Voice and Unvoiced In English Language Teaching
When teaching ‘Presentation’, a form of EAP (English for Academic Purposes) offered by institutions to government clients, who want to ensure that their employees are able to present their point of view to English speaking foreigners, the ELT professional invariably encounters the problem of explaining how it is that the English pronunciation of ‘the’ and ‘three’ sounds differently to the ear because a voiced ‘th’ isn’t the same when unvoiced. It was the science fiction writer, Frank Herbert, that developed the concept of voice in his novel, Dune (1965), which was about a planet called Arrakis, a desert world whose people, the Fremen, relied heavily on their knowledge of the use of sound for survival. For example, the Fremen employed a device to make rhythmic sounds upon the surface of the sand of the desert to call worms, that is, giant creatures resembling the sandworms of Earth, which the Fremen then harnessed to ride across the desert as a simple and convenient means of transporting themselves from one place to another.
In Dune Herbert describes the Bene Gesserit witches’ training in ‘Voice’, a means of issuing commands on a subconscious level, so that others can’t resist being compelled to obedience. Gesserit Voice can be strong enough to force physical action, and even paralysis, in the subject. Voice can be subtly employed in any manner of conversation, public speaking, or debate; to soothe, convince, persuade, influence, and otherwise enhance the spoken word. If the target understands what the Voice is, and how it works, and is aware that it’s being used, it may be resisted. Voice is useless against targets who cannot hear, and in English language teaching the voice of the teacher is useless with those who don’t want to understand the ‘target language’. Moreover, the native speaker of English would be resistant to Voice if it were used upon them, because they can’t understand the language of the desert peoples of the planet Earth’s Middle East region. However, a ‘Weirding Module’ is a sonic weapon introduced in and specific to Dune, the 1984 film adaptation directed by David Lynch, which translates specific sounds into attacks of varying potency.
The leading family on Arrakis is House Atreides, and its head, Paul Atreides, and his mother, ‘the Bene Gesserit witch’, Jessica, teach Voice to their Fremen army, ‘My own name is a killing word.’1 In fact the Fremen shout the name by which Paul Atreides is known by them as a battle cry, ‘Muad’Dib!’ Moreover, Paul’s name is a trigger for the Weirding Module, that is, the sound weapon that the Fremen are instructed in the use of by the Gesserit Voice teachers as a part of their ‘Weirding Way’. Consequently, for Arabian students who’ve seen the subsequent TV series, Dune (2000-), and who identify themselves with the science fictional characters, the Bene Gesserit witches’ advice to the desert dwelling Fremen is sociopathic, ‘… you will be able [to] paralyze …. an enemy or burst his organs.'2 Because of the language barrier, forcing the ELT professional to shut up and have their organs explode is a matter for the students’ understanding that Voice won’t work on those who can hear but can’t understand their language of Arabic, for example, so it’s only necessary to use ‘plosive consonants’, that is, p, t, k, b, d, and g. in order to slave drive the teacher and give him/her a heart attack if he/she shows any resistance to the coffin already prepared.
Director David Lynch’s Weirding Module wasn’t a sound weapon derived from Frank Herbert’s 1965 novel, Dune, although the device is a part of the science fictional armory available to the Fremen in Part One of director Denis Velleneuve’s 2020 film version of the 1965 novel. In Lynch’s 1984 movie the Weirding Module weapon system came in two pieces: the throat microphone and a gun-like device held in front of the mouth for the ELT student to cough in, for example, so producing the plosive consonants of a directed energy weapon (DEW). Sounds from the Weirding Module of Dune actually do cause explosions in the sense that the directed sound causes buildings to crumble and other structures, for example, human bodies, to crumple and collapse. For students who don’t like school, and for teachers who have to teach, it isn’t science fiction. Making the ELT professional ill enough to remove them from their post is a students’ activity that isn’t indicated as being an aspect of the teacher’s expected impotence in dealing with the curricula when the supposedly lucrative contract is signed to take them into the war zones of the Middle East where Westerners are often the target of terrorism. The premise of Dune is that Shaddam IV persuades the Atreides’ arch-rival, House Harkonnen, to attack House Atredies because it’s become too popular for the emperor to ignore it as a threat to his rule, ‘We will kill until no Harkonnen breathes Arrakeen air!’ In the Middle East where Saddam I of Iraq was deposed by the invading US army in March 2003, terrorist acts against Western workers are routine, and teachers are a ‘soft target’.
According to a designer of the science fiction world of the 1984 Dune movie, artist Ron Miller, the idea of death being a cough in sound had been the subject of US’ scientific research for at least a generation, ‘… inspired in large part by the old childhood trick of making a vortex cannon from an old oatmeal box.’2 Miller explains that there isn’t any escape, for those who don’t want to get into the cough-in-box, that is, the Fremen weapon hand-held in front of the plosive consonants emitted from their throat-mike implantations. ‘Uroshnor’, for example, is an example of a killing word/sound directed at the mind and body of the Harkonnen target, which contained ‘… energy that generated the lethal sound.’ Of course, Dune is science fiction, which suggests that a cough-in-box is sufficient to kill in reality, ‘Chuksa!’ Should the classroom terrorist wish to inflict a heart attack upon the native English language speaker visiting Baghdad, that is, to improve the lot of the war torn, ‘Bless you!’
1 MacLachlan, Kyle as Paul Atreides in Dune, Dino De Laurentiis Corporation, 1984.
2 Future War Stories, https://futurewarstories.blogspot.com/2019/02/the-weapons-of-sci-fi-weirding-modules.html .
Another Drop Of Boy Sons
In 1959 Robert A. Heinlein (1907-88) wrote a much cleverer novel than anyone thought, Starship Troopers, which described how mothers from Earth piloted starships to drop their boy sons on the planet Klendathu in response to an unprovoked destruction of the South American state of Argentina’s city of Buenos Aires. The invasive aliens are arachnoids, called ’bugs’ by Heinlein’s Mobile Infantry (MI), and extrapolate from the wars of men upon the Earth that aliens are what Earthmen are, that is, boy sons are poisons developed by a species’ exterminator to exterminate the human race by using itself against it. As Heinlein chooses arachnoids as his ’bug menace’, it’s logical to suppose that’s what he meant.
The mysterious rolling away of the stone from the tomb from which Jesus ’Christ’, the Jewish Messiah, emerged after experiencing being taken to the hill of Calvary outside the city of Jerusalem, where he was nailed to a cross of wood by agents of the Roman Empire then occupying Palestine. Jesus’ subsequent Resurrection from death has all the signs of someone escaping from a ctenizidae, that is, a trap door spider, which places a stone atop its lair to disguise its lying in wait there to trap its prey. Jesus’ basic teaching is, ’Love your neighbor as you love yourself.’ (Mk: 12. 31) However, there are indications that he wasn’t happy with men, for example, when Judas, his disciple, caught him with a woman, he suggested that Jesus sell the ’perfume’; to which Jesus replied: ’Leave her alone.’ (Mk: 14. 6) Judas subsequently sold Jesus to the Jewish religious police, the Pharisees, for ’thirty pieces of silver’, and they gave him to the Romans for execution as a ’dissident’. Just why Jesus was dangerous is evident from his birth. Born uncontaminated by male semen from his mother, the Virgin Mary, Jesus represented ’woman’s seed`, that is, the hidden fact that futanarian women can sexually reproduce their own species of women from their own penis’ semen. Consequently, when Jesus had Ascension to heaven after Resurrection it prefigured that of ’woman’s seed’ and her escape from the boy sons of the spider’s trap, which was Empire.
Among the first Western Empires was that of the ancient Greeks who institutionalized host womb slavery of women for homosexuality in pederasty for war, which suggests that’s what arachnoids do. Moreover, the Greeks were immortalized in the poet Homer’s Iliad (760-10 B.C.) description of the huge hollow wooden horse they put outside the gates of the city of Troy for the Trojans to take inside where the greeks emerged to capture the city for host womb slaving and homosexuality in pederasty for war. By the late 20th century the Greek paradigm had been replaced by that of the geeks who devised bad machine code to inject computer brains with Trojan viruses and kill them. Although the paradigm was perceived to be that of the ’incurable killer disease’, HIV/AIDS, transmitted by men mixing blood, shit and semen in each other’s anuses, which was discovered as a mutated variant of the simian SIV virus by DR Congo in 1983, the paradigm was actually to be found in ancient Greece. Consequently, Heinlein’s boy son drops on the planet Klendathu to deal with ’the bugs’ represent the launch of HIV/AIDS as homosexuality in pederasty’s ’biological weapon’ of the spider-men of Imperial war. Or, in simpler terms, because women aren’t depicted in the culture’s mass media as sexually reproductive with each other as a species, men and women have been manufactured as a single male brained alien creature wearing each other’s clothes in ’TV’ transvestism so that they can be made to participate in ’TV wars’ for the alien species’ exterminator to watch die.
The TV eyes are important because, as species’ sex becomes less important for the homosexual alien, numbers assume greater significance. Masquerading as economics, the considerable social factor is blindness, that is, it’s about who can see. In Jesus’ disciple John’s apocalyptic Revelation of the future: ’Let he that has wisdom have understanding. The number of a man is the number of a beast and his number is six hundred three score and six.’ (Rev: 13. 8) In the absence of ’woman’s seed’, 66.6% of the alien democracy determines Earth’s politics, which includes war. Without women’s mode of sexual reproduction, the human species of futanarian ’woman’s seed’ is beheaded, that is, eyeless and blind. Consequently, in socio-economic terms, those eyes are accounted for, because they won’t see anything: ’The dragon was wroth with the woman and went to make war ont he remnant of her seed.’ (Rev: 12. 17) Moreover, the future of ’woman’s seed’ is threatened: `The dragon stood before the woman who was about to give birth so that it might devour her child the moment it was born.’ (Rev: 12. 4) From an economist’s point of view, those who can see are economically successful, whereas those who can’t aren’t. The objective of alien government then would be to enslave the host wombs of the native species for homosexuality in pederasty for war to racial extinction while being able to watch, which is what 9/11 ’live on CNN’ represented. Terrorists hijacked civil airliners at Boston, Logan airport, Massachusetts, to crash into the World Trade Center in New York city to precipitate war. As it was September, 2001, the ’events of 9/11’ were based on the science fiction novel Logan’s Run (1967) by William F. Nolan, and the subsequent terrorist bombing of the Boston Marathon on April 15, 2013, was equally an attempt to correlate Logan’s society of ’runners’ seeking to escape from ’sandmen’, whose job it was to kill all those who reached their 21st year, because of the need to be economic with scarce resources, with preventing the futanarian future of ’woman’s seed’ from celebrating its birthday at the beginning of the 21st century.
