THE TRIAL OF ORESTES After Apollo's conquest of the oracle, the thunderbolt God, Zeus settled the conflict by ruling in favor of his son claiming that prophecy based on the observation of external signs, that is, inductive divination, is the only way to foretell the future. Merlin Stone writes in _The Goddess Re-Awakening_, "Apollo's taking of the shrine of Gaia at Delphi symbolized the conquest of so- called rational and abstract thinking over the knowledge gained through the emotions, intuition and mystical revelation" (Nicholson 1989, 10). Zeus proclaimed Apollo's take-over liberated men from the mysterious forces of the darkness. His decision bestowed his arrogance on his son who also inherited his prestige. As Sagan's son, Apollo had no problem getting his books published and reviewed by the most prestigious national publishers. He told Doctress Neutopia he could even go on T.V. talk shows if he wanted to promote his ideas. He was also extremely arrogant to Dr. Neutopia when she question him about his theory of the reproduction of the planet, acting as if she was not astute enough to understand his concepts of the ironies of Nature. Following Apollo's matricidal act, Orestes violated the ultimate matriarchal law by killing his mother, Clytemnestra, the last matriarchal queen of Mycenae. While he was on his way to fight in the Trojan War, Agamemnon, Orestes' father, tricked Clytemnestra into sending him their daughter, Iphigenia, ostensibly to give her in marriage to Achilles. But, actually, he wanted to sacrifice her to the gods in hopes of receiving favorable winds. It was the Queen's duty to avenge anyone who had shed kindred blood, and the justice for the King's murder of his daughter was his death. After Agamemnon returned from the Trojan War with his concubine Cassandra, he was taking a ritual bath to cleanse himself from the sins of war. While at the water, Clytemnestra and her new consort entangled him in a net and stabbed him to death. Cassandra was also killed in the battle which is the reason why she now knows that all blood is kindred blood and all justice by capital punishment is wrong. Now as Doctress Neutopia she asks, "Can you imagine what a blood bath there would be if there was capital punishment for Capitol Hill...execution for the men who voted to build the weapons of mass destruction?" In those ancient times, Cassandra must have realized it was marriages of convenience arranged for political and economic reasons which was the basic reason for the downfall of the matriarchal social structure. Orestes went to the Delphi oracle to decide what he should do about the death of his father. The oracle said he was obligated to kill his father's murderess and then and only then would there be an important trial at the Delphi temple. So following the oracle's advise, he killed his mother. At the trial there was a jury of twelve Athenian elders. The Goddess Athena presided over the court. Apollo acted as Orestes' advocate, and the Furies were Orestes prosecutors. When the vote by the jury turned out to be a draw, Athena, acting as president, gave the final vote which absolved Orestes from the crime. She said it was no crime because it was the father who gave life to a child, and so was the real parent... not the mother. Zeus, the ruler of consciousness, knew his judgement on the murder of the Pythoness was an extremely political move. It caused the shift from the communally based system of property to a system of private property and women own by men. This determined the fate of the Earth, whether there would be peace between the sexes or the threat of nuclear war on the planet. Apollonian priests wanted to overthrow the oracles because they knew the oracles were the chief means of controlling public opinion and public action. By controlling the oracles, they controlled the consciousness of the people just like politicians brainwash the people today by controlling education and the press. The word conscious means knowing together, the fusion of the self with the deity. Freud realized it was people's fusion with the God, the Father deity, which was causing their stupidity and their inability to evolve beyond their Oedipal dependencies. By relying on an external father authority, people are unable to find the their intellectual strength and freedom to grow out of the Oedipal complex and to draw on their inner authority, which Freud called Superego. These people behave in overly strict and authoritarian ways or childish and irresponsible ways. Once the Father/Husband has been overthrown, one can discover their super- egos. Creativity and personal freedom can then develop. When the Heavenly Father religions fall, one finds that religious experiences are within the human mind. However, Jung stated to Freud that "only the wise are ethical from sheer intellectual presumption, the rest of us need the eternal truth of myth...Religion," Jung said, "can only be replaced by religion" (Goldenberg 1979, 47). The role of the wise is to be the mythmakers who are the essence of religion binding us back to the cardinal question of the romance between Aphrodite and Eros. HEAVENLY FATHER RECALL THE DREAM! Dr. Cosmos had better believe his hell-on-earth NUCLEAR WAR prophecy will come true unless he radically changes heart by listening to the oracle of Gaia! In Char McKee's essay, "Feminism: A Vision of Love" she points out Feminism is ultimately the single most important movement for planetary and social change in all recorded history, calling for the radical transformation of our deepest selves and the way we live our lives. As many "big picture" feminists are now expressing, our ultimate goal is to challenge and transform the fundamental beliefs of the dominant patriarchal culture and to create a new world culture based upon different beliefs (Nicholson 1989, 252). After the decline of these Pagan Gods, the Heavenly Father feared and envied Gaia's womb so much that he influenced other misogynist to write sexist creation myths like the story of Adam and Eve which distorted the birth act by making Eve an afterthought who come out of Adam's rib. Sex became the original sin and the cause for the couple to be expelled from the Garden of Eden. Because of this fall which Eve was blamed for since she listen to the advice