Samuel Beckett l (Artwork)
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Ordinary People :: Samuel Beckett. Post Modernist Giant. Nobel Prize in Literature "for his writing, which—in new forms for the novel and drama—in the destitution of modern man (woman) acquires its elevation".
1906 - 1989
Words
You're on Earth. There's no cure for that. Samuel Beckett
All the life of life is gone. Samuel Beckett
For mostly I do not know, it is perhaps no longer so, it is too soon to know, I simply do not know, perhaps shall never know. Samuel Beckett
Perhaps my best years are gone. Samuel Beckett
The sun shone, having no alternative, on the nothing new. Samuel Beckett
The earth makes a sound as of sighs and the last drops fall from the emptied cloudless sky. Samuel Beckett
Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better. Samuel Beckett
The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh. Samuel Beckett
I can't go on, I'll go on. Samuel Beckett
The end is in the beginning and yet you go on. Samuel Beckett
What would I do without this world faceless incurious. Samuel Beckett
I did my best to go in a circle, hoping in this way to go in a straight line. Samuel Beckett
Nothing matters but the writing. There has been nothing else worthwhile. Samuel Beckett
Samuel Beckett. The Biography
Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet. He wrote both in English and French. His work offers a bleak, tragicomic outlook on human culture, often coupled with black comedy and gallows humour.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation". He was elected Saoi of Aosdána in 1984.
Life and career
Early life and education
The Becketts were members of the Church of Ireland. The family home, Cooldrinagh in the Dublin suburb of Foxrock, was a large house and garden complete with tennis court built in 1903 by Samuel's father William. The house and garden, together with the surrounding countryside where he often went walking with his father, the nearby Leopardstown Racecourse, the Foxrock railway station and Harcourt Street station at the city terminus of the line, all feature in his prose and plays. Beckett's father was a quantity surveyor and his mother a nurse.
Samuel Beckett was born on Good Friday, 13 April 1906 to William Frank Beckett, a 35 year old Civil Engineer, and May Barclay (also 35 at Beckett's birth); they had married in 1901. Beckett had one older brother, Frank Edward Beckett (born 1902). At the age of five, Beckett attended a local playschool, where he started to learn music, and then moved to Earlsfort House School in the city centre near Harcourt Street. In 1919, Beckett went to Portora Royal School in Enniskillen, County Fermanagh (which Oscar Wilde had also attended). A natural athlete, Beckett excelled at cricket as a left-handed batsman and a left-arm medium-pace bowler. Later, he was to play for Dublin University and played two first-class games against Northamptonshire. As a result, he became the only Nobel laureate to have an entry in Wisden Cricketers' Almanack, the "bible" of cricket.
Early Writings
Beckett studied French, Italian, and English at Trinity College, Dublin from 1923 to 1927 (one of his tutors was the eminent Berkeley scholar A. A. Luce). Beckett graduated with a BA, and—after teaching briefly at Campbell College in Belfast—took up the post of lecteur d'anglais in the École Normale Supérieure in Paris. While there, he was introduced to renowned Irish author James Joyce by Thomas MacGreevy, a poet and close confidant of Beckett who also worked there. This meeting had a profound effect on the young man. Beckett assisted Joyce in various ways, one of which was research towards the book that became Finnegans Wake.
In 1929, Beckett published his first work, a critical essay entitled "Dante... Bruno. Vico.. Joyce". The essay defends Joyce's work and method, chiefly from allegations of wanton obscurity and dimness, and was Beckett's contribution to Our Exagmination Round His Factification for Incamination of Work in Progress (a book of essays on Joyce which also included contributions by Eugene Jolas, Robert McAlmon, and William Carlos Williams). Beckett's close relationship with Joyce and his family cooled, however, when he rejected the advances of Joyce's daughter Lucia owing to her progressing schizophrenia. Beckett's first short story, "Assumption", was published in Jolas's periodical transition. The next year he won a small literary prize with his hastily composed poem "Whoroscope", which draws on a biography of René Descartes that Beckett happened to be reading when he was encouraged to submit.
In 1930, Beckett returned to Trinity College as a lecturer, though he soon became disillusioned with the post. He expressed his aversion by playing a trick on the Modern Language Society of Dublin: he read a learned paper in French on a Toulouse author named Jean du Chas, founder of a movement called Concentrism; Chas and Concentrism, however, were pure fiction, having been invented by Beckett to mock pedantry. When Beckett resigned from Trinity at the end of 1931, his brief academic career was terminated. He commemorated it with the poem "Gnome", which was inspired by his reading of Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship and eventually published in the Dublin Magazine in 1934:
Spend the years of learning squandering
Courage for the years of wandering
Through a world politely turning
From the loutishness of learning
Beckett travelled in Europe. He spent some time in London, where in 1931 he published Proust, his critical study of French author Marcel Proust. Two years later, following his father's death, he began two years' treatment with Tavistock Clinic psychoanalyst Dr. Wilfred Bion, who took him to hear Carl Jung's third Tavistock lecture, an event which Beckett still recalled many years later. The lecture focused on the subject of the "never properly born"; aspects of it became evident in Beckett's later works, such as Watt and Waiting for Godot. In 1932, he wrote his first novel, Dream of Fair to Middling Women, but after many rejections from publishers decided to abandon it (it was eventually published in 1993). Despite his inability to get it published, however, the novel served as a source for many of Beckett's early poems, as well as for his first full-length book, the 1933 short-story collection More Pricks Than Kicks.
Beckett published a number of essays and reviews, including "Recent Irish Poetry" (in The Bookman, August 1934) and "Humanistic Quietism", a review of his friend Thomas MacGreevy's Poems (in The Dublin Magazine, July–September 1934). They focused on the work of MacGreevy, Brian Coffey, Denis Devlin and Blanaid Salkeld, despite their slender achievements at the time, comparing them favourably with their Celtic Revival contemporaries and invoking Ezra Pound, T. S. Eliot, and the French symbolists as their precursors. In describing these poets as forming "the nucleus of a living poetic in Ireland", Beckett was tracing the outlines of an Irish poetic modernist canon.
In 1935—the year that Beckett successfully published a book of his poetry, Echo's Bones and Other Precipitates—Beckett worked on his novel Murphy. In May, he wrote to MacGreevy that he had been reading about film and wished to go to Moscow to study with Sergei Eisenstein at the Gerasimov Institute of Cinematography in Moscow. In mid-1936, he wrote to Sergei Eisenstein and Vsevolod Pudovkin to offer himself as their apprentices. Nothing came of this, however, as Beckett's letter was lost owing to Eisenstein's quarantine during the smallpox outbreak, as well as his focus on a script re-write of his postponed film production. Beckett, meanwhile, finished Murphy and then, in 1936, departed for extensive travel around Germany, during which time he filled several notebooks with lists of noteworthy artwork that he had seen and noted his distaste for the Nazi savagery that was overtaking the country. Returning to Ireland briefly in 1937, he oversaw the publication of Murphy (1938), which he translated into French the following year. He fell out with his mother, which contributed to his decision to settle permanently in Paris (where he settled permanently following the outbreak of World War II in 1939, preferring, in his own words, "France at war to Ireland at peace"). His was soon a known face in and around Left Bank cafés, where he strengthened his allegiance with Joyce and forged new ones with artists Alberto Giacometti and Marcel Duchamp, with whom he regularly played chess. Sometime around December 1937, Beckett had a brief affair with Peggy Guggenheim, who nicknamed him "Oblomov" (after the character in Ivan Goncharov's novel).
