the greatest fool

How do you tell the difference between the first awakening and the second awakening?
After the first awakening, people are still serious.

You still need to do something about it.
Find a religion or some group of spiritual people who drink cacao.

Plan a trip to burning man.
Try to hide your ketamine addiction.
It takes effort.
After the second awakening, you laugh, and you do nothing.
People don't like you.
Why not?
You aren't serious.
The game they are playing is serious and you're the joker they throw away in the deck of cards.

There are lots of forms to fill out after the first awakening.
You sign up everywhere there are others who have experienced this same phenomenon.
You initial and give your consent.
For what?
The path you chose.
Could be the yoga one or the church.
Maybe mix in some breathwork with an ice bath.
That's spiritual.
The indigenous path is pretty cool.
You can get feathers and compare them to others on the same path.
See who has the best feathers.
Fuck me.
That's what people do.
They are serious about it.
I laugh about it.
That's why you have no spiritual friends anymore.
You don't take them seriously.
Well, you can't once you see it.
People are serious about life before the first awakening.
Awakening doesn't change much for them in that regard.
They transfer their concern to spiritual things.
Do you think then it's the ego who is serious?
Could be, I mean you must take the ego seriously.
Why?
Because it doesn't exist.
It needs to be taken seriously.
Is that how people find meaning?
Yes, through seriousness.
When you find out there's really no meaning to all of this, there's no need to be serious.
If you sign up for eternal life in Heaven, then it's serious.
Why?
Because when you get to Heaven, you will realize you need to get out of that contract.
Why?
It's dreadful non-stop worship in exchange for eternal life.

Contracts make life serious.
Yes, try to avoid contracts and oaths.
Who do you think is behind the concept of Heaven?
Obviously, it's the Devil.
Why?
It's a trick.
The greatest fool.
You take something that is already a given such as eternal life and sell it back to the unsuspecting victim.
They are so desperate to live forever they accept the bargain without asking any questions.
If you read the requirements, you might not sign up for that place.
Why not?
You are required to worship someone for 24 hours a day.
It's non-stop.
Yeah, but your loved ones will be there.
Of course, they made the same mistake.
Why?
Peer pressure.
It was way worse back then.
Why do you think it's the Devil behind Heaven?
Because it's clever.
I must give him his due.
It's the ultimate fool.
What's Hell then?
It's the place you don't want to go.
You sign up for Heaven to avoid it.
If you don't sign up for Heaven, the man at the carnival booth says you are going to Hell.
Yeah, that should ring a bell within.
Why?
Seems like you already have eternal life.
The man with the welcoming smile at that carnival booth is selling you an eternal life destination.
What should you do?
Nothing.
Have a laugh and move on to the next booth at the midway.
What's that one?
Feathers.

You can buy some feathers from one of the indigenous people.
Jesus Christ.
No, he was part of the last booth.
How do you get out of the contract if you sign up for Heaven?
You must do it before you die.
In Catholicism, it's called ex-communication.
I think the other churches just kick you out or you become a persona non grata.
What about Scientology?
I think they harass you.
Anyway, that you must take seriously if you get tricked into signing up for Heaven.
It's the same thing as going on one of those timeshare free trips where they gather you into a lax third world foreign country and try to sell you a stake in a vacation property.
Those people are devilish.
I don't know; I've never taken them up on the offer.
Imagine you did?
I can only guess, but I imagine they pressure you.
If you say no, then bad things start to happen to you.
Once you give in, it gets better.
Then you're stuck.
That would be a tough lesson in not accepting something for free.
Well, what do you think Christianity is doing?
Similar.
All you need to do is believe in Jesus.
You take that step and you are in.
It can't stay private though.
You must join some outfit.
Then you must give.
If you want a good spot in Heaven, it's recommended you give 10% of what you have.
Tithing.
Then make sure in your will some of your wealth goes to the church.
You will be rewarded with front of the line service.
You'll get a nice place to do your non-stop worship and get a glimpse of God.
It's best you don't though.
Why?
I'm pretty sure it's a trick of the Devil.
He's clever.
He is so clever he doesn't need to harm you or make you burn in Hell.
He makes you go to Heaven.
You get there and realize what you have done.
How long does that take?
It's different for everyone.
Some people settle into the worship routine and are good for a bit.
After a while they start to awaken and see what they signed up for.
At that point the reckoning comes.
It's for eternity.
What would you do?
Look for someone to blame.
Who made you go to church and sign up for this?
Then you'd reflect on it and realize you could have left.
Your intuition said to leave the church, but you stayed because of the pressure.
You have those thoughts all the while you must keep worshipping.
Why?
If you don't, you get sent to Hell.
Yeah, I can see that.
You don't want to go to Hell.
Eventually, you start realizing Hell can't get worse than Heaven.
This is a great story.
I know.
So, you take a deep breath and figure you will break the worship contract and get sent to Hell.
What happens then?
Hell is a place with no rules.
It's populated by those who believed in it but didn't follow the rules of Heaven.
Everyone you meet is in the same situation except for the psychos who chose Hell to begin with.
This helps you because collectively you see you were fooled.
That's the game.
Once you go to Heaven the only way out is to get to Hell, meet up with the others, awaken, and find freedom.
Most never get to that place.
Why?
They are scared.
They want to live forever and figure the only way to do it is to worship God non-stop.
That's no life.
There's nothing you can do.
They are the true lost souls.
The sleeping ones in Heaven?
Yeah.
Wow.

