Originally published Nov. 1, 2017
I wrote this as proposed talking points for a radio show. They’re abbout my novel Genuflect. The talking points ended up getting changed, but I thought I’d share these anyway. They contain what you may consider “spoilers,” depending on your perspective:
What is your new novel Genuflect about?
It’s about an American occult writer and researcher named Pamela Auger, a character largely based on me. She is hired by what she thinks is a member of the House of Lords to make a presentation for his friends in the Worshipful Society of Butchers, ostensibly a livery company in the City of London–the Old Town and financial district of Greater London. She ends up personally involved in helping MI5 investigate an underground milieu of elite secret societies in London practicing alchemical sex magic rites involving human sacrifice. As she discovers, some of these rites are performed to satiate bloodthirsty supernatural entities that control our reality from behind the scenes (these being identical to the Gnostic “Archons,” or the seven planetary divinities of classical mythology). However, an even darker rite is sometimes attempted by selfish and ambitious sorcerers wishing to take control of our reality for themselves, dethroning these Archons and escaping into a higher reality, where they can rule all creation from above. This process necessarily involves the destruction of what are understood to be “pillars” that hold up the heavens above, imperiling our present form of existence in the current Earthly realm.
Does this dark ritual have a name? Is it based on anything real?
Yes, I believe that this is the “Baptism of Wisdom” ritual allegedly practiced by the Knights Templar, after which their secret idol Baphomet is purportedly named. I believe that this dethroning of the heavenly bodies, and the ritual to bring it about, is depicted on two caskets that I have discovered in the back catalog of the British Museum, the provenance of which was attributed to the Knights Templar by nineteenth-century Orientalist Joseph von Hammer-Purgstall. On the lid of one casket, the Sun and Moon are shown being pulled from the sky by a bearded figure of the goddess Cybele, which Hammer-Purgstall said was the same figure as “Mete,” a word he found etched on numerous other alleged Templar artifacts that he documented. These objects form a key part of the plotline of Genuflectt, as this is what she is initially hired to give a presentation in London about. I have personally had Hammer-Purgstall’s writing on this matter translated into English for the first time and this new non-fiction book has just now become available through my publishing company. I am working with the British Museum right now, and with a television production team, to find out more about the alleged Templar artifacts there.
Who is “Mete” then?
Hammer-Purgstall said this was just another way of saying “Metis,” the Greek goddess of “cunning wisdom” who was said to be the first wife of Zeus, and the one who had saved him from being eaten by his father Kronos. When she became pregnant by Zeus, he swallowed her, afraid that the child would usurp him. This led to the famous birth of Athena, their daughter, who after exiting her mother’s womb, had to be released from within Zeus through a surgical incision in his head. However, Metis remained within, and was forced to work as an adviser to Zeus during his reign. Although presumably she never got out of his body, she was sometimes shown upholding his throne from below, like Atlas holding up the heavens. This seems to be a metaphor for how her wise advice was necessary to the continuance of his rule.
Where exactly in London do these rituals take place in your story?
They take place in an office building in the City of London owned by the main villain of the story, American billionaire Blake Rosenberg. In the story it’s the location of his new London corporate headquarters, and the place where an old Roman Temple of the god Mithras was originally discovered in the 1950s. The Temple had been moved to another place down the street when it was originally discovered, to make room for a new office building, but Rosenberg has that one demolished to make his new headquarters, and has the Temple of Mithras moved back to its original location, fully restored in the first basement of the main building of his new headquarters.The plot of land its on is a place called “Bucklersbury,” and its right next to the Bank of England. It’s also right next to the historic Rothschild building that has been their corporate and family headquarters in London for two centuries. All of this is real: the Temple of Mithras has been restored to its original location and placed in the basement of the new London headquarters of the Bloomberg corporation, which is set to open some time this year.
Is the villain Rosenberg based on a real person?
Yes, he’s loosely based on Michael Bloomberg. I’ll explain what’s similar and what isn’t. Basically, I made up all of the criminal activity, occult practice and obsession with surrealist art that characterizes Rosenberg. A lot of the personality traits and other biographical details of Rosenberg, such as being the sixth richest person in the world (and 32 times more wealthy than Queen Elizabeth), being the former mayor of New York City, being an anglophile who spends much of his time in London, having a reputation as a misogynist, having a daughter that’s preoccupied with horses, owning a financial news organization, and inventing a computer terminal for trading stocks, are based on reality, as well as the details about his new building in London and the Temple of Mithras beneath, as explained above.
