Puzzle The Mule

08/08/2015 10:54

Puzzle The Mule

Isaac Asimov`s (1920-92) science fiction series of Foundation (1942-93) novels posit a science of Psycho-History, which predicts what will occur in socio-historical terms from how people`s minds are observed to react. The premise is based on the notion of objective criteria, that is, people will react in this way because the objective world is defined by parameters that can be measurably identified as unchangeable. Asimov`s character, `the Mule` of Foundation and Empire (1952), is able to obviate the `Seldon Plan` of Hari Seldon, the developer of the science of Psycho-History, who prepared steps to be taken in the event of crises in the course of human development foreseen by psycho-historians. The `Seldon Plan` assumed that no single individual could have a measurable effect on galactic socio-historical trends, which demanded collective effort, but the birth of `the Mule`, that is, a `mentilac` able to influence the subconscious minds of people so that they became allied to the Mule`s controlling of the galaxy, refuted that.

 


 In socio-historical terms, Jesus Christ is similar to Asimov`s Mule, because he was born uncontaminated by male semen from his mother, the Virgin Mary, in fulfilment of a promise God made to Eve in the garden of Eden from which she and the first man, Adam, were expelled for accepting the `fruit of the tree of the knowledge of good and evil`, that is, death, rather than the `fruit of the tree of life`, which was God`s gift of immortality, from the serpent, who was the angel, Satan, transformed by God for refusing to accept that the human host would be greater than the angelic, `You shall be as gods.` (Gen: 3. 5) Telling Adam he must labor while Eve would experience labor pain before Redemption would occur, God explained to Eve:

`You shall crush the head of the serpent with your foot, although he shall bruise your heel.` (Gen: 3. 15)

 


 In Christian iconography Jesus` mother, the Virgin Mary, is depicted crushing the head of the serpent, Satan, with her foot, because she gave birth to Jesus Christ, the redeemer, uncontaminated by male semen. Mary`s `foot` is `futanarian` human women with penis` semen of their own. When Jesus was taken to the hill of Calvary outside Jerusalem by agents of the Empire of Rome and nailed to a cross of wood, he died but had Resurrection and Ascension to heaven, because he was the prefiguration of the Resurrection and Ascension to heaven of futanarian women with their own penis` semen for the sexual reproduction of their own brains` powers for the development of labor-saving devices and immortality conferring medical science that would free women from slavery in host womb parasitism to men of the `serpent`s seed` who`d subjugated their race since Eden.

 


 Trapped within a fiction in which women don`t sexually reproduce their own brains` powers with each other for the liberation of their own species, Asimov`s Mule is occluded. And that`s true for all readers. Science fiction writer, Robert Anson Heinlein (1907-88), presents a similar scenario in his short story, `They` (1941), which postulates a character kept a prisoner by men who don`t want him to remember who he really is, because that would change things: `They never would let him alone. He realized that that was part of the plot against him – never to leave him in peace, never to give him a chance to mull over the lies they had told him, time enough to pick out the flaws, and to figure out the truth for himself.`1 The protagonist is a metaphor for the truth, which is that the human race would change if women sexually reproduced futanarian humanity, because each and every human scene would be transformed unrecognizably. He is explicitly a Christ figure, because he doesn`t accept the Empire of the male brain: `All of these creatures have been set up to look like me in order to prevent me from realizing that I was the center of the arrangements.`2 He has to be like Jesus in order to perceive that he`s being occluded. Without arriving at the truth that ephemeral humanity is enslaved by men of the `serpent`s seed` in host womb parasitism, he experiences that Christ-like certainty that he`s the center, which is what Christ crucified represents:


`Memory ... may be tampered with and possibly destroyed.`3

 


 His observation relates to the absence of a medical science of longevity, which would allow human individual memory to approach immortality and the maintaining of knowledge that would prevent women`s re-enslaving as ephemerals in host womb parasitism: `I infer that they are preparing me for some sort of major change.`4 History teaches that men don`t want immortality through medical science, because that would liberate `woman`s seed`: `... if we understood his motives, we would be part of him.`5 The creature in charge of the prisoner, `the Glaroon`, represents the `serpent`s seed` of men`s fear of Jesus uncontaminated by male semen, because the resurrected and ascended Christ prefigures the reemergence of `woman`s seed` and brainpower, which men didn`t want and so they killed him. The Glaroon orders a cosmetic, rather than a genuine change: `Leave structures standing until adjournment. New York city and Harvard University are now dismantled. Divert him from those sectors. Move!` If the meaning of Jesus` crucifixion, Resurrection and Ascension to heaven, and God`s promise of Redemption were understood, it`d be the beginning of the end for `the Glaroon` and the enslaving of humanity in ephemerality, which is why the fiction is maintained.