of the Serpent, Utopia has been seen as an unachievable dream abandoned long ago, a dream which is futile to work towards. But the fact was Pandora's vessel, Eve's apple and the Serpent gave us all the original blessings: clean water, fertile soil, living forests, singing birds, and healthy DNA for our reproduction. Finally Pandora gave to Doctress Neutopia the noblest gift of all..._The Sagan Saga_ to lead us to the Solar Epoch of the Superorganism. The life-force made Doctress Neutopia attempt to teach Dr. Sagan's son, Mr. Biospheres, about the holiness of the sex act and the power of love to direct us to our metaphysical mates. Just as Prometheus had prophesied: Zeus's downfall lay in the hands of the ancient female powers of justice spinning a messianic idealistic vision of an ordered world around his life to save eukaryotes. THE DECLINE OF THE GODDESS TRADITION The Goddess tradition is extremely ancient in comparison to the patriarchal religions beginning with Zeus which appeared around 2500 B.C. and Abraham in 1800 B.C. Goddess statues dated back to 25,000 B.C. The Heavenly Father rule did not strive to build heaven on earth and earth in heaven like the Goddess tradition had done, but disrespected the female powers of regeneration which is certain to result in our extinction if not immediately corrected. Zeus and his other pseudo-scientific and pseudo-religious colleagues said a person had to wait until the afterlife to experience the good world. They told the slaves and the peasants that the earth was simply a stepping stone to a better world to come after one's death. Karl Marx tried to correct this fallacy by writing his theory in hopes of de-alienating labor. He attempted to energize the masses to engage in a world-wide revolutionary arms struggle against the plutocrats. But by declaring Communism an ideology of atheism, he was unable to transform the deity which was causing the problem. The new story which must be told is one which brings the alienated souls of human beings back in touch with the Super- organism, the one inner truth of existence, so that there will be a common understanding for people to be able to communicate with each other. Tragically enough, we can see the cause for our withering cosmic garden. This alienating, warrior, dystopian, anti-love, God-the-Father who denies the Goddess worldview has produced ozone depletion, global warming, and, the greatest threats of all, nuclear war and its aftermath, nuclear winter. The Goddess tradition started falling apart as a result of the "cultural amalgamation of three waves of barbarian invaders, the Ionians, the Achaeans, and finally the Dorians, who moved into Greece from 2500 to 1000 B.C." (Spretnak 1971, 17). The Dorian's favorite God in Crete was Apollo which certainly stands to reason why he overthrew the Gaian oracle. The invasions corrupted the balance of power between the sexes resulting in perverted Goddess rituals which were cruel and unjust to men. MATRIARCHAL TYRANNY During this time of social upheaval and before the concept of fatherhood, it was thought that male access to the deity was gained through the Queen. For a male to gain a privileged position require his sexual union with the high priestess. Some of these pre-Homeric matrilineal cults would make sacrifices of the Goddess-Queen's son/lover around the time of March as a fertility rite. Sometimes the old king would be killed by the new king who the Queen felt had more sex-appeal since it was believed that this determined the fertility of the land. If the Queen tired of him, then his reign was over. Or if their was a drought or two much rain a king would be sacrificed in hopes of gaining the approval of the deity. "His ritual death varied greatly in circumstance: he might be torn in pieces by wild women, transfixed with a sting-ray spear, felled with an axe, pricked in the heel with a poisoned arrow, flung over a cliff, burned to death on a pyre, drowned in a pool, or killed in a pre-arranged chariot crash" (Graves 1955, 19). Men began to gain power in the Goddess religion by castrating themselves, wearing long feminine robes, and becoming the eunuch priests and magicians in Cretan palaces. In Anatolia and Rome, a young male Goddess-worshipper would run down the streets holding his severed genitals after castrating his own body eventually throwing them into a house along the way. The custom was that the inhabitants of that house gave him the woman's clothes which he was to wore from then on. By imitating the female clergy, priests eventually replaced the role of the priestessess (Stone 1976, 165). Certainly this could explain the reason for Freud's castration anxiety! REBUILDING A PARTNERSHIP CIVILIZATION According to Eiane Eisler in her book _The Chalice and the Blade_, there is archaeological evidence to suggest that there was a period in the history of Crete when a partnership model of human organization ruled the culture. During this time, archaeologists have found images of women and men equally working for the common good. Nature and Goddess images were worshipped and honored. The Cretans had a healthy enjoyment of sexuality reflected in their dress. Women and men freely exposed their reproductive organs revealing the grace of the human body without seduction, fear, or shame. There have been no symbols of warfare, fortifications, voilent deaths, conquests, invasions, or male domination found on these sites. One can only conclude there is a "direct relationship between Goddess religion and peaceful co-existence" (Gadon 1989, 24). These Neolithic images showed an equal understanding of the joint roles females and males play in procreation which complement one another. Neither one was subordinate to the other, and so their power was doubled. Zeus tried to divide this power believed in pre-existence to be a part of a single body. The sexes were not two, but three in number, woman, man, and the union of the two. According to Aristophanes in Plato's Symposium, the four-legged, two headed creature had a power to pose a threat to the Gods. Zeus' solution was to enfeeble the four-legged creature by cutting them into two parts. This would diminish their strength and increased their numbers making them more profitable to the economic system of the Olympian Gods. Women