“You are looking in the wrong direction. You should be looking not outward into the world of symbols and reflections, but inward into the pleasure, pains, urges, and feelings of the body.”

“felt connection” with the Divine, meaning of Minotaur and labyrinth, impulses “getting out of control,” meaninglessness and the Abyss, the unreal demons, the process of becoming real again. What the Planetmates say, today 

You stand amazed by the profound and intricate sight of your magnificent unreality. It is hard — as hard as it is to leave the “matrix” — to question the foundations of your beliefs, while your eyes sparkle in reflection of the fascinating electronic array … and your every thought supports itself on the jetsam of stupefied minds.

“For this culture and this edifice of supposed knowledge and understanding built on these wrong and dangerous assumptions serves to feed those who seek understanding with a tasteless substitute for true awareness. Standing within Ego, as always, your comprehension and mastery of the details of the absurd and empty provides mental, fabricated satisfactions, and spurious feelings of finesse and accomplishment. You can convince yourself you are on your way to mighty understandings as you pile up endless nonsensicals. You do not see the abyss that all these untruths end in, if taken truly through to all their conclusions or if you were to honestly analyze them.

“Granted, there are a few of you who have ventured down that path. Some of your better thinkers have, in fact, peered deeply into the underpinnings of your Reality — among them, Nietzsche, Camus, Sartre. They, like your Marxists, are to be commended for making the effort, however woefully they fell short.

“For in looking beyond the glitter and the stupefication, in seeing beneath the words and all that they convey, but also conceal, in the attempt to peer into Reality itself, they have seen the Abyss. They tottered upon a brink, not knowing their hideous vision was of the ravine you created between you and Nature … between you and feeling … between you and your body.

“So going only that far — only as far as intellect and analysis alone could take them — they claimed that, indeed, life is truly meaningless and that all that exists is the Abyss. They have proclaimed Reality absurd and random.

“This is what you end up with when you have no felt connection to Existence and only mental phantasms reflecting it. So much is this true, that most of you hearing this have no idea at all what we mean by a “felt connection.”

“This is what comes from your attempts to stand outside It — Existence and Nature — and “capture” It … as always to understand only for the purpose of controlling. For certainly in your seeking of power and control — here even in the realms of the mind and the philosophical — you are doomed to failure.

“We have said we have a felt connection with the Divine; we have said we feel it in our muscles … that is to say, it is part of our Experience; we have said you call this “instinct.” Well, this is a kind of knowing that you find impossible to remember. You have it in the womb and at birth, but everything about you and about your culture is geared toward having you forget it; and you get better and better at that forgetting as you get older.

“Over time you lose yourselves in your mental labyrinth, with its resident Minotaur — symbolizing, at once, Ego, your brutal overlords, the caregivers of infancy, and the distorted figure that your soul and its connection with Nature has become.

“We have said that your symbolic thought and culture are what you substitute for that knowing, that awareness, that deep seeing and understanding.

“So, in looking deeply into that symbolic skeletonized reflection of life — separated as it is from Reality — and the culture that is the collective embodiment of it, how can you see anything beyond it? You are looking in the wrong direction. You should be looking not outward into the world of symbols and reflections, but inward into the pleasure, pains, urges, and feelings of the body. You are afraid to do that, for, being wrong-getted, you have been taught that is dangerous.

“Therein lie your “impulses,” you think. You think these “impulses” will get “out of control” (starting to see a pattern, perhaps?), that you will become something other than yourself, might become dangerous, hurtful … “animalistic”.… Has it not occurred to you yet how out of control you already are? Do you really think by expanding your understanding and Experience of Reality back into the wisdom of the body you will become more stupid than you already are? More deranged? How is that possible?

“It is not that comprehension of the Abyss is of no worth. To the contrary, it is only after you know it that you are at all inclined to, or brave enough to, or desperate enough to look in the direction of the feelings in your body. Your mind must crash itself upon the rocks of meaninglessness. You must watch your mental skyline of religion, ritual, cultural niceties, substitute pursuits, and egoic achievements collapse upon itself. It is only in the wreckage of those cherished illusions and false hopes that you can look down in despair and notice the body that has taken you there, that has always been there, with its feelings, its own patterns of thought — which you call intuition — with its own inspiration, its breathing, its inhalation of goodness and exhalation of compassion and creativity. It is only then, turning downward your eyes in the face of the darkness and the seeming “end of times,” that you can even notice your soul, your emotion, your connection with all and Everything, your true happiness, your actual heart expansion and love.

“ And in order to realize and reconnect again with your Self, you must surrender your frantic “trying to figure it out.” You must stop believing in the demons that you have used to help explain that which you cannot, because you have refused to see it. Rather, it is more important that you stop trying to understand and to control. You must allow, at least for that moment, that you might actually learn something, that you might be taught. You must let go, at least for that moment, of your sense of self-importance, and any thoughts about how you might be appearing to anyone outside of you. At least for that moment … give yourself at least that … you must “give up”….”

[Pt 3 of 28th Prasad — Family. More coming…  

To see the entire book, to which this will be added eventually (book is two-thirds updated), go to  http://mladzema.wordpress.com/the-great-reveal-book-6/ …

Planetmates: The Great Reveal  is now available in print and e-book format.  at https://www.createspace.com/4691119

and at Amazon at

http://www.amazon.com/Planetmates-Great-Reveal-Return-Grace/dp/1496083326/ref=sr_1_1?s=books&ie=UTF8&qid=1399084684&sr=1-1&keywords=michael+adzema

Falls from Grace: The Devolution and Revolution of Consciousness – Michael’s latest book – is now available in print and e-book formats.

at http://www.amazon.com/Falls-Grace-Devolution-Revolution-Consciousness/dp/1499297998/ref=tmm_pap_title_0?ie=UTF8&qid=1400787010&sr=1-3 

To purchase any of Michael Adzema’s books, available in print and e-book formats, go to Michael Adzema’s books at Amazon.

To purchase a signed copy of any of my books, email me at sillymickel@gmail.com … Discount for blog subscribers.

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There Are Many Ways to Interpret Reality … Choose One with a Heart.

Funny God, Epilogue: The Earth Really Loves Us

We know of the existence of dark matter through the consequences of what?

Gravity.

Gravity is the mutual attraction of bodies and particles to each other. And we deduce the existence of dark matter from the fact that there is attraction in the Universe — incredible amount, in fact — that cannot be explained by the matter that we can detect.

But matter itself is an illusion: It is a interpretation of our experience. So what is Experience that is mutual attraction (of bodies, particles to each other)?

Answer: Love. So gravity is love.

And Dark Matter is not so much Love as it is God. Who we know through the existence of the Love (gravity) which It exudes.

There is no “gravity.” The Earth just really loves us.

…

There are many ways to interpret reality. I say, choose one with a heart.

Continue with Book Eight: Experience Is Divinity

Return to Curious God, Infinite Poignancy, and the Nature of Divinity: Funny God, Part Four — The Universe Is Experience, Life is a Disneyland

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Projecting the Perinatal Zeitgeist: Everything You’ve Managed to Forget About Being Born

Everything You Always Wanted to Know About Being Born … Playing Now, in Theaters Near You!

 

Wounded Deer and Centaurs, Chapter Two: Everything You’ve Forgotten About Birth … Projecting the Perinatal Zeitgeist

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize twenty-first century life.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds … And Oh, the Shark Has Pretty Teeth, Dear…

In these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time — ”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie “Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In this—as in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”—we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and were overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention. [Footnote 1]

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

Also, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

Speaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

XXX

There is lots of violence, and of course, sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

Monsters, Vaginas, and Hairs, Oh My!

Recurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

One most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

The perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

“Noah, How Long Can You Tread Water?”

Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before birth, placental fluid. Near the end of gestation, the mother, when standing, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Told You I Didn’t Like Vegetables!

Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

This sequence of pics from an episode of The Outer Limits is a rather good depiction of this. Notice that at the point the object emerging from the mouth is most visible it takes on the form of a vagina dentata. This links the images with birth and indicates the aggressive character of the feelings being depicted, that is, we have repressed anger feelings left over inside us from what was done to us. It is also more than just coincidence that the person to whom this is happening is in a hospital room and is dressed in a hospital gown; the plot is about this woman carrying a baby and this scene happens just after the birth. This is significant for the reason following, which states that this image has its roots in an event that indeed happened right after birth..

Gag Me With a Toxin.

This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids from the neonate’s mouth by the attendants immediately after birth.

This latter connection — the ungentle mouth cleaning of birth fluids — I can personally validate from my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence the popularity of such images in the media of recent decades.

Treated Like a “Piece of Meat”

This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the neonate—can leave one with lifelong feelings of being treated like a “thing.”

Many report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb. Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

Confused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms, they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of course both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

Welcome to the World … Now f u

Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, feel manipulated and used, treated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other people, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

This also sheds light on the seemingly “mindless” violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be acting out their “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

Faces Coming Out of the Walls

I would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

We have had, over and over again, the image of the “evil fetus” erupting from the abdomen, as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing.

Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

Ventura Out of the Womb

A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carrey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working after a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

We witness the actual “birth”: Jim Carrey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

Couldn’t Fight Your Way Out of a Plastic Bag!

Other examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal, as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

Existential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs which become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells, solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of the entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

But the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

House; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boats, especially submarines; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

In the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

The Wall

In the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. We have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out above, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.

Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

I remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, is the ideas of dungeons or castles … with mad scientists, no less — obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

I might start by pointing out the element of there being another realm into which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. We see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

“There’s No Place Like Home.”

But death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

In this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

Through the Looking Glass

And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

This depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

Love, Fear Relationship

To put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see subsequent chapters, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

To Hell With It…

So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

Face Me, or You’re Mine!

Central to this book is the idea that we need to face the ultimate and horrible truths if we are to save ourselves. Wounded Deer are those people who suffer from closeness to these perinatal truths. Centaurs are those wounded ones who have accepted these facts of life; they have accepted the fact that fundamentally they, as all of us, are wounded. And in embracing it this way they become healers for those who cannot face their truth or who are struggling with doing so.

