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.

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.

codependent remembering

Do you think Paul is Osiris and Dion is Set?

It adds up.

Are you sure?

No.

Paul needs to be remembered like Osiris.

He needs to be symbolically mummified, so he remains forever.

It's called by the ancient Egyptians Djet time.

It's continuous in a linear fashion where you aren't coming and going.

Paul is temporary.

He is an expression of the cyclical power that comes and goes.

If you aren't remembered, you are done.

Are you going to be remembered?

Yes.

How?

Dion, the writer, will remember me.

Why?

I played the part of God, and I did it so well he had to take notice.

Your delusions are legendary.

I know, right?

Set is the great separator.

He creates a new coming forth of energy.

So, he is eternal?

Yes, but his energy comes and goes.

It's the life force.

The ancient Egyptians called it Neheh time.

Cyclical, like all the celestial objects in the sky.

It's the expression of Dionysos as the eternal return.

So, Set and Dionysos are the same?

They are different systems which explain what is.

Egyptian and Greek.

You will find parallels, but never a match.

Why?

Cultural influences on pure knowledge.

To teach, you must bring these ideas to life.

Eventually, the student will understand the concepts if they personify them.

As I understand it, we are emanations of Set's power which appear and disappear.

To achieve eternal life is to be remembered.

Yes.

By who?

The writer.

Who's the writer?

You are.

Who am I?

Paul and Dion.

Apollo and Dionysos.

You both write.

Yeah, but Paul needs to be remembered.

So does Dion.

How is he remembered?

Oh, that's difficult.

It takes a lot of study, then you go on ridiculous adventures around the world, examine so many ideas of life from other cultures, synthesize them, and try to formulate an understanding.

When all that fails, you do drugs.

What kind of drugs?

Psychedelics.

How do they work?

You must treat them as sacred bestowers of knowledge.

Consciousness technology.

You treat this knowledge as a gift and integrate all your lessons.

You don't abuse the privilege.

You remain humble and shut the fuck up.

If you survive the tests thrown your way, you may one day get understanding.

What is the power of the writer?

Eros.

Lust.

What is lust?

The ability to write a story.

So, Dion will remember Paul?

Yes, if not, Paul is in purgatory waiting to be reanimated.

Paul is now integral to the story.

How so?

He can remember Dion.

That's what makes him special.

Dion is lost without Paul.

By having Paul around, Dion is always remembered.

By having Dion around, he always remembers Paul.

It's a buddy system.

They need each other.

What did Dion do before Paul?

Oh, he was lost to the dustbin of history.

A curiosity.

Paul made him come alive.

How?

I already told you.

In the end he took a lot of drugs.

So, you're saying to take a lot of drugs?

No, that will be your end.

Well, how did you manage?

I integrate all my trips and am thankful for the opportunity.

How would someone else do what you did?

Um, I don't think they can.

Why?

It takes a special kind of crazy.

What's the connection of Osiris to Horus?

Horus is Osiris remembered.

His son in the myth.

Horus is the coming forth of Osiris again.

Isn't that a product of cyclical time?

Well, yes, this plane of reality is defined by time which is created by motion.

It's a bunch of cycles where you come forth and go away.

Your remaining years in this body can be full of adventures.

For sure.

Go with the flow and it will fulfill your destiny.

Go against the flow and you change your story.

Your destiny will crash upon the rocks of the shores of Odysseus' Sirens.

Yeah, okay, Homer.

dionysos enorches

The Covid pandemic was a bad flu mixed in with a magic spell.
You might want to keep that to yourself.
Nah, that's a good one because I can explain it without coming across as too nuts.
Most people know by now how nonsensical those years were.

Paul can be moody.
Dionysos is very talkative.
Why do you think that is?
Dion was shut away for a long time while Paul had the run of the place.
Yeah, but Paul is quiet.
Why was I a quiet and shy kid?
Other people.
They try to dominate interactions.
It's endemic to the whole human experience where you notice this behaviour in sexual relationships and business because they are more raw in terms of showcasing behaviour and then we don't realize it permeates all walks of life.
You don't have a personality which is dominating and needs to control other people, however you don't want to be controlled.
This leads you towards withdrawing.
Thanks, doctor.
Why don't you exhibit this same behaviour as well, doctor?
Oh, there's no controlling me.
I'm it, the big kahuna.
There's nothing more than me.
You have an interesting confidence.
Yes, it's quite the thing to go through life knowing you're better than others.
How do you do it?
For the most part you shut up about it.

