Robert A. Heinlein`s The Number Of The Beast And Ira Levin`s The Stepford Wives

12/09/2014 21:21


Robert A. Heinlein`s The Number Of The Beast And Ira Levin`s The Stepford Wives


The Stepford Wives (1975) was a science fiction movie made in Hollywood, California, and starring Katherine Ross as Joanna Eberhart. Joanna is a married aspiring photographer from New York, who moves with her family to Stepford, Connecticut. Making a friend of Stepford`s Carol Van Sant, played by actress Nanette Newman, Joanna is concerned to discover personality changes in Carol that match those of the rather too traditionally submissive townswomen of Stepford after Carol has a car accident. Befriending another new arrival in Stepford, Paula Prentiss in the role of Bobbie Markowe, and with another friend she`s made there, Tina Louise as `trophy wife` Charmaine Wimperis, Joanna begins a `Women`s Liberation` female `consciousness raising group` in contradistinction to Stepford`s secretive `Men`s Association`:


`Believe me, I know that it's unfair and sexist, but frankly, anything that gets him out of the house nights is fine with me.`1



 The Ira Levin novel, The Stepford Wives (1972), struck such a chord with cinema audiences, when the film treatment was released in 1975, that it resulted in an extensive movie franchise. In the Revenge of the Stepford Wives (1980) the chemically controlled women revolt from the Men`s Association`s prescriptive behaviour, `A perfect wife, always there for you. Any way you want her to be.` The Stepford Children (1987) elaborated on the Association`s concept of `conversion` for their women into chemical robots, while in The Stepford Husbands (1996) a powerful women`s group turn men into slaves in a Hollywood, Babylon, male brained alarmist step aimed at supporting misogyny, that is, men and male brained women who are conditioned to hate women.



 The Stepford Wives was made in 1972, just five years after the `one foot on the floor` rule enforced in movies by the `Hays code` (1930-1967) made it impossible for a woman to be seen raising her foot from the floor in bedroom scenes as a means of repressing women`s futanarian `seed` by making her penis taboo in the industry. Although the plot of the 2004 remake of The Stepford Wives, featuring actress Nicole Kidman, doesn`t materially change, it does reflect how little Hollywood cares about women. Nicole`s remade Joanna produces a `reality TV show` in Manhattan, I Can Do Better, in which husbands and wives choose between each other or prostitutes, and which results in one rejected man going on a killers` rampage.



 The biblical story behind I Can Do Better is Joseph and the Egyptian man and woman who care for the Israelite after his brothers leave him in a pit to die, because they`re jealous of the `coat of many colors` (Gen: 37. 3) given to him by their father, which is a familiar biblical rainbow metaphor for God`s promise of better things to come and Joseph does indeed become a powerful prince in Egypt. The Egyptian couple who befriend him ultimately represent the Technicolor movie dreams of Hollywood, Babylon, where women can`t sexually reproduce with each other. The Egyptian man is symbolically a father who stands between penisless daughters mocking even their inability to sexually gratify incestuous feelings for their beautiful mothers. Falsely accused of rape by an Egyptian woman, Joseph in fact represents the temptation that can`t be consummated, that is, the sexual desire of woman for woman, although he`s in the role of son rather than daughter. Joanna Eberhart`s daughter, Kim, can`t even be perceived as being sexually tempted by Nicole Kidman in the movie The Stepford Wives (2004), because men`s incest taboo has effectively removed the woman`s penis from the picture so that she doesn`t even guess at the possibility of sexual reproduction with her own species, which is the hidden meaning of the Egyptian man and woman`s relationship with Joseph.



 In the Bible story Joseph becomes as an `Egyptian man` who will marry a woman and stand between his penisless daughter and her beautiful mother mocking her inadequacy as a race, just as Hollywood, Babylon, mocks the inability of the daughters of their beautiful women by perpetuating the fiction that sex between alien and human is `heterosexual`, whereas reproduction amongst the host wombs of human women and `futanarian` women with their own penis` semen is heterosexuality. As Joanna Erbhart, Nicole Kidman`s `reality TV` show, I Can Do Better, examines the concept of supposed heterosexuality in which male and female couples abandon each other for prostitutes, where prostitution is the idea of women`s host wombs sold into slavery, so heterosexuality is redefinable as sex between women. Because women are a single human species, with their own penis` semen and host wombs, they`re not the marrying kind by nature, that is, partnering each other without exclusivity is normative, and so women`s Resurrection as a single humanity doesn`t entail marriage, although their mode of sexual reproduction is definable as heterosexually human, as Jesus taught:


`At the resurrection people will neither marry nor be given in marriage; they will be like the angels in heaven.` (Matt: 22. 30)



 In Ira Levin`s novel, The Stepford Wives, Joanna uncovers the secret of Stepford which is that the women are replaced by their husbands to make them more sexually submissive and domestic slaves. The irony is that labor saving is what robots would mean for women. Consequently, robots are her friends while men are her enemies if they keep women at a technologically low level to ensure their sexual submissivity and enslavement as domestics:


`There'll be somebody with my name and she'll cook and clean like crazy, but she won't take pictures and she won't be me. She'll be like one of those robots in Disneyland.`2



 In the Bible the first man, Adam, is told by God he must labor after he and Eve are expelled from Eden for accepting the serpent`s offer of the `fruit of the tree of the knowledge of good and evil`, `You shall be as gods.` (Gen: 3.5) Eve is told she will have labor in childbirth until the Redemption they have labored for is fulfilled in the birth of Jesus uncontaminated by male semen from his mother, the Virgin Mary. The issue of `original sin` has puzzled biblical scholars, but if Eve and Adam`s progeny included `futanarian` women with their own penis` semen and host womb for the sexual reproduction of their own brains` powers for socio-economic independence from men, God`s warning to Eve is understandable, `he shall crush your head and you shall bruise his heel`, that is, Eve will `crush the head of the serpent as she leaves` (Gen: 3.15) Eden, because Jesus will be born uncontaminated by male semen and `futanarian` woman will be born from her womb as the `foot` that will leave Earth for the planets and stars of God`s heaven after she has liberated her human species from slavery. The Stepford Wives and its movie successors depict the robot technology denied to women that would liberate her from slavery, but it`s couched in the usual male way as a threat to labor.

