The Freedom Teachings of the Melchizedek Cloister Emerald Order. Words by Marietta

 

The Freedom Teachings aka: The Melchizedek Cloister Emerald Order Teachings. The Eieyani and the CDT Plates 

Marietta (Discussion in 'Comparative Studies' started by Marietta, November 10, 2006)

Interfaith Forums

(Authors: A'sha-yana & A'zar-tanya Deane Ekr's, MCEO) 

The ancient MCEO (Melchizedek Cloister Emerald Order) perspectives teach of the Inner Christos, or living God-spirit alive within all things, including the natural environment.

"Inner Christos" philosophies are built upon the understanding of what is referred to as the "Law of One". Inner Christos Law of One perspective respectfully acknowledges the inter-connection, interdependence and intrinsic value of all components of reality in recognition that the Living Consciousness "God-Spirit" or "Inner Christos" is the tangible substance of consciousness and energy from and of which all things manifest are composed. 

Melchizedek Cloister Emerald Order teachings offer people an opportunity for advancing personal empowerment through genuine spiritual development regardless of their religious affiliation. 

The "Inner Christos" of the "Law of One" Melchizedek Cloister Emerald Order spiritual teachings belongs to everyone of every creed, not just those who choose to call themselves "Christians". 

The word "Christos" (from which the world "Christian" later emerged) was originally spelled "Kristos" in the most ancient texts, and referred to the personal Divine Blueprint of Conscious Living God-Spirit energy of which all things and being manifest are made.

The spiritual service work and teachings of the Melchizedek Cloister Emerald Order are more than perspectives based upon speculation regarding a variety of unrelated but interesting spiritual and scientific subjects. The work for which Melchizedek Cloister Emerald Order and its Speakers stand represents a very ancient, advanced Paradigm of Perspective on the nature of reality. 

The Melchizedek Cloister Emerald Order paradigm is inclusive of the other scientific and spiritual belief systems on Earth, but extends beyond the limitations and often incongruent and conflicting assumptions commonly associated with them. Through familiarity with the Melchizedek Cloister Emerald Order teachings one can grow to recognize the commonality and intrinsic complementary association between the most empowering contemporary belief systems and the Melchizedek Cloister Emerald Order perspective. 

At the center of contemporary Melchizedek Cloister Emerald Order teaching programs lies an "Ancient Mystery" known as the "CDT-Plates" ("Cloister-Dora-Teura Plates"). 

The books and course programs produced by the Melchizedek Cloister Emerald Order are not speculative nor theoretical in nature, but are rather derived from factual textbooks. Contemporary Melchizedek Cloister Emerald Order teaching programs contain English language translations of materials already existing within a very ancient set of texts called the Maharata Texts (indirectly related to the Indian "Mahabharata" writings).

The 560 books of the ancient Maharata Texts are the original translations of an even older set of ancient records that have survived to our present time, stored on a set of 12 digital holographic recorder discs called the "Cloister-Dora-Teura Plates" or "CDT-Plates", that were manufactured in 246,000 BC. 

The Cloister-Dora-Teura Plates and Maharata Texts have been translated into written form numerous times in our ancient history, in many different countries and languages. 

The Cloister-Dora-Teura Plates are real, physical objects, that have been kept in the private, protective custody of a specific family line of "Indigo Children" on Earth since the 9558 BC 'fall of Atlantis'. 

This family line is called the Eieyani, who refer to themselves as the Melchizedek Cloister Emerald Order (MCEO) Priests of Ur; another branch of the Eieyani family call themselves the MCEO "Priests of MUa ("MU"). 

The word "priest" originally meant "guardian" or "steward and administrator of spiritual wisdom". Both males and females in stewardship to spiritual wisdom and administering this wisdom to others, are referred to as "Priests" or "Ministers". 

The MCEO has always been, and will always be, an egalitarian, non hierarchical, non-gender-biased spiritual service collective. There are small collectives of Eieyani descendants alive, well and living on Earth now, in various global regions, who hold the knowledge (and relics like the CDT-Plates) of pre-ancient Earth and its civilizations. 

SIMILAR to some more advanced sects of Tibetan Monks, especially those who rarely emerge from their "hide outs" in the Himalayas, certain members of the Eieyani family line have OPEN CONTACT AND DIRECT COMMUNICATION with living civilizations from "other" places and OTHER TIMES. Every once in a while within humanity's evolution, the Eieyani are permitted to bring back the ancient teachings in their pure form, allowing for the records of the 12 CDT-Plates an Maharata Texts original translations to be re-translated into the languages of the time. The Eieyani return the knowledge contained in the CDT-Plate records to public view when it is most needed to assist Earth populations, at times when major planetary events are due to transpire. 

The last time WRITTEN CDT-Plate translations took place was during the "Christ period" of 12 BC - 27 AD, among a group of Essenes of Eieyani descent. Most of these written records were rapidly destroyed, confiscated or intentionally altered by the corrupt political power elite of the times, as so often has happened historically with CDT-Plate written translations. Since 27 AD the Eieyani Priests knew that the next CDT-Plate Translation Cycle was scheduled to occur just prior to and during the 2000-2017 AD period; a period in time when great changes in the evolutionary path of all Earth species were destined to unfold. During the 2000 - 2017 AD period, permission for written CDT-Plate translation was to be authorized by the Eieyani Priests. 

