Sacred Blood Commentaries
The Implied
What are these commentaries? They represent the unseen part of what the Unconscious provided in the darkness of the Well of Sorrow. The Dialogues came from the well as whispers. The heard part of the naked Truth that implied a larger body of knowledge that had to be uncovered to see the whole picture. The task was to look down the well and record and decipher the implications of the sights and sounds hidden in the various shades of darkness. The reflection found in her mirror required years of research and even many more years of integrating the findings.
Phosphorus, for example, ties to The Quest for Phosphorus dialogue and the struggle that takes place when the god returns from obscurity. In writing Phosphorus, the implied part of the play, I discovered that the whole picture was a metaphor for the struggle we face and the feminine fearlessness we must display in committing to live our dreams.
The allegory relating to Metis and Metis Returns serves as a warning and an inspiration concerning the feminine virtue of cooperation. The question asked here is, why the classics? At first glance, the classics appear to be a Caucasian set of myths and legends. But delve deep, and the unseen exposes its African heritage. On the one hand, the warning Metis carries involves cruelty and the betrayal of the cooperative spirit. On the other hand, it demonstrates what can be achieved through cooperation, the most unlikely of things, self-governance.
Suppliant Maidens concludes the commentaries with its exposure of the feminine inclusive perception of monocular vision –– a peculiar way of gathering and manipulating environmental intelligence. This way of seeing required that they run away or “go native.” However, their environmental reconnaissance had the unexpected consequences. The most important of which was remaining loyal to their worldview, which involved projecting their ideas, needs, and grievances into the future to achieve their destiny.
Journal entry:
6/18/25
Continued:
As I write it, that image of the shadow figure comes to mind. Worried that the shadowy figure might be a negative aspect of the self, the word ‘irrational’ takes on a completely different connotation when I remember the daydream, the one I seldom share since it burst into consciousness as a deep well of sorrow, that kick-started my Sacred Blood creation. In that dream, I find myself disembodied, floating above a statue. Hovering, I pull back to see it is a Caryatid. She and her sisters are holding up the entablature of a Greek temple. Zooming closer, as the sun rises, I can see it glinting off the tears flowing from her eyes.
The depth of sadness is almost overwhelming. The experience of the daydream is unlike anything I have experienced. I touched untold suffering and heard its voice, which took me back beyond slavery. Many years later, as I turn the corner from viewing the Caryatids in the Acropolis Museum, I discover the crying Aphrodite, Nephthys’ Greek manifestation.
I wasn’t to create art to become an artist. I was to give voice to those who were my kin. The gratitude I felt was an expression of appreciation from my inner goddess for my authenticity, loyalty, and fearlessness in creating “Books of Service.” I had not only unchained the Cyclops within me but also redeemed the Danaii, a feminine aspect of myself, who finally realized that breaking the curse was possible, and a different destiny was achievable. Astonished, I start laughing.
Evidently, I rescued an aspect of the naked truth also.