“When carried into the realm of the intellect, the industrial ideal of efficiency poses, as Hawthorne understood, a potentially mortal threat to the pastoral ideal of contemplative thought. That doesn’t mean that promoting the rapid discovery and retrieval of information is bad. It’s not. The development of a well-rounded mind requires both an ability to find and quickly parse a wide range of information and a capacity for open-ended reflection. There needs to be time for efficient data collection and time for inefficient contemplation, time to operate the machine and time to sit idly in the garden. We need to work in Google’s “world of numbers,” but we also need to be able to retreat to Sleepy Hollow. The problem today is that we’re losing our ability to strike a balance between those two very different states of mind. Mentally, we’re in perpetual locomotion.”

* * *

Other excerpts from The Shallows have been published by link), National Public Radio (link),National Geographic (link), and Gizmodo (link).

by Randy Maugans

“Know ye not that ye are the temple of God, and that the Spirit of God dwelleth in you?”-1Corinthians 3:16

Reason to read it: For purposes of debunking what is, at best, a confusing brew of pseudo-science and bad doctrine—which unfortunately has many people—including believers—in its thrall.

Reason to not read it: Devoid of solid doctrinal underpinnings, formed from unvetted “scientific” data, and lacking a coherency of narrative the book is a waste of time better spent in scripture studying doctrine valid prophetic structure.

David Flynn has been a fixture on the stage of crypto-Christian research for over fifteen years, cutting a wide path in exploring mystical and occult themes from the perspective of the Bible, appearing in numerous videos on YouTube and popping up at UFO conventions in support of his 2002  book, “Cydonia: The Secret Chronicles of Mars”.

“Temple At The Center Of Time” is slightly more Earth-bound—but not much, and far more grandiose in its reach toward tying together the disparate parts of his reaching studies into the mystic. None of that would be bad IF Flynn were better grounded in doctrine—He is not—and more consistent in both his scientific facts and the prophetic “projections” he attempts to hammer out of a cornucopia of of quasi-scientific data. The book is hopelessly confusing.

On the first point of doctrine (admittedly controversial now, as most Christians have NO idea what they believe or why), Flynn is an Israel-centric dispensationalist and believer in the pretribulational rapture (alright, MID-trib, according to his most recent appearence on Steve Quayle’s “Q Files” show). Both viewpoints completely color his presentation, and worse, they compel him to cobble together unrelated data points into complex theories which confound explanation by the author even in two hour stretches.

Having latched on to the prophecy writings of  Sir Isaac Newton—a noted Illuminist and member of the Royal Society—Flynn finds an ancestoral soulmate who provides a fertile bed 0f  crypto-Christian arcana through which to channel the contrivances of odd location distances (using Google Earth and two completely different measurement systems!), time-to-distance equations, use of an unexplained “Golden Cubit” (an Illuminist antecedent to the “Golden Ratio”), and numerous speculation on historical events.

Undoubtedly, Flynn counts on the inability of his clamoring fans to process complex data, which he uses to spin seemingly credible facts into wild flights of prophetic fantasy—or worse, the cartoonish prophecy that is the hallmark of Tim LaHaye and Hal Lindsey. Really, the elaborate pseudo-scientism aside, the book continues the vein of dispensational writings which still install “The Antichrist” in a restored temple in Jerusalem for a seven year tribulation to bring the Jews to a faith in Christ.

Examined at its core, “Temple At The Center Of Time” is the most recent of the many so-called “Bible Codes”: an external, Gnostic-based system of attempting to navigate the prophetic writ of end times events. Like all such systems, it suffers from circuitous logic and internalized reasoning (…if this, then that…) rather than using the PLAIN writ of the texts of the Bible to discern prophecy.

Worse: rather than go to scripture for his core validations, Flynn pulls into his sphere of influence the dubious “Book of Enoch”,  the  Babylonian Talmudic texts, and the Apocryphal Book of Second Maccabees along with assorted pseudipigraphal writings—and, for good measure, a citation from the equidistant letter spacing “Bible Code” software!