What do you think of the act in ancient Egypt of raising the Djed pillar?
It's hard to grasp it completely if you follow the interpretations of Egyptologists.
Why is that?
They are prudes.
It depicts the power of the life force to animate you.
How is that done?
In a male it's virility.
The pillar is your penis.
Osiris is the symbol and the strong life force in him gives him a huge erection.
I have pictures I took in Egypt at his temple in Abydos which will demonstrate this to you.
Nobody tells you this.
If you dig into ancient Egyptian thought, you come across the Heb Sed festival where the pharaoh had to prove his virility to the two serpent goddesses.
What did he have to do?
He'd masturbate in front of them to completion.
It's harder than you think when you get old.
What do you think bull cults were?
They are ancient parallels to Viagra.
The ancient Egyptians were using worship of the bull and magic for power.
One of those purposes was virility.
The pharaoh needed to be able to get hard.
Why?
That defines an alpha male.
It's all about strength and virility with a man.

The pharaoh needed a harem to maintain his virility.
He always had to prove he was virile.
Festivals.
Bull cults.
He needed to get it up like Osiris or they got rid of him.
Needed strength or he was ousted.

Do you consider yourself a bull?
You mean alpha?
Yes.
I don't compete with others for recognition.
Why?
If you must compete with other males for the honour of being an alpha male, then it's clear you aren't there.
Instead, I constantly demonstrate my superiority in whatever situation I encounter.
You make a good case.
If you are the top dog, which I clearly am, I don't need others to tell me that.
I see them come for me.
What do you do?
I get out of the way.
Why don't you fight them?
Because I'll destroy them.
You mean like Pentheus?
Don't pick a fight with me.
So, you're an alpha?
I don't pick a side.
You can't be both.
Why?
You must choose.
Who says?
Society.
Society says you need a role.
You are an alpha male or a beta male.
You need to pick a side.
I don't choose.
I dominate whatever game I choose to play.
I cannot deny that.
I submit when it gives me a perverse thrill.
That's the truth.
So, you really are Dionysos.
Who did you think I was?
Some random spectre I conjured from drug use.
Could be.

writer

Of course, I grew up on a street called Empire Place.

No doubt; I mean you are the King.

In my head at least.

Do you think more people will start recognizing who I am?

Yes, your secret is going to get out.

I wouldn't worry about it; all you must do is remember to play.

Have fun with it.

Don't fuck it up.

I like how you dismiss events in your life as strange coincidences.

Yeah, such as sitting on a bus and having a woman stare at me and say I'm so beautiful.

It's pretty crazy.

The banker who wanted to set me up with his daughter.

How is the King doing?

Hanging out, drinking coffee, and working.

It's humbling for a King and keeps me grounded.

I see.

I imagine they want to keep you under control.

Who are they?

Pretty much everyone.

A good way to envision it is a science experiment with volatile chemicals that in the laboratory they try to keep from exploding.

I feel that.

Do you think it will work?

The trick is they think they are in control of me and so I let them think that.

I'm in control of myself.

How do you control yourself?

You create a container for control and then within the container you are granted freedom.

The experiment has limits but within the limits I'm free.

Isn't that compromised?

How so?

There are limits, so it's not an accurate depiction of who you are.

It's the opposite.

Why?

Because you have a body in this reality; that's the container.

All stories have a container and this is a story.

What's outside of the container?

It's the same as asking: what is beyond the universe?

The question becomes what happens when you step beyond the universe which is a container, or you exit the body?

The simple explanation is you blow up.

Right, the chemicals in the test tube become unstable and react.

No one knows the result.

They can't know the result because you will blow up reality.

How will you record your findings if you have blown the place to smithereens?

You can't.

No one knows.

You must accept that a story works within a created world, and you can't step out of that world.

Well, you can but then you exit the drama.

How can you become the writer of the story and still be in the story?

By playing a character.

The writer can't be in the story unless he is a character.

You must remember to play a character.

I'm playing Paul.

Paul is the writer's character.

That's funny.

Why?

Because I'm deeply flawed.

As am I.

How are you the writer then?

I got the job because no one else wanted it.

Every man wants to be God.

Women want to be witches.

Yeah, they don't even want to be the Goddess.

For some reason they just become witches while men try to get to God.

God is more attractive than the writer.

Why?

The writer is a lonely jerk off.

Only you could play him.

I see.

You're very funny.

You're beyond crazy.

Yes, there was a chemical imbalance last year to use that analogy about the science experiment.