For not only are we closer to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

Fear and Freedom … Only a Membrane Away

Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

Perinatal Spamming

We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

Getting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Finally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an alien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

The point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

Whether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, whether they will they lead to the armageddon that many are predicting or to a consciousness evolution and a new Earth—will be something for us to consider further on.

Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

To Be Continued with Wounded Deer and Centaurs, Chapter Three: The Perinatal Furniture of Everyday Living

Return to Wounded Deer and Centaurs, Chapter One: We Are a Fever

Enjoy your own virtual emergence by following the pics below:

Now add a blissful period and go back around again; that’s the way it works in life.

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite: “‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed“

Continue with The Primal Screen: The Doors of Perception Stormed and The Perinatal Rising — A Kaleidoscope of Postmodern Life

Return to We Are a Fever, Part Five, The Perinatal Unconscious: Why We Are Committing Ecocide and Seeking Species Suicide

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Everything You Always Wanted to Know About Being Born But Were Afraid to Ask: Birthing Into the Media and the Perinatal Veil

Apocalypse No! Chapter Eight: The Perinatal Media

ET, Phone Mom – Of Aliens, Toothy Vaginas, Satanic Cults, and Explosions: Everything You Always Wanted to Know About Being Born

With these elements of birth experience in mind, let us look at some of the forces and elements, unprecedented and otherwise, that characterize our times.

Baby and Fetal Projections on the Silver Screen

Fetus in the Sky with Diamonds…And Oh, the Shark Has Pretty Teeth, Dear…

In these strange days, movies, TV shows, and books are rife with perinatal themes: From the famous ending image of the movie “2001,” where the fetus is pictured against the blackness of space as a newborn star…to some of the most popular and lucrative movies of all time—”Jaws,” for example, with its huge vagina dentata shark mouth lurking in the depths of the unconscious (the ocean), signifying the trauma we have around the mother’s vagina, the mouth ringed with teeth—the ferocious looking teeth symbolizing the pain and death elements of birth experience.

Other examples of perinatal imagery in the media include those in the movie “Brazil”—the main character being haunted by hordes of infant/fetal faces in particular; “The Abyss”; “Jacob’s Ladder,” and “Close Encounters of the Third Kind”—large-headed fetal looking aliens again.

ET, Phone Mom!

Psychodynamic as well as perinatal sequences are displayed in “The Wall” and “Brainstorm.” There is the fascinating womb and fetal symbolism in UFO movies like “Cocoon”; “Cocoon: The Return!”; and “E.T.”—with the fetal-looking alien wanting to “phone home.” And of course, we have seen obvious perinatal symbolism in “Independence Day,” “Fire in the Sky,” “Jacob’s Ladder,” “Joe Vs. The Volcano,” “Nothing But Trouble”; and in a recurring way on weekly TV series The X Files, Star Trek, Heroes, and The 4400, among many others.

“Avatar” is a near perfect depiction of a BPM I state that is interrupted by the later stages of pregnancy and threatened by a mechanized-technological birth. Everything is there as in the womb state: a perfect harmony with Nature…a world tree symbolizing the life-giving placenta…harmony with the Mother, who is the World Mother, a Goddess.

In the Narnia series, the children find a “secret” doorway at the back of a wardrobe (womb symbol) and go from their normal realm into another magical realm. In this—as in many other depictions, such as “Alice in Wonderland,” “The Matrix,” and “The Wizard of Oz”—we can see both a re-creation of the birth sequence but also the message (from our unconscious selves) that one needs to go back through and re-experience that sequence, as it was left incomplete. This magical realm is thus the womb. And in it lie many of the spiritual truths that we forgot when we came into the world and was overloaded with the pain of birth, which pushed our connection with Nature and the Universe into unconscious memory.

There is a plethora of more recent films rife with perinatal elements: Notable are the Matrix series, “Total Recall,” the Star War series, “Dark City,” “The Lathe of Heaven,” the Alien series, “The Tree of Life,” “Ace Ventura: When Nature Calls,” the Batman series, the Hannibal Lector series, “Suckerpunch,” and the Star Trek series. There are too many more to mention.

In addition to its prevalence in science fiction movies, it is replete in the symbolism of horror movies. When you understand this symbolism, you find it saturates the silver screen, popular television, music video and imagery, and the electronic media and arts

Everything You Always Wanted to Know About Being a Baby

Other movies indicating the interest emerging around pre- and perinatal themes are “Look Who’s Talking” and “Look Who’s Talking Too,” which demonstrate a belief in sperm and egg, womb, and infantile consciousness far beyond what mainstream psychology wants to believe.

Also, there is the hilarious sperm sequence in Woody Allen’s “Everything You Always Wanted to Know About Sex” in which he and a slew of others are dressed as individual sperm and dialogue about their upcoming great adventure.

This idea that sperm and ovum have consciousness can also be heard occasionally in comedic monologues on television and elsewhere.

Boob Tube With a View

Speaking of television, there was that very interesting and much heralded episode of the Moonlighting series in the late Eighties which—coincidentally employing an article and book title of mine, “A Womb With a View”—showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” [Footnote 2]

A Hundred Monkeys and Counting

I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events.

Perinatal Faces Poking Out Everywhere

Other perinatal elements that are currently manifesting include:

Satanic Cult Abuse

Reports of Satanic cult abuse graphically depict BPM II perinatal elements. We hear of children and others being immobilized, tied up, and otherwise disempowered. Oftentimes they relate being forced to spend extensive periods of time trapped in tight places and/or symbolically or literally buried under ground.

BPM III elements in cult abuse include the sexual excess/abuse and bloodletting or blood use as in its being poured or used in “anointing.”

Cult abuse in film, as well as in real life, especially depict BPM IV elements: Cutting, hurting, torturing, sexually and ritually abusing and “sacrificing” are all very much like an infant’s perception/feelings of its experience of its being “attended” to after birth.

The fact that cult rituals often involve a number of other people focusing on an individual who is strapped or held down—the immobilization prior to birth, as well as the helplessness after birth—on something raised, like an altar or table, and then “worked upon” in some way or other is a particularly graphic expression of a neonate’s experience of being on a medical table after birth, watched by a number of others and worked on.

The ritualists’ use of robes and costumes, especially if they involve covering the face or the wearing of masks, is also not that much different from the way a baby in modern times perceives its welcoming into the world among masked and robed medical personnel.

Serial Rapists and Killers

One can hardly turn on the tube without finding some movie or TV show that is depicting a serial killer or rapist. I do not need to belabor the flooding of news programs with the same kind of material.

But the number of reports relative to victims and harm involved is far less than victims and suffering involved with other horrific events, such as hurricane, earthquake, nuclear radiation, ozone loss, or flood catastrophes, which have less or no perinatal charge about them. This preoccupation with serial violence, torture, and rape indicates BPM III elements of struggle, violence, sexual perversion and excess, as well as the death and torture aspects of being born.

Tube and Cinematic Violence Galore

Simply the amount of violence on television and in movies is a perinatal indicator. These depictions simulate, and stimulate, perinatal feelings in plot elements which are repeated to death.

Matters of Life and Death

We see clichéd regurgitations of being in life and death situations from which one is saved in the “nick of time.” This is exactly how it seemed when one was “miraculously” born, suddenly, after what seemed an endless time of suffering in which death was felt to be the only possible outcome.

It’s Not the Fourth of July, However….

You do not seem to be able to see a story that does not have explosions galore.

Such “fireworks” are examples of extreme compression suddenly becoming immense expansiveness and thus symbolize the sudden perinatal change of state from compression inside the womb to previously unknown expansiveness outside the womb as well as the sudden release of tension and compression upon being born.

Explosions also symbolize the immediate assault of sensation upon coming out of the sensorally “muffled” womb.

XXX

There is lots of violence, and of course also sex. Such extreme degrees of sexual explicitness and especially sexual perversity point to strong BPM III influences.

Gag Me With Asparagus – Of Time Travel, Claustrophobia, Hell, Cesarean Births, and Death by Vegetable

Newborns and Monsters and Hells, Oh My!–Of Time Travel, Claustrophobia, Cesarean Births, and Death by Vegetable

Monsters, Vaginas, and Hairs, Oh My!

Recurring themes of monsters that eat one, for example, The Alien movie series, indicate the feelings of fear of death in the mother’s womb. This is often portrayed as a huge, threatening mouth surrounded by teeth and, sometimes, hair. This is a symbol found throughout the world. Social scientists refer to it as a vagina dentata “mouth.”

One most obvious portrayal of this was Steven King’s 1995 miniseries, “The Longoliers.” The monsters, shown at the end, turned out to be flying, ball-shaped vagina dentatas, complete with hair covering, as in pubic hair. Though Steven King meant this to be frightening, from the perinatal perspective these flying, attacking vaginas are absolutely hilarious.

Time Travel Equals Age Regression

Interestingly, the appearance of the Longoliers is caused by the characters going back in time. Though King has them going back only fifteen minutes, and not age regressing to birth, I thought the fact of time regression was telling in the extreme.

Time travel in general is indicative of the need to go back and fix the trauma of these early events. The Back to the Future series is merely one example. We all know many others.

We have Ever Increasing Cesarean Births

The perinatal roots of these movies are indicated in other ways, e.g., the baby alien, in “Alien,” being “born” out of the abdomen.

While a “baby” emerging from a person’s midsection is obviously indicative of birth, the fact that it comes bursting out of the belly, rather than the vagina, might also relate to the ever increasing use of cesarean section as a means of birthing in this century.

“Noah, How Long Can You Tread Water?”

Important perinatal influences are evident in the frequency of scenes of death by suffocation, in water or otherwise.

We are immersed in water before birth, placental fluid. Near the end of gestation, the mother, when standing, constricts blood vessels to the fetus. This reduces the blood supply to the fetus and thus less oxygen is received. It is called fetal malnutrition. Prior to birth we humans experience suffocation and claustrophobic feelings—we “can’t get enough air”!—which seem deadly and unending.

Aw, Hell

The timelessness of prenatal experience at this point—when not getting enough air—feels horrific, an unending nightmare. This part contributes to human ideas of places of forever, endless suffering, for example, hell.

Death by Vegetable

“I Agree, But I don’t Like Having It Shoved Down my Throat!”

Very interestingly, a more recent addition to this complex has something being forced aggressively down the throat of the victim.