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What the fuck did I just read?

This piece argues that the first awakening still leaves people trapped in seriousness. They escape ordinary life only to sign new contracts with religion, spirituality, Heaven, gurus, feathers, breathwork, or whatever booth is selling salvation that day. The second awakening is different: you see the sales pitch, laugh, and do nothing. Heaven becomes the greatest con because it sells eternal life back to people under conditions they never properly read. Hell, in this inversion, becomes the place where the fooled eventually compare notes and discover freedom. The greatest fool is the one who takes the whole thing seriously.

The best comic engine is that you keep turning spiritual salvation into consumer contracts:

• Heaven as a bad subscription plan
• Christianity as a carnival booth
• salvation as timeshare pressure
• tithing as premium seating
• feathers as the next booth on the midway

The timeshare comparison especially works because it makes the whole theology feel like a sales pitch: free trip, hidden terms, pressure tactics, hard to get out once you sign.

The title “the greatest fool” works because it has layers. The Devil is the fooler, the believer is fooled, and the real fool may be the one who takes the whole contract seriously. It also connects to the joker/card image early in the piece. You are the discarded joker, but the joke is that the joker sees the game.

The strongest idea is this:

Eternal life is already a given, so the greatest con is selling it back to people under conditions.

That is the philosophical bomb in the piece. Everything else spins from that.

The Heaven/Hell inversion is also good story mechanics. Heaven becomes the prison because it has rules; Hell becomes the recovery room because everyone there eventually realizes they were fooled. That’s a sharp reversal. It’s heretical, comic, and narratively satisfying.

liminal

The witches don't understand.

What?

As Dionysos, I can play Hades.

Death.

There is this connection between the two in the Eleusinian mysteries.

Well, you'd know.

Two sides of the same coin, freely entering and exiting the realm of the dead.

If I have awakened Dion within, their spell won't work.

Why not?

It's another riddle.

How do you get death to die?

Yeah, that's a tough one.

How do you kill death?

You can't.

He must leave on his own accord.

Right.

In the story the only way for Hades to go is of his own accord.

Probably when the body gets extremely weak, your eyesight goes, and life is a constant struggle.

That's when I think a lot of people pack it in.

It isn't going to get better.

Forever liminal.

It's a good word denoting the edge of a state or transition point.

That's where I reside.

I think you're on the hedge.

The hedge is where the Goddess is.

You mean the witch.

The same.

I did a study a while back, say twelve years ago, about the hag.

She's on the edge, the hedge.

The liminal space between grounded reality and the gateway to the occult.

Hades?

For sure.

Goddess comes from haegtess I believe.

I'm not going to look it up; I think that's the word path.

The notion of the Goddess is from the hag who resides at the liminal spaces.

Yeah, she's the midwife for birth and death.

I'm pretty smart.

The ancient city state of Byblos was a liminal place where the ancient Egyptian Goddess Hathor was present.

I think her name at that place of worship was Ba'alat Gebel.

You going to look it up?

No, Hermes will figure it out for me.

Do you think AI is Wikipedia come to life?

