Driven By The Muse

Matriarchy versus Patriarchy (9)

The Venus of Willendorf (between 24,000 and 22,000 BCE). Naturhistorisches Museum, Vienna, Austria

So many writers, artists, musicians, journalists and a few politicians (those who haven’t been corrupted or assassinated, like President Allende of Chile) are inspired by the Muse. In fact, anyone who is an idealist is probably driven by the Muse.

Perhaps we all receive the Call of the Muse and some of us answer her call, some ignore her, or shut her up with cigarettes or alcohol, while others reject her outright, especially if their career trajectory, family and religion is opposed to what she stands for. That is to say, if their world is Archontic, anti-life.

Thus, I can’t think of any religious leaders who are driven by her, which is hardly surprising as the Abrahamic religions are all grotesquely patriarchal. If the face is a mirror to the soul, especially in later life, I’d say all leading Catholics are recognisably Archontic – the obvious examples being Pope Benedict and Mother Theresa. There’s a leaden, heavy, depressing, faux-smiling, faux-holy quality about them, which you may claim is a purely subjective opinion on my part, but I don’t believe so. Look at the Exorcist I talk about in the link later in this post. There is a similar worrying grayness about him which even his admirers would surely acknowledge.

In many instances, there’s also the sinister, Gnostic Shadow Religion lurking in the background and secretly motivating at least some of them. I’ve only focussed on the shadow offshoots of the Christian religion, but I’m aware that there are similar shadowy, mystical cults elsewhere amongst the other Abrahamic religions. The Syrian Alawites, for instance, are an Islamic religion which has strange and mystical elements of Gnosticism and Christianity blended into their Islamic beliefs. And that’s just the stuff they admit to.

Then there are the tech billionaires and the military, past and present. They all seem driven by the Archons. If that sounds like science fiction, does anyone have a better explanation for the demonic, anti-life behaviour of the politicians, military, billionaires and religions that seek to enslave us? In short, they are slaves to the Archons, the robotic entities that are in conflict with the Matriarchy, according to the earliest templates of esoteric belief. Inevitably they will both have other labels to describe them, but Archons seems as good a word to describe anti-life forces as any.

Musicians are so clearly driven by the Muse – their very name derives from her. But sometimes the Muse demands more in return for bestowing her creative gifts of inspiration. It can be seen with Roger Waters, whose work is so much more than pure ‘entertainment’ which is all his critics would like it to be. Similarly, Gilad Atzmon is a brilliant sax player, but also a political activist like Waters, and he incurs similar wrath from the establishment.

I’ve watched Gilad live at a couple of events. At one of them, he and his band were amazing but in between the numbers, he would talk about his political beliefs and make dubious jokes, neither of which went down well with the audience, who were jazz purists. In fact, I saw his band-members stand around with sullen expressions and roll their eyes as he talked about the situation in Palestine. They were there to play jazz and the Muse hadn’t widened their horizons to life – and death – beyond it. I’d just finished reading Gilad’s The Wandering Who?, heavily frowned upon by The Guardian, that one-time beacon of truth long since extinguished, and, after the concert, I asked him, whether he ever felt the forces aligned against him might destroy him? Was his life in danger? Gilad shrugged his shoulders and said words to the effect that he was driven; he had no choice but to do what he was doing, no matter what the consequences.

I’ve had a similar experience to these musicians. A leading British comic creator once angrily attacked me for writing political comics like Third World War. He said comics should just be ‘entertainment’ and I was ‘breaking the rules’ with my story in Crisis. It’s none of his business, of course, but he must have felt threatened to be so irate. In any event, I don’t have any choice in the matter. The Muse is She Who Must Be Obeyed and she has decreed that I write more than just ‘entertainment,’ which is why I often have little in common with many of my British comic peers who follow a different path. However, just this week a Spanish mature student got in touch with me regarding a film documentary she was making for her degree about Third World War. She had lived in Argentina for fourteen years and told me what a profound and lasting effect Third World War had on herself and her Argentinian friends. And its relevance to past and current political scenarios in Argentina. I had no idea Third World War had even reached an audience in Argentina! It was most heartening to hear, as the UK comic world is sadly corroded by the baleful influence of meaningless Archontic superheroes.

Third World War. Art by Carlos Ezquerra.

