What better place for satanic cartel signaling than gothic fiction? And what better time to discuss it than Halloween?
Since the eighteenth century, gothic novels have been a mainstay of English literature. Wuthering Heights and Jane Eyre by the Brontë Sisters are classic examples.
The worst is The Monk by Matthew Lewis, involving pregnant nuns, rapist priests, cross-dressing, sex with dying women who posed for portraits of the Virgin Mary, bloody sheets, drugs, murders, forced marriages, witchcraft, voyeurism, soul contracts, dungeons, poisons, torture, incest, and satanism.
The genre became so popular that Jane Austen parodied it in Northanger Abbey.
As much as I like Jane Austen, she had it all wrong. In Northanger Abbey, the satanic conspiracy lies only in the imagination of the heroine; but that is exactly what the conspirators want us to believe.
Satanism is real, not a figment of a young girl’s imagination, and satanic child-molesting traitors run the New World Order.
Northanger Abbey begins in Bath, where Haile Selassie lived in exile.
There the Romans built a temple to Minerva Sul.
Freemason John Wood the Elder thought Bath was the center of druidic activity in Britain; so, when he built the King’s Circus, he modeled it on Stonehenge.
Together with Gay Street and Queen Square, the Circus forms the pattern of a masonic key.
The Key of Solomon is a book of spells from the Renaissance.
And The Lesser Key of Solomon is a later work on demonology.
In Bath, the Circus’s frieze is decorated with five hundred strange emblems–suns, dragons, centaurs, lightning bolts, squares and compasses, cannons, and sacrificial urns.
In the Botanic Gardens, the luciferian statue, Man’s Hand in Nature, stands, carved from a giant redwood.
No wonder Mary Shelley wrote the first volume of Frankenstein in Bath.
Frankenstein concerns cybernetics through which CIA abuses us under MK-ULTRA. You can learn more about their cybernetics programs in Aaron and Melissa Dykes’ excellent documentary, The Minds of Men:
Also below you can find a database of one hundred patents not to mention articles on associated microwave harassment and voice to skull transmissions.
Frankenstein is real!
Just as Dr. Frankenstein uses electricity to animate the monster, CIA uses electroshock for mind control.
No wonder we’re living in a country of zombies.
But mind control does not involve merely cybernetics. It involves hypnotism and rape, themes featured in Bram Stoker’s Dracula.
Trauma-induced mind control often involves bestiality. Cathy O’Brien has written of the horrors to which CIA subjected her, and I have known these scum to rape women with dogs. No wonder the Werewolf appears in horror movies.
Likewise, Cisco Wheeler, the grand niece of General Earle Wheeler, Head of Joint Chiefs of Staff, describes how chimpanzees rape people at military bases.
This kind of abuse leads a person’s mind to split into alters as shown in The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, a work which involves the use of drugs just as CIA uses drugs in MK-ULTRA.
Often victims of MK-ULTRA are victims of incest, and they believe they have been raped by aliens. The incest may be real, although the enemy seeks to frame innocent people, but the aliens are nonsense–nothing but gamma programming. What’s more likely? That aliens flew across the galaxy to sodomize you in your bedroom, or that degenerates in the CIA did it under a historically documented program? Either way the themes of incest and alien rape appear in H.P. Lovecraft–along with perceived travel to different worlds as victims dissociate.
Lovecraft leads to King, as gothic degenerates into horror and Illuminist, Tavistock, and CIA mind control themes become stronger. Only one example is the attempt to use Rage, by Steven King, to drive school shootings as part of OPERATION GLADIO C through which the New World Order seeks to disarm America.
Likewise, the clown scares derive from Steven King’s It, as degenerates working for CIA terrorize children. Meanwhile, It outlines our abuse. Just as the trash at MK-ULTRA use our fears against us–as when a programmer uses a subject’s terror to create an aversion in hypnosis–the title character exploits the dread of its victims, taking the forms of their greatest fears, which create amnesic walls. The book explores the relationships among childhood trauma, amnesia walls, adult recovery, and the need to reconfront demons one had expelled–not to mention the cosmic battle between good and evil. There are strangely interconnected plots, where past worlds parallel present reality, just as they did in Dark Shadows, a show used in MK-ULTRA, also set in Maine. The childhood plot contains weird sexual scenes with one girl having sex with all the boys, supposedly to connect childhood and adulthood, and to heal the group.
Steven King didn’t come out of nowhere. His work is actually less lurid than Matthew Lewis’s Monk.
Don’t read this garbage.
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Our enemy depends on silence.