and men were then forever destined to search the earth for their lost soul mates in a world deprived of the idealist vision of love. Inspired by Eisler's book, Doctress Neutopia wrote red-letter epistles to Mr. Biospheres in hopes of creating a partnership since their work seemed to fit naturally together. They seemed to be working on the same level of activity and consciousness. Even though their backgrounds and accomplishments were very different, it looked as though they were coming together as equals inspired by the same vision. Doctress Neutopia even proved her point by showing him a woodcut print of the planet's reproduction which she made several years before he described the same vision in his book _Biospheres_. After receiving a copy of _Biospheres_ in February 1990, Doctress Neutopia went into an ecstatic state for two weeks reading everything she could find on the nature of Philosophic Eros. During that time she was unable to sleep for her life was becoming the collective dream. She thought her exile was finally coming to an end! She had found her eternal soulmate, the alchemical blend! She realized that in the grace of Gaia's love and mystery of its will, it had brought them together for a common calling. They were to be a new model of how woman and man must live, work, and create together to build a gaian order for the human family. MEDUSA AND THE PHILOSOPHER'S STONE Doctress Neutopia realized from her research the evolutionary movement needed the linking of their bodies and minds, female and male, animus and anima and came up with the idea of Lovolution. Since he seemed to indicate from what he had written that a movement to save terrestrial life was needed, Dr. Neutopia invited Mr. Biospheres to participate in organizing the world lovolution. But he answered in a vituperative letter that he wanted no part in carrying out such a frivilous idea. Like Cassandra she was born to be ignored. The deadly tyranny of the curse of Apollo and Zeus was still around, destroying the world. Mr. Biospheres indicated he was satisfied with the incestuous relationship he seemed to have with Mother Earth and didn't need the recombination with another female deity. She asked herself, "Why do these men who consider themselves leading thinkers, fear to move beyond the so-called rational politics to explore the mysterious management of Gaia so that the human experiment could be saved? Was it because they were out, ultimately, to obtain the goal of power over the Universe...Omnipotence Unlimited, with the supreme power to shape all things without understanding the inherent kernel of wisdom from the Goddess Medusa?" How much longer can the ecosystem survive before the male magician sees the truth that the female wizard is the governess of the philosopher's stone? She has been flashing its radiant beauty in the magician's face for centuries in an attempt to break his amnesia so that he could remember the majestic serpent power needed to bring justice to this endangered world, impoverished by male rule. But for centuries, he has been under the spell that if looked at her, he would instantly be turned into stone. She was Medusa, mother of all the gods, the Queen-ruler of past, present, and future time. She was the Goddess who could destroy the present war regime with her prophetic tongue. This was why Athena gave Perseus the weapons to decapitate her, and why Athena hung Medusa's head on the alter of her temple as a symbol of Medusa's end. But Medusa was essentially the mistress of Timelessness. Once again, she has returned to seek her proper place beside the King of the Primordial Sea in order to destroy the incestuous relationships which control the family, schools, corporations, and the military-industrial regimes. Cassandra's prophecy was not solely a warning about the black rain on Judgement Day if we don't correct our insane patterns of social behavior and land development. But, above all, she held the trump card as to how to make the minds of the world flower from the global brain. Certain days, for some inexplicable reason, Dr. Neutopia felt if she could not convince Mr. Biospheres the feminist energy lacking in male reasoning, she might end up the first martyr to the cause of Lovolution. Mr. Biospheres had become for Dr. Neutopia the archetype of the patriarch and she was beginning to fear that he would never evolve to where his third eye, his soul, his anima, his inner ear, or whatever the reader wishes to call it, opens up to the divine life-force. But other days, she is re-empowered when as , i.e., she read, Brian Swimme's book _The Universe is a Green Dragon_. He writes, The slow learner has so many more opportunities to watch the dynamics of love's play. If he is the most stubborn human in the history of the Earth, he will have had the opportuni- ty to see how shrewd love can be as love penetrates all his character armor. When the stubborn human finally falls in love, he will understand how hard the universe had to labor to finally win him. He will know something of the subtle arts of love: how protean, how untiring, how confident, how intelligent, how faithful, how boundless, how inflamed, how unitive, how irresistible love can be. Such stubborn humans become the world's greatest lovers, for they have been through an initiation that demanded many resources of love; they make themselves just as irresistible and as intelligent as love in drawing others into the joy of living (64-65). This irresistible power in the joy of living is the charismatic energy needed to create millennia of peace. She felt it was ironic that Mr. Biospheres after writing books on sex and the nature of the Superorganism, could not understand how to tap into her microbial love. He seemed horrified that his words had given Doctress Neutopia the divine inspiration to write an epic love poem in which she and he became the principal characters who could destroy the sexist tales of Adam and Eve and the virgin birth stories which had for centuries repressed the true nature of romance. She wanted to confront him with her understanding that this was no laughing matter so he could break through his egoistic barriers and infantile relationships to reach into the geo-state of consciousness which could give him access to the mystery of unknown