The Jews say, “Ezra is the son of Allah “; and the Christians say, “The Messiah is the son of Allah .” That is their statement from their mouths; they imitate the saying of those who disbelieved [before them]. May Allah kill them; how are they deluded? (9:30)

This is the voice of the Demiurge: the malicious god, fearful, angry, paranoid, desiring death to those who speak of descent, the son, himself, his true nature. What is it about lineage, about the son, that upsets the Demiurge? Lineage reminds him of his own literary (and literal) descent — himself, a son god, born of poetic re-invention (the anthesis of their “imitation”) from the texts that precede.

[Both sons are the outer sons, Isa-as-Esau, reflections of the Demiurgic creator, not inner sons, emerging, winning against the odds of textual misprison.]

Then descent turns to an ascent, and the Father God replies, through the cracks of the Demiurgic text.

There is a movement through the sephirot, through the Divine Orbs — “rabbis” and “monks”. Then there is the insan kamil, the Adam Kadmon, the return of the Messiah. Then there is Binah, the Womb, Mary, captured here as a crack in the text, the womb-as-virus, from which the meaning flows backwards (from womb-Sophia to text, to the Demiurgic psychosis of 9:30).

They have taken their rabbis and monks as lords besides Allah , and the Messiah, the son of Mary. (9:31)
Then orbs (rabbis on the left and monks on the right) coalesce into a father God, Chokmah, known as the “one God”. And this fantasy God lies below the unnamable YHWH (who is called “exhalted above association”):
And they were not commanded except to worship one God; there is no deity except Him. Exalted is He above whatever they associate with Him. (9:31)
The circuitry is based upon orbs in connection, each with a mouth aperture, connected to the tail aperture of the successive orb. This is how the exalted sublime fantasy becomes transmitted, as Intellect, through the circuitry. But an aperture cannot be formed without a skin, without a shell, without kippot, refusal, physical repulsion. The tendency to extinguish is born from the tendency to transmit. This tendency to extinguish the light is known as “organized religion”. It is a necessary satanic underside that accompanies the middle-eastern fantasy of the Divine sublime in transmission — perfection of His light, the circuitry in motion to reflect, perfect the light, perfect the son (the movement from Demiurge, who ironically intercedes throughout each line, throughout each verse, to Kadmon, Israel finally at rest, Israel finally at peace).
They want to extinguish the light of Allah with their mouths, but Allah refuses except to perfect His light, although the disbelievers dislike it. (9:32)


[38.1] Sad, I swear by the Quran, full of admonition.

Sad: the fish hook, the 90. The recitation is filled carrier cups, filled with self admonition, as each word contains denial as an underbelly, each sign a loaded (pregnant) weapon weighing down against itself.

[38.2] Nay! those who disbelieve are in self-exaltation and opposition.

The verse refers to its own implicit exhalation, its innate opposition.

[38.3] How many did We destroy before them of the generations, then they cried while the time of escaping had passed away.

The first two verses concern spatial difference. The third is the Kali functor, operating temporally, across cycles of reincarnation/recitation. The “cry” is the moment of Quranic recitation, at the end of the verse, audible, and material, because God has vacated/escaped the space caught by it (the Maternal aspect of the Godface). This is the tragic – but also divinely sublime – aspect of the reader’s passion.

[38.4] And they wonder that there has come to them a warner from among themselves, and the disbelievers say: This IS an enchanter, a liar.

The Warner follows the cry, that followed vacation (Maternal, vacant womb tragedy). The Warner is the line of light (a tie of kinship — but also an interjection, a rupture, across the sky). The secondary sunrise that maintains the halo connection.

[38.5] What! makes he the gods a single God? A strange thing is this, to be sure!

The Warner combines totems to form an assemblage – the Unity Totem. Its nature is strange, because the combination of every face is a strange face.

[38.6] And the chief persons of them break forth, saying: Go and steadily adhere to your gods; this is most surely a thing sought after.

In futility, the subject of this sentence demands that each word (totem) maintains a fixed meaning (godly aspect).

[38.7] We never heard of this in the former faith; this is nothing but a forgery:

The sunrise rupture to lineage: its nature is abject materialism, forgery, assemblage, the strange face intersecting the passage of jihad/action, inscribed in matter (as a reminder).

[38.8] Has the reminder been revealed to him from among us? Nay! they are in doubt as to My reminder. Nay! they have not yet tasted My chastisement!