CDT-Plate Translation occurs when the Eieyani Priests carefully select several individuals in childhood from general family lines that they know to be descendant from the Eieyani. They make private contact with the child, providing years of discreet training as needed. when it is time for the CDT-Plate Translation Cycle to begin, the Eieyani then offer 3 official MCEO Eieyani speakers contracts to 3 of their chosen trainees that have entered adulthood (the individual is under no obligation to accept a "Speakers" appointment.)

Speakers Contracts are publication endorsements for CDT-Plate and Maharata Text translations. Once skilled in translation, Speakers are then endorsed by the MCEO Eieyani Priests to publicly publish MCEO CDT-Plate translations and related information as provided by the Eieyani Priests. During many historical periods, written translation of the CDT-Plates was forbidden, to protect the Eieyani Speakers, and prevent Planetary Templar knowledge from being confiscated and abused by corrupt political powers; at these times only VERBAL PRESENTATION of the knowledge was permitted, thus translators were called "Speakers". 

To protect the integrity and quality of CDT-Plate translations, and to ensure the safe keeping of the 12 CDT-Plates, there are only three Speaker Contract appointments given during any one translation cycle. When translation publication time arrives, the three Speakers are eventually guided by the Eieyani Priests to find each other and work together, each endorsing the validity of the others' work. In the present CDT-Plate Translation Cycle the Speaker-1 Contract was finalized and initiated in 1999, and the Speaker 2 and 3 Contracts were finalized an initiated in 2001. 

Eieyani Speakers know the MCEO perspective as their truth; they share this truth with others, freely when possible, OUT OF LOVE FOR HUMANITY AND GRATITUDE for the personal freedom in BEING that the MCEO teachings enable one to achieve. The Speakers "job" is "to give the gift" of this knowledge, through DYNAMICS OF EQUAL AND RECIPROCAL ENERGY EXCHANGE, to those who seek to know it and demonstrate through action and attitude the sincerity of this intention. The truths of which the Speakers teach are universal, and freely belong to anyone who is capable of translating this knowledge from the Universal Unified Field. The CDT-Plates and MCEO Speakers provide a Sacred Service in that translation of the higher aspects of Unified Field knowledge is exceedingly difficult from the manifest fields of creation, and requires much intensive training and innate abilities of consciousness and biology. 

The CDT-Plates serve to hold the highest aspects of Universal Knowledge in more accessible form; CDT-Plate Speakers are trained to translate this knowledge into forms directly accessible to general populations. Speakers have no need to "convince" anyone of anything, nor are they obligated to bear the burden of proof or self-justification. The burden of "Proof" lies always with the beholder, as within the natural dynamics of the Universal Law of Reciprocity and the intrinsic processes of Creation Physics, one must "know" a thing to BE before one can "see" it manifest. Speakers "Live what they Love", "Practice what they Preach" and respectfully "Share what they have to Give" with others who feel inclined to listen with reciprocal respect. MCEO Eieyani Speakers "Speak their Truth", while always respecting the free will right of others to have a different opinion. 

The Eieyani Priests of UR and MU'a of Kauai, Hawaii, the 12 CDT-Plates and their ancient Maharata Text original translations, are the tangible source from which all true contemporary MCEO work emerges. Several families of Eieyani Priests in various geographical areas presently hold the 12 CDT-Plates, 560 Maharata Text Books and related relics from pre-Atlantean times under high security protection. 

The MCEO Inner Christos Law of One teachings, Templar Sciences knowledge and Pre-Ancient History records of the CDT-Plate teachings represent an intrinsically congruent paradigm of universal understanding; collectively the MCEO teachings are referred to as the Emerald Covenant Freedom Teachings (TM).

Once upon a time, long before Atlantis, these teachings were the "common knowledge" of a once enlightened, joy-filled, peaceful, love-based global civilization of "Angelic Human" beings. Fragmented remnants of these once-unified "Founders" MCEO spiritual-science teachings, which have been historically edited and altered repeatedly to serve dogmatic control agendas, have literally provided the ancient foundations upon which all of our traditional world religions, evolving sciences and "New Age" spirituality are built. 

The Emerald Covenant Freedom Teachings (TM) of the MCEO, originally provided 950 billion years ago by the Universal Founders races from which our universal life field evolved, are the enduring legacy, divine birthright and intrinsic heritage of all beings in this universe. Presently, they serve also as the Long-forgotten Promise of Love, Freedom, Unity, Peace and Victory to the many races and species of Earth. 

Love and Light, Marietta

Extra Information From The Forum

Marietta: There is nothing private about the teachings. This information is very factual to those who have awakened to memories of this material, which is held in our DNA and/or cellular memory. 

There is nothing new about this material. It comes from very ancient texts and it is the science upon which all of creation is based. All religions come from these teachings. 

There were twelve Root Races created, that later became known as The Twelve Tribes of Israel. Each of these Root Races were given a portion of The Universal Laws. These laws were divided up until a time when, hopefully mankind (humankind) would come to a point of maturity, where nobody would use these laws as a means of control. 

If The Twelve Tribes had learned their interconnectedness and learned to love one another, without prejudice, they would have come to a point where they would have shared their portions of The Universal Laws, giving them the power of omnipresence, omnipotence and omni presence, with the power to move at will through all the dimensions of this Time Matrix at will. They would have been given the power to manifest anything they desired into their reality. 

However, the lower frequency of bigotry, greed and status has taken reign instead, which puts mankind (humankind) in a deep state of sleep and forgetfulness. Those beings called the Fallen Angels in many of the religious texts have dominated mankind (humankind), taking their free will away for ages now. We are coming to the close of the last chapter in this particular time cycle, and mankind (humankind) is once again being given the opportunity to wake up fully to who they are and their true Divine nature. 