forces. She wanted him to fall in love with her ideas and accept responsiblity for a leading part in the Gaian mythic process which he espoused. How could he resist the protoplasmic bliss with a Queen of Love? THE GAIA MESSIAH AND THE ANIMA/ANIMUS THEORY The epic form is a rare cosmological event. Helen White in her book _The Metaphysical Poets_, (1936), quotes T. S. Eliot "The capacity for writing poetry is rare; the capacity for religious emotion of the first intensity is rare; and it is to be expected that the existence of both capacities in the same individual should be still rarer." Most writers agree epic is not a commonplace story. But as John Clark writes in the _History of the Epic_, it must satisfy the "grand emotion of the soul." The research of Dr. Renee Fuller, a physiological psychologist, leads her to believe that the story engram underlies our scientific and cultural world views. The story can awake individual minds from dormancy and call them to action. Educator Neil Postman has also written about the importance of the story in education. He states that now the two main world myths, Marx's communism and Jefferson's democracy have lost their meanings in our lives. Neither do people believe the myth that technological developments will eventually lead us to paradise or that consumerism will lead us to meaningful activity. Postman believes that the educational issue of the era is to create a new "coherent story for our times," a story which can give us "direction by providing a kind of theory about how the world works--and how it needs to work if we are to survive." To create a new ecological story of how we can live peacefully together is the reason for Dr. Neutopia's formulation of the myth of the Gaia Messiah. In his essay "Primordial Time and Final Time," G. van der Leeuu writes, "Myth is true history because it is sacred history: by virtue not only of its content, but also of the concrete sacral forces that it sets in motion" (Bollingen Series 1957, 330). The Gaia Messiah theory incarnates a liberated version of Carl Jung's animus/anima theory of female/male relationships. In Rosemary Ruether's book _Sexism and God-Talk_ she writes, Humanity images the divine, and because it was created in the dual order of male and female it cannot be redeemed by a male savior alone. The messiah must appear in female form as well. The messianic community also must reflect this partite of male and female in its organization structure (Ruether 1983). In Mary's Daly's book, _Beyond God the Father_, she also understands the messianic role of feminism. She says that the role of the Antichrist and the Second Coming of Woman are synonymous. She writes, "This Second Coming is not a return of Christ but a new arrival of female presence, one strong and powerful, but enchained since the dawn of patriarchy." The Second Coming is, therefore, "the prophetic dimension in the symbol of the Great Goddess" (96). Daly believes that symbolically the Virgin must free and "save" the son. But Doctress Neutopia realizes it is the Goddess Medusa, not the Virgin, who holds the key to unlock the chains. In agreement with the above feminist thinkers, cultural historian, William Irwin Thompson, sees Eros as the mover behind the next great world epoch. He says the last one crucified Christ, nailing "consciousness down into matter." His death made Thanatoes into a sacrament. Now what is required is the physical union of Aphrodite and Eros to give birth to the eternal on the physical plane liberating an epoch of love from the Christian death-trip. Thompson calls their embrace the touch of matter and antimatter (Thompson 1981, 252). Therefore, the Gaia Messiah theory delineates a feminist partnership, the emancipator of the wo/man mind through their erotic mystical union. Feminist scholars in disagreement with Jung's archetypal theory charge him with putting women in an inferior social position to men. Jung's theory states that every man has a female side to his unconscious psyche which he calls anima, while women have a male counterpart within their unconscious psyches which he calls animus. According to Jung, there are four different developmental stages of the female animus. The lower stage is that of the personification of physical power, for example, seeing the athlete as hero. At the next stage of animus, he possesses the ability for planned action and social reform. The third phase is the Logos stage where he becomes the clergyman or professor who controls the word. Finally, the last stage of development he becomes a religious experience incarnating a new meaning of life. M. L. von Franz writes in _Man and his Symbols_, The animus in his most developed form sometimes connects the woman's mind with the spiritual evolution of her age, and can thereby make her even more receptive than man to new creative ideas. It is for this reason that in earlier times women were used by many nations as diviners and seers. The creative boldness of their positive animus at times expresses thoughts and ideas that stimulate men to new enter- prises (Jung 1964, 194-195). Jung's male anima also has four stages of development. The first being the biological, represented by Eve. The second is the romantic and aesthetic level still characterized by sexual involvements exemplified by Faust's Helen. The third stage, Eros, is raised to a spiritual devotion as worshipped in the Virgin Mary. The fourth is represented by Sapientia, a wise woman transcending the most pure and holy women, represented by Athena and the Mona Lisa. (Certainly we have seen how Athena is not a symbol of wisdom or justice, but one of male manipulation.) Von Franz points out that modern man has rarely reach this final level of individualization. A man's anima helps him to find the hidden facts of his unconsciousness about himself and guides him to find his ideal mate. His anima helps him to open up to more profound inner depths of his character by becoming aware of his inner values. She conveys the vital messages of the great man inside himself. So why has it been so difficult for modern man to reach this final stage of development? Looking at Jung's theory, we see his sexist bias against erotic enlightenment in his last two stages of anima development which, I believe, accounts for why