In Moslem Arabia where the dictator of Iraq, Saddam Hussein, was deposed through invasion by the US army in March 2003 for offering bases to the terrorist group Al Qaeda operating out of Afghanistan under the auspices of the notoriously misogynist taliban regime of Afghanistan, only the women’s eyes can be seen publicly as they wear the one-piece coverall of the burkha, which is biblical: ‘But she was given two wings like those of a great eagle so she could fly to the place prepared for her in the wilderness. There she would be cared for and protected from the dragon for a time, times, and half a time.’ (Rev: 12. 14) Persuading the eagle of the United States of America to attack ’woman’s seed’ was an alien masterstroke. However, it’d been in the planning since at least 1933, when moves were made in the district of Hollywood, city of Los Angeles, mass media capital of the world on the west coast of the USA, to blind audiences to women’s mode of human sexual reproduction with each other. President of the Motion Picture Producers and Distributors (MPPDA) Will Hays’ ’Hays code’ banned scenes of sex between women to prevent their futanarian foot from ever being able to leave the floor of the Earth’s bedroom: `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).`1 As Moslems permit themselves four wives, it affords the possibility of reproduction amongst the human species of women within their own species’ families. However, without ’woman’s seed` there are no human eyes. Consequently, the US’ eagle was sent to claw her eyes out. In simple terms, the ’number of the beast’ is the one who can see where all the rest are blind. The US air force sent its B1 bombers, because ’woman’s seed` wouldn’t be ’a man’, and its B2 bombers ’live on TV’ because men and women were manufactured as one:
’Let's just do it you and me
You and me
On the floor.’2
’3’ was the Britney Spears’ pop song about alien economics. Western Judeo-Christianity preaches monogamy for a human futanarian single species, which doesn’t need ring slavers in order to be independent. Consequently, the quest for the right person is eyesight economics. Those who spend their time looking are slaves to a pair of legs, and sexual desire keeps them happy with what they’re permitted to look for. As the Eastern European nations joined the European Union, the old ’Cold War’ conditions of spies and spying seemed to be a thing of the past as the Russians withdrew from those parts of Europe they’d held since their armies had moved west to defeat the German Empire in World War Two (1939-45) as it looked to improve on its first attempt to enslave the Earth since its defeat in World War I (1914-18). However, the old formula of sex for secrets prevails. In accepting the former Soviet Union’s version of Judeo-Christian monogamy, the blind are those who are still looking starved, because there’s only a ’beast’ to watch over them:
’A pretty girl is like a melody
That haunts you night and day.
Just like the strain of a haunting refrain,
She'll start upon a marathon;
And run around your brain.
You can't escape, she's in your memory …’3
1 TV Tropes, https://tvtropes.org/pmwiki/pmwiki.php/Main/FootPopping/ .
2 Amber, Tiffany, Max Martin, and Shellback ’3’ Britney Spears, The Singles Collection, Jive, 2009.
3 Berlin, Irving ’A Pretty Girl Is Like A Melody’, 1919.
Torturing The Food To Death After It's Fucked It
Because men and women are only capable of fucking and eating in physical terms, that is, apart from defecating, that’s the function of the body, creativity develops from that. In psychological terms, the ‘father of psychoanalysis’, Sigmund Freud (1856-1939), argued that civilization, culture and art was ‘nothing but’ the result of sexual repression, while using ‘penis envy’1 as the basis of his thesis. What Freud noticed was that girls experienced ‘penis envy`, although he didn’t examine the biological evidence of women who have penis and semen of their own, that is, futanarian ‘woman’s seed`, which would explain why girls experience ‘penis envy’, because theirs is an independent species whose imagery isn’t disseminated through the mass media, so that girls can be educated in the alternative possibilities for fertilization of their ovum. Consequently, Freud’s repression theory of an ‘id’ that contains everything that the unconscious mind doesn’t want to deal with consists of futanarian imagery.
After Freud, the developmental psychologist, Carl Gustav Jung (1875-1961), posited a theory of the archetype, a facultas praeformandi in the unconscious mind that, in dreams, art and the imagination, impelled the individual to become conscious through what Jung called ‘archetypal imagery’, for example, the hero figure represented the ego, and the mother, sister, daughter, wife, etc., a soul image Jung called the anima. Although Jung observed that the hermaphroditus appeared in alchemical texts, which he interpreted as having something to do with the emerging consciousness of the medieval period, it didn’t occur to him that what he called the mysterium coniunctionis or ‘royal marriage’ of opposites, that is, the hierosgamos, was an actual physical possibility, represented by the union of women with penis’ semen and women without, although it would have explained Freud’s theory of sexual repression, that is, civilization, culture and art was ‘nothing but’ the result of the repression of human sexuality, where women are the species’ butt.
Although the 20th century was in many respects a great flowering of creativity, imagination and art, it was also a period of hideous atrocities and appalling waste, for example, the extermination of 20, 000, 000 Jews in the death camps of the elected National Socialist (Nazi) Party of Christian Germany from 1933, and the hijacking of civil airliners by the terrorist group, Al Qaeda, ‘the base’, operating under the auspices of the notoriously misogynist Taliban regime of Afghanistan, before crashing them into the Twin Towers of the World Trade Center in New York city, USA, on September 11, 2001. Though these events amongst many seem unrelated, it’s understandable if the Old Testament of the Jewish Torah and Talmud, that is, their history and law, is referred to, because in the Bible humans are defined as ‘woman’s seed’.
Although God tells the first created woman, Eve, her ‘seed’ will have ‘enmity’ with the ‘serpent’s seed’, ‘You shall crush the head of the serpent but he will bruise your heel.’ (Gen: 3. 15) In the New Testament of the Bible, Jesus’ disciple, John, in his apocalyptic Revelation of the future, describes the results of a growing serpent, ‘The dragon was wroth with the woman and went to make war on the remnant of her seed.’ (Rev: 12. 4) The New Testament was based on the teaching of Jesus ‘Christ’, the ‘Messiah’, and was believed by the Christians to supersede the Torah and Talmud of the Jews, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) During the Roman Empire’s occupation of Jewish Palestine, Jesus was taken to the hill of Calvary outside the city of Jerusalem as a ‘dissident’, where he was nailed to a cross of wood and died. However, his experience of resurrection, and ascension to heaven after death, prefigured that of ‘woman’s seed’, because Jesus was born uncontaminated by male semen, from his mother, the Virgin Mary, and ‘We hold these truths to be self-evident …’2
The serpent in the paradise of Eden created by God was the angel, Satan, according to the Bible, who was turned into a serpent for rejecting God’s plan that the human host be greater than the angelic. Persuading Eve to accept the ‘fruit of the tree of the knowledge of good and evil’, which was death, Satan overcame Eve’s resistance to selling her species into ephemeral slavery, saying ‘You shall be as gods.’ (Gen: 3. 5) Afterwards, Satan was in the role of plagiarist, because God’s intention was that ‘woman’s seed’ would be civilization, culture and art. Or, to put it another way, Freud’s theory of ‘id’ repression psychology plagiarized Satan, while Jung’s developmental psychology was based on Satan’s palimpsest, that is, he deduced that the unconscious contained an archetype he viewed as approximating to God but it was so well buried it was almost impossible to discern ‘woman’s seed’ struggling to breed.
By the early 20th century the foremost home communications’ device, the internet, was able to admit that women’s penis’ semen existed, although there was a bizarre taboo amongst pornographers preventing images of futanarian women having sex with women without penis’ semen of their own, although it did emphasize its meat as slave aspect. Consequently, the opposing creative philosophies were Satanism, and ‘woman’s seed`, that is, civilization, culture and art based on fucking and eating with good taste, and slavers’ wars based on fucking and eating who tasted good.
In the novella, The Unpleasant Profession Of Jonathan Hoag (1959), by science fiction writer, Robert A. Heinlein, for example, Hoag is a Critic amongst other Critics of the world, which is revealed to have been created by an ‘artist’ as a student project. Eating and drinking is an aspect of the creation, and sex, which of course is what humans are physically designed for. The ‘Sons of the Bird’ are an artistic mistake ‘painted over’,3 although they remain powerful, and await expungement, that is, they represent slavery. Hoag advises his friends, a couple, Ted and Cynthia, to leave the city, Chicago, Illinois. When they roll down their car windows, all that’s visible outside is pulsing, luminous mist. Now, every night before going to sleep, ‘he handcuffs one of her wrists to one of his’, which symbolizes the irony of a slaved society.