Flynn, and Newton’s assumptions—as well as those of most Israel-centric diviners of prophecy, rests on the assumption that the present site of the temple, with its extant “wailing wall” is the THE  Temple site. This is also the locus afixed by the reconstituted Sanhedrin and Temple Mount Faithful whose goal is to to remove the Al-Aqsa and Dome of the Rock mosques.

Yet, solid historical research by Dr. Ernest Martin indicates that this present temple is not only NOT the original location, but that it is, in fact, the site of a Roman armory called “Fort Antonia“. Dr. Martin’s research, based on extensive studies of archeological digs, manuscript research, and Biblical exegesis—and affirmed by numerous academic colleagues, represents best practices of research and demands to be heard and read by anyone serious about the truth of the fate of the original temple location.

Moreover, the present Temple site—esteemed, even worshipped, by both the Talmudic Jews in the land of Israel and the dispensational Zionist Christians of the post-Scofield era—not only represents bad history and terrible science, but is, in fact, BLASPHEMOUS! as it MAKES JESUS a liar:

“…verily I say unto you, There shall not be left here one stone upon another, that shall not be thrown down.”-Matthew 24:2

If Jesus truly is the Messiah, prophesied in the Old Testament as “That Prophet”, how is it that the western , or “wailing wall”, still stands? Aren’t the implications, both historical and theologically, worth examining with more rigor than the flights of fancy pondered by David Flynn in the mode of “science lite”? What IF the present Temple site, now held by Islam, is nothing more than a monument to the Roman God of War?

These are questions which any believer endeavoring in end times prophecy need to examine from a solid base of empirical, and scriptural understanding. Modern prophecy, as expounded by most of Evangelical Christianity, is predicated upon assumptions and biases of recent mint.

Not only is the question of the temple one of great academic interest, but your position on the question of what temple is truly the temple of God is a bellwether of your position in Christ—or in antichrist. Pop science and theological inversions are not the basis for an eternal decision.

“Know ye not, that to whom ye yield yourselves servants to obey, his servants ye are to whom ye obey; whether of sin unto death, or of obedience unto righteousness?”-Romans 6:16

“And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.”-Revelation 17:6

William Tyndale, just before being burned at the stake, cries out, "Lord, open the King of England's eyes," in woodcut from an early edition of Foxe's Book of Martyrs.

Fox’s Book of Martyrs
Or A History of the Lives, Sufferings, and Triumphant

Deaths of the Primitive Protestant Martyrs-Foxe’s Book of Martyrs – Project Gutenberg – Original Text

Amazon.com – Hardcopy

This book  consistently comes up in my radio show talks—especially when referencing the whole pre-tribulation rapture doctrine. Read this book and ask yourself: “Where was THEIR rapture?”

This book should be right beside the Holy Bible as a “top ten” reference for believers. It builds faith, strengthens resolve, and give insight into not ony the historical persecution of TRUE believers, but the prophetic future  slaughter of believers in the end times.

John Foxe documents over 1900 years of persecution, deprivation, and martyrdom by Chrisitans at the hands of Caligula, Claudius and Nero, the centuries of  Papcy “inquisitions” and executions, Queen “Bloody” Mary of England, amongst other antichrist powers.

From the Apostle Paul to John Huss and William Tyndale—to the later martyrs of small renown. Foxe also gives us glimpses int0 the extra-scriptural details of the apostles, Paul and John which are true treasures of Christian legend.

“Even so then at this present time also there is a remnant according to the election of grace.”-Romans 11:5

Jan Hus

The true history of Evangelicalism and the “reformation”  before the fact—or perhaps genuine reformation, and not “protest”—- but acti0n, is found in the story of a small persecuted band of 15th century Czechs who forged a “remnant” of Biblical Christians from the legacy of the Great Schism of Western Christianity.

There is a great story of the perseverance of the faith which has been expunged by Rome, and ignored by “Protestants”–a story of faith which had the spirit of the true Gospel, and the heart of the martyrs of the first three centuries of Christianity.