Are there any special features to Rosenberg headquarters in your novel besides the presence of the Temple of Mithras and its proximity to both the Bank of England and the Rothschild building?
Yes, it’s supposed to be “the smartest building in Europe,” and it manufactures its own energy, both through solar panels embedded in the windows, and by harvesting energy from the bodies of the employees who work there. Special equipment in the restrooms collect and separate all body fluids for use in alchemical processes. The building itself also spies on the employees constantly through something called a “digital ceiling” that keeps track of all your activity patterns and preferences, ostensibly for the purposes of energy efficiency. It senses when you’re having an emergency of any kind, and it can also be programmed to response to non-verbal signals such as hand gestures. Workers are in constant communication with the AI running the building through their smartphones. Phone alerts tell you when meetings come up, open the parking garage when it senses your car approaching, and suggests a workspace for you each day. You are forbidden to sit in the same place more than three days in a row, as nobody is allowed to have their own office or desk. The building is cleaned and monitored throughout by robot janitors and security guards.
Much of this is based on the truth about Bloomberg’s building, except (as far as I know) for the body fluid harvesting. Just as I say in the book, his new building is meant to be at the heart of a “smart city” being built right into modern London as each building is replaced with a “smart building.” These will then all be networked together to share energy and information.
Doesn’t a lot of the action in your story take place deep underground as well?
Yes, the tunnels of London are an integral part of the story, and the truth about them, to which I added very little in the way of fiction, is fascinating. In addition to the known subway tunnels that everyone uses for public transportation, there are many miles of abandoned subway tunnels and stations, as well as an entire system of more narrow underground railways once used by the postal system for tiny trains carrying letters. Most importantly, there are all of the tunnels that were once open, and channeled the waters of London’s five underground rivers. They were used as sewers in the time of Charles Dickens, but they are now covered over and diminished to a trickle. However, there is a project underway currently to revitalize them as rivers (but not sewers), and in Genuflect, Rosenberg gets involved in accelerating this project. In truth, in ancient Roman London, the underground Walbrook River ran right alongside the Temple of Mithras, and they used it both for practical plumbing and for ritual purposes.
In your novel, you describe a fictional modern revitalization of the Cult of Mithras practicing a rite to essentially dethrone the ancient gods to take over heaven and earth, possibly destroying the world as we know it in the process. Is this something that the ancient Cult of Mithras was actually associated with?
What we know about Mithraism is, like anything ancient, based upon the artifacts and writings that have been discovered. From this, historians have made interpretations. I have my own interpretation, based on the documented evidence as well as careful consideration of the prevailing scholarly theories. In the Roman Cult of Mithras, he is depicted being “born from a rock” that had been inseminated with “lightning.” He is said to have cut his way out, emerging into our world with a knife in one hand and a torch in the other. From there, he is depicted conquering all of the realms of the planetary gods. A document called “the Mithras Liturgy,” which is most likely medieval, not ancient, but nonetheless revealing, tells how Mithras then broke through to the realm beyond the sky to where the “Hyperuranian Sun” is (as Greek philosophers called it), and the source of the “lightning” that spawned him.
Mithras is acknowledged to be the same as Saturn or Chronos. said to be the son of Terra or Gaia (Earth) and Uranus or Ouranos (Heaven). These primary parents were originally one being, pregnant with babies who had no way of getting out. This is the “rock” that bore Mithras. Saturn had to cut his way out of the womb, releasing his siblings,the monstrous Titans, and castrating his father in the process. This is the original creative act that separated the plane of Earth, on which all material action through time takes place, from the firmament of the fixed stars above, and it was said that if Heaven and Earth even came together again, existence would be snuffed out. This is why, after Chronos and the Titans were overthrown by the Olympians and locked in Tartarus (said to be the “womb of Gaia”), Atlas was forced to hold up the sky–to keep this from happening. Between Earth and the stars were the realms of the seven planetary gods, whom Mithras is depicted as defeating.
Then what does this have to do with the goddess Mete that you mentioned before, who you said was thought by some to be the origin of the Templar figure of Baphomet?
While many modern scholars think that the cults of Cybele and Mithras, both imported into the Roman Empire from Persia, were unrelated, scholars in the past thought differently, and I agree. Mithras was born from a rock, but Cybele WAS a rock. Also, she was originally hermaphroditic, but she was castrated and then kicked out of Olympus by the rest of the gods. She then had a son, whom she fell in love with, but she castrated him in anger when she found that he loved another woman, then let him bleed to death. Afterwards, she felt bad about this, and used magic to resurrect him. This would explain why she was depicted on the alleged Templar casket I found in the British Museum as having a beard but no male organs, and instead is shown with what I believe to be the wounds of castration in that particular area. The priestesses of Cybele were born male, but castrated themselves during their initiation rites, and were thereafter referred to as female.