Although the simian SIV virus mutation, HIV/AIDS, had been discovered by DR Congo in 1983, an ‘incurable killer disease’ transmitted by homosexuals mixing blood, shit and semen in each other’s anus in mockery of women’s human mode of sexual reproduction, it wasn’t generally perceived that the monkey-fuckers were aliens launching a ‘biological weapon’ against ‘woman’s seed`. However, since ancient Greece’s institutionalization of women’s host wombs for homosexuality in pederasty and war against her species, it had become evident that the future of men was as the HIV/AIDS’ injectors of the ‘serpent’s seed’ in its ‘plague game’; biological warfare: `Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.’ (Rev: 16. 11) What they’d done was introduce contaminated meat, which annoyed the butchers, ‘We the people …’4
The 20th century movie about slave meat was Soylent Green (1973), based on science fiction writer Harry Harrison’s novel, Make Room! Make Room! (1966) in which industrialization has led to overcrowding, pollution, and global warming due to the ‘greenhouse effect’ in which urban conurbations produced heat that melted the ice at the poles, for example, and caused flooding, cyclones, famine, and plague, etc. The premise of the film is that, by 2022, 40 million people live in New York City, a state of decay. Most of the population survives on rations produced by the Soylent Corporation. Its latest product, Soylent Green, is advertised as containing ‘high energy plankton’ from the ocean, which is more nutritious and palatable than ‘Red’ and ‘Yellow’ but not so easily obtained, while riots at ration distribution centers, when the Soylent Green is exhausted, result, ‘When I was a kid, you could buy meat anywhere!’5 Scientists discover that the oceans no longer produce the plankton, so they infer that it’s produced from human remains, which is the only other conceivable supply of protein matching the product specifications: ‘Ocean's dying, plankton's dying ... it's people. Soylent Green is made out of people. They're making our food out of people. Next thing they'll be breeding us like cattle for food.’6
Some of the people in New York city are so disgusted with their degraded lives they seek assisted suicide at a government clinic advertising a ‘return home to God’, which euthanasia employs visuals and music featuring extinct forests, wild animals, rivers, and ocean life. Much in the way that the men and women manufactured as a single male brained creature wearing each other’s clothes in ‘TV’ transvestism occlude humanity from perceiving ‘woman’s seed’ as an antidote to homosexuality in pederasty for war against the Earth’s indigenous species; by presenting a false picture transmitted into homes by the ‘TV’ medium of television, etc. Actor, Charlton Heston, in the role of Frank Thorn, the detective, observes human corpses being ‘converted’, ‘Soylent Green is people!’ The metaphor is a not-so obvious parody of Catholic Christian conversion, because futanarian ‘woman’s seed’ doesn’t want to be the ‘cattle like’ food, although its preachers have obviously shot their congregation in its futanarian ‘foot’ by refusing to accept that the soil it’d been lent wasn’t for the ‘serpent’s seed` to hold as self-evidently its.
1 Freud, Sigmund, On Sexuality (PFL 7), p. 195-6.
2 United States’ Declaration Of Independence, July 4th, 1776.
3 Heinlein, Robert A. [John Riverside] The Unpleasant Profession Of Jonathan Hoag, Unknown Worlds, October 1942.
4 United States’ Declaration Of Independence, July 4th, 1776.
5 Robinson, Edward G. as Sol Roth, Soylent Green, MGM, 1973.
6 Heston, Charlton as Detective Frank Thorn, Soylent Green, MGM, 1973.
The Purge: Coprophile Criticism
Literary criticism is usually thought of as being either an analysis of the author’s mind based on the text, or of the text independent of the author’s intention. Consequently, Jungian literary criticism, which is based on an analysis of the educational intent of the author is a dominant form. According to the developmental psychologist, Carl Gustav Jung (1875-1961), literary products are an expression of what he called ‘the Self’, which was conscious and/or unconscious to a lesser or greater degree. The work could be analyzed critically to determine to what extent the author intended to write what was written, and also what the author was unconsciously revealing about his/her nature and/or human nature through the text.
Criticism that didn’t consider the author or text as anything other than a convenience for their opinions about civilization, culture, and art, were identifiably coprophile, that is, the work of the author was an excretion, which was what the author was. This approach to literature derived from Jung’s predecessor, Sigmund Freud (1856-1939), who described all civilization, culture and art as ‘nothing but’ the excretions of the sexually repressed human mind. For Freud the unconscious was the repressed ‘id’, which essentially was a convenience from whence humans excreted, whereas Jung’s perception of the unconscious ‘Self’ was of a consciousness in the process of becoming. Jung posited a collective human unconscious containing what he called ‘archetypes’ existing as a facultas praeformandi, that is, a pre-existent capacity to adapt. Jungian psychology identified many archetypes, for example, the hero, which was associated with the ego, and the anima corresponding to various aspects of the feminine and/or female, that is, mother, daughter, sister, wife, etc. Jungian literary analysis used archetypal knowledge to interpret text and mind of the author in order to understand what was being expressed and/or activated within the mind of the reader, so providing an analytical framework for determining a work’s positive or negative effect.
Although humans constitute a pool of knowledge, which can be accessed, for the coprophile humans should be a cess pool. Analysts are associated with the concept, ‘anal’, because they’re prepared to examine the products of human consciousness after Freud’s defining it as ‘nothing but’ excretive. Coprophiles, however, believe Freud, that is, all human activity is excrescence, that is, ‘shit’. In literary terms, this results in a determinist approach towards criticism that is coprophile. The author and the work are interpreted by as being of the degree of worthlessness that the mind of the coprophile can ascribe to it. Consequently, much of supposed literary analysis is thinly disguised coprophilia, because the critic is in love with their own shit and so reject the text as not being the convenience they want in order to express their self-love. The result is that society’s development can be measured by reference to the extent to which coprophile analysis prevails, that is, demonstrable ignorance of the text on the part of the critic.
A sociologically pertinent instance is ISIS, the Independent State of Iraq and Syria, whose flag, ‘There is no God but God’, features a bone white moon. Isis was the sun goddess of ancient Egypt, which religion was superseded by Islam. Although the Prophet Mohamed’s Koran (610-30 C.E.), which was supposedly gifted by the angels of God, forms the basis of Islamic belief, Islam is perceived by Judeo-Christianity as illegitimate, because Mohamed was of the line of Ishmael, who was the second son of Abraham, the father of Isaac, who founded Judeo-Christianity. When Sara, his wife, became barren, she gave Abraham her maid, Hajer, who bore Ishmael. Judeo-Christianity perceives Islam as illegitimate because Hajer was unwed. Consequently, a preoccupation with Islamicists is legitimacy. The Moslem peoples’ permitting themselves four wives is a retroactive attempt to legitimize Ishmael’s birth from a woman unwed by making polygamy de rigeur. Moreover, according to Jung, there are four functions of consciousness, that is, ‘Sensation, Thinking, Feeling and Intuition’. Coming to consciousness is a process of developing the functions, so the four wife marriage of the Moslem peoples is a developmental archetype. The earlier model is demonstrated in the ancient Egyptian myth of the sun god, Ra, who incarnates upon the Earth as Osiris, who is dismembered by his evil brother, the god Set, before Isis, the sun goddess, recovers the pieces of Osiris’ dismembered body and restores him. The four-part myth describes the process of what Jung called ‘individuation’, that is, individual development or growth through experience of the world.
The Independent State of Iraq and Syria (ISIS) is symptomatic of coprophile analysis, that is, associated with the bone white sterility of the moon, whereas Isis is the name of the resurrecting Egyptian sun goddess, ISIS is deterministically nihilist, because it’s rejective of life. Christianity, however, perceives itself as the expert on Resurrection, because Jesus ‘Christ’, the Jewish Messiah, was taken to the hill of Calvary outside the city of Jerusalem by agents of the Roman Empire then occupying Jewish Palestine for preaching, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) Nailed to a cross of wood, and left there to die as a ‘dissident’, Jesus experienced Resurrection and Ascension to heaven, because he was born of his mother, the Virgin Mary, so represented the future Resurrection and Ascension of ‘woman’s seed` to colonize the planets amongst the stars. The futanarian human species of ‘woman’s seed’ capable of sexually reproducing humans between women was what men had repressed. Although Sigmund Freud identified ‘penis envy’1 as the root of a young girl’s problematic psychology, he didn’t understand that it was her race that had been made almost extinct by men, so she was angry at not having a penis of her own, which futanarian women have. In short, Christianity is an instance of coprophile criticism, because Jesus’ teaching has been repressed in favor of a simplistic convenience.
Although ISIS, and ISIL, which was a title adopted by, amongst others, Moslem Russian Chechnyans in the Caucasus, who wanted an Independent State in the Levant (ISIL) where Jewish Palestine is situated, represent a concern with borders, it’s the borders of death cards for ‘woman’s seed` that’s the real issue. Russian President Vladimir Putin warred on Chechnya to secure the city of Derbent at what’s known as ‘the gateway to the East’, that is, the former Empire of Persia, which became Iran and Iraq, where ISIS’ leader Abu Bakr Al Baghdadi was declared the ruler of a new Islamic Caliphate in June 2014. Moreover, it was Russia’s decision to withdraw its influence over Yugoslavia that resulted in the Moslem-Christian wars for independent states in the region. During the Bosnian war (1992-5), for example, 70, 000 Moslem women were placed in ‘rape camps’ by Serbian Christian militia to ensure that a generation of newborn Moslems would be male brained, that is, it was an act of extinction of ‘woman’s seed`, because the human futanarian species of women was being targeted by those concerned with securing their borders against her. In simple terms, humanity’s borders were those of her death card, and her borders were being patrolled by her death camp guards. Because Moslems were permitted of four wives, their families were archetypal structures for the sexual reproduction of women between women, which was Christianity didn’t want Islam. However, Islam’s mistake was to equate men with humanity, that is, ISIS espoused the sterility of the bone white moon, and with ‘There is no God but God’ as its emblem, whereas the sun goddess Isis was the more ancient Egyptian symbol for life through women which was legitimate. Or, in other words, the borders of women’s death guards are an instance of the coprophile critic having achieved ascendancy over the life of the author, Mohamed, and the text, the Koran.
Although the terrorist attack by Saudi Arabia’s Osama Ben Laden’s Al Qaeda group operating out of Afghanistan under the auspices of the notoriously misogynist Taliban regime on September 11, 2001, has been interpreted as an instance of ‘rough trade’,2 that is, a brutal act of homosexuality directed against the World Trade Center in New York city after the terrorists hijacked civil airliners to crash into the Twin Towers of the WTC, 9/11’s events signaled the beginning of the Levant’s wars. Because futanarian women are known for having huge penis, they’re elephants to men, that is, the human species of ‘woman’s seed’ is the target of their hunting. In short, 9/11’s events were aimed at provoking the United States of America’s attack on the only family unit to provide the possibility of human sexual reproduction between women, that is, Moslem Islam’s.