Read the Book Review: “A History of the Moravian Church by J.E. Hutton”  by Gordon Comstock

Other links:

History of the Moravian Church

Wikipedia-Roots of Reformation

Wikipedia-Jan Hus

Google Books-”De Ecclesia (The Church” by Jan Hus

“From the Profane to the Sacred”
Jules Verne’s Masonic Embeds - Excerpted from “The Occult Influences In the Classics”-A Work-in-Progress

By Randy Maugans

{This article was originally published in the Spring 2009 E-Zine, “Inside The Grassy Knoll”, and is republished here with additional graphics)

As a young sci-fi buff, I grew up watching the Disney adaptation of Jules Verne’s “20,000 Leagues Under the Sea” on TV. It was the 1960’s, there were no VCRs or DVDs, no cable.“Walt Disney’s Wonderful World of Color” (NBC, the home of the peacock— the first network to broadcast in color) was a window to these films released before I was born. And one of them was that Verne underwater classic. How I wish there were “replay” technology then,
but I settled for finding a Classics Illustrated comic, and then a pulp version of the book.

That movie left an indelible imprint and a hunger for both more Verne, and greater exploration of the sci-fi genre. It also began a long, strange journey into the archetypes of what I now see as a program of illuminist/technocratic indoctrination. With the ramp up to the era of the space programs: satellites, orbiters, the “moon landing”, and the age of ubiquitous technology. In a single generation we saw the fantasies of the 1800’s become reality!

Later, I discovered other authors with similar themes and expanded glimpses into the realm of semiotics, allegory, and what we now loosely call “predictive programming” or futurism.
Certainly, H.G. Wells and Ray Bradbury ; then Robert Heinlein, Frank Herbert, Philip K. Dick, and Ursula K. Le Guin, among many others. But it still always came back to Verne…

Recently I had a reminder of the old Verne era when Turner Family Classics was running a full day of sci-fi films. Kubrick’s 2001: A Space Odyssey (a top ten favorite movie: seen it a dozen times) had concluded and then up rolls Jules Verne’s “From the Earth To the Moon” from 1958—-a Verne film I had not seen…

The Symbolic Realm

In the forty plus years between my first Verne movie and the present epiphany of “From the Earth to the Moon”, I had embarked on a life which collided with the edges of other realities: a “proper Christian upbringing” usurped by a teen rebellion and encounters with new age
mystics, psycho-pharmacia, and ten years in the counterculture of the 1970s. Travels in the circles of musicians, poets, writers, artists, and —more mystics—sharpened my awareness of the supernatural, and its dark side.

An early occult teacher had showed me the power of symbols and their use in subliminal indoctrination via what he termed “persistent iconology”: messages which stream
seamlessly from epoch to epoch, readapting and morphing, but containing a kernel of perpetual constancy. Many of the symbols used by ancient secret societies are now part of the modern culture through corporate logos, pop culture icons, and the endless imagery which flows through the media of television, music, computers (ever wonder about those icons on your desktop?), and film. The alchemical quest, I understood, had nothing to do with transmutation of matter—but with spirit—and the  lingua franca was the symbolic.

That understanding would underscore the succeeding decades of study into the many schools of illuminism, including Freemasonry (of which I never partook, although my own family was heavily Masonic), Rosicrucianism, Cabbala, and Wikka. It took on a peculiar and vital power as I moved into Christianity and became aware that the shadows I had encountered in the occult had a counterpart in scripture—one more powerful in substance and more enduring in value.

Verne’s Predictive View

To wit we return to the aforementioned epiphany on that October day, when I viewed the opening scenes of the 1958 film (all that’s worth seeing of it), “From the Earth to the Moon”, with eyes wide open. The film, starring Joseph Cotton as the protagonist, Victor (named Impey in the Verne novel) Barbicane, is not a faithful adaptation of the original Verne—in fact it is a third-rate adaptation of the novel, but it did communicate the essential idea of a durable message—and one which landed as a neat package at an appointed time.

In 1958 Americans were being primed for the emergence of the space age. It was, after all, the International Geophysical Year (July 1, 1957-December 31, 1958), the year when America launched its Explorer 1 satellite. It was also the fateful year which saw the creation of NASA!

