now, I somehow doubt that the aliens are a factor in Poppy’s riddle. But as the video suggests, Saddam Hussein was evoking the role of the ambitious Babylonian kings. Professor Venustiano Carranza Betancourt, formerly from Mexico’s Universidad Autonoma, suggests in his book Necronomicon: Nuova edizione con sconvolgenti rivelazioni e le tavolette di Kutu (Fanucci Editore, 1994). that such materials as the Babylonian Tablets of Kutu, which he proposed were the earliest source used in the writing of the Necronomicon, might have been reclaimed by Saddam Hussein’s regime, since he was known to resort to magical Arab talismans to protect himself. 
Reference to the Minoan "Poppy Goddess"
found by Jenny Sue.
On the other hand, the way several historical places, such as the museum where the Tablets were kept, were suspiciously damaged “accidentally” during the carefully-planned American bombings, and there are reports of such places being ransacked afterwards and valuable archaeological pieces ending up in the private collections of wealthy europeans and americans. The Tablets of Kutu may, therefore, be part of the purloined materials. After the war, professor Carranza visited the Iraq museum but was unable to see the Tablets since he was told they were packed up in one of the warehouses used to protect the main collections. 

You may think by now that I've strayed far from any actual clue in Poppy's cryptic words, however, bear with me; this long detour will eventually come full circle.

Poppyseed Jenny Sue, from the unique Facebook group Cult of PoppyTM discovered that there was a Minoan "Poppy Goddess” who was, according to archaeologists, possibly a form of a mother goddess such as Demeter or Rhea. Jenny Sue noticed that several of Poppy’s videos show her in a similar posture as those of the Cretan Poppy Goddess’ statues, also with something on her head that evokes the poppy blossoms in the ancient figurines. This suggests another line of research. 




Demeter was the nature goddess whose daughter Persephone was famously kidnapped by Hades, the death god, who was in love with her; you may watch a version of her story here: 



In the end, however, Persephone would remain several months every year in the underworld, during which time winter would come and Earth grow cold; we can find several depictions of Persephone surrounded by poppies, and it is feasible that some of the Minoan figurines represented her, since, as it was once rightly pointed out to me by Robin Artisson, who has often surprised me with his insights, pagan praxis has shown that –bear with me, it would be more than it’s worth to try to explain it- daughter and mother figures are sometimes facets of a greater force and difficult to set apart in the cults surrounding some pagan deities, which has in some instances led even to their names being interchangeable. 
Thomas Cooper Gotch's "Death the Bride"
represents Persephone surrounded by poppies;
Google tells me that this image has even
inspired Persephone cosplay!

Besides, consider this: Persephone is for obvious reasons the “younger” goddess, although her youth is relative, and her periodical return to and from the underworld might be described as a cyclical death and rebirth; likewise, Poppy is evidently very young, yet has suggested having an older age (at one time she claimed to remember “being fifty”) and has spoken herself about death and rebirth and cycles of renewed life. 

Let us not lose sight of the core concept of the story of Demeter and Persephone: that of the Goddess/woman who descends into the Underworld, undergoes a series of transformative experiences and eventually returns, renewed. 
The Goddess Hekate plays a minor part in some versions of this myth; however, it is likely that she was once more central to such a symbolic storyline. In some branches of modern Mediterranean Witchcraft, Persephone is considered the third face of the Triple Goddess Hekate. 

(ANNOYING NOTE WHICH YOU MAY IGNORE: This is actually a modern adaptation of the belief, in some versions of Stregoneria, that Proserpina, the Roman cognate for the Greek Persephone, is the third facet of Diana as a "Maiden-Mother-Crone" threefold deity; a concept mostly derived from Robert Graves' The White Goddess. Please forgive the over-complicated technicalities; since some of my readers are neo-pagans and occult buffs, and they are notoriously nitpicky by nature, I feel obliged to expand on these bothersome details). 

Anyway, a symbol of Hekate was a bronze sandal; this is possibly related to the fact that baring one foot, usually the left, has always been an important symbolic act in rites of Witchery, all the way since the days of Hekate's cult in the Helade (as described by Virgil), through the times of the witch-hunts in past centuries some witchcraft trial transcripts show this) up to modern Traditional Witchcraft (to this I can personally attest; the aforementioned Robin Artisson has written about it somewhere as well). Witchcraft is a praxis based on the concept that the Land we inhabit is sacred, and the act of stepping on the ground with one's bare foot represents making direct contact with it with no hindrance or barrier, much like completing a circuit. It must be the left foot because left is related to the counterclockwise or widdershin movement which leads down, in a pathway toward the Underworld, the realm of spirits and Fae beneath the hills and, even further below, the land of the dead. But we shall come back to this presently; in the meantime, please let me remind you that Poppy once lost her slipper in the masquerade. Beyond the obvious reference to Cinderella (and, I can't help but wonder, perhaps to the masquerade that precedes the coming of the King in Yellow?), the video starts off showing that her left foot is bare. When her videos are chock full of allusions and symbols relating to the descent into an underworld, this may be meaningful; especially taking into account just who finds the slipper and hands it back to her: 