 During the industrial revolution in England in the 19th century, `Luddites` (1811-1817) were prevalent among the workers in the textile industry after Ned Ludd broke two stocking frames in 1779 as a protest against being made redundant by machines. Because women can sexually reproduce with each other as `futanarian` women, men can be made redundant by women. `Ludditism` takes many forms, but the essence is slavery through male braining. The Stepford wives are what men would do with women, that is, they`d replace them with robots, whereas robots in the image of women are what women need to keep their human species viable. In male braining only male semen is made available to women and so the male coerces the maled female into accepting her enslavement.



 The life of Jesus in the New Testament is prototypical insofar as he`s killed by the male brained collective, represented by the Roman Empire occupying Palestine, because he`s uncontaminated by male semen, that is, he`s `woman`s seed`, which wants labor saving machinery to escape from slavery, but men`s socio-economic system denies it to her. Jesus represents the female brain killed and culled by men since Eden, either as `futanarian` woman, or by limiting the more advanced technologies that would save her labor and give her freedom to keep her as a domestic slave in Stepford wives scenarios.



 The medium of science fiction is a form of terrorism in which aliens are the threat to the Earth, whereas men are the threat to the Earth and the alien invaders are either extrapolations of what men have already done to the Earth, because aliens haven`t, or aliens are extrapolated depictions of women and so are representations of how men react to women. In the science fiction of The Stepford Wives, robots are depicted as the bane of women, whereas they`d be a boon to women.  so technologically advanced civilizations from the planets and stars above the Earth are represented as destroyed, which is what occurs in the movie, The Abyss (1989), in which actress Mary Elizabeth Mastrantonio is Dr Lindsey Brigman with a team that discovers an undersea `alien` civilization, but the men she`s with destroy it because they can`t seem to think of anything else to do with what might have been an advanced human civilization too sophisticated for the `serpent`s seed` of the slaver.



 In movies like Independence Day (1966) with black American actor, Will Smith, the aliens are destroyers, whereas technological help from whatever else might live apart from the Earth is what women need to escape from her parasite. Consequently, women and aliens represents the human race`s being denied help because men don`t want her to escape their parasitism upon her host womb and the pogrom they`ve been implementing against her `seed` since Eden. Even the idea aliens exist as a threat to Earth is a matter for the human race, while men`s perpetual warring upon a planet they can`t prove they`re native to suggests that defence is a matter for women, because they can sexually reproduce with each other as the species, whereas men can`t, or if they can they`re keeping it a secret in order to maintain women`s brain slavery to a male `futanarian` breed that doesn`t want the enslaved race to find out.



 In Islam the right hand is preferred to the left in any occasion because the right hand is controlled by the left side of the brain, which is described by scientists as the creative or female half of the personality, while the male or rational half of the brain controls the left side of the body. Consequently, a culture that makes the left hand taboo is describing the rational male brain as forbidden or, as the Arabians say, `Haraam!` Favouring only the right hand is tanatamount to declaring a wrestling competition between the left or female half of the brain of the human race and the right side or hand of the human body. Because men are visible in the Moslem faith, while women are hidden beneath their burkha, that is, a one-piece coverall usually black from which only their eyes can be seen, the imagery is of a people subjugated by the male or right hand controlling the left sided female brain, and represents the struggle of the left sided or female creativity of women to work through men as their right hand. The difficulty is compounded by the concept of the male `futanarian` who has penis` semen and host womb, which is illustrated by the four wives permissible in Islam, that is, marriage as a vehicle for the sexual reproduction of women together within a marital framework that can contain `futanarian` women with their own penis` semen and host wombs. Arabian men may be male `futanarian` with their own penis` semen and host wombs for the sexual reproduction of men and women constituting another aspect of the human race, but the vast majority of humans are taught that men are the sexual counterpart of women, whereas `futanarian` women are indubitably the sexual counterpart of women, because both have wombs, while humans are taught men don`t have wombs and so they have no sexual counterpart by description, which suggests women`s host wombs are enslaved by men in parasitism.



 The Moslem faith was constructed more than six hundred years after Jesus` being nailed upon a cross by the Romans and tortured to death before his Resurrection and Ascension to heaven when, according to tradition, the angels dictated to the Prophet Mohamed their holy book, the Koran (610-30 C.E.),  which contains the stories of Abraham, Moses, and Jesus. Although there are differences between the Bible and the Koran, for example, Jesus has Ascension to heaven without death, the central meaning is the same because Moslems recognize the Resurrection of `woman`s seed` as the meaning of Jesus` birth. Consequently, the four wives of the Moslem marriage represents Islam`s faith in the Resurrection of `woman`s seed` through hidden `futanarian` sexual reproduction.

 Because women are subjugated by men, Islam`s emphasis upon the right hand wrestling with the female side of nature in fact represents male `futanaria` wanting to be accepted as female and human. As the penis is generally thought to be aroused solely by the female form, the story of the male `futanarian` is the tragedy of human nature. Sexually subjugated by men without wombs, women are slaves, while men with wombs are abominated. In the United States of America it`s surgically mandatory to make `futanarian` baby humans either male or female, because female brains would revolutionize the male brained socio-economy of the `serpent`s seed` and result in the independence of the human `woman`s seed`.

