<<<WELCOME TO THE MYSTERY THAT NEVER ENDS>>>
HOW GLASS SAVED JUNE
THIS IS IN RESPONSE TO SOME QUERIES ASKING ABOUT CORRESPONDENCE BETWEEN JUNE AND THE SONGS. BECAUSE THE SCOPE IS TOO BROAD GOING THROUGH EACH SONG INDIVIDUALLY (analysis in this form for Machina 1 was 14 pages long), AND THERE ARE ABOUT 80 SONGS TO CONTEND WITH, I THOUGHT I'D PRESENT A SUMMARY OF THE POINTS OF CORRESPONDENCE ON MACHINA 1 FOR STARTERS, IT'S SHORT ENOUGH.
This is the sort of thing that's going on. Life reflects art. Multiply by 13 years. Multiply by sixty artists. IT'S A BIG PICTURE. Here's a bit from one album:
June has a psychic connection with Glass in the unconscious. She is also connected to many others in a universal union. In order to protect the union and save herself from a terrible threat, she offered the potential of answering the union to Glass, because she loved him and chose him. If he answered her, the union would be affirmed out of free will and forever preserved. June offered Glass a troth.
I thought I'd summarize how the troth was answered "correctly", what I required and what was met:
1) He understood this love exercised protection against judgment.
2) He knew it was not on a mortal plane and invoked the potential of forever.
3) He knew he had been chosen among the many that was the universal, that he was 'one of many more to come...'
4) He knew that she had been scarred by her past but understood that these scars defined her; she was neither a victim, nor were they flaws, they were a part of her and had made her - 'Your love must always be true, your love must always be you, Everywhere you are, anywhere you go, Even if you're scarred, it's all a part of you.... But ever should you put it down, you can never lose me, Everywhere you are...'
5) He was aware that I had 'died', gone under and come back - this was the first line of the album, and was my first requirement. I felt for the link to be close enough for it to be him, he'd have to know this - 'You know I'm not dead, -Now you know, where I've been, As you sleep, torn I am, weighted down, patiently, born of love -You know I'm not dead, I'm just living inside my head, Forever waiting, on the ways of your desire, You always found your way, And thru it all, into us all you move, forgotten touch, forbidden thought, We can never have enough -You know I'm not dead...' it was a blistering opening.
6) He was aware that it involved destiny of the highest order - 'This is the song that I've been singing for my whole life..." with the advent of [the unmentionable] you got into destiny that went past the Divine injunction itself, going back fifteen years. That had all been set up at the ready, but would only have applied if there were a redemption. Only by his apparent conversion was it met. If then, there lay someone beyond that, it became a destination to which your entire life had ascended to. I felt this because of the way it had tied into my own personal myth, which I'd come to realize was my own allegory (based on how it kept fulfilling itself after). He had become the fulfillment of it.
7) He knew the union being inferred was physical - though he slammed this, and hard.
8) He knew we'd hit transcendence, come through the darkness into light - 'We're taking over, we're taking over, Throw the weight up off your shoulders now, and stand inside this love, It's almost over, it's almost over, No more war and no more soldiers, to stand against His love... ' -'Look ma, the sun is shining on me, impatient, in love and aching to be, Could you believe in heaven, if heaven was all you had' -'And every light I've found, is every light that's shining down on me, -I'm never alone' (that's my circumstance)
9) The quest for eventual perfection. This was not on this album, but this was one of the reasons I specifically chose him, because he'd articulated the quest, a potential that had been with me since the first injunction in 1987.
I didn't even know, entirely, what the 'criteria' was. I'd never declared it in one place. It's written here or there, but I'd never set it out as a requirement. This is the first time I've ever determined just what it was, by summing up with the answer. There's nothing missing.
This is other stuff he knew that was in common.
1) That “Saturn” had 'killed' me - 'awake in my arms, you cry unharmed, our age of the hours, while they still devour all, -So take it all, I doubt if we will know it's gone, for we've been here, since time began, Begged God awake to make these plans', 'Wound opens, reveals this broken man, and soon there's notions of blood on his hands' - The Sanctification Principle was the first place where I had articulated how this had happened, the manner I was brought back in October '98 was the only way I could have even have acknowledged this had happened. He also knew that “Saturn” had held me in check - 'no more the eye upon you, no more the simple man' . . . 'no more the lie upon you, cast in stone and autumn shade' - I'm not going to delve into why he doesn't yet know who this is, there are others in the link who do, besides [Nick Cave] (who in the real sense probably doesn't).
2) That I was starting to record things by writing it down, and that parts of this addressed him - 'paperback scrawl your hidden poems, hidden around the dried out flowers, -here we are still trading places, try to hold on...'