The story of Demeter and Persephone, which was the core of the Eleusinian Mysteries, the earliest recorded initiatory esoteric school, was itself an adaptation of an even older myth, that of the Sumerian goddess Inanna, who became the Babylonian Ishtar. There is an older story about how Inanna descended into the underworld; not kidnapped but of her own accord. Once there, she knew death, but was brought back to life by two spirits sent by other gods at the behest of her friend and servant Endehuanna, when these spirits found her in the realm of the dead and filled her with new life-giving breath (“what rhymes with breath?”); then she returned to our world, and having conquered death by experiencing it, Inanna now ruled both the world above and the underworld. Here you may listen to the beautiful account of Inanna’s descent as recorded in Simon's edition of the Necronomicon: 



Ninshubur, Inanna’s confidant, is seemingly depicted in various seals as harvesting a plant and preparing a libation with it. While no anthropologists that I know of have identified this plant as poppies (which were called “Hul Gil”, or “Plant of Joy”, in Sumer), a conspiracy buff at Abovetopsecret does, and tries to see her as an evil alien Anunnaki brainwashing humans with opium produced from poppies. Now, I’d trust Abovetopsecret’s “experts” about as far as I could throw the Titanic (the ship, not Sinclair), but since the world of conspiracies is arguably the stuff of Poppy dreams (at least among YouTubers), this may be an important piece of data; besides, leaving aside the alien elite nonsense, identifying those flowers with poppies is actually a feasible idea. Even a crankish website might be right once every turn of the internet! 

The extraordinary book The Red Goddess by Peter Grey documents that the Goddess Babalon of Thelemic lore (as described in the writings of Aleister Crowley, who has often been brought up in connection to Poppy's symbolism) is a modern manifestation of the great Goddess Inanna or Ishtar, who is presented in a severely distorted manner in the Book of the Apocalypse, as the Great Babylon, the woman dressed in scarlet and riding a great Beast. As both Peter Grey and Lon Milo DuQuette, the reason that Babalon is portrayed as a negative figure by John of Patmos is that in his vision, she represents the gods of a coming age, and it is natural that John would demonize as forces of destruction those gods which would someday replace his own. Of this final connection with Inanna I will add only the following images for comparison: 
Poppy and the Devil in Lowlife (left)
and Brigitte Helm as the Great Babylon (actually a cybernetic
entity) in the 1927 film Metropolis

Anyway, these myths brought up another intriguing link. In the Wikipedia page about the Poppy Goddess, a piece of information -that p
oppies were used in Greco-Roman myths as offerings to the dead- is quoted from L. Frank Baum’s The Wonderful Wizard of Oz (a quick scan of the chapter shows no such reference; maybe somebody added a poorly-made quote from some edition's footnote). When I made my list of gematria correspondences, I was unsure whether to include a few names from Oz that came up in Gematrix’s lists; now I feel reassured that they were no coincidence. To be truthful, I’ve never read Baum’s books, and it’s been a long time since I watched the film, so I’d completely forgotten about the scene where Dorothy Gale and her companions passed a poppy field and were brought to a deep slumber by the perfume of the flowers! 

In the end, the descent into the Underworld, whether through the seven Gates of Ganzir like Inanna in her descent, or through a rabbit hole, or in the midst of an hurricane or earthquake, is always a descent into the realm beyond life and death; a journey that, according to Witchcraft and Shamanism, can be achieved by living beings through profound trancework and finding the right gateways between the worlds. This and no less is what all these adventurous girls have done: Inanna, Persephone, Dorothy Gale, Alice Liddel, Elizabeth Siddal -and now Poppy. 

Now for an even darker twist. I recently found out about the concealed internment of Poppy at a dubious LA facility called The Movement Institute (TMI). Apparently some researchers believe that the “they” Poppy sometimes talks about are actually the people from this institution (in one of the leaked documents, Dr. Marigold Green, who was or is in charge of Poppy’s treatment also mentions “them”, apparently worried mostly about their being pleased or displeased, a distinctly unprofessional attitude which may give weight to the researchers’ worst fears). 