I have noticed an increasing frequency of this version of suffocation in the visual media ever since I first remember seeing it in a scene from the movie Alien, where a rolled-up magazine is used as a murder weapon by being forced into the victim’s mouth. It seems to be becoming a writer/director’s fad, as increasingly creative ways are being imagined to play it out in scripts.

Told You I Didn’t Like Vegetables!

Another common variation is when the suffocating item comes out of the person’s mouth.

In this frequent scenario, the victim is “infected” with some kind of alien spore which grows inside of him or her and comes thrusting up from inside of the person’s body and out of the mouth, lodging itself there. Often this alien extrusion looks something like a huge asparagus emerging. The perverse sexual aspect of the image also has roots in perinatal, specifically, BPM III experience.

This “vegetable” eruption always happens suddenly and climactically, and almost always it results in death. Scenes like this I have observed in the movie “Jacob’s Ladder,” several times on the hit show The X Files, and in many, many other shows.

Gag Me With a Toxin.

This version of suffocation probably has its roots in the force-feeding of toxic elements to the fetus in the womb through the umbilical cord, and is more definitely related —the symbol is probably an amalgamation of both feelings—to the ungentle clearing of fluids from the neonate’s mouth by the attendants immediately after birth.

This latter connection—the ungentle mouth cleaning of birth fluids—I can personally validate through my own primal experiences. Apparently I was not alone in being treated this way as a newborn in the 1940s and 1950s in America…hence its popularity.

Becoming Thingified – Modern Birth Tells the Baby, “Welcome to the World, Now Screw You!”

“Welcome to the World, Now Go to Hell!” – A Baby Becomes Thingified Through Modern Birth

Treated Like a “Piece of Meat”

This practice of ungentle mouth clearing—performed by hurried or insensitive, and uninformed, medical personnel, unaware of the consciousness and keen feeling awareness of the neonate—can leave one with lifelong feelings of being treated like a “thing.”

Many report having overwhelming feelings of being dealt with mechanically and without respect. It is common for folks to have feelings of “not being seen.” People can have lifelong body memories of having one’s mouth stretched wide.

These feelings, while they may be reinforced by later life events, oftentimes have roots that go back to a time immediately after birth. At this time, too frequently, the jaw is pulled down for the insertion of fingers and suction devices. It is done in a manner that is excruciatingly painful for a being that has spent his or her entire life—nine months—previous to that in a relatively placid environment with its mouth closed.

This ungentle procedure is also felt as an assault in that it occurs, usually, as the first event a baby is confronted with upon release from the womb. Its tiny mouth—never before fully opened—is often the first focus of attention, as large fingers (relatively) reach in, stretching the previously unopened and unstretched (virgin) mouth…breaking the metaphorical oral hymen of the neonate in a way that is felt to the infant to be comparable in pattern and violation to oral sexual assault.

Did you ever wonder why so many folks have such terror of seeing a dentist? Did you ever wonder what is the fascination with water-boarding and torture in recent years?

Victims Du Jour

By the way, I might mention that while genuine sexual assault and child sexual abuse is a reality that has long been with us and is only now really coming to light (thankfully), the similarity of this early perinatal experience of ungentle mouth clearing to sexual assault may have something to do with the epidemic of reports of infant sexual abuse that are coming out of counselor’s therapy rooms.

Confused interpretations of these reports can happen because most counselors and psychotherapists are ignorant of birth and perinatal trauma and yet more and more of them are allowing bits and pieces of regressive techniques into their standard professional arsenals.

In addition, they throw in these techniques, most often, without qualification or experience with these techniques, and oftentimes out of knowledge gained solely from books or second-handedly…not to mention rarely, because of professional arrogance, having experienced or undergone these regressions themselves.

Combine this inexperienced dredging up of perinatal material with the fact, as I will be continually reiterating throughout this book, that people these days are closer to their perinatal unconscious, to their birth trauma. One can see how it can easily happen that when feelings of being orally assaulted after birth begin arising within the counseling rooms, they can be interpreted, by therapist or client or both, as early sexual assault—that being the interpretation du jour, so to speak, and because of course both are ignorant of the fact of birth trauma—its having systematically been resisted and purged from mainstream professional and lay common knowledge, beginning with Freud’s rejection of Otto Rank’s discovery of it, right down to the present. (But let’s not get into that just here.)

Welcome to the World … Now f u

Regardless, the ungentle mouth cleaning is felt not just as a physical assault, it is an outrage to the infant’s tender psyche as well—leaving a lifelong and fundamental imprint undergirding and helping to sculpt all later experience—in that it is the first “welcome” to this world. That is to say, the birth struggle ends, there is release… (finally!) … then, “Welcome, baby” — yank! stretch, feel manipulated and used, treated like an object and with no sense that one is a living aware being.

With this in mind—that this “Hello–fuck you!” experience can be the primal (first) experience of this world, of other people, of society — it may be easier to understand the profound fear and anxiety toward other people that resides inside many of us—for example, as in the book title: I’d Rather Die Than Give a Speech!

This also sheds light on the seemingly “mindless” violence and rage that is directed back against anonymous people and society in general by certain types of criminals. They can be seen to be acting out their “fuck you” welcome into the world by attacking back and outwardly, rather than this early rage energy being channeled into some of the other, more healing or at least not harmful, responses possible to early assault.

All in All, It’s Just Another Face in the Wall – Threatening Enclosures From Which One Wishes to Push Out or Escape

All in All, It’s Just Another Face in the Wall – Enclosing, Threatening Things That One Wishes to Push Out or Escape From

Faces Coming Out of the Walls

I would like to refer to one final perinatal indicator in the visual media, which has been capturing my attention of late…seeming to be coming out of the very walls at me! This is—what appears to me to be—a recent and new sort of perinatal symbolism, at least in Western culture.

We have had, over and over again, the image of the “evil fetus” erupting from the abdomen, as in the classic scene from “Alien” as well as that of it emerging from the mouth—as examples, the “volcano-new-species” episode of The X Files and the dance hall scene in “Jacob’s Ladder”—indicating fetal emergence mixed with ungentle neonatal mouth clearing (see the previous section titled, “Gag Me With Asparagus“).

Membrane Walls

But this new variation of “fetal emergence” has human faces pushing through membrane-like elastic walls!

Ventura Out of the Womb

A good example of this occurs in the movie, “Ace Ventura, Pet Detective, When Nature Calls.” In the Ace Ventura movie, Jim Carey emerges from inside a mechanical rhino with virtually all birth elements evident.

He is holed up in a hot and suffocating “womb”—that is, he is inside the rhino.

He becomes engaged in a desperate need to get out. Interestingly, the fan—the source of comfort in the rhino (womb)—stops working after a while. This is exactly analogous to the way, when we are fetuses, the nurturing elements of the mother’s womb “turn off,” in the last stage of gestation, making the womb quite an uncomfortable place indeed.

We see him pushing his face against the elastic, membrane surface of the rhino’s posterior in a way graphically suggesting perinatal emergence. The tourists watching this explicitly state that they see it as the rhino giving birth.

We witness the actual “birth”: Jim Carey (Ace Ventura) struggles to make the opening larger and to come out. Finally, he falls, naked wet and curled up fetal- or baby-like, to the ground. The hilarious—and outrageous to the tourists—part is this image of a rhino giving birth to a full-grown naked adult human “baby.”

Couldn’t Fight Your Way Out of a Plastic Bag!

Other examples of this element of human features pushing through membranes has individuals completely covered and suffocated in membrane-like elastic sheets from which they cannot escape and in which they appear agonized and struggling. A good example of this was in a scene from “Fire In the Sky” that was shown repeatedly on TV to hype the movie when it came out.

Even the invention and use of straight jackets shows our preoccupation with the perinatal, especially as concerns our mental health or well-being. For the message there is that if you “get out of control” you will be put back in a place where you will be forced to comply and will have to learn to deal, as all the rest of us do, with the “existential fact” of needing to conform to the dictates of an overwhelming, dominating, and pervasive other world.

Existential fact is in quotes to point out that this is not an essential fact of existence; rather they seem to be facts to humans because of the experience we share of being in constricting wombs which become uncomfortable and suffocating increasingly near the end. This is an example of what I have termed elsewhere, biologically constituted realities.

Of course a similar thing—forcible “re-education”—could be said for the use of jail cells, solitary confinement, and enclosures like “The Hole” during incarceration. Simply the fact that we have a much greater percentage of our population in prisons than any time previously points to our mania of trying to control this aspect of our feelings from our origins…and of an emerging perinatal unconscious triggering the reaction. In former times, torture devices often employed devices of compression, suffocation, constriction…of the entire body or just the head…and often added the element of prenatal discomfort by adding torture while so enclosed. The Iron “Maiden” is such a device. Note the feminine being employed in the name itself. Could that be any more clear that it is meant to be a painful, tortuous re-creation of being inside one’s mother?

Modern movies showing such devices or procedures are indicative of these perinatal elements coming to the surface obviously. One example is “The Man in the Iron Mask.” In a similar respect, I have already mentioned our current preoccupation with water-boarding style torture. In employing suffocation, it is an effective and brutally inhuman way of stimulating people’s perinatal pain, just as straight jackets and jail cells are intended to.

This House Will Eat You Alive!

I saw a most potent portrayal of this new perinatal element in the 1996 movie by Peter Jackson, with Michael J. Fox, “The Frighteners.”

This movie’s plot involved a house being somewhat alive and gobbling people up into the walls. The ingested people would try to emerge from the house’s walls. The walls being like elastic when they would do this, the features of their faces could be seen pushing through to the point even of the individuals being identifiable.

These swallowed people could not get out of the walls. And they would be the next ones trying to lure their loved ones and friends into being gobbled up by the house, the same having been done to them, which had resulted in their being taken into the walls initially. Sounds like a modern, very perinatal variation on the Pied Piper theme.

But the former victims who, once pulled into the walls, themselves become perpetrators also is a powerful metaphor of the way primal trauma and child abuse of all kinds—including genital mutilation—is passed from one generation to the next. Vampirism has this telling quality as well: Once you are “bitten,” you are compelled to do it to others. In the same way all child abusers were abused themselves as children, as any psychologist will tell you.

Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians

Worse Homes and Gardens – Houses, Prisons, UFOs and Spaceships, Dungeons … and Their Obstetricians

House, Cave, Squids

Anyway, this portrayal of a house that gobbles up its victims, bizarre as it sounds and as it looked, can only be explained by looking into our perinatal imprints; and it is rife with such elements.

To start with, a house — being an enclosure in which humans protect, nurture, and take care of themselves once born into the world—is perhaps the most prevalent womb symbol that exists. It is right up there in importance with caves, oceans, swallowing beasts—especially beasts of the ocean like whales (Jonah), sharks (Jaws), and octopi or giant squids.

There was a recent movie of this squid variation. Its plot development was of the “Jaws” genre. But in adding tentacles, it added elements of pubic hair and umbilical strangulation to the normal aspects of womb torture such as simple compression and suffocation.

House; cave; water; devouring dragon, as in Harry Potter; whale or shark; automobile, especially buses or motorhomes; boat, especially a submarine; indeed all vehicles of transition, nonmechanical as well as mechanical as in trains and airplanes; the deep forest, as in Avatar—anything in fact with elements of being surrounding and engulfing of one and as nurturing or threatening one, or both, are womb symbols, as we have known for a long time.

Prison, Jail Cell, Schoolroom = Womb

In the category of womb symbols that are places that enclose or “house” one that are uncomfortable, constricting, limiting of one’s ability to move around and in which one is made to suffer, even be tortured, we need to add prisons, dungeons, jail cells, and schoolrooms. Breaking out of prisons, being rescued from tight, enclosing places or situations in which one is not free—that is, can not “move freely”—are specific portrayals of the birth process itself. Contemporary film is flooded with plots and scenes depicting such escapes and/or rescues. Any constricting surround is a womb symbol, including oppressive social and political conditions from which one cannot escape and under which one is not able to move freely, to enjoy “freedom”; especially regimented ones under which one is tortured, processed, and treated anonymously and in an unfeeling, insensitive manner.

Schools and schoolrooms are especially strong womb symbols for they are places in which a person is supposedly nurtured and helped along in one’s development, exactly as was the purpose and situation in the womb. Libraries are the benign version of womb-like “schooling” in that the element of volition or choice in the matter exists. When they depict being constricted or made to suffer, it becomes even more obvious, depicting as that does the later stages in the womb which are uncomfortable and often hellacious.

The Wall

In the school sequences in the movie, “The Wall,” there are other perinatal elements potentiating some of the scenes. We have anonymity, indicating not being seen in the womb; fetal faces; tortuous “development” and passage from one state to another especially as in being shoved through a wringer or meat grinder; and faces coming out of walls or having an appearance similar to that.

Houses and Spaceships Are Real “Mothers”

One lengthy explanation of this kind of symbolism as it is connected with “the Mother” is the classic work by the Jungian, Erich Neumann, titled, The Origins and History of Consciousness, which he himself based on other even earlier analyses of mother symbolism and its association with enclosing and enveloping sorts of thing.

At any rate, among all these, the house is probably the most popular symbol today. It would seem to be used more in the visual media as a womb symbol than any other, currently. With the increased interest in science fiction, the spaceship is perhaps coming in second, but even that distantly.

Being spaceships, UFOs are obviously womb symbols. Carl Jung once speculated in writing that the upsurge of UFO sightings indicated a rising urge for psychic unity in humans. While this is true on one level, on a deeper level, they are symbols of reintegration with our repressed traumatic womb experiences. Space travel is transition from one world to another in general. And the vehicle of passage is a UFO or spaceship … in which one’s needs are taken care of and one is involved in passage or transition … It is not surprising that often in the course of this transition, space travel, the space voyagers of the silver screen encounter odd and horrifying developments.

Notice how we say “mother ship.” UFO type spaceships are so often depicted as round or spherical. Indeed, we have elaborate developments of these themes in the Death Star depiction of Star Wars–a round enclosed place and habitat associated with dread and death …

“You Will Be Assimilated.”

The variations on this are themselves telling. We have one instance of a cubical habitat in space…a square, not round, spaceship. What better way to show how terrifyingly different the inhabitants are from natural, biological beings. For womb equals round, flowing lines as in Nature, products of a physical or biological world, one of life and dealing with living and animate things. Whereas to indicate that these beings are mechanical, unnatural, robotic…products of a mental world only, one of death and dealing with inanimate, non-living things…machines…straight lines are employed, implying the worlds of engineering, mathematics, geometry…of the mind only, not of the physical or biological worlds or the worlds of feeling and experience. Implying a world of non-feeling and non-experience is horrifyingly akin to implying a death-like existence.

Star Trek aficionados will have picked up by now I am referring to the Borg and to their cubical spaceships/habitats. We have to make the connection that the appearance of symbols of machines, robots, androids, and such with womb symbols–increasingly prevalent in modern and postmodern times–is easily attributable to the fact of our ever increasing mechanization of birth…in which, as I was pointing out in the previous post/section, humans are “thingified” and turned into “human robots.” And, yes, these are horrifying and death-like experiences that we undergo at our beginnings and subject our incoming members to.

Worse Homes and Gardens. Is It Any Wonder It Is Haunted?

I remember watching an old movie from the “Amityville” series. As most people are aware, in any of these movies, it is the evil house that is the source of the horror. This goes back at least to Edgar Allen Poe’s “The House of Usher.”

Yet this plot idea of an evil house, which must, in the end, come crashing down in flames—indicating the explosive and fiery birth, BPM III, which signals the release from the evil forces—was boringly evident in films in the Twentieth Century.

Mad Doctor Frankenstein, the obstetrician

Related to this, taking this theme back in time, is the ideas of dungeons or castles…with mad scientists, no less—obstetricians, perhaps?

At any rate, in this idea of a house that “gobbles” one up, as in “The Frighteners,” we have the bringing together of two of the most predominant birth elements in film—an evil house and a devouring beast. That fact of a doubling of perinatal elements alone is indicative of a plot saturated with perinatal influence.

Through the Looking Glass Into Parallel Universes … But “There’s No Place Like Home”

Through the Looking Glass Into Parallel Universes, But “There’s No Place Like Home”

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

I might start by pointing out the element of there being another realm into which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. We see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

“There’s No Place Like Home.”

But death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

In this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

Through the Looking Glass

And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

This depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

Aliens, Abductions, Hell … Birth and Death: Freedom Is Just a Membrane Away

Aliens, Abductions, Hell, and Fear: Freedom Is Just a Membrane Away

Love, Fear Relationship

To put it another way, considering, as we now are, how imbued with death, fear, and pain is this time of our life, we are capable of seeing that there are good reasons why otherwise logical people would at all costs resist the idea of birth trauma and perinatal influences, the evidence be damned. We are fascinated by this time of our life. We play it out endlessly in our imaginations and collective dreams and, as we shall see in the next chapter, in our everyday lives. But we are utterly terrified of it. Indeed it is, as Janov once put it, the only time for most people that in life we come so close to death, other than our actual demise.

To Hell With It…

So to acknowledge birth is to face death and an inner memory of horror and a hell-like experience. These aspects of it are not going to lend to its being readily accepted among our intellectual currency.

Clients in the therapy rooms only face their perinatal memories when all other interpretations, memories, and early experiences have been made and integrated. The perinatal is the last and most gruesome of truths to face. It is faced only when all other options are gone and the truth alone will do.

In the same way—since it is not easy truth—its acceptance into the arena of our common knowledge has awaited its necessity to be known and acknowledged. It has required our species survival being at stake for us to consider the deepest roots of our problems. [Footnote 3]

Face Me, or You’re Mine!

And this book is primarily about that necessity to face the ultimate and horrible truths if we are to save ourselves. Not only are we closer to our perinatal unconscious these days, we are—because of the precarious nature of our times, which our ignorance and denial of the perinatal heretofore has set up for us—required to face the perinatal “monster” or we are doomed. It is now the time to uncover the truth, to get to the root of the problem, or there will simply, eventually, be no problem, because there will be no people to have a problem or to recognize a truth or root of a problem.

Fear and Freedom … Only a Membrane Away

Be that as it may, this recent development in perinatal imagery involving a membrane barrier between us and the perinatal realm is closer to our actual perinatal reality than any of the previous symbols put out in earlier times which showed a barrier between us and the perinatal. So this membrane depiction of the perinatal suggests an increasing closeness to the perinatal unconscious.

Perinatal Spamming

We have progressed in our collective consciousness beyond hard walls or mirrors separating us from our perinatal memories (and horror), now they are just a membrane away. They are only a thin, elastic membrane away. And from the other side this part of ourselves calls out to us, pushing its face through—like the computer push technology, with all its annoying pop-up consoles and screens that won’t go away. Our births come spamming through to tell us what we need and to call us back to a realization of the truths we need to hear to save ourselves.

Getting back to the membrane symbol itself, the perinatal elements of this new depiction are rife. Obviously the late stages of pregnancy have one in an enclosed elastic, membrane container—the womb—from which one cannot escape. Also, the fetus’s features in the latest stages are somewhat evident, can be seen and felt, on the surface of the mother’s belly, something like faces pushing out of elastic walls. And one struggles agonizingly during birth and endures intense suffocation through a great deal of it, just like those in movies who are surrounded by elastic sheets.

All of this is then, in Western civilization, compounded after birth with tight swaddling. The newborn, curiously, is wrapped like a tamale in a way that he or she cannot move freely. So rather than remember the earlier womb experience of blissful freedom and euphoria, it has its most recent hellish experience of the late stages of gestation and birth reinforced. There is no doubt that we are letting our newest members know they will not be able to move freely in life, have freedom, or express themselves freely. It is no wonder that depression is a pandemic in modern society and antidepressants are sprinkled over the masses like holy water.

Baby Abductees and Masked Medical Aliens

Finally, a later perinatal element is inserted in the “Fire In the Sky” scene in that the struggling abductee, covered in the elastic membrane sheet, is lying on an alien’s medical table. In the same way a baby, right after birth, endures the struggle for breath, caused by premature umbilical cutting, as it lies on the medical table and receives “processing” by medical personnel who to the fetus are alien-looking—that is, they have prominent eyes and lower face not pronounced because covered with surgical mask.