Now the Warner transforms, first, into the diffuse voices of an external paranoia (disbelief, Judgement, judging him in his imagination). Then he coalesces and becomes the Image of the God of Judgement, angry with the voices.

He is a line of light that descends into the bosom of the daughter. Then he rebounds, to the left side, and so creates religion.

[38.9] Or is it that they have the treasures of the mercy of your Lord, the Mighty, the great Giver?

Then he rises higher, to Mercy/Love. And then to Might of the Mother as Absence and Provision of the Father Giver.

[38.10] Or is it that theirs is the kingdom of the heavens and the earth and what is between them? Then let them ascend by any

The Father/Mother, heaven and earth. Engendering Israel/Daughter the Kingdom. Engendering the in between (the sons). From whose dialectic, judgement, the sarcastic paranoid voice is heard, daring the underbelly of its own textuality to (impossibly) ascend.

A Taste of Freedom

By those [words] lined up in rows
And those who drive [the sentence]
And those who recite the message,
Indeed, your God is One,
Lord of the heavens and the earth and that between them and Lord of the sunrises.

The rows are the signs of the text, being read. They are angelic inasmuch as they convey Truth, from the One God YHWH above. But how do they convey? That is the function, the drive, the process described by this poem.

They drive the sentence, by a process known as the Taste of Freedom, dispersal and fragmentation, failure and the fall from the Absent Womb, and the consequent desire/drive to return, the basic metonymic pleasure instinct, repressed and manifested as metaphoric recitation, within the matter of the poem’s text, read by you.

The Taste of Freedom consequently crystallizes in the Grand Metaphor for YHWH: the statement “your God is One”. That is, Faciality, the Face of God. Unity’s conception is the totem that coalesces around the ebb and flow of Freedom to return. But this is necessarily a Face with Features, two eyes, “heavens” and “earth” (“tengri” and “ummai”), the resonance of the primal unspeakable scene that precedes Freedom. The Features constitute the crystalline resonance that self-reflects all dialectic (“that which is between them”), self-reflects, a Divine totem for differentiation encompassed by the Face as a totem for unity.

Lord of Sunrises: the process of exterior interjection within the Tengri-Ummai crystalized matrix — the Nur of Tiferet interjects as sunrise. It is this Lord that the Sufis worship. As the Zohar states:

Once the sun comes forth, there are….those who worship [by] this light, calling this light, ‘Allah of the shining pearl,’ and their oath is by ‘Allah of the Shining Pearl’ Now you might say: ‘This worship is in vain! But since ancient primordial days they have discovered wisdom through it. Zohar 2:188a-b

That is, they worship the Allah of Prophecy, light as fana/rupture that cuts across the Sky God (castration of the Father totem and also rebirth of God as son/sun). With all the politics that is entailed therein.

Indeed, We have adorned the nearest heaven with an adornment of stars
And as protection against every rebellious devil
[So] they may not listen to the exalted assembly [of angels] and are pelted from every side,
Repelled; and for them is a constant punishment,
Except one who snatches [some words] by theft, but they are pursued by a burning flame, piercing [in brightness].

The heaven’s adornment is an encoding of precedent gods.

And herein lies the transformative operator (the dark side of the Taste of Freedom, the doppleganger effect, of which the verses are primarily concerned): the Sunrise of the Daybreak is transformed, by the doppleganger effect, into the Night dual, transformed from Tiferet into Samael (the rebellious devil). It’s a reverse way of looking at prophecy — snatching words by theft, and “his” light is the burning flame of the crack in reality, the fissure of the Sky God.

In this way, there are terrible things that come from what we think of as Light in the Sky, depending on how we view it. Victorious Tiferet carrying the Light of Truth. Or Samael stealing the Word through the fissure of the castrated Father face.

The doppleganger effect is satanic: a shift of register from prophetic to thief. But, nevertheless, we grasp at a key moment in both Sunrise’s rupture and Night thief’s escape — both are a fissure in the Sky — a single process — from which Venus/Aphrodite/Love was born, out of the Sky God’s tears.

Then inquire of them, “Are they a stronger creation or those We have created?” Indeed, We created men from sticky clay.
But you wonder, while they mock,
And when they are reminded, they remember not.
And when they see a sign, they ridicule
And say, “This is not but obvious magic.
When we have died and become dust and bones, are we indeed to be resurrected?
And our forefathers [as well]?”

