A psychic's gift.

    A similar 'poetical' contact was also observed in another child, Nika Turbina from Yalta (Crimea). Here the 'gift' made itself felt even earlier than in Vika's case - at the age of four, when the girl could not yet write. Both girls' parents admit they had taken their daughters to a psychic shortly before the first manifestations of the strange talent appeared. Too many happenings suggest an idea that getting into contact with a creature from parallel world is a very frequent result of visiting a psychic seance - which was also the case, in my opinion, in both discussed examples.
    The symptoms were also very much alike in the two girls. Like Vika Vetrova, Nika also experienced her poetical inspiration during physiological sleep or on the verge of sleep. And these states are, due to the cerebral cortex inhibition, obviously the most appropriate states for transmission of thoughts, visual images and sensory ideas into the subconscious realms of man. This may be easily used by CPW (which is as well the true origin of great many dreams).
    This is what Yuri Orlik, correspondent of 'Sobesednik', wrote:"On discovering her daughter's untimely poetical talent Maya Anatolievna was really worried. Nika kept waking up at night calling mummy and asking her to write down the lines that she could not resist (she could not yet write herself). The poor child could return to sleep not before she was 'delivered' of verses. <...> Nika was taken to doctors. They recommended to take all possible measures to prevent the girl's poetising. But that proved absolutely impossible. <...> What was happening? The question may be put differently: whose gift was that? This might prove not so easy to answer" ('Sobesednik' 25, June 1985).
    The correspondent's bewilderment - where is the gift from? - is only human. It was shared by a noted Soviet poet Julian Semionov, when after reading the small girl's strikingly vivid selection he suggested that the typescript should be thoroughly verified: might not all this be a hoax? "The doubt is so natural, - continues the magazine, - the child's poetry really stuns you with its dramatic vigour, psychological profundity and completeness" (ibid.).
    Both the experienced writer and the solicitous mother were taken aback by the crying disproportion between the high quality and intense content of the verses on the one hand - and the small girl's lack of psychological and literary experience on the other. The first doubted the poems authenticity, the second turned to psychiatrists.
    Judging from the recommendations of these latter (to categorically prevent the girl's nocturnal poetising) they knew well the harm of such states. In their terminology it is usually called the disorder of consciousness in the form of the higher psychic automatism in the sphere of ideation (the Kandinski-Klerambo syndrome). So the doctors advised better not to write. But such things are usually more easily said than done. Here lies the core of the problem, for as a rule a person under this kind of influence by CPW (the so-called forced thinking) is not able to lessen it anyhow. (Of course we are not speaking here of the conscious Orthodox Christians for whom the problem is not at all that grave). In fact to resist such compulsive writing one has to 'screen' his mind from the forced translation of thoughts into it, and that is possible only with the help of the uncreated divine grace, which is the action-energy of the Holy Spirit, received mostly through the Sacraments of the holy Orthodox Church. And bereft of this help... We can certainly try to 'forbid' writing, especially if it is a child; but unfortunately we can not forbid the CPW's influence. Mediums do not any longer belong to themselves. Writing might be banned for the one who writes on his own. But if he writes under the ferule of someone mightier that he, he is not able to help it. The forced suggestion may sometimes be so strong that one feels as if on the rack until he delivers the message. We see that both Vika and Nika could rest no sooner than the poetry was put on paper.
    The pieces of poetry produced as a result of forced thinking (obtrusive thoughts) or auditory pseudo-hallucination (inner hearing of 'voices') show that some creatures of the parallel world are rather gifted and may, like people, feel a craving for creating literary, musical or even pictorial compositions. There are some cases when they do it quite independently, but more often they express themselves with the assistance of men. Their independent creative activity will be mostly shown in the section devoted to the pictorial form of their self-express.
    And now let us enter the poetical province of one of the creatures of parallel world who, looking at the universe through Nika's eyes, makes her view it through its. One of its [his?] poems is called WHO AM I? (the question that is not very much likely to bother a four-year-old child). Let us, however, view it from our own standpoint.

Whose eyes are these now looking through my eyes?
    Are they the eyes of friends, or beasts, or trees?
    Whose lips are these I'm catching water with
    from dewy foliage on the pavement - mine?
    Whose arms are trying hard to embrace world,
    this helpless world that's neither safe nor old?
    My voice is lost in desperate accord
    of woods and meadows, winds and nights and owls.

    But who am I?
    Where should I find myself?
    How can I answer
    all this bitter cry?

    The special 'romantic sadness' so typical of the CPW's literary creation conveys here a keen emotion of painful comprehension by the author of its immateriality as tragic. It would rather feel the dew on a leaf by its own lips, touch a tree in the wind with its own hands, but it has neither lips or hands, nor the voice to 'answer the bitter cry' of nature.
    In a later piece of poetry the author from the parallel world expresses astonishment at his own disintegration. On the one hand, he has well settled down in his 'home' (i.e. the human body), he pities it as he got used to it, but on the other hand he is quite conscious of the fact that his dwelling in it will inevitably destroy it. The lines are filled with anguish:
Will I really set of fire
    my home?
    The orchard that has so recently grown
    on a snow-clad and cliffy lawn -
    will I really defile
    like a ravaging clown?
    Will the horror that freezes the eyes of men
    be my permanent den?

    A strange combination, isn't it: the desperation of a doomed outcast and... a five-year-old girl playing toys? Let us bear in mind that the queer lines 'materialised' at night, during sleep, waking the child up and making her immediately write them down, and on behalf of a man in addition.
    The predicted destruction (and not of the 'house' only, but of the entire person) manifested, however, sooner than it could be expected.
    The Turbins' acquaintances told me that at the age of fourteen the poor girl conceived a passion for drugs, left home with a group of hippie and wandered for some time around Russian towns. The further degradation of her personality was so astonishing that I would rather not picture it for her relatives are still living.
    On May 15, 1997, at 4 a.m. Nika Turbina plunged down from the fourth floor and, having received multiple vertebral fractures, died in a hospital. One of the Crimean newspapers wrote: "As early as at the age of four Nika versed a prediction of her murderous fate. Now it came true. And what a marvellous start she had made! The Golden Lion in Venice was hers when she was as young as twelve. Then a trip to America with Eugene Evtushenko, which however put an end to their mutual benevolence"  (http://www.cris.crimea.ua/time/newspaper/97/110/g110p5tl.gen"). Let us remember a very characteristic phrase: "As early as at the age of four Nika versed a prediction of her murderous fate. Now it came true." We shall return to this point.

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