Freedom in a Soviet way.

    The 20th century really deserved its name of the age of apostasy. Father Seraphim Rose was absolutely right when he said that the civilisation and culture of our 'post-Christian' world are not simply de-Christianised but really demonised, "charged with the power of a demonic initiation experience". This is true even for some social phenomena apparently far from spiritual.
    The cultural life of the 1970s Soviet Union was marked by a really epidemic rage for Vladimir Vysotsky's songs. His harsh voice was heard throughout the whole country and that was not just a matter of fashion. He was sharply social and outrageously daring. The more his songs weren't allowed the much more interest was aroused: it was that point in the Soviet history when prohibitions were beginning to lose their paralysing power and only added fuel to the fire. His audacity won the sympathies even of those who did not approve of his voice and manner (which, however, are remembered and imitated even today). Yet this outstanding poet was not an exclusion from his contemporary acting fraternity (he was a professional actor) in his utter indifference in the questions of faith. Moreover, those who were close to him could not help noticing his 'artistic ties' with some non-human rational beings. Several such reminiscences are gathered in V.Perevozchikov's book "The Death-Hour Truth". One belongs to V.Yanklovich who sais: "With full responsibility for my words I state that Volodya could associate with some forces of the beyond, of whom he alone was aware" (V.Perevozchikov. "The Death-Hour Truth". Moscow, "Politburo", 2000, p.122). Another testimony comes from Oxana .... [??] who was nursing the poet during his last hours, and is of special interest, touching upon the very method of his creative work. "He would often have no sleep and tell me: 'As I close my eyes I see a blank sheet of paper. And there come words, and more - as a "running line"' He saw the words with his eyes and simply read them" (ibid. P.392).
    Such spontaneous appearance of visual images before the inner sight of man is widely described in psychiatric literature as a kind of forced thinking; very often the unbidden literary production comes in the form of a "running line", accompanied by a feeling of foreign influence. Such intraproected pseudo-hallucinations (as a form of psychic automatism in the sphere of ideation) is likely to be one of the main manifestations of a contact with CPW. Visual images (and they may form a whole series of complicated scenes), initially born in the CPW mind by a deliberate effort, are translated directly into the human mind that just passively perceives them. As a result of such conscious or unconscious telepathic communication, a man becomes a mere retranslator of mental production of the creatures of parallel world. Translation of thoughts in the form of the "running line" will be discussed in detail in the chapter devoted to various techniques of telepathic influence.
    Here it should be mentioned that Vl. Vysotsky himself spoke clearly of some queer intrusion of another, non-material mind felt sometimes rather distinctly in his inner world. The poet never considered it part of himself or tried to identify it with his own personality. It was always "someone else" and its creative process was always something different from his own creative activity. He called this 'alter ego' of his a "shaggy spiteful dolt" and nearly hated its presence. However, let the bard, who made numerous fruitless attempts to outwit the uninvited malicious creature, speak for himself:

I'm seized once more with heavy, cruel chill.
    The heart goes rolling like a stone in an empty barrel.
    There is a shaggy spiteful dolt that dwells within,
    With strong prehensile callous hands .

    When my bewildered state is clearly felt,
    My friends say I am going to run riot -
    That means I can't go on living with him,
    He grasps my oxygen, my space, my peace and quiet.

    He waits for me to finish one more turn,
    So that to shape out lines with my limp fingers -
    He makes me cruel, wary, and again
    I'll sell wholesale all whom I love .

    But I've not yet submitted to his will!
    He won't escape this time, I swear, I'll kill him:
    I'll give him poison gulping it for him -
    I will outwit him, certainly, I will.


    The creatures of parallel world collaborated with a great number of prominent and less noted men of letters. The great classic of German literature Johann Wolfgang Goethe (1749-1832) told about his novel "Young Werter's Sufferings" frankly: "I wrote this book nearly unconsciously, as if a sleep-walker, and was really surprised when I read it" (Prof. G.Gefding. "Studies on Psychology", St-Petersburg, 1898, p. 151). Edgar Po's follower Howard Lovecraft used to write in a state of trance (i.e. in a contact), automatically, deliberately serving as an "instrument for putting down the text" transmitted from certain "space essences" (CPW) (Roberts A., Gilbertson G. "The Dark Gods", L., 1980, p.48). The already discussed phenomenon of writing automatism, when the writing hand acts without any conscious control of the person, gains more and more popularity in the modern world.
    Avowed mediums were Daniel Andreev (1906-1959), the writer of the famous among the occultists "Rose of the World" inspired by immaterial creatures freely visiting him in prison (the Vladimir Central Jail), and the modern American writer Richard Bach, an advanced pupil of a renown black magic master Alister Crowly. This remote descendant of the great German composer admits that he was writing his novel 'The Seagul Named Jonathan Livingstone', so popular in the 70s, taking the dictation of a "voice" (the so-called verbal pseudohalucinosis). The list of such CPW literary self-express is endless. But it is high time to turn to another form of their artistic activity.

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