The vision of Sunrise to theft to the birth of Venus/Love is then abruptly interrupted (just as the Sky God is interrupted by the Sunrise). But who interrupts now? The deniers. There can be no Iman without denial: deniers are a part of Iman. And Iman emerges from this process. This poem spells out the doppleganger function, and thus transforms Iman’s inner Love of Mind (pronoia) into a culturally situated external paranoia.

Say, “Yes, and you will be [rendered] contemptible.”
It will be only one shout, and at once they will be observing.
They will say, “O woe to us! This is the Day of Recompense.”
[They will be told], “This is the Day of Judgement which you used to deny.”
[The angels will be ordered], “Gather those who committed wrong, their kinds, and what they used to worship
Other than Allah , and guide them to the path of Hellfire
And stop them; indeed, they are to be questioned.”

The reply “Yes, and you will be contemptible” is the doppleganger transform of the Venus fragment: Judgement. From the tear’s of the Sky God, into Love there is Judgement of denial and hence Iman.

Remember that the deniers are a fantasy — because Iman himself is a fantasy: both are a hypostasis of a dynamic energy exchange, the descent into matter wrought by the prophecy/thief doppleganger. The deniers and their punishment (Love turning sour and affirming punishment): the energy exchanged here is from Love into Judgement.

The important underlying reality is the movement, the Taste of Freedom across the rows of signs.

So indeed they, that Day, will be sharing in the punishment.
Indeed, that is how We deal with the criminals.
Indeed they, when it was said to them, “There is no deity but Allah ,” were arrogant
And were saying, “Are we to leave our gods for a mad poet?”

The fantasy of denial (paranoia) arises out of Iman (pronoia), and their contrast facilitates a movement from Venus into Judgement, the Taste of Freedom (failure, the fall).

But the Day of Judgement: this is a further crystalization of this temporal movement — it is the totem of time itself. When situated within the harsh matter of the poem, the day (the full stop) must become a Day of Judgement (the full stop of the poem, of the reading, the cessation of paranoia).

The mad poet or, rather, the paranoid poet, the thief, the transformed prophecy rendered matter-doppleganger — has an existence whose basis is the fiction of his deniers, just as much as a basis in Iman. His ultimate desire being the full stop (the death drive) of this process.

But, at the same time, the paranoid poet, whose inverse transformation is prophecy — has an existence whose basis is continuity, lineage, repetition, gilgul and reincarnation/confimration:

Rather, the Prophet has come with the truth and confirmed the [previous] messengers.

Both axes of the poem are represented in its verses: in the lines that describe the punishment of the unbelievers, and the lines that describe the reincarnation of prophecy. The relationship between paranoia and pronoia.

The doppleganger prophecy/thief function itself is crystallized within the middle section, through which these axes intersect (punishment and the self-reflexive duality-totem of the axes themselves):

A speaker among them will say, “Indeed, I had a companion [on earth]
Who would say, ‘Are you indeed of those who believe
That when we have died and become dust and bones, we will indeed be recompensed?'”
He will say, “Would you [care to] look?”
And he will look and see him in the midst of the Hellfire.
He will say, “By Allah , you almost ruined me.
If not for the favor of my Lord, I would have been of those brought in [to Hell].
Then, are we not to die
Except for our first death, and we will not be punished?”

20120521-073610 PM.jpg

Falling Free

When I move a certain way
I feel an ache I’d kept at bay
A hairline break that’s taking hold
A metal that I thought was gold
And pure so sure I’d struck a vein
I wanted you to feel the same
So when you did ignite a spark
Rescue me from all this dark

See our hearts are intertwined
Then I’m free, free of mine
I’m falling free
And see our hearts are intertwined
And then I’m free, I’m free of mine
Deep and pure our hearts align
And then I’m free, I’m free of mine

When I raise a certain wing
And crawl beneath that growing thing
It throws a shadow over time
And keeps yours falling next to mine
Your days were meant to fly and do
I fall and fold mine into you

And what you take is just enough
And what you give is what I love
And when you lift you raise the sail
And then I’m free, free to fail
I’m falling free

Deep and pure our hearts align
And then I’m free, I’m free of mine
When I let lose the need to know
Then we’re both free, we’re free to go

When I lose a certain claim
That tries to know and needs to blame
Whatever river runs aground
It turns my head and washes down

The face of God that stands above
Pouring over Hope and Love
That all of might, and life, and limb
Could turn around and love again
When I let loose the need to know
Then we’re both free, free to go
I’m falling free

Yeah …

There was a time when I saw her visage within the clouded drunken paranoia of the colonel,
When I heard her voice, affirming, harmony emerges above his anxiety
And her dark smile, behind the blinding fear of his nuclear bomb.

