Banned on Facebook

On December 20, 2018, the overlords of Facebook decreed that a link from a website that we posted was "fake news." 

The website was www.thegatewaypundit.com. 

Facebook's authority was PolitiFact. 

No, I am not making this up. 

PolitiFact counters news reporting that annoys the neoliberal mandarins of social media. Any news espousing a pro-MAGA bias is anathema to the overlords of Facebook. 

Facebook suppresses conservative news sources. Facebook censors pro-MAGA pages, and shadowbans folks like you and I when we express views that debunk globalism. 

The mandarins of social media, our Facebook overlords, reject economic nationalism: they repudiate any America First worldview and dismiss us as xenophobic, nativist and racist. 

I myself am a disabled and decorated Latino veteran and an expat. I live in Bangkok. So much for the identity politics of neoliberalism. 

We editors of Magic Kingdom Dispatch make no apologies for our prioritization of Americans and America. We are unrepentant economic nationalists, our government must take care of Americans first. 

Every American city is blighted by homeless citizens. Veterans are homeless. Many Americans go to bed hungry every day. This is unacceptable. In America we enjoy surpluses and wealth that could care for every American citizen. 

Our problem is one of prioritization, incompetence, greed and distribution. 

Many reading these words have been subjected to time-outs by the overlords of Facebook. I myself was blocked from posting because I expressed opinions about illegal immigration. 

Like the rest of the MAGA-verse, I reject open borders, and I demand a Wall--a real Wall. A gigantic, looming, technological Wall. A Wall that will forever disrupt human trafficking and drug trafficking. A Wall that will keep America safe. 

I will be satisfied when America  enjoys a Wall that rivals the Great Wall of China on our Southern border. A Wall that is visible with the naked eye from Earth orbit, a Wall that will outlast our Republic, and become a perplexing historical artifact after our civilization recedes into dust. 

We editors of Magic Kingdom Dispatch on Facebook long ago realized that Facebook suppressed the organic growth and reach of our page: www.fb.com/magickingdomdispatch. 

Facebook's algorithms impose a neoliberal worldview: if Facebook controls our inputs, if Facebook controls the data that we access, then Facebook controls our thoughts and our conclusions. 

Whomever controls the predominate narrative rules the world. 

We will not be ruled. 

We will not obey. 

We will not comply. 

When Facebook issued the decree at the top of this page, we acted. 

Brother Dave created our news and commentary page on Spreely.com: 

https://www.spreely.com/page/MagicKingdomDispatch.

We consequently transitioned all posting from Facebook to Spreely. We will speak our minds, we will curate news links that Facebook censors, and we will comment without fear of shadowbanning. 

We will not be suppressed.

To read the forbidden news and commentary that is banned on Facebook, we invite you to join us there. 

May God save the Republic. 

Doc T sends. 

Bangkok

December 20, 2018

Guest Review--Revelation, by SMP52

Revelation is available on Apple iBooks, Amazon Kindle and paperback, GooglePlay, GoogleBooks, and Academia.edu. 

A friend on SOCNET (SMP52) posted this review of Revelation. 

I am delighted by this feedback. 

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I scanned through Revelation: A Screed on Dreams and Worlds Without End. As a result of your open book approach, I also purchased it. I read/purchased your first book too and will be getting the others. 

As a compendium Revelation puts forth a genuinely novel position. It needs to be archived somewhere in the Library of Congress or National Archives as a treasure.

********

First off, I agree with Yon's position and believe your auto-ethnography is ahead of its time--though not so far off as some may think. 

I'm not sure many will get it immediately; however, I believe the timing is at the cusp of potentially some major shifts/evolution in humanity (next industrial revolution, AI, evolution of the human brain/consciousness, etc.). 

The universe finds mysterious ways to communicate in times of major shifts and the synchronicity is powerful. 

1) The concepts you've woven together in a written form, which can be limiting to what you're doing, are incredible. Life experiences, philosophy, religion, science, sociology, psychology, etc... Very difficult to do.

2) Your integration across the external and internal realms is masterful. Few can dip into the ephemeral collective and individual unconscious and come back out of the rabbit hole. 

You have live-access to non-linear constructs in a way I don't think I've ever come across. Psychologically, the way you negotiate going into the primordial shadow (shadow isn't bad) of yourself, the collective, and your brotherhood is visceral and flows with spirit. 