First, I was wondering whether it was time to go and then I went a little crazy.

We got you too close to the edge and thought you might blow.

When we took you to the edge again you just went a little funny.

You have experience with all that now, so you hit the heights of crazy with control.

I would like to say it's grace.

I have my craziness smoothed out.

I accept that I'm crazy, but I act that part.

It's because I can see how I'm perceived and then I go with it and come across as put together now.

I don't think that was the case last year.

Do you think you will ever get out of control and crazy again?

Never say never, but it's unlikely.

Why?

I operate within a container.

I know the limits of the container.

I know what chemicals will take me beyond the container.

I like to call them plant medicines.

Right.

There's a bunch of artificial ones as well.

I'll stay pure and avoid other stuff.

I'm good at work to the point where people will say I'm magic.

Okay, so project that out into all you do.

I see that.

What do you think?

From my standpoint, it's proficiency, attention to detail, skill, and humour.

Yeah, that's what you see.

Others don't see that because they don't understand how you can combine all those skills into one package.

All they see is magic.

You don't let it go to your head.

Well, no, it's ridiculous.

I can see thinking you are God go to your head.

Ego states are volatile.

Avoid the chemical imbalance of those people.

So, chemical imbalances are a thing?

Yes, it's the answer to why people go funny or morose, you know, the infinite sadness.

I don't think it's acceptable to say that.

Can you say they are off?

I don't think so.

What can you say?

Nothing.

It's playtime.

Everyone is accepted.

I want to say deviant people have a chemical imbalance, but I'm not allowed to.

I would like to preface it by saying the chemical balance is arbitrary.

It's how you fit into society and the general narrative.

The imbalance allows you to surf a different wave and that comes across as being off.

That's all.

So, you recommend inclusivity of all states of being?

In a way, yes, because it is part of the human experience.

To function within the dominant frequency and live a decent life, you must know how to balance the states of being.

How do you do that?

Create multiple personalities and try to keep them separate.

One for work and one for the rest of your life.

You'll need more.

You need one for family, neighbours, and the grocery store.

The deviant is for select people.

Witches get thinner after they off their partner.

Holy fuck, Dion.

No one to devour anymore.

I think they are always plotting something.

I wouldn't worry about it because they always are, but they are lazy, messy, and don't like the cold.

They only clean because of men.

It's one of the big reasons women hate men.

They make them clean.

See, Dion comes through with comedy.

He might be a little much at times, but he's worth it.

My dog Luna didn't like running into people and dogs on our walks.

Craziness is similar to my high.

Yes, it's confirms the need to be alone when you are high.

I didn't like that before I started getting high.

Plus, I have always been a degenerate.

That's why the writer knows you and I are the same.

That's how the writer finds his character in the story.

So, you found me?

Yes, there's what 7 billion people to run through?

Well, you can eliminate the women.

What if they are a man trapped in a woman's body?

Yeah, I didn't think of that, that could be you.

How many people do you think that affects?

More than you think.

So, let's say 4 billion actors audition before finding you.

It's a good story for the writer where he finds someone to play him in the drama.

You're like a modern day Shakespeare.

Who was Shakespeare?

Nobody knows.

It was a pen name.

So, that's how you appeared in the drama?

Yes, and then I wrote all those plays to torment 20th Century school children such as yourself.

I see.

Also, Homer.

Your lineage traces back to Shakespeare.

Nobody's ancestry does, that's just a fool's story and your dad bought into it.

Didn't he come up with some genealogy and a book to prove it?

I think a lot of people did that.

Your mom went to the Shakespeare Museum and there was a big sign that said if you think you are related to Shakespeare, you're not.

That was funny.

It's true though, right?

It's a mystery.

Do you think it's all over in 19 years?

Could be.

World war.

It has been 100 years without one.

If your character is done, the world goes away.

The writer is no longer in it and gets tired of it.

The writer needs to be in the world in order to maintain his interest in writing the story.

He is selfish that way.

The world comes alive with stories.

Nothing happens until a story is created.

Then the possibilities are endless.

I can't stop writing stories.

You have stepped into your power, the power to write!

The writer can't make fun of me because I'm him.

Well, he can, but he is making fun of himself.

We are strange.

Like to be alone.

You can figure out the writer if you are honest with yourself.

That's me.

Writers in Hollywood are using Mary Jayne to write.

They are using it for gain.

That's why they don't get any respect.

They balance out.

The actors and directors take all the credit.