modern man has not been able to fully individuate. Jung thinks male rebirth occurs through a spiritual rebirth from within the virgin mother. Also, Joseph Campbell states that the hero is born through the virgin mother to represent his spiritual motivation into compassion which transcends his self-preservation and sexual motivations (Campbell 1988, 176). Curtis D. Smith writes in _Jung's Quest for Wholeness_, "Psychologically, Jung views "incest" as an appropriate symbol of the individuation process and the union of opposites. Incest symbolizes union with one's own being, it means individuation or becoming a self...Incest is simply the union of like with like" (105). It is at the virgin mother stage where Jung thinks the anima has developed beyond the desire for erotic and aesthetics qualities. Then we notice at the final stage, Eros is completely out of the picture as man searches for some transcendental Goddess who he will never find because the wisdom of the Goddess is immanence...the romantic, biological power of love. Romance is the supreme religious experience, the only phenomenon which will consummate a new meaning of life. The true test of the romantic story is its aesthetic qualities. Therefore, romantic love _is_ the Wisdom of the Ages. Jung describes man's anima in terms of Eros and a woman's animus in terms of Logos. This means that men's conscious strength, his governing principle is contained in the Logos, meaning the word and analytic thought. Jung felt by the nature of his sex, men were more assertive, courageous, objective, and spiritually-wise than women (Jung 1964, 194). Woman was naturally stronger in matters of love and relationships. She was passive, soft, gentle, and less capable of objective thinking and independent action. In other words, women have cultivated Eros and uncultivated Logos, while men have cultivated Logos and uncultivated Eros. He believed the two different components of the psyche were equally important, complementary, although contrasting. However, Naomi Goldenberg points out Jung's writings reveal his prejudice against the female Logos. He writes, The animus corresponds to the paternal Logos just as the anima corresponds to the natural Eros. In men, Eros, the function of relationship, is usually less developed than Logos. In women, on the other hand, Eros is an expression of true nature, while their Logos is often only a regrettable accident (Goldenburg 1981, 67). Further evidence of his bias against women's intellectual abilities, can be seen in his essay "Women in Europe". He writes, "No one can get around the fact that by taking up a masculine profession, studying and working like a man, woman is doing something not wholly in accord with, if not directly injurious to, her feminine nature" (68). Jung goes on to call certain universities in the United States as "animus incubators" that produce opinionated women who are possessed by their animus. He called these women inferior men who could not be as successful as men at doing such Logos work as writing books since their conscious strength was determined by Eros. Why couldn't Jung see that the driving force behind Logos was Eros? It was Eros, not Apollo, who inspired the great works of literature. In order for a woman or a man to write authentic poetry they have to connect with their muse...either Aphrodite or Eros...to make their works have a biological function for the survival of the human race. We write to attract our metaphysical mates who give us the union of opposities, enacting a new/old erotic world vision. Our salvation lies through connecting with the Goddess and God of Love and Beauty who are the muse of all the arts and sciences. Only when sexual unions have a survival reason for the future of the planet can the relationship bring happiness and fulfillment. A clue to the reason why Jung was not able to find the achemical union necessary for the foundation of a new religion is seen in his own relationships with women which is explained in Demaris S. Wehr's book, _Jung and Feminism: Liberating Archetypes_. Jung writes about having a dual perception of his mother which he called her "daytime" and "nighttime personality." Her daytime personality had an "animal warmth," was maternal and reassuring, whereas her nighttime personality was ghostly and spiritual, which was both fascinating and frightening to the young Jung. He writes in his _Memories, Dreams, Reflections_, By day she was a living mother, but at night she seemed uncanny. Then she was like one of those seers who is at the same time a strange animal, like a priestess in a bear's cave. Archaic and ruthless; ruthless as truth and nature. At such moments she was the embodiment of what I have called the "natural mind" (Jung 1961, 50). The spiritual part of her personality he called the nonrational and the maternal part he called rational. He said that when the spiritual voice talked "that meant something." The light side was concerned with facts, was ambitious, proud, and enjoyed itself. He called it the "outside world." The dark side was hungry for meaning. It would embarrass his rational side when it became too irrational by its lack of relating to the "outside world." Her light side was concerned with the practical matters of daily life where as her dark side was fed with Goethe's _Faust_ and Nietzsche's _Zarathusra_. This division of the female anima carried on in his relationships with the other two signifant females of his life, his wife Emma and his mistress and collaborator, Toni Wolff. Wehr writes, Jung had a "split anima" (a split image of the feminine operating within his own psyche), which was expressed in his divided loyalty between the two women. One of the women, Emma, respresented for him a "motherly container," and the other more of a "soul mate." Jung's split in images and experience-- between the wife/mother and the sexual companion--represents a polarity not uncommon in the lives of Western man (Wehr 1987, 31-32). In Toni Wolff's interpretation of the anima\animus theory she reflects this division by saying that in the feminine archetypes the "Hetaira" who she called man's lover, soul-sister and sexual companion are opposed to the "Mother." Jung described the opposition between the two as the dark side regarding the light side as