 


 In Clive Staples Lewis` (1898-1963) high fantasy, The Chronicles Of Narnia (1950-56), the lion Aslan is a figure of Christ. In the first novel of the series of seven, The Lion, The Witch And The Wardrobe (1950), Edmund Pevensie, accepting `Turkish delight` from the witch queen, Jadis, betrays his siblings, Peter, Lucy and Susan, but the lion Aslan, ruler of Narnia, redeems Edmund from his sister Susan`s demand that Edmund be killed as a punishment for his giving them over to the witch queen, Jadis. Aslan accepts death in Edmund`s stead from the knife of Jadis upon a stone table; as there is `deeper magic from before the dawn of time`6 to resurrect an innocent killed in place of a traitor. Judas, of course, is the traitor in the story of the redeemer, Jesus, who is the human host presiding over the table at the `Last Supper`, giving `bread and wine` as symbols of his `body and blood` to the disciples, who find correspondence with Peter, Lucy and Susan in The Lion, The Witch And The Wardrobe as the traitor`s victims; despite Jesus` teaching: `Love your neighbor as you love yourself.` (Mk: 12. 31) Rejecting the human host, as Satan and Edmund also reject the human host, the traitor amongst the disciples, Judas, gives Jesus over to agents of the Empire of the male brain of Rome. Crucified for `thirty pieces of silver`, Jesus` own Resurrection and Ascension to heaven, after Judas` betrayal of the human host at his own table, prefigures God`s promised Redemption for women and the repentant converted, despite men`s treachery against the human host womb of futanarian humanity in parasitism and slavery.

 


 The donkey, Puzzle, in Lewis` seventh and final novel of The Chronicles of Narnia series, The Last Battle (1956), represents the conundrum posed by Jesus` mission, which is elaborated upon in Isaac Asimov`s Foundation and Empire through his character, `the Mule`. Although the `Seldon Plan` predicts how the collective mind will react through the science of Psycho-History, the historical figure of Jesus presupposes the fictional role of the Mule, that is, the importance of the individual, while the role of the donkey, Puzzle, who is made to wear an old lion skin by Shift, to convince Narnia that the ape speaks for Aslan, represents the occluding  fiction, which is that men believe in Jesus, whereas `woman`s seed` couldn`t possibly believe in men, and the Narnians shouldn`t believe in the ape, even if the lion was Aslan, and not the donkey, Puzzle, who symbolizes the occluding simian fiction.

 


 In Robert A. Heinlein`s novel, Double Star (1956), the Expansionist politician, Bonforte, is secretly replaced, when he becomes ill, by `The Great Lorenzo` who, after Bonforte`s unannounced demise, becomes President of the Earth without deleterious consequences, largely because of the star qualities of the experienced actor who, though he shares the general prejudice of Earthmen against Martians,7 finds himself responsible for getting them the vote. Although the collection of tales loosely conceived as Heinlein`s `Future History` isn`t the Psycho-History of Asimov`s Foundation novels, Lorenzo`s enfranchising of the Martians is Heinlein`s confirmation of the viability of the `Seldon Plan`, that is, the socio-historical movement of collectives are predictable, because individuals within the Empire of the male brain won`t differ so much as to produce a measurable difference. Although the socio-historical phenomenon of the Mule can produce differences measurably in contradiction to the `Seldon Plan` for human progress, those differences are well within the fictional Empire constructed by the occluding male brain for the Mule to rule over, because men want the dictatorship of the male brain, which is why Asimov`s Mule, like Lewis` Puzzle, signifies the stubbornness of the occluding simian fiction. If the Mule understood, he`d be Jesus, rather than like other men, which is why he`s a character in a simian male fiction, because the apes are terrified of losing the host wombs of their parasitism, and so the blind are educated.