In January 1938 in Paris, Beckett was stabbed in the chest and nearly killed when he refused the solicitations of a notorious pimp (who, ironically, went by the name of Prudent). Joyce arranged a private room for Beckett at the hospital. The publicity surrounding the stabbing attracted the attention of Suzanne Dechevaux-Dumesnil, who knew Beckett slightly from his first stay in Paris; this time, however, the two would begin a lifelong companionship. At a preliminary hearing, Beckett asked his attacker for the motive behind the stabbing; Prudent replied: "Je ne sais pas, Monsieur. Je m'excuse" ("I do not know, sir. I'm sorry"). Beckett eventually dropped the charges against his attacker—partially to avoid further formalities, partly because he found Prudent likeable and well-mannered. Beckett occasionally recounted the incident in jest.
World War II
Beckett joined the French Resistance after the 1940 occupation by Germany, in which he worked as a courier. On several occasions over the next two years was nearly caught by the Gestapo. In August 1942, his unit was betrayed and he and Suzanne fled south on foot to the safety of the small village of Roussillon, in the Vaucluse département in the Provence Alpes Cote d'Azur region. There he continued to assist the Resistance by storing armaments in the back yard of his home. During the two years that Beckett stayed in Roussillon he indirectly helped the Maquis sabotage the German army in the Vaucluse mountains, though he rarely spoke about his wartime work in later life.
Beckett was awarded the Croix de guerre and the Médaille de la Résistance by the French government for his efforts in fighting the German occupation; to the end of his life, however, Beckett would refer to his work with the French Resistance as "boy scout stuff". While in hiding in Roussillon, he continued work on the novel Watt (begun in 1941 and completed in 1945, but not published until 1953, though an extract had appeared in the Dublin literary periodical Envoy).
Fame: novels and the theatre
In 1945, Beckett returned to Dublin for a brief visit. During his stay, he had a revelation in his mother’s room: his entire future direction in literature appeared to him. Beckett had felt that he would remain forever in the shadow of Joyce, certain to never best him at his own game. His revelation prompted him to change direction and to acknowledge both his own stupidity and his interest in ignorance and impotence:
"I realized that Joyce had gone as far as one could in the direction of knowing more, [being] in control of one’s material. He was always adding to it; you only have to look at his proofs to see that. I realized that my own way was in impoverishment, in lack of knowledge and in taking away, in subtracting rather than in adding."
Knowlson argues that "Beckett was rejecting the Joycean principle that knowing more was a way of creatively understanding the world and controlling it ... In future, his work would focus on poverty, failure, exile and loss – as he put it, on man as a 'non-knower' and as a 'non-can-er.'" The revelation "has rightly been regarded as a pivotal moment in his entire career." Beckett fictionalised the experience in his play Krapp's Last Tape (1958). While listening to a tape he made earlier in his life, Krapp hears his younger self say "clear to me at last that the dark I have always struggled to keep under is in reality my most...", at which point Krapp fast-forwards the tape (before the audience can hear the complete revelation). Beckett later explained to Knowlson that the missing words on the tape are "precious ally".
In 1946, Jean-Paul Sartre’s magazine Les Temps Modernes published the first part of Beckett’s short story "Suite" (later to be called "La fin", or "The End"), not realizing that Beckett had only submitted the first half of the story; Simone de Beauvoir refused to publish the second part. Beckett also began to write his fourth novel, Mercier et Camier, which was not published until 1970. The novel presaged his most famous work, the play Waiting for Godot, which was written not long afterwards. More importantly, the novel was Beckett’s first long work that he wrote in French, the language of most of his subsequent works, including the poioumenon "trilogy" of novels: Molloy, Malone Dies and The Unnamable. Despite being a native English speaker, Beckett wrote in French because—as he himself claimed—it was easier for him thus to write "without style".
Beckett is most famous for his play Waiting for Godot (1953). In a much-quoted article, the critic Vivian Mercier wrote that Beckett "has achieved a theoretical impossibility—a play in which nothing happens, that yet keeps audiences glued to their seats. What's more, since the second act is a subtly different reprise of the first, he has written a play in which nothing happens, twice." Like most of his works after 1947, the play was first written in French with the title En attendant Godot. Beckett worked on the play between October 1948 and January 1949. He published it in 1952 and it premièred in 1953; an English translation appeared two years later. The play was a critical, popular, and controversial success in Paris. It opened in London in 1955 to mainly negative reviews, but the tide turned with positive reactions from Harold Hobson in The Sunday Times and, later, Kenneth Tynan. In the United States, it flopped in Miami and had a qualified success in New York City. After this, the play became extremely popular, with highly successful performances in the US and Germany. It is frequently performed today.
Beckett translated all of his works into English himself, with the exception of Molloy, for which he collaborated with Patrick Bowles. The success of Waiting for Godot opened up a career in theatre for its author. Beckett went on to write a number of successful full-length plays, including Endgame (1957), the Krapp's Last Tape (1958, written in English), Happy Days (1961, also written in English), and Play (1963). In 1961, Beckett received the International Publishers' Formentor Prize in recognition of his work, which he shared that year with Jorge Luis Borges.
Later Life and Death
The 1960s was a period of change for Beckett, both on a personal level and as a writer. In 1961, he married Suzanne in a secret civil ceremony in England (its secrecy due to reasons relating to French inheritance law). The success of his plays led to invitations to attend rehearsals and productions around the world, leading eventually to a new career as a theatre director. In 1956, he had his first commission from the BBC Third Programme for a radio play, All That Fall. He continued writing sporadically for radio and extended his scope to include cinema and television. He began to write in English again, although he also wrote in French until the end of his life.
From the late 1950s until his death, Beckett had a relationship with Barbara Bray, a widow who worked as a script editor for the BBC. Knowlson wrote of them: "She was small and attractive, but, above all, keenly intelligent and well-read. Beckett seems to have been immediately attracted by her and she to him. Their encounter was highly significant for them both, for it represented the beginning of a relationship that was to last, in parallel with that with Suzanne, for the rest of his life".
In October 1969 while on holiday in Tunis with Suzanne, Beckett heard that he had won the Nobel Prize for Literature. Anticipating that her intensely private husband would be saddled with fame from that moment on, Suzanne called the award a "catastrophe".While Beckett did not devote much time to interviews, he sometimes met the artists, scholars, and admirers who sought him out in the anonymous lobby of the Hotel PLM St. Jacques in Paris near his Montparnasse home.
