Penelope’s completed tapestry is an of-the-essence message, a timely arrival of the Odyssey and the overlooked, timeless and immense power of the vast and mightily moving River of golden Song that reveals an epiphany across millennia to this very moment about true identities. It does this in more profound ways than anyone could have imagined besides the creators of the art: those gorgeous “perpetrators” of culture and the divine themselves, all at once loved and morbidly shut off. As one will see in this artistic and feminine message, the movements and alterations, like those of Hermes in the Homeric Hymn to Hermes, the skeleton key left by Homer, the flipping and breaking open of worlds and the intense acts of creation are necessary at the toppling, beginnings and nurturing of new worlds—and the identities astounding.
Paperback: 784 pages
Publisher: Books of the Southwest; First edition, Published on September 15, 2018
Language: English
ISBN-10: 0692956824
ISBN-13: 978-0692956823
Product Dimensions: 7 x 1.8 x 10 inches
Penelope’s completed tapestry is an of-the-essence message, a timely arrival of the Odyssey and the overlooked, timeless and immense power of the vast and mightily moving River of golden Song that reveals an epiphany across millennia to this very moment about true identities. It does this in more profound ways than anyone could have imagined besides the creators of the art: those gorgeous “perpetrators” of culture and the divine themselves, all at once loved and morbidly shut off. As one will see in this artistic and feminine message, the movements and alterations, like those of Hermes in the Homeric Hymn to Hermes, the skeleton key left by Homer, the flipping and breaking open of worlds and the intense acts of creation are necessary at the toppling, beginnings and nurturing of new worlds—and the identities astounding.
This turning over and cracking open of new worlds is grounded in, flips and culminates on the culture’s prevalent image of the feminine. The rupture of this art renders the flow of Song. Hermes's clandestine acts are the opposite of keeping things pent up: that concealing, withholding, obscuring, covering, and holding to the past for imposed control and false identity.
When consciousness and genius move, providence moves, too, in wild and wonderful ways. The Iliadand Odyssey, following the paths of the Hermes tricksters in Homer's blueprint shown here, culminate in the unseen creation of "the Place of Peace" at the olive tree at the recognition scenes between Odysseus, Penelope and Athena, and returned to "the One to Whom It Belongs," the human goddess, held in the meaning of the name "Shiloh" spoken in Jacob's prophecy in Genesis 49:10. Etymology also connects my name with the ancient goddess Asherah and with Eve in the Garden, the paradise on Earth. The prophecy is also resplendently shown throughout the pattern of Michelangelo's Sistine Ceiling, beginning at the entryway and ending with the Libyan Sibyl stepping down with her book to the high altar. It is also where the white dog on the wall frescos, the emblem of the star of Sirius in Canis Major, marks the return of Isis and the Nile's floods stepping down to the "throne" into her own temple and dining hall. In the middle at the sacrifice scene on the ceiling where the Poet/Dante's heart is retrieved to Victory by the Sibyl, and with the arm of the Painter/Poet, not only does my first name appear, but also my last name and birthdate in supranatural ways, oracular, even. This is even in the words of Jesus and in the flowing waters in Jerusalem that gave King David's city its strength and protection. This prophecy is also evident in the Divine Comedy in the illumination and experience of bliss with Beatrice, and in Leonardo's Mona Lisa where natural paths lead to her peacefulness and smile. This comes true again in Willa Cather's Death Comes to the Archbishop in Santa Fé, in the American Southwest and leading to the revelation of consciousness and natural burst of creativity at our own Pacific Coast, where those, like Laertes, are holding the outskirts. It leads to a clearer vision of what happened with the Bible with the missing goddess Asherah, as in Jeremiah 44: 15-30, her name removed from the King James Version, and, according to scholars, replaced with the word "groves" over forty times. It leads to the true oracular nature of the artwork and an unprecedented opening of the Bible also shown on the Sistine ceiling. The masterful handiwork uncovers what has been purposefully covered.
This book is the unwoven and woven threads showing the miracles in the artwork, the "extraordinary in the wonder" leading to this opening of the Song and the cultural shift coming from the golden flow of the "divine" art. It is a tidal motion of realization of the true movement of culture arriving in this moment. It awakens us to the Song so that the music and the dance can now be truly heard.