Both cults were associated with bull sacrifices, although modern scholars usually claim that Mithras temples were too small to perform an actual bull sacrifice. Their temples were often adjacent to one another in the ancient world, and in one case, in Ostia, Italy, they were connected with a common door. Scholar Franz Cumont reported that members of the same family were often members of both cults, and that the priestesses of Cybele may have been contracted by the Mithraists to perform their sacrifices for them, something not uncommon among other cults at the time.
Finally, let us not forget that Joseph von Hammer-Purgstall made a great case for the idea that Cybele is “Mete,” and Mete is Baphomet. Meanwhile, occultist Aleister Crowley claimed that the name Baphomet means “Father Mithras,” a phrase that, he said, has a cabalistic value of 729. This just so happens to be the sum of all of the angles of the two buildings that comprise Michael Bloomberg’s real-life headquarters building built on top of the Temple of Mithras in London. It is as though the concept of Baphomet includes both that of Cybele and of Mithras, which makes total sense if you consider what I’ve already said.
Does alchemy have anything to do with the creation and destruction of parallel universes, or traveling between them?
Yes, many alchemical texts and images cryptically depict the Sun, Moon, and classical planets (or the gods associated with them) being drawn down from the sky, sacrificed, chopped up, and drained of their essences. These are then processed to create a new Sun and Moon, who then mate to spawn a new set of planets (and thus, a new aeon–that is, a new age that is also an entirely new universe). For instance, this can be found in The Chemical Wedding of Christian Rosenkreutz, a classic alchemical story, as well as the modern art film The Holy Mountain by Alejandro Jodorowsky, which is based upon it.
London is a sensible place for the birth of a new universe to happen from. This is what poet William Blake was alluding to when he wrote that London was actually “Jerusalem” and also a magical city called Golgonooza. He described the creation of the world having radiated out from the London Stone outward, just as the “Foundation Stone” beneath Solomon’s Temple in Jerusalem is traditionally thought of as the cornerstone of God’s creation. But Britain was also said by Plutarch to contain an entrance to the cell of Saturn in Tartarus, where he sleeps awaiting resurrection in a new Golden Age. I think this entrance to the underworld may contain the egg on a new creation, and it may be located right there underneath the Temple of Mithras in Britain.
Is there any connection between the presence of the Temple of Mithras in the City of London and the fact that the square mile of that district became the financial capital of the world?
Yes, it pertains to the association of Mithras with freed slaves, and the fact that within the bounds of the temple, the social status of the members, most of whom were slaves, was not recognized. This influenced the later traditions of Freemasonry and the developing concepts of mercantilism. This ideology was all part of the social shift that took place slowly over hundreds of years in the West, where the social ranking system came to be defined more by money than by birth, and wealth came to be linked more to business activity than to inheritance. The square mile of the City of London is older than the kingdom of England. It has always been ruled by a voting body of merchants, and has retained a form of legal sovereignty separate from the crown to this day. The monarch is traditionally supposed to ask for permission from the Lord Mayor of the City of London before entering the sacred boundary of the square mile–which also conforms to the boundaries of the old Roman city. Some have argued that the merchants and bankers of the City of London have more power than the crown and have actually been responsible for every change of dynasty in England’s history. These concepts all influence my character Rosenberg, who in my story, has leveraged the popularity of his stock trading terminal to manipulate the market, and his political power to obtain pledges from the governments of the world against the future earnings of their citizens. He brags that he now “owns” the people of the world and can use them as collateral to negotiate contracts with beings outside of our universe. It’s all part of the ritual he’s performing to offer the bodies of humans for slave labor, sexual use, as food, and as a source of other renderable materials, to those on the other side.
This is in keeping with the mythology of Mithras. While he conquered the planets above by force, he also negotiated a contract with the sun, and after the Sun submits to him by genuflecting, they are depicted as shaking hands. This is believed to be the origin of this social custom, a symbol of a business agreement between two parties. Such agreements were held by Mithraists to be sacred, as Mithras was called “the god of the Contract.” This is the basis of the modern credit system, which began in earnest with creation of the Bank of England, an institution largely influenced by the Rothschild family. It all began right there in Bucklersbury, in the City of London, next to the Temple of Mithras, though purportedly nobody knew that until the temple was rediscovered in 1954.