The preceding year had witnessed the launch of the Soviet satellite, Sputnik (the word literally means “fellow traveler”, a Masonic term heavily used in the lexicon of Communism) and the propaganda cries of the “space race” with the Soviets—a fabrication to win the sympathies and tax dollars of the American public (the IGY was crafted by the International Council of Scientific Unions, funded by UNESCO, and included scientists from all the developed nations at that time, including the USSR). That year also saw a bit of prescience in the film release of “20 Million Miles To Earth”—wherein a space mission is organized by the government of the United States under the aegis of the Pentagon—this was the era of the spawning military-industrial complex.

What is apparent in the Verne story line, and amplified (deliberately) in the film, is the opening scene, set in the Baltimore, Maryland¹ lodge of a private society called the “Gun Club²” just after the end of the Civil War (Verne, Euro-centrically, calls it the “War of the Rebellion”)  and it is rife with the predictive programming of both technocrats and war profiteers in an eerie beckoning to the period in which the film is released.

In the film, the pivotal dialog is culled from the opening chapter accountof the history of the Gun Club, and its present malaise in the aftermath of the conflict. As Verne reports:
“During the War of the Rebellion, a new and influential club was established in the city of Baltimore in the State of Maryland. It is well known with what energy
the taste for military matters became developed among that nation of ship-owners, shopkeepers, and mechanics. Simple tradesmen jumped their counters to become extemporized captains, colonels, and generals, without havingever passed the School of Instruction at West Point; nevertheless; they quickly rivaled their compeers of the old continent, and, like them, carried off victories by dint of lavish expenditure in ammunition, money, and men.”

“One day, however– sad and melancholy day!– peace was signed between the survivors of the war; the thunder of the guns gradually ceased, the mortars were silent, the howitzers were muzzled for an indefinite period, the cannon, with muzzles depressed, were returned into the arsenal, the shot were repiled,
all bloody reminiscences were effaced; the cotton-plants grew luxuriantly in the well-manured fields, all mourning garments were laid aside, together with grief; and the Gun Club was relegated to profound inactivity.”– The Gun Club-Chapter 1 of “From The Earth to the Moon”.(Emphasis added)

Contained in these brief excerpts of Verne’s opening scene are the major themes which found resonance in the post-World War II America to which the film was addressed: a period of (seeming) peace where the labors and attentions of the populace returned to daily life and the fortunes shifted from war production to the mundane. Where the once heroic, and lucrative, endeavors of the war industry seemingly found themselves in the margins of time and  struggling to find purpose—and profits.

Thus, Verne then presents us with the solution to the dilemma and with the words of Barbicane’s preamble,  gives us the true nature of not only the practical issues at hand, but
subtle clues to the Masonic-Illuminist agenda which marries the adventures of war to the stars:

“There is no one among you, my brave colleagues, who has not seen
the Moon, or, at least, heard speak of it. Don’t be surprised if I am
about to discourse to you regarding the Queen of the Night. It
is perhaps reserved for us to become the Columbuses of this unknown
world. Only enter into my plans, and second me with all your power,
and I will lead you to its conquest, and its name shall be added to
those of the thirty-six states which compose this Great Union.” -President Barbicane’s Communication- Chapter 2 of “From The Earth to the Moon”.
Just as Verne’s fictional Barbicane is left to provide the solution to the fading fortunes of the militarists of the post-Civil War Gun Club, so, likewise, did the emergence of the U.S. space program signal a redirection of effort towards a more “celestial nature”. Both the novel and the film predictively point toward an effort to move man and his military efforts out beyond the Earth realm of the profane. A reinvention which has the same ends but employs a brilliant dialectic rife with ancient metaphors painted upon a broad canvas of Masonic and occult symbolisms.

Imagery of the Supernatural

Jack Parsons, founder of Jet Propulsion Laboratories

Many researchers have found striking imagery in the history of NASA, and even slightly pre-dating it— back to the halcyon days of Jet Propulsion Laboratories founder, Jack  Whiteside Parsons and his adventures in high occultism with the infamous “Babalon Working”³ rituals at Pasadena and Mount Palomar (both locations considered to be occultically strategic and located just above the 33^rd parallel). Verne is far more subtle, but intones the appellation, “Queen of the Night”, in homage to the famous aria from Mozart’s Masonic opera, “The Magic Flute”. Likewise, he invokes the personage of Columbus —a name evocative of the Masonic columns of Boaz and Joachim—and a term enshrined in the book’s 16^th chapter, “Columbiad” to depict the cannon from which his craft would escape Earth. The term also inflects the future shuttle craft which would meet its fiery doom at the 33^rd parallel in 2003—The Columbia—in a decidedly creepy series of synchronicities.