The beings who are bringing these teachings back are what are called the Indigos, and are here to hold the frequency of the planet in balance, as we move through some troubling times as the earth tries to purge itself of all the negativity that is upon it. 

Question to Marietta

"If this knowledge belongs to everyone then why do so few know it?" 

Marietta: I'll answer the first question with a question: How many people know about string theory? Most have never heard of it and even fewer had heard of it before it was introduced into the educational system. Our Sun is dying, but has it been made known to the masses? No, and it won't, until things start getting pretty evident with solar flares. 

It has been known for several decades that there are 12 planets in our solar system, but only this year did the ruling elite decide to let the general public in on this tit bit of information. You can purchase the books "Voyagers l and Voyagers ll, and find this information can be found in them (published back in 1998). Zecharia Sitchin wrote about the 12th planet years ago. 

This knowledge is known to so few because it has just recently been returned to us. Those who have found a way to this knowledge are Azurites and Indigos who have incarnated into this existence as guardians of this knowledge and frequency holders for the planet. This knowledge is being made available to all who seek it. 

These plates are well known to the ruling forces. They have been the quest of the leaders for many eons. Due to the nature of the content of the CDT plates, if they were in the wrong hands, they could be used as a tool to enslave and bring destruction to the human race (due to the content and frequency they hold). Also, not just anybody can read them as they are coded to a person's DNA template, thus the person has to hold the "key codes" in their DNA to be able to read and translate these plates. 

The average Archaeologist doesn't talk about them because they are not aware of them. They are not something that lay buried in the ground. 

You ask why there isn't a buzz about it and again I will answer with a question: Are you familiar with HAARP? Or "The Philadelphia Experiment?" or with "Trauma Based Mind Control? Or Project Blue Bird, or MJTWELVE (the list goes on and on). The majority has never heard of any of these programs but that doesn't negate their existence. Google any one of them and you will find a lot on them. The things that are behind the real nature of our reality will never be made known through the public media or public school system, which are governed by the ruling elite. 

Humanity will always bicker over their religious beliefs, no matter what new material is presented to them. If I were to appear in front of you out of thin air and this went against your religious beliefs, you would say that I had done this with the help of demons or Satan. Religious beliefs are held deep within the heart of people and not something they will let go of unless they begin searching deep into the foundations of their own religion, SEEKING the truth within them, on their own, and in their own timing when they are ready to see and hear the answers. 

"SEEK AND YOU SHALL FIND". When we are in a religion we 'believe' what we are taught and think we already know, therefore we don't SEEK and we DON'T FIND and when someone shares a new insight with us, we think the demons are trying to trick us and we run from what is being revealed to us. Only those who are seeking this information will find it and those who are happy where they are in their religious life, will remain. 

How many people are aware of the beings that were living deep in a crevice of the rocks in the Himalayan Mountains? This was printed on the front cover of "TIME" magazine (not to be confused with Time Life magazine), with an article inside the magazine back in the '80s. However, it was hushed up soon after the discovery. Some of these people were hundreds of years old, and there were animals, thought to be myth, and other extinct ones found there. A man living among this group wrote a book "The Children of the Law of One and the Lost Continent of Atlantis" which I stumbled upon some ten years after reading the article in TIME magazine. I immediately remembered the article I had read in TIME magazine, which was titled "Shangri-La Found." These people were driven out of their homeland and their library destroyed. How many people followed this tiny article through, and found the book written by this group? 

I suggest you do a search and find out who owns and controls every syndicated publication, radio and TV station, and you will answer your own question as to why this is not publicized. 

The CDT plates are being revealed as we speak. There are three books written so far and many, many cds and DVDs, addressing these issues. There are workshops made available to get anyone who wishes to attend. We are doing our best to get this information out to the public but it takes time and manpower. At preset we have people attending our workshops from just about every country on the planet. We had a workshop that was held in Peru, back in May with 130 people attending from at least 13 countries that I knew could count among the people I personally knew. This information is being given throughout the world at present and all are welcome, no matter what your background may be. 

All your questions are answered in full in the Voyagers books written by Ashayana Deanne, and can be purchased at azuritepress.com...

Lastly, yes, the Illuminati is controlled by the FA (Fallen Angelics). 

Love and Light, Marietta 

Ur Priesthood. Lisa Renee. Ascension Glossary 

Ur Priesthood

A group from the universal Melchizedek lineages incarnate on Tara (5th dimensional earth). Part of the guardian races on Tara, they work with the morphogenetic fields and were involved in attempts to stablise the fields after the explosion on Tara caused the fall to 3rd dimensional earth. They were able to create the Sphere of Amenti to prevent the loss of many souls in the cataclysm. 

These priests were responsible for the planning and reseeding of 3D earth. They agreed to come to this realm to the lowest dimensional space here, and rehabilitate this 3D earth in order to make it habitable again and in order to start the re-assembly of all that had been exploded.

With their intricate knowledge of the cataclysm and inter-dimensional spaces, they lived within the inner 3D Earth for a few hundred thousand years to prepare the outer dimensional earth for seeding. They created blueprints, archetypes and assisted the surface of the planet to become habitable. They seeded the earth in a plan to re-assemble the 12 strand DNA and reclaim the original divinity of humans as it had once existed, prior to all the events that transpired. 

Lisa Renee 2013 

 

ERICA JONG ON HENRY MILLER

 

The Devil At Large. Erica Jong on Henry Miller.

Henry Hero.

