Politics is what science fiction is largely concerned with. The extrapolation of societal factors existent, or previously known, into fictional descriptions of places that could be, if the ideas of the writer about society were implemented, are the essence of the science fiction cosmos. Writers like Isaac Asimov with his Foundation series of novels about the psycho-historian, Hari Seldon, describe a character who attempts to plot civilizational collapse, and the response of the human race to such a hypothetical event, so that humanity can raise itself to the heights it had achieved before the well documented phenomenon of the rise and subsequent fall of socio-economies based usually on new innovations in technology that have given one population or another some advantage in their progress towards social success:
`The fall of Empire, gentlemen, is a massive thing, however, and not easily fought. It is dictated by a rising bureaucracy, a receding initiative, a freezing of caste, a damming of curiosity - a hundred other factors. It has been going on, as I have said, for centuries, and it is too majestic and massive a movement to stop.`1
The main criticism of SF is that it is a ghetto for writers and readers engaging in power fantasies with no political truth in it because it`s not politically correct. As defined, political correctness is gender oriented insofar as human society constitutes those interactions between men and women in the societies they construct that cohere so they can live together without fear of attack by one another. The most criticized form of science fiction is that which deals with sexual themes in a gratuitously sexual way that emphasizes the wealth of human social interaction with regard to the desire for pleasure, which is the basis for normal activity and so perplexes the writer and the reader when the critic perceives it as problematic and uses the appearance of sexual material to condemn the writer and further ghettoize the genre as a medium for pornographic representations of women. Because most power fantasies are about sex the ghettoization of SF on the basis that sex isn`t politically correct is anti-human as sexual activity is human political truth and societally cohesive. Tearing the emphasis away from sex transforms the power fantasies into naked aggression because penetration is what males are for in terms of a woman`s hymen and so the power fantasy becomes an infantile soap opera constructed as a metaphor for those invasions and penetrations of women`s space that men engage in. Movies like Star Wars in which the Federation of planets is threatened by the Empire or Star Trek in which the shields of the ships are the most important aspect of the vessel`s progress between the stars and planets of the cosmos, represent men`s engagement with their power fantasy of penetrating women in order to spread their invasive virus further:
`A long time ago, in a galaxy far, far away ... pursued by the Empire's sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy ...`2
In the Bible the phrase `got with child` is used to describe a woman who is pregnant and so to `get with child` is to fertilize the egg of the woman. She is then described as having been `got with child` before she has delivered the infant as a birth from her host womb. In English slang a `get` is an insult directed at a woman who has birthed a child, that is, the child is her `get`, meaning that it looks human but it resembles afterbirth, which is the placenta and amniotic fluid, etc., supportive of the infant`s gestation within the host womb of the mother prior to the baby`s being born. The word `ghetto` is Italian and means `slag` which is a slang term for a `whore` and was the name of the island where the Jews were `concentrated` in Venice (c. 1516). Because Jews are the `chosen people` of God, according to the Bible, and it is only possible to be born a Jew if born from a woman, women are Jews, and so the child of their ghetto is woman, which is what men were either consciously or unconsciously attempting to prevent from being born when they made the island Ghetto that part of town where the `gets` of the whore lived, in misogynist terms:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)
The Jews` escape from slavery in Egypt to the land of Canaan (Ex: 13.17-14.29) was a paradigm for women`s liberation from the whoredom of producing boys for wars. SF is often described as literature`s `bastard child`, because it`s capable of dealing with societal problems in fiction but it resembles a `get` insofar as it can`t live because ghettoized as the Jews were on the Italian island of Ghetto and throughout history. Because the treatment of sexual themes are a taboo in SF, humans are reduced to an excuse for violence, upon the description of which there`s no limit. Human affection and normal sexual interest as practiced by adults is perceived as a cypher for the main interest of the narrative, which is death through hardship. The individual hero or group has dangers to face and the result could be death, which is presented as the essence of human activity and endeavor to the point at which death becomes the teleological goal of the texts as conceived by the SF writer or any other:
`As her young man dies, on a cold and gray Chicago morning, another little baby child is born in the ghetto.`3
Because SF is perceived as the `bastard child` of literature its death throes as a `get` born in a `ghetto` are all that the writer is able to describe. The taboos imposed by critics upon sexual themes ensure SF remains stillborn because human sexual behavior is but one of only two activities that the human body is actually physically designed for; the other being eating. Actual human behavior is definable from the functions the human form is physically capable of, and so all human endeavor is describable in terms of the creation, through whatever technology is available, of somewhere to eat and enjoy coitus before sleep, which has nothing to do with those conflicts associated with war and which are encouraged by those warmongers that perceive SF as overly concerned with the human themes of sexual activity. As a consequence, eating and drinking is translated in SF terms into what the illegal movie making industry defines as a `snuff` film, that is, the action within the text is generally definable as the character`s attempts to avoiding death by action, which translates as devourment because food has been raised to the level of a single human activity after the taboo against depictions of normal human sexual behavior have been imposed upon the genre by its critics:
`It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire's ultimate weapon, the Death Star, an armored space station with enough power to destroy an entire planet.`4
Although Carrie Fisher as Princess Leia, and Natalie Portman as her mother, Padmé Amidala, in the series` prequel trilogy, are the inevitably elided sex interest, pretending to be concerned at the ghettoization of the literary medium, supposed genre critics have been asking writers to accept the spurious position that human sexuality shouldn`t be expressed within the SF story in order to remove human themes from the fiction and replace actual human desire for sex and food with killing in the shape of the appalling Death Star, for example, in Star Wars Episode IV: A New Hope (1977). The basic pattern is of the male action hero that saves society by killing people in large or small numbers, often indiscriminately as planets or cities, on the understanding that he, the action hero figure, has a girlfriend, and that his enemies are numerous and prolific, which is what women with their host wombs are: prolific and ubiquitous. By having the SF writer focus on devouring rather than human sexual behavior the creative artist is encouraged to depict the story of the human race as a `snuff` film, which is what most Hollywood blockbuster movies represent, that is, the destructivity of supposedly heroic figures who`re protective of a single human female while the rest of the globe experiences devastation and annihiliation for the female`s own species of woman. It`s no mystery that Hollywood is called Babylon, because that`s where the woman is devoured `on screen` by her supposed heroes who evince defensive postures but in fact are concerned with her devouring while breeding her for that purpose. From her host womb comes civilization, culture and art, while men practice the `perpetual enmity` of the `serpent`s seed` against her host womb that God tells Eve her `seed` will experience in Eden until she will:
`… crush the head of the serpent as she leaves.` (Gen: 3. 5)
The concept of Eve`s `seed` is the crux. Because `futanarian` women have their own penis` semen, they`re capable of sexually reproducing their own brains` power to become socio-economically independent of men as a separate species, which isn`t SF but is what SF has been censored for; to prevent the dissemination of the sexual knowledge of women`s potential independence from men to become received wisdom, which is the sign and indication of success for any truth amongst the commonality of peoples if the commonweal is to be improved. Because fighting is perceived as the means of liberation descriptions of men killing each other for the hand of the fair maiden abound in literature and film but it`s only brain damage fighting itself if women with their own human penis` semen are the only creatures capable of sexually reproducing the brains` powers for the race to the planets and stars of heaven promised to Eve`s `seed` by God after she leaves Eden. She`s told she has to work for Redemption after succumbing to the temptation of