'I blow the dust off my guitars, in the attic with the stars, I read your letters, to feel better, my tears upon the fading ink' -also that I was writing at night, and that I was articulating everything I had buried, 'I sit in the dark light, to wait for ghost night, to bring the past alive, to make a toast to life, cause I have survived'
3) That the dynamic was a feedback loop - 'try to hold on, for this heart's a little bit older, try to hold on to this love aloud', - 'And we are still alive, (try to hold on), And we have survived, (try to hold on), and no one should deny, We tried to hold onto a feedback current, into the flow of encrypted movement, Try to hold on'
4) That the All was becoming a body, and that body was her body - 'To the centre of the earth, or anywhere God desires, Full of fever pulling forth, we hear our call as all, To the centre of the earth, as if written in, DNA reaching out, to your frequency'... 'I want to live, I don't want to die, I want to live, I want to try... Black rooms are calling, to men in leather coats, White labs are cooking, up the silver ghost, The glass migrates under her translucent skin, and all the spiders wonder, what we've got us in', - 'All are you, you are all, All with you, you in all', - 'I want to live, I don't want to die, I want to live, I want to try'... 'So beats the final coda, of our vinyl storm, one more cherry cola, to lift up her dead arms, A dream of soft focus sunsets, filters through the din, We are losing contact, as she dials it in, She can hear Glass calling, Or is it someone who looks like him' (in concert he said 'me'), 'She eyes TV reflection, and nods a knowing look, she says it doesn't matter, she never liked her looks, - I have seen a thousand fractures, I have seen, everything, -Cause knowing is its own answer, love something in a book, There's not much left to ponder, not much left to cook, As she counted the spiders, as they crawled up inside her, As she counted the spiders, as they crawled up inside her, as she counted the spiders'....
When I was on the Net that was the first time I'd ever counted how many I thought there were, and eventually come up with over 60. ('Spiders' an oblique reference to a Bowie song called The Glass Spider, which ties it in very neatly and makes it real heavy.)
'Give me tears, give me love, give me rest, Lord above, Send the bored, your restless, the feedback scarred, devotionless, -You're all a part of me now, and if I fall, you're all a part of me now, trapped in the sun, you're all a part of me now, you're all a part of me now'...
5) That my 'reflection' was starting to come out in other people's videos and that I saw it; he also knew that I could hear it coming back via the radio, but that this had a way of just isolating me further (song called 'I of the Mourning', related to the colour Plate titled, 'I of the Radio')
6) That there was a fundamental, cynical argument between whether the artists were just sounding boards (machines), or emotionally involved in an active relationship (he'd made the machines accusation); he has no idea, of course, that this was one of the arguments between myself and “Saturn” about it, and that the machines analogy (he'd called them the stereo equipment) was “Saturn's” argument - the album title? - Machina/Machines of God
7) In this context he referred to the artists picking up on it again, which had happened after the redemption succeeded. A colour plate showing four performers on a rocky pinnacle singing to a vast audience was titled 'As the Machines Resume'
8) He knew that I'd been isolated inside this awareness for years, completely alone - 'And in your mind, you've been alone, all this time, with everything you were, and every smile you wore, still locked in your heart' - I'd barely made reference to it to anyone, and of course I could infer nothing of what it might hold, anyone who knew me ordinarily would find it preposterous
9) He knew that a soul had become living proof (the whole S.P. document is a thesis on how my soul became living proof) - the first of the colour plates was titled, 'The Soul as Living Proof'
10) He knew that she existed under the sea of the universal unconscious, and operated within it using her third eye, her mind's eye, see 'Raindrops and Sunshowers', also Plate titled, 'Peering Deep Into a Reflection Untrue'
11) He knew that I knew he was calling me (the Glass reference)
12) That the form of my restoration inferred my existence was eternal, that we had been here 'since time began' - 'There you are, as you always were, you're bathed in light, and naked blur, -You're a part of me, eternal one, by grand design and setting sun'
13) He knew that drugs had been key in spawning this awareness - one of the colour plates was titled, 'The Chemist Brings Spark'
14) He demonstrated that it was a mind connection alone that he was talking about - the aforementioned plate, which showed the two of them, heads joined, was titled, 'So Empowered, The Lovers Negate the Blinding Brilliance of Love', also see the song 'Raindrops and Sunshowers'
15) He knew I'd affected ones like Trent - 'found below the creatures scream, stranglehold, a God machine, begging to tear us out, worn as hope, you know I'm not dead'
16) He knew I was still unhappy
17) He asked if our love would be just in time to prove (which it was)
18) He knew I'd been wallowing in everyone's lyrics for a bit - 'Everywhere you are, is everywhere you've been, just lost to the beat, that's punching thru your skin, You don't know what to do, but still you want to crawl, all thru the broken glass, that's everywhere you are, -Your love must always be true, Your love must always be you, everywhere you are'