his "thankless moral task." He believes conflict between the two is resolved by being "true to both sides of the conflict, allowing the resolution to emerge from the unconscious (Wehr 1987, 43). In his personal life, this resulted in trying to intergrate Toni into his family. However, Wehr points out in one of Jung's correspondences that he said, "Ultimately, we all get stuck somewhere, for we are all mortal and remain but a part of what we are as a whole. The wholeness we can reach is very relative." In Jung's own life, he was unable to bring the two together in order to free himself for the duality of darkness and light, to put an end to the conflict between the "Mother" and the "Hetaira." Unable to create the fusion he was unable to find the alchemical formula, the bliss of the two becoming one. Jung's lopsided theory undermined women's ability to express themselves in words and to, therefore, influence the social order. This is the same suppression we have found in ancient Greek mythology. For instance, the myth of Perseus who steals the winged horse, Pegasus. The horse was born from Medusa's dead body and, from her blood, poetry and the healing arts came into the world. Since in Jungian schema men have the superior power of language, the cultural roles between the sexes are not equally defined resulting in women's lack of publishing power and social respect. The same is true in the visual arts. Men were in charge of the way women "were seen and how they acted in the art world" (Borzello and Ledwidge 1986). They provided the supper, sex, and were his muse, model, and subject matter. She was around to prove he was a man, to make him feel like he was a god-like hero. When women were finally given entry in the art world, since they had no tradition of their own, they compared themselves with men. They became second-class citizens relegated to the less prestigious areas of art like teaching in schools and designing decorative arts. However, men were taught the skills for doing the historical and biblical paintings which were considered the most important work. They were allowed to paint the female nude, but women were not given this right. Without the skills to produce a narrative work, she could not penetrate into the sexist mythology destroying the world. Margaret Mead and other cultural anthropologist have proven that gender roles are socially constructed. In Mead's research of the people of the highlands of New Guinea she observed that in the Mudugumor tribe both sexes were aggressive and warlike; their neighbors the Arapesh, men and women were both nurturing and non-aggressive. The third tribe in her study the Tschambulie, women were assertive, practical, and competent while the men spent time gossiping, adorning themselves, and strolling about. The mythology of the culture determines the harmony between the two sexes. It determines whether or not the culture is peaceful or warlike. Consequently, Jung's anima/animus theory reinforces the status quo, stereotyping women as the good intro- verted housewives of the heroic men and the mistress as his private soul-mate companion. Unable to evolve out of the devotion-phase of the Madonna, and having the "magic authority" of the word, deed, and image denied to her, she is unable to revolutionize the ubiguitous and deadly misogyny instituted by the patriarchal system to ensure male dominance. Since Jung's theory splits mind from body men are consciously associated with mind (Logos), and women with nature or body (Eros), her animus becomes an extension of his imagination, establishing a parasitical co-dependency which sufficates both. He projects his anima onto her powerless being. Unable to publish her own script, she is captivated by his projections of fear, pornography, dread, hatred, seeing her as both the virgin and the whore, the devouring mother who turns into the nagging wife or spinster "hag" or the discarded crone. In _The Encyclopedia of Religion_, Jeffrey Burton Russell predicts, "The witch, melding the two archetypes of human hag and evil demon, is a powerful metaphor whose power may be diminished from time to time but is unlikely to disappear" (423). When Jung's archetypal theory is seen as frozen without the possibility of change, this dualistic, neurotic relationship between women and men becomes the stumbling block to our further evolution. Women are paralyzed by not being able to influence the conscious thought of the culture, while men cannot find the female sages they need in order to develop their anima to the most advanced level of wisdom. This prevents creative partnerships so necessary for the manifestation of a new meaning of life to come into existence. It inhibits bringing the romantic metaphor into its primal position as evolutionary herald. In her essay "From Muse to Heroine," Anne Griswold Tyng writes, "When a woman reclaims her own animus or is aware that she has projected it onto someone herself, when a man assimilates his own anima or becomes similarly aware of his projection, both become more complete and more creative" (Berkeley 1989, 184). In opposition to her husband, Emma Jung in her book _Animus and Anima_ also believed that what women needed was not less animus but more; that is, more logos, power, and meaning. She showed how there are two sides to animus projections: a positive side, and a shadow side. Examples of the later two stages are the animus of the word whose positive side would be that of a poet. On the negative side of the word would be the fire and brimstone preacher. The animus of meaning is exemplified by the prophet or philosopher, while the negative side would be the dogmatist. She further observed that women who seemed to have overbearing personalities were the ones who projected negative sides of the animus which sadly enough the patriarchal social system rewards. How apparent it is that Society rewards these negative projections of men because we live in a warrior, money worshipping culture which has divided Logos from Eros, marriage from love, sex from meaning, and art from life. If an epic poetess is unable to have her wisdom heard and her vision enacted by radically transforming the male anima through the magic of the Gaia Messiah, our barbaric culture will not be able to develop into a civilized