Most people are not free. Freedom, in fact, frightens them. They follow patterns set for them by their parents, enforced by society, by their fears of ‘they say’ and ‘what will they think?’ and a constant inner dialogue that weighs duty against desire and pronounces duty the winner.

‘Lives of quiet desperation’ Thoreau called such existence – though today’s version is noisy desperation. Occasionally, a visionary comes along who seems to have conquered the fears in himself (herself) and seems to have conquered the fears in himself (herself) and seems to live with bravado and courage. People are at once terrified of such a creature – and admiring. They are also envious.

One who has conquered human fears is recognized as a hero – or heroine. But such a figure inspires mixed emotions. We are provoked by their example, but we are also inclined to blame ourselves for having lived too timidly. So the hero or heroine is often attacked, even killed, because of the envy of ordinary mortals. But if we could see the hero (heroine) as embodying our own aspirations, we would not need to destroy but could rather emulate and learn.

Henry Miller was such a hero. He did not start out fearless but he learned to overcome his fears. And he wrote a book – Tropic of Cancer – that breathed fresh air into American – and world – literature. The fresh air he breathed was freedom. And it was like pure oxygen to those who would take it in. For the others, the fearful, the envious, those who refused to breathe, Miller had to be discredited as a pervert or a sex maniac because his message was too terrifying. Life is there for the taking, he said. And those who refused to live fully had to blame him for their own failure.

Like Byron, Pushkin, George Sand, and Colette, Miller became more than a writer. He became a protagonist and a prophet – the prophet of a new consciousness.

His writings and his life mingled to create a larger myth, a myth that embodies the human attraction toward freedom. Miller’s writing is full of imperfection, bombast, humbug. Sometimes its very slovenliness makes it hard to defend. But the purity of his example, his heart, his openness, makes him unique among American writers. He will surely, however, draw new generations of readers to him. At present, Miller’s reputation still hangs in the balance and even those who have written about him seem to disapprove of him.

Miller is in many ways a world unto himself. One searches in vain for a contemporary to compare him with. Tropic of Cancer burst forth into the world in the same year, 1934, that gave us F. Scott Fitzgerald’s Tender is the Night, Isak Dinesen’s Seven Gothic Tales, Robert Graves’s I, Claudius, Edna St Vincent Millay’s Wine from These Grapes and Langston Hughes’s The Ways of White Folks.

Not only is Miller’s characteristic style comparable to none of his contemporaries, but his spirit harks back to Whitman or Rabelais. In an age of cynicism, Miller remains the romantic, exemplifying the possibility of optimism in a fallen world, of happy poverty in a world that worships Lucre, of the sort of gaiety Yeats meant when he wrote of the Chinese sages in ‘Lapis Lazuli’, ‘their eyes, Their ancient, glittering eyes, are gay’.

I only knew Henry Miller in the last decade of his life. In a number of ways, he became my mentor.

I was a very young writer, very green and suddenly famous; he was a very old writer, seasoned in both fame and rejection, when we met – by letter – and became pen pals, then pals. I feel lucky to have known him, but in some sense I only got to know him well after his death. 

Miller was the most contradictory of characters: a mystic who was known for his sexual writings, a romantic who pretended to be a rake, an old-fashioned Victorian sexist who could nevertheless be enormously supportive and loving to women, an accused anti-Semite who loved and admired Jews and had no use at all for prejudice or political dogma. He was, above all, a writer of what the poet Karl Shapiro called ‘wisdom literature’. If we have trouble categorizing Miller’s ‘novels’ and consequently underrate them, it is because we judge them according to some unspoken notion of ‘the well-wrought novel.’ And Miller’s novels seem not wrought at all. In fact, they are rants – undisciplined and wild. But they are full of wisdom, and they have that ‘eternal and irrepressible freshness’ Ezra Pound called the mark of the true classic. 

In the profound shocks and upheavals of the twentieth century, from the trenches of World War l to Auschwitz to the holes in the ozone layer, we in the West have produced a great body of ‘wisdom literature’, as if we needed all the wisdom we could garner to bear what may be the last century of humans on earth. Solzhenitsyen, Primo Levi, Gunter Grass, Jean-Paul Sartre, and Simone de Beauvoir have all written predominantly wisdom literature. Even among some of our most interesting novelists – Saul Bellow, Natalia Ginzberg, Nadine Gordimer, Doris Lessing, Iris Murdoch, Isaac Bashevis Singer, Christina Stead, Gore Vidal, Kurt Vonnegut, Marguerite Yourcenar – the fictional form is often a cloack for philosophical truths about hte human race and where it is heading. The popularity of writers like Margaret Mead, Joseph Campbell, M.Scott Peck, and Robert Bly in our time also serves to show the great hunger for wisdom. We are, as Ursula LeGuin says, ‘dancing at the edge of the world,’ and it takes all our philosophy to bear it.

Henry Miller remains the most disturbing and misunderstood of prophets. Because even the STYLE of writing he discovered has become convention; it is hard today to grasp how electric his voice was in 1934. The feminist critique of the sixties came in to bury Henry under rhetoric-just as simplistic in its way as the simplistic rhetoric of male supremacy. But the feminist critique, valid as it is, neglects to address the main question Henry Miller poses: how does a writer raise a voice? How does a writer take the chaos of life and transform it into art? The raising of a voice is the red threat through chaos. The raising of a voice is the essence of freedom. It is where every writer, every person, must begin.

Can a woman writer learn anything from Henry Miller’s voice? Doesn’t his sexism invalidate his work? Shouldn’t we boycott his work because of its underlying politics? 