There was a moment when I found love in oblivion,
Oblivion love beyond the god of matter.
Yet, embracing paradox, returned to his strict tarot,
And dealt oblivion love games with the deck: and shouted down the voices of opposition, inner and outer.

There is a trap, there is escape, there is freedom.

But what does freedom taste like?
What’s it taste like now?

Rape of Slave Girls in the Religion of God revisited

I was going to write an apology regarding my flippant tafsir of the Prophetic narrations regarding gang rape. Hadith like the following don’t seem to be so funny to me these days:

Abu Sa’id al-Khudri reported that at the Battle of Hunain Allah’s Messenger sent an army to Autas and encountered the enemy and fought with them. Having overcome them and taken them captives, the Companions of Allah’s Messenger seemed to refrain from having intercourse with captive women because of their husbands being polytheists. Then Allah, Most High, sent down regarding that:” And women already married, except those whom your right hands possess (Quran 4:. 24)” (i. e. they were lawful for them when their ‘Idda period came to an end). Sahih Muslim 8:3432

I believe there is a deliberate mystical aspect to this narration — regarding the relationship between light and matter — masculine and feminine — and jihad as a kind of ego-war of perception, whose booty is the Real.

But I can’t deny that it’s an unpleasant kind of mysticism. The choice of this trope — implicitly condones rape on the battlefield. More than that — rape on the battlefield becomes a schizoid hypostatic union of Sufic Reading and the bloodthirsty primitive.

But actually I think I pretty much got it right with my Foucaultian apology. I called it “Divine irony” in the article — now I’d just call it the Religious God being a bit of a shit. Doesn’t devalue religion or revelation per se — provided we accept the Gnostic formulation that it is the Demiurge who pens it all. The True Father is above the battlefield, above the revelation, above the hypostatic union, obscured from these fragmentary schizoid rants by means of the Absent Mother, who is desired by all seekers, seers and prophets and whose unobtainable nature is the root cause of their words.


Gods and daughters

[43.14] And surely to our Lord we must return.

The psychoanalyst and the Tailorite Soof agree here: “we” are the 10 orbs of Elohim, in fantasy fragmentation, a fragmentation within the matter of the subject’s existence, crystallized around the necessary implication, unnamable unity, Adonai, the Lord.

[43.15] And they assign to Him a part of His servants; man, to be sure, is clearly ungrateful.

The fantasy fragmentation engenders a fantasy unity, and therefore degrades into the paranoia of imbalance – too much of the left, too much of the right. This is born from an anxiety, not of fragment worship, but of the fantasy’s source, a deeper repressed preceeding lineage (poetic lineage, of preceding godesses/worlds/poems/religions) which is manifested as paranoia of the fragments worshipping succession itself, the child goddess.

[43.16] What! has He taken daughters to Himself of what He Himself creates and chosen you to have sons?
[43.17] And when one of them is given news of that of which he sets up as a likeness for the Beneficent God, his face becomes black and he is full of rage.
[43.18] What! that which is made in ornaments and which in contention is unable to make plain speech!

“He” and “you” and “them” are the same entity – or rather you and your Demiurgic shadow, you and your wandering paranoid drives. He speaks first as lord, above the action in the initiating rhetorical question, but then as a crystallized fantasy, a fallen Lord/Adam, one of “them” in the succeeding verse, a degrading fall from rhetoric to pathological image. A man in the waiting room of a maternity ward. “Congratulations, Mr God, its a girl.” The Demiurge as a materialized vision of the self in ideal unity: its worst nightmare is children, the child orbs. And the worst orb is the daughter orb, as she has the power of the True Father in Heaven, speech in evasion, capitalist speech to disrupt and bankrupt the whole circuit of unity-paranoia. His face becomes black when he receives news of this underlying currency, the daughters of market economics, chaos, the inner and outer.

Free speech, the evasive speech of ornamentation, speech of the Real, the speech of an Ornette Coleman: this is the daughter feared here, “born” as she is of a fantasy far more ancient, primordial, before creation (of the poem!): the whispers of YHWH as Father in lovemaking with the Mother of the Void.