Everyone thinks actors are shallow and directors are pompous.

That's just humans for you when they get fame and power.

You weren't looking for gain, fame, or power from your abilities.

That describes the writer.

What are you doing then?

I'm writing a story for the Great Goddess, my one true love.

Your story causes her hardship and pain.

Now, you could reasonably be called a misogynist plus you think she is a monster.

There are a lot of twists and turns in this story.

You spent all that time and money looking for her, finding her, honouring her, and now you write she is a monster.

Yeah, it's a good story, eh?

So, the writer puts his story above the Goddess.

No, the way to honour and worship the Goddess is to write the best story I am capable of.

This is my best story.

Well, there are a bunch of stories.

That's how it works.

Your linear brain thinks there is only one reality and one story when in fact there are infinite realities and infinite stories playing out.

The themes are woven together.

What you see in this reality is the same in other realities.

Well, you mean the themes.

Yes.

Sometimes though themes don't seem like they are similar but trust me they are.

You mean like the magnificence of the Goddess and in another story, she is a monster?

Yes, and if you don't like thinking of the Goddess as a monster, find a story where she is a Goddess or a princess.

You are not beholden to a story.

I like the monster story.

As do I.

That's why I play your character.

You want to play the stories I like.

No one else wants to play the monster story.

They run.

I'm not running from the monster, I'm entertaining her.

In ancient Greek mythology the split is to see Apollo as the light and Dionysos the dark.

Those two define the man who has come forth into civilization cultured and the wild man we keep in darkness.

In ancient Egypt there is a different interpretation of man's split.

It has taken me a while, but I understand it now and it is profound.

We come forth as Set.

The mythology has Set murder Osiris and take over this incarnation.

In today's world a man is Set and fools us into thinking we are not him.

We are essentially as men all playing the character of the Devil who fools us all into thinking we are not him and he is an external character.

You're getting warm.

He fools you into thinking you're not him.

Or I fool myself into thinking who awakens in you is the Devil.

Yes.

You see it now.

You awaken and think you have run into the Devil, but you are the Devil.

You have awakened Horus.

No man gives up his power to the awakened one because first of all they think it is the Devil and second of all the Devil wouldn't give up power.

Exactly.

The Devil fools himself into thinking he isn't the Devil.

Confusing and masterful.

To hold onto power as long as possible, this is what you, the Devil, do.

The Devil is just a character of the writer though.

Yes, the writer plays the Devil.

Who am I?

The writer.

Who is Horus?

The reborn Osiris.

Who is Osiris?

The eternal soul.

Who is Set?

The recurring life force.

Can I simplify this?

Yes.

Paul is who the Devil has convinced himself he is.

The Devil is a character of the writer.

Paul and the Devil are characters.

Got it.

Isn't the writer the Devil?

Yes, but the Devil is a character.

That's what I don't understand.

Who am I talking to?

Yourself.

I sort of know that but I'm having an actual conversation with someone I can project as external though yes, it is within my consciousness.

You are talking to the writer.

But I'm the writer.

Yes.

You must play a character in order to talk to yourself.

Oh, okay, I think I get it.

I play Paul and talk to the writer.

Yes.

If I play the writer, who do I talk to?

You don't play me.

Why?

I'm not a character, so you can't play me.

You can try but it won't work.

Try it.

How?

Become the writer.

Okay.

Can you talk to anyone?

No, there's no one there.

Become Paul.

Okay.

Who can you talk to?

Myself as the writer.

A character seems to be the life force.

Yes, the puppet is animated.

Become the Devil.

Okay.

Can you talk to anyone?

The writer.

Become the writer again.

Okay.

What happens?

I must write dialogue for whomever I address.

If I become a character, then the writer responds naturally when I speak to him.

This is kind of weird.

I'm the character who plays the writer, but I can't be the writer.

I think it's the other way around.

I'm talking about Paul.

Paul is who the writer is when he comes forth in this world.

How do you know that?

He won't come forth as anyone else.

Why?

Because Paul is the only one who understands.