I don’t think so. Just as Shakespeare’s monarchism does not invalidate the beauty of his verse, Miller’s sexism does not annihilate his contribution to literature. Besides, if we proscribe all literature whose sexual politics we do not agree with, we shall have nothing left to read – not even the Bible, Homer, or the novels of Jane Austen (whose heroines are often happy to make conventional marriages). 

In fact, the freedom that Henry Miller discovered in finding his voice can inspire women writers as well as men. 

It is the voice of the outsider, the renegade, the underground prophet – and isn’t that, after all, what women still are? 

The problem of finding a voice is essential for all writers. It may be more fraught with external difficulties for women writers, because no one agrees what the proper voice of woman is – unless it is to keep silent – but it is still basically the same process of self-discovery. To define the self in a world that is hostile to the very notion of your selfhood is still every woman writer’s challenge. It was Henry Miller’s challenge too – for different reasons. In tracing his self-liberation, we can, by analogy, trace our own. 

I do not mean to minimize the differences between the male writer’s odyssey and the female writer’s. The pen, as so many feminist critics have shown, has been treated as analogous to the penis in our literary culture. This accounts for the trouble that feminists, myself included, have with Henry Miller. Henry liberates himself, becomes the vagabond, the clown, poet, but the open road he chooses has never really been open to women. Henry’s picaresque sexual odyssey was, for centuries, a male prerogative. Still, it is useful for writers of both sexes to trace the steps of his liberation. The freedom of Paris plust first-person bravado equals the voice twe have come to know as Herny Miller. 

Listen: 

'I have no money, no resources, no hopes. I am the happiest man alive. A year ago, six months ago, I thought that I was an artist. I no longer think about it, I AM. Everything that was literature has fallen from me. There are no more books to be written, thank God. 

This then? This is not a book. This is libel, slander, defamation of character. This is not a book, in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of Art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty.....I am going to sing for you, a little off key perhaps, but I will sing...'

Henry is retracing his steps as an artist here, telling us exactly what happened between his early, unsuccessful efforts at writing fiction, and Tropic of Cancer: he let go of literature. It reminds me of Colette’s advice to the young Georges Simenon: ‘Now go and take out the poetry.’ 

Good advice. A writer is born at the moment when his (her) true voice of authority merges at white heat with the subject he (she) was born to chronicle. Literature falls away and what remains is life – raw, pulsating life: ‘A gob of spit in the face of Art.’ 

For the truth is that every generation, every writer, must rediscover nature. Literary conventions tend to ossify over time, and what was once new becomes old. It takes a brave new voice to rediscover real life buried under decades of literary dust. In unburying himself, Henry unburied twentieth-century literature.

What was it about Paris in 1930 that enabled Henry Miller to find his voice? And what was it about New York that prevented it? 

The New York Henry left when he settled in Paris in March 1930 was nowhere as fraught as the New York of today, but it still bore certain similarities to it. In New York it was dishonour to be an unknown writer; in Paris one could write ecrivain on one’s passport and hold one’s head high. In Paris it was assumed (it still is) that an author had to have time, leisure, talk, solitude, stimulation. In New York it was, and still is, assumed that unless you fill up your time with appointments, you are a bum. More than that (and more important, particularly for Henry) was the American attitude toward the vagabond artist – an attitude that unfortunately persists to our day. ‘In Europe,’ as his friend the photographer Brassai says in his book on Henry Miller, ‘poverty is only bad luck, a minor unhappiness; in the United States, it represents a moral fault, a dishonour that society cannot pardon.’ 

To be a poor artist in America is thus doubly unforgivable. To be an artist in America is to be a criminal (its criminality only pardoned by writing bestsellers or selling one’s paintings at outrageous prices to rich collectors and thus feeding the obsolete war machine with tax blood). But to be poor AND an artist: this is un-American. 

Which of us has not felt this disapproval, this American rejection of the dreamer? ‘Poets have to dream,’ says Saul Bellow, ‘and dreaming in America is no cinch.’ 

In the last few years we have seen a dramatic replay of these attitudes in the debates over censorship and the National Endowment for the Arts. Our essential mistrust of dreamers leads us to cripple them with restrictions of all sorts. We seem not to understand that the basic riches of our country – wealth and emotional health – come from our creative spirit. Even with Japanese conglomerates buying our movie companies, even with statistics that prove our movies, music, television shows, and inventions are our biggest exports in real dollar terms, we still honour the money counters and money changers over the inventors and dreamers who give them something to count and change.

This is a deep-seated American obsession, and one whose historical genesis we must explore in retracing Henry Miller’s steps. It comes, of course, out of puritanism’s assumption that the dream life and imagination are suspect. And it results in a love-hate relationship with sexuality – a violent alternation between fascination and disgust which I call sexomania/sexophobia. We must understand how Henry was buffeted by these powerful forces and how he fled to Europe to be reborn. 

‘It was the scorn which ultimately Miller could not stand,’ says Brassai. ‘It was the scorn that he wanted to escape. Madness and suicide threatened him.’ 

‘Nowhere have I felt so degraded and humiliated as in America,’ Miller writes in Tropic of Capricorn. 

Miller’s life as a protagonist, as a mythic hero – or antihero – is intimately related to this struggle between Puritanism and the life of the dreamer. Henry made a religion of art (as did his disciples). In doing this he was following in the footsteps of Whitman, his model of the American writer. 

