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The Above Artwork is Availible as a Fine Art Poster Print: Please CLICK Here! NIGHT-GAUNT NUN GAMARI: The Fifty-Sixth Spirit is Gremory, Gamori or Gamari/Gamary. She is a St rong and Powerf ul Duchess, and appears in the form of a most sensual and beaut iful young woman dressed in a most revealing and sexually provocative black leather skeletal bodice of a Nuns habit. Upon her back one to see the leathery black wings of a Bat. She will also be seen with a horned Duchess's crown tied about her lithe waist, and to be riding on a great Rept ilian Albino Camel with a long Serpentine neck from out of a vaginal gateway t hat be t he doorway into a Great Beehive of an Obsidian Gothic Cathedral. The Cathedral is that of a labyrinthine library of Sorcery and Magick that be too a hidden University as well as being t hat of a bordello of se ductive neophyte Witch's teaching t he arcane arts of the Crucified-Serpent that are dressed as Goth 'Night-Gaunt' Nuns upon whose backs are to be see n the wings of Bats.
The Above Artwork is Availible as a Fine Art Poster Print: Please CLICK Here! The of fice of Gamari is to t ell of all things Past, Prese nt and to Come wheref ore she or her siste rs will carry one within ones Visions or Dreams on a flight through the labyrinthine vaginal barrelled hallways of the Cathedral into a myriad womb rooms pertaining to different time periods and worlds. She will
also tell of hidden ancient arcane books upon the Occult Arts and of Magical Treasures wherefore she to reveal what they lie in; and t o procure t he 'Sexual Love' of beautiful Women but especially that of 'Maidens.' She governs 26 Legions of female Spirits whom appear likened unto herself.
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Since (in the Middle Ages) the psychic relation to woman was expressed in the collective worship of Mary, the image of woman lost a value to which human beings had a natural right. This value could find its natural expression only through individual choice, and it sank into the unconscious when the individual form of expression was replaced by a collective one. In the unconscious the image of woman received an energy ch arge that activated the archaic and infantile dominants. And since all unconscious co ntents, when activated by dissociated libido, are projected upon the external object, the devaluation of the real woman was compensated by daemonic features. She no longer app eared as an object of love, but as a persecutor or witch. The conseq uence of increasing Mariolatry was the Witch hunt, that indelible blot on the later Middle Ages. "
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Psychological Types (1921), CW 6 . P.344 Carl Gustav Jung (1865 – 1961)
ASSUMING THE ALTERNATE PERSONA OF A HIGH PRIEST DRAGON ADEPT
When a Male practitioner Evokes Gamari he can assume the Alternate Persona of a High Priest within a Lucid Dream, which Gamari will empower. The Alternate Persona of the High Priest , which one can assume can be somewhat other of the norm, where one finds ones self amidst a throng of adoring Nuns who are as ones Priest esse s whom will worship one as t heir God incarnate within ones engineered Ludid Dreams. One will find that the Nuns one to experience within ones Erotic Lucid Dreams will be the Spirits of those Women, which Gamari has procured for one to eventually meet up with under Synchronistic sit uations when one awakens. The characte r construct of ones Alte rnate Persona of a High Priest can be based upon the characteristics of Aleister Crowley, but more so that of the 'Great Beast.' The reason why one utilises the Symbolic motif of t he 'Great Beast ' to assume of mantle is not that one is seeking to indulge in inane Evil acts or to play the part of a Hollywood AntiChrist; it is because most people have bee n Subconsciously imprinted by such Symbolism; whereupon, by assuming the Alternate Persona of a High Priest who is also the 'Great Beast' within a Lucid Dream one acce sses t he Collect ive Unconscious focus upon the Symbolism, which is more so the case concerning those Women who see themselves as being a Babalon. One can say it is a case of like at tracting like, which one se ts up via ones Lucid Dreams when one Evoke s Gamari; by doing so one will be se tting up the Synchronistic conditions to mee t up with a Babalon whom corresponds with ones internally assumed Alternate Persona. Such Women will invariably reflect back ones interest in the Occult Arts who are Subconsciously seeking t o meet up with their High Priest of a Great Beast, whom will no doubt desire to birth ones Moon-Childe under a Sirius st ar; whereupon one has to be ve ry careful!