Suzanne died on 17 July 1989. Confined to a nursing home and suffering from emphysema and possibly Parkinson's disease, Beckett died on 22 December of the same year. The two were interred together in the Cimetière du Montparnasse in Paris and share a simple granite gravestone that follows Beckett's directive that it should be "any colour, so long as it's grey."
Samuel Beckett lV (Artwork)
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Works
Beckett's career as a writer can be roughly divided into three periods: his early works, up until the end of World War II in 1945; his middle period, stretching from 1945 until the early 1960s, during which period he wrote what are probably his best-known works; and his late period, from the early 1960s until Beckett's death in 1989, during which his works tended to become shorter and his style more minimalist.
Early works
Beckett's earliest works are generally considered to have been strongly influenced by the work of his friend James Joyce. They are erudite and seem to display the author's learning merely for its own sake, resulting in several obscure passages. The opening phrases of the short-story collection More Pricks than Kicks (1934) affords a representative sample of this style:
It was morning and Belacqua was stuck in the first of the canti in the moon. He was so bogged that he could move neither backward nor forward. Blissful Beatrice was there, Dante also, and she explained the spots on the moon to him. She shewed him in the first place where he was at fault, then she put up her own explanation. She had it from God, therefore he could rely on its being accurate in every particular.
The passage makes reference to Dante's Commedia, which can serve to confuse readers not familiar with that work. It also anticipates aspects of Beckett's later work: the physical inactivity of the character Belacqua; the character's immersion in his own head and thoughts; the somewhat irreverent comedy of the final sentence.
Similar elements are present in Beckett's first published novel, Murphy (1938), which also explores the themes of insanity and chess (both of which would be recurrent elements in Beckett's later works). The novel's opening sentence hints at the somewhat pessimistic undertones and black humour that animate many of Beckett's works: "The sun shone, having no alternative, on the nothing new". Watt, written while Beckett was in hiding in Roussillon during World War II, is similar in terms of themes but less exuberant in its style. It explores human movement as if it were a mathematical permutation, presaging Beckett's later preoccupation—in both his novels and dramatic works—with precise movement.
At this time Beckett began to write creatively in the French language. In the late 1930s, he wrote a number of short poems in that language and their sparseness—in contrast to the density of his English poems of roughly the same period, collected in Echo's Bones and Other Precipitates (1935)—seems to show that Beckett, albeit through the medium of another language, was in process of simplifying his style, a change also evidenced in Watt.
Middle Period
After World War II, Beckett turned definitively to the French language as a vehicle. It was this, together with the "revelation" experienced in his mother's room in Dublin—in which he realized that his art must be subjective and drawn wholly from his own inner world—that would result in the works for which Beckett is best remembered today.
During the 15 years subsequent to the war, Beckett produced four major full-length stage plays: En attendant Godot (written 1948–1949; Waiting for Godot), Fin de partie (1955–1957; Endgame), Krapp's Last Tape (1958), and Happy Days (1961). These plays—which are often considered, rightly or wrongly, to have been instrumental in the so-called "Theatre of the Absurd"—deal in a very blackly humorous way with themes similar to those of the roughly contemporary existentialist thinkers.
The term "Theatre of the Absurd" was coined by Martin Esslin in a book of the same name; Beckett and Godot were centerpieces of the book. Esslin claimed these plays were the fulfillment of Albert Camus's concept of "the absurd"; this is one reason Beckett is often falsely labeled as an existentialist (this is based on the assumption that Camus was an existentialist, though he in fact broke off from the existentialist movement and founded his own philosophy). Though many of the themes are similar, Beckett had little affinity for existentialism as a whole.
Broadly speaking, the plays deal with the subject of despair and the will to survive in spite of that despair, in the face of an uncomprehending and incomprehensible world. The words of Nell—one of the two characters in Endgame who are trapped in ashbins, from which they occasionally peek their heads to speak—can best summarize the themes of the plays of Beckett's middle period: "Nothing is funnier than unhappiness, I grant you that. ... Yes, yes, it's the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it's always the same thing. Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh any more."
Beckett's outstanding achievements in prose during the period were the three novels Molloy (1951), Malone meurt (1951; Malone Dies) and L'innommable (1953: The Unnamable). In these novels—sometimes referred to as a "trilogy", though this is against the author's own explicit wishes—the prose becomes increasingly bare and stripped down. Molloy, for instance, still retains many of the characteristics of a conventional novel (time, place, movement, and plot) and it makes use of the structure of a detective novel. In Malone Dies, however, movement and plot are largely dispensed with, though there is still some indication of place and the passage of time; the "action" of the book takes the form of an interior monologue. Finally, in The Unnamable, almost all sense of place and time are done abolished and the essential theme seems to be the conflict between the voice's drive to continue speaking so as to continue existing and its almost equally strong urge towards silence and oblivion. Despite the widely held view that Beckett's work, as exemplified by the novels of this period, is essentially pessimistic, the will to live seems to win out in the end; witness, for instance, the famous final phrase of The Unnamable: 'I can't go on, I'll go on'.
After these three novels, Beckett struggled for many years to produce a sustained work of prose, a struggle evidenced by the brief "stories" later collected as Texts for Nothing. In the late 1950s, however, he created one of his most radical prose works, Comment c'est (1961; How It Is). This work relates the adventures of an unnamed narrator crawling through the mud while dragging a sack of canned food. It was written as a sequence of unpunctuated paragraphs in a style approaching telegraphese: "You are there somewhere alive somewhere vast stretch of time then it's over you are there no more alive no more than again you are there again alive again it wasn't over an error you begin again all over more or less in the same place or in another as when another image above in the light you come to in hospital in the dark" Following this work, it would be almost another decade before Beckett produced a work of non-dramatic prose. How It Is is generally considered to mark the end of his middle period as a writer.
Late Works
Throughout the 1960s and into the 1970s, Beckett's works exhibited an increasing tendency—already evident in much of his work of the 1950s—towards compactness. This has led to his work sometimes being described as minimalist. The extreme example of this, among his dramatic works, is the 1969 piece Breath, which lasts for only 35 seconds and has no characters (though it was likely intended to offer ironic comment on Oh! Calcutta!, the theatrical revue for which it served as an introductory piece).
In his theatre of the late period, Beckett's characters—already few in number in the earlier plays—are whittled down to essential elements. The ironically titled Play (1962), for instance, consists of three characters immersed up to their necks in large funeral urns. The television drama Eh Joe (1963), which was written for the actor Jack MacGowran, is animated by a camera that steadily closes in to a tight focus upon the face of the title character. The play Not I (1972) consists almost solely of, in Beckett's words, "a moving mouth with the rest of the stage in darkness".
Following from Krapp's Last Tape, many of these later plays explore memory, often in the form of a forced recollection of haunting past events in a moment of stillness in the present. They also deal with the theme of the self confined and observed, with a voice that either comes from outside into the protagonist's head (as in Eh Joe) or else another character comments on the protagonist silently, by means of gesture (as in Not I). Beckett's most politically charged play, Catastrophe (1982), which was dedicated to Václav Havel, deals relatively explicitly with the idea of dictatorship. After a long period of inactivity, Beckett's poetry experienced a revival during this period in the ultra-terse French poems of mirlitonnades, with some as short as six words long. These defied Beckett's usual scrupulous concern to translate his work from its original into the other of his two languages; several writers, including Derek Mahon, have attempted translations, but no complete version of the sequence has been published in English.