As Iraq’s dictator, Saddam Hussein, whose army had previously invaded Kuwait in what was known as ‘the rape of Kuwait` in 1990, before it was ejected by the US’ army in 1991, publicly espoused Al Qaeda, the US ‘ army invaded and deposed him in March 2003, but the result was Iraqi Abu Bakr Al Baghdadi’s ISIS, that is, an instance of coprophile criticism, whereby the sterile bone white moon became associated with the Egyptian sun goddess, Isis, who wasn’t a symbol of her human species’ death. In other words, because the male brain is dyslexic it misinterpreted the text. Repressed into unconsciousness, futanarian ‘woman’s seed` represent the only possibility for the sexual reproduction of a psychologically balanced and conscious human race. However, manufactured as a single male brained creature wearing each other’s clothes in ‘TV’ transvestism for an alien to watch in ‘TV wars’ against itself, the human species can’t analyze its authors and texts well enough to avoid being exterminated in coprophilia.
A political instance of coprophilia is a purge, which takes the form of intellectual suppression, that is, the ruling elite prefer shit, because intelligence poses a threat to their power. In the USA a TV series, The Purge, made the transition from a ‘big screen’ movie series, which began with The Purge in 2013, and examined what would transpire if all crime was made legal each year for a single day. The theory is that of catharsis, which derives from the belief of the ancient Greek dramatists that their audience’s imaginations participated in the action to the extent that they were cleansed. However, it’s more likely that cinema encourages its audience to act out what it sees. In short, The Purge represents what happens when a society defecates on itself, because it can’t control its rulers who, in the alternative US’ reality posited by the movie series, are ‘The New Founding Fathers of America’ that, in 2014, following ‘economic collapse and social unrest’, replaces the government with its own totalitarianism and establishes a policed state. What follows are the uncontrollable bowel movements of an illiterate society fallen into ruin, because its religious leaders were unable or unwilling to understand the text of either the Bible or the Koran and translate it for the people, so that they could understand that women are the human race, which is what’s defensible.
The first movie of The Purge series begins chronologically with its prequel, The First Purge (2018), which features actor Rotimi Paul as crazed drug addict, Skeletor, who talks on camera about his desire to ‘purge’ and unleash his hatred on others. An experiment takes place on New York’s Staten Island where, for 12 hours, citizens are allowed to release their inhibitions in any way they choose. Skeletor commits the first-ever murder during the Purge, and the video ‘goes viral’: ‘Skeletor's purge is on.’3 It’s discovered that the NFFA are using the Purge as an excuse for eliminating opponents. The movie culminates with the announcement that the Purge will be a yearly national event, and a declaration from a survivor that they must somehow fight back.
In The Purge (2013) the Sandin family, are living in Los Angeles, California, on ‘Purge Night’ 2022 when ‘Purgers’ invade their home, where they’re sheltering a wounded stranger being targeted: ‘Our target for this year's purge is hiding in your home. You have one hour to find him and give him to us or we will kill all of you. We will be coming in.’4 Threatened with murder, if they don't surrender the sheltered fugitive, actor Edwin Hodge in the role of the stranger, Dwayne ‘Dante’ Bishop, helps the Sandins when the purging gang, and the Sandins’ neighbors, invade to kill them, which is the equivalent of defecating on the products of women’s host womb, that is, civilization, culture and art. Jesus’ disciple, John, succinctly analyzed it in his apocalyptic Revelation of the future: `The dragon was wroth with the woman and went to make war on the remnant of her seed.’ (Rev: 17. 5) Of course, God’s punishment for the evil is well known; eternal unendurable pain: perdition.
What Christians don’t seem to understand is that they’re urged to pray not to be evil, whereas many believe that they pray to move up socially. The Purge series of movies and TV dramas depict a rulership defecating on the poorer members of society, because they don’t want them to move up. Consequently, the objective of Christianity is to persuade people to pray together not to be evil. However, if evil is identified with women, because women encourage adultery, whereas women are a separate single species adulterated by men, so naturally unwed, and therefore not accusable, purges will occur such as that engineered by the misogynist Taliban regime of Afghanistan, which gave rise to the Levant war on ‘woman’s seed’ after 9/11’s events. When US’ President Donald Trump was elected to persecute the war against ISIS, religious leaders hailed him as a symbol of ‘the Last Trump’, which is the euphemism given to the angel of God’s announcing judgment upon the evil by blowing a trumpet. As the symbol of Trump’s Republican Party is the elephant, Levant war is what he was elected to represent. However, religious leaders mightn’t have been so enthusiastic, if they’d been aware that the Moslem families of Islam in the Middle East with their four wives constitute the only legitimized vehicle for the reproduction of women by women, that is, ‘elephants’ with huge penis, and that Jesus’ Messianic role was to espouse ‘woman’s seed`.
God told the first woman, Eve, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) Eve’s foot is her futanarian species of ‘woman’s seed`, and the serpent will grow into the dragon of men’s ‘TV wars’ preventing her race from living: ‘The dragon stood before the woman who was about to give birth so that it might devour her child the moment it was born.’ (Rev: 12. 4) Its bombs dropping all over the Middle East is an image of nothing less than defecation, while that region of the Earth is explicitly associated in the Bible with the defense of ‘woman‘s seed’: ‘The woman was given the two wings of a great eagle, so that she might fly to the place prepared for her in the wilderness, where she would be taken care of for a time, times and half a time, out of the serpent's reach.’ (Rev: 12. 14) As many of the nations of the Middle East are associated with the eagle, and also the United States, it’s evident to all who can read that ‘woman’s seed’ there was defecated on by the illiterate.
The Purge: Anarchy (2014) is set in the Los Angeles area. Dwayne is a leader of an anti-Purge resistance group seeking to convince people that the Purge doesn’t cleanse, but rather eliminates the remaining people’s opposition which, metaphorically, are seeking to regain control of society’s bowels to prevent the illiterate degenerates from defecating on them: 'It's an unwritten Purge rule that we don't save lives. Tonight we take lives. We can't have any interference. We can't have heroes. No heroes.’5 Of course not, what we want is heroine.
In The Purge: Election Year (2016) US’ Presidential candidate, actress Elizabeth Mitchell as Charlie Roan, vows to end the Purge, having witnessed the death of her family 18 years ago, during the events of the initial movie in the series, The Purge: ‘I am gonna beat the shit out of you on election day.’6 To prevent this, The New Founding Fathers of America (NFFA) abolishes protection afforded to government officials, so allowing the Purgers to target Charlie, that is, she’s defecate: ‘It's time to do something about all these cocksuckers, like … the cunt senator, trying to dismantle everything we've built. We are going to use this year's Purge to do some spring cleaning, gentlemen.’7 Shit on the cunt obviously.
1 Freud, Sigmund ‘On Sexuality’ (PFL 7), p. 195-6.
3 Paul, Rotimi as Skeletor, The First Purge, Universal, 2018.
4 Wakefield, Rhys as Polite Leader The Purge, Universal, 2013.
5 Founding Father The Purge: Anarchy, Universal, 2014.
6 Mitchell, Elizabeth as Charlie Roan The Purge: Election Year, Universal, 2016.
7 Barry, Raymond J. as Leader Caleb Warrens The Purge: Election Year, Universal, 2016.
Safe Sex With Jesus
Although Christianity presents Jesus as Savior, it’s hard pressed to explain. The Roman Empire occupying Jewish Palestine, during the period when Jesus was teaching, would have explained that a dead Jesus was a safe Jesus, because he was perceived as a ‘dissident’ in a time of civil unrest. Taking Jesus to the hill of Calvary outside the city of Jerusalem to where he was nailed to a cross and died, the Romans were making Christianity ‘safe’ for the Roman Catholic church that would come after the Jewish ‘Christ’, that is, the Messiah, whose teaching would later be promulgated by Jesus’ disciple, Peter, first head of the Christian church in Rome, whose successors would also be called ‘Pope’, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) Born of his mother, the Virgin Mary, Jesus experienced Resurrection and Ascension to heaven, because futanarian women were able to sexually reproduce a species of women independently of men. Born independently of male semen, Jesus was ‘woman’s seed`. Consequently, his Resurrection and Ascension to heaven above the Earth prefigured women’s colonization of the planets amongst the stars in escape from parasitical host womb slavery to the Empire of men’s wars. In short, Jesus was ‘Savior’ because he symbolized the human species of ‘woman’s seed` escape from men’s slaving of her host womb for war.
Christianity has presented Jesus as ‘safe’, because he was ostensibly celibate, and killed, which agreed with later Christian perceptions that sexual abstention was good. Moreover, the figure of a sexually neutered ‘Messiah’ could be used to present sex per se as evil. However, because women are a single human futanarian species of ‘woman’s seed`, they’re essentially a single unmarrying race. As an unadulterated race, men are their adulterate, that is, Jesus was killed to prevent the realization that sex was presented as evil by men to prevent ‘woman’s seed` from realizing that her species was adulterated, although she couldn’t be accused of adultery. In other words, for women’s species, adultery doesn’t exist, so there isn’t any need for taboo about sex based on Christian morality, that is, sex encourages adultery, which is evil. To put it another way, Christian prohibitions against representations of sexuality encouraging adultery presuppose that men are ‘animal husbandry’. Or, in other words, women are a captured race farmed by an alien slaver for war against her own womb’s product, that is, civilization, culture and art.
