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    History is a dream, here, in the realm of Imaginos. Access to the dream is not in order. In a dream there is no time but evermore. If there is no time, there is no order. In the saga of Imaginos. between the extremes of the beginning (Les Invisibles) and the end (Magna of Illusion), everything happens all at once. Without a sequence of events, there is a rush of events. The rush of events is horror. This is the key. Ultimately, rhythm is image, and image is rhythm. Ultimately, this myth is random access.


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   "Out beyond Europe's rim the Spaniards met the Indians." This, then, is the original encounter, the deep background of the Imaginos saga, the table upon which the whole new myth unfolds. To the Spaniards, agents of a Catholic Sovereign, the New World was no place of grace. To the Spaniards, the first Europeans to find a New World, what they found was not good. It was anti-genesis, anti-Eden, seat of evil, pit of darkness. All the shining silver of Mexico and all its bright, bright gold, herein became no luminous mirror of delight, but, rather a mirror of blackness. The priests in the expeditions could imagine no place worse than this place, albeit new, visibly in the thrall of invisible spirits. All the shining silver of Mexico and its bright, bright gold becomes, when striven for beyond all limit, that which is beyond limit.

    On the luminous surface of a noble metal, corruptible by no agent of this world, the Spaniards could reason to turn back now. Even then, it became too late. In the mirror of blackness, where no light can shine and no image collects, the Spaniards discover themselves an image of the self without limit: the invention of all new things, the invention of genocide; all things are permitted. For hundreds of years, all the gold in the world came from the New World. Melted and re-melted, incorruptible, but soft, its luminosity circulated throughout Europe: the seduction of the Old World by the New World - innocence corrupts experience. The destruction of the Spanish power was accomplished by the England of Elizabeth. Her occult advisor was a Dr. John Dee. He spoke, he said, with invisible spirits and in his possession was a magic mirror of black volcanic glass, obsidian. It was fashioned in Mexico.


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   On an old farm in New Hampshire, in the first quarter of the 19th century, a child has been delivered of a mother. He is charmed, not ordinary. He is a modified child. He will live out his life in the presence of another world. He will be the agent of the invisible ones. The destiny they plan for him will be exalted. This then is Imaginos of whom it will be said, between what he can realize and what he can imagine, there is to be nothing and no distance. His will be the perfect sight: "Behind closed eyes realize your sight." Through the powers of perfect vision and imagination, vested in him by Les Invisibles, he will bring the world too rendezvous with its own destiny. To change the worlds course, to write history, to tilt the axis of destiny - Imaginos becomes the worlds greatest actor, a transcendent role player, an actor in history.

    Born a farm boy in a place that might as well be nowhere, but heir to the mastery of faces and names, his trial by drama will take him very far indeed: "Out beyond Europes rim," and further by far, beyond the sphere of light, into a place where darkness is omnipotent and never far from hungry. In Mayaland in the Yucatan he will discover an unheard-of temple or pyramid. At the core of the pyramid, with only one way in and no way out, is a chamber of jade, curiously sculpted with impossible angles, itself surrounding something hardly there, a new germ, made from "pieces of the perfect black." When thrust in vivo into Europe's all too fertile soil, this new germ will - having grown ever more powerful and mature, having in fact become an organism - beam riddling and absolute light. They are ready. We are ready. It is ready.

    In the chamber of jade is a mirror carved of blackest obsidian, black volcanic glass, tempered with blood: "the sugar of sacrifice." Obviously a magic mirror, it is nothing less then the Magna of Illusion: the last song in the cycle. In it Imaginos, now playing the role of an old English sea captain in the 1890s, takes the mirror from Mexico (which is nowhere) to Europe. He takes it by crime and blood from the jungle to give it to his granddaughter on her birthday. It sits in here family's attic Cornwal for ten years or more. Poisoning Europe. And then World War I breaks out. A disease with a long incubation.


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