The dialectic of Barbicane’s speech, appealing to both nationalist expansion and the primal urges of conquest, are not dissimilar to the hubris which found its calling in the formative
years of NASA. The same themes would be pronounced in 1962 by President John F. Kennedy in his speech at Rice University in Texas (again, on the 33^rd parallel), where he tasked the nation to a moon landing :
“We set sail on this new sea because there is new knowledge to be gained, and new rights to be won, and they must be won and used for the progress of all people. For space science, like nuclear science and all technology, has no conscience of its own. Whether it will become a force for good or ill depends on
man, and only if the United States occupies a position of pre-eminence
can we help decide whether this new ocean will be a sea of peace or a new terrifying theater of war.”

Where Barbicane employs the imagery of Columbus, the great explorer of the seas, Kennedy sets a metaphor of space as a “sea”, arousing the same emotional bravado employed by Verne in beckoning to travel to the moon. Prophetically, Kennedy paraphrases the name of the very place where his own “new Columbuses” would step: The Sea of Tranquility (which sired
the infamous Tranquility Lodge No. 2000 in Waco, TX—on, you guessed it: the 33^rd parallel). The sea plays enormous symbolic importance in the imagery of Verne, a man who not only coveted sea travel, but gave to his alpha male leading man, Nemo, a snippet of monologue which serves a philosophical pretext:

“ The sea is only the embodiment of a supernatural and wonderful existence. It is nothing but love and emotion; it is the ‘Living Infinite,’ “-Twenty Thousand Leagues Under The Sea , chapter 10

The sea and the moon represent the supernatural aspects of existence: the realm of escape and the mysteries of something infinite beyond the common, the profane—earth. Space, the heavens, was the infinite backdrop and the navigational means by which man—the elevated, illumined man, transcended the gravity of the earthly realm. By extension, both the sea and space represented, in the mind of Jules Verne, nothing less than his “living infinite.”

Viewed as a whole, Verne’s work could well be examined as a broad allegory containing the four mystical elements of air, fire, earth, and water—the esoteric/alchemical journey through
matter and energy also seen in the “journey” of Freemasonry; the transcendence of the “profane” to the sacred. Indeed, it is in the characterization of Nemo (“the one”), that this embodiment is most concretized, as Nemo seeks even to command the sun:

“Adieu, sun! Disappear, thou radiant orb! rest beneath this open sea,
and let a night of six months spread its shadows over my new domains!”-
Twenty Thousand Leagues Under The Sea , chapter 14

Verne’s representations in words alluded to physical transcendence as a means to attain a spiritual realm. One which casts off limitations, breaks away from the gravity—the
earthbound— in the best spirit of Kant’s transcendent idealism. One of the discernable themes in the work of Verne was his disdain for the static, the landlocked, and the limited. He embraced the notion of the “Great Work” as a life measure:

“The desire to perform a work which will endure, which will survive him, is the origin of man’s superiority over all other living creatures here below. It is this which has established his dominion, and this it is which justifies it, over all the world.”-The Mysterious Island, Ch. 57

The Iconic Symbols of Verne

Verne’s subtleties in expression of words found their complements in the iconic symbols which graced his works and, in this, Verne was very exacting: sending artwork back for endless revisions and often requiring the intervention of his publisher, Pierre-Jules Hetzel. Modern readers, especially of the English versions, of Verne’s work may not know that the original works were copiously illustrated by the house artists of Hetzel’s publishing firm. The Hetzels ⁴(father and son, Louis-Jules) were forerunners of the modern day publishing practice of “content re-purposing”  ⁵, often repackaging Verne’s works in as many as three different formats, some being nearly equivalent to the modern day “graphic novels”, and often offered with shorter works in a serialized anthology format.