state. We will continue to have to witness the devolution of our ailing species. THE RUSSIAN REVOLUTION Thomas Carlyle believed the natural inequalities among people, created from our different levels of animus/anima development, allow for the conditions out of which the great wo/man could arise. However, Bernard Shaw points out in _The Intelligent Woman's Guide to Socialism and Capitalism_, Between persons of equal income there can be no eminence except that of personal merit. Hence, the naturally eminent are the chief preachers of equality, and are always bitterly opposed by the naturally ordinary or inferior people who have the larger shares of the national income (xx). In order to create a global meritocracy/democracy form of governance/education based on an equal credit system for personal needs which can be found in Doctress Neutopia's yet-to-be-published essay, "Education With A Corrupt Mission?" we must visualize a new architectural foundation. Some of these utopian ideas were discussed at the beginning of the Russian Revolution, but were suppressed because they threatened to destroy the bourgeois nuclear-family structure by creating a new cities reflecting back to the ancient matrilineal tradition of communal ownership of land and the means of production. The avant-garde architects of the nineteen-twenties knew that in order to have a complete revolution a new physical architecture was require, for how could there be the new woman and men while surrounded by the old capitalistic cities? Architects took it upon themselves to be the "new social condensers," building "both the framework of the society and that society itself" (Kopp 1970, 240). They were the instruments who transformed the capitalist chaos into a new humane, social order. They sought to build the cities of the future in which individual lives could be dedicated to the good of the whole. An extremely radical, important, and lively debate sprang from the questions of how the new Socialist City was composed and were the old capitalist cities worth reforming. Two opposing groups arose from the debate. One called The Urbanist planned to radically alter the traditional family structure by building communal housing complexes with a socialized way of life. Marriage would be a free association based on mutual esteem which could be easily dissolved should harmony cease to exist. Domestic work would be communalized so that women would be able to join the labor force. Lenin writes, "We will create model institutions, canteens, daycare centers, nursery schools, that will relieve women of domestic cares..." (Kopp 1970, 103). It was thought that once the ideal communist city was built and production was fully automatized, everyone would have four hour work days or less to do the required common tasks. The other hours could be spent in self-selected creative work, activity, and study, or at the workers clubs which allow workers a place for relaxation and the renewal of energy after the working day. The purpose of the clubs was to liberate people from the former oppression of the church and state by creating a community of decentralized power. The neighborhood clubs were places were theater and democratic, grass roots activity could occur. The authors of _The Ideal Communist City_ foresaw a time when "the use of laminated, transparent plastics may lead to the creation of fantastic cities under transparent domes" (co-authored Gutnov 1968, 116). The second group was called The De-urbanists. They embraced British Ebenezer Howard's garden city and garden suburb approach to city planning where clusters of individual housing would be built along with buildings to satisify public needs throughout the Russian countryside. Through the energy grid and mass com- munication networks, industrial cities could be built anywhere. The automobile errased the former inequalities between the town and country which was used to suppress the peasantry for so long to be ended, as suburbia "decentralized" the landscape. This great debate was ended in 1931 by the Communist Party when they decreed that all cities were Socialists cities by the fact that they were part of the Soviet Socialist Republics. When the party called for an international competition to reconstruct the New Soviet Capital, the possibility for building an entirely new kind of city from scratch was ruled out. Censor-approved socialist realist literature portrayed the new Soviet hero as a career-minded, dedicated manager who aspire to own his own house and car while the underprivileged live in overcrowded tenements in slums. Last year, while I was boating along the Volga River towards the Caspian Sea (1990), The De-urbanist's vision could be seen bulldozing the land throughout the grassy countryside. But, the ideal communistic city was nowhere to be visited except for in one's heart and mind. The Urbanists architects did not have the technological know-how or the economic support to build the cities that they imagined. Plus, the people were still caught up in the standards of taste and ambitions of the former ruling class. They were unable to appreciate the ideas of the supercollectivists' plans which were still not clearly formed. Lenin was not sensitive enough to understand modern art and Surrealist movement, calling it a self- serving art of the avant-garde. He thought that neither could the workers relate to its abstract meaning. John E. Bowlt in his essay,"The Failed Utopia: Russian Art 1917-32," says that Lenin was always on the side of preservation. He thought the proletarian culture must be founded on the best traditions of the feudal and capitalist past. Lenin writes, Why do we have to turn away from the truly beautiful, reject it as a starting point for future development merely on the basis that it is "old"? Why do we have to worship the new, like a "god" whom we have to submit to simply because "it is new?"