3) At minimum, your writing should be taken from how you make meaning of the world through lived (conscious or unconscious) experiences and how that informs your relationship with yourself and the world around you. 

This journey honors those that have shared your experiences, shaped you, and the lives that carry on within you as a keeper of memories. 

It is a heavy burden to hold with a physical and psychological toll, but also one that has strength, generosity, dedication, and cares. It is the true burden and privilege of leadership.

4) The auto-ethnographical account in terms of meaning-making experiences follows what Robert Kegan outlines in his book, The Evolving Self, where life is a series of tilts, and negotiating those tilts/truces is how we grow. 

Getting stuck or not having an opportunity to live/negotiate a "stage" due to traumatic events or just skipped experiences creates a skewed developmental growth. 

With post-traumatic stress also comes spiral post-traumatic growth. Equilibrium rarely exists and it usually signifies that a change in direction is near (an apogee). 

Other psychologists, theologians, and philosophers have similar concepts that you capture. 

As a learning exercise, I am thrilled with all the reference material as I'm seeing stuff that I haven't seen or that I am just topically aware of. Not a criticism, rather an affirmation. This goes to my last point...

5) You could have gotten a Ph.D in Philosophy or interdisciplinary studies with the level of detail, research, conceptual integration, etc. put into this--though I understand that is not what drives you nor should it. 

The quality of the material is that good, in my humble opinion. Not everyone will agree with you or your conclusions and that's ok--the way your thoughts are constructed has a logical novelty to it. 

Many may not yet get it, as it requires deep comprehension of psychology, religion, and lived experiences in a way that few have right now. Maybe in the future.

Thank you for putting non-linear experiences that you have been subjected to into words that can be accessed as objects by others. 

Truly complex, really rich work. I can only imagine that my struggle coming up with words for this review is challenging. 

Building what you have done is monumental.

Michael Hafftka, Kali Yuga, 1977

Michael Hafftka, Kali Yuga, 1977. 

After I published Revelation on Academia.edu, my dear friend Michael Hafftka saw it in his feed and sent me his painting, Kālī Yuga, 1977. Kālī Yuga is 36-inches by 28-inches, oil on canvas, painted in 1977. Michael Hafftka is an eminent figurative expressionist painter, and our friendship dates back to the mid-1990‘s. 

As you read Revelation and meditate on Hafftka’s Kālī Yuga, his painting will atavistically provoke you: Mahakālī  dancing. 

The name Kālī means Kāla, or force of time. Before creation, when all was darkness, the blackness of Kālī evokes the beginning: initiates understand that the sinister feminine was first. Kālī's name derives from a legend about Yama, lord of death, who fled upon hearing her name. Initiates of Kālī are contemptuous of death.

In esoteric doctrine, Kālī is the goddess of preservation, preserver of nature. Her eyes are red in rage, her wild black hair is the freedom of nature from civilization. The signs of the Sun, the Moon and Fire are beneath her third eye ājnā, driving forces of nature. As Kālī Ma she is the primordial Mother Goddess of the Tantric traditions.

Classical representations of Kālī depict her wearing a garland of 108 human heads, an auspicious number in Hinduism and the number of countable beads on a japa mālā rosary. Kālī is sometimes depicted with 50 heads: the number of the letters of the Sanskrit alphabet.

Sanskrit is the language of dynamism, each letter representing a form of energy, a form of Kālī. She is the mother of language and mantras. A garland of 50 skulls denotes dominion over words and thought.

Overflowing the veils of Māyā  Kālī is nirguna, beyond nature, beyond prakṛti. Nirguna means "without form or qualities." Dualism between ātman and Brahman is obliterated. Kālī is an incarnation of Parvati, the consort of Lord Shiva the Destroyer.

Kālī is a dark goddess because she is Brahman in an unmanifest state. Kālī Ma exists beyond the ends of the multiverses. Human concepts of color, goodness, badness, are inapplicable.

In classical representations Kālī's tongue is extended in shame (lajjā) as she realizes that she is dancing atop her consort Shiva. Her earrings are the corpses of dead boys as she prefers childlike disciples. Her forehead is luminous, dispensing ambrosia.

Wearing a skirt of human arms, Kālī assumes the kárma of the donors who contributed them. Four-handed Kālī brandishes a sword, a trishul trident, a severed human head and a skull-cap kapala to catch blood, which Kālī drinks to intoxication.

