Grid of the Gods (33 page)

26
Witkowski,
Axis of the World
, p. 215.

27
Ibid.

28
Hancock and Faiia,
Heaven’s Mirror
, p. 270.

29
Ibid., p. 274.

30
Hancock and Faiia,
Heaven’s Mirror
, p. 272.

31
Ibid., p. 276.

32
Ibid., p. 275.

33
Ibid.

34
Joseph P. Farrell,
The Giza Death Star
, (Adventures Unlimited Press, 2001),pp. 25–26.

35
Hancock and Faiia,
Heaven’s Mirror
, p, 275, emphasis added, citing Sir Clements Markham,
The Incas of Peru
, p. 43, and William Sullivan,
The Secret of the Incas
, p. 29.

36
Hancock and Faiia,
Heaven’s Mirror
, p. 288, emphasis added.

37
See my
Genes, Giants, Monsters, and Men
(Feral House, 2011), chapter 3, section D, and D1. (Exact page references cannot be given as this book is being written prior to the release of
Genes, Giants, Monsters, and Men
.)

38
Hancock and Faiia, op. cit., p. 282.

39
Hancock and Faiia
, Heaven’s Mirro
r, p. 270.

40
Ibid.

41
Witkowski,
Axis of the World
, p.204f.

42
Ibid., p. 204.

43
Ibid.

44
Ibid., p.205.

45
Ibid., p.206.

46
Witkowski,
Axis of the World
, p. 206.

47
Ibid., p. 207.

48
Ibid.

49
Ibid., p. 198.

50
Hancock and Faiia
, Heaven’s Mirror
, p. 305.

51
Ibid., p. 306. Hancock and Faiia note that Poznanski had determined a date of 17,000 years ago.

52
Ibid., pp. 303–708.

53
Witkowski,
Axis of the World
, p. 216.

54
Witkowski,
Axis of the World
, p. 217

55
Ibid, pp. 218–219.

56
Ibid., p. 221.

57
Ibid., p. 217.

58
Witkowski,
Axis of the World
, pp. 19–20, citing A. Kondratov,
Tajemnice trzech iceanow (Mysteries of Three Oceans
) (Warsaw, 1980), emphasis added by me.

59
See the discussion in my book
The Cosmic War
, pp. 74–75, 83, 239.

60
Witkowski, Axis of the World, p. 14.

61
Witkowski, Axis of the World, p. 33

62
Witkowski, Axis of the World, p. 32.

63
Witkowski,
Axis of the World
, p. 26.

64
Ibid.

65
Ibid., p. 27.

66
Witkowski, Axis of the World, p. 37.

67
David Hatcher Childress,
Lost Cities of Lemuria and the Pacific
(Adventures Unlimited Press, 1988), p. 302. It is worth noting that the Rongo Rongo script, like that of Mohenjo Daro and ancient Sumer, was a syllabic writing. See Witkowski,
Axis of the World
, p. 53.

68
Witkowski,
Axis of the World
, p. 28.

69
Ibid.

70
Ibid., p. 20.

71
Witkowski,
Axis of the World
, p. 30.

72
Ibid.

73
Joseph P Farrell,
The Cosmic War
, pp. 139–233. In my book
Genes, Giants, Monsters and Men
, in chapter 6, I indicate another
possible
connection of the Tablets of Destinies with an Eastern culture, that of China, and its system of divination, the
I Ching.

74
Witkowski, op. cit., p. 16.

75
Ibid., p. 21.

76
Witkowski
, Axis of the World
, p. 22.

77
Ibid.

78
Ibid., p. 23.

79
Ibid.

80
Ibid., p. 24.

81
Q.v. my
The Cosmic War
, pp. 56–58.

82
Philip Coppens, “Ancient Atomic Wars: Best Evidence?” www.bibliotecapleyades.net/ancientatomicwar/esp_ancient_atomic_07.htm, p. 2.

83
Ibid.

84
Ibid., p. 3. See also Witkowski,
Axis of the World
, p. 47. The skeletons in general had levels of radioactivity commensurate with those at Hiromshima and Nagasaki. See my
Giza Death Star
(Adventures Unlimited Press, 2001), p. 97, n. 114.

85
David Hatcher Childress,
Vimana Aircraft of Ancient India and Atlantis
, (Adventures UNlimtied Press, 1999), pp. 61–62, citing the
Mahabharata,
emphasis added.

86
Ibid, p. 62, citing the
Ramayana
, emphasis added.

87
Ibid. citing the
Mahabharata
, emphasis added.

88
Jospeh P. Farrell,
The Giza Death Star
, p. 96.

89
Farrell,
The Giza Death Star
, p. 96.

90
Ibid.

91
Ibid., pp. 96–97.

92
Witkowski, p. 45.

93
Witkowski,
Axis of the World
, pp. 45–47.

94
Ibid., p. 51.

95
Witkowski,
Axis of the World
, p. 150.

96
Ibid., p. 158.

97
Ibid., p. 148.

98
Ibid.

99
Ibid., p. 75

100
Ibid., p. 149.

101
Witkowski,
Axis of the World,
p. 62. Witkowski also notes the discovery of white-skinned red-haired mummies in China, of all places, in connection with this idea. See pp. 63–64, 66.