In 1983 DR Congo discovered the human immune deficiency virus (HIV), which developed into acquired immune deficiency syndrome (AIDS). The ‘incurable killer disease’ spread from apes to humans through a mutated variant of simian immune deficiency virus (SIV1), and was transmitted by homosexual men’s mixing blood, shit and semen in each other’s anus in sterile mockery of women’s mode of sexual reproduction, that is, AIDS constituted a ‘biological weapon’ aimed by men at the human race on behalf of its alien enslaver. As Christian morality presented Jesus as ‘safe’, because castrated, the Jewish ‘Christ’, that is, Messiah, was a symbol of effective birth control. As condoms were taboo to the Catholic church, Jesus represented ‘safe sex’ through abstention, that is, castration. In simple terms, the Christian church advocated that the human futanarian species of ‘woman’s seed` be castrated through reference to Jesus’ celibacy, which is in direct opposition to God’s plan as described in the Old Testament of the Bible, that is, the Torah and Talmud, which is the history and law of the Jews: ‘If only you had paid attention to my commands, your peace would have been like a river, your well-being like the waves of the sea. Your descendants would have been like the sand, your children like its numberless grains; their name would never be blotted out nor destroyed from before me.’ (Is: 48. 19-20)
In ancient Greece, homosexuality in pederasty was institutionalized for the host womb enslavement of the human futanarian species of ‘woman’s seed` for war. Consequently, the HIV/AIDS virus was a further indication that ‘biological warfare’ was what men were for. By the early 21st century modern Greeks, that is, technophile ‘geeks’, had devised ‘bad machine code’ virus to infect every computer brain on the planet Earth, with the aim of destroying hope in its future, while the brainpower ‘woman’s seed` needed had been denied her by making her futanarian species’ sex taboo. In short, men were homosexual because they didn’t want the woman to have a penis: `Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.’ (Rev: 16. 11) Jesus’ disciple, John, in his New Testament of the Bible apocalyptic Revelation of the future, suggested that men preferred homosexuality’s wars in pederasty and HIV/AIDS to ‘woman’s seed’, which was why God had prepared that punishment of eternal unendurable pain, which is perdition for the evil.
From a Christian perspective, it’s important that the children are safe from Jesus, who was killed as a celibate representative of ‘woman’s seed`. The pederasts and/or pedophiles didn’t want women to have sole care of humanity’s offspring, because that wouldn’t give the warmongers an opportunity to ‘play soldiers’, so humans were identified as holy if celibate. As history shows, people have interpreted this as meaning that they could torture to death any unmarried individual, for example, after denouncing her as a ‘witch’,1 so that the children would be safe. Of course, as women were a single unadulterated species if unmarried, that is, not morally evil because sexual, torturing Jesus’ unmarried ‘seed’ to death, because then the children would be safe, was a widely accepted, though socio-pathological, evil.
Censorship of the mass media has contributed to the acceptance of evil, for example, almost all of literature is devoid of representations of reproductive sex between women. In science fiction, which is meant to be the literary genre that tests the boundaries of society through imagination, taboos against realistic depictions of sexual intercourse are almost never tested. US’ science fiction writer, Robert A. Heinlein (1907-88), perhaps the best exponent of the genre’s capacity for exploring social parameters, wrote his seminal critique of Christianity, Stranger In A Strange Land (1961), expressing a belief in sexual permissiveness through his ‘Messiah’, Valentine Michael Smith who, born on Mars and raised by Martians, after a spaceship crashed there, returns to Earth to comprehend, or ‘grok’ as the Martians say, the beauty of human sexuality, without the author, Heinlein, being able to describe it.
As Jesus was crucified, Michael is similarly killed for preaching ‘Agape’, that is, universal love, which of course includes physical love: ``Lynch him! Give the bastard a nigger necktie!` A heavy-gauge shotgun blasted at close range and Mike's right arm was struck off at the elbow and fell. It floated gently down, then came to rest on the cool grasses, its hand curved open in invitation.`2 Mike is murdered for his inability to see that people are evil: `Through bruised and bleeding lips he smiled at them, looking straight into the camera with an expression of yearning tenderness on his face. Some trick of sunlight and stereo formed a golden halo back of his head. `Oh my brothers, I love you so! Drink deep. Share and grow closer without end. Thou art God.’ The mob’s antipathy to Mike’s message of Agape is symptomatic of Christian perceptions about adultery, that is, women are evil because they encourage it, whereas sexual reproduction between women is what women’s futanarian species of ‘woman’s seed’ is for, while men are what adulterates her single race, which doesn’t wed, and so she can’t be accused of being an adulteress. Consequently, the moral perception that women are evil, because they encourage adultery, is reverse racism, that is, men are evil because they seek to adulterate a species which isn’t theirs. However, without breaking taboos against realistic depictions of human sexuality in science fiction, it isn’t possible to explain that women aren’t evil, that is, the taboo exists so that men can write that they are.
The argument put forward by the pederasts and/or the pedophiles is that children must be protected. However, as homosexuality in pederasty for war against ‘woman’s seed’ on behalf of the alien enslaver of the species of women’s host womb shows, money diverted into munitions, rather than medical science to cure a virus like AIDS, for example, means that the aged die, whereas they could have eternal youth, that is, the homosexuals, pederasts and/or pedophiles want children to play soldiers with, and are prepared to extinguish the human race ‘live on TV’, so that they can have more children to play with. In fact, men and women have been manufactured as a single male brained creature wearing each other’s clothes in ‘TV’ transvestism for ‘TV war’, so that the ‘plague’ gamers can ignore their disappearing into extinction on the smaller screens of ‘phones without earpieces: ‘… war without tears.’2
1 Radford, Benjamin, ‘Indian Woman Beaten to Death for 'Witchcraft'’, LiveScience, July 31, 2014, 12: 54 pm ET, https://www.livescience.com/47129-nepalese-woman-killed-for-witchcraft.html .
2 Gabriel, Peter ‘Games Without Frontiers’, Peter Gabriel, Charisma, 1980.
This Species Isn't Exterminated Enough So They Can Play With It
The concept of the alien has long been established in fiction, movies, and phenomenological research designed to prove the non-existence of extraterrestrial intelligence. Although the argument is that research into ET is about proof, the secrecy surrounding UFOs, etc., indicates that the aim is to deny, rather than affirm. Consequently, the objective is to extinguish, which is what the human race is experiencing: extinction. Though God is identifiable as the help that human nature seeks, God is also identifiably alien, that is, non-human, which makes the extinguishing of belief in God and ETs much easier for a mass media devoted to propaganda.
The basic teaching of Jesus ‘Christ’, the Jewish Messiah, whose followers called themselves ‘Christians’, was: ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) Christ, Jesus, was taken to the hill of Calvary outside the city of Jerusalem during the occupation of Jewish Palestine by the Roman Empire to where he was nailed to a cross of wood and died there for ‘dissidence’. Born of his mother, the Virgin Mary, Jesus was uncontaminated by male semen, that is, he was ‘woman’s seed’, and although women aren’t thought capable of sexually reproducing with each other, futanarian women have their own penis’ semen. Consequently, Jesus’ Resurrection and Ascension to heaven prefigured that of ‘woman’s seed` freed from host womb slavery to men’s wars: ‘Surely, this was the son of God.’ (Matt: 27. 54) Mary, that is.
Men and women constitute a single male brained creature wearing each other’s clothes as a transvestite ‘TV’ manufactured for an alien to watch killing itself, whereas women are by nature a single unmarried species innocent of religious concepts of adultery, which is used by the alien enslaver to define sex as evil because encouraging of adultery, whereas the single species of ‘woman’s seed` is only adulterated by men. Consequently, religious notions of adultery, as Jesus points out, are based on the alien enslaver’s conditioning of the enslaved to believe that sex is evil, and therefore immoral, because it’s encouraging of adultery, which for women as a single unadulterated race doesn’t exist: ‘Let he who is without sin cast the first stone.’ (John: 8. 7)
Throughout the Bible, which is a compendium of Jewish religious belief, that is, the Torah and Talmud, which is the history and law of the Jews called Old Testament by the Christians, and the New Testament based on the teaching of the Jewish ‘Christ’, the Messiah, Jesus, ‘Babylon’ is a euphemism for evil. Founded c. 4000 B.C., Babylon was the capital city of the Empire of Persia, described by Jesus’ disciple, John, in his apocalyptic Revelation of the future as, ‘Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.’ (Rev: 17. 5) John was describing the future, and that district of Hollywood, city of Los Angeles, on the west coast of the United States of America, which is described as the capital of the world’s mass media, is ‘Babylon’ to Christian morality, because of its obsession with dramatizations of war and death.
To the extent that wars and disasters are the mainstay of its mass media output, Hollywood is ‘Babylon’, although the reason for the Persian Babylon’s being described as an anathema relates to the host womb slaving of women for war. In ancient Greece host womb enslavement of women for homosexuality in pederasty for war was institutionalized. By the late 20th century, the modern successors of the Greeks, that is, the ‘geeks’, had devised ‘bad machine code’ to infect and kill computer brains. The computer virus was based on homosexuality in pederasty’s ‘biological weapon’, HIV/AIDS, an ‘incurable killer disease’ discovered by DR Congo in Africa in 1983 transmitted by homosexuals mixing blood, shit and semen in each other’s anus in sterile mockery of women’s mode of sexual reproduction. Rising up the spine to kill the brain, HIV/AIDS, gave the nihilistic ‘geeks’ the idea of a virus to kill computer brains, so extinguishing human endeavor and/or reducing it to futility.
Although Hollywood, ‘Babylon’, grew in economic power through its depictions of alien invaders being repulsed by Earth, the truth was that the alien was here, and it was men. The many armed demons of its armies were everywhere upon the Earth, and its icy BEMs (Bug-Eyed Monsters) were ready to launch their weapons (ICBMs), in a last homosexual frenzy of masturbatory ejaculation at the extinction of ‘woman’s seed`. Intercontinental ballistic missiles were aimed at destroying the Earth, ‘The dragon was wroth with the woman and went to make war on the remnant of her seed.’ (Rev: 17. 5) Despite US’ protestations that movies in which the alien invader was repulsed were metaphors for the measures needed to be taken against global socialism, the total absence of human beings, that is, the human futanarian species of ‘woman’s seed`, and her civilizations, cultures and art, from mainstream mass media representation, proved that an alien invader was engaged in the process of exterminating the human race, and that it was helped treacherously by the men of Earth, who’d made humanity into an alien ‘TV’ for Hollywood, ‘Babylon’, to promote ‘TV war’, so producing a ‘snuff film’ for an alien to watch.
