#2291

So Tanim and Daren hijacked my poor wife again. As I was falling asleep last night she said, “They’re not gone. They’re just waiting.” I asked her to elaborate but she couldn’t. A few minutes later she added, “You should buy a box with a lock.” When I asked what kind of box she replied, “Big enough to fit what you’re going to put inside.” In the morning I told her what she said, as she didn’t remember the incident, and she said she felt like they were waiting to be summoned, or something like that. Then she recounted a dream she had that night, which answered some questions but sparked quite a few more. It’s a little hard to recount because her perspective kept changing and we filled in a lot of information as we talked it over this morning, but here’s a rough outline:

The dream took place in a theater. The stage had no set design, just three closed doors against the back wall and a pedestal center front on which stood a small locked box. The box was made of a dark wood that looked almost like ship planks and seemed warped as if by water. Chriselle knew there was a “secret” inside, specifically an item of some sort, but wasn’t sure what. (She later realized the box looked like a smaller version of a chest we have in our garage which, interestingly enough, is where I found a small pocket knife similar to the one Daren carries.)

On stage were about a dozen actors, all dressed in black. They included myself, my wife, Inno (a friend of ours who perhaps uncoincidentally is someone Tanim and Daren also enjoy bothering), Mage, Tanim and Daren, and an assortment of generic extras. Mage stood with her arms crossed, just watching, and Chriselle got the feeling she was there to make sure everything went as planned. Not as if she were directing things, though; more like she would act as a stand in if someone couldn’t perform their role correctly. Watching from the wings was also a man named Pharaoh who looked like a modern-day version of Bayek from Assassins Creed Origins. He seemed to be in some sort of director or stage manager role and also wore black. (Could this be the man who introduced himself as Anubis in Chriselle’s other recent Tanim/Daren dream?)

The various actors moved and spoke yet there was no discernable plot and everything was completely silent. Inno and I seemed to be trying to tell Chriselle something from across the room but she couldn’t figure out what. Then Tanim came up behind Chriselle and stabbed her in the right side with the very audible sound of a blade puncturing flesh. He seemed completely unemotional about it, almost as if he was running on autopilot or acting on another’s orders. (As I was about to bring up the fact that this could symbolize the wound in Christ’s side, Chriselle had the A Perfect Circle lyrics “It’s not as if you drove the hateful spear into his side” come to mind, so that seems significant.) Red blood began pouring from the wound and as it fell everything it touched began turning red as well; her clothing, her skin, the floor, the walls, the other actors. Everyone, everything, red. Everyone on stage seemed frozen at this point, or like they were patiently waiting for something. Then the bloodbath began.

Chriselle pulled a knife from her pocket which unfolded into a long, machete-like blade with a serrated edge and began violently beheading the unnamed actors on stage. When she finished with them she went into the audience (also all wearing black and equally motionless/emotionless) and continued hacking off their heads with the heavy weapon. All the while the wound in her side bled freely. As she killed, Tanim and Daren began walking toward each other in slow motion. When they were just a few feet apart, right next to the box, they stopped. It seemed to Chriselle as though one of them was going to open the box but the other didn’t want them to (though she wasn’t sure which was which), and then the dream was interrupted and thus ended.

If I’m Tanim and Daren’s scribe, their high priestess more or less, does this mean they’ve chosen Chriselle as their oracle?

Or maybe they’re just opportunistic jerks.

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#2287

I am known as a goddess of love
And yes, I am a lover, a mother, a teacher
Yes, I can be gentle and kind
But do not forget my claws and teeth
Or the blood I have shed on the battlefield.
I have always been a goddess of war;
There is a reason my children are born knowing how to eviscerate their prey, after all.
I have always been a goddess of war;
The war between life and death
Between survival and failure
Between order and chaos.
Love makes life worth living,
But war is how you defend it.

#2280

Hathor is the embodiment of energy in its most kinetic forms. Her eyes glitter with excitement; Her tightly coiled hair bounces with every movement; Her lips pull back in a wide, joyful laugh that shakes Her bosom and belly. She is constantly in motion, existing in the vibrant now with no burden of the past or care for the future. She is the yes to every maybe, the why not? to every why? Her unfaltering dance is a celebration of birth and rebirth that smites isfet and nourishes ma’at. To those in Her graces She offers access to this well of pure, primal energy if only you are willing to open yourself to its possibilities. In order to embrace Hathor’s vivacious energy you must lay down your fear – fear of failure, fear of change, fear of the unknown – and leap into the moment. You cannot fall with Hathor at your side, only fly.

#2269 – Summer Solstice

True Black Tarot

Some say revenge is a dish best served cold. Others say the best revenge is a life well lived. These claims, however, are in actuality both quite inadequate. I have taken revenge countless times, in every manner possible and with every kind of weapon, and I therefore can state with confidence that the most satisfying revenge is intimate. A razor to the throat; a blade to the breast; a knife to the back. The sort of sharp, bloody end most fitting for traitors and cowards, those whose betrayal has cut you to your very core. You want to hold your victim in your arms so you feel the moment his strength finally fails. You want to hear the blood bubbling in his throat as he struggles to breathe. You want to hold his gaze as he dies so in his final moment he knows you did not forget and will not forgive. It is like a dance, two partners entwined, heartbeat to heartbeat, and then the knife. It always ends with the knife.

You ask why the Moon killed the Sun but never why the resurrected Sun in turn killed the Moon. Did he really do so to restore balance to the world, as the story says? To complete the cycle of sacrifice and usher in glorious summer? Perhaps. It gives a nice symmetry to the mythology, doesn’t it? Death for life and life for death. But maybe that’s just the fairy tale version where everything has a purpose and everyone a happy ending. Maybe that’s nothing more than a lovely lie.

Maybe the truth is that the Sun killed the Moon simply for the sweet satisfaction of revenge.

#2267

I am not interested in the angels who remained in Heaven or the angels who were afraid to fall or the angels who fell because they too chafed at holy chains. I am interested in the angels who loved bright, burning Lucifer so deeply they chose to fall with him rather than live without his light. I am interested in the angels who fell willingly not in defiance of their creator but because all the glories of Heaven would have been ash and mud in the Morningstar’s absence; the angels for whom Lucifer was Heaven, a concept embodied not by an astral location or proximity to God but by the boldest and most beautiful of their kind. They fell for him out of love and loyalty, these divine beings who pierce through deceit to the true heart of all things. Don’t you want to know why? Don’t you want to know what those angels saw in Lucifer that inspired such devotion, such sacrifice – and why their story has yet to be told?