Beckett's prose pieces during the late period were not so prolific as his theatre, as suggested by the title of the 1976 collection of short prose texts Fizzles (which the American artist Jasper Johns illustrated). Beckett experienced something of a renaissance, however, with the novella Company (1980), which continued with Ill Seen Ill Said (1982) and Worstward Ho (1984), which was later collected in Nohow On. In these three "'closed space' stories", Beckett continued his preoccupation with memory and its effect on the confined and observed self, as well as with the positioning of bodies in space, as the opening phrases of Company make clear:
"A voice comes to one in the dark. Imagine." "To one on his back in the dark. This he can tell by the pressure on his hind parts and by how the dark changes when he shuts his eyes and again when he opens them again. Only a small part of what is said can be verified. As for example when he hears, You are on your back in the dark. Then he must acknowledge the truth of what is said."
In the hospital and nursing home where he spent his final days, Beckett wrote his last work, the 1988 poem "What is the Word" ("Comment dire"). The poem grapples with an inability to find words to express oneself, a theme echoing Beckett's earlier work, though possibly amplified by the sickness he experienced late in life.
Collaborators
Billie Whitelaw
Billie Whitelaw worked with Beckett for 25 years on such plays as Not I, Eh Joe, Krapp's Last Tape, and Footfalls. She first met Beckett in 1963. In her autobiography she describes their first meeting in 1963 was "trust at first sight". Beckett went on to write many of his experimental theatre works for her. She came to be regarded as his muse, the "supreme interpreter of his work", perhaps most famous for her role as the mouth in Not I. She said of the play Rockabye: "I put the tape in my head. And I sort of look in a particular way, but not at the audience.
Sometimes as a director Beckett comes out with absolute gems and I use them a lot in other areas. We were doing Happy Days and I just did not know where in the theatre to look during this particular section. And I asked, and he thought for a bit and then said, 'Inward' ". She said of her role in Footfalls: "I felt like a moving, musical Edvard Munch painting and, in fact, when Beckett was directing Footfalls he was not only using me to play the notes but I almost felt that he did have the paintbrush out and was painting." "Sam knew that I would turn myself inside out to give him what he wanted", she explained; "With all of Sam's work, the scream was there, my task was to try to get it out." She stopped performing his plays in 1989 when he died.
Jocelyn Herbert
The seminal English stage designer Jocelyn Herbert was a close friend and influence on Beckett until his death. She worked with him on such plays as Happy Days (their third project) and Krapp's Last Tape at the Royal Court Theatre. Beckett said that Herbert became his closest friend in England: "She has a great feeling for the work and is very sensitive and doesn't want to bang the nail on the head. Generally speaking, there is a tendency on the part of designers to overstate, and this has never been the case with Jocelyn."
Legacy
Of all the English-language modernists, Beckett's work represents the most sustained attack on the realist tradition. He opened up the possibility of theatre and fiction that dispense with conventional plot and the unities of time and place in order to focus on essential components of the human condition. Václav Havel, John Banville, Aidan Higgins, Tom Stoppard, and Harold Pinter have publicly stated their indebtedness to Beckett's example. He has had a wider influence on experimental writing since the 1950s, from the Beat generation to the happenings of the 1960s and after.[44] In an Irish context, he has exerted great influence on poets such as John Banville, Derek Mahon, Thomas Kinsella, as well as writers like Trevor Joyce and Catherine Walsh who proclaim their adherence to the modernist tradition as an alternative to the dominant realist mainstream.
Many major 20th-century composers, including Luciano Berio, György Kurtág, Morton Feldman, Pascal Dusapin, Scott Fields, Philip Glass, Roman Haubenstock-Ramati and Heinz Holliger have created musical works based on his texts. Beckett's work was also an influence on many visual artists, including Bruce Nauman, Douglas Gordon, Alexander Arotin, and Avigdor Arikha; Arikha,as well as some short film makers, like Leila Newton-Fox,has been inspired by his play 'Endgame' created a short film 'Stalemate'. In addition to being inspired by Beckett's literary world, also drew a number of portraits of Beckett and illustrated several of his works.
Beckett is one of the most widely discussed and highly prized of 20th-century authors, inspiring a critical industry to rival that which has sprung up around James Joyce. He has divided critical opinion. Some early philosophical critics, such as Sartre and Theodor Adorno, praised him, one for his revelation of absurdity, the other for his works' critical refusal of simplicities; others such as Georg Lukács condemn for 'decadent' lack of realism.[45] American critic Harold Bloom pays attention to his atheism of Anglican source, compared with James Joyce's, former Catholic bent, noting:
As for Christianity and Waiting for Godot, Beckett was [...] definitive: «Christianity is a mithology with wich I am perfectly familiar and so I use it. But not in this case.» It is always worth remembering that Beckett more than shared Joyce's distaste for Christianity and for Ireland. Both men chose unbelief and Paris.
Honours and awards
■1959 honorary doctorate from Trinity College, Dublin
■1961 International Publishers' Formentor Prize (shared with Jorge Luis Borges).■1968 Foreign Honorary Member of the American Academy of Arts and Sciences
■1969 Nobel Prize for Literature.
Wikipedia
Samuel Beckett ll (Artwork)
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Other Links
Ordinary People. Harold Pinter. Art, Truth and Politics. Nobel Prize in Literature
http://ameraziganiirao.blogspot.com/2011/11/ordinary-people-harold-pinter-art-truth.html
Ordinary People. Emmeline Pankhurst. Suffragette Leader
http://ameraziganiirao.blogspot.com/2011/11/ordrinary-people-emmeline-pankhurst.html
Ordinary People. Primo Levi. The Drowned and The Saved
http://ameraziganiirao.blogspot.com/2011/11/ordinary-people-primo-levi-drowned-and.html
Dark Nights of The Soul. Thomas Moore
http://ameraziganiirao.blogspot.com/2011/12/dark-nights-of-soul-solutions-thomas.html
Film Plot. The Hero's (Heroine's) Journey. Gladiator. Five Academy Awards
http://ameraziganiirao.blogspot.com/2011/09/heros-journey-gladiator-five-academy.html
How To Know God. Deepak Chopra
http://ameraziganiirao.blogspot.com/2011/05/how-to-know-god-deepak-chopra-excerpt.html
And God Created Woman. A Self Portrait. Amera Ziganii Rao Photography
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NATURAL BORN MYSTIC™ :: THE FEMALE HOLOCAUST :: THE LOVE HOLOCAUST :: THE LIFE HOLOCAUST :: THE POLITICS OF RAPE™
A Metaphysical Philosopher, Esoteric Wizard, Writer and Educator. Her business is Human Politics, Self Actualisation, Love, Humanity and Power. And Spiritual Logic and High Supernatural Intelligence. The Universe, available to all.