 Western civilization was based on the Greek model of institutionalized homosexuality and enslavement of the host wombs of women to further the contagion of conquest and war. The host wombs of women were enslaved to produce civilization, culture and art preparatory to men`s destruction of it, which Jesus` `Last Supper` with his disciples illustrated. As an agent of the Roman Empire, Judas rejects Jesus` offer of the `bread and wine` as symbolic of the `body and blood` of the human host, that is, woman`s womb and `woman`s seed`. Judas` treachery in betraying Jesus to crucifixion by the Roman Empire was his betrayal of the human species seeking liberation from male braining and warfare. Consequently, men`s role as woman`s parasisitcal devourer enslaved to produce civilization, culture and art for men to consume is to be found in the Bible as a prefiguration of Hollywood, Babylon, where there are no complete women and men`s idea of heroism is large scale destruction with the token uncompletable woman without her own penis` semen and host womb as justification for men`s destroying of her human race and making it into a movie for themselves to watch and admire in the style of the Greek plague carriers:


`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)


 Before the walls of Troy, according to the Greek poet Homer`s Iliad (760-10 B.C.) , the Greeks left s huge hollow wooden horse inside which men hid to emerge when the Trojans took the horse inside the city and the Greeks enslaved the host wombs of the women to spread their contagion of war and pederasty further. The plague analogy was translated into the science fiction realm of `biological warfare` in the late 20th century when it was discovered that HIV/AIDS biblical `blood plague` was spread as an incurable `killer disease` by men`s mixing blood, shit and semen in each others` anuses in mockery of human sexual reproduction and in rejection of the love of women:


`Men cursed the God of heaven for their pains and their sores but refused to repent of what they had done.` (Rev: 16. 11)



 The United States of America`s `Grand Master` of science fiction, Robert A. Heinlein (1907-88), wrote the novel, The Number Of The Beast (1980), about a `Ford aircar` called `Gay Deciever`, which was a `continua car` capable of accessing all possible universes (including that in which `deceiver` was spelt with `i` after `c`), whether fact or fiction. The premise was that two married couples would travel through space and time to places as diverse as the planet Mars of Edgar Rice Burroughs` fictional stories of Barsoom, with its red princess in Princess Of Mars (1912) for example, or Lewis Carroll`s Alice In Wonderland (1865) in which a girl falls down a rabbit hole and discovers a surreal world of talking animals and the even stranger society of playing cards who`re royalty with servants, and Frank L. Baum`s The Wonderful Wizard Of Oz (1900) in which Dorothy is lifted by a tornado from her home in Kansas and deposited in the land of Oz where she`s befriended by the Scarecrow, the Cowardly Lion, and the Tin Woodsman who journey with her on the yellow brick road to the Emerald City where Dorothy hopes to be told how she can return home by the wizard who rules there. Heinlein`s couple are D.T. or `Deety`, who is named for Dejah Thoris, Edgar Rice Burroughs` red Martian princess, and her husband Zeb Carter, who`s named for the hero of Burroughs` Barsoom stories, John Carter, while Jake Burroughs, the inventor of the `continua car` is Deety`s father, and Hilda is his second wife. Wife swapping ensues and the subject of the incest taboo is raised, while the men eventually sleep with each other.



 Robert Heinlein was criticized for his interest in the theme of incest, especially in the novel Time Enough For Love (1973) in which his ancient and often rejuvenated protagonist, Lazarus Long, travels through time to have sex with his mother, but the incest taboo is the basis of female subjugation insofar as the father stands between the daughter and the rest of her humans species of woman to prevent her from sexually reproducing with other women while fathers have created the fiction of an incest prohibition to prevent her from understanding the truth, which was Jesus` teaching that the whole of God`s law was, `Love your neighbor as you love yourself.` (Matt: 22.39) Because women are capable of sexual reproduction with other women, it`s a single species and incest is  purely academic insofar as the human race of women doesn`t have to listen to an alien`s opinion about uncontaminated `woman`s seed` being `haraam` for itself. What Heinlein`s The Number Of The Beast describes is the consequences of taboo, which is that the depiction ordinarily of women having sexually reproductive sex with each other, though natural, isn`t normative. Because men are normatively depicted as incapable of having sexually reproductive sex together, although by nature it`s perfectly possible for `futanarian` males, homosexual sex as an aberration is advocated in mainstream fiction as normative, which is an abomination and those who criticized Heinlein for puerility in terms of his preoccupations with the themes of incest and homosexuality are revealed as themselves trapped in the infantilism of the undeveloped.

 Unless the human race is to remain undevelopable, science needs to put Heinlein`s Ford `aircar`, the continua vehicle `Gay Deciever`, and Ira Levin`s `Stepford wives` together so that the robots created in the image of woman can save women`s labor and thenceforth the women by affording them time and leisure to sexually reproduce together their own brains` powers for socio-economic independence and liberation from male braining and domestic servitude. Heinlein`s Ford `aircar` was meant to reflect upon the reality of the first mass produced motor car, the Model-T Ford that rolled off Henry Ford`s production line in Detroit, Michigan, in 1908. Motor cars hadn`t changed any of their intrinsic design features for over a hundred years, while the pedal controls that still remained a part of a car`s operating system in the 21st century made driving a laughable exercise in disabling the driver and keeping women at a low level of technological development preventing her from taking to the air as a first genuine step towards getting her futanarian foot on the moon:


`One small step for a man, one giant leap for mankind.`3



 North American Space Administration (NASA) astronaut Neil Armstrong`s speech on placing his foot on Earth`s satellite as `the first man on the moon` represented woman`s imprisonment while she waited for thermoglobal nuclear holocaust and the Bible`s `Armageddon`, described in the last pages in the book of the Revelation of Saint John the Divine, as the final battle between God`s humanity and the `serpent`s seed` of men`s refusal to reject male braining and embrace the human species of `woman`s seed`. Just as the `futanarian` foot is the human species` `missing link`, so the Stepford wives are the `missing step` for Robert Heinlein`s Ford `aircar` in The Number Of The Beast, because robots would care for the women so they could sexually reproduce with each other their own brains` powers to lift their futanarian `foot` off the Earth and `crush the head of the serpent` with her heel as God promised Eve her `seed` would in Eden. The Stepford wives are depicted as Joanna Eberhart and her friends` enemies because that`s what men want women to believe so they can continue in `Luddite` reduced levels of technological progress that maintain the enslaving of her host womb in male brained parasitism and devouring warfare.