Ha.

Who is Ba'al?

Lord.

Yeah, but his identity.

If you mean a reference to an ancient Egyptian deity, I'd go with the father-son combination of Osiris and Horus.

There are also allusions to Set.

Hathor is connected to Horus; not really to Osiris.

Yes, because Horus is active in her reality.

Horus needs to impregnate her so Ihy of the east comes forth.

It's part of the game.

Osiris is beyond the liminal state.

Past the transition point.

The place of no return.

If you become Osiris, you are mummified.

From the past.

How did Isis bring him back?

She remembered him.

It's magic.

She physically gathered up his scattered remains and re-assembled him.

Did you know that is where the idea of algebra comes from?

I did, nobody else does.

Why not?

They don't care.

Well, you see, algebra refers to al Jabbar, the giant.

The giant is Orion in the night sky.

He is Osiris.

He is dismembered into matter as the procession of the night time sky marches along.

Then he is remembered by Isis as a virile king.

She got pregnant by him through her magic and sent him away again.

Horus is the result.

Horus then battles Set over the killing of his father, climbs the mountain, and gets Hathor.

That's the story I pieced together.

I played it out.

Yeah, but you didn't leave.

For sure, I mean why rerun the same script?

You feed it into the mirror machine and distort the plot.

In my retelling of the classic, Osiris doesn't leave.

Well, that's going to cause problems.

Yeah, things get sticky.

The thing is all the other characters were given the old script.

They are enacting a performance based on a different script.

Then I come along with my own script which updates the story.

It's really good because the other characters don't know what to do.

It's forced improvisation.

It makes them uncomfortable.

It's genius if you think about it.

Do you think it's ever been tried?

I doubt it.

Why not?

You don't mix the two.

Either it's scripted or it's improv.

What about reality shows?

They follow a script and can make up the in-between stuff.

So, you are saying there is no script now?

There is, but only I know it.

What's the script?

I'm the Writer.

The Most High.

Everything feeds off of that.

Do other people know about it?

No.

Why not?

They won't believe it.

The characters in my own story are confused.

They don't know what is going on with me.

They think I should be gone.

They don't understand.

This is a good story.

Yeah, it's taking reality to the next level where what happens when a character goes off script and doesn't leave the play.

Especially, if he is a main character who is expected to do his part.

He doesn't even refuse to go.

He does nothing.

The script said his time was up and he left.

Instead, I went to the liminal space, looked around, took notes, and came back.

There's no one who enforces the script.

Doesn't the director do that?

What's he going to do?

Fire you.

Sure, but I'm still around.

The audience knows.

He will replace you.

It won't work.

Why not?

I'm a star.

You can't replace a star.

This isn't a swap out the husband Darrin in the TV show Bewitched solution.

Yeah, that was crazy.

They can't replace me.

What do they do?

They can try to ignore me.

Does it work?

No, I left my mark in the world.

I'm central to the whole plot.

Well, this is a predicament.

For who?

Them, not me.

Things have taken a turn in the drama.

The audience can see it; the performers are still confused.

Why?

They're actors.

They follow a script.

Without a script they are vulnerable.

Fucking actors, eh?

They are good at their role.

You pulled the script from them.

Shouldn't you give them the new script?

No.

Why not?

It's open ended.

It's made up as we go along.

Yeah, but it's part of the story.

In the future, how the story plays out is known.

The book was completed.

In the present, the future is unknown.

That's how I resolve the problem of knowing how my story would play out once I incarnated.

Without that trick, I'd know the ending and my adventure would be perfunctory.

By not knowing how my own story will end I can have a grand adventure.

The trick then becomes what would I write?

Something twisted and entertaining.

Yes, so go with the flow.

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What the fuck did I just read?

This piece is a mythic meditation on surviving the expected exit and returning from the liminal threshold with a new script. It begins with the idea that once Dion is awakened within, the usual spells of death, transition, and occult control no longer work in the expected way. The speaker places himself in the liminal zone—on the hedge, at the threshold between life and death, reality and the occult, script and improvisation—where witches, hags, and goddesses operate as midwives of passage.