‘No taxation without representation’1 was basic to notions of democracy and freedom in the USA when it was used as a slogan by the colonists to obtain independence from the British Empire of George III in 1776. However, the suppression of ‘woman’s seed` by Hollywood, Babylon, through its mass media Empire, suggests that the human race has been taxed without representation by an alien invader at least since the establishment of the 1934 ‘Hays code` by William Hays, President of the Motion Picture Producers and Distributors Association (MPPDA), which made it clear that futanarian women weren’t ever to be seen in the mass media, because their sexual nature resisted adulteration by ‘devil’ men: `... women, in love scenes, at all times have `at least one foot on the floor` (in other words, no love scenes in bed).`2 No love scenes unless the ‘foot’, that is, the human futanarian species of ‘woman’s seed`, has been ‘put down’, an idiomatic expression for the extinguishing of animal life by a veterinarian. Without ‘woman’s seed` there aren’t any humans, so the ‘remnant’ of ‘woman’s seed` is being taxed ‘without representation’ by devils.
The science fiction film, Extinction (2018), extrapolates the idea that there aren’t any humans upon the Earth. Actor Michael Peña as Peter has nightmares in which there are confrontations with an unknown alien enemy. Invading spaceships open fire on his city, causing significant damage to his building. A soldier, dressed in insectoid-looking armor, breaks in through a wall. The soldiers reveal that Peter’s wife, actress Lizzy Caplan as Alice, is an android, along with everyone else. The `synths’, who have begun to develop lifelike responses and emotions, had driven the humans off the Earth when there was an attempt to ‘decommission’ the androids, but the humans have returned. A soldier, actor Israel Broussard as Miles, explains that the humans have been living on the planet Mars, and other off-Earth colonies, where they’ve been indoctrinated with the idea that synths are animals, which seems to be meant as Hollywood Babylon’s actual explanation of its devil men’s merciless suppression of the human futanarian species of ‘woman’s seed`. Peter is consoled in the knowledge that Miles feels sympathetic towards the synths as the extinction of the human species of ‘woman’s seed` is reduced to the significance of an emoticon, while a question remains unasked: who paid that ax?
1 Chris Beneke ‘The Critical Turn: Jonathan Mayhew, the British Empire, and the Idea of Resistance in Mid-Eighteenth-Century Boston’, Massachusetts Historical Review, 10, 2008.
2 TV Tropes, `Foot Popping`, https://tvtropes.org/pmwiki/pmwiki.php/Main/FootPopping/ .
The ghoul concept has amused and entertained cinema audiences for generations although attention to the nature of ghoulishness hasn’t been cogently analyzed. The simian immune deficiency virus, SIV1, was thought by scientists to have been originally transmitted to humans through burial practices in which the brain was removed from the corpse. Because the fingers of the officiates in such practices came into contact with the brain of the deceased, they became diseased, and SIV1 was spread in this way.
The spreading SIV1 was identified by Africa’s Dr Congo as a new variant in humans, that is, as the human immune deficiency virus (HIV), which developed into the ‘incurable killer disease` after the victim succumbed to acquired immune deficiency syndrome (AIDS). Scientific analysis showed that homosexuals transmitted the AIDS virus by mixing blood, shit and semen in each other’s anus during sterile mockeries of human sexual reproduction. As a consequence, the ghoulish practice of brain removal during burial, and the sterile mockery of sexual reproduction as practiced by homosexuals, were identified as responsible for the spread of HIV/AIDS. The fact that, during coitus, simians often don’t seem able to distinguish between male and female, suggests that although homosexuality is alien to humanity, humans are in danger of becoming an animal behind the bars of its alien’s zoo.
The term ‘ghoul’ comes from Arabia, where Al Gol is the name given to the ‘demon star’, which is found in the constellation of Perseus, a Greek hero of mythology who cut off the head of Medusa, a gorgon who turned people to stone. Consequently, Al Gol, that is, the star of the Medusa, is interpretable as alcohol, which is a paralytic. The Medusa is depicted as female, because women paralyze with their beauty, for example, The Sun newspaper in England described the half-naked pictures of women, known as Page 3 Girls, as ‘stunnas’. Moreover, bars are associated with both alcohol and zoos, or human imprisonment per se, which is paralysis.
In Arabia the Moslem peoples are encouraged to go on the Haj pilgrimage to the Ka’ Ba in the city of Mecca in Saudi Arabia. It’s the shrine of Abraham, who was the progenitor of Isaac, who founded Judaism. When his wife, Sara, became barren afterwards, she gave Abraham her maid, Hajer, who bore Ishmael, whose descendant, Mohamed, founded Islam. Although Islam permits four wives, Judeo-Christianity argues that it’s illegitimate, because Ishmael was, that is, Islam’s permission of four wives is an attempt to retroactively legitimize Ishmael’s birth from an unwed woman, Hajer, ‘the Egyptian woman’ of the Bible. The issue is further complicated by ancient Egyptian religion in which ‘Ka’ means ‘spirit’ and ‘Ba’ means ‘soul’, that is, Ka’ Ba, because futanarian women with penis’ semen of their own for sexually reproducing the species of women are imprisoned by Judeo-Christian belief in monogamy. Moreover, women in Saudi Arabia are forbidden to have a car, that is, they’re barred, because human slavery is the concomitant of homosexuality.
Judeo-Christianity is characterized by the fate of the figure of Jesus, ‘Christ’, the Messiah, who was tortured to death by the Roman Empire during its occupation of Jewish Palestine by nailing him to a cross of wood as a ‘dissident’ for teaching, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) Born of his mother, the Virgin Mary, Jesus was ‘woman’s seed`. Consequently, his Resurrection and Ascension to heaven after his death prefigures that of ‘woman’s seed`, which is the teaching that Judeo-Christianity has barred, because it prefers a women’s prison fueled by alcohol, for example, typical English magazines for fully naked women of The Sun Page 3 ‘stunna’ type to be displayed in were Nuts and Zoo.
In ancient Greece homosexuality was institutionalized for war, that is, women’s host wombs were enslaved in homosexuality, which by the early 21st century had become ‘TV’ watching, for example, the Saudi Arabian, Osama Ben Laden’s terrorist group, Al Qaeda, operating under the auspices of the notoriously misogynist Taliban regime of Afghanistan, on September 11, 2001, hijacked civil airliners to crash them into the Twin Towers of the World Trade Center in New York, ‘live on CNN’ and other globally networked ‘TV’ channels, in an act of ‘rough trade`1 designed to provoke ‘TV war’ in the Arabian Gulf, which is what the alien ghouls wanted. With ‘woman’s seed` barred, men and women constitute an alien ‘TV’ manufactured with a single male brain wearing each other’s clothes in ‘TV’ transvestism for the alien ghouls to watch kill itself in homosexual wars.
Although Jesus’s disciple, John, described the capital city of the Persian Empire, Babylon (c. 4000 B.C.), in his apocalyptic Revelation of the future, the description could easily be applied to the global movie capital of the district of Hollywood, ‘Babylon’, on the west coast of the United States of America’s city of Los Angeles, where censorship forbids images of human sexual reproduction, that is, of futanarian ‘woman’s seed`, in preference for the host womb enslavement of the species by an alien ghoul for its pornographic entertainment of homosexual war: ‘Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.’ (Rev: 17. 5) Or, in other words, 9/11 was what Hollywood, ‘Babylon’, presented in its movie world as entertaining, because the USA illustrates the fact that the Earth is governed by alien ghouls who want homosexuality’s wars to watch the human race die.
William F. Nolan’s science fiction novel, Logan’s Run (1967) was about a human society in which everyone had to die after they reached the age of 21, because the society didn’t have enough resources to maintain a growing population. At one point Logan, who has a name that’s a partial anagram of Al Gol, asks Jessica, a fellow ‘runner’ seeking to escape from the pogromers: ‘Do you prefer women?’2 In a movie industry free of the paralyzing homosexual censor, she would explain why, whereas she can’t, so her scripted response is presented as eternally adequate, although it isn’t, ‘No.’
At the beginning of the 21st Century mankind was on the verge of escaping slavery through technology, so the terrorist group, Al Qaeda, by hijacking civil airliners at Boston’s Logan airport symbolically perpetrated an act of ‘rough trade’ upon the World Trade Center to divert human resources away from 21st century maturity, and back to the alien ghoul’s entertainment of the extinction of ‘woman’s seed` through homosexual war: `The dragon was wroth with the woman and went to make war with the remnant of her seed.’ (Rev: 12. 17) When the Boston Marathon was bombed by terrorists on April 15, 2013, it was to underscore the futility of the human race’s attempt to run and escape from the alien ghouls watching its genetically engineered homosexuality warring to the extinction of the species of ‘woman’s seed`.
2 York, Michael as Logan 5 in Logan’s Run, MGM, 1976.
Although actress Kirsten Dunst, in the role of Peter Parker’s girlfriend, Mary Jane Watson, in the movie, Spider- Man (2002) and its sequels, based on the Marvel comic book superhero that began in Amazing Fantasy # 15 (1962), often seems an adjunct to the action in which the protagonist, Parker, bitten by a radioactive experimental ‘super spider’, develops its attributes, and dons a costume to combat crime, according to Greek tradition, Mary more closely approximates to the idea of the spider than actor, Toby Maguire, in the ‘Spidey suit’. The suit concept pertains to the relationship between Mary and Peter, who’s suit is his woo, as it were: ‘The great thing about MJ is ... when you look in her eyes and she's looking back in yours ... everything ... feels ... not quite normal. Because you feel stronger and weaker at the same time. You feel excited and at the same time, terrified. The truth is ... you don't know what you feel except you know what kind of man you want to be. It's as if you've reached the unreachable and you weren't ready for it.`1
Ancient Greek mythology describes how Helen of Sparta was abducted from her husband, Menelaus, the brother of the king, Agamemnon, by the Trojan Paris, who took her to his city, Troy, and the Greeks sent ships to return her to Sparta. In an earlier Greek myth, the father god, Zeus, rapes the queen of Sparta, Leda, in the form of a swan, while afterwards the woman, Arachne, whose name means ‘spider’, depicted in a tapestry the rape, and was turned into a spider by the goddess Pallas Athene, who was said to have sprung from the head of Zeus, fully formed and wearing her armor, because Arachne had woven a better tapestry than her. Consequently, it isn’t coincidental that Pallas Athene is the patron goddess of Troy, where Helen of Sparta was taken by Paris, because she’s the goddess credited in Greek mythology with helping the god, Zeus, make Sparta women who, as a species separable from men, feel that they ought to be wooed, rather than raped.