The point of bringing out the occurrence of these media images is that the projective systems of our culture—our art—are reflecting our collective changes in consciousness: Specifically, the evolution of our consciousness as it is confronted by this unconscious pre- and perinatal material…or, as some psychohistorians would have it, the “collapsing” of our “ego strength” as we are “threatened” by these “dangerous” perinatal elements.

Birthing Into Everyday Life

Whether these images are indicative of a healing crisis or are the opening of a Pandora’s box—that is to say, Earth rebirth or apocalypse—will be something for us to consider further on.

Meanwhile, let us look at how these elements, not only show up in our collective media dreams, but fashion the very furniture of our everyday reality.

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life –
Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Enjoy your own virtual emergence by following the pics below:

Now add a blissful period and go back around again; that’s the way it works in life.

Continue with Apocalypse No! Chapter Nine: Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

Footnotes

1. For an analysis of the pre- and perinatal elements of “Independence Day,” see Anne Marquez’s article on the Primal Spiritwebsite: “‘Independence Day’: Pre- and Perinatal Adventure in Film.”

2.The text for “Birthing, Forgetting” can be found at “My Beginning, At Least the Part Anyone Could See: Birthing…Forgetting (a short story) on my site, SillyMickel Adzema’s Life – Autobiography. It was originally published in – Michael D. Adzema, “Birthing, Forgetting (a story).” Primal Renaissance: The Journal of Primal Psychology, 2(1), Spring 1996, pp. 65-76

Birthing, Forgetting (a short story)

An audio reading by the author of Birthing, Forgetting, can be heard by following the link above to the audio site or by clicking the audio player below.

http://ecdn0.hark.com/swfs/player_fb.swf?pid=zgxsgyzhkm

For background and elaboration of “Birthing, Forgetting” listen to the audio,

Some Primal History and Prologue to “Birthing, Forgetting”

The audiocast of “Prologue to Birthing, Forgetting” can be heard by following the link above to the audio site or by clicking the audio player below.

http://cdn.hark.com/swfs/player_fb.swf?pid=hwvpxzhffh

3. See Stanislav Grof on this at “Planetary Survival and Consciousness Evolution: Psychological Roots of Human Violence and Greed“

Continue with Apocalypse No! Chapter Nine:
Twenty-First Century Life – Table of DisContents

Return to Apocalypse – No! Chapter Seven: “We Ain’t Born Typical”

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Giving the Finger to Armageddon – Some People Are Just Tougher Than Death … Or So They Think: A Conversation on the Eve of Apocalypse

Conversation on the Eve of Apocalypse Between a Boomer and a Gen Xer:
An Anatomy, in Story Form, of the Machismo Attitude Toward Our End

Facing Apocalypse, People Are Becoming Zombies

People are becoming zombies in the face of their death, their own upcoming suffering, not to mention the death of all life on this planet. Do an internet search on apocalypse and note how little, if anything, is posted about the urgency or emergency of our current situation.

It comes across as a big party on a South Pacific Island in a hotel that everyone there knows will not survive the incoming tsunami or killer hurricane. But in the meantime they’re drinking themselves silly, drugging…gonna party their way to the end. That is not a rational response to the end of all life.

Other responses on the apocalypse have machismo aspects to them. In fact, most sites about apocalypse have a macho message in common.

Macho, Macho Man

You are not going to believe it, but check it out: The theme…now look deeply, if you’re not used to picking up on people’s motives off hand…the theme goes something like this:

Well, folks, we’re all gonna die. But big deal. I’m so fucking macho, I laugh at death! Here, let me prove it to you. Come here, death, right up to my face!

See, everybody. How I look directly into this face, this face of death! Now watch. Watch as I spit, spit directly into this face. Ptoo! (spits) See that? So who cares!? Not convinced? Then watch and I’ll show you. See the face of death that I’m holding and facing? Watch as I laugh in its face, laugh directly in its face. HA! Hahahahahaha! See? Told you.

Doing it, Tron style

Well, that is the way it comes across: “Apocalypse? Let me show you how tough I am.” Not, “What can we do about it, to stop it?”

So, dear listeners, are you able to make out the distress beneath such pronouncements? Granted, this bravado is worthless as to either reversing apocalypse or even showing some sort of inspired vision in which it can be made acceptable or noble if not avoidable. For those who do not see it yet, in this chapter and its accompanying video I try a little fantasy dialogue to bring out what I think is going on, much of the time, and keeping us from acting rationally about this imminent emergency of all dire emergencies possible.

Witness me as I trip over in cyber-land to something I call Amalgamated Macho-Apocalypto-dot-com. I’m about to go over to the webmaster of that site, in imagination and, well, just run a question or two past him. Tune in and catch what ensues. It should be revealing. So you click on the gadget above, while I fly myself over. See you there!

Spitter Dude

Ok, I’m here. “Hey, yo dude! Deathface spitter and laugher!”

“You… You know me…?”

“Hell yea. You’re in Google, you know. I understand you’re surprised because, believe me, tagged with apocalypse, like you, well, let’s just say I don’t have to lock the doors either. But there’s probably more interest in you than what I do.”

“Really, more interest in me? I like that! What do you do then?”

“On my site I tell the truth: you know, tell them that it’s very very bad and looks impossible unless people wake up on a massive scale and decide unequivocally to live. Stuff like that.”

“Ha. Hahahahaaha.”

“Ok, but just no spittin. I’ve seen your routine.”

“No, no. Nothing of the sort. No, really, I thought that kind of stuff died in the Sixties with all the ‘kumbaya’ and ‘we shall overcome’ baloney.”

Why’s Everybody Hatin’ on Kumbaya?

“Well, not that it’ll make a difference on you, but yeah, I’m that old and have had many high moments of unity in among the angels of humans coming forth to reunite—what you refer to as kumbaya. And by the way, I like the song, I like the Lord, what’s everybody pissed at? As for the other, we overcame. I’ve really dug being me because I’ve had the pleasure of being part of the things that made the world better; and I can’t imagine a better high or feeling of fulfillment.

“But I’m not here to dispute with you. I’m an old fart who got to live in rich times and participate in them. You’re a young, well, younger-than-me person, who was apparently born at around the time all the things my kind were working for were deemed a threat to the status quo. And so the powers-that-be created the misinformation, scapegoating, and slander of my generation. Then they delivered to generations following mine the machismo cynicism with its connotation that it was better to have that than feeling life. They seeded you with the idea that those who experienced life…as opposed to those who accepted their prepackaged attitudes of cynicism and mean-spiritedness…well, we were wusses, saps, effeminate, feminate, and all that.

“So, sorry, that my generation’s threat to the moneyed powers was so scary to them that they reacted with the all out effort to create a generation that would be the opposite of us, and so you were brainwashed and misinformed and lied to. So, so very sorry. I wish I could say, “my bad,” but well it was “our good” that resulted in “their bad,” and I don’t want to be like them and continue to uphold their matrix of misinformation. So, anyway, sorry.”

“Well, I shoulda Tivo’d that for later. That was waaaay too much and too many twist and turns for me to follow. But you called yourself an old fart. That part I got. So since you’ve placed yourself below me, I guess I’m at ease with your being here, whatever it is.”

Who Ya Talkin to, Dude?

“Well, your Dudeness, your Fearlessness Most Strong and Mighty, I have a few humble questions to ask of you,” I say.

“Ok, old fart, go ahead.”

“I see clearly that you’re showing the world you don’t fear death. But how is that going to help the world any. I mean if everyone felt like you…let’s say that was your aim…well then we’d all go down, patting each other on the back on how it doesn’t matter, but never to be heard of again!”

“Your point?” he says, irritated.

“Are you saying my site isn’t offering anything to the world? So who the hell says a site has to be doing anything for anybody or anything? Let alone this world…

“This is me! I’m expressing me! What else is there to do?”

“Ok, thank you. That explains a lot. But something comes to me. May I?”

“Sure,” says he.

“You say that, ‘this is me.’ Number one. Right?”

“Right.” Annoyed again.

“Ok. Now, you know there are not a lot of people watching. But your intention is not to influence any people. Number two, right?”

“Yep, that’s right.”

“But you wouldn’t be putting up a website if you didn’t want somebody to know who you are. I mean, you could say it in the mirror, or in your bedroom. You wouldn’t be making it available unless there’s somebody, persons, that you hope would hear you. Would that not be number three, right?”

“Well, you old farts really are big on this self-analytical crap, aren’t you? Well, I ain’t no pussy, but I am man enough to say that I couldn’t escape that logic that…yea, I am, inside, wanting to share, and share myself to some, to some…well, I guess, I just wouldn’t mind if, uh,really by accident of course, some people, who never got to know me this way, might see me and understand…well, uh…”

Let’s Play a Mind Game.

“Oh, understand. Nothing wrong with that. But, uh, how ’bout you indulge an old fart and just try out something that I think will be a real gas for you, er, perhaps I should say, phat, er, uh…. Look, you can trust me to take the time to play a little, let’s say, mind-game. It’s lots of fun.”

“Haha. Suure, ok. You crack me up, ya old fart. Gonna be a real gas. Ya can bet your damn asscrack that you’d lost me for sure until you’d made real quick to explain that one, hehe.”

So, I say, “Yep, that’s a little mind-game prank that was played on me. Well, anyway, uh…. Well, uh, I just want you to allow yourself to open your mind to the greater intentions—intentions you have for doing this, the greater visions. Now, don’t think just yet, you’ll only try to make things up. This is easier than that.”

“Ok.”

“Ok, now. You say that…being honest and only rational after all…that of course you wouldn’t be doing this expression of yourself on the internet if you didn’t have some desire to share or show this part of you with somebody or somebodies in the world…right? So far?”

“Yea, get on with it, I’ve already said that.”

“Ok, fine. Now, here’s the fun part. I want you to have that desire…to have it clearer…the clearer you can make it, y’know, the more likely it will happen. So let me help you a little here. Now just clooose your eyes. No, no, don’t look that way at me, nothing fishy going on…. You just ain’t going to be able to see your desires with all the distractions that the sights around us present. Give it a chance. Believe me, I’m not trying to lay any trip on you….”

“Ok, that’s better.”

Who’s Your Real Audience?