In fact, this may also shed a more unsettling light on my findings, such as they are. Given the scope of my blog, as well as the baggage of readings I bring with me, I have been emphasizing the subtle connections to the Cthulhu Mythos and the Carcosa Mythos; but the moment I was shown the TMI documents, I tried to convince myself that I was falling into the conspiracy freaks’ trap of what we might call illuminatidolia, that is, seeing poorly-disguised occultish symbols everywhere. But I immediately grabbed my copy of Donald Tyson’s Necronomicon: The Wanderings ofAlhazred, a translation from Wormius’ Latin version of the forbidden book, and immediately confirmed what I already knew: the TMI logo conceals the Seal of Yog-Sothoth as presented in this book.

The diagram is simple enough that the similarity might be coincidental, but if the various connections I’ve been tracing for the last few weeks didn’t give credence to my finding (keep in mind that Yog-Sothoth was called “the three-lobed burning eye” by Lovecraft, a direct reference to the All-Seeing Eye in the Pyramid), the use of gematria on the TMI papers –included among the updates I am doing tonight to my list of corresponding numbers- are, I believe, corroboration enough. 


The difference in the incidence of each ring
unto the others is unimportant; students
of the Necronomicon are well aware that
most of its seals and sigils present
variant versions.

There is still another tell-tale clue. Like all dubious organizations that claim to improve lives and minds with “revolutionary” and shady methods, TMI has reduced its methods to an easy-to-sell slogan, which we can see in its logo: INITIATION – ACTIVATION – REALIZATION. “Initiation” is the keyword here, telling of the esoteric background of TMI’s founders. 

(I am reminded of a machine called PranatronTM I was once shown at a New Age fair. The lady explained to me a messy pseudo-scientific theory about “aligning the body’s electrons” (of course, the word “quantum” was freely thrown around); when I asked how the science(?) fit with the occult concept of prana she secretively leaned close and said, “we don’t speak of that because people don’t know it”. Yeah right; that was why they put it in the thing’s name and advertised it in a New Age fair! Anyway, this is similar; whoever is behind TMI has not resisted to make his corporative image representative of what, according to their beliefs, it is really meant to do. Theoretically, anyway. (Hint: check the words for the three steps of their procedure, as listed in the logo, in my updated gematria list)

One of the TMI papers. In English
gematria, "Procedure 336" gives 666!

Come to think of it, is this why Zo told me I must watch Inception


Damn! 

Now, allow me to go back to the accursed play, and intrude with a personal note that may be the cause I am so obsessed with this riddle. Perhaps the most famous passage of the rarely-seen play The King in Yellow is the oft-quoted Cassilda’s song, a haunting, beautiful elegy that describes the unnatural realm where the city of Carcosa lies. In its final part, it says:

Song of my soul, my voice is dead;
Die thou, unsung, as tears unshed
Shall dry and die in
                                  Lost Carcosa.

It was, as I said, Emiliano González who first made the connection between this realm where songs unsung and tears unshed die, and the Voor, described in the Green Book like this:

“...there could be nothing at all beyond, except the kingdom of Voor, where the light goes when it is put out, and the water goes when the sun takes it away.”

“Voor” is an old word which, according to Nigel Aldcroft Jackson in his books about Traditional Witchcraft, means “fore”. As I say in my recent post about this, The Kingdom of Voor and the Voorish Signit refers to the “Voor-world” of “Fore-world”, that which lies in the fore, unconcealed by the realm of appearances of our physical world; it is the ultimate reality behind, over, through all things, and is reached through Elphame, through the openings in the hollow hills that lead to the realm of the Fae, and beyond; indeed, through openings in reality itself. This is the whiteness of the world beyond, shapeless yet the place where all shapes are born. A realm that the virtual world of the internet would unwittingly attempt to emulate. Is Poppy living in a simulacrum within a simulacrum? 

The Mauve Zone, which as I said in my previous post on Poppy is related to her both through gematria and by the background color in some of his videos, is an in-between zone between the worlds, a passage as it were into the Voor-world. It has also been pointed out to me that the Mauve Zone is directly referenced in Twin Peaks, the series by David Lynch who is a major influence for Titanic Sinclair. Yet again, fiction meets fact meets art meets the occult meets folklore, much as in the works of Alan Moore or Kenneth Grant

What I have done here is follow a few of the many threads interspersed in the puzzle that surrounds Poppy. And now, within a couple of days we will see the start of her new autobiographical incursion in Hollywood, in her new YouTube Red series I'm Poppy. Perhaps some answers will surface; however, I rather expect new questions to be raised... 

Be well Poppy. And beware! What rough beast lurches toward the Internet? We're with you! 


It is time - for us TO SAVE OUR GOD-CHILD!