My Lifelong Literary and Artistic Code Breaking and Putting the Pieces Together of a Feminine and Cultural Puzzle
As a child I was deeply searching out the question, “For a female ruler/leader like Queen Elizabeth I, what would need to be known?”
In Coyote Weaves a Song: A Mythological Song from the Beginning of Time, I trace the feminine back through a line of literature and art in Western civilization to find that the female human goddess was always coming through to realization, through the eternal voice, symbols and mythology, and given time, through awareness and breaking through human learned mental restrictions, and this present in works such as Leonardo da Vinci’s Virgin of the Rocks and the Mona Lisa, Wolfram von Eschenbach’s Parzival, and Dante’s Divine Comedy, to name a powerful few. It is the basis of all of Michelangelo’s oeuvre, a lifetime of works left to point directly at this world-transformative feminine.
Because of being HSP (Highly Sensitive Person) with a gift of seeing patterns and then also of collecting fitting pieces through a lifetime of almost five decades, I was always working in the contemplative spaces to solve this conundrum of the female role in culture since she was a child, beginning with reading biographies of female European royalties--the rare books of women in roles of power (or apparent lack thereof, albeit being in powerful roles). I also questioned as a child that something felt “quirky” about the dark feeling of the Hebrew bible which my family was strictly centered upon.
Born with a strong sense of joy, wonder, and Being (which gets pressured by culture), from the beginning it felt to me like an erasure with no good reason, and rigidity on top of that, and that feeling or intuition leading this path. I had first learned to read from the Hebrew bible with the verse that contains my name, Genesis 49:10, the beginning of a quest through learning to find the answer through or around culture. Without realizing it, it was a hard quest for Being to break through into consciousness and to learn that it has been forbidden and erased in culture.
The hidden structure in some of the greatest works of art is based on the revelation of the feminine Being and show the vital importance of the female human goddess in infusing and opening culture with the divine of Being in the Body where all of life is then valued and is sacred, reopening the flow of the universe and of the “heavens,” and thus also, when broken open, restructuring the pivotal, transformative role of the masculine, which, too, has been demonized and limited to suffering, punishment, and death as the only “holy” and “right,” and thus the masculine, too, to be newly seen and renewed to the divine in a very different vision of heroics. It can be seen that even in the U.S. government, criminal activity, conflict, and inflicting pain is seen as “good” by the far right because it relates to the white male god, an angry god, their religion, and also the never-ending suffering of Jesus in their limited narrative of him that they can never break open to full realization, although it is there to be realized.
The path of Being is the path of altering culture. The skeleton keys left through symbolism and mythology show that the worlds flip on the feminine. In wildly uncanny pieces of the puzzle, my name upside down is 407145, the numbers in Jacob’s prophecy that contains my first and last name, birth date, birth year, birth place, and the name of the goddess Io who transforms into Isis. It contains the date of Yom Kippur, the Day of At-One-Ment, the holiest day in the Jewish calendar. It contains John Mayer's birth date in 10/77. In addition to the prophecy, my name itself contains these same things and my birth date does as well, to name a beginning of the miracles I show in the Tapestries and that the other works display through art and literature and cultural happenings.