She is writing a thesis on humankind, and training now to become a world class educator in Human Rights, The true Divine Connection, and Personal Development and setting up a company to deliver her message. “The meek shall inherit the earth”. Especially Women and anyone of The Female Psyche. And especially the real, Spiritual, Female, Higher Minded and Precious Hearted, Supernatural Intelligence, Priesthood of this world.
The 'Mystics'. The Natural Born Mystics™.
Alchemy & Liberation & Humanity™
NATURAL BORN MYSTIC™
Intuition. A Definition. Clair Cognisance = Supernatural Cosmic Intelligence™ + HUMAN skill and learning in how to interpret that Cosmic Intelligence (The High Initiate Journey) = High (Prophet type) Consciousness = Hierophant/Metaphysical Philosopher/Prophet Shamanism/Esoteric Mastery = High Serpent Amazonian Priesthood™ = Atlantean Elder = Women like me.
Amera Ziganii Rao © 2014
AMERA ZIGANII RAO: A PROFILE
Writer and Intellectual. Social, Cultural and Spiritual Commentator. Personal Development Coach and Communicator. Philosopher and Metaphysical Clair Cognisant (Prophetess, Hierophant and Esoteric Mystic). Theologian, Theosophist and Historian. Photographer, Graphic Artist. Designer, and Actor/Dramatist/Filmmaker. Feminist and Human Rights Advocate, and a Healer of Emotional Sicknesses and Self Discoveries on earth.
AMERA ZIGANII RAO :: AN ATLANTEAN ELDER ON EARTH
AMERA ZIGANII RAO :: SACRED WHORE HIGH SERPENT PRIESTHOOD FEMALE HIEROPHANT AVATAR VALKYRIE WIZARD MONARCH™ & SACRED DISIR
AMERA ZIGANII RAO ALCHEMY & LIBERATION & HUMANITY™
Amera Ziganii Rao :: Supernatural Cosmic Intelligence + Supernatural Intelligence. Training to be a world class educator in Consciousness + The Politics of Rape/The True Love Journey + Human Rights + Purpose + The Lost Knowledge + Inner and Outer Power.
NATURAL BORN MYSTIC™ :: THE RETURN TO ATLANTIS :: THE RETURN TO LEMURIA
NATURAL BORN MYSTIC™ :: THE FEMALE HOLOCAUST :: THE LOVE HOLOCAUST :: THE POLITICS OF RAPE™
I have fought a great, great battle. Atlantis is no longer raped by a Lemurian earth. The rest we shall see. Leadership training indeed. Warrior, lover, Valkyrie, Healer, Prophet and Atlantean Queen. That is me. Warrior, lover, poet in training, and broken Agamemnon, woman beating warlord of filth and slavery, will he be. Atlantis is firmly back on earth. Now, true love may just finally be.
Amera Ziganii Rao © 2014
NATURAL BORN MYSTIC™ :: THE LOVE HOLOCAUST :: THE LIFE HOLOCAUST :: THE DIVINITY HOLOCAUST
The Macho Intellectual Consciousness Passion and Compassion of the Visceral Soul.
Amera Ziganii Rao © 2011
Amera Ziganii Rao :: Writer. Philosopher. Performer. Psychologist. Humanist. Esoteric. Sexualist. Hedonist. Artist. Teacher. Coach. Social Reformer. Feminist. Hierophant. Sacred Disir. Former Slave. Seer. Sage. :: My Business Is Transformation Of The Soul. My Business Is Power. My Business Is Freedom. My Business Is Love. My Business Is To Fight Fascism And Human Cruelty And Emotional Sickness In All Its Relationship Forms On Earth. My Business Is Applied Spirit. Real Sex. Real Love. Real Life. Real GOD. The Return.
FEMINIST AND HUMAN RIGHTS, METAPHYSICAL PHILOSOPHER. WRITER. MENTALIST AND ARTIST
NATURAL BORN MYSTIC™ & AMERA ZIGANII RAO ALCHEMY & LIBERATION & HUMANITY™
The new educational website (Alchemy & Liberation & Humanity™ as a writing and speaking business of empowerment) will be announced.
Meanwhile, enjoy the free writing and consciousness work on this website. It was written with blood, sweat and tears. The story of both my man (men) and myself as we struggled to re-define all that is relationship and marriage, the mutual journey of escape and evolution out of The Patriarchal Tribe.
The self discovery that took us from female slavery and male confusion and fascism into a society that was left behind a long time ago, when The New World Order took over and put men in charge, when they didn't even want it, by all that I have seen. Other than in sex as is the primal partnership. Our exploration is here. The world of Bluebeard Male Supremacy™ through to the Sacred Whore and High Female Esoteric Serpent Priesthood Society™, again, with men as the beloveds. Equality, Liberty, FRATERNITY. The New New World. Again.
The journey of how it didn't work. How Earth is a concentration camp for women, with men as the willing Nazi officers in charge. This apparently is the world of love.
The carnage of discovery is here. The journey of slavery to freedom and the final stance of separatism as it had to be.
Men and women will never converge without pain and strife. Earth has taken care of that and men are willing instruments of evil.
Men. The Keepers of Hades.
The success is self actualisation + self determination + freedom + separatism for women.
Women have to leave men and leave men forever.
The unredeemable must be left alone. They will not redeem. They will not leave behind their legacy of Plantation Ownership, High Priestess Killing or Nazi Loyalties.
Earth is a concentration camp for women. They like it that way. They can have it.
Women have to leave all that is the tribe, if they ever want to be happy, strong, confident or successful and they have to do it alone, alone, alone and alone. Well, not alone. Just not with men.
Please feel free to read the material on this blog. My writings, plus work from other consciousness teachers too. My Manifesto for Human Rights (Especially Female) in Relationship and Family.
These writings will be produced in book form. Poetry Polemics for a better world of love, independence, sex and individuation. And true companionship and family. Power to the people, indeed. Together.
Thank you.
Amera Ziganii Rao © 2014
The Two Messages ::
The Female Divine Highest Love Intelligence Energy. God The Mother, The Universe. Plus, the SACRED WHORE HIGH PRIESTESS HIEROPHANT AVATAR VALKYRIE WIZARD MONARCHs™ as the only true High Priests, with a GNOSTIC spirituality for all.
There is no love on earth. We are all here to fight for it, or be hate. We are here to be profound, or to be shallow. To be adventurers of the soul, or turgid and needing security, to be humane or greedy, to BE love, or BE hate. Earth is hell. Hell, created by hate, for hate, of hate. Free will is to choose which way to go. Love, or hate. That is Existentialism. That is evolution. That is the advancement of the soul. Hate to love. And nothing less. The conquering of evil by good. The light must push out the dark. The light must win.
Amera Ziganii Rao © 2014
My Business Is Alchemy & Liberation & Humanity™
Feminism is not feminism. Feminism is anti slavery. They call us control freaks and that has to be watched. However, in the context of the truth, it is a ridiculous statement. It is the oppressor, calling the courageous campaigner for freedom and equality, the terrorist.