“Now. On the internet, we never see our audience. But we all imagine and wonder who they might be and what kind of people they are. Don’t you, too?”

“Yea, sure.”

“Well, we’re gonna try do something like that. Instead of an internet with no audience, well, imagine you’re in an auditorium. It can still be an internet to you…and you’re making the same points…and you’re really getting into it, like: I SPIT (ptoo!) in the face of death…and I LAUGH uproariously in the face of death.”

“How’s it goin?”

“Yea, I’m doing it, really into it…like it!”

“Ok. How does it make you feel?”

“Strong, fucking strong, damn fucking strong.”

“Greeeat. You’re feeling strong, real fucking strong. Feel as fucking strong as you can!”

“Great, yea, all right, I’m so fucking strong, ain’t no mother-fucking dudes as strong as me…I spit, I laugh….”

“Very, very wonderful. Enjoy, enjoy that! … Now… add one more thing…. One more thing, make it even better…. Remember, you’re in an auditorium, and here you can see your audience. Stay with that ‘spittin at death’ strength. You’re strong! … Now, containing all that strength…all that bigger than death power…cast your eyes down below you to the people in the audience…you’re at your peak!…the people that you really wanted to show. You’re strong, you’re powerful, more powerful than death, right?”

“Fucking right, I am.”

“Ok, now. Show them, and tell me who they are…one by one…look around…slowly…who do you really…really want to show who you really are…who couldn’t see this before in you…but now, they wouldn’t be able to miss it? Take your time….”

“No need to take time! Ha! I’m fucking really strong now. And there’s my bitch ex-girlfriend. Ha! Now, she doesn’t seem so high and mighty. She looks scared now. Ha! She left me. Took off with some some guy who did some kind of daredevil or motorcycle stunts. Sorta like saying to me, that, I wouldn’t be there for you…. Well, she didn’t get it then, but she’s gettin’ it now…how much braver it is to stare down death than to face some motorcycle risks. Ha! Yea, I’m gettin’ it. This is fun. You’re an old fart, but you got some tricks…good tricks….”

“Ok, now,” I say. “Look around, who else?”

“Well, there’s several other girlfriends. Wow! How great to see the look on their faces now.” (chuckling) “And there’s my two older brothers. I really wanted to be like them, and…hang out with them. But they made it like I wasn’t big or tough enough. Boy, am I showing them now. How fucking glorious. Even they are scared; they are tooo chickenshit to do what I’m doing. Ha! I’m showing them…he he he…..”

Those Damn ‘Ghostly’ Others

“Keep looking,” I say.

“Ok, well, there’s…there…. No. No…what the fuck, what the fuck’s he here for?”

“Who’s that?” I say.

“Why my dad…and my mother too. My dad always made me feel like I was weak just ’cause I was a kid. Why wouldn’t I be weaker than a grown man!? That bastard never gave me credit for having the strength I’ve got. Yet how strong is he? Just because he can put down my mom and…who would never fight back….”

I say, “Look into his face. Did you show him? Does he finally see?”

“Not sure…. He’s, he’s kinda lookin’ down….”

“Look more closely. Zoom in.”

“OK…. Oh my god, that mother-fucking bastard, that prick!”

“What’s going on?”

“Well, he’s even angrier now. He’s thinkin’: ‘What kinda pussy son he’s got who’s play-actin’ all over the internet about how tough he is…but that’s not bein’ tough,’.he’s thinkin’…. Why that fuck! He never did understand anything I did, he put down everything I did. I tried, but no matter. I could never be man enough…in his eyes….”

I say, “That’s rough, dude, rough. That’d be hard for anyone to live through….”

“Yea.” Beginning to choke up. “Yea…” he says…he’s sobbing now.

“That mother…. All those years I had to live with that fuck! hope and try and not getting anything back….my God!…except… scorn! Gaaa! Scorn! Scorn and Hate! It’s you who’s face I spit in, you‘re the fuckin’ death, I hate you!…. I’m bigger than you. I survive you. I laugh! Ooooh…” Openly crying.

And, he broke off crying.

You’re never gonna win, pal, give it up already.

Well. I did what I could for him…and stayed with him and hung out with him for a while…. Really not a bad guy at all. He seemed to really get it, too, that he didn’t need to do things to prove to his dad anymore, because he could clearly see there was no extreme he could ever go to or ever go through that would make a dent in his father’s attitude of despising him.

I explained that while it is hard to accept that his father really did despise him, that he will find it easier than most, because he at least knew it…and didn’t try to pretend it wasn’t true. But that he just hadn’t gotten it out of his craw that even in some imaginary way he could get something that he just wasn’t meant to get in this life. And I explained that, that is the way with all of us. There’s always something that’s not part of the perfect family portrait, or there’s some elephant in the room.

I explained that, while he didn’t have to prove anything anymore to his father that, while he was doing it, it led him to learn a lot about the internet and such, and he could apply that to something new.

So when I was leaving, he said something. It gave me a happy thought. He said:

“You know. Now I don’t need to show anybody anything. What a waste of time that was.”

What to Do, When You Don’t Have to Do

And he continued, “It occurs to me, then…’What the hell to do’? Then it occurs to me, ‘Well, if you got nothing to prove, and you really don’t want the world to end, actually.’ In fact, it is pretty scary.”

“And I’m thinkin’ of all the innocents…like my mom…being put down by big scary men whose only strength lies in putting down little kids, and their wives…so they can feel strong. Hmm….”

“So I think, ‘No, there’s no changing my dad.’”

“But the next thing I have is…while my mother isn’t here anymore, ‘There’s lots of helpless innocents out there, like her, who aren’t being helped…about what’s coming down.’ They’re even being prevented from knowing, by other chickenshit men like my dad, who are only out for themselves and it doesn’t matter who they hurt…s’long as they get their profits.”

How DARE They?

“So, I’m thinkin’ this, and I’m real surprised because I feel myself breathing deeper. And I feel some anger coming, like, ‘How DARE they?!’ “

“And then some strong feelings of manliness…my heart crying out…like to my mother. Even choking up a little, thinkin’ like, ‘I’ll take care of you, young mother, little sister, little brother, little baby child. I’m bigger, I’m stronger. I’ll protect you from harm’…like no one protected me. And now I know how horrible that was. And, how I could do nothing to…and how I would do anything to stop that from happening to others. I really would. And I got all psyched! Y’know?”

Guaranteed to Bring Out the Best in You

“I’m sorry for putting you down about wanting to help the world. Cause I see that’s the best place to put your strength and to be a real man…. Y’know? To have a just cause…put all your strength into it…whether you win or not. Just to be on the right side! And in the meantime to stand between any hardship and those innocents…and to comfort their sorry hearts. It seems like there’s no other worthy thing to do.”

Well, I expressed how that was really wonderful. And I said, to confirm for him, I said how this is the biggest struggle this planet has ever faced.

And, he’s right. It is the worthiest effort that one can imagine. And guaranteed to bring out the best in us…and to make us better…as well as the worst in us…which we can at least know and struggle with to keep those things from undermining the good in us.

Freed From a Prison

Well, after that we talked about how we individually and together could do things in the future, and…. It gladdened my heart to see him freed from the prison of striving forever for a love that would never be and…to be learning, already, that true love is in giving.

That true love is in giving.

Finding love, in giving love

No doubt, if he continues like this, he’ll soon learn that in giving love, he finds more love than his heart can contain, coming his way, without his expecting, asking, or even seeing it coming. I wouldn’t be surprised if he comes over to my site to contribute, share, and even join in solidarity.

Could Be Real Men, Instead of Performers for Phantom Puppeteers

Well, that’s one take on why people are not reacting to the seriousness of the end of all life on this planet. I think it’s a rather pervasive one. And I’m sure there are others. And I just wish it would be that easy to turn these people around to see how they could be real men, how they could be real heroes, how they could be really strong. Instead of performing for some “ghostly” others…who aren’t there, and…who aren’t going to be impressed anyway.

Take my word for it or not. That’s the way I see it.

Other Takes on This

Other irrational responses and reactions to the end of all time are discussed in the next two chapters, “Death Wish — Zombies and Sad Proselytists,” and “The Will to Die — Thanatos Walking.”

Continue with Apocalypse – No! Chapter Four:
Death Wish – Zombies and Sad Proselytists

Return to Apocalypse – No! Chapter Two: Love’s Wake-Up Call – Apocalypse Emergency

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Through the Looking Glass Into Parallel Universes…But “There’s No Place Like Home”: Perinatal Media, Part 6

Perinatal Media, Part Six: Through the Looking Glass Into Parallel Universes, But “There’s No Place Like Home”

Origins of Parallel Universes

But this idea of something coming through the walls, membrane walls, is both fascinating and telling in the extreme. It speaks to other perinatal elements and feelings.

I might start by pointing out the element of there being another realm into which people go and from which people are rescued (with luck). There is a barrier between the two realms—a permeable, elastic barrier. Anytime you have this other realm you are talking about either birth or death or both. Oftentimes it is both, for it is felt that to go back to the time of being in the womb (“regression”) is akin to death.

Of course we get this idea that birth is death, for one thing, because of the fact that at that time—in the late stages of pregnancy with fetal malnutrition, lack of sufficient oxygen, suffocation, and so on—there was a sense of impending death, and oftentimes actual vital life threat to the fetus. We see our beginnings as dire, for another thing, because the actual time of being born is analogous to a dying to one state in order to be born into another. Actual birth, BPM III, has most often been related to feelings of death/rebirth.

So of course, for these reasons, anything having to do with going across or back into that other realm is going to be associated with death.

“There’s No Place Like Home.”

But death is not the only aspect of crossing some kind of barrier into another realm. Related to the house theme we see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is transformed or matured in some way.

In this category we have Alice going through a looking glass to go into Wonderland; Dorothy and Toto in “The Wizard of Oz” being transported — in their house, naturally — to another realm; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various adventures and scenes, like some kind of animated version of Sliders.

Through the Looking Glass

And of course this is only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places—both wondrous and hideous.

The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment—as when in previous times it was the place in which the food was actually cooked. There are many other examples.

The movie “Jumanji” with Robin Williams employed this idea laboriously and dramatically, with people going through walls into other times and places.

But the movie also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Here again we see beasts that can devour or crush one, but also enveloping waters. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast!