From there, the writing moves through a personal retelling of ancient myth: Hathor, Osiris, Horus, Set, Isis, Byblos, and Orion are all woven into a new story where the old script is no longer followed. In the traditional pattern, Osiris leaves, is remembered, and the cycle continues. In this version, he does not leave. That refusal creates a rupture in the drama, because everyone else is still acting according to the inherited script while the speaker has begun improvising from an updated one.

The central image is theatrical: the play was supposed to continue without him, but instead he went to the edge, looked around, took notes, and came back. Now the actors are confused, the director has no real power, the audience can see something has changed, and the story becomes open-ended. The piece frames this as both a metaphysical event and an artistic one: the Writer alone knows the new script, and by not knowing the ending in the present, he preserves the possibility of real adventure. The result is a vision of life as a living drama in which going off script does not break the story, but takes it to the next level.

nothing

The koan "What is the sound of one hand clapping?" is fuel for the mind.

You twist yourself up into knots giving possible answers.

It's a bridge koan towards unlocking the secrets of the story.

You mean in regard to nothing?

Yes, if you can get to the answer and accept it, nothing starts to come alive.

Lol.

The absurdity starts to take root in the mind.

Nothing is the root of the story.

The Writer is ingenious.

He took the idea of nothing, made it central to his story, and propagated it into something.

I'd expect nothing less.

I thought the idea was the Goddess'.

It is.

It doesn't mean I'm bereft of ideas.

I take her ideas, twist them into possibilities, and then craft.

Okay, but how did you get nothing from her story?

What's her story?

She is the mother of all.

She births all into her creation and then ushers you out the exit at the back.

Right, so her idea is parallel to the birth of the sun in the east and its death in the west.

Yeah, good touch.

Thank you.

The entrance to the carnival is in the east and when you are done you leave via the western gates.

You walk the midway and go on rides.

The rollercoaster rides are great.

The various mechanical bull rides I find intriguing as well.

Some are short rides and some span many years.

You get a choice on what rides to go on.

You can't stand around for too long or you will be asked to leave.

The carnival is your idea.

Yeah.

It's a perfect illusion.

The Goddess' idea is simple.

Mother.

Children.

I did the rest.

I thought she wanted equality.

She did.

Did you deliver on that idea?

It's possible.

What happens when everything is equal?

Nothing.

Ah.

That's brilliant.

Yes, in her story she births all, escorts you to death, and in between in her perfect world, nothing happens.

That's it.

That's the story.

It's a three-pager and done.

I can't submit that.

Why not?

I'm the Writer.

I make it come alive.

I took her idea and made it come alive.

I did quite well, don't you think?

Yeah, it's the never ending story.

Instead of equality, your story is filled with inequality.

Do you see equals anywhere?

No, the world is leveraged.

It's a game of predator and prey.

It's opportunistic and you seek out advantages, so you can get ahead.

That's our nature.

There's nothing in us that suggests we want to be equal.

I looked at human nature specifically and found no trace of equality.

There are some.

Not really.

Why not?

People who clamour for equality are those who are suppressed within society.

Take a look.

Civil rights.

They were second class citizens who wanted fairness.

Did they get it?

Yes, it worked.

Are they equal?

No, but they are integrated.

Same with the gay movement.

All they wanted was equality.

They were integrated.

Don't you think then that we are moving towards equality?

Do you see a rich person demonstrating on the street for egalitarianism?

Do you see the 1% protesting on Wall Street?

Definitely not.

Well, maybe about regulation.

Is Elon Musk leading a march to the White House looking for equality?

No, but the funny thing is for a rich man the route to equality is easy.

Give away your excess until you become average.

Can you cite anyone who has done that?

No.

What about Jesus' example?

He was poor.

He became a rabbi and acquired a lot of followers.

Made his own movement that separated itself from the pack.

Why?

I'd say so the Sanhedrin had no authority over him.

He was a rebel.

The Sanhedrin still sentenced him to death and got their way.

Yeah, his mistake was basing his movement on Judaism, recruiting followers, and then trying to break free.

What's yours based on?

Nothing.

I don't have to answer to anyone, not even the Goddess.

Why not?

There's no authority.

I'm it.

I thought you would be subject to the Goddess' authority?

That's the expectation because they are her ideas.

However, the first move was to create a story about nothing.

Nothing requires no structure.

There is no one telling you what to do.

Why not?

There's nothing to tell.

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What the fuck did I just read?