Feminism is not 'man hating'. Feminism is not feminism. Feminism is the movement against slavery. Humanitarianism is the same. Slavery must not exist in any form on earth. Slavery is everywhere.
From unpaid work in marriage to unpaid work in the family, to minimum wage in the market to a hundred other arenas, slavery is the way of earth.
Feminism and humanitarianism are the movements against it. Slavery is fascism. Fascism is everywhere. We just don't know it. They made sure that we don't know it. Now we do. And we will forever.
Society calls it bullying. Society calls it unfortunate, while propping it up in every single second, across the world. Fascism must die. Fascism will die. Fascism is to die.
That is World Ascension. The end of fascism.
My Business Is Alchemy & Liberation & Humanity™
Amera Ziganii Rao © 2014
Alchemy & Liberation & Humanity™
The point of this planet is to find out what we are not, so we can find out what we are.
Amera Ziganii Rao © 2012
Alchemy & Liberation & Humanity™
The journey to the breaking of one's lower self into one's great self. The actual journey. That is my business. Alchemy & Liberation & Humanity™. Turning oneself into gold and honey and authentic power. The pain of transformation, the shock and the trauma and terror and resistance of it. The path to heaven on earth. That is my business. THAT part of it. The crucifixion and disability of Alchemy & Liberation & Humanity™. The pain of it.
Amera Ziganii Rao © 2012
Natural Born Mystic™
The compassion to go with the passion. The discipline of mind, to know your darkness and the education of a post patriarchal man. Love. And changing the very matter of your spiritual DNA. Ascension. I can feel it coming. The build up is your job. The rest I can help with.
Amera Ziganii Rao © 2013
Avatar (James Cameron)
My daughter will teach you our ways. Learn well, Jake Sully. Then we will see if your insanity can be cured.
Mo'at
Natural Born Mystic™
Misogyny is sadism against women. An unconscious hijacking and a conscious will to maintain it.
Tyranny and sadism. Misogynists. Slaves of Sauron (Tolkein's Lord of the Rings). Wifebeaters.
Amera Ziganii Rao © 2013
Natural Born Mystic™
An Hierophant is an interpreter of sacred mysteries and arcane principles. 'Jake Sully' (Avatar) is her Sacred Warrior Protector™
Amera Ziganii Rao © 2013
Natural Born Mystic™
A Natural Born Mystic™ is primarily a Sacred Whore Healer as a Cinderella Warrior™. As a woman. A High Priestess Wizard™ is a Sacred Whore Healer and Enlightener. That has specific duties and challenges to do with men and their immense madness (Mo'at - Avatar) and their profanity (killing God The Mother, The Triple Goddess) and monetising the slavery of emotional care. A Sacred Whore Healer has to do this against all the odds. She does it because she and they, the Sacred Whore Healers and High Priestess Wizards™ are the strongest.
Amera Ziganii Rao © 2012
Natural Born Mystic™
'Respect' as fear.
'The Accomplished Female' = the only thing that the male patriarch can deliver as 'love'. Men do not tolerate women earning money. They want slavery to instil FEAR. Fear as 'respect'. Fear is not 'respect'.
Amera Ziganii Rao © 2014
Alchemy & Liberation & Humanity™
The secret enemies of psychological warfare. From within and without. Bringing the darkness of evil into the light. Immense self belief, intelligence and courage, plus wizardry. In other words, 'naming it and shaming it and letting it go' and re-programming the mind from any belief to another. To evolve.
Amera Ziganii Rao © 2012
Consciousness. The politics of the 21st century. The Lost Knowledge. Forget trying to change the world. Change yourself. It changes your own world that changes THE world.
Amera Ziganii Rao © 2011
Sexuality, non religious 'Wizard' and 'Witch' spirituality (the Gnostic intelligence of esoteric and consciousness exploration, ie wisdom and love) and human rights are the least fashionable things and the most uncomfortable things on the planet. And the things human beings have been damning and condemning for 8000 years. And the things that most people are absolutely fascinated by. What a shame. How bourgeois. How ordinary. How ego.
Amera Ziganii Rao © 2011
The Sacred Whore High Priestess Society™
The Super Sacred Brother Lover™
The Return To The Source. Ascension.
The Sacred Whore High Priestess Society™. When we were giants. All of us. When you did more than rape me.
Amera Ziganii Rao © 2013
Neo Feminist™, Post Tribe Social Reformer™ and Sacred Sexualist™. Human Rights Healer. Metaphysical Philosopher, Writer, Spiritual Intelligence Teacher, Hierophant (Interpreter of The Universe) and Mentalist Self Actualiser.
I can help you grow power, from nothing.
Alchemy & Liberation & Humanity™.
Amera Ziganii Rao © 2013
The Sacred Whore High Priestess Hierophant™ and Sacred Pimp Warrior Protector, Brother Lover™ Society. The kings and queens of old. Angels and Sorcerers together in each of themselves and in the other. The Wizard life. Forever. Living and loving from The Source. Sourcery, Carlos Castaneda first said. I'll say it again. Sourcerers together. Living a life worth living. At last.
Amera Ziganii Rao © 2013
Witches are healers. Witches are the Love Healers and SOURCErers of The Lost World, when we were the giant warriors. We were good and so were were you. 'The World of Men'. The Tribe of Misogyny and Bourgeois™.
Gives us all a bad name. And poisons all hearts.
Amera Ziganii Rao © 2013
Feminist Lolita Intellectuals™. You lucky man. A place at the table, a place at the Executive Table. That's all. The rest is easy.
Amera Ziganii Rao © 2013
Spiritual power = emotional power = emotional intelligence = mental intelligence = re-programming of the whole self = spiritual intelligence = The Lost Knowledge™ = power = The New World.
Amera Ziganii Rao © 2013
The Company
Writer, Speaker and Enlightener, Amera Ziganii Rao, is now putting together a comprehensive and unique programme of Alchemy & Liberation & Humanity™. A programme of learning that is specifically about one particular kind of woman. And one particular kind of man. The Sacred Whore High Priestess™ and the Sacred Whore High Priest™, and the true society that they come from and the one they, in particular, she can and has to return to and that anyone can join her and him in. This is about Paradise on Earth.
This is about The Sacred Whore High Priestess™ and the Sacred Whore High Priest™, and the Alchemy and Liberation and Humanity that is for all as a result of their healing and in particular, hers. This is about the kind of woman who is at the bottom of the pile in a Patriarchal Toilet Tribe from Hell Society™, the norm, the conventional world and the world of the Tribe. This is about the kind of man who is next in line from the bottom. The sensitive man and the female chattel. The High Priestess and High Priest of a profane society, that has long forgotten who they are.