In modern usage, ‘Spartan’ means a reduction in elaborateness. Because futanarian women with their own penis’ semen can sexually reproduce the human species independently of men, the absence of ‘woman’s seed’ corresponds to what ‘Spartan’ is for modernity, that is, less human elaboration through the castration of ‘woman’s seed`. As ‘spayed’ is the term for a castrate, it’s logical to deduce that futanarian women were spayeds in ancient Greece, which is why Pallas Athene was the goddess daughter of her father god, Zeus, who raped Leda, that is, the ‘leader’, or Sparta queen, whose story was depicted in a tapestry by the woman, Arachne, who Pallas Athene then turned into a spider. Although such a transmogrification suggests castration, that is, the species of ‘woman’s seed` won’t reproduce, the star constellation of Arachne implies otherwise. In Greek mythology, gods and goddesses were so described because they represented the slavers that turned the human race into spayeds. Consequently, the descendants of black African slaves in the United States were ‘spades’, because that’s how the dugs of their ‘woman’s seed` were buried.
Homosexuality was institutionalized in ancient Greece, where the human futanarian species of ‘woman’s seed` was host womb slaved for the production of boy sons (poisons) for war, after the goddess, Pallas Athene, turned their mothers into spayeds for the father god, Zeus, to bury the human race. The Trojan war was won by the construction of a huge hollow wooden horse left outside the gates of Troy. As the Greek poet Homer describes in his Iliad (760-10 B.C.), the Trojans were taken in and overcome by the Greeks hiding in the insides of their horse when brought into the city.
Coincidentally, Pallas Athene’s symbol was a horse, which emphasizes the irony. In Norse mythology, the father god is Odin, whose ‘eight-legged horse’, Sleipnir, appears in a poem, ‘Heiðreks Gátur’ which, contained in the 13th century Hervarar saga ok Heiðreks, is conceived as a riddle. Odin plucked out his right eye in exchange for wisdom, so the name of the riddler, Gestumblindi, relates to that:
‘Who are the two
that on ten feet run?
Three eyes they have ...’2
It would have been a four-eyed spider, but Odin is described as having plucked an eye out, so that the reader of the saga can learn wisdom. Humans wear spectacles, because the gods and goddesses don’t want them to see, which are based on humans being spayeds for war’s spectacles. Or, in simpler terms, the god of homosexuality’s perception is that humans are useful as its spiders’ slaves. The 4th century Greek mercenary leader, Xenophon, wrote of how he didn’t allow a boy to kiss him, comparing a boy’s kisses to spider's bites, that is, it was what women, who in coitus constitute an eight-limbed ‘spider’, did, although women were pejoratively called ‘spiders’, whereas the story of Odin and Sleipnir suggests that the ancient ‘gods’ and their daughter goddesses enslaved humanity through their spiders which, if this verse about a wise king of the Jews from the Old Testament of the Judeo-Christian Bible is interpreted correctly, were gargantuan, ‘Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes within thy locks: thy hair is as a flock of goats, that appear from mount Gilead.’ (Song of Solomon: 4. 1)
By the late 20th century, ‘Trojan viruses’ devised as ‘bad machine code` by modern day Greeks, that is, ‘geeks’, were destroying computer brains, while the ‘incurable killer disease`, HIV/AIDS, transmitted by homosexuals mixing blood, shit and semen in each other’s anus, and discovered by Africa’s DR Congo in 1983, rose up the spine to kill the brain, because homosexuality was a ‘biological weapon’ in its slave war against the human race.
The spider bite that Peter Parker receives in Spider-Man is a spayeds metaphor, that is, his is a burial suit. Because the futanarian human species of ‘woman’s seed` has been castrated, so that she doesn’t appear, Dunst and Maguire represent a ghoul’s fascination with human extinction. Women can’t fertilize, and boy sons (poisons) represent HIV/AIDS, that is, the ‘biological weapon’ of homosexuality’s war against the human species. All there is, as the science fiction television series, Star Trek (1965-) announced at the commencement of each episode aboard the starship Enterprise, is spayeds: ‘To seek out new life and new civilizations [and castrate them].’ To boldly go where no man has gone before!’3
Or will go, because ‘woman’s seed`, as the story of Jesus, born of his mother, the Virgin Mary, illustrates, can’t. Jesus was killed by the Roman Empire for being with a woman, ‘Leave her alone.’ (Mk: 14. 6) His subsequent Resurrection and Ascension to heaven prefigures that of women escaped from host womb slavery for homosexuality’s wars against her human species. If she can’t reproduce with her own species of ‘woman’s seed`, no human will ever go to the planets amongst the stars, because she’s mankind.
The Greek capital, Athens, was also named for Pallas Athene, which is why siblings of the same father were allowed to marry there,4 that is, male futanarians with beards, biceps, and hairy chests, because Pallas Athene was the daughter of her father, whereas Sparta was where daughters of the same mother were allowed to marry, because women were Sparta’s, whereas men were wars. Helen, who was ostensibly the cause of the Greeks’ war with Troy, was described by the poet, Homer, as ‘the most beautiful woman in the world’. Probably because she could be a ‘stud’, that is, she was a descendent of a Sparta (spider) queen. However, what Hollywood, ‘Babylon’, presents in Spider-Man are Dunst and Maguire as a man and woman of Athene, that is, a single male brained creature wearing each other’s clothes in ‘TV’ transvestism for a smaller screening of the AIDS virus, which is the homosexually transmitted disease that’s killing the human race to colonize the planets amongst the stars of heaven above the Earth and slave there.
When she was 11 years old Kirsten Dunst appeared as Hedril in the Star Trek: The Next Generation episode (# 159) ‘Dark Page’. Hedril, ‘an alien’, is learning from Deanna Troi, the telepathic woman counsellor aboard the starship Enterprise, who explains what John Milton’s ‘without thorn the rose’5 meant in his poem, Paradise Lost: ‘Milton was speculating that in heaven, roses wouldn't have thorns.’6 Hedril asks: ‘Heaven?’ If ‘woman’s seed` isn’t in heaven, it’s because she’s defined as an alien who can’t prick herself to go there.
1 Maguire, Toby as Peter Parker in Spider-Man, Columbia Pictures, 2002.
2 Hollander, Lee Milton Old Norse Poems: The Most Important Nonskaldic Verse Not Included in the Poetic Edda, Columbia University Press, 1936, p. 99.
3 Cromwell, James as Dr Zefram Cochrane in ‘Broken Bow’, Season 1, Episode 1, Star Trek, September 26, 2001.
4 Goodman, M. ‘Incest’ in S. Hornblower, and A. Spawforth (eds.) The Oxford Classical Dictionary, 1996, p. 753.
5 Sirtis, Marina as Deanna Troi in ‘Dark Page`, Season 7, Episode 7 (# 159), Star Trek: The Next Generation, October 30, 1993.
6 Milton, John, Paradise Lost, Book IV, Peter Parker, London, 1667, l. 256.
The Bright Observation
When `The Guts of Starship Troopers`, a review of the film, Starship Troopers (1997), appeared in Thomas D. Sadler`s The Reluctant Famulus, # 108, Kim Neidigh was among the first to cast doubt on the credibility of the author of the article`s critical faculties, his skill as a wordsmith, and the relevance of the learning brought to bear on the works criticized. The Bright observation (TBO) was a 612 page PhD thesis, `Jungian Archetypes in the work of Robert A . Heinlein`, published at England`s Hull University in 1992, and an article, `Robert A. Heinlein: Theologist?` appearing in Britain`s Foundation: The Review of Science Fiction, # 54, concerning Heinlein`s treatment of incest in the novel Time Enough For Love (1973), which featured the ostensibly immortal, Lazarus Long, who traveled back in time to have consensual sex with his own mother, Maureen, while developmental psychologist Carl Jung`s (1875-1961) individuation theory, relating to Heinlein`s incest theme, was examined in Foundation # 112, `Male And Female He Created Them Both`, a quote from the Bible remarking on God`s creation of the first man and woman, Eve and Adam, as hermaphroditic. K. Neidigh wanted to know if `The Guts of Starship Troopers`, `Sanctioned rape and murder?`1 Neidigh`s argument was that`s Islam, whereas Moslem women wear the one-piece coverall of their black burka to publicly conceal their species from violently male braining rapists. `The Guts of Starship Troopers` argued that men waged war on the race of women for a host womb. The men of Earth`s war against the arachnoid `bugs` of the planet Klendathu extrapolated from the male virus` universal virulence. Conflict with Islam was simply paradigmatic of men`s usual war with women, so Lazarus Long`s relationship with his mother, Maureen, symbolized the desired illusion of peaceful coexistence.
In depicting unisex shower scenes in his juvenile novel, Starship Troopers (1959), Robert Heinlein (1907-88), from a German immigrant family, seemed to have been describing a society for women in the United States of America (U.S.A.) as something more than a plastic model display team, based on the 1933 German National Socialist (Nazi) Party`s ideas of what Messerschmitt ME-109s would look like, if they were extrapolated from runway fashionistas, e.g., Heidi Klum and Gisele Bündchen, presented as epitomizing the triumph of the penisless western female. Using showers to exterminate 20, 000, 000 Jews in `death camps`, before their defeat at the end of World War Two in 1945, after losing its First (1914-18), Germany`s displaying of model families, with their plastic smiles and bodies, while carefully exterminating `woman`s seed`, who were God`s `chosen people`, the Jews, was fictionalized by Heinlein in the novella, Methuselah`s Children (1941), despite publishing conventions` persistently repressive sexual taboos in support of species` host womb slavery. Published in longer form in 1958, although without relaxation in censorship terms, the novel Methuselah`s Children depicted a pogrom against Lazarus Long`s long-lived `families`, which more clearly allegorized the Nazi design of ensuring the production of brainless infants as slaves, rather than permanently memoried adults, who wouldn`t require instruction from pedophile slavers.