While much of the inner graphics of the Verne editions have been lost, many of the covers which graced the “Collection Hetzel” books are still in evidence and it is obvious that no expense was spared as the Hetzel capitalized on the markets for Christmas and New Years with gold-leaf color binding in “grand octavo” (large format) editions which recombined both the two new (and contractually required) works of Verne with shorter works.^{6 It is from among these editions that we glean some of the iconic signatures of Freemasonry. Researcher/author, Philip Gardiner7 certainly makes the case for Verne’s, as well as the Hetzel’s , involvement in extolling the Masonic virtues 8through the allegories resplendent in the sum of Verne’s written legacy. The covers reveal Masonic symbolism, both obvious and subliminal, and truly qualify as “persistent iconology” —and iconology which migrated into the modern era in remarkable symmetry. That Verne’s books appear to be absent any sexual connotations is largely the emblem of the era of Victorianism in which he lived.}

Verne’s sublimated animus leaned toward the Masonic ideal of a more universal procreation as evidenced by the cover of “From the Earth to the Moon” (Figure 1), which bears the imagery of a phallic projectile (the masculine) launched toward the “queen of the night”—the female orb.

In abstract (Figure 2) the projectile also portrays the Masonic compass

and square symbol with its diagonal juxtaposition to the title —another representation of the procreative elements of Freemasonry and an epigraph of the tantric merging of the male-female energies expressed in the new age hermaphroditic ideal.

This same iconic imagery reemerges in the logotype of NASA in 1958 (Figure 3). It requires little imagination to see the same abstraction in the rendering of the Masonic compass by that strange red glyph-like element.

A consistent symbolism emerges from, not just the cited Verne usage of the phallus- rocket (recall the earlier reference to the to the “columbiad”, a cylindrical projectile used prominently by Verne in “From the Earth to the Moon”), but is an archetype of ancient origin. It is best seen it the common obelisks which dot the landscapes of the globe and are
part of the lore of Tammuz and the cult of Semiramis⁹, also found in the three Masonic monuments in London, Paris, and New York called “Cleopatra’s Needle”.

Were the symbolism of the cover of “From the Earth to the Moon” left to stand alone we would be accused of projection, but examples abound and we need to examine a few more to get the pattern. Herewith, the cover of

a Hetzel “grand octavo” edition of “The Mighty Orinoco” (Le Superbe Orénoque)(Figure 4).

The “devil”, so to speak, is in the details of this ornate graphic which is rich in symbolism beyond the scope of this present writing. A close-up of the lower right corner (Figure 5-highlighted detail) reveals

yet another Masonic compass and square, embedded in the graphic ornamen-tation. Note also the triangle formed by the chain/title  plaque and inverted compass from the top of the sphere.

Another of the examplse is the cover of another edition of “Extraordinary Voyages/The Magnificent Orinoco” (Figure 6). The symbolism here is less overt but its motif —dividedinto four horizontal segments— reveals, again, essential Verne themes in the panels of air, fire, earth,

and water with the title in a fan-shaped cartouche¹⁰. The lower one fourth imparts a nautical theme “anchored” by a stylized navigator’s compass formed with a distinct caduceus ¹¹ (Figure 7). The snake/rope is the unifying thread and forms a continuum which terminates with the serpent head at the bottomcenter .

The graphics  portray dualistic¹² imagery in the execution—a technique which is very deliberate in intent and subliminal in its presentation. The form of the montage has numerous Hermetic and Cabbalistic overtones in its rendering.

Closing the Loop

The 1958 film, “From the Earth to the Moon” was a cinematic disappointment following on the heels of two superb productions: Disney ‘s 1954 “20,000 Leagues Under the Sea” and MGM’s lavish 1956 adaptation of “Around the World in 80 Days”. In fact, it was the last movie produced by then bankrupt RKO studios —at one time controlled by eccentric industrialist
Howard Hughes.

The film wound up being distributed by Warners. It is now little more than a footnote in film history but serves as bookmark to a period of transition in the American focus.