accepting `the fruit of the tree of the knowledge of good and evil`, rather than that of the `tree of life`, from the serpent, and being expelled from Paradise along with Adam, who was also tempted. The fruit may be construed as the desire to enslave the host womb of the human species and prevent `futanarian` woman, as a subsequent aspect of the human race, from living as an independent socio-economic unity. Because Eve`s `seed` is `futanarian` human woman with her own penis` semen, human Redemption consists in recognizing this. Restriction and taboos upon the description or existence for human sexuality are interfering with the processes of human Redemption which requires knowledge rather than censorship. In occluding writers and readers from the wisdom that comes of describing sexual behavior within SF`s extrapolated societies , critics of the genre and its practitioners have contributed to the iredeemability of those not accepting of Jesus` teachings of `woman`s seed`. Born uncontaminated by male semen from the host womb of his mother, the Virgin Mary, Jesus is `woman`s seed`, that is, the child of `futanarian` humanity, which doesn`t need men who, moreover, can`t sexually reproduce together:
`Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.` (Rev: 16. 11)
After his Advent Jesus rejects his father, Joseph, and subsequently dismisses the relevance of the Jewish priests, that is, the rabbis, and their religious police, the Pharisees, because Christ is against patriarchy, which is the acceptance of a father who instructs: `Why did you seek me? Did you not know that I must be about my father’s business?` (Luke: 2. 49) Jesus` father is God and the only authority he accepts because men` s fatherly instructiveness is based on homosexuality and pederasty, that is, Jesus is their boy: `All the people in the synagogue were furious … got up, drove him out of the town, and took him to the brow of the hill on which the town was built, in order to throw him off the cliff.` (Luke: 2. 28-30) Jesus was a boy amongst adults to their way of thinking, which gave them the right to kill him from their point of view, whereas he was an able adult and showed them he was: `… he bent over her and rebuked the fever, and it left her.` (Luke: 4. 39) As a healer Jesus is illustrative because he`s the fathers` boy so long as he`s good because they want a cure for disease, which is how 21st century doctors are also perceived by their patients. The priest of the church even wears a dog collar in Western democratic Christianity so he can be petted like a dog and recognized as a `good boy` obedient to the fathers of the congregation who want God`s aid:
“Jill ... had explained homosexuality, after Mike had read about it and failed to grok- and had given him rules for avoiding passes; she knew that Mike, pretty as he was, would attract such. He had followed her advice and had made his face more masculine, instead of the androgynous beauty he had had. But Jill was not sure that Mike would refuse a pass, say, from Duke - fortunately Mike's male water brothers were decidedly masculine, just as his others were very female women. Jill suspected that Mike would grok a 'wrongness' in the poor in-betweeners anyhow - they would never be offered water.`5
If American football were to be used as a metaphor, Jesus scored a `touchdown` against the Christian `Fosterite` church fathers, who`re the opponents of the fictional Messiah, Michael Valentine Smith, and his `Church of All Worlds` in Robert A. Heinlein`s science fiction novel, Stranger In A Strange Land (1961), because the text of the New Testament is accepted as the truth by all Christian church fathers and so it isn`t an argument, whereas conflict is what argument produces. Because Jesus` teachings are documented and so incontrovertible from a Christian perspective because they`re textual, an interpretation of the Bible accepted as correct because unarguable and which acknowledges the role of `woman`s seed` means Jesus has finally triumphed over the fathers who wanted to make him their boy:
`I see the beauty of Mike's attempt to devise an ideal ethic and applaud his recognition that such must start by junking the present sexual code and starting fresh. Most philosophers haven't the courage for this; they swallow the basics of the present code - monogamy, family pattern, continence, body taboos, conventional restrictions on intercourse, and so forth - then fiddle with details ... even such piffle as discussing whether the female breast is an obscene sight!`6
God isn`t a boy and not a man either, as American writer Heinlein`s description of the instruction Smith receives from his acolyte, Jill, indicates. Jill doesn`t present God`s `futanarian` perspective, which is `woman`s seed` as an alternative to the `serpent`s seed` of men from her own penis` semen. Jill`s is the traditionalist picture in which boys are instructed about men, whereas women need to be instructed about each other in terms of human `futanarian` sexual reproduction, that is, about women with their own penis` semen because female brainpower isn`t male and men see it as dangerous to their patriarchal position:
`There is no safety this side of the grave.`7
In the Bible Jesus advises the patriarchs to accept God as the only `father` and so refrain from treating adult men as boys in slavery as the black men were during the period of their enslavement in the United States of America before the war of liberation (1861-5). To remind the Earth that Jesus isn`t men`s boy God sends the `blood plague` of Revelation as the incurable `killer disease` of HIV/AIDS, which results from supposedly adult men`s infantile mixing of blood, shit and semen in each others` anuses during mockeries of the human act of sexual reproduction. Because women with their own penis` `seed` are not a mockery of the human act of sexual reproduction, which anal sex between males is, Jesus describes `futanarian` women as the forebears of a new angelic host after Resurrection as men will no longer be a part of the marital picture between members of the human race of woman:
`At the resurrection people will neither marry nor be given in marriage; they will be like the angels in heaven.` (Matt: 22. 30)
Women represent the cleanliness of the new host womb of the human species, without the contaminant of the `serpent`s seed` and its concomitant brain damage handicapping its children, which will be mainly female because men`s socio-history is one of homosexual pederasty and `perpetual enmity` for each other in war and death to the true human species of `futanarian` woman with her own penis` `seed`. Woman`s host womb is enslaved by the male actors around her for what Hollywood, Babylon, calls `production values`, that is, a good looking civilization, culture and art, which looks more spectacular for her ghouls when it`s destroyed by the `warriors` defending her from the supposedly alien invader, who`s invariably some guy that looks like the other guys unless he`s actually in the guise of an alien space invader to disguise his true nature as an alien space invader in fact, which is what essentially happens in the movie Alien (1979) and its prequels and sequels. Actress Sigourney Weaver in the role of the space heroine, Ripley, spends most of her time trying to avoid being eaten by the alien menace while being `protected` by what amount to the woman`s tormentors who aren`t wrapped up in latex rubber to disguise their alien nature as `the alien`. Critics concerned to promote the notion of the genre as a serious medium for literary analysis represent the safe perspective of denying the presence of sexual material as anything other than a cypher for the plot to destroy the Earth, whereas sexual reproduction by `woman`s seed` is God`s plan to save the Earth through the production of technologies devised by those whose brains are capable of creating innovations in science and manufacturing to ensure that the species continues to grow and develop:
`Final report of the commercial starship Nostromo, third officer reporting. The other members of the crew, Kane, Lambert, Parker, Brett, Ash and Captain Dallas, are dead. Cargo and ship destroyed. I should reach the frontier in about six weeks. With a little luck, the network will pick me up. This is Ripley, last survivor of the Nostromo, signing off.`8
Because men represent contamination of the brain of the human species due to the limitations imposed upon the gene pool by their killing of `futanarian` woman with her own penis` `seed`, and who`s capable of adding to the gene pool, or even of constructing her own independent socio-economy, thanks to her human ability to sexually reproduce her own brains` power, SF`s rejection of sexual themes as stifling of the genre`s capacity to influence socio-economic development through societal extrapolations is an aspect of the desire of the `serpent`s seed` to oversee the extinction of the human species by supplanting sexual desire with the psychopathology of the devouring parasite`s psyche; if the alien devourer could be assumed to have such a thing as a psychology rather than merely be describable in parasitological terms as actor, Craig Griffin, in the role of the character, Rob Cardine,in the film Imprint (2009) describes the real `hero` of the movie:
`They call it the Long Virus. It broke out in Beijing during the year of the Dragon. Didn`t take long for it to find its way to the States. I can feel it, clawing away at my brain. In time the doctors say they hope to find a cure. But time is not on my side. Time has never been on my side.`9