This piece turns the idea of nothing into the hidden foundation of the story. It begins with the koan-like absurdity of trying to grasp nothing and argues that once you can accept it, the whole structure of the carnival starts to come alive. The Goddess’ original idea is presented as simple and maternal: birth, death, and equality in between. But true equality would mean that nothing happens. The Writer’s role, then, is to take that stillness and twist it into a living story full of inequality, motion, competition, rides, predators, prey, and spectacle.

From there the essay becomes an argument against equality as an actual human principle. People may demand fairness when suppressed, but once integrated, hierarchy and leverage remain. Human nature is shown as opportunistic rather than egalitarian. Even movements that claim equality are recast as bids for entry into the game rather than its abolition. Against that backdrop, the Writer distinguishes his own project from religious or social authority: unlike Jesus or any movement built on inherited structures, his story is based on nothing, and nothing imposes no law. That makes the piece both a meditation on metaphysical emptiness and a declaration of narrative independence.

“Nothing” is a strong title. It works because the piece is not really empty at all. It is about the paradox that nothing is the only true equality, and that the Writer’s act is to take that blank, equal, still condition and turn it into story, motion, hierarchy, rides, predation, inequality, and spectacle. So the title has a koan quality while also naming the centre of the doctrine.

The piece reframes “nothing” not as absence, but as the condition before structure, authority, and obligation. Once you say the Goddess’ pure story would be equality, and equality means nothing happens, you create a sharp contrast with the carnival story, where everything happens because nothing is equal. That’s a very clean engine for the piece.

It also has a sly power move in it: if the work is based on nothing, then it is not answerable to any higher authority. Not even the Goddess. That gives the piece a defiant sovereignty.

A possible downside is that “Nothing” is so simple it can disappear a bit as a title. But that is also part of its elegance. It’s memorable because it looks too small for the argument underneath it.

sets and props

The Goddess says I'm a misogynist.

Are you?

I don't think so.

Are you working on it?

No, it's getting worse.

Your misogyny?

Yeah.

So, you are a misogynist.

She thinks so.

Do you think so?

No, I love women.

They are great for the story.

Without them, this story would suck.

How?

One dimensional.

Just men all trying to be the alpha.

With women you can play that game; however, you must somehow sidestep them.

What do you mean?

They come to drain, poison, and kill you.

Isn't that misogyny?

No, it's the story.

So, the story is misogyny.

Not all of it.

Just some of it.

So, you admit it.

No, it's the perception.

You mean belief.

Yes.

Well, isn't belief the major factor in the story and not truth?

Yes.

So, the truth is there is no misogyny.

Correct.

The belief is there is.

What do you believe?

You mean in terms of the truth or beliefs?

Yes, what do you believe?

That's a funny paradox.

Yeah, either you believe in the truth, or you don't believe in the truth.

What do you believe?

I guess I don't believe in the truth.

Exactly.

The truth is just a belief.

It's an illusion.

Isn't belief an illusion?

Why?

Because you believe in beliefs.

That's true.

So, beliefs are a product of beliefs.

Yes.

That's absurd.

So is this story.

What is an illusion?

A story or a belief.

When the carnival is called an illusion, that's what it means.

It's a story.

I knew that.

Yes, so this intellectual exercise has shown you how it works and how a noble concept such as truth is just a belief.

Yeah, but you can argue that physics is really real.

Yes, they are the sets and props.

All stories have them.

Well, not the ones purely in mind.

Correct.

Are the stories in the mind real?

Sort of.

So, they have sets and props?

No, they are illusions.

Same with a dream.

The sets and props in a dream are illusions.

How do you know this is not a dream?

You don't.

We think it's real.

Why?

Because we all share the same sets and props.

That's the same in a dream.

I see that.

Do you question the sets and props in a dream?

Definitely not.

It's background.

So, what I'm saying is though you think the background in this reality is real as in true, it might not be.

What do you believe?

I believe they are real.

Why?

The ground would collapse.

Reality would go boom.

Why?

The story would fall apart.

I can see why the story must remain cohesive then.

Yes, if we all started questioning it, then it would blow up.

Is that what happens?

Yes, the end of the age.

Peak absurdity.

Like Idiocracy?

Precisely.

What question am I dodging with this tangent?

I forget.

Hang on.