For me it was a reminder to look more closely at Jules Verne and examine the body of work from a perspective I did not have forty years ago. We assign nobility to certain artists and forget that the seeds of dissimulation have been sown for many thousands of years into the cultural arc. Beloved though Verne may be, we now may examine the roots of his influences more carefully and see the patterns of cultural programming which course through the generations, certainly since the days of Francis Bacon and John Dees’ Rosicrucian designs.

Verne’s expressions of a technocratic world-view are woven into the subtexts of many of his works. The evidence presented in this work are threads for further examination. It would
be difficult to ignore the most obvious parallels to the fictional work and the fulfillments:

The story bears similarities to thereal-life Apollo program:

• Verne’s cannon was named the Columbiad; the Apollo 11 command module was named Columbia.
• The spacecraft crew consisted of three persons in each case.
• The physical dimensions of the projectile are very close to the dimensions of the Apollo CSM.
• Verne’s voyage blasted off from Florida, as did all Apollo missions. (Verne correctly states in the book that objects launch into space most easily if they are
  launched from the earth’s equator. In the book Florida and Texas compete
  for the launch, with Florida winning.)

Verne’s Masonic-Technocratic visions are still affirmed by the adoption of his works by Disney, whose founder, Walt Disney was a 33^rd degree Mason complicit in presenting occult material to the children of the last two generations. Disney has produced many works from the Verne catalog and continues to hold Verne as a “touchstone” into the new century.

It would appear the mask has been ripped off the beloved authors of yesteryears as films like the “National Treasure” series and “The League of Extraordinary Gentlemen”, openly portrays Masonic influences against a backdrop of adventure and heroism. Such films are not the “revelation of the method”, but another layer of obfuscation that distorts the mystical darkness which has guided most of humankind for thousands of years. The genuine understanding comes when we start to read the symbolisms embedded in the hallowed works of the classics and see what they really communicate.

Visionary by Michael Hallford
481 ppg.
Tumblar House -2008
ISBN 978-0-9791600-6-6
“Visionary” on Amazon.com

“In every life there come points of nexus, where one feels connected to the vast flow of events.”-from “Visionary” by Michael Hallford

Slacker reporter, Jim Jacobson,  is sent to cover the visit of the mystic-prophet figure, Nigel Fox. Jacobson’s skepticism is exceeded only by his self doubt and remorse about his own life and roots.
Before the day is over he wil be hurled into an adventure that spans sixty years of history, the events of a world war, a beautiful and ill-fated love affair set in the backdrop of eastern Orthodox spirituality.

The book is a novel in the grand sense: a purposeful plot with characters that walk and breathe within the narrative and dialogue. Interwoven elements of Christian mysticism and Biblical prophecy collide with conspiracy and the new technology of the post-war America: televison.

Visionary is book about the discovery of faith, recovery of a lost past, and the pains and joys of connections which defy time, space , and logic. It is very much, a novel with multiple layers of connection to the human spirit as it struggles to comprehend the divine.

Michael Hallford is the nom de plume of Ev (Everette) Haliford, who has been a recurring guest on the Threshing Floor. He can be heard discussing the themes of “Visionary” at the links below:

• Threshing Floor-Nov. 17, 2008-”Mother Russia”-Randy Maugans with Ev Haliford
• Threshing Floor- Jan-12-2008- “Visionary” with Ev Haliford

A  huge recommendation which will aid in bible study, especially, new students:

“God reveals himself in his word, as he does in his works. In both we see a self-revealing, self-concealing God, who makes himself known only to those who earnestly seek him…”-John W.Haley

Get the book “Alleged Discrepancies of the Bible” by John W. Haley (paperback-Whitaker House, 1992) – 473 pages and includes refutations of many widely cited “discrepancies”, or seeming “contradictions” in the KJV Bible, plus bibliography, index, and cross-reference of scriptures cited.
This book also explains WHY certain “problems” arise in understanding scripture, including: idiomatic language issues, “poetic” oriental writing styles, issues of dates, authorship, arrangement, and computation within the texts and even a presentation of WHY these “problems” exist in the Bible and how they are useful.