There are at least two Millers in the books and articles that have been written about Henry. One is the real, historical Henry Miller, born in 1891 in New York, died in 1980 in Los Angeles – a character full of contradictions. The other is Miller the mythic hero or antihero, whose hegira is emblematic of the hegira of the American artist. 

Constrained by Puritanism, provoked by a society in which dreaming is no cinch, Miller the anti hero creates a way for an American – or anyone – to be an artist, and in doing so makes a path for all of us. One is continually struck by the interplay between these two Millers, but my interest is principally in the Miller who leads the way for a creator – particularly a creator who comes from a culture where creativity itself is suspect. Since I long ago gave up the Ph.D programme for the life of a professional author, I approach Miller with a writer’s rather than a scholar’s point of view. Like many storytellers, Henry was an outrageous self-mythifier and critics have pointed out the disparities between ‘the truth’ of his life and the grandiosity of his fictions. He tells the same story differently on every occasion, they complain. 

My point of view is necessarily different. In tracing the steps of another writer, I have empathy for the creative process itself and an understanding of its difficulties. I EXPECT  a writer to ‘lie’ in order to get at a deeper truth. I take for granted that imaginative writing exaggerates and rearranges ‘facts’ in the name of a higher fiction. I also understand how hard it is to survive one’s own fame. 

Henry’s writing is often misunderstood precisely because of the ways it parallels – yet deviates from – his own life. Since he uses the name ‘Henry Miller’ for his fictive protagonists, readers are thrown even more astray. This is a fate I know well because it has also been my own. Though I have called my heroines by different names, the parallels between my life and the mythic lives I lead in my novels have often had the effect of leading my self-appointed judges to attack me personally. Henry was one of the first to see this parallel between our fates, and as a result was enormously kind to me. Curiously enough, it fell in part to Henry to rescue my first novel from the obscurity that might otherwise have claimed it. And since I believe in the universal law by which circles get completed, I find it not at all odd that it falls in part to me to puzzle out the many contradictions of his posthumous reputation. 

A large part of the problem Miller presents to the literary critic comes from his perception of the chaos of life and his passionate need to reflect that chaos in his books. Henry Miller is the poet of what Umberto Eco calls THE CHAOSMOS. When he writes, he is in touch with pure desire – the desire to be one with the primal flux of creation, the desire to be as creative as a god. 

“I like desire. In desiring things no one is wounded, deranged nor exploited. Creation is pure desire. One possesses nothing, one creates and lets go. One is beyond what he (she) does. One is no longer a slave. It’s an affair between oneself and God. When one is truly rendered naked everything is done without effort. There is no recompense – the effort, the deed itself suffices. Deed is desire and desire deed. A complete circle.” 

How to write a coherent book about such a primal force? It is not easy, as all Miller’s biographers attest. Clearly Henry Miller did not WANT to be the subject of a biography and he spread confusion even as he scattered clues. He knew he had told many tales that were not true and he was nervous that someone might catch him in his lies. A good example of Henry’s ambivalent relations to the truth is the way he hated his pal Brassai’s rather accurate portrayal of him in Grandeur Nature, a book not yet translated into English, perhaps because Henry despised it so. He felt he had adequately chronicled his own life in his books, and wherever there was some fictionalisation that did not correspond to the ‘facts’ (in which, anyway, he did not believe), he was more than happy to provide chronologies, interviews, conversations that elucidated the truth, HIS truth, for his rapt listeners. (Some of these ‘documents’ also contain plenty of fiction.) he was an artesian writer, so overflowing with stories and ideas that to this day he still defeats bibliographers and biographers. Whenever you think you have read all the essential Miller, another pamphlet, brochure, treasure trove of letters, watercolour or print turns up with more Henry, ever more Henry. He embodied in both his writing and his life the paradigm of the writer as the giver of gifts, the voyager into the underworld who comes back with a boon for humankind. 

Ironically, Henry Miller is best known for his worst writing – the boastful graphic sexual scenes in the Tropics, Quiet Days in Clichy, and Sexus. These finally interest me less than the transcendentalism of The Colussus of Maroussi, his spiritual travel book about Greece. For me Maroussi is his central work and it stands squarely in the American transcendental tradition. It has a kind of perfection and purity that you can find in books like Walden. And yet, paradoxically, without the scandal surrounding the ‘sexual’ writings, Miller would perhaps not be known at all. 

That Miller was a transcendentalist in the indigenous American tradition of Thoreau, Emerson, Dickinson, and Whitman he himself apparently knew. He referred to Whitman as an ancestor and influence. (He also regarded Maroussi as his best book). He was a mystic in the way of Thomas Merton and Lao-tzu, seeing in ordinary life the way into the extraordinary. Like many liberators who seek first to liberate themselves, he saw in sex one path of self-liberation-a way out of the body through the body. In this, he is not so different from Whitman or from Colette. 

He was always seeking ‘life more abundant’ as he says at the end of Colussus of Maroussi. Sex was one path toward abundance. Travel, another. Conversation, letter-writing, and painting were still others. He saw the world in terms of abundance rather than scarcity, and it often seems that this distinction is the most critical one of all where writers are concerned. Writers tend toward either free flow or toward agonised laconicism – Henry Miller being at one extreme and Samuel Beckett at the other. 