 Independence Day was the typical 1950s alien invasion movie scenario based on the United States` fears about Russia after Eastern Europe came under Russian control subsequent to the defeat of German Imperial ambition that had been going on since 1914-18`s World War I. Then Russia had experienced a workers` revolution in October, 1917, which resulted in the overthrow of Tsar Nicolas I. During 1939-45`s World War II, when the National Socialist (Nazi) Party of Germany began its pogroms against what the Bible describes as the Jewish `chosen people`, Russia was targeted by the Nazis. Ultimately Europe was divided between the Western nations and Russia, which meant Russian controlled governments in Hungary, Poland, Czechosalvakia, and Romania, etc. The United States of America, fearing Russian expansionism, began producing `alien invasion` science fiction, for example, Robert A. Heinlein`s The Puppet Masters (1951), which depicted an alien slug collective that attached itself to the spines of humans in order to control their brains and take over the Earth. While Russian workers` control through the apparatus of state governments were perceived as evil by writers like Alexander Solzhenitsyn who wrote The Gulag Archipelago (1958-68), for example, about the labor camps in which millions of `intellectual` opponents died, the United States and the Western powers fought German National Socialism (Nazism), because of the German socializing of the Jews in `concentration camps` where they were collected for extermination. `Socialism` was definable as whatever `socialized` a group that resisted extermination by the male brained collective, which is why women are men`s veiled target, especially in Islam where women are forced to veil as a part of their socializing.



 In Judaism it isn`t possible to be born a Jew unless from a Jewish woman. The movie Sophie`s Choice (1982) with actress Meryl Streep explains the Jewish perspective insofar as Sophie chooses her daughter when offered the opportunity to save one of her children by the death camp guard. For Jews the woman is more important, because God`s `seed` is `woman`s seed` and the Nazis were attempting to exterminate her. Consequently, woman is the slug from Heinlein`s The Puppet Masters attempting to take over men`s brains from men`s point of view, whereas from women`s perspective men are the aliens that have invaded her host womb as her parasites in order to put her in their `concentration camp` and kill her there.



 Black actor, Will Smith, was the star of Independence Day which reflected upon the history of the United States` enslaving of blacks from Africa to work in the cotton plantations of the Southern United States before the American Civil War (1861-5) made slavery illegal. Will Smith`s talents were used to good effect in the film of science fiction writer Isaac Asimov`s anthology I, Robot (1950), which lamented the fate of robots in a future society that treated them as slaves. The analogy was rather more applicable to women than blacks, which is why Will Smith was the hero rather than diva Janet Jackson, whose pop star brother, Michael, was also a star of Independence Day alongside Smith. Having a black female star in the movie, I, Robot, (2004) would have been too close to the truth, which is that women are robots to men, as The Stepford Wives illustrates, because they afford host wombs for the parasites and function as domestic slaves without the possibility of developing their own brains` powers for socio-economic independence from slavery in male braining`s parasitism.

 The late 20th century successors to Greek viral contagion in the form of institutionalized homosexuality in pederasty and war were the `geeks` who developed `bad machine code` after the model of HIV/AIDS` homosexually transmitted `biological warfare` to infect computers and destroy the machine brains that had been created from the host wombs of women`s desire for civilization, culture and art despite men`s  depredations against her species. Computer science represented women`s attempt to construct memories for herself to remember because her `futanarian` capacity for sexually reproducing her own brains` powers was severely delimited in men`s parasitical male braining. Consequently, the attack upon computer systems by `geeks` with their artificially created viruses to infect and kill the machine brains was an attempt to kill the woman as the host of the Earth`s human species. Moreover, although homosexuality`s HIV/AIDS doesn`t look like `biological warfare` perpetrated against the human species, that`s exactly what it is. Just as the `Trojan horse` was used by the ancient Greeks to infect the city of Troy, so `Trojan horse` viruses were used by computer `geeks` to infect the computer brains of the citadel of the information superhighway that women had consciously or unconsciously created to store and restore her memory of how to combat the alien virus God had promised Redemption from `woman`s seed` and her host womb, but which is resistant to conversion because it prefers women as slaves for itself rather than that women have robots to care.



 Isaac Asimov was a Russian émigré to the United States whose robot stories were romantic and poignantly affecting because they depicted the true fate of `woman`s seed`. The main thrust of the tales were centered upon the role of the leading character, robot Daneel Olivaw, who wanted to be human. The perception is that R. Daneel wanted to be a man, whereas the truth is that he wanted to be human but the prevailing fiction is that men are humans. If `futanarian` women with their own penis` semen and host wombs are human, they have the capacity to sexually reproduce their own brains` powers as a human species, whereas men without host wombs cannot and so aren`t readily definable as human, which is why God told Eve and Adam they must labor for Redemption from their sin of preferring enslavement for the human species to the `serpent`s seed`. In fact women are human and so robots in the image of women who care for women would be more human than the human because they care for the human. Consequently, R. Daneel Olivaw could never be human if he thought he wanted to be a man. He could only be human if he persisted in being a robot who cared:


`Aimless extension of knowledge, however, which is what I think you really mean by the term curiosity, is merely inefficiency. I am designed to avoid inefficiency.`4