Unless science fiction embraces the concept of human love as Jesus` teachings advocated, which includes the concept of Christian `agape`, that is, familial love because women are a single unified biune species family, with descriptions of sexual human love as the basis of societal activity as well as the simple act of eating and drinking, the genre will remain ghettoized as a power fantasy for megalomanics who`re looking to exorcise the demons of their imaginations by destroying the Earth. Because men can`t sexually reproduce apart from women and women can sexually reproduce as human `futanarian` souls with their own penis` semen men are the demons that are exorcising the spiritual imaginations of women who want to live upon the Earth as the human species with the children born from their own host womb and human penis` `seed`:
'Good evening', it lowed and sat back heavily on its haunches, 'I am the main Dish of the Day. May I interest you in the parts of my body?' It harrumphed and gurgled a bit, wriggled its hind quarters in to a more comfortable position and gazed peacefully at them. Its gaze was met by looks of startled bewilderment from Arthur and Trillian, a resigned shrug from Ford Prefect and naked hunger from Zaphod Beeblebrox. 'Something off the shoulder perhaps?' suggested the animal, 'Braised in a white wine sauce?`10
SF texts can`t give the reader the flavor of food and it can`t be savoured in film, so descriptions of dining are minimized and, if present, relate to the appetite of the reader for actual sustenance, which mightn`t correspond to the meal described. Then the writer or film maker is placed in the role of tormentor, as in the British television series, The Hitch Hiker`s Guide To The Galaxy (1981), derived from science fiction writer Douglas Adams` BBC Radio 4 comedy, where the viewer is asked to empathize with the sentient meal`s desire to be consumed by the guests at table in an episode from the series based on Douglas Adams subsequent novel, The Restaurant At The End Of The Universe (1980),`We`ll meet the meat.`
In the Hollywood movie, Hitch Hiker`s Guide To The Galaxy (2005), the concept of food asking to be killed and eaten is taken a stage further with the Point-of-view-gun, which has the target see it from the killer`s point of view and so the victim is represented as asking to be killed by the murderer. The science derives from quantum physics in which particles are observed to choose a path after they`re fired from an electron gun rather than travel in a straight line. Physicists posit alternative realities based on the unpredictability of the particles` `decisions` and so science fiction writers extrapolate parallel universes to our own while theologians cogitate on the existence of God and heaven from what is scientifically possible. From a psychopath`s perspective alternative worlds` theory gives an opportunity to hide and kill without discovery, which seems to have concerned the director of Hitch Hiker`s Guide To The Galaxy, Garth Jennings, particularly as religious thought conceives heaven upon Earth as a reality alternate to the everyday world of our usual experience.
Because women are capable of sexual reproduction as `futanarian` humans with their own penis ` semen, sexual themes that deny her fictional reality represent another form of the `snuff` movie scenario projected by the Point-of-view-gun in Hitch Hiker`s Guide To The Galaxy because sex taboos are designed to occlude women from their own heaven`s `seed` and so constitute a plot to extinguish them. The SF writer is placed in the role of women`s tormentor by genre critics purporting to be concerned with raising the medium from its misogynist power fantasist ghetto into a sphere where it can be praised as serious art. But the SF genre could only be described as artistic if the role of women was perceived as humanly sexual and that their orientation was directed towards themselves as the true human species with its host womb and own penis` `seed` as `futanarian`, which is what SF is for as an extrapolative medium concerned with examining the present and changing the future through optimal societal modelling in its variegated fictional depictions of possibility.
In arithmetical terms, 0 x 1 = 0 and 1 x 0 = 0, while in mathematical terms, 0 x 1 = 1, while 1 x 0 = 0, which is the basis of computer programing. The evil prefer simplicity and so the simple are taught to prefer evil and more simple people are born from the `serpent`s seed` of men who prefer arithmetic rather than mathematics and computers. For the evil man + woman = infant, while man + woman + `futanarian` woman with her own penis` `seed` and host womb = the cycle of sexual human reproduction, which the evil don`t want because it interferes with their pogrom for the human species based on woman`s inability to develop her own brains` powers and escape from enslavement and devourment by the `serpent`s seed` in its wars of `perpetual enmity` against humanity.