Henry Miller was as great a conversationalist as he was a writer. He was the primeval author, in the primeval cave, telling stories to keep the tribe awake and alive, safe from the sabre-toothed tigers outside. Like any shaman, he worked in a variety of forms: voice, watercolour, the photographs he posed for, the documentaries he conspired in. In many ways, he anticipates Cindy Sherman, Art Spiegel-man, and other postmodernist artists, using his own photographic or painted persona to create his own oeuvre. In other ways he is like Picasso, inventing and reinventing his wives and his muses in many of the different characters that appear in his books. All of them are Woman or Muse, just as Henry himself, the autobiographical protagonist who bears his name, is Everyman. To speak of him as the real historical Henry Miller is a mistake, for had he not elevated his life above mere autobiography and made it emblematic nobody would be interested in it but himself and perhaps a few enemies, relatives, friends. 

Because Henry Miller became his own protagonist, the appreciation of his work is further confused. Always, when a writer is transformed this way, it makes the assessment of the work more problematic, for some will inevitably see  him as a villain and in reaction others will plump for him as hero. We have seen both these responses to Miller in recent years and it is doubtful that either view has been accurate. 

This transformation is what all artists seek: to become like mythic heroes (heroines) – Prometheus, Achilles, Odysseus, Alcestis, Athena – so that we mortals can see our fates reflected in their journeys as we do in the journeys described in ancient myths. 

But Henry is not a hero to all. Many see him as a villain. His fate has not been so different from de Sade’s: either canonized by cultists or burned at the stake by puritans, either hailed by hippies seeing a hip father figure or dismissed by literary Anglophiles who would prefer that American literature consisted only of Henry James. 

Things are not so simple. Our apprehension of Miller, as of de Sade, implicates our entire apprehension of sexuality, our notions of sexual politics, as well as our notions of what constitutes literature. That is why he is such a pivotal and important figure. 

‘Life is that which flows..’ said one of Miller’s Paris roommates, Michael Fraenkel, in an essay about the composition of The Tropic of Cancer. The paradox for every creative artist is that life flows and art must stand still. But it must stand still like the hummingbird, as Miller would say. It must move and yet have form, because without form it is not graspable; without form it cannot be art. 

Miller’s art is always bursting the boundaries of form as we know it. It strains beyond the frame of the picture. This is partly its subject, and it also accounts for the difficulty a form-ridden commentator has with it.

Postmodernists have already discovered Miller as the artist of the future. But the artist who is ahead of his (her) time never has an easy job making a living IN his (her) time. Witness Vincent van Gogh. And Emily Dickinson. And Walt Whitman. Miller is an artist of similar protean and prophetic gifts. If he has to date received little literary consideration, it is because he cannot be formally categorized. But rather than seeing this as a fault – as many of his detractors do – I see it as his very subject matter. Henry’s ‘message’ was the message of all the Zen masters and mystics: that there is no stability, only flux. ‘The angel is my watermark!’ he writes in Black Spring. 

Henry Miller’s recent biographers try, willy-nilly, to fit him into pre-existing patterns; and when they fail, they blame HIM. But Henry’s very message is that life is formless, and that creativity partakes of the divine chaos. He struggles with this paradox in every book. 

Ironically, we live in an age when literary biography is more read than literature. Writers’ lives tend to have more commercial viability than their own books. In his most fertile time, Henry Miller could never have been published by a mainstream New York publisher, yet in his centennial year several vied to bring out books ABOUT him. I suspect that if Tropic of Cancer came upon us today, it would still have trouble finding a publisher despite our much vaunted (but essentially fake) ‘sexual revolution’. Yet Miller the protagonist continues to inspire books and films. 

What is it that we find in the lives of writers – particularly nonconformist writers – that thrills us, makes us identify? The story of a person inventing himself (herself)? The story of a person finding personal freedom in an age of corporate and totalitarian conformity? Has the myth of the nonconformist writer hitting the open road become a substitute for the initiatory ritual Robert Bly and others claim our society lacks? Why else do so many novels and movies about writers strike a resonant chord in readers who are not writers? 

Surely there is no more toilsome, self-flagellating profession than that of author. Ingrown toenails, Henry called us. Voltaire said, ‘The only reward to be expected for the cultivation of literature is contempt if one fails and hatred if one succeeds.’ But the average nonwriter seems to see in authorship a relaxing, hedonistic profession, affording ample time for travel, dalliance, and debauchery, an aristocratic profession carried out in dreamily scenic places, with lovely members of the opposite sex in attendance. The average nonwriter sees the writer as someone who has made ordinary life heroic. 

Contrary to popular myth, authors lead ‘a sort of life’ (the phrase is Graham Greene’s), imprisoned behind a desk. Painful solitude is required for the cultivation of literature, and even a bad book requires that one be good at cutting oneself off from other human beings in order to write it. A writer’s most ecstatic hours occur alone, yet the myth of hedonism persists. And the fact is that many writers ruin themselves trying to live up to it. Or maybe it is true that in a world where busy-ness and business drown out every spiritual pursuit, the writer’s solitude is the most envied pleasure of all. ‘A sort of life’ it may be, but vastly preferable to the kind of empty busy-ness that characterises most people’s lives. 

Miller was a happy man (for this he was and is also hated). He was generous and free of envy. Though he sometimes boasts of idleness in his books (as he boasts of lechery), he was in truth, never idle. He was such a scribomaniac that even when he lived in the same house as Lawrence Durrell they often exchanged letters. For most of his life, Henry wrote literally dozens of letters a day to people he could have easily engaged in conversation-and did. The writing process, in short, was essential. As it is all real writers, writing was life and breath to him. He put out words as a tree puts out leaves. 