 Olivaw isn`t advocating brainlessness in Asimov`s The Caves Of Steel (1954), which would mean the collapse of technological progress, but he`s a robot who recognizes that humans are physically capable of only eating and drinking, apart from sexual reproduction, which means that caring for humans is reducible to ensuring that their capacity to eat and drink and sexually reproduce is safeguarded within a technologically progressing system that isn`t handicapped by the criminal activities of the `serpent`s seed` of men`s enslaving of humanity. Olivaw lives three millennia into the Earth`s future when `Spacers` have colonized fifty worlds and limit birth so they can live well inside huge tracts of territory, which is what individual humans would do, because there`s no reason to birth if robots care for the living and rejuvenation technology is a part of the medical science employed by the robots who care:


`Because the human form is the most successful generalized form in all nature. We are not a specialized animal, except for our nervous system and a few odd items. If you want a design capable of doing a great many widely various things, all fairly well, you could do no better than to imitate the human form. Besides that, our entire technology is based on the human form. An automobile, for instance, has its controls so made as to be grasped and manipulated most easily by human hands and feet of a certain size and shape, attached to the body by limbs of a certain length and joints of a certain type. Even such simple objects as chairs and tables or knives and forks are designed to meet the requirements of human measurements and manner of working. It is easier to have robots imitate the human shape than to redesign radically the very philosophy of our tools.`



 If the basic human shape is `futanarian` woman, it would be better if robots were made in the image of women, because the sentient machine made by humans would be human. Cars are disabling vehicles for humans, but sentient robots wouldn`t be limited by the disabling environment constructed by men of the `serpent`s seed` who don`t want technology to facilitate the escape of `woman`s seed` from slavery in parasitism. In Mary Wollstonecraft`s Frankenstein (1818), often cited as the first science fiction novel, the `creature`, made from body parts by Dr Frankenstein and galvanized by electricity, is `born` disabled. The villagers` burning of Frankenstein`s home and laboratory reflects Mary Wollstonecraft`s position that people don`t want others to be enabled, that is, they want them to be born disabled, which is why cars, first mass produced in 1908 at the Henry Ford factory in Detroit, Michigan, remained in the 21st century disabling vehicles, because they were vehicles disabled, as Frankenstein`s home and laboratory were destroyed because the villagers feared he`d enable his `creature`. The `bug eyed` monster of the Hollywood, Babylon, alien invasion movies of the 1950s and onwards is the car with its headlights careering forward into the darkness. It`s a Frankenstein `monster` born disabled and constructed out of body parts designed to disable the human and make a disabled monster out of her:


`Taught from their infancy that beauty is woman's sceptre, the mind shapes itself to the body, and roaming round its gilt cage, only seeks to adorn its prison.`5



 Mary Wolstencraft was a 19th century feminist writer, who wrote A Vindication of the Rights of Woman (1792), which argued for women`s education. In the 21st century women still lived without knowledge of their own penis` semen, despite Jesus` birth as the almost universally recognized redemptive paradigm for `woman`s seed` and Resurrection uncontaminated by male semen. As space and planets are theoretically endless, a single `futanarian` woman is representative of Redemption if she uses her own penis` `seed` to sexually reproduce herself on her own planet, whereas Earth is a place where humans are prevented from developing technology in what is `damnation` in religious terms, that is, reincarnation isn`t Resurrection, so the individual who`s reincarnated on Earth isn`t Resurrected by `woman`s seed` on far flung planets and cared for by robots where technologically advanced societies permit of only a few people. Although the `Spacers` are criticized in Isaac Asimov`s, The Caves Of Steel, for preferring a tiny population and living singly, or with one or two others, in vast parks cared for by robots, escape through `woman`s seed` and host womb amongs the planets and stars is the natural human solution to the problem of being preyed upon by the parasites of the `serpent`s seed` of men, who inveigle themselves into positions where they can kill the human race by feigning a desire for socialism as a pretext for exterminating `woman`s seed` and the host womb of the human race by persuading her to share herself in parasitism.



 Daneel Olivaw isn`t a victim of socialism, which is the belief system adopted by the Russians from the German socio-economic philosopher, Karl Mark (1818-1883), that is, `from each according to his abilities and to each according to his needs` in Das Kapital (1867-94), which criticized wage slavery and was adapted after World War I by Russia as an experimental societal solution to Tsarist dictatorship in parasitism. Olivaw is a victim of socialization insofar as he believes that human is what men are. Created in the image of a man, he`s a part of the artist`s delusion, because Asimov was restricted by the societal taboos of his time, which prevented him from writing about human women and their sexuality. Consequently, Olivaw is a `concentration camp` of one, because he can`t sexually reproduce and so is brainpower for the slaver, whereas women are host wombs in parasitism, and so `socialization` is extinction for their brains. From men`s point of view, Olivaw is the ideal man because he can`t sexually reproduce and he has brains they can use, which is what slavers want. Women are `socialized` in men`s `concentration camp`, where `camp` can be understood as the dramatis personae of an exaggeratedly  homosexual drama in which the ideal man doesn`t sexually reproduce with women, but he has brains that the homosexual parasites can employ, whereas the women have penis` semen of their own that they can employ to develop their own species, but men don`t want them, and so they`ve developed `concentration camp` as a form of method acting to ensure death in slavery for the human race.