This is about being at the bottom of the pile, for the forgotten and strangled shamans, and for her, the story of escape. Abused by her family, her friends, her men, her whole society, by the very nature of who she is and who they are and what has happened on this Earth. It is about women of love, of Spirit and of sex. It is about men of love, of Spirit and of sex. It is about the Cinderellas of this world. It is about the The Sacred Whore High Priestess™. Who she is and how, loving her is the secret to Paradise on Earth and how we have been living a lie for 8000+ years. A lie of male (non High Priest) religion with a male ‘God’ and with Patriarchs and Patriarchal types and Matriarchs and Matriarchal types ruling over us and making our lives hell, all in the name of family, the tribe and the way things are and should remain. Hate, fascism and profanity. A sick society that vilifies, more than anyone else, the The Sacred Whore High Priestess™, just because it was told to. A sick society that calls her Eve. A sick society that has forgotten who we all are, let alone the The Sacred Whore High Priestess™ and the Sacred Whore High Priest™. This is about us remembering and knowing who WE are.
This is a programme of healing for the The Sacred Whore High Priestess™, and the Sacred Whore High Priest™, to take them and particularly, her, from monstrous levels of low self esteem and lack of self knowledge, back to herself and it is a programme for all those who truly want to love her, and indeed, him. This is a programme for the greatest carers on Earth, who are vilified, destroyed, ridiculed, ignored, abused, used, misused and hated for being everything that those who would steal from us are not. This is a programme to turn Cinderellas into The Sacred Whore High Priestesses and for anyone who wants to love her or live by the values of the The Sacred Whore High Priestess Society™. And this is a programme to turn sensitive men into Sacred Whore High Priests™ and for anyone who wants to love him and live by the values of the The Sacred Whore High Priestess™ and High Priest Society. Love, humanity, Spirit and sex. This is a programme to reverse 8000+ years of witch burning, women hating and healer ridicule. This is about the The Sacred Whore High Priestess™ and all those who would love her and live by her values.
This is about the chance for Paradise on Earth. This is a programme for the most beautiful, kind hearted, wounded women and men on this planet. A programme of how to implement a system of how to beat life, how to survive life and how to resurrect from the grief that is a true life. Alchemy and Liberation and Humanity of the lower mind into the higher mind, the soul and the inner heart and therefore one's true, confident, ‘happy’, successful, creative, sexual, sensual, individual, intelligent, emotionally healed, capable of loving and being loved self. How to turn grief into creation and survive and thrive, despite all the shit, all the pain and all the hurt. How to live in a world of madness, hollowness and cruelty and how to be a winner. How to stand up for oneself and to take back the power that has been stolen from anyone with heart, Spirit and sex. The art and science of Alchemy.
This is a programme, based on my scholarly and non scholarly work over 15 years (so far), if not for my whole life, and my extensive and intense, visceral experiences of self transformation from resignation, cynicism and despair to a state of relative bliss, and above all, the right to be. The programme and the courses and my speaking and indeed my forthcoming book, will cover the method of change. The psychological, sociological, spiritual, cultural, political, emotional and physical and even anthropological methods of change. Why we are here. Who the Sacred Whore High Priestess™ is and why she is here. And who the Sacred Whore High Priest™ is. Why we are here. Who we are and what we are and why we are. The beauty and glory of the truth. The meaning of life, no less. This will be on offer in the future.
My first book of consciousness, my first book of the spiritual politics of humanity, of authentic power and of self love and strength. A comprehensive series of online courses, live events and audio and visual material. Books, live events, CDs and DVDs. And one on one personal empowerment consultations. The Amera Ziganii Rao Method of Change™. The right to be and the way to have the right to be. And indeed, how to maintain the will to live without love. How to BE unconditional, self sufficient, self caring, self love. The right to be and the will to be and the unparalleled success that comes with that. The Lost Knowledge™. HOW to live. And how to heal others, the profane and the sick and the soulless. The others. My Business and that of any Sacred Whore High Priestess™ and Sacred Whore High Priest™, is Human Rights, The Right to a Sexual Society, Self Actualisation and Freedom.
My Business is To Overthrow Fascism, in the Home and in the Country. My business is also mastering destiny. Overthrowing the ultimate 'fascism'. Our journey on Earth and The Return To The Source. Our healing, our ascension and our redemption. Fate. The daily crucifixions of a true life, the challenges and the fury of being healers and people of love on a planet like Earth.
Submitting to the journey to liberate and evolve oneself, through following one's heart, however much heartbreak and devastation it leads to on the long long long journey to freedom and then the longer journey to happiness. 'Long Road to Freedom', as Nelson Mandela says. My business is always taking risks, never giving up and making the endless sacrifices it takes to become whole. Enlightenment, Nirvana and then Parinirvana and beyond. My business is pain. My business is bliss.
My business is seeing the truly glory of Spirit on Earth. The Sacred Whore High Priestess Society™ and all that it is. Spirit, humanity, sex and love again at last. And the end of our legacy as either servants or witches or unpaid carers or indeed, ignored mistresses, other women, other men even, and the weirdos that are at the bottom of society. This is our world and it is time to take it back and I can show you how. And that makes my life, truly, worth living.
I want you to feel the way I do. Alive, with the right to be and the belligerence to exist in this profane and male ‘God’ led world of male supremacy, female supremacy, domestic, casual fascism, tribe rules from hell, with beautiful and kind, love intelligence laden, female and male Cinderella warriors at the bottom, caring for everyone else and getting nothing but hatred, ridicule and isolation for it. The meek are already inheriting the Earth and I can show you how.
Amera Ziganii Rao © 2012
I enter the magical hours of pure feeling, pure thought, pure imagination and I think and I write and I 'mysticise' the Universe. I escape at will, the truth of my humanless, Samurai solitude, and I pursue the truth of love in myself and in everyone else. I am philosopher. I am shaman. I am alone. I frontier the Soul to be spirit on Earth.
Amera Ziganii Rao © 2011
To trust your soul is to have courage. The courage to ‘get out of the way’. It takes a commitment to courage, a changing of the very matter of one’s access to courage, one’s relationship with courage and becoming the total renegade of an individual you have to, to become soul. It is that rare. ‘Getting out of the way’ takes a commitment to love and loving and being of love, no matter what. And frankly, that means redefining what love is, EVERY STEP OF THE WAY. Finding out what love really is and getting rid of the bullshit we think it is. Love. Soul. Power. It takes courage to be soul. Courage, courage and courage. The rest is easy. Soul is soul. Finally it is an absolute relief to get out of the way. The life of soul may be hair raising, treacherous and mind numbingly arduous. But it is a life of no regrets. Courage. The key to soul. Just give it a go. Wear that hat, say what’s on your mind, dream your dreams again, dream your dreams at all and just smile through the hate. Including one’s doubt. Courage. ‘Kill’ when you have to, especially yourself, and smile the rest of the time and cry when you need to. Always cry. Earth is a battlefield and crying is the way to win. Soul is a way of life. The natural way. Courage is ‘all’ it takes. We learnt the rules, only so we could break them. The rest is the art of life. Creation. Creating oneself again and again and again. Soul. The only way of life worth anything. Otherwise, we are just waiting to die. We don’t need to. We can live. It’s called soul.