19) He knew my current state was in a collapse, the lines above were from a song that was titled 'The Imploding Voice'. In another song called 'This Time', the chorus revolved around this perennial crashing, it was obvious he was pretty sick of it (but then again so was I)
20) He expected that the correspondence would fade away now, which I also expect -'and if you think they'll watch you now, you should know they won't' - this is for three reasons 1) having hit the two apexes of proof within both patterns, marriage and redemption, it is redundant, pretty much, for specific, personal correspondence to continue 2) the pattern will broaden into the general awareness which will be utopian and centre on a communion with the Divine, and 3) I am no longer seeking proof, close links to my personal or environmental reality, to verify the universal is real, having hit the highest level of confirmation with the troth, therefore when they address me now, they will digress from describing 'she', i.e., points of detail that were supporting, to purely addressing 'you', at which point, even if the address fits perfectly, it is largely unsupportable
21) He knew we'd survived because of the way I had held - 'it's down in the way you've held together, try to hold on to this heart, a little bit longer, try to hold onto this love aloud, try to hold on, for this heart's a little bit older, try to hold on, we are still alive, try to hold on, and we have survived, try to hold on'
22) He knew the shift created was absolute, i.e., if I could go past 'Hell', and transform those within it, I could go anywhere and not be affected, and the dynamic this produced had a flip side, it could wipe 'them' out - 'everywhere you are, every single chard, everywhere you are, you're never too far, cause anywhere you'd go, even to the stars, all you have to do, is play the part of who you are, the rest is up to you', -'Phase unwound, by yourself, atom bomb, on the shelf unsung, pause of light, pulse of life, new face dawns, Everywhere you are, and everywhere you go, even if you're down, even if you're low, It's in the thought of you, It's in the eyes of all, astride a storied past, that's everywhere you are, Your love must always be true, your love must always be you'
- 'Destroyed in the wake, the jealous ingrates, who'd tear this world down, to spite God above, with His own Love'
23) He knew I was 'dialing it in', in other words, articulating the fundamentals in order to contact
24) He knew God had planned the circumstances that had caused all this - 'begged God awake, to make these plans'
25) He knew there had been some device that caused the 'resurrection' (he slammed it) - and never disturb the presence, of resurrection crutch - [Nick Cave] had declared himself to be the resurrection, - it actually wasn't my term for the circumstance at all, he'd claimed it himself. I sort of redoubled in shock when I realized it actually fit. That's when I realized it had been a resurrection - I'd already thought of how “Saturn” destroyed me as a mental crucifixion, so this accordingly was mental resurrection
26) He knew about my war with doubt - plate titled, 'Bracing Against the Inevitable Doubt'
27) He knew the whole conjunction had developed through the utilization of symbols - plate titled 'In All Things the Symbols Reign Supreme', for example, the moon
28) He knew the words were not really his own, this came from a written introduction to the album - 'He had his voice, disembodied with no claim, But were the sounds his? Could he own these thoughts if they could be sold? Thumb-tacked to ceilings all over the world lay his schemes and proton wishes, cold flung to the white light . . . The kids waited for their piece, and the eyes watched you everywhere, . . . Through the channels and medium still he spoke, only to find out that he wasn't speaking at all, just humming the words to someone else's favorite song... the voice says you are one of many more to come... in sadness and in love, in faith and movement alive...'
29) He knew that a margin of what he was saying was not factual (lucky for him), as 'within the lilting lies I am singing out to you' - he still treated some aspects in a negative light or negative regard, got very cynical
30) He knew the wheels (or some of them, at least), were reeling backwards, as 'in dreams and visions alike, so real and unreal to be imagined again in a reverse mindscape'... The poor little mad cracker (actually she towered above him), who'd had to stand before Bono explaining a four level proof had added, 'The thing about this is that it is working backwards, the content and structure are redundant, it is all about what has happened inside this context, it's the process that matters' - it was devolving down from the religious link to the present reality, towards the Now, and that had become the apex. I didn't recognize that until well after, that it had gone into the Now. - It also worked itself backwards in how the marriage injunction had evolved into the universal awareness. It also works itself backward via reduction.
31) He too regarded the protagonists as victims of the absolutes that were at work, shown in a plate titled 'Torn Inside Machines of Light', which showed a man and woman caged apart from each other, trapped in an inexorable machine. Both were downcast and sad.
Gee, there are a lot of points when you actually sit down and list them; I hadn't tried that before.
This had been e-mailed, so Billy or the site had already received it. It closed with her epiphany of how the asking and answer that constituted the troth had also established the collective awareness as a transcendent reality, in much the same manner as the transmission of the redemption already had.