The center of the old Roman city was defined by an object now called the London Stone, from which all of the measurements of the City were based. This item was always kept on Cannon Street, right outside of the temple’s walls. This object is part of my story also, and is due to be restored to its traditional location this year, from what I understand.
Are members of the British royal family used as characters in the novel?
Yes, although I identified them using their lesser-known titles. Members of the royal line are natural hosts for the spirits of the planetary Archons to be sacrificed, which is what happens to them in the story. They are also rumored to be involved with powerful occult secret societies, many of them have had uncomfortably close relationships with members of the British establishment who have been exposed in recent years as members of underground pedophile clubs. Therefore my fictional use of them in this story didn’t seem like too much of a stretch to me.
Why did you choose the name Genuflect?
It’s about the image found in some Temples of Mithras showing the sun god Sol bowing down to Mithras after being conquered by him. This is also paralleled in alchemical imagery, in which the Sun is shown inverted, having been brought down from heaven by alchemy. This was the inspiration for the cover of my book, painted just for the book by modern artist Jesse Peper. It has to do with the motifs of slavery and domination running through the story, and of one aeon or universe overtaking another, bringing the present order of existence down and forcing it to serve as the foundation for the next stage of existence.
Why do you have a diamond shape on the back of your book that looks like the badge worn by Superman?
The connection with Superman and the diamond shape is a part of the story that came by a happy and obviously divinely-inspired accident. It all started when I noticed that the plot of land on which the Temple of Mithras is located–Bucklersbury–just so happens to be shaped like the Superman logo, as defined by the streets surrounding it. I then discovered that this particular diamond shape is really the side view of what is called a “round cut brilliant diamond.” This was a particular cut of diamond invented in 1919, and it’s the most popular cut today, because it was scientifically designed by a Belgian mathematician to refract the maximum amount of light. It has 58 facets, a number associated with the Baphomet idol of the Templars, as I explain in the book.In the story, this diamond is connected to the concept of the Royal Arch keystone in Freemasonry, which is presented in Masonic images as a sort of plug sealing a hole at the top of the arc of the sky. Above this is the Hyperuranian Sun, as the keystone is sometimes shown removed from the arch, allowing this higher light to shine through. The diamond, as I explain in the novel, acts as a deck prism on an old ship, filtering and amplifying light from above, illuminating the realm below. This is also what I think the Masonic keystone is meant to do when it is in place.
It turns out that there are several other strange connections with the Rothschild family. For one thing, the character of Lois Lane was based on a woman named Rothschild that Superman creator Jerry Siegal went to high school with and was in love with as a teenager. Although none of the articles on this subject mention any connection between her and the famous banking family, there most likely is one, since they were the originators of the name. The name in fact means “Red Shield,” and its origin is entwined with their family Coat of Arms, although it is not, as is popularly described, an image of a hexagram on a red field. Rather, the name comes from the word for a small hand-held shield used for fencing: a buckler. This is the same word found in the name of the location of the Temple of Mithras in London–Bucklersbury–but it was called that long before the Rothschilds bought property there, and nobody is sure of its origin. The mysterious red buckler of the Rothschilds is, I believe, no ordinary shield, but rather the same as the magical talisman that the found of the British branch, Nathan Rothschild was rumored to have possessed, which purportedly gave him supernatural powers that allowed him to become “the Leviathan of finance.” This was written about in the 19th-century book The Hebrew Talisman. In Genuflect, a connection is implied between the Masonic keystone, the Rothschilds buckler, the symbol of Superman, and the giant, magical diamond that plays such a huge role in the story. The name “Superman” is also shown to have its origin in occult sex magic rites performed for the purpose of trapping divine spirits in human incarnation.
Did you use the Ouija board to help come up with ideas for the novel?
No, but I did contact Mithras on the board after I was done to ask if the plot that I had composed was based on reality. I was told that Bloomberg is indeed a magician, and that he is using the Mithraeum to do something that will make a hole in the “roof” of our universe, allowing him to escape. He said that Bloomberg will use “fire” magic to do this. I believe this pertains to the diamond that I mentioned in the book. In the diamond industry, “fire” is the name for the rainbow colors of refracted light that shoot up through the crown of a properly cut stone when a light beam is shined directly upon it at the proper angle. I have found this exact angle encoded in the geometry of Michael Bloomberg’s building complex in London. Mithras also mentioned the city of Ghent in Belgium as being integral to this. Belgium just so happens to be the center of the world diamond trade, and where the round-cut perfect diamond was invented.