The sword severs the bondage of ignorance and ego, symbolizing knowledge. The human head is the ego which must be vanquished to attain mokṣa. Her two right hands signal the abhaya (abhayamudra, “fear not,” “dauntless”) and varada (“bestower of boons”) mudrā forms. 

As Mahākālī the Goddess is synonymous with the totality of Brahman. Mahākālī is the feminine variant of Mahākālā or “Great Time,” synonymous with death, an epithet of Shiva, her consort.

Portrayals of Mahākālī depict ten arms, each hand holding an implement of a given Deva: Mahākālī subsumes their powers and as Brahman she manifests them.

Emblematic of feminine power, Mahākālī is custodian of cosmic order, restoring balance. The goddess of revolutions, Mahākālī is the goddess of cycles, and so, of spacetime: the embodiment of Brahman. In Hindu legend, Mahākālī eats spacetime. In some representations Mahākālī is depicted with ten heads and ten legs.

As Dakṣiṇākālī, this goddess is the Mother. Dakṣiṇā is the offering to a priest before ritual, or a gift to a guru. Dakṣiṇākālī’s right hands are mudrās granting blessings or boons.


Dakṣiṇākālī is depicted with her right foot on the chest of Shiva, while Dakṣiṇākālī with her left foot on his chest is said to be Vamakali, worshipped by the marginalized: Tantrikas. Hafftka’s interpretation of the Goddess is vanamarga, left-hand path.

Kālī was rampaging, destroying demons, so Shiva, fearing that Kālī would not stop before the multiverses were laid waste, laid himself down on the battlefield in her path. Seeing her consort beneath her calmed Kālī. The god Shiva was suffused in the grace of Kālī through her foot on his chest.

Surrendering his ego to Kālī, enveloped in mokṣa, Shiva was enchanted and he offered her austerities. Shiva is puruṣa, the unchanging aspect of reality, pure consciousness. In Tantra, fusing puruṣa and prakṛti yields samādhi: Brahman, ultimate reality.

The Mother in her terrible form is Śmaṣana Kālī, two-armed and black, standing on a corpse with a wine cup and a piece of rotten flesh in her hands. Worshipped by Tantrikas, devotees of Śmaṣana Kālī perform their austerities in the śmaṣan, the cremation grounds, to short-circuit orthodox processes and expedite mokṣa.

Tantrikas consider the goddess Śakti emblematic of energy, and Shiva of consciousness. As Shiva depends on Śakti, on energy, to fulfill his purposes in creation, in preservation and in destruction, Shiva by himself is an inert corpse and unable to act.

In the Mahanirvana-tantra, Kālī is one of the epithets of the primordial Śakti or Shakti, and Shiva extolls her:

“At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika.

Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One] Kālī.

Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Māyā, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.”

--Arthur Avalon (John Woodroffe), Mahānirvāna Tantra, (Tāntrik Texts), Chapter 4, Introduction of the Worship of the Supreme Prakṛti, Delhi, Motilal Banarsidass, (1913), 1920. 

Michael Hafftka, Kālī Yuga, Study, 1977, watercolor. 

Hafftka also completed a study of Kālī Yuga in watercolor.

The watercolor precedes Kālī Yuga, 1977. It was painted in 1977, but the different medium and colors communicate variant impressions. The watercolor helped Hafftka visualize Kālī Yuga, but it stands as a separate painting in his watercolor oeuvre. 

The flag on the left of the watercolor recalls the bars of the American flag, an impression which evaporates in the oil painting, where the flag is executed in deep blue and red. The flag in the watercolor is red and white. The tongue in both works is a coral snake, fatal serpent. The snake in Hindu iconography is not the serpent from Judeo-Christian Edenic legend.

Cultural flexibility is required to appreciate snakes in Hindu iconography: their implications in African systems of mysticism are utterly different. Dynastic Egyptians associated the cobra with Ra and Wadjet, patron goddess of Upper Egypt.

In Hafftka's watercolor androgyne Kālī reaches down to grasp an implicit snakelike phallus. In the oil painting the phallus is red, yet less noticeable, while it dangles over the yoni of the goddess. In the watercolor, testes are obvious, though less apparent in blue in the oil painting. 

