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 poppies 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 Pranatron^TM 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 Sign, it 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!