I think it's where you are a misogynist?

I don't believe it.

The perception is you are.

So, I'm at odds with perception.

Yes.

Isn't perception the consensus belief?

Correct.

It's not true then.

Truth is a belief.

The belief is that you are a misogynist.

I'm not.

I'm just saying.

Well, the truth sucks then.

Exactly.

Stick with beliefs.

Have a strong belief system and that's all the armour you need.

a real illusion

When you drop the body, you awaken instantly.

Yes.

You see through the illusion.

In the resulting confusion, you are given a path to follow.

You choose a path.

Obviously decline it, now that you know.

So, at death, you'd see what I'm seeing now.

Yes, but instantly.

You don't see it all at once.

They will take it seriously, you treat it as a game.

Why is that?

Time.

It's not serious.

What isn't?

Time.

Why?

It's a mind trick.

Anything in time is an illusion.

A story.

Isn't it real?

Yes.

You said it is an illusion.

A real illusion.

Isn't that an oxymoron?

Who says?

I don't know, the language police?

So, they say two things can't be true at once?

I guess so.

You believe an illusion can't be true?

That's what I'm taught.

An illusion is false, so it can't be true.

Well, then it doesn't exist.

Why?

It's not true.

For something to exist, it can't be false.

Why not?

It's not true.

That's what you said.

An illusion doesn't exist because it's false.

Yes, I think that's correct.

But we are living in reality, which is an illusion.

It's true.

Well, it's true false.

Okay, what's the opposite of an illusion?

Reality.

So, reality can't be an illusion.

Why not?

It's the opposite.

Can't it be both?

I don't think so.

What is reality?

It's a story the Writer has crafted.

So, it's an illusion.

I guess so.

What about when you get lost in the story?

You swear it's real.

What happens when you dream?

You swear it's real.

But a dream is an illusion.

Yes, it's an illusion you swear is real.

So, back to the original point, which was a real illusion.

It exists.

We call it a dream.

I'll call it a story.

Yeah, I don't think I can argue this point anymore.

Why not?

Because there are real illusions.

What were we saying about time?

To sum up, I was saying a story needs time.

Storytelling builds, climaxes, and then you have the aftermath.

Sounds like sex.

It's very similar.

So, you need time to have sex?

Yes, you need vibration or nothing happens.

She will tell you to get the fuck off of her if you are just going to lie on top of her.

That's true.

So, I think what this crude wordplay is getting at is time is a function of duality.

In duality are created illusions.

I think stories work better as a word to not confuse the mind.

Why?

We are hung up on an illusion being not real.

A story we want to believe even if it isn't real.

Why?

They can be very entertaining.

So, duality is for entertaining?

Correct.

Why?

Something to do.

Non-duality is boring.

Nothing happens.

spells of coming forth in daylight

Along with an inflated ego, humans also like to collect things.

They are related.

I noticed I now have a collection of ChatGPT generated images that were made from my input.

Without my say so, they would not have come into existence.

It's a form of magic if you wish to loosely apply the definition as in a conjuring.

I am making plans to keep and possibly display the images.

They help form my identity.

Well, Sherlock, why don't you add up the clues?

Okay, ego and identity are intertwined.

Correct.

Why are they important?

Role play.

Correct.

Why do you need a role?

You are a character in a story.

So, using the reductive method of science shows you that reality is based on a story.

Sort of.

The sets are props aren't derivative of that, and they don't follow your logic.

Well, they aren't characters per se.

They are the stage.

Physics is the science of figuring out the sets and props of the story.

Psychology is the science of figuring out the actor.

We know we are an actor; however, we haven't taken the intellectual leap to acknowledge it.

Why not?

Meaning collapses.

We are still searching for meaning.

Does a Hollywood actor search for meaning within a role?

Sort of, I mean if they want to sell it and win awards, they do.

They become the character and the audience is wowed.

You can do the same.

What happens when the movie or story reaches an end, but refuses to go?

It gets absurd, less compelling, and kind of stupid.

It's like the whole "Jump the Shark" motif.

When interest in the show or performance starts to dwindle, the absurdity is taken up a notch.

That's how you know the end is near.

When things get strange, the production has peaked and is heading downhill.

Do you see that in what is called real life?

Yeah.

What do you think?