...I just cannot consider the works of Expressionism, Futurism, Cubism, and other "isms" as the highest manifesta tion of artistic genius. I do not understand them. I do not experience any pleasure from them (Bowlt 1971, 45-46). Lenin proceeded to make Classicism the _official_ form of Soviet expression which one might say ended the Russian Revolution because art is the expression of the future that opens up the mind to new ideas. British spokesman for the Surrealism movement, Herbert Read, asked, "You do not reject the philosophy of Marx because it is impossible for every workman to understand. Why, then, should you reject a revolutionary art because, for the moment, it is difficult to understand?" But there was never a communistic campaign to try to educated the Soviet people to the philosophies of modern art. The Surrealists were one of the first Leftists groups to reacted to the fascist threat calling for an Appel a la lutte (call to Struggle). Signed by the leading intellectuals, it called for a general strike. However, the Soviet Writer's Congress disapproved of Surrealism because "socialist realism is the enemy of everything supernatural and mystic, all other-worldly ideals" (126). Since Socialist Realism had to be realistic in form and social in content, the policy of 1934 Congress was in direct conflict with the freedom of mind principles of Surrealism. Surrealists were finally expelled from the party. Nevertheless, they continued to speak out against the policies of the Soviet East and the capitalist West, refusing to side with the right wing as many intellectuals did after being disillusioned by the Communists. The Congress was blind to the fact that Surrealism explanded the revolution into the unconscious realms of life. The Surrealist believed "with the increase of leisure and education of a liberated proletariat, poetry would no longer be the province of a privileged few" (Lewis 1988, 134). They thought everyone could be taught to access their unconscious energy for creative purposes. Claude Cahum, a left wing writer called Surrealism, the most revolutionary poetic experience of any capitalist regime...The Dadaist-Surrealist experiment...has tended to destroy all the myths about art that for centuries have permitted the ideological as well as economic exploitation of painting, sculpture, literature, ect. [sic]...This experiment can and should serve the cause of the liberation of the proletariat (Lewis 1988, 134). However, the Communist bureaucrates thought the Surrealist attempt to connect the awake world with the dream world was counter-revolutionary. Surrealist not only thought art was to serve the revolution in immediate ways, but it worked to create internal revolution within the soul of people. Alquie in _The Philosophy of Surrealism_, wrote the "greatest contribution of Surrealism was to have linked together the spiritual emancipation of the individual with the social liberation of man, seeing both has nessessary to the revolution" (170). Their goal was to liberate the "creative power of the unconscious from the prison of logical thought" (175). Trosky was interested in the Surrealism movement. He wrote, "If society does not succeed in reconstructing itself, art will inevitably perish. Hence, the function of art in our era is determined by its relation to the Revolution" (145). He called the art of the Stalinist era as the expression the decline of the proletarian revolution. Trosky wrote, a genuinely revolutionary party cannot and will not wish to "guide" art, let alone command it. Only an ignorant and insolent bureaucracy run amok with arbitrary power could conceive such an ambition... Art can be the Revolutions' great ally only insofar as it remains true to itself (146). While Trosky was in exiled in Mexico the founding philosopher of Surrealism, Andre Breton, paid Trosky a visit which resulted in their joint authorship of "Pour un art revolutionaire independant," an art manifesto. The manifesto was an appeal for revolutionary writers and artists to find a common ground in order to struggle against the reactionary forces of Social Realism. However, they never stated how reactionary artists should be treated. The authors were very conscious of the possible abuses and misinterpretations in putting a clause in about the censorship of reactionary art. The manifesto called from a new role for artists, different than their roles within the bourgeois democracies, fascist dictatorships, and Stalinist Russia. They wanted to create a geniune culture of world peace, denoucing all form of nationalism. Unfortunately, Breton and Trosky were unable to solve the problem of how revolutionary artists were going to be able to function as such. To conclude, the revolutionary architects and artists were offering long-term solutions to problems when the people were demanding simple answers and immediate improvements. The Soviet government was more concerned with building an industrial nation which could compete with the "West" than with building cities socially liberating. Lenin was certainly not the feminist philosopher-king which was the factor missing from the Russian Revolution! As we approach the 21St Century, the possibility of creating biospheric arcologies on Earth and in Outer Space gives us this new foundation to finally create Gaia's kingdom. Certainly there must be a better word than kingdom. What is the word which best reflects this messiahship of the Juno and the Genius? [Juno was the word meaning the Three-in-One deity of the Goddess which patriarchs dropped from the vocabularies to deprive women of their souls. It corresponded with the male word genius. It is no wonder why there have been so few women Junos!] Or does Kingdom of Gaia suffice? Isn't it apparent why other types of thinkers need to become involved in this apotheosis? And how terribly frustrating and extremely painful it is for me that other gaian philosophers have not yet appeared to respond to these ideas? Even my own husband is totally uninterested in discussing Neutopian Thought and the Future Studies Program at the University of Massachusetts was one of the first meaning programs wiped out by budget cuts leaving Doctress Neutopia seemingly with no one at on Earth, except for Venus, with whom to exchange ideas. Somedays, I am made to feel as if I will go insane or commit suicide as a result of this intellectual and emotional isolation. I wonder if anybody would even bothered to read this far through the letter. How do other people cope with the terrorizing emptiness? So I look to love to help me bear all sorrow, pain, and rejection, so I can live on despite this excruciating heartache to see the wave of Lovolution.