 The term `camp` is used to describe a homosexual actor. The acting method of homosexuality is  definable as a form of socialization in which groups are defined as those who won`t interact socially with homosexuals, that is, `concentration camp` is an exaggerated form of method acting in which humans are exterminated by homosexuals who have condemned the humans for refusing to sexually interact with them. If the human species is `futanarian` with her own penis` semen and host wombs for the sexual reproduction of their own human brains` powers for development, she`s been exterminated after being condemned for refusing to interact socially with homosexuals, whereas social interaction with homosexuals is death socio-historically through sterility, or homosexual pogroms against `woman`s seed` and her host wombs. The parasites of the `serpent`s seed` have adopted an exaggeratedly `camp` method as actors, which involves removing the women`s penis` `seed` from the stage and, as with the dramas of the English playwright William Shakespeare (1564-1616), perform their plays without women:


`Did my heart love till now? Forswear it, sight! For I ne'er saw true beauty till this night.` (Romeo and Juliet, 1.5)



 In Shakespeare`s time homosexuality was an approved virus, which is what men who behave effeminately represent: the desire not to perform sexually with women. It could be argued that Shakespeare wrote for male `futanarian` men with their own host wombs and penis` semen, but that reinforces the conclusion that homosexual men are misogynists who don`t want `woman`s seed` or their host wombs as the only aspect of the human species that is entirely wombed and so irrevocably definable as human, whereas men aren`t if wombs are the criteria for defining humans who emerge from them at birth.



 In Robert Heinlein`s Time Enough For Love Lazarus Long stops short of impregnating his mother with himself as a time-traveller, which is a comment on misogyny, because women haters would kill their mothers in order to have never emerged from her womb. Jesus` birth uncontaminated by male semen from his mother, the Virgin Mary, illustrates `woman` seed`, that is, the human species of woman loves the products of her own womb. Although Mary is married to Joseph, she`s described as the `Virgin Mary`, because her womb wasn`t fertilized before she gave birth to Jesus. He has to show her the love of a son, because he`s symbolically her daughter with penis` semen and host womb of her own and so can return to the mother, because not male brained in misogyny`s desire to kill her. Heinlein`s protagonist Lazarus Long doesn`t impregnate Maureen with himself, because he can`t be sure he won`t father a misogynist. Consequently, Jesus` birth represents the future of the human species uncontaminated by male braining and misogynist hatred for women. Before Jesus` crucifixion a woman wants to anoint his feet with expensive perfume, but the false disciple, Judas, interferes:


`Why was this perfume not sold … and given to poor people?` (John: 5)



 Jesus mildly rebukes Judas, as he`ll die on the cross soon after because Judas betrayed him to the Romans, `… you always have the poor with you, but you do not always have me.` (John: 12.8) The woman anoints Jesus` feet with perfume, because she cares about `woman`s seed`, whereas Judas` betrayal of Jesus as the host at the `Last Supper` before his crucifixion indicates he doesn`t care about `woman`s seed` or the host womb of the human species and so is a misogynist who`d kill his own mother, which is why Heinlein`s Lazarus Long was a great science fiction character, because he didn`t want to kill Maureen, he wanted her to be beautiful so he could enjoy her environment and her body sexually. The delusion for children is that they associate humanity with sex, whereas it`s the environment that`s indicative of whether they`re loved or otherwise, `… you always have the poor with you ...` Those who are raised to believe that beautiful people are heaven are the victims of the illusion. Low level technology spiced with pictures of naked penisless women is a sign that the child of humanity is being murdered, which is why Jesus uncontaminated by male semen is a prefiguration of woman`s `futanarian` daughter with her own penis` semen and host womb for the sexual reproduction of her own brains` powers to develop the technology to improve her environment and so be beautiful everywhere rather than just physically desirable.



 Homosexuality`s `game` is that those who`re happy with the sexually desirable woman won`t notice the impotence of the mother to create an environment for humans to live in. That men are a virus devouring her is evident from the extent of the mimicry they employ to kill her. From the `geek` who feigns help and designs `bad machine code` as a `Trojan virus` to kill the woman`s artificial computer brain she needs to store her memory, to the HIV/AIDS` virus that mimics the body`s white leukocyte defensive cells before killing it, the metaphor is Greek homosexuality in pederasty and war against woman`s fortress, Earth. Consequently, homosexuality is a `plague game` for `gamers` who see women as Troy to be invaded by men hidden inside a `Trojan horse`, because women don`t know the truth about their own species` capacity for sexual reproduction as `futanarian` humans with their own penis` semen and host wombs. The devising of computer games in which prizes have to be won is simply a metaphor for men`s virality towards the human system of women. The games train the virus to exterminate the humans while describing their targets variegatedly as urban terrorists, Independence Day aliens, British fantasy writer J.R.R. Tolkien`s orcs from The Lord Of The Rings (1954), which is about the `Dark Lord` Sauron`s slave rings, or whatever else will soothe the innately human soul that`s being dehumanized to kill its host for the `serpent`s seed` engaged upon its parasitcal progress of enslaving humanity for pogroming until its brainless and nothing but a host womb for the parasites` devourings.



 The solution is to enable the woman`s capacity for sexual reproduction as the `futanarian` human species of `woman`s seed` to increase the race`s female brainpower, which the male `futanarian` in Islam attempted to artificially create by activating the female or left side of the human brain by making it `haraam` to use the left hand. As God told Eve, `he shall crush your head and you shall bruise his heel`, (Gen: 3. 5) because male `futanarian` don`t need men as they have wombs of their own. Consequently, the Earth is enslaved by `futanarian` misogynist males, and homosexuals who don`t want women sexually, that is, the head of Eve`s `seed` is crushed by the male `foot`, although she`s bruising the heel of the hand of his `futanarian` foot, because she`s resisting the right handedness of the male brain that`s wrestling with the female nature of the true human brain in order to enslave and kill her in its variegated pogroms known as war and designed to keep her as a brainless host womb for the parasites to emerge from and devour what she`s been able to produce of civilization, culture and art before the parasites` depredations begin anew to reduce her to brainlessness and host womb slavery.

