I have long held that writer William S. Burroughs put clues and hints in his novels relating to many of the occult/conspiratorial things discussed on this blog.
Communal Clone Minds
In the novel ‘The Place Of Dead Roads,’ on p.113, Burroughs writes, “Cloning was in an experimental stage at the time of the Big Jump, when the fifty original Wild Fruits committed suicide at Fort Johnson. We had actual biologic cuttings stored in refrigerated vaults. Pending the solution of residual technical problems, we set out to match voice and genital patterns with existing replicas. Everyone has not one but many approximate doubles. It is simply a matter of implanted voice and genital prints. Then the subject is slowly led to remember the former life of his guest and the two beings merge into one.
Kim Carsons, age twenty, was one of ten clones derived from Kim Carsons, the Founder. Since he was in contact with approximate replicas of himself and with other clone families like the Graywoods, the Dahlfars, the Wentworths, the Summervilles, the Gysins, the Joneses, the Little Rivers, the Yen Lees and the Henriques, he was under no pressure to maintain the perimeters of a defensive ego and this left him free to think. He was stationed in New York, such arrangements being made informally at family gatherings.
To say Kim Carsons still lives is to pose the question: what does this mean? His thought patterns live in a number of different brains and nervous systems, his speech and genital patterns, all of which are distinctive. No two people have the same voice or the same cock. The clones exist in a communal mind in which the bodies are at the disposal of all the others, like rotating quarters….”
This reminds me of the sci-fi novel ‘The Kiln People’ by David Brin. From wiki: “The novel takes place in a future in which people can create clay duplicates (called “dittos” or golems) of themselves. A ditto retains all of the archetype’s memories up until the time of duplication. The duplicate lasts only about a day, and the original person (referred to in the book as an archie, from “archetype”, or “rig”, from “original”) can then choose whether or not to upload the ditto’s memories. Most dittos want to inload, so that their experience will be continuous with that of their archie. Most people use dittos to do their work, as they are affordable even for the poor. Many also use dittos to experience pleasure which could hurt a real person.”
Donald Marshall talks about how the elite at the cloning center enjoy using clone bodies with the pain sensors turned off to play violent death games, treating their clone bodies just as disposably as ‘dittos’ from the Kiln People. And here Burroughs talks about merging clones into one by slowly introducing the duplicates memories into the original.
In light of all the disclosure around cloning, I propose that this is really happening. This is how the multi-generational Satanic families stay so organized; they are plugging into a group mind, an inverted Archonic hive mind with a united goal: to take over human vessels. And to steal and copy our Meta-gene factor, our ability to adapt, something they don’t intrinsically carry.
Burroughs talks about how the clones take on different rotating roles within the Johnson organizational structure, with no boss man at the top, and yet everyone knows what to do. These are the actors playing multiple roles ala Jason Bickford. Archons with masks, running on borrowed consciousness, and everyday we see them on the main stage of this theater.
Concealing and Revealing
A few paragraphs later Burroughs, using the pen name ‘Hall’ writes, “William Seward Hall…he was a corridor, a hall, leading to many doors. He remembered the long fugitive years after the fall of Waghdas, the knowledge inside him like a sickness. The migrations, the danger, the constant alertness….the furtive encounters with others who had some piece of the knowledge, the vast picture puzzle slowly falling into place.
Time to be up and gone. You are not paid off to be quiet about what you know; you are paid not to find out. And in his case it was too late. If he lived long enough he couldn’t help finding it out, because that was the purpose of his life….a guardian of the knowledge and of those who could use it. And a guardian must be ruthless in defense of what he guards.
And he developed new ways of imparting knowledge to others. The old method of handing it down by word of mouth, from master to initiate, is now much too slow and too precarious. So he concealed and revealed the knowledge in fictional form. Only those for whom the knowledge is intended will find it.”
And lastly, on the next page he writes, “….the Council of Transmigrants in Waghdas had attained such skill in the art of prophecy that they were able to chart a life from birth to death, and so can he unplot, and unwrite….”
That is exactly what Sol Mason revealed about the Montauk chair – a device that reads your full genetic code and can thus be a glimpse into your past, present and future. This tech was/is a key part in the manipulation, how they always seemed to be one step ahead.
Now not many people know that Burroughs was born into a very prominent wealthy family. From wiki: “His was a prominent family of English ancestry in St. Louis, Missouri. His grandfather, William Seward Burroughs I, founded the Burroughs Adding Machine company, which evolved into the Burroughs Corporation. Burroughs’ mother was the daughter of a minister whose family claimed to be closely related to Robert E. Lee. His maternal uncle, Ivy Lee, was an advertising pioneer later employed as a publicist for the Rockefellers…”
From a Miles Mathis article on the Beat movement being a CIA front:
“We are told Burroughs was turned down by the Office of Strategic Services and the Navy in 1942, which means he applied to them both. Since he was a trust-fund boy, he didn’t need to be applying to either. The OSS is of course the precursor to the CIA. Notice that it doesn’t say he was turned down by all the Intelligence agencies he applied to in 1942. Say he applied to three and was turned down by two, his bio would read the same, wouldn’t it?
To cover this, we get an absurd story. We are told Burroughs enlisted in 1942, was classified 1A, infantry not an officer, and that his mother then got him out by claiming mental instability. That would be terrible if it were true, since it would mean rich mothers can get their sons out of service at will, even after enlistment. But we know it isn’t true. The army doesn’t work like that. The more likely story is that Burroughs didn’t need to enlist because he had been accepted by some agency in Intelligence. He was probably on local assignment in 1943, doing set-up for some big project.
He was stationed in New York, near Columbia, and worked as the recruiter there, we must assume. In 1944 he was already 30, so he was 8 years older than Kerouac and 11 years older than Ginsberg. He wasn’t a student at that time, being only a project coordinator. Yes, it looks very much like Burroughs was the Intelligence liaison in the beginning. He only got involved on the creative side later, when he saw how easy it was. That much is admitted in his bio, where they tell us that Kerouac and Ginsberg encouraged him to write, and seeing their methods, he realized it didn’t take much in the way of creativity or effort. You should also look skeptically at the amount of drugs he claimed to have done. Since he lived to 83, it is impossible that he was a heroin addict for more than fifty years. This is just one more indication that the drug use was a pose, to help sell drugs. All these guys were paid drug pushers, via the written word.”
Mathis also shows how one cannot find any picture of Burroughs before about age 40. The man is a riddle wrapped in an enigma. While I disagree with some of Mathis’s conclusions, it’s clear that the Beat movement was anything but organic. It was a well-funded piece of cultural mind control, and it led the way to the coopting of the New Age movement.
Sometimes WSB calls his protagonist ‘an agent posing as a writer.’ More concealing and revealing. But unlike Mathis I find Burroughs later work fascinating, and think he was possessed by some form of genius, and maybe he was straddling the fence, being a prop piece for drugs and the coopting of the counter-culture movement of the 60’s, while also revealing truth gems for those with eyes to see, ears to hear. And sometimes we have to receive truth from less than savory characters.
Below is a link to a video titled ‘William Burroughs, CIA Assassin?’ In the clip WSB shows us his extensive weapon collection. And in the ‘Naked Lunch’ his protagonist is a pest exterminator. Is this what he was doing before 40?