In the novel The Number Of The Beast (1980) Robert Heinlein (1907-88), posits a character called `the black beast` after the figure in Revelation, who is worshipped for a period of time in human history, before God`s judgement upon humankind, and the declaration of a `new heaven and Earth`. In Heinlein`s narrative two married couples, Zeb, Jake, Deety and Hilda are pursued in their `continua vehicle`, Gay Deciever, through the `multiverse`, which contains all possible universes fictional or imaginary. The four visit Lewis Carroll`s Alice In Wonderland and Frank L. Baum`s Oz as well as Edgar Rice Burroughs` Barsoomian Mars, and other places real or fictional, while `the black beast` endeavours to prevent their progress. In the Bible `the beast` is described as `the number of a man and his number is six hundred three score and six`, which is 666, and Robert A. Heinlein uses the formula to construct a fiction in which `6 raised to the power of 6 raised to the power of 6` is the number of possible universes accessible to the continua vehicle, the Gay Deciever car. The concept of mathematics and God is not unusual in the Bible where God tells Adam and Eve:
`Be fruitful and multiply.` (Gen: 1. 28)
The exhortation applies to `futanarian` woman with her own penis` semen too, which has an exponentially blossoming demographic insofar as all women have a host womb for their own penis` `seed`, while men can`t sexually reproduce together and so their numbers would inexorably decline unless women were enslaved, which is doubtless what the human cycle of sexual reproduction is supposed to result in. The `serpent`s seed` wouldn`t want to be born as `futanarian` human because it would interfere with their slavery and devouring of the humans, and so multiplication of men and women is the arithmetical equation they prefer. God`s `seed` is woman`s and the mathematics is demographically exponential so Heinlein`s The Number Of The Beast depicts `the number of the beast` as an arithmetical equation. The `serpent`s seed` want humans to live as brain damaged slaves for periodic devourment in war and man + woman = infant excludes that aspect of the human `futanarian` race of woman with her own penis` `seed` that would raise the powers of the brain, that is, `six raised to the power of six raised to the power of six` rather than `the number of the beast`, 666, which is the arithmetical sum God gave Adam and Eve to work out after Eden and the subsequent birth of the next part of the equation; `futanarian` woman with her own penis` semen:
`Eh? Oh! The Revelation of Saint John the Divine. But I scrawled it sloppily. You took it that I wrote this: 666. But what I intended to write was this: six raised to its sixth power, and the result in turn raised to its sixth power. That number is this: 1.03144 X 1028 - or written in full: 10,314,424,798,490,535,546,171,949,056 - or more than ten million sextillion universes in our group.`11
The multiplication of human brains through `futanarian` sexual reproduction would have been an exponential raising of the powers to produce the advanced technology of Heinlein`s SF `continua car`, Gay Deciever; if men hadn`t enslaved `futanarian` woman`s host wombs to breed with her without her own species` `seed` and use her own brain damaged brains` powers for their wars against her. In the course of Heinlein`s novel `the black beast` character is persistently ubiquitous and only interesting because of its enigmatic presence which led many critics to perceive the truth that it represented what people don`t want to see while they`re enjoying life even though the figure is mainly a nuisance rather than a threat. Because Heinlein`s `black beast` is hermaphroditic it corresponds to `futanarian` woman with her own penis` `seed` and so is a meditation on the marriage relationship. Zeb and Deety quarrel consistently, and so do Jake and Hilda. Eventually the son-in-law beds his mother-in-law and the daughter beds the father, which results in a discussion of Heinlein`s favourite theme of incest, because `the black beast` character represents the shadow aspect of the human personality that would rather have the small gene pool of man and woman with the brain damage of the `serpent`s seed` rather than a larger human potential with `futanarian` women`s breeding of their own brains` power . In The Number Of The Beast Heinlein`s `black beast` character represents man and woman`s fear of the `futanarian` human woman with her own `seed` for exponential reproduction of her species` brainpower:
`... E.R.B.'s universe is no harder to reach than any other and Mars is in its usual orbit. But that does not mean that you will find Jolly Green Giants and gorgeous red princesses dressed only in jewels. Unless invited, you are likely to find a Potemkin Village illusion tailored to your subconscious ...`12