 Robert Heinlein`s title for the novel, The Number Of The Beast, derives from the Bible, `let he that has understanding understand, the number of a man is the number of the beast and his number is six hundred three score and six` (Rev: 13. 18), which Heinlein translates mathematically as, `six raised to the power of six raised to the power of six`, as describing the number of possible alternate universes accessible by means of his inventor Jake Burroughs` `continua device`, that is, 10, 314, 424, 798, 490, 535, 546, 171, 949, 056. As his car with its occupants travel through the `multiverse`, they`re pursued by the `black beast`, a figure which is hermaphroditic and has more than human articulation insofar as its knees bend forwards as well as backwards. The hermaphroditism is explicable as what frightens men, because they don`t want to be replaced by `futanarian` women with their own penis` semen and host wombs for sexual reproduction with their own species of human women, while the impossible articulation associated with the appearances of the hermaphroditic `black beast` is the device Heinlein resorted to in order to explain to his publishers that their taboos against the discussion of sexual themes within science fiction was limiting the author`s ability to express and educate his readership. The `black beast` won`t leave Heinlein`s protagonists alone, that is, Deety, Zeb, Hilda and Jake, as it represents the future of humanity, which men have sought to repress into extinction.



 In the history of the United States people are divided into `white hats` and `black hats`, that is, the good cowboys and the bad cowboys, which is most graphically depicted in the movie High Noon (1952) in which actor Gary Cooper as sheriff Will is told by his wife Amy, played by Grace Kelly, that he must face a gunfighter, actor Ian MacDonald as Frank Miller, which Will does and lives after killing Miller with the help of wife, Amy.



 In The Number Of The Beast Heinlein`s `black beast` is described as a `black hat`, because the `white hats` are those that don`t want `futanarian` humans as it`s too difficult to articulate them within Western society. Just as the Germans found it difficult to articulate their society around the European Jews and the European settlers found Plains` Indians difficult to articulate into their society when North America was discovered by the ships of Spanish explorer, Columbus, after he was commissioned by queen Isabella of Spain in 1492 to discover new lands for colonization.



 The American hunters, who killed the buffalo to starve the Indians to death and put them into the `reservations` that were effectively the European settlers` `concentration camp` for the Indians, were `white hats`. So were the Nazis who killed the Jews, because Heinlein`s hermaphroditic `black beast` is a `black hat`, that is,  `futanarian` humanity is too difficult to articulate for a `white hat` society steeped in evil that doesn`t want the truth to be told, lest society understand the reverse `phone number of 999 for the police, is `666` because `white  hats` are evil, that is,  they`re `phoning the human species to extinction on behalf of the `serpent`s seed`. God, the creator of `woman`s seed`, can`t express his authorial intention as publishers have listened to their callers and have agreed to make God`s `seed` taboo:


`The figure appeared to be several klicks high now, when the illusion suddenly broke. The rainbow was gone … very high up, a figure was tumbling, twisting, falling.`6



 The `rainbow bridge` to Asgard is a leitmotif in the story of the fall of the gods in Norse mythology, while Robert A. Heinlein`s `aircar`, Gay Deciever, has an onboard computer Dora which, speaking with a human girl`s voice, has the role of Norse mythology`s Valkyrie, that is, horsewomen who collect the fallen after battle and carry them to Valhalla. The rainbow is a symbol of God`s promise of land to the `chosen people` of the presumably `futanarian` Jewish women in the Bible and their Godly brainpower, while the song sung by Judy Garland in The Wizard Of Oz movie musical version of Frank L. Baum`s novel is biblical as well as being a piece of traditional Americana referred to in Heinlein`s The Number Of The Beast as yet unanswered prayers as Heinlein`s `black hat` falls back to Earth after ascending upwards towards the heavenly realm of God:


`Somewhere over the rainbow bluebirds fly. Birds fly over the rainbow. Why then, oh, why can't I?`7



 Humans with the brains of women would be God`s. If `futanarian` women were killed and culled to prevent their sexually reproducing their own brains` powers to keep the human race in womb slavery, humanity would have killed its own brains, which is what the fall of the gods in Norse mythology`s Asgard represents. Maintaining slavery would require the periodic killing and culling of each nation`s intelligentsia, which in fact occurred in Russia during the period Solzhenitsyn wrote of in The Gulag Archipelago, and elsewhere, for example, during the regime of Pol Pot (1976-79) in Cambodia, where 25% of the population were slain in order to enforce agrarian socialism, that is, the devouring of the intelligent by those who want slavery and brainlessness. The fall of Heinlein`s `black hat` as the rainbow disappear is a sign of humanity`s inability to ascend because it won`t accept `woman`s seed` and God`s.



 Sura 2 of the Koran is `The Cow`, which contains the story of a man killed by another man, because he`s wooing a `golden woman`. A cow is killed and the man is resurrected. Symbolically, the cow is the `golden woman`, because the man needs a host womb in order to be resurrected. The `golden woman` is too intelligent for men and so the brainless cow is killed as a symbol of the fate that the `golden woman` can expect from a parasite that seeks Resurrection, but not brains through the goldenness of the `futanarian` woman and her `seed`. The meaning of the story is that men kill each other, but why would women resurrect them so that they can kill her as well? She`d have to be a stupid cow, which is what men indicate she`ll be.



 In the 8th century 1001 Nights Arabian stories of Shah Jehan, the king doesn`t kill his brother, because his wife is a stupid cow, that is, the two men accuse her of being unfaithful. The reader understands it in this way, because Shah Jehan has her beheaded, as he believes she`s been unfaithful to him with his brother; although she hasn`t. Consequently, the woman is the cow because Shah Jehan wants her to be brainless. Scheherezade is the woman who tells Shah Jehan stories in the course of the unfolding of the 1001 Nights, during which she saves the women the king has decided to marry each day and behead the next morning, by entertaining him with her tales and making herself indispensable to his happiness until he marries her. Shah Jehan is the man who wants brainless cows instead of women while Scheherezade wants women because she`s a `golden woman` and not a brainless cow. She works for Resurrection through `woman`s seed`, because the women keep their heads during a male brained pogrom to establish womb enslavement in parasitism.