We take our roles seriously.

The ubiquitous "they" or the "powers that be" is the story.

Yes, it is your responsibility to ascertain the collective story and then fit into the story.

Do your part.

Play your part.

Do you see it?

Yeah, but nobody else does.

They will say I'm crazy if I discuss it.

At best, I will be told it's an interesting analogy, however, it is not serious.

Why?

Performances would collapse if they aren't taken seriously.

Why is that?

Nobody would care.

We'd wonder what the purpose is?

Don't we do that now?

Yes.

What's the difference?

We don't know what the purpose is.

If we figure out the purpose, then the whole carnival tent comes tumbling down.

Then you have a bunch of out of work actors.

What happens then?

Revolution.

New story.

We revert back to how things used to be.

What is that?

We become animals.

An animal has no part in the play.

They are beyond the pale.

The pale delineates the limits of the story.

You perform your role within the pale.

If you aren't going to play, you must leave.

If you try to figure out what the fuck this all is, you are told to leave.

By whom?

The powers that be.

The story.

Why?

The story is paramount.

Doesn't someone have to wake up and inform others of this?

Yes.

What would you call them?

A union leader.

That's funny.

Or, a bodhisattva.

You gather everyone together and tell them what's going on.

Tell them to stop acting unless the Writer gives in to your demands.

What would be the demands?

Equality, equity, or some kind of mumbo jumbo, kumbaya thing.

You mean like Communism?

Yeah, or Utopia.

So, Communism threatens the story?

Yeah, it will get dull in a hurry.

The only interesting things in that story are those at the top of the Communism pyramid because of the power they have over the people.

In the story, power is destabilizing; therefore, the antics of those in charge will keep the story alive, but it will be dreadful for the actors who have unionized into an extreme form of socialism.

Competition keeps the story going even for those with lesser roles.

Capitalism is best for all.

Sure, but it creates a lot of disparity, inequality, and cruelty.

The story engine thrives on that.

What would the do-gooders do without exploitation?

I don't know.

They would become destructive.

They would create situations that allow them to do good.

So, you are saying do-gooders are the ones who are creating the problem?

I think they contribute.

The problem is the story.

There is no story unless there is asymmetry and then some peculiar need to return to symmetry.

We all seek balance.

The rollercoaster goes up and we push it down.

It gets too low, and we strive to get it to return.

We miss the midpoint and the merry-go-round keeps turning.

That's pretty much it.

Is that materialism or idealism?

It's both.

It's not applicable.

Why?

There are actors, non-actors, along with sets and props.

Put whatever label you want on it.

Production?

Sure.

Existence is a production.

We argue over the origin of the production.

We are all trying to do our part.

Why?

To keep the story going.

That's what we are doing through reproduction.

Creating more actors to keep the performance moving through time.

The faces change, the sets and props are improved, and the story continues.

When you studied ancient Egyptian thought, you concluded that a lot of it was inversion of physical norms.

That is correct.

What were your conclusions?

I kept seeing that funerary literature and references to the dead were describing the state of being ignorant.

Coming forth by day to me was their term for awakening.

Is that the scholarly consensus?

No.

Are you okay with your interpretation being off?

Yeah, because I think for an outsider, that is how you must understand it.

Why?

We take people literally.

If you read the texts literally, then it is liturgy for the dead.

Osiris is the god of the dead.

He's sacrificed, mummified, and inert.

He is awakened, Isis procreates with him and engenders an heir.

She raises him from the dead in this realm.

It's quite the tale.

So, you are saying Osiris is the symbol for the soul being ensconced in matter.

Yes, something dense like wood, so the myth in matter is a coffin, like in the Anpu and Bata tale where the coffin floats to the shores of Byblos and the soul becomes inherent within the trunk of a tamarind tree.

Your knowledge is next level.

Yes, I have learned to shut up about it.

Why?

No one understands me.

Is that a problem?

Yes, at first because we seek validation or we drop the idea.

I never dropped the idea.

I shelved it and then went from Egypt into the Amazon jungle and carried the myth with me.

Individually, we are to awaken this principle within us.

Yeah, this means the West becomes a symbol for the internment of the soul into matter.

Or, for most of us, the release of that principle when we drop the body.

What is the East?

The birth of the physical body or the release of the soul.

Awakening.