Kālī, goddess of death, is a sexual goddess. Hindu Tantrikas and Tibetan adepts of the Vajrayana tradition are not mystified by the juxtaposition of death and sex. The orgasmic manipulations of the Vajra vehicle and the simulacra of the processes of dying are modalities of karmic energy. 

The diagonal bisection of Kālī's face is her androgynous nature: male and female, personifying Shiva and Śakti, consort of Brahman. 

Remember that the Shivalingam and the yoni of Śakti are emblematic of the totality of existence. Kālī is the Śakti of Brahman, universal feminine: Goddess. 

In the watercolor, Shiva reaches up with a left hand (three total arms and hands are depicted) to caress the left foot of the goddess, a hand which appears like a foot in the oil painting. In both paintings Shiva’s other left hand reaches out to Kālī’s right foot, Shiva’s limb being both arm and leg. This is figurative expressionism, Hafftka’s medium.

In the watercolor Kālī’s eyes (Sun and the Moon) look as normal as eyes can look in a Hafftka work, mirrors of the soul. In the oil painting Kālī’s eyes are blazing, characteristic of classical Kālī iconography. The third eye ājnā of the Goddess is redly enraged. 

In the oil painting Shiva’s heart chakra, anāhata, is subdued in orange. In the watercolor Shiva’s anāhata is radiating in red and pink, as it would be upon contact with the sublime foot of Kālī. 

The eater of spacetime is depicted in the upper right quadrant in both works, evocative of Hieronymus Bosch in the watercolor.

William Clark, Kālī Yantra, Public Domain, 2012. 

This is the yantra of Kālī for use in meditation. I consider this yantra overpowering for beginning practitioners of meditation. 

It should not be attempted until a sādhaka develops a grounding in Kālī iconography and affinity with her legendarium. 

Reading this article is a start. 

Patreon

My glorious header banner done for me by my Ranger brother John Czarnecki. 

I updated my Patreon page. I hate begging, but if folks donate to me via Patreon, I will swallow my pride and accept. 

Amazon is killing me. Their KDP engine fails to parse pages correctly, so I am forced to send files to professionals for reformatting. It is not that expensive, and if they do what they promise, it is worth it to me. 

But I am spending money to earn money, and I will have to sell a lot of Kindle copies to make up the discrepancy. 

Few of us are rich. Certainly not me. I need help to make hardware upgrades and budget for a trip back to CONUS so the VA will refill my medications. This sounds so pathetic. 

It helps when folks buy my books. My royalties for eBooks are between $3.00-$6.00, so I am not getting rich. My royalties for print books are $10. Not getting rich that way, either. 

I need help, friends! If you are in a position to be a patron to this poor old veteran, my gratitude will be boundless!

Thank you!

Metamorphosis: Forging an Airborne Ranger

Metamorphosis continues the narrative begun in A Tale of the Grenada Raiders. Metamorphosis is book 2 in Tales of the Rangers, and details the training pipeline that forges airborne Rangers and my training as a Special Forces medic. For those who complained that A Tale of the Grenada Raiders failed to explain where I came from or why I awoke in a safe house in Lima in 1990, this book answers those questions. 

Metamorphosis is now available as an eBook on Apple iBooks, Amazon Kindle and GooglePlay at $9.99. It is not available on Barnes & Noble Nook as it is too large: too many photographs. 

Metamorphosis is now available from Amazon as a physical softcover in black and white at $24.99, and in full color from Barnes & Noble at $34.99. 

I made half the manuscript available free on GoogleBooks, so you can preview it and ensure that it is something that you wish to purchase.

Metamorphosis checks in at 260 pages long. It is stuffed with photos, so old Rangers will enjoy plenty of pics depicting the Usual Suspects that we all know and love.

I am grateful that it is done. I need to move on to Tales of the Rangers. That book is forecasted to drop in late 2019. It is already 777 pages long, so I will publish it in two volumes. 

Thank you for reading! 

Metamorphosis as a Barnes & Noble full color softcover: $34.99. 

Metamorphosis as an Amazon Kindle eBook: $9.99. 

Metamorphosis as a physical Amazon softcover: $24.99.

Metamorphosis on Apple iBooks: $9.99. 

Metamorphosis on GooglePlay: $9.99!

Metamorphosis is on GoogleBooks. Half the manuscript is available free. 