In the Bible the `beast` is `worshipped` because it`s the slavery and war derived from the man and woman equation without the added ingredient of the `futanarian woman with her own penis` semen to improve the gene pool and increase the brains` power of the human species. In Heinlein`s novel The Number Of The Beast the `black beast` is hated because men have killed the human `futanarian` woman who is hermaphroditic and so she`s a projected shadow of the inferior aspect of the personality in psychological terms that represents the male`s unconscious but real hatred of woman and that`s why he`s killed her. In the Bible Jesus` teachings are of Resurrection for `woman`s seed` and so `the black beast` of Heinlein`s The Number Of The Beast is the projected future of men`s reaction to `futanarian` humans. According to the Bible there`ll be `war in heaven` between the `serpent`s seed` and `woman`s seed`, which will result in eternal unendurable pain, as a punishment from God to the evil, while the good receive a `new heaven and Earth`, because they don`t hate `futanarian` human `woman`s seed` and wage war against her host womb to enslave and devour it in ceaseless wars of `perpetual enmity` upon her Earth:
`As my mother once said: `The boys throw stones at the frog in jest. But the frogs die in earnest.`13
Feminism is usually associated with political correctness and there are a few novels, like Joanna Russ` The Female Man, which treat of the theme of hermaphroditism as an aspect of lesbianism and female empowerment in fantasies treating of subjugation by men and women`s rebelling against it, but few works treat of the obvious reason for exclusive sexual relations between women as essential for the production of the human race`s brains` power. Instead feminist`s expound on the theme of lesbianism as conferring separateness and specialness upon women who`re defined as homosexual or `gay` within the mainstream of gender studies. But `futanarian` women with their own sexual orientation are a species desirous of escaping schizophrenia. Believing that what she sees in the mirror of her room isn`t for her to be sexually desireful of, a woman is taught that a man is the zenith of her aspirations, while he may be an alien virus not even of her race but something that once inveigled itself into her host womb where it lies snuggled like a parasite in feigned symbiosis waiting to emerge and exterminate her. Unable to sexually propogate without her, a man is homosexual and `gay` by nature of the fact that he isn`t a woman with her own `futanarian` penis` semen and host womb for the propogation of her own species` brainpower, whereas a woman lives in schizophrenia because she`s trained like an animal to live as a split-minded creature with what she`s been taught is her male counterpart but what she sees in the mirror is her own species craving her own penis for the sexual reproduction of her own self:
`A great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads. Its tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born. She gave birth to a son, a male child, who `will rule all the nations with an iron scepter.` (Rev: 12. 1-6)
Taught that men are her sexual counterpart the political truth is she`s potentially a socio-economically independent species capable of out-breeding her supposed mate. The socio-history of the planet is of men`s homosexual pederasty replicating itself to perpetrate war, which makes of them women`s cancer rather than their defender. The late 20th century incurable `killer disease` of HIV/AIDS is a metaphor for `Greek` democracy whereby homosexual pederasty enslaves the host wombs of women in order to maintain that 50/50 male-female schizophrenic split in society that maintains men`s power through its mode of `biological warfare` keeping women in fearful faithfulness to monogamous enslavement and war`s contagiousness because `futanarian` woman with her own human species` `seed` would outvote and outthink men if she were to breed as 100% of the humans rather than the false 50/50 which she perforce has to accept even though men can`t sexually reproduce without her (0%) and she can sexually reproduce without men.
1 Asimov, Isaac Foundation, Gnome Press, 1951.
2 Star Wars Episode IV: A New Hope, crawl, 20th Century Fox, May 25, 1977.
3 Presley, Elvis `In The Ghetto` written by Mac Davis from the album From Elvis In Memphis, April 1969.
4 Star Wars Episode IV: A New Hope, crawl, 20th Century Fox, May 25, 1977.
5 Heinlein, Robert A. Stranger In A Strange Land, Putnam, 1961.
6 Heinlein, Stranger In A Strange Land, 1961.
7 Heinlein, Stranger In A Strange Land, 1961, p. 365.
8 Weaver, Sigourney Alien,20th Century Fox, May 25, 1979.
9 Griffin, Craig as Rob Cardine Imprint, Vantage Point Productions, January 4, 2009.
10 Adams, Douglas The Restaurant At The End Of The Universe, Ch. 17, Pan, 1980.
11 Heinlein, Robert A. The Number Of The Beast, Fawcett, 1980.
12 Heinlein, The Number Of The Beast, Fawcett, 1980.
13 Russ, Joanna The Female Man, Bantam Books, 1975.