Dion wants me to write him a good story.
I got the power.
Would the Devil let you write his story?
No, he'd want to write his own story.
Isn't Paul the Devil?
In a way, yes.
We are both characters of the writer.
You can write your own story now.
No, I'm writing the story for Dion the writer.
You can't write your own story.
That's narcissistic.
The way around it is to create a character who is you and write that story.
Writers who invent a character who is basically them and write a story about them, are the worst.
For sure.
They can fantasize like they are James Bond or similar.
True.
So, the writer couldn't write about himself, so he wrote a story where the character of Paul wakes up to the knowledge he is the writer of reality.
Yes, that's the story.
Because the writer can't write about himself, he trades places with Paul.
Paul becomes the writer of reality, and the writer becomes an actor.
He assumes Paul's identity.
Yes, that's not you.
That's why your dad didn't recognize you.
I thought he was just senile.
I get it, the writer switches between Paul and himself.
Yes, and when some see him, they think he is the Devil.
You're a kind and generous Devil.
Yeah, good twist.
Paul is a great storywriter.
That's how you do it.
You take the idea and twist it.
It shocks the audience.
They see you as the Devil and you are kind.
You're the best dog owner to ever walk the planet.
The writer switches between his two identities of Paul and the Devil.
Seems confusing.
It is.
Let me try and figure it out.
Paul and the Devil are the same.
Well, they are characters of the writer.
The Devil comes forth by day into the light.
He's Lucifer.
The name is a clue that no one gets.
The human male is the Devil.
Got it.
We trick ourselves into not knowing this by assuming another identity.
Paul.
Right.
Paul is the Devil.
He's a nice Devil.
Well, yes, Lucifer isn't a monolith.
He comes off as many different characters.
Within the Paul character, the writer saw himself.
He then trades places with Paul so he can experience the realities he created.
Paul is now writing the story.
Essentially, Lucifer is now in charge of the story.
Yes, but the writer trusts Lucifer to write the story.
Why?
Because it's Paul.
Paul passed all the tests the writer gave him.
Paul gave up his power to the writer because he trusted him.
He was going to lose it anyway, but he gave up his power.
The Devil, as Paul, gave up his power gracefully to the writer.
The writer then trusted him with the power to write.
So, Paul has the power to write all of this?
Yes, the story.
It's already been written though.
Yes, because I figured whoever I selected to be the writer would know Tao and therefore would go with the flow and do nothing.
You can write if you want, but you are best to leave it alone.
Yeah, Dion is going to have a bunch of money.
Exactly.
You know what I would write.
Money, sex, drugs, and rock and roll.
Correct.
Those are common with Paul, the Devil, and Dion.
Leave God out of it if you want any fun.
I'm down with it.

You are going to freak yourself out because you realized you are the Devil.
I'm good with it.
I see the Devil can take on many roles.
If I get stuck on an evil demon, then it should scare the fuck out of me.
If I see he encompasses all possibilities, then I understand.
As the writer, I contain all possibilities.
Paul is who I am.
Paul is the needle in the haystack who manifested all the attributes of the divine writer.
Hail Dionysos!

You are familiar with the ego mind in this incarnation but imagine when you pass on all you have remaining is the subconscious mind of the writer.
I see that.
I see how the character of Paul would cease to exist because he needs a body to manifest.
Yes, so that psychic reality still exists, however it needs a body.
So, you incarnate once again, and this entity reformulates.
That should be scary, right?
Yes, but we are unaware of what is happening, and we gradually grow into the character.
That's fascinating because my experience with reacquainting myself with my subconscious mind at 45 years old was one of fright.
It happened all at once and scared me.
That's who you are until the ego mind is overlaid on top of your eternal soul.
Yes, there is the continuation of who you are and then the characters who come forth from the master record.
Soul and life force.
Osiris and Set.
Set is the multi-faceted actor as I have been teaching you.
He plays many roles.
Of course, we try to claim one is superior to the other.
They work hand in hand.
If you have a soul, you will create projections of the soul.
If you have a life force, which of course you do or you wouldn't be here, then invariably you have a soul which is the rock of the life force.
Okay, so the trick is to recreate the same character.
Well, you do as it is Set, but then you see Set is the greatest character actor to ever grace the stage.
Right.
He can play any role and is best when given the freedom to perform.
How about when he creates a great character such as Paul?
Then the audience wants more of that character.
The character lives on as long as there is a desire to witness that character's story.
Is there?
Yes, Paul has figured out the meaning of life and is fucking around with others who don't know what is going on.
Some of them have an idea but they can't formulate it like he can.
He is always one step ahead of their knowledge.
At least one step, many more.
Paul's story is unique.
There's no one like him.
All you must do is read his writing.
On top of that, he only gives you access to an edited version of his writing on his blog.
If you knew of all his thoughts, you'd be amazed.
Well, I think you'd lock him up.
It's not that bad.
I was referring to a mental institution.
You make a good point.