Revelation: A Screed on Dreams and Worlds Without End

A revelation on metaphysics, cosmogony, quantum physics, Hinduism, Buddhism, Tantra, the Apocrypha, Kabbalah, the Western Mystery Tradition, dreams within dreams and multiverses without end. With art by the figurative expressionist painter Michael Hafftka: Kālī Yuga, 1977. 

Revelation: A Screed on Dreams and Worlds Without End is now for sale on Amazon, Barnes & Noble, Google, and Apple iBooks. 

The entire text is available free on GoogleBooks: I made the complete text available as a .pdf download. 

The only reason to purchase this book is if you are kindly disposed towards me and wish to help me budget for a new Mac. I make anywhere between $3.50 and $6.50 in royalties per copy sold, depending on the platform. 

I also published Revelation on Academia.edu. If you subscribe to that service, you can download it there.

I also posted Revelation for free download on ResearchGate. You can also download .mobi and .ePub files for your eBook reader of choice. 

All that I ask, if you download Revelation for free is, please review it! Review it anywhere. Review it on GoogleBooks, on Amazon, Barnes & Noble, or on GoodReads. 

Say that you hate it, say whatever it makes you feel. I do read my reviews, and sometimes, I cite and quote reviewers in succeeding books. 

Readers who reviewed my first book are cited in Revelation. Not for vanity. But because they became part of that narrative. 

Revelation is on GoogleBooks. FREE.

Revelation is on GooglePlay: $9.99 ($7.99!).

Revelation is on Barnes & Noble Nook: $9.99. 

Revelation is a Barnes & Noble paperback: $34.99.

Revelation is an Amazon Kindle eBook: $9.99. 

Revelation is an Amazon paperback: $14.99. 

Revelation is on Apple iBooks: $9.99. 

Revelation is FREE on Academia. 

Revelation is FREE on ResearchGate. 

Revelation is FREE as a .mobi eBook. 

Revelation is FREE as an .ePub eBook. 

Here is Hafftka's Kālī Yuga (1977) in large format. Thank you to Michael for permission to use this painting! 

Kālī Yuga 1977 36” X 28” oil on canvas. Hafftka wrote: "... in honor of the publication of my friend 

Estéban Trujillo de Gutiérrez's book Revelation: A Screed on Dreams and Worlds Without End."

I wrote an analysis of Kālī Yuga. I am not an art history major, but I am a rule breaker and I know a bit about Kālī Ma. 

I included Hafftka's 1977 Study for Kālī Yuga, and the Kālī Yantra. 

Please share widely!

Thank you for your eyeballs!

The Rosetta Stone of Memories

With forwards by eminent American writers, this book is certain to twist your mind. If you lack the patience to read the front matter, scan forward to the preface. If you lack the patience to read the preface, scan forward to the narrative, which begins on page 205. This book is different from any other book you ever read. You have my word. 

My second book, The Rosetta Stone of Memories, is now available on Apple iBooks, and only on that platform. It was published on the auspicious date of 11-11-2018, Veteran's Day: my birthday. 

This book is priced at $9.99. I pulled the title from Amazon, as their Kindle Direct Publishing (KDP) rendering engine cannot correctly parse the pages. I also pulled the print version from Amazon. 

I also pulled this title from GooglePlay. Not because they did anything wrong. The errors were mine alone. I also pulled it from GoogleBooks. 

Metamorphosis and Revelation are the two books that are included in The Rosetta Stone of Memories. Rather than selling Rosetta Stone as a monstrous book of 490 pages, I am publishing its contents separately as Metamorphosis and Revelation. It only makes sense. 

Rosetta Stone is an organizational mess. I made a bad decision and placed no fewer than 35 literary quotations at the front of the book. 

In Revelation, those quotes are now at the rear of the book, where readers can consult them or ignore them at their whim. Readers will no longer have to scroll past them before they get to the actual book content.

I appreciate every single one of you, my cherished readers! Thank you for reading my work!

Doc T sends. 

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You can find my books on Apple iBooks: A Tale of the Grenada Raiders is $14.99.

Here is the link to A Tale of the Grenada Raiders, Metamorphosis, and Revelation, on GooglePlay. They are all priced at $9.99. 

Here is A Tale of the Grenada Raiders in softcover from Amazon at $64.99. 

Here is A Tale of the Grenada Raiders as a Kindle eBook at $14.99.