THE NIGHT-GAUNT LEATHER NUN DUCHESS OF ALICE'S WONDERLAND AN EXPERIMENT IN ASSOCIATIVE CRITICAL PARANOIA FUSION One could equate the ‘Alice in Wonderland’ character of the ‘Duchess’ with Leather-Night-Gaunt-Nun Gamari; the author Lewis Carroll does not describe the physicality of the Duchess in much detail. The common percept ion of t he Duchess is t hat she has a hideous appearance, which was primarily est ablished wit hin the popular imagination by the surreal works of John Tenniel's illustrat ions rather than that of Carroll’s scant descript ion within his own work of Alice in Wonderland; however, within the context of Lewis Carroll’s creation it is clear that Alice finds the ‘Personality’ of the Duchess quite
unatt ractive at first. The Duchess is an antagonist of The Queen of Hearts; in her f irst appearance, the Duchess seems nearly as unpleasant as t he Queen herself, but later on t reats Alice with friendliness and respect . (One could associate the 32nd Spirit of the Goet ia called Asmodaya with t he 'Red Queen' while Alice is the 4th Spirit Samigina)
If one to fuse Gamari with the Duchess one could thence perceive her living amidst Wonderland within a huge palatial Cathedral just outside the (Great Old Ones) Caterpillar's forest. The Duchess employs a footman who Alice t hinks rese mbles a Frog one could perceive as being the Amphibious Babylonian deit y of Oannes whom the Dogon called Nommo; t he Duchess also has a fe male Cook whom is addicte d to Pepper while t hrowing crockery and kitchen ute nsils over her shoulder with no concern for those who might be hit, which one could perceive as be ing somewhat like the Tantric-Hindu Goddess Kali concocting spicy hot Asian cuisines as she rants and raves on about the British Colonialism of India. (As for the Cook’s addiction to Pepper one could perceive the Pepper as being the potent Hallucinogenic snuff called 'Epena', whose ingredient is derived from the Virola tree, which is considered as being t he ‘Seme n of t he Sun;’ it is primarily used by t he Turkano Indians of Sout h America.) The footman of an Oannes enjoys staring at the sky for days on end looking at the binarystar of Sirius whom is totally oblivious to most of the people in or out of the house. The Duchess also
has a Child as well as t he ‘Cheshire Cat ’ within her abode . In regards to Gamari t he Child is t he SolInvictus ('God-Sun') Christ Child of a Horus while t hat of the ‘Cheshire Cat’ one could associate with the ancient Egyptian Goddess Bast or the Norse Goddess Freyja whom was known as the Mistress of Cats, both of which one could in turn fuse with the 12th Spirit of the Goetia called Sitri.
The characte r of the Duchess is st rongly voluble; at times she e ven seems t o have a double personality. When she first meets Alice in her kitchen, she shows herself to be nervous, aggressive, and not disposed t o interact . She recite s one of the more well-known rhymes in the Alice in Wonderland book, when she advocat es beat ing her (Christ) Child f or sneez ing: “Speak roughly to yo ur little boy and beat him when he sn eezes, he only does it to anno y because he knows it teases. I speak severely to my boy; I beat him when he sneezes, for he can thoroug hly enjoy the pepper when he p leases.”
As t he Cook has absolutely sat urate d t he kitchen with (Epena) Pepper, and t he baby sneezes constantly, Alice can only conclude that the baby boy has probably suffered quite a bit at his Mother's (Mother Church) hands. Taking pit y on t he child, Alice spirit s him away, only to find t hat he has transformed into a Piglet and perhaps he was such all along. It is neve r explained why this happens in Carroll's story, but Alice looks on the bright side , concluding that while t he baby wasn't a very att ractive baby, it makes f or a good-looking PIG. Of the Duchess' household, the Cat appears to be by far the most balanced and sensible, although it stat es t hat—like e veryone else in Wonderland—it is Mad. How the Cat came t o live with the Duchess is, like so man other matte rs in Wonderland, a m ster . In re ards to the Pre-Christian Pa an
perspective that the Feminine principle has Feline traits, a Cat within the palatial Cathedral of Gamari would indicate an Elder Pagan influence.) Later, when the Cat meets up with Alice, it appears it has left the Duchess for good.
When Alice meet s the Duchess f or the se cond time at the Queen's croquet party, the Duchess is f ar more communicative of almost flirtatious Lesbian intention, whom is seemingly determined to charm the young Girl for reasons unknown in the st ory, although most obvious when reading bet ween the lines. The Duchess re peat edly places her chin firmly upon Alice's shoulder, which Alice finds disturbing as well as uncomfortable , for t he Duchess has a very sharp, pointy chin. Alice be gins t o suspect that the Duchess might actually have a pleasant personality after all, and that her earlier ruthlessness was caused by t he (Epena) Pepper. In any case, the Duchess has no concern for her (Christ Child) baby now that he has become very much a Pig. The Alice in Wonderland story often depicts the Duchess as being seen from a child's-perspective of perceiving emotionally volatile and mysterious adults, switching back and forth between dark moods and condescending affection, hence very unpredictable; but then again, most adults never grow up, whom still blindly play their repetitive childlike games of power mongering within a world made as a Vampire playground of Religious Chess board amidst which they writhe as Political Reptiles f eeding of f each other.