This “Dark” Unknown

In this movie, “Jumanji,” as in too many others, the “other side” is depicted as a dangerous and often deathly place. This points to the vital life threat that we go through at the times of our birth, leaving an imprint of fear of it for a lifetime.

This depiction of it and fear of it are both understandable and unfortunate. For, as I alluded to earlier, this idea of birth trauma has been vigorously resisted in our culture ever since it was first presented by Otto Rank. And we can attribute that resistance to accepting its reality to the fact that it triggers so much fear in people to even consider these perinatal influences.

Continue with Apocalypse – No! Chapter Eight: Perinatal Media

Return to Worse Homes and Gardens – Houses, Prisons, Schools, Dungeons, UFOs and Spaceships…and Their Obstetricians: Perinatal Media, Part 5

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Funny God, Part Three: Why God Creates Darkness. Why We Are Human. (peek-a-boo!)

Pain Ain’t Such a Pain and Peek-a-Boo

Part Three of Facebook…. Funny…. God(dess?)…. Experience

So, there you have it. Pain is the teacher. But it’s not pain that’s being imposed, or, you remember, is punishment. In fact, we’re the dumb asses that are pickin’ pain. God didn’t ever pick pain for us, except to bring us back to happiness and that’s what I’m getting at…God is so good, it’s amazing that…well, no, it’s not so amazing because, as you’ll see, it’s all perfect.

Horror Comes from What’s Kept in Darkness

Anyway, let me get back to what I was saying. I was saying that it just occurred to me about that whole lewdness thing that there is a kind of a universal that what’s ever kept in the darkness, is, well…the darkness is where we project all the things inside that we don’t know yet. And that’s where all the horror comes from, ok? It’s basically from darkness.

Training in faith, in not fearing

And, like I said, y’know, even in peek-a-boo that’s the case. But later, it’s God that teaches us, right? And basically, what we’re trying to be taught, in peek-a-boo with God, is not to fear, that when something is not in plain sight, basically not to project our own inner horrors on what always comes down to being no-thing…no thing at all!

The Purpose of the Human Form

The darkness makes a wonderful screen for projecting imaginary, truly mental, and fleeting as thought non-realities.

It is the reason for choosing the human form…in fact…. That is, to be completely ignorant of your identity with divinity. To be utterly ignorant of your identity with divinity is the purpose of the human form.

Well…to throw yourself, completely, into such a darkness, with the foreknowledge that God is good, and that you will always be in His, Her presence…. In fact you will be literally moving and thinking in total God immersion, and the only difference between people will be the degree to which they know that, or don’t.

Becoming human is God’s trippiest game.

So it is the trippiest game that God plays. Imagine, just imagine…it would be like any of us throwing ourselves onto another planet with complete total amnesia. And the game would not even be known to be a game! I mean you don’t know it’s a game, you just show up! That’s what’s so much different from us and the animals.

So, but, God plays this game…and we as God choose it because it is the most fraught with…well, let us say…let us simply call it peek-a-boo. By that I mean it is the most fraught with totally and sincerely believing the most horrible and hideous and terrifying things which can happen, because of that total amnesia…that lack of any link to truth.

Life Is a Dark Screen

Life is come into and without any remembrance of our true nature, right? Now, life is essentially, then, a dark screen! Because we have no sense of our true nature. It’s essentially a dark screen upon which anything can be found! Wow!

So the human form has its purpose in being a kind of a…well…the human form has its purpose in kinda being a purging. It’s not that there’s anything wrong with it, but just like a projecting out, so that it could be seen, of all the things that one would conceive as a unique divine actor.

Animals remember it is just a movie, unlike us.

But when in the presence of the divine or even, say, taking on an animal or other form where there is never that total amnesia only the kind of pretend that an actor has when performing a role in a play. See that’s what, that’s what theirs is. They always remember, so they’re always pretending…even when it’s like something horrible that’s in the script. And they never confuse the role with their own true essence.

How Can God Be Devilish?

So it is only us humans that can conceive the incredible horror and act out the most hideous things that can occur. How could God act devilish and murderous unless He allowed Himself? Think about it.

And I know you’re saying, why would God want to act devilish and murderous? Ok, alright, maybe I’m ahead of myself, but just hold that thought.

How ’bout if He allowed Himself to forget?

But say there was a reason. And I know you think there’s no reason—God is good, blah blah blah lightness and light and all that but just check, check this out now.

How could God act devilish and murderous if He needed to, unless He allowed Himself, willingly, to totally forget who He was. You still don’t get it. I see.

Well, for starters, let’s remember that there is no such thing as death, ok? It’s another impossibility. When you know the truth, there’s no such thing as death, it’s an utter impossibility. For God is All, and always existing, and all things that seem to be actual things and therefore separate are actually only variations on the One and Only Reality…I won’t even say thing or form, for they are illusions, too. Illusory props of the game.

It’s all so simple when you know. But knowing requires seeing or apprehending accurately. And the point of this game as humans is that it is impossible, as we are filled with the illusory. Totally wiping the God consciousness of knowledge, of its foundation, source, whatever, allows a kind of vacuum into which anything can crawl, in which anything can respond…in which the most obvious untruths are allowed to dominate the play of the game as if they were more than just the smoke they are.

It Is the Greatest Adventure

So it is the greatest adventure, fraught with the greatest possibilities of extreme fear, terror, and so on.

Still, aren’t getting it? In this…just listen…in this way God, who is not darkness, creates darkness. Now why would He want to do that?

Alright, first of all remember, that the darkness He creates is only fake darkness. Remember that. Remember peek-a-boo? The baby’s alarmed…but he was wrong. Ok?

And I think I’m gonna, I think I’m gonna tell you a little bit more. But if you think, if you’re starting to get that, you’re starting to get it.

God Playing Peek-a-Boo with Himself

So you see He creates…He cannot possibly be darkness, but in this way He does create it. Now, you ask, why would He do that? I’ll get to that. It’s kind of allowing a game of peek-a-boo in which one does not recognize one’s mother even when she’s in plain sight. So imagine the baby’s cries and traumas then. Imagine: mommy’s not there, mommy’s there, and the baby still thinks mommy’s not there!

So, it is this total amnesia that creates the possibility of not even knowing that.—not knowing God is actually there—impossible to be anywhere else—even even when not seen. This amnesia creates the possibilities of even more extreme, oh, how can I say, more intense pain. The baby becomes totally convinced that indeed momma is gone forever…and that he is totally alone, and must live without love…so surely he will die.

Indeed this does describe the state of many a human when in a state of total forgetfulness if you think about it. For, staring directly into the face of God, so to speak, he can be so overcome with fear as to only see the unique attributes that he, as God, has decided to adopt for this particular game of being in the world.

Alright, maybe that’s not really clear.

It was in front of you the whole time!

What I’m saying is this total amnesia unique to humans allows for the possibility, unlike any other game, where such fear can be held, that you can totally forget the face of God even when it’s right in front of you. The source of comfort is right in front of you, and all you can see is yourself.

And by that I mean, not you as God, but you as the unique creation that you created yourself as to try an experiment, y’know. Cause every, every living thing is an experiment in creation…and so it’s those little things, things that make us different, that might be the only thing we’d see. So that’s another part of it.

So, it’s such a fascinating game. For it allows darkness and hideousness, and war…murder…torture!…all that we abhor…that we abhor it is a sign that we are finding some roots in our true nature which is light and goodness. Still wondering why, huh?

Why We Create Hell and Satan

Ok, just a little more slack. This game even allows the creation of a belief in the opposite of truth…truth being no thing, except goodness, light, and bliss. It allows that humans, in their forgetfulness, and in their fear, existing without a glimmer of real truth, to conjure the opposite! So, a hell is concocted, and even an opposite of God, a Satan.

Rx for game of humanness: Take equal parts emptiness and stupidity…

So we’ve got a game that has components…I know it’s not all coming together, but it will…we’ve got a game that has components of total emptiness, and utter royal stupidity, which allows a belief that death is both an end to life and that it is painful. Don’t we believe that? Well, that’s not the truth, but that’s what we come to believe. Hey! That’s what we come to believe coming into human form.

Add a belief in a death…

Think of it. We got a game that has components of total emptiness and utter royal stupidity which allows a belief that death is both an end of life, and that it is painful. And that it is terrifyingly real, and terrifying because there is that darkness beyond it which…aaaaas usual!…all the yet unprojected interesting details of this temporary creation of God, this ego, can be viewed like on a movie screen. And lacking the fundamental truth that it is just a movie, well the parameters of this game allow for the most terrifying, most extreme feelings of any kind that is possible. Still not getting it, eh?

Asking, why would God do and make such a hideous possibility? Ok, well, for a second remember that, just like the baby, no matter what its fears, is lovingly taken care of by its mother. So the fears and all the darkness are only experiences…they’re just feelings. That means that they are not permanent, having no substance or foundation—like the reality of truth-awareness-bliss does…that reality is not gonna change—experiences, feelings are fleeting, impermanent, ultimately not real.

If God is all there is, and He can’t be on His side, who can?

For example, if your cat was to lodge itself under a porch, which if it stayed there it would die, would you hesitate to drag that cat out no matter how much it screamed and hollered and said, “oh yer…I’m in pain and everything”? Cause you knew you were taking care of that cat. You would do it. Well, let me just say that that’s kind of, kinda like the way sometimes we have to be treated by God. Because, well, actually to our credit we’ve chosen quite an adventure…and God loves God…and so we love ourselves and we’re gonna help ourselves out.

But sometimes we choose such an adventure that, uh, y’know…well…how can I say it? There’s no wrong adventures. It’s…there’s such…well let me just continue. Anyway, it’ll all come together, it’s like…[sigh]

The darkness, that the baby feels, whatever…the feeling of loss, it’s not permanent, it has no substance or foundation. The only substance out there that is true is that of Truth-Awareness-Bliss. These other things are fleeting. And, we don’t remember it now in human form, but most of Time of the timelessness of the Now, in which we exist—except for like going off on adventures like this in which we create time—we spend in that Truth-Awareness-Bliss.