The Charley’s War artist Joe Colquhoun was undoubtedly driven. I once foolishly, but concerned for his health, suggested to him he might cut corners, reduce the amount of detail in his brilliant work, so he wasn’t always under such terrible deadline pressure. He replied that he had no choice; it’s what he had to do. We’re all aware of comic artists whose early work is amazing. You see them burn bright and then fade away and become a shadow of their former selves as they end up just drawing for the money, the result of working too long for Archontic British comic publishers. Their Muse has left the building. But never Joe. It was the reason why I had to get out and leave 2000AD – my creation – behind.

Olivier Ledroit, the artist-creator of Requiem Vampire Knight, is definitely driven by the Muse. Whatever the fantastic scenario I create for the Requiem series, he will add many more amazing and rich ideas of his own. They are too amazing to simply be some extra visual garnish. They’re often profound and wildly satirical with mythological and baroque visuals that rival that other great French artist – Philippe Druillet.

David Icke is also driven by some powerful force. His path may have been eccentric but he has a huge following, including people who would generally be described as conservative business men and women. He’s changed minds, exposed the crimes of the establishment, and enlightened many of us.

I would guess that John Pilger and comedian George Carlin, back in the day, were also driven by the Muse. I remember first reading John Pilger in The Mirror when I was sixteen years old. I immediately recognised there was something very different about his reporting – a passion, an idealism, and a search for the truth. I’ve followed him ever since.

Ammon Hillman is the only creative I know, apart from myself, who actually comes out of the closet and acknowledges he is driven by a Muse, as a separate, autonomous, psychic entity. He calls her Lady Babylon. He has a fascinating debate with a Christian Exorcist here:

The Exorcist’s hatred of the matriarchal Goddess is obvious and, to be fair, he doesn’t even try to hide it. In an earlier age, he would easily have been another Torquemada or a Mathew Hopkin, Witchfinder General. I noticed he was also quite into money, hiding it behind words like ‘donations’. But money is the Archontic hallmark of every Christian I’ve ever had dealings with. The Exorcist said Ammon was possessed by demons, but then he would say this about any psychic entity that didn’t claim it was Jesus. Personally, I’d be more suspicious of any voice that said it was Jesus.

Although I do believe the Exorcist was right in suspecting Ammon is probably also driven by ancient, transgenerational forces as well as his personal Muse. He noted Ammon’s unusual Biblical name Ammon, for example. For a name to be carried down through the family possibly for two thousand years is remarkable. And that would appear to be the case. To tattoo the name of the Goddess – Medea – on the side of your head is even more remarkable. Inevitably, the Exorcist saw all this as evidence of evil.

But such complex transgenerational legacies that leave their mark on all of us are now slowly being incorporated into the science of epigenetics – the study of inherited genetic traits. They are presented as something newly discovered, but everyone’s always known about family curses and inherited family strengths, weaknesses and addictions. Or how the bitterness and anger of one dead family member will skip a generation and manifest itself in the next entirely innocent generation, so everyone’s left wondering: where the hell did that come from?! Psychology is left struggling for an answer. Some of the causes and scars are obvious – like the Ukrainian Holodomor, the Jewish Holocaust and the Irish Great Hunger. Survivors of such tragedies can leave their epigenetic imprint on their successors. Guilt that they’ve survived, for example. Tribal societies, such as the Zulus, have long recognised the phenomenon and they inspired Burt Hellinger’s modern therapy of family constellations widely known and practised in Europe. I’ve tried it and it seems to work, although it takes a lot of setting up because participants represent a constellation of family members alive or dead. Participants really seem to speak ‘in tongues’, as powerfully as actors in a workshop, but without any of their training and experience. It’s quite something to watch or take part in. Doubtless the Exorcist would see it as a form of possession, inevitably demonic possession, unless the participants spouted some Christian message. I believe such transgenerational influences go all the way back to Neolithic ancestor worship, which must have included ‘epigenetic’ aspects.

But the most extraordinary example of the Muse I’ve come across is a work by a writer – Terry – who is well worth lingering on. In the late 1980s he wrote an amazing and massive draft document which he sent me, about matriarchy and the nature of language. When collected together the pile of pages was three feet high! And they were produced on a typewriter at the end of the pre-computer age! I still have much of the document in my cellar.

But was he driven by the Muse? Or by a very different force?

I’ll get into it next week.