Amera Ziganii Rao © 2013
Self esteem. True, authentic, self knowing, self esteem. The one that includes the sex, the primal, the primitive, the animal, the real. The one that includes humanity and a state of unconditional love. Non needing, non greedy, non controlling, non afraid, non negative and non inhumane and non angry. Self esteem. What ego really is, in its true essence. The physical vehicle of self esteem. The physical vehicle of action, reaction, mastery, ‘misstery’, love and war, tenderness and sexuality. Humanity and human. The beautiful, crafted, styled, educated, aware, sincere, active, visceral, sexual, super sexual, heart led, sensitive, humane, courageous and ethical, hopeful ego. The instinct. The intuition. The magic. The primal. The whole. The whole Soul.
Amera Ziganii Rao © 2013
The Harvest
And then comes the great battle. The war for one's dreams. The mastering of the ego. The attainment of the harvest of one's inner life. Certainty.
The key at this stage is to not worry. The Universe answers will. Will, will, will and will. Each day of 'failure' to overcome yourself or attain what you want or declare who you really are is a day of purifying your soul and chipping away at the ego. This is the final showdown. Ascension. This is the final battle and the toughest one you will ever wage in your life, within you. How to get what you really really want and how to feel really really good about it. Certainty.
The certainty of the warrior. A warrior who knows that everyone CAN be taken care of, despite the warrior's certainty of dream which does not include them, a warrior who knows that this is the will of The Universe and not his or her own 'ego' dream, a warrior who is not afraid to stand up in society or in the group or in the family and say, 'this is me, this is who I am'. The certainty of the warrior. Soul.
The warrior who makes the pain and sadness sacrifice to go after what he or she has wanted and worked towards their whole life, or indeed, lives on earth. A warrior, who CAN turn the world upside down to attain the dream.
As the dream begins to manifest, the ego grows enormous. This is raw terror and the pains and fears of old. Ego after all has been your 'best friend'. It took care of you when no one else would. As is the way of the path of life.
The last stand of ego and it will fight you all the way and give you bitter disappointments every day that you 'fail' and tell you, 'ah, see, you couldn't do it again, it can't be right, it isn't meant to be' and every other negative under the sun. Every day you can't do what you are being pushed and driven to do. You don't fail. You chisel away and wash away another layer of the fearful and grief ridden ego. You just wash away another level of doubt and fear, in other words. This is the alchemical truth of the norm.
It is a very painful and frustrating performance of daily action. To attain your dream and make it happen.
The fear of loss then grows even more, alongside it. What if, what if, what if.
Believe in yourself, believe in the process and believe in the dream. The dream is not going anywhere but standing right in front of you with open arms. The dream loves you. You are worthy of the dream. The dream is worthy of you.
And the more you push, the more you take the blows of daily pain and temporary loss of gain, the further you go forward every day. That is will in action.
That is the development of courage. That is a warrior, refining his or her weapons.
The ability to love is created minute by minute and the ability to CREATE and manifest true life is created minute by minute. You are in rapid growth at this point. And growth is painful.
What is the weapon that is being refined? The vehicle of the higher purpose of the soul. The dream that dreamed you. The alchemical transformation of ALL your lives.
When it comes, it's a shock. When it comes, the anxiety is uncontrollable. When it comes, the GRIEF is inconsolable. When it comes, it carries so much pain. When it comes, it goes. When it comes, it goes.
Will. The manufacture of courage. And the certainty of love.
Confidence. Certainty. Creation.
The alchemical shift is rebirth. Redemption. The harvest of your soul.
Be patient. And then be REALLY impatient. And drink lots of water. The rebirth is as painful as the first birth. You are re entering earth. This time as your true and beautiful and conscious within consciousness self. You are entering soul. Soul loves you. So does your dream. You pass the test. It is will.
The rest will come. You are worthy. And you deserve every happiness you dreamed of. You deserve your dream. Because you have the will.
And just remember this. Everything you have ever been and everything you have ever done, has prepared you for this moment on earth. The entrance into soul is the attainment of your dream. To BE yourself. Your true self. To be you, have the life you want and the love you want in your life. To love without condition, to love in the pure heart again, with inner power and outer power combined. To possess the (holy) warrior's key. Certainty. To BECOME soul. To become you. To become your dream.
Certainty = redemption = courage = soul = dream.
Bear the pain and don't doubt the dream. It's worth it. Push that will. Take the blows. And then get up and push again. Fear will finally be pacified. Fear will finally know you are okay. Fear will finally give way. Courage is your soul.
Amera Ziganii Rao © 2015
I can feel your sexuality. I love it. My beautiful, filthy, dominating, obsessed, possessed, hedonistic, nihilistic, Sacred beast of a man. Because those of us who are the most sexual, what do we think, in the truth context of the The Sacred Whore High Priestess™, and The Sacred Whore High Priestess (Priest) Society™, that means? We are the most spiritual. The most sexual are in fact the most spiritual. Spirituality being the communing between Mortal and The High Priestess (Priest) to reach ecstasy. Orgasm. Bliss. The most active, dirty minded, passionate, non reproductive, hedonistic, glorious, worthwhile, point of life, meditation or prayer or communing on Earth. THE way to reach God, The Mother, The Universe™. THE way to happiness. Humanity. Joy. Hope. Love. Sex. Sex. Our sex. Sex.
Amera Ziganii Rao © 2011
Love takes courage. Love takes being ready. Love takes love.
Amera Ziganii Rao © 2011
Amera Ziganii Rao is a former hard news journalist who is now turning professional with her art forms and indeed, her healing forms, after a long journey of inner searching, self teaching and exploring many layers and areas of both craft and wisdom. She is now working on her first book of philosophy and esoteric thought, and social, cultural and spiritual commentary. She is also showing her first photography collections. And last but most definitely not least, she is building a business to share her Sacred Whore High Priestess Society consciousness and empowering explorations to reach as many people as possible across the world. She is in her forties and currently lives in London.
Amera Ziganii Rao © 2011
In the meantime, please enjoy this website. I have included many of the subjects I am covering, areas of experience and insight that I will be exploring to the fullest in my book, the courses and all the other work that is to come as a dramatist, novelist and essayist. I also of course, include many of the wise people on this planet, who have come long before me; authors, screen dramatists, playwrights, film makers, artists, and other enlighteners and grand carriers of the wisdom I have found the most helpful on my journey, to find peace and become enlightened. The seemingly impossible journey, in the face of oneself and one’s circumstances. People who have contributed massively to my healing on this mad journey called life, in this insane existence called The Universe. People who have helped to make me as good a carrier of wisdom as I in turn, can be. Thank you.
Amera Ziganii Rao © 2011
Copyright and intellectual property rights are serious issues. And legally protected. Please do not reproduce my work anywhere without due credit and obviously, never for financial gain. 'Big Sister' is watching you! Other than that, please continue to enjoy my original work and the work of (credited) others, for free, while I work on using my material in further professional formats. Thank you for your interest and support.
Amera Ziganii Rao © 2012
Amera Ziganii Rao © Digital Darkroom Art
Thank you to outside sources for originals
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