And I’ll tell ya, I mean, from what… I mean, I can’t claim to have attained what, let’s say, the “residents” there have got. But I sure…it was the happiest time in my life. And I was all Truth-Awareness-Bliss…and, fucking laughin on your ass funniness…. I mean, I swear to God, this is the big surprise to me, that’s, that God is one…there would be no comedy I don’t think if there wasn’t a God…I think yea this particular gift, this particular creation…anyway…

The Poignancy of It All

Anyway, I’m surprised no one’s getting an inkling of the beauty, or you might see the perfect poignancy of such a game. There are so many other ways to describe its exquisiteness. I’ve got it. I will use your own truth to bring you to an appreciation of this.

Ok, you’re all God…pretending not to be. And you’re doing a heck of game today, by the way. It sure as hell reminds me again of the darkness we humans create here out of nothing as my frustration is of that. He!

But I have this secret that actually allows me to enjoy that frustration. Want a hint? A little hint that it is all in peek-a-boo, ok? Remembering that…all of it…not just a technique…remembering peek-a-boo, all of it, not just a technique, but the thing that humans always overlook, because it is actually God, and is the only thing that can be God…

In peek-a-boo…ok…alright…just continue…just continue listening….

This Is the Way, the Teacher, and the Path.

There is no physical world that exists. There are no words that are anything but a way to block out the vision of essence. But there is one thing, one thing always that exists, is always present, that contains everything, and that is everything, and is also the teacher, the path, the way…the way back to remembering…the way out of the darkness…the fear…or any of the more adventurous aspects of reality.

Did you notice I said adventurous, not negative, painful, or hard? Are you getting the notion? Let’s go back to that you are God. So therefore what you experience is always going to steer you to understanding. Did it not become clear from what I was saying just before this that thing, that thing which is overlooked in peek-a-boo, which is God? Did anybody get the…”

Forgetting where you put yourself

Yes! Anna! You got it. The experience of the baby is overlooked.

Yea. Notice! Anna, that you as a mother of three, having had many experiences yourself of seeing a baby in all kinds of states of feeling and experiencing the various experiential flavors that this game affords, you were tuned in to what is actually just the most obvious thing in the game, hell! It is actually amazing that our human amnesia could leave out the essence of existence as we were blinded by these physical things. Are you following this?

These physical things, which are only projections, not eternal, and certainly not real. For they depend on the perception of the seer for their existence! And there it is again—perception. Another clue! Hope you’re getting it.

Ok, enough of this tugging on your umbilical cords to yourselves as God for one day. Ok? This is not failure, for not getting it. So no need…for those looks…for there is no such thing as failure. And that’s part of the point, too. And all roads, everything that I’m saying leads to one and only one thing.

But before I spill the beans…and I’m going to…whether you get it or not…. Now, enough of this, you know, seeing if you can come to it now…. You will, in time.

Anyway, I just, before I spill the beans, I just thought of something funny. And have we already forgotten that God’s essential nature and that which we humans alone share with Him is that ability to laugh? Laughter. Wow. Like I said, all roads lead there…to God.

Let’s ‘Clast a Few Icons

Back to my little game for you though. Let us say we see what happens if we take…rather than trying to bring to awareness through gentle tugging at things you know inside but are not ready to remember…Let’s try instead a simple but effective way. I love iconoclasm.

Plato’s Cave

What’s an icon? It’s a piece of God that is described. Right? And now described is no longer seen. Now, what’s described is no longer seen, just the icons. Think about that.

Words, icons, the physical world

Well, there are all kinds of icons that we accept as totally real. And all of them block out reality…and cause you to not see the reality you are immersed in, as instead your mind thinks it lives in a world of reflections of your true nature. These reflections are called words, icons, and even the physical world.

What they all have in common is their ability to block out your perception of your true nature as God. What they also have in common is their ability to reveal your truth, when, in seeking God, you consciously decide to remove them from your perception. And what did I say they were? Words, icons, and the physical world.

Words = “monkey mind”

Some of that might be more obvious than others. We talk about words, the “monkey mind,” stuff like that. And you think well if you got rid of that maybe you’d be able to see God? He! But it’s the same thing—icons, the physical world…it’s the same thing as words.

Ok, alright…a road leading home. Oh well, sorry for the delay. You see, I only just myself caught this simple vision and I’m still in awe of the superb perfection of this game.

In Spite of Yourself

And thanks to you all for that, by the way [chuckles]. It’s a damn good thing (hu!)…It’s a damn good thing that all the fears you humans have about good and evil and your preoccupations with justice, innocence, and so on are just delusions. And by the way does it not occur to you that your seeming negative action toward me was the greatest gift I could possibly receive? But, you see, in spite of yourself you acted as God that you are. Hope you’re getting a little closer….

I’m just trying to return the favor a little. Well, this is my attempt at a little gift. Here’s my attempt to gift a little to you.

Unity is Reality, So…

We’ve all heard it said now innumerable times what the nature of God and Reality is. Ok? You can say it out whenever it occurs to you…I mean whoever wants to say it…I mean we have come so far as to know, somehow, that Reality is One. Alright? We all say Unity is what is Reality. Right?

We do service because…

Well the other ways we attempt to experience…there I go, again!…attempt to experience (there I go again) Unity is through service. In serving the unfortunate we invariably feel our heart—there’s another icon that we should dispense with I mean really…well maybe another time…. Let’s not do it all right now. We say it opens up, the heart opens up. Ok?

But what I’m saying is, the sense of Unity that we are trying to achieve, what we describe as where we’re headed, and the Ultimate Reality of it all, is always described aaaass One. Correct? And can anybody give me the other word for the other way that God is described, outside of being One.

[“Love?” is heard in response]

Does God Bore You? Ok, How About Truth?

Love. That’s pretty good. That is pretty good, because that is actually closer to the truth than what…. Closer. But not quite. It is Love…. It’s also hate…in a strange way…. But, uh, I’m backtracking to say that, so I’m going to just let you say He’s hate, but He’s hate, as us, having allowed Himself to completely forget. So He’s not hate…He’s not hate. It’s just an experience that a part of Him has wanted…is having.

I’m starting to, I’m starting to spill the beans here aren’t I? Oh, I hope I… well… if that slipped out, if you get it, that’s fine.

But anyway, what I’m saying is that…. Does this not sound familiar? You ever heard the word…Universal Consciousness…Universal Consciousness…we have One Consciousness? Didja ever think what the hell that means? “One Consciousness!”

The Cloud of Boring Sameness

We don’t think of it as conscience, right? Course some people do. They mistake the two and they just can’t get that out of their mind. So that’s a problem right there, but, huh? Consciousness…What do we think of it, how do we picture consciousness? Can you see consciousness? So how do you picture it? Like some gigantic cloud, right?

[Someone says, “y’don’t picture it…”]

But, it’s like some gigantic…empty thing, right? Am I right?

[“uh uh…”]

Well you just said you don’t picture it.

[“You don’t picture it. It’s just Total Awareness, it doesn’t have a form.”]

It’s Total Awareness, uh huh. It doesn’t have a form….

[“As you say, it’s no thing…”]

That’s true. But so you’re picturing it aaaas? Light? Er, something? Total Awareness?

[“I can’t really picture it. I can’t….”]

I know, I know but I can. And you could, so simply. Because it is the biggest..secret…of all, that is so obvious that you wanta die when you fucking understand it….

[“It’s Experience…that’s what God is.”]

Well, what would experience be? Don’t you see you hit it but you didn’t understand what you hit?

First of all I said I like being an iconoclast. Why do I like being an iconoclast? I just gave you an indication that this idea of Consciousness…which is like, yea, we all see it as being somehow…well, you can’t see it, right? Like you just said, right? It’s all some kind of an amorphous, like gigantic mind that’s invisible, you know, and creates colorful things…but it’s really just basically like a big, big grey sameness, maybe.

Well it sounds pretty goddamn boring! And thinking of it that way has really hurt a lot of people, y’know when, they’re, you know, when they want to become more of this Consciousness? I know I had a problem with that part.

But I’ll tell you…. You compare that One Consciousness, ok? with… That One Consciousness that we imagine with….

Is God nothing or no-thing?

Put it this way: How many people have you seen…sitting for hours and hours and hours trying to have like nothing in their brain!?

Y’know? Nothing in their brain!? That’s what they’re thinking is GOD!

[chuckling, “yea.”]

Why Don’t We Stop Crucifying Christ Already…

He’s actually a nice guy.

Or do they think God’s gonna show up in a nice pixie, er, elf uniform or something? No they’re not. WHATEVER THEY’RE PICTURING IS GODDAMN BORING! Look what they did to Christ! He was a funny guy! I know! I met Him up there! He’s still hanging out there. He likes to shoot pool and crap, I mean, I dunno. Ah, He’s older than me, what can I say?

So…we see all these people and they’re trying to empty their minds. And yet did Christ try to empty His mind? Did He? In fact if you think about Christ’s life, what we know most about it is suffering…right?

[“uh huh”]

What a rip-off!

And, we say He suffered for us…so that we don’t have to.

Wooow. What a bunch of hooey. Because, that would be like saying God became God so that He could prevent us from becoming God.

[“Ha, yea!…really!”]

Because actually…

[“That’s such a rip off” chuckling]

It’s such a rip off, it’s like He’s gonna feel, He’s gets to feel and we don’t… y’know?…

Continue on this site with
The Great Reveal, Chapter Five:
God Is Experience, Life Is a Disneyland

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Facebook Funny Revelations and the Mind’s True Liberation

“Funny Fantasy Becomes Hilarious Meeting with God
Who Reveals All Reasons behind Existence, God, Living Things;
So Much More Wonderful Than Ever Imagined by Humans;
and Sadly because Humans Are Not Yet Capable
of Even Imagining Such Love and Goodness”

– Comedic, Philosophical Monologue by SillyMickel Adzema

For the audio monologue of the entire Facebook… Funny… God(dess)… Experience click above for the link to the audio site…. or below on the audio player to listen to it here….

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Image of Funny Fantasy Turns Hilarious Meeting with God Who Reveals All Reasons behind Existence God Living Things So Much More Wonderful Than Ever Imagined by Humans and Sadly because Humans Are Not Yet C

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Continue on this site with
The Great Reveal, Chapter Five:
God Is Experience. Life Is a Disneyland

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