 


 Although Robert A. Heinlein`s `They` seems to be about the Glaroon, who effectively is running the Earth as a mental hospital in which the protagonist and all of the other humans are occluded to prevent their brains functioning, the prisoner`s wife, Alice, is the heroine of the tale, because she`s the Virgin Mary to her husband`s Jesus: `You can tell me to go away, but you can`t make me stop loving you and trying to help you.`8 As Alice represents the possibilities for love, she`s futanarian human women`s occluded path of sexual reproduction between women for the production of their own liberating brainpower, which the Glaroon seeks to prevent. Although Heinlein`s protagonist isn`t Jesus born uncontaminated by male semen, he represents the desire for that brain functioning which futanarian women could give to humanity:

 `The early morning sounds from the adjacent ward penetrated the sleep-laden body which served him here and gradually recalled him to awareness of the hospital room. The transition was so gentle that he carried over full recollection of what he had been doing and why. He lay still, a gentle smile on his face, and savored the uncouth, but not unpleasant, languor of the body he wore. Strange that he had ever forgotten despite their tricks and stratagems. Well, now that he had recalled the key; he would quickly set things right in this odd place. He would call them in at once and announce the new order. It would be amusing to see old Glaroon`s expression when he realized that the cycle had ended -`9

 


 The power of the collective mind to occlude is too strong for Heinlein`s awoken protagonist: `Morning, sir. Nice, bright day - want it in bed, or will you get up?`10 The mundanity of the appearance of the hospital orderly with breakfast returns him to being a part of the collective unconsciousness once more: `He felt himself slipping, falling, wrenched from reality back into the fraud world in which they had kept him.`11 The new order is futanarian humanity, `The creature known as Alice spoke up, `Could he not have the Taj Mahal next sequence?``12 The tomb of Mumtaz Mahal in India`s city of Agra is a part of the story of Shah Jehan in the 8th century collection of tales known as the One Thousand And One Nights, where she`s beheaded because her husband believes her to be unfaithful. The woman, Scheherezade, tells him stories each evening to stop his practice of marrying a new wife every day and beheading her each evening, which is a metaphor for how men occlude futanarian human women and prevent their sexually reproducing their own brainpower from their own penis` semen. The Glaroon`s response to Alice`s request that he be given the Taj Mahal is:

`You are being assimilated!`13

 


 The tomb of Mumtaz Mahal is a symbol of human love and faithfulness, which men don`t want. Between the species of futanarian human women with their own penis` semen, love would result in the sexual reproduction of liberating brainpower that would free the occluded from men`s enslaving through host womb parasitism in ephemerality. Heinlein`s Glaroon has kinship with `the Mule` in Isaac Asimov`s Foundation and Empire, and C. S. Lewis` Puzzle, the Narnian donkey controlled by the ape Shift, because they represent the Empire of the male brain, which Jesus fought as a `dissident` Jew crucified by the Romans during their occupation of conquered Palestine:

`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)

 


 Although `Babylon` is described as `a woman` in the Bible, it was also the name of the capital city of the Persian Empire, because host womb enslaving of women in parasitism makes `harlots` of them. In ancient Greece host womb enslavement in parasitism for homosexuality in pederasty for war was institutionalized. Consequently, the Empire of the male brain is the conquering and Machiavellian enemy represented by Isaac Asimov`s `the Mule` and C. S. Lewis` Shift, the ape, whose brain control of the donkey, Puzzle, is a metaphor for men`s befuddling of humanity. By the 21st century men`s mixing of blood, shit and semen in each others` anus spread the incurable killer disease of HIV/AIDS as a `biological weapon` maintaining women in fearful faithfulness to enslaving monogamy, while the virus metaphor was applied by computer experts as `bad machine code` to infect machine brains and kill them to prevent lame brained humanity from remembering `woman`s seed`. Although the Mule isn`t planned for by Hari Seldon in Isaac Asimov`s Psycho-History, neither is Jesus, because Foundation and Empire is an occluded and occluding male brained fiction. Like the Mule, the telepathic psycho-historians of the Foundation make their adjustments to the subconscious minds of humans, so that women accept men of the `serpent`s seed` enslaving the host wombs of humanity for ephemerality in parasitism and warfare against them: the Empire of the male brain maintained against the plan of God restated by the Messiah, Jesus Christ, the redeemer.


1 Heinlein, Robert A., `They`, Unknown, John W. Campbell (ed.), Street & Smith, April, 1941, pp 84-95, p. 84.
2 Heinlein, `They`, p. 87.
3 Heinlein, `They`, p. 91.
4 Heinlein, `They`, p. 91.
5 Heinlein, `They`, p. 95.
6 Lewis, Clive Staples, The Lion, The Witch And The Wardrobe, Geoffrey Bles, 1950, Ch. 15.
7 Heinlein, Robert A., Double Star, Doubleday, 1956, Ch. 10.
8 Heinlein, `They`, p. 94.
9 Heinlein, `They`, p. 93.
10 Heinlein, `They`, p. 93.
11 Heinlein, `They`, p. 93.
12 Heinlein, `They`, p. 95.
13 Heinlein, `They`, p. 95.

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