102
Ibid., p. 152.

103
Ibid., p. 153.

104
Ibid.

105
Witkowski,
Axis of the World
, p. 77.

106
Ibid., pp. 80–81.

107
Ibid., p. 99.

108
Ibid., p. 100.

109
Witkowski
, Axis of the World
, p. 101.

110
Ibid., p. 104.

111
Ibid., pp. 105, 106–107.

112
Ibid., p. 108.

113
Ibid., p. 113.

114
Ibid., p. 146.

115
Witkowski
, Axis of the World
, p. 126.

7

M
AYANS
, M
YTHS, AND
M
OUNDS
:

T
HE
M
ANIPULATION OF
M
ATTER
, M
IND
, A
ND
M
AN

“Their ancient day was not a great one,these ancient people only wanted conflict, their ancient names are not really divine, but fearful is the ancient evil of their faces.”
The Popol Vuh
¹

H
aving gone in the previous chapter from a survey of technological anomalies to a survey of the mythological and cultural contexts surrounding them, we now reverse the process, and go from the mythological context to the technological, to see if perhaps we can begin to peel back the layers of both to an understanding of the mysterious forces that people were trying to manipulate with them. Accordingly, we shall focus here upon three sites — Tikal, Chichen Itza, and Teotihuacan — and one mythology, the Mayan
?Popol Vuh
.

The beginning of the Spanish conquest of Mexico and Meso-America in the sixteenth century saw the burning of many priceless records and books of the indigenous cultures, the records of the
Popol Vuh
, or
The Dawn of Life and the Glories of Gods and Kings
, among them.

Backed by means of persuasion that included gunpowder, instruments of torture, and the threat of eternal damnation, the invaders established a monopoly on virtually all forms of visible public expression, whether in drama, architecture, sculpture, painting or writing. In the highlands, when they realized that textile designs carried complex messages, they even attempted to ban the wearing of Mayan styles of clothing. Hundreds of hieroglyphic books were burned by missionaries, but they were still in use as late as the end of the seventeenth century in Yucatán and the beginning of the eighteenth in highland Guatemala.
²

In the midst of this destruction, the Mayans acted to preserve their culture by adopting a rather clever strategy, using Christian saints to disguise references to the ancient gods and using Roman alphabetic characters “as a mask for ancient texts.”
³

Humanity would know little, if anything, about the Mayan creation myths and legends were it not for these efforts, for the
Popol Vuh
as we have it now was the effort to preserve in alphabetic writing those myths, an effort undertaken by the three noble houses of the Mayans: “the Cauecs, the Greathouses, and the Lord Quichés.”
⁴
The book itself, as extant today, is as much a mystery as its authors, and it is best to cite its English translator, Dennis Tedlock, at length here:

At the beginning of their book, the authors delicately describe the difficult circumstances under which they work. When they tell us that they are writing “amid the preaching of God, in Christendom now,” we can catch a plaintive tone only by noticing that they make this statement immediately after asserting that their own gods “accounted for everything — and did it, too — as enlightened beings, in enlightened words.” What the authors propose to write down is what Quichés call the
Ojer Tzij
, the “Ancient Word” or “Prior Word,” which has precedence over “the preaching of God.” They have chosen to do so because “there is no longer” a Popol Vuh, which makes it sound as though they intend to re-create the original book solely on the basis of their memory of what they have seen in its pages or heard in the long performance. But when we remember their complaint about being “in Christendom,” there remains the possibility that they still have the original book but are protecting it from possible destruction by missionaries. Indeed, their next words make us wonder whether the book might still exist, but they no sooner raise our hopes on this front than they remove the book’s reader from our grasp: “There is the original book and ancient writing, but the one who reads and assesses it has a hidden identity.” ...If they are protecting anyone with their enigmatic statements about an inaccessible book or an anonymous reader, it could well be themselves.
⁵
Fascinating as the history of the
Popol Vuh
and Mayan culture are, however, our attention must remain fixed upon its contents and its implications for our study of the Grid. But before we examine its contents, one last point must be mentioned, for one of the things that clearly emerges from Mayan culture is that its frequent references to a place called “Tulan” or “Tula” mean precisely the ancient ruins of Teotihuacan, outside of Mexico City.
⁶
We shall have much to say about this site later in this chapter.

A. The
Popol Vuh
1. The Primordial Triad and Differentiation:
The Topological Metaphor, Mayan Style

Like the Hindu cosmology laid out in stone reliefs at Angkor Wat, The
Popol Vuh
begins in an abyss of mystery, an abyss laid out in eloquent and elegantly simple words and imagery whose power is made even more manifest by their poetic simplicity:

This is the account, here it is:

Now it still ripples, now it still murmurs, ripples, it still sighs, still hums,
and it is empty under the sky
.

Here follow the first words, the first eloquence.

There is not yet one person, one animal, bird, fish, crab, tree, rock, hollow, canyon, meadow, forest. Only the sky alone is there;
the face of the earth is not clear.
Only the sea along is pooled under all the sky; there is nothing whatever gathered together. It is at rest
; not a single thing stirs. It is held back, kept at rest under the sky.

Whatever there is that might be is simply not there: only murmurs, ripples, in the dark,
in the night. Only the Maker, Modeler alone, Sovereign Plumed Serpent, the Bearers, Begetters are in the water, a glittering light. They are there, they are enclosed in quetzal feathers, in blue- green.