Although `the father of psychoanalysis`, Sigmund Freud (1856-1939 ), labeled women victims of `penis envy`,2 futanarian women have penis of their own, so `penis recovery` is rather more on the Jewish feminist agenda. Nazism was die farte preventing its daughter from reproducing, which was the true basis for Freud`s promotion of what he called the `Oedipal complex` as central to the human condition. Although Oedipus married his mother and blinded himself for breaking the incest taboo in the Greek dramatist Sophocles` Oedipus Rex (c. 429 B.C.), the meaning was that Antigone, his daughter, pressed into guiding his blind steps onward, represented the daughter`s being denied sexual access to her own species; for example, in showers where she wasn`t afraid to show her penis, which obviously wasn`t the case in Starship Troopers. Being illiterate and strong was always the bullies` defense when accused of attacking literates, who`re required to perform superhumanly to affect imperturbable ignorants: `Come on you apes, you wanna live forever?`3 Trooper Lt. Jean Rasczak`s shower might have been seen to be wanting to, if the women could have been seen to be humanly erect. Karl Marx wrote an entire library of volumes to penetrate dense heads with the desirability of being able to make the statement, `workers control the means of production` (Das Kapital, 1867). As well as being its host womb, the futanarian species of women also own the shower.
When `A Nape, Beheaded` appeared in John Purcell`s Askance # 42, with the `rider` that the publisher thought TBO `literary inertia`, it was a comprehensive examination of a love affair that the reader and cinema-goer had perforce been made to have with apes. Since the appearance of Frenchman Pierre Boulle`s 1963 novel, La Planète Des Singes (Planet Of The Apes), it was an affair in inertial space that took in several original films, and a 2001 `reboot` of Planet of the Apes (1968). Its sequels, Beneath the Planet of the Apes (1970), Escape from the Planet of the Apes (1971), Conquest of the Planet of the Apes (1972), Battle for the Planet of the Apes (1973), the Planet of the Apes TV series (1974-5), Planet of the Apes (2001 reboot), Rise of the Planet of the Apes (2011), Dawn of the Planet of the Apes (2014), and War for the Planet of the Apes (2017) mapped the consequences of the sterile inertia of the love affair between men and apes, before the homosexual anal transmission of an `incurable killer disease`, discovered by DR Congo in 1983 as a simian immune deficiency virus (SIV) mutation, HIV/AIDS, could be enthusiastically described as a drug for producing rapist male apes in the film, War For The Planet Of The Apes (2017), fifty-five inertia-bound years after the publication of Boulle`s ominously foreboding original text, La Planète Des Singes.
Permanent humans, through rejuvenative medical science, are a possibility with brainpower produced sexually from `woman`s seed`, and so it`s `the Bright observation (TBO)` that women, rather than male rape as the basis of plague, and greater ignorance through war`s literal inertia, offer a better future. Silencing the writer (b. 1961) is what inert literature and literary criticism is. If there aren`t any humans in literature, art and culture, that is, women`s species, the ape virus mutation wins: `Apes together strong!`4 Human literary criticism has to accept that ape didn`t win since 1963, or the inertia of blind monosyllabic ignorance, which would have cinema-goers believe that Planet Of The Apes is a dynamically original 2001 film, always has.
1 Neidigh, Kim `The Readers` Turn To Speak`, The Reluctant Famulus, # 109, 12/03/2015, p.36.
2 Freud, Sigmund `On Sexuality` (PFL 7), pp. 195-6.
3 Ironside, Michael as Lieutenant Jean Rasczak in Starship Troopers, Tristar Pictures, 1997.
4 Serkis, Andy as Caesar in War For The Planet Of The Apes, 20th Century Fox, 2017.
In the movie, Starship Troopers (1997), it isn`t possible to see the women`s erect penis in the unisex shower scene, because of the taboo against the penis being seen, rather than that women don`t have a penis, which has ramifications for sociology. Without reference to the conversations God had with Eve about her `seed` in the first book of the Bible, Genesis, from the Old Testament law and history of the Jews, that is, the Torah and Talmud in their Hebrew language, futanarian women have a penis of their own, and they`re hermaphrodites, which means that women are a single independent species capable of sexually reproducing their own brains` powers, rather than men`s of the `serpent`s seed`; or, as God told Eve: `You shall crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) Pornography is a societal taboo, ostensibly because depictions of human sexual reproduction are presented as causing adultery. However, as women are a single independent species, they`re unadulterated; unless used for producing boy sons. Consequently, it isn`t curious to find that, in futanarian pornography, the penised women are presented as having intercourse only with each other and men, although it`s logical that the futanarian women should be having sexual intercourse with non-penised women, who`re of their own race. Pornography is evil, because it exists to depict the human futanarian species of `woman`s seed` as the host womb slave of an alien parasite. In parasitology, the parasite that emerges from the host to kill it is termed `parasitoid`, which is what men are.
In the juvenile novel, Starship Troopers (1959), women are depicted as starship pilots, called `mothers`, who drop their boy sons onto the arachnoid planet, Klendathu, during Earth`s interstellar war with `the bugs`. As the mutated simian virus (SIV) was discovered by DR Congo in 1983, that is, the human immune deficiency virus (HIV), transmitted anally by homosexual men, resulting in acquired immune deficiency syndrome (AIDS) causing progressive collapse of the organs of the human system and brain death, Heinlein`s `bugs` correspond to humanity`s problem with HIV/AIDS: `Come on you apes, you wanna live forever?`1 HIV/AIDS are the poisons produced by the mothers` boy sons, because that`s what the parasite on the human host womb is for. Starship Troopers extrapolates `the bugs` from HIV/AIDS, and homosexuality from the boy sons dropped by the mothers. Although Starship Troopers was criticized, when it was first published, for its supposed fascist ideology, its militarism is Greek: `Everybody fights. Nobody quits.`2 During the period of the Empire of Persia, Darius I invaded Greece in 492 B.C., and the Greeks` institutionalized host womb slavery of women in homosexuality in pederasty was their war preparation. By the late 20th century the `incurable killer disease`, HIV/AIDS, kept women in fearful faithfulness to their ring slavery as homosexuality in pederasty for war`s `biological weapon`. If women were seen to be erect in the shower scene in the movie, Starship Troopers, they wouldn`t be apes. In simple terms, humans live in ape slavery, because the apes don`t want the human futanarian species of `woman`s seed` to be seen to be erect. If they were, they wouldn`t be working. It`s necessary to destroy the human penis, so that the slaves will work. The unisex shower scene in Starship Troopers presents war as disciplined work without erections, which is what the United States of America`s dropping of the atomic bomb from the Enola Gay aircraft on Japan`s city of Hiroshima on August 6th 1945 was; a destroying of a human erection.
It isn`t incidental that much of Japanese Hentai manga cartoon art is futanari, that is, women with erections, because the U.S.A. destroyed the Japanese erections of the cities of Hiroshima, and Nagasaki on August 9th 1945, when the aircraft Bockscar dropped a second atomic bomb. It occurred after the war with Japan began on 7th December 1941, when the Japanese attacked the U.S Pacific fleet at Hawaii`s Pearl Harbor. Irrespective of the moral dimension, that`s how apes slave; by destroying human erections. In ancient Japan it was traditional to bind the women`s feet to prevent them from running away, that is, the Japanese apes didn`t want the human futanarian race of `woman`s seed` to escape them. There aren`t any women`s erections in the unisex shower scene in Starship Troopers, because the apes destroy the humanly erect. Making human erections taboo directly resulted in the September 11, 2001, terrorist attack upon the World Trade Center in New York city, U.S.A., when the terrorist organization, Al Qaeda, operating under the auspices of the notoriously misogynist Taliban regime of Afghanistan, hijacked civil airliners to crash into the Twin Towers of the WTC in a symbolic act of `rough trade`,3 which is that form of `brutality and violence` participated in by homosexuals in pederasty for war against `woman`s seed`. The US army toppled the Afghan regime in December 2001, before toppling Al Qaeda`s supporter, Iraq President Saddam Hussein, in March 2003, which resulted in his putative successor, Abu Bakr Al Baghdadi, declaring an independent rebel state of Iraq and Syria, so precipitating a further toppling of Middle Eastern erections, and is how apes slave.
The Middle Eastern religion is Islam, in which the Koran (610-30 C.E.) of the Prophet Mohamed permits the Moslem peoples four wives. The founder of Islam was Ishmael, born of Hajer, who wasn`t the wife of Abraham, whose wife, Sara, bore Isaac, the founder of Judaism. Barren after Isaac`s birth, Sara gave her maid, Hajer, to Abraham, who bore Ishmael, whose descendant, Mohamed, gave the Koran to the Moslems, whose four wives afford the possibility of sexual reproduction for the human futanarian species of `woman`s seed` within the family. As a Jew can only be born from a Jewess, so women are Jews, that is, Judaism is a futanarian tradition. Consequently, Jesus` birth from his mother, the Virgin Mary, uncontaminated by male semen, is the reason he`s the redeemer, because he`s `woman`s seed`. Taken to the hill of Calvary outside the city of Jerusalem as a `dissident` against the occupation of Jewish Palestine by the Empire of Rome, Jesus `Christ`, `the chosen` Jew among the Jewish `chosen people` of God, was nailed to a cross of wood where he died, because the apes of Rome were destroying a human erection. Jesus` subsequent resurrection and ascension to heaven prefigured that of `woman`s seed`, whose erections are to be seen colonizing the planets amidst the stars. Ape fiction presents the destruction of human erections as its `activity`, so Starship Troopers begins with `the bugs`, that is, the extrapolated simian virus mutation, HIV/AIDS, destroying the South American city of Buenos Aires, Argentina, because that`s ape fiction, and all of it is, so long as the women are seen but not hard: `One day, someone like me is gonna kill you and your whole fucking race!`4 After you?
1 Ironside, Michael as Lieutenant Jean Rasczak in Starship Troopers, Tristar Pictures, 1997.
2 Ironside, Michael as Lt. Jean Rasczak in Starship Troopers, Tristar Pictures, 1997.
4 Muldoon, Patrick as Lt. Zander Barcalow in Starship Troopers, Tristar Pictures, 1997.