PSYCHONAUT TALES OF THE LEATHER NUN GAMARI ISHTAR'S FUTURE GHOST TIME-T RAVELLING OF VOID-GOING CAT-WALK
Long prior of age before t he ascendency of the Abraham Triad of Patriarchal fait hs the ancient Egyptians perceived that at the beginning of all things there was a great ocean of primordial Womb sea, which they called 'Nun.' Out of the Womb ocean arose the first form of Atum who was seen as being either that of a Hill or a Pyramid of Light. One also has the Hebrew letter 'Nun', which is symbolically aligned with the symbol of a 'Fish.' The Fish is tradit ionally consumed by Nun's on Friday's, so some to say. Friday was originally named after the Norse Goddess Freyja whom rode a Predatory Cat just like the Hindu Goddess Durga as well as the Sumerian 'Queen of Heaven' whom the Babylonian's knew as t he Goddess Ishtar. It is said that the Babylonian Goddess Ishtar was Crucified to a Tree be fore her descent into t he underworld in order to re trieve her lover Tammuz f rom the grasp of Deat h. At every st ep of her descent into the bowels of t he Earth Ishtar had to peel away a part of her worldly clothing since she had t o enter Deat hs domain naked as a Spirit to be verily test ed by lustful Demons. One could see Ishtar's Cat-Walk stripper descent as a Shamanistic journey into the infernal realms of the Dream. At the level of the Dream, Time also flows backwards, whose Quantum reality is beyond Space-Time; whereby one could imaginatively perceive Ishtar travelling back into Time as a disembodied Night-Gaunt-Nun of a Time-Traveller, whose projected consciousness emanates from out of the far Flung Future as a Quantum Signal, whom seeks to awaken her Past lover Tammuz t o another order of existe nce beyond Deat h via his Dreams t o make Lucid of Awareness. Perhaps Ishtar is utilising some Future technology to achieve her goal whose Time of a galactic star faring civilisation has touched ot her stars to orbit such as Sirius.
CASTRATING CULTS OF CONSTANTINE'S ROME Besides the Babylonian Goddess Ishtar one also has the ancient Egyptian Cult of the Goddess Isis, which was very popular and quite prevalent within the precincts of ancient Rome at a time when the Emperor Constantine eventually came into power. The main icon of the Cult of Isis was that of a depct ion of Isis seated upon a t hrone wit h a Horus child upon her lap t o be verily suckled. Horus was also his own Father Osiris, whence Isis was not only the Mother of Horus but also his Wife. When Rome became Christian under Constantine's rule Isis was verily transf ormed into a Mot her Mary quite so contrary 'Quee n of Heaven,' while Horus became t he Übermensch Sol-Invictus Christ Child. Another
popular Cult in Rome was that of the worship of Cybele whose Priests were usually castrated eunuchs, which the Priests of Isis likewise practiced in order to empower their celibacy. The Persian Cult of Mithras was very popular with the bloodlet ting Roman Legionaries, whose Cultic pract ices had a f ocus upon the Star signs of the Zodiac, which were personified and later transformed into the Twelve Apost les dancing around a Papal-Bull.
THE AMPHIBIANS BETWIXT & BET WEEN BINARY STAR SIRIUS SWIMMING AS FISH The Christian Symbol of the Fish the Dogon of South-Africa to have known of long before Christianity had ever appropriated the Symbol of an Amphibious creature. The Dogon saw the Fish as represe nting their culture bringer t hey called Nommo, which the Sumerian's and late r the Babylonian's likewise knew as Oannes. Both Nommo and Oannes were perceived as being Amphibious deit ies of a primarily phallic represe ntat ion; whence t he Fish is phallic of associate d Symbolism. The Dogon's relate in their Myths that Nommo Crucified him self upon a Tree as a Self-Sacrifice, which is a Symbolic allusion to Shamanic Trance induction for when one enters dee p Trance one has t he sensation that one is swimming like a Fish (or Serpent) within the Watery womb realms of the Spirit World. Nommo and Oannes are also associate d with t he binary Star of Sirius, which the ancient Egyptians associate d with their Goddess Isis whose st ar is the st ar of the three Magi whom in turn represent the three stars of Orion's belt. The Dogon communicate that there is a planet , which orbits the binary star of Sirius, which they call the Planet-Of-Women. It is this Planet of Women, which the Dogon visit via Trance induction whereby e nabling access into t he Amniotic Watery realms of t he (Nun) Womb Dream as phallic Fish, whence becoming like Nommo at those Zodiac Key- Times ordained by St ar-Clock when Sirius is see n in the Sky.
