I am proud to say that the Mk-Ultra Series, which now consists of four volumes, has more than three hundred thousand (300,000) downloads, while this site enjoys more than three million (3,000,000) hits, with heavy deep state traffic from places like Iran, Greenland, and Antarctica.
Below you can download my fourth book, Superman (First Half), for free, without registration, while you are authorized to distribute copies, without charge, to anyone in the world.
Below you can download my third book, WonderWomen, for free, without registration, while you are authorized to distribute copies, without charge, to anyone in the world.
Below you can download my second book, Playboy’s Progress, for free, without registration, while you are authorized to distribute copies, without charge, to anyone in the world.
And below you can download my first book, Stories When Little, for free, without registration, while you are authorized to distribute copies, without charge, to anyone in the world.
One aspect of my books concerns visual art, which I exalt and discuss in my capacity as an art historian, while I seek here, as a literary critic, to explicate and to elevate my own magnum opus.
This involves an awareness of the principles of design.
And this involves an awareness of the elements of art.
Great art has a subjective element because it uses the language of symbols.
Doing so, it can transport us to another world, while it conveys personal experience.
It can connect us to other art, as artists converse with each other, through the ages, as well as with their readers, their viewers, and their audience.
And it can connect us to moments in history, along with their causes, and their effects, as different academic, artistic, and cultural disciplines enter into conversations.
Great art is objective because it involves the artist’s intentional use, and the viewer’s intelligent perception, of line, shape, and movement.
Great art is objective because it involves the artist’s intentional use, and the viewer’s intelligent perception, of color, balance, and emphasis.
And great art is objective because it involves the artist’s intentional use, and the viewer’s intelligent perception, of texture.
An excellent example of these principles appears in my fourth book, Superman (First Half), where I describe my time in the Chateau Country of Northern Delaware.
It was when I was living on in a three-hundred-year-old house, surrounded by enormous estates, while my home was later rented by Helga Testorf.
And I learned this from an old friend of my family who worked for the Wyeth Family while he was painted in a watercolor called The Sharpshooter.
In “The Chateau Country,” I describe the paintings of Andrew Wyeth, of the Brandywine School, as they connect to the luciferian conspiracy, showing people in a state of dissociation, so, although these masterpieces are full of sensory life, the subjects look mentally absent.
My Young Friend is an amazing portrait, catching the exact texture of a woolen sweater, so the viewer can smell the lanolin, and touch the fluffy fur, on the pelt of the model’s hat, while it captures a twenty-year-old stablegirl who looks like she’s tripping on acid.
Nicholas shows the artist’s elder son wearing a canvas parka, so the viewer can hear the coat crinkle while he moves, in a palette of browns, as the red-lipped child calmly holds himself, grimacing, distant and indifferent in pain.
And Faraway shows Jamie, looking evil, upon the loss of a lead soldier, with the denim of his jeans standing bold against the complementary colors of an orangy field.
Like the paintings, the subjects are full of secrets, and I don’t want to know how these creatures lived in their own underworlds.
=======================================================
Return to my homepage, where you can scroll through more articles, by clicking the site title at the top of the page or at www.fightingmonarch.com.
Please retweet or share as many articles as possible.
Our enemy depends on silence.
Fighting Monarch 