I keep this with my Bible, dictionary, and concordances at all times and have used it, literally hundreds of times in study, apologetics, and presenting a clear gospel message. Read this book and many of the “problems” encountered in Biblical study will be resolved!

Amazon.com

• Publisher: Whitaker House (October 1996)
• Paperback: 480 pages
• Language: English
• ISBN-10: 0883681579
• ISBN-13: 978-0883681572

Reviewed by Randy Maugans

THE TRANSFORMATION OF THE REPUBLIC
The Origins of the Religious Hi-Jacking of the American GovernmentAnd The Truth Behind the Assassination Of Abraham Lincoln by C.T. Wilcox, Veracity Publications
ISBN 0-9739570-0-X
Purchase at: http://ctwilcox.com/

“…an historical smoking gun that fills in crucial gaps in the narrative of the plot to murder President Lincoln—it connects the dots of a conspiracy long suppressed by deliberate historical revisionism.”

“The Jesuits killed Lincoln and buried the evidence. But just as water seeks its own level, so does the truth eventually surface and make itself known.”-C.T. Wicox

For people living at the beginning of the 21st century, the murder of an American President 144 years ago may seem a quaint subject, even irrelevant to modern study—a footnote to history and the final act of the bloody conflict called the “C

ivil War”. Moreover, because the accepted writ of historical “fact” credits a lone fanatical assassin as the perpetrator and ignores the larger context of both the war itself and the deeper issues of the America Republic of that period, few realize the sequence of history was dramatically altered—deliberately and methodically—by forces bent on nothing less than the complete immolation of human freedom.

Author and researcher, Charles Wilcox’ major premise lies in the significance of the man, Abraham Lincoln, and what he knew about the enemies of the American experiment and the cabal which emanated from the thrones of Europe’—animated by the quasi-religious military unit called the “Society of Jesus”. This is not “conspiracy theory”, but the facts and documented events which changed not just the future of the American state, but set into play the sequence of wars, economic intrigues, and ghastly genocides which are the substance of today’s current events.

The Historical “Smoking Gun”

Many significant works on the Jesuits have been written over the last 50 years connecting the Jesuits and the Vatican to global chicanery. Certainly in recent times Eric John Phelps’ “Vatican Assassins” has stirred more inquiry into the subject by investigators of parallel power structures

Readers of “Transformation…” may at first presume this is yet another historical survey of the Lincoln assassination colored by a conspiratorial bent or, perhaps, the fruits of  another historical review—nothing is farther from the truth! Lest one assume this is more “Catholic bashing”—suspend judgment long enough to read the evidence.

Wilcox wastes no time in bringing the goods to the table. In chapter one he presents documents, never before published, which in the jargon of the modern press demonstrate “what they knew and when they knew it…”: an historical smoking gun that fills in crucial gaps in the narrative of the plot to murder President Lincoln—it connects the dots of a conspiracy long suppressed by deliberate historical revisionism.

The Roots of Modern Conflict and the Masters of War

“Transformation…”, while historically significant for the new research and documents also serves to summarize for the reader the entire Jesuit tableau: from the inception of the order by Ignatius Loyola in 1541, its vows and oaths; the bloody trail of deceits and treacheries it spawned across Europe; its influences on the Third Reich of Hitler into its present day influences on American military incursions into the Middle East.

The book provides a structure by which readers may assess the modern day state of education, especially in regards to history; how the media is constantly distorted to present a strategically pro-Vatican world-view; that the modern day “Protestant” Christian churches have been co-opted by the Vatican through its emissaries, the Jesuits, and led down the path of war and idolatry by the Catholic-led “Christian Right”.

Indeed, in many respects, we can see the outlines of prophecy in the details presented in “Transformation Of The Republic”. The words of Lincoln are themselves offered as a cautionary which, long obscured, have been nearly lost. For those who feel safer since the inauguration of President Obama—and the seeming exile of the religious right—we would note that Mr. Obama’s political mentor, Zbigniew Brzezinski ,is closely linked to Jesuit-inspired Opus Dei and Knights of Malta —both prominent players in the Vatican-Paneuropa theatre of operation. The template of history remains accurate!

‘Those who cannot remember the past are condemned to repeat it.”-George Santayana