The binary star of Sirius represents the two states of waking and sleeping, which one can equate with the Hypnagogic state and t hat of a (Vaginal) portal into Trance. The two stat es of waking and sleeping are equated with Land and Water; whereby, when one is able to capture the Hypnagogic state, one thereby becomes Amphibious of (Nommo/Oannes - Fish/Phallus) Consciousness, which is that of Trance. Once one has att ained t he stat e of Trance one can thereby consciously access the re alm of ones Dreams, which is associate d with the (Womb) planet of Women. The ancient Egyptian's perceived the appearance of Sirius just bef ore t he Nile's se asonal flooding, which was equat ed with Isis menstruating; while t he binary star of Sirius was see n as their "watchdog," which pointed out the time when the waters brought life back to the parched land. The rising of Sirius was also accompanied by a time of extreme heat, which led to a connection with hot, humid weat her with Sirius: "Dog Days bright and clear, indicate a happy year. But when accompanied by rain, for better times our ho pes are vain;" however, there were t hose t imes when the seasonal flooding was swelled by rain, which led to the destruction of the crops. The ancient Roman's knew the Dog days as 'Diēs Caniculārēs' who also associated their experience of hot weather with the appearance of the star Sirius in the sky. The Roman's also considered Sirius to be the "Dog Star" just as the Egyptian's did because it is the brightest star within the constellation of Canis Major (Large
Dog). Sirius was also called the 'Eye star' since it is also the brightest star in the heavens besides the Sun; although, the allusion to the Eye also had an esoteric association with the Pineal gland of the vestigial 'Amphibian' Third Eye, whose ambrosial hormone Melatonin regulates ones Dream states; whereby at certain Key-Times Trance ingress was f ar easier t o attain, such as around the t ime of the Dog Days. The ancient Egyptians considered that Trance ingress into the Dream was under the aegis of their Jackal (Dog) God Anubis whom also oversaw the process of Mummificat ion as well as t he Spirit re alm of the Dead, which was that of ones Dreams, whereby Anubis was also associate d with Sirius. The rising waters of the Nile was associated wit h Isis, which is primarily regulated by t he Moon, whose gravitat ional pull also aff ect s ones Dreams; f or one is most ly made up of wate r. The t erm "Dog Days" was used prior to the Roman's by the ancient Greek's (see, e.g., Aristotle's Physics, 199a2). The Dog Days originally were the days when Sirius rose just before or at the same time as Sunrise (heliacal rising), which is no longer t he case, due t o t he Pent agram 'Prece ssion of t he Equinoxes.' T he Roman's sacrificed a brown Dog at the beginning of the Dog Days to appease the rage of Sirius, believing that the star was t he cause of the hot, sultry weat her. The Dog Days of Rome were popularly believed t o be an evil t ime, "when the seas boiled, wine turned sour, Dogs grew mad, and all creatures became languid, causing to man burning fevers, hysterics, and phrensies" according to Brady’s Clavis Calendarium, 1813; by this t ime t he science of Dream manipulation and conscious Trance ingress at certain Key-Times had been lost. In Ancient Rome, t he Dog Days ext ended f rom July 24 t hrough August 24 (or, alternatively July 23August 23). In many European cultures (German, French, Italian) this period is still said t o be t he time of the Dog Days. The Old Farmer's Almanac lists the traditional timing of the Dog Days as the 40 days beginning July 3 and ending August 11, coinciding with the ancient heliacal (at Sunrise) rising of the Dog Star, Sirius. These are the days of the year when rainfall is at its lowest levels. One t o f ind within the Christian Book of Common Prayer (1552), the "Dog Daies" is liste d as begining on July 6t h and ending on August 17t h. As an aside of Surreal associative interest during the recurring cycle of hot Dog Days the whoring Bitch of Rome birthed Benito Amilcare Andrea Mussolini, who was born on the 29th July 1883, Predappio, Province of Forlì-Cesena; his eventual demise came to pass on the 28th April 1945. Mussolini was an Italian politician who led the National Fascist Party and is credit ed with being one of the key figures in the creation of Fascism; more than any other ruler of modern Italy, Benito Mussolini had bee n very friendly t o t he Vatican: "I affirm here that the Latin an d imperial tradition of Rome today are represented by Catholicism. If, as Mommsen said, 25 or 30 years ago , one canno t stay in Rome without a un iversal idea, I think, and affirm, that the only universal idea which today exists in Rome is that which radiates from the Vatican. I
am very uneasy when I see national churches being formed, because I know that there are millions of men who will no longer look to Italy and to Ro me. For this reason, I offer this hypothesis: If the Vatican were to definitely renounce its temporal dreams—and it already seems to have started on this path —profane, lay Italy shou ld furnish the Vatican with material aid; those material facilities for schoo ls, churches, hospitals and so forth, which a lay power has at its command. For the development of Catholicism in the world, the increased millions of men who throughou t the world look to Rome should be a matter of profit and pride to u s who are Italians." - Benito Mussolini
"Don't rejoice in his defeat, you Men For although the World stood up and stopped the Bastard, The BITCH who bore him is in 'Heat' again." - Bertold Brecht