So we come to the paradox of biography – especially the biography of a writer who amply chronicled his own life in many forms. (Biography is one of the new terrors of death’, said Dr. John Arbuthnot, the poet Alexander Pope’s friend. And in 1891, in his The Critic as Artist, Oscar Wilde wrote, ‘Every great man nowadays has his disciples, and it is always Judas who writes the autobiography.’) Who can chart the events in a person’s life with accuracy and without distortion? No one. Not even the person himself (herself). That is why biographies must be rewritten for every age, for every new wrinkle in the zeitgeist. That is why biography is essentially a collaborative art, the latest biographer collaborating with all those who wrote earlier. 

With a writer who has already mined his (her) own life in letters, in novels, in paintings, and in films, the biographical problem becomes even more vexing. Even the most seemingly autobiographical writer changes, heightens, and rearranges ‘fact’ to make his (her) fictions. It is naive to read his (her) stories literally, but it is equally unsatisfactory to read them as if they had no connection to his (her) life. 

I hope I can make peace with all these paradoxes by writing about Henry Miller in the same spirit that he first wrote to me in 1974 – with complete candour and no hidden agenda. It will not be the last word on Henry Miller, but the only people worth writing about are those about whom the last word cannot be said. 

ERICA JONG. 1993

The Devil at Large. Erica Jong on Henry Miller 

JULIAN ASSANGE

 

What are the differences between Mark Zuckerberg and me? 

I give private information on corporations to you for free, and I'm a villain. 

Zuckerberg gives your private information to corporations for money and he's Man of the Year. 

Julian Assange

"He has done no more than tell the world about military planning, military policies and the horrors of war in Afghanistan and Iraq and I think he deserves to be thanked." 

Jeremy Corbin

"This is one of the most significant documents of our time removing the fog of war and revealing the true nature of 21st century asymmetric warfare." 

Chelsea Manning

THE WAR FOR EARTH. Ascension + The Meaning of Life. Words by Ian Parks

 

INTRUDERS 

Visitors from elsewhere who hold agendas that are detrimental to the evolution of humans. 

Disruptive groups of Extra Terrestrials that have and are visiting our planet, in hope of figuring out a way to disrupt your progression and manipulate you away from the true purpose for which you have come. (Your natural progression to Enlightenment. Ascension). 

Some of these disrupting groups of intruders are: 

1. Sirian Anunnaki

2. Dracos (Drakon and Human Hybrid) 

3. Zephelium (Administrators of Zeta)

4. Zeta Reticuli and Zeta Grey - Rigelianrutila (Zeta and Dracos Hybrid/Ebe)

Ebe: Extraterrestrial Biological Entity

In terms of your "alien" visitors, or extraterrestrials, we are referring specifically to those visitors who approach your reality from within the Time Portal System, that is, they are not interdimensional so much as they are inter-time, emanating from different time co-ordinates within your 3 Dimensional Interstellar System. 

There are seven cultures (world cultures and their various sub-cultures) within your 3 Dimensional time Portal System, who possess the knowledge and technology necessary to interact with Earth and approach your reality through the Time Mortals. 

Two of those cultures are primarily responsible for those visitations: 

The Zeta Reticuli (Intruders) and the Rhanthunkeana (Ranthia) (Guardians). 

Presently interacting with Earth through Illuminati, covert operations, physical abductions, "channelled" and telepathic subtle contact methods, are two competing "Intruder" visitor groups. 

Both presently work with competing factions of human Illuminati governments.

Both seek dominion of the Halls of Amenti Stargates and Human Subjugation. 

Group 1: Black Sun Agenda

1. Digressive Reptilian Drakonian and Hybrid races controlled via density - 4/Dimension - 10 Fallen Seraphim. 

2. Kurendara Nibiruian Orange - skinned 'Grays' Dracos - Zeta - Anunnaki Hybrids (Dracos); Drakon Orion Bipedal 'Dragons'; Omicron Drakonian - Fallen Seraphim Hybrids; Obedicron 'Beetle Insectoid' Andromeda Drakonian - Fallen Annu-Elohim Hybrids. 

3. Dracos - Reptilian Strain; Zeta Administrators.

4. Zephelium Blues; Zeta Gray Rigelian, Rutilia or 'E.B.E.' (Zeta-Dracos Hybrid). 

(Extraterrestrial Biological Entity) 

Group 2: Belial/Belil Sun Agenda  

1. Digressive Anunnaki and Hybrid Races controlled via Density - 4/Dimension - 11 Fallen Annu - Elohim. 

2. Human looking Pleiadian - Human - Nibiruian - Anunnaki Hybrid 'Blondes'; Nibiruian - Sirian Nephilim Anunnaki - Humans (Sirian Anunnaki); Adromite and Arcturian 'Dolphin People' and from Inner Earth, Necromiton 'Men in Black' Dracos - Anunnaki Hybrids and Digressive Rama Mixed Human Cloister Races running 'Space Brother' covert One-World-Order manipulations. 

Who are the intruder visitors and where do they come from? 

Visitors were called 'Angels' in ancient texts; today they are called 'ETs'. 

Angels and ETs are the same interdimensional, interstellar races. 

Visitors come from a variety of different matter density levels within the 15 - Dimensional Time Matrix. 

To understand the locations from which visitors emerge, it is necessary to understand the basic structure of the Universal Manifestation Template. 

References

The 'Freedom Teachings' of the Melchizedek Cloister Emerald order (Mceo), Speaker: E'Asha Ashayana Arhayas. 

Voyagers 1

Voyagers 11

Millennium Round Up Expose. 

Angelic Realities. 

Ian Parks