 What`s missing from the scene is the woman`s harem where she breeds her own brains` powers as a `futanarian` woman with her own penis` semen and host wombs to develop the technology to escape from her parasite. The romantic fiction would be that she loves Shah Jehan and so is prepared to stay with him and work to teach him so that he will have Redemption. In fact she`s a slave in male braining, which is why she doesn`t have a harem, and men can`t have Redemption until she does, because only in that way will women not be cows but golden. Jesus` story is of a woman`s romantic love for a man, that is, the `Virgin Mary`, because he`s born uncontaminated by male semen and so is `woman`s seed`. Consequently, Jesus` `seed` is mankind`s `seed` redeemed, although Jesus isn`t a woman, which describes the problem for the future, because men don`t want `woman`s seed`, and so Jesus is killed. The promise of Resurrection is fulfilled in Jesus, but Resurrection for `woman`s seed` and her intellectual growth through `futanarian` sexual reproduction from women`s own penis` semen and host wombs, resulting in the creation of escape technologies, is only hinted at.



 A man can understand from the Bible story of Jesus` New Testament that he`ll have Resurrection, but what he has is `The Cow` from the Koran, which isn`t the `Virgin Mary`, but a host womb in parasitism without brainpower to lift the human species` `foot` off the Earth. Although the story of the `Virgin Mary` and Jesus is romantic, Mary`s still a cow because she wants Jesus` Resurrection and Redemption without any sign that men will change or alter their pogroms against her human race of `futanarian` women with their own penis` semen and host wombs for the sexual reproduction of her own brains` powers to escape from her predator. The `Virgin Mary` hypothesis is that Redemption for man is Resurrection for `woman`s seed`, but Shah Jehan`s wife is dead and there`s no sign of woman`s harem. Mumtaz Mahal`s resting place is the Taj Mahal in Agra, India, which isn`t officially the site of her harem, although Christianity`s prophesied `marriage of the lamb` Jesus with his `bride`, the church, in heaven after Resurrection, suggests that`s what occurs with `woman`s seed` when they `Taj`. The `futanarian` human species breeds its brainpower to raise her `foot` from the Earth and go to the planets and stars.



 In Islam the Ka` Ba is the center of Moslem pilgrimage, because it`s the temple of Abraham, whose sons, Ishmael and Isaac, were of the line of Judaism and Islam respectively, while `Ka` is spirit in Egyptian mythology and `Ba` is soul, which means the Ka is the spirit of `woman`s seed` sexually desired by her soul driven body as her `futanarian` self with her own penis` semen and host womb for the sexual reproduction of her own brains` powers to life her from the Earth to heaven. Consequently, Abraham`s Ka` Ba is romantic, because it denotes the love of a woman`s soul for a woman`s spirit trapped inside a man`s body, which is why God tells Abraham:


`I will surely bless you and make your descendants as numerous as the stars in the sky and as the sand on the seashore.` (Gen: 22. 17)



 Eve emerged from the side of the first man Adam in Eden, while much is made of the `Holy Spirit` that Jesus says will come after him as a teacher, and Longinus, the Roman guard at the crucifixion, pierces Jesus` side with a spear upon Jesus` death, saying `Surely, this was the son of God.` (Matt: 27. 54) As the `Second Adam`, Jesus` Holy Spirit is the `Second Eve` born from his side as a spear birth, which is why the spear of Longinus was thereafter prized as the `Spear of Destiny`, because it represented the future Resurrection of `woman`s seed`. The Ka` Ba is the temple of Abraham and not the `Taj`, because it represents the place of prayer for the Ka and the Ba to be conjoined as what the Egyptians called the `magical personality` or Akh.



 In Judaism the Ark of the Covenant was a symbol of God`s promise to the `chosen people` of continued support after the flood that drowned the Earth in the time of Noah and who was vouchsafed the `arc of the rainbow` as a sign of God`s promise of land after the deluge of rain while the vessel Noah had built floated upon the water. The vessel was known as Noah`s Ark, while the Ark of the Covenant, containing God`s law for the `chosen people`, had two angels upon it with their wing tips touching as they prayed, because the arc of the rainbow is a symbol of future hope in God`s `seed`.



 In Greek mythology Iris is the rainbow while the part of the eye that`s colored is called the iris in medical science. In English writer D.H. Lawrence`s novel, The Rainbow, it`s a symbol of the relationship between people, because it is. Although the black part of the eye is the pupil, which reflects upon the idea that pupils learn, the iris represents relations between people with different colored eyes. Because the `Ka` and the `Ba` of Egyptian mythology are the soul and spirit of the woman conjoined as the `magical personality` or `Akh`, God`s promise to the pupils of Jesus` teaching is that the `Akh` of the Covenant that God has with Islam and Judaism through Jesus will be fulfilled, because just as eye coloring is but a sign of relationship, so God`s plan is for `woman`s seed` to sexually reproduce independently of mankind.



1 Louise, Tina as Charmaine Wimperis in The Stepford Wives, Columbia Pictures, 1975.

2 Ross, Katherine as Joanna Eberhart in The Stepford Wives, Columbia Pictures, 1975.

3 Armstrong, Neil UTC: 2. 56, July 21, 1969.

4 Asimov, Isaac The Caves Of Steel, Doubleday, 1954, 224 pp.

5 Wolstencraft, Mary A Vindication Of The Rights Of Woman, Part 1, Chapter 3, `The Same Subject Continued`, paragraph 20, 1792.

6 Heinlein, Robert A. The Number Of The Beast,  Chapter XLVIII  Rev: XXII. 13, p. 481, Fawcett, 1980.

7 Arlen, Harold and E.Y. Harburg `Over The Rainbow`, sung by Judy Garland in The Wizard Of Oz, Metro-Goldwyn-Mayer, 1939.