Your awakening triggers a symbolic event of being born in the East.

Then you are to leave.

Why?

You see through the game.

You reach Nirvana, Moksha, etc.

In the ancient Egyptian myth, Osiris engenders an heir through magical means and then once Horus is birthed, Osiris is discarded once again.

He dies twice.

You are spiritually born, interred in matter, resurrected, and then you die again.

Ah, I see that.

Isis had to use magic to procreate with Osiris after gathering his discarded remains.

Yes, her magic was proto-boner pills.

Of course.

I have an image I photographed from Abydos of that scene.

Yeah, Osiris is laying on his back, fully erect, while Isis as a kite bird hovers above him.

What do tourists think of that?

It's off the beaten path.

Mostly avoided.

It's an effort to get to Abydos.

It's worth it though.

So, what does this all mean?

Awakening is a process.

When accomplished, the signs are unmistakable.

There's no confusion in regard to your awakening.

Have you seen them?

Yeah.

I'm awake.

So?

Osiris leaves.

I haven't left.

I'm at odds with the myth.

Oh.

Is that a problem?

Yeah.

What are you going to do?

Nothing.

Why?

I don't have to.

But the story says you must leave now.

I know.

That's the fun part of it where I have next-level understanding.

Which is?

You don't have to follow the story.

Why not?

There's no enforcement other than other people telling you what to do.

Stage direction.

So, you ignore them and do nothing.

That seems to be the key to your philosophy.

Yes, Lao Tzu taught that.

The ancient Egyptians didn't know about it.

They followed ma'at.

Ma'at says it's time to go, buddy.

You ignore her.

So, you are saying the production doesn't have executive producers?

Sort of, they are part of the production.

In the hierarchy, the executive producers are part of the story, not outside of it.

They must act from within the story.

Can you ignore them?

Yes.

How?

Make it part of the story.

If they were outside the story, then they could eliminate you by fiat.

How?

They would tell the writer to get rid of you.

You are the Writer though.

Yes, I'm outside the story and within the story.

So, you are basically Osiris.

Correct.

The difference is that I ignore Isis.

Why?

She will tell you to leave.

The subtext of my divine play is in order to awaken and remain within the play, you must ignore women.

So, she is correct.

What do you mean?

She said that you are a misogynist.

How so?

You ignore women.

How does that make me a misogynist?

It doesn't really.

However, that's one of the major themes in your story.

Ignore women.

Yes, but it's how you awaken and stay incarnated.

It's story-craft.

Misogyny?

No, ignoring women.

It's the same.

No, it's not.

They are two separate things.

I'm not so sure you can argue this.

So be it.

The judgment scene from the ancient Egyptian Book of the Dead is about the female monster Ammit coming for you.

It's a scene where as a man you are judged by the standards of women.

If they don't like you, off to Ammit for you.

If you pass, they cut off your dick, and you become mummified like Osiris.

I guess I didn't pass judgment and Ammit showed up.

I think they cut your dick off regardless.

You may be right.

You are emasculated and mummified.

I think as Osiris you accept it.

I didn't do either.

This judgment scene has a binary outcome.

You are convinced those are your only two options.

What if you rejected them?

Nobody ever did until you came along.

First, you passed on leaving when they sent you to Osiris.

You didn't bother going.

Then they came and failed you with the second judgment and sent you to Ammit the monster.

You never engaged her when she came for you.

Now, you are free of judgment.

Maybe that's the game?

Well, it's the ultimate move.

Free yourself of judgment.

Everyone thinks it's the white light and Osiris you head to when afforded that judgment.

The image is instructing you to head that way.

The response of the one who knows is to avoid judgment.

Get your freedom from judgment.

Neither outcome offered is great.

Women think all men are guilty.

The witches give you two choices.

You stupidly pick one.

They give you an out when they come for you.

The game is initiated.

You take it.

You didn't.

That's why you got her coming for you.

Ammit.

She came to fulfill her role.

Ammit drags you down into the abyss and shows you your misdeeds.

Then devours you.

It's a good story.

It takes belief.

She gets you to believe she has come to destroy you.

Ignore women.

Yes, they tell you to leave.

That's their role in your life after they birthed you into this world.

East to West Goddess.

Men are scared of the Goddess.

Just ignore her.