Now it is time to say something about the next steps on the path to detecting and understanding the unseen influences that appear to be at work in certain people’s lives.
Up to this point, candidates for moving on may have come across some interesting information incidentally and in small amounts; now they change their approach and do some investigations - actively looking for writers with Celtic connections after coming across one or two with Scottish ancestry for example. This involves a top-down rather than a bottom-up approach.
This stage also involves putting aside the personal approach in favour of thinking objectively and analytically about various patterns and common elements in the lives of many people of interest. These may or may not be elements that the investigator shares with them.
Investigators may then move on to a stage where they start to wonder what, if anything, might be behind the patterns they detect. They start to think about the What, the Who, the How and the Why.
For example, I have experienced some unexpected, unwelcome and unsettling encounters with people from the past. Recently I discovered that this also happened to the novelist Antonia White. These encounters are not just random painful personal experiences shared with one or two others: looked at objectively and summarised, they are typical of the unpleasant incidents that certain selected people endure when, for example, they are at a low ebb, have received a jarring shock or had an encounter with an energy vampire.
This leads to speculation about orchestration, distress signals, telepathy and people who are remotely controlled by puppet masters behind the scenes! What forces are in operation? How does it all work? Who or what is behind it?
Blueprints for writers
Many recurring patterns can be detected in the biographical material that has been the source for many articles. For example, feelings of being different from the people around them and not belonging anywhere are mentioned in most of the biographies of writers featured on here. It might be better to take the approach of wondering how many writers did not feel this way!
These writers lived in their imaginations; they found books more real than the real world and imaginary people better company than the people around them.
They were often given a hard time as children.
These writers lived in their imaginations; they found books more real than the real world and imaginary people better company than the people around them.
They were often given a hard time as children.
Is all this intended and arranged? Is the writer’s personality standard issue? Is it all a scripted scenario that they are predestined to act out?
Family sacrifices?
People who notice that two or three writers have a common element in their lives and go on to look for more cases will often find far more than they bargained for.
The article about sacrificed sons lists a string of writers whose sons died young, and a few more are mentioned in the second article on this sad subject.
In addition to this, some writers were very young when their mothers died. Is it just bad luck and chance that, for example, John Masefield’s mother died when he was six years old, Charlotte Brontë’s mother died when she was five, Kenneth Grahame’s mother died when he was five, C. S. Lewis’s mother died when he was nine, J. R. R. Tolkien’s mother died when he was twelve and L. M. Montgomery’s mother died when she was only 21 months old?
Family sacrifices?
People who notice that two or three writers have a common element in their lives and go on to look for more cases will often find far more than they bargained for.
The article about sacrificed sons lists a string of writers whose sons died young, and a few more are mentioned in the second article on this sad subject.
In addition to this, some writers were very young when their mothers died. Is it just bad luck and chance that, for example, John Masefield’s mother died when he was six years old, Charlotte Brontë’s mother died when she was five, Kenneth Grahame’s mother died when he was five, C. S. Lewis’s mother died when he was nine, J. R. R. Tolkien’s mother died when he was twelve and L. M. Montgomery’s mother died when she was only 21 months old?
Was this just chance or was it all arranged? Who did all the programming?
If it is not just chance, then what is it? If it is not chance, then what are the implications?
There may be a little more to come on the topic of putting things into context and looking at the total picture.
If it is not just chance, then what is it? If it is not chance, then what are the implications?
There may be a little more to come on the topic of putting things into context and looking at the total picture.
