Torturing The Food To Death After It's Fucked It
Torturing The Food To Death After It's Fucked It
Because men and women are only capable of fucking and eating in physical terms, that is, apart from defecating, that’s the function of the body, creativity develops from that. In psychological terms, the ‘father of psychoanalysis’, Sigmund Freud (1856-1939), argued that civilization, culture and art was ‘nothing but’ the result of sexual repression, while using ‘penis envy’1 as the basis of his thesis. What Freud noticed was that girls experienced ‘penis envy`, although he didn’t examine the biological evidence of women who have penis and semen of their own, that is, futanarian ‘woman’s seed`, which would explain why girls experience ‘penis envy’, because theirs is an independent species whose imagery isn’t disseminated through the mass media, so that girls can be educated in the alternative possibilities for fertilization of their ovum. Consequently, Freud’s repression theory of an ‘id’ that contains everything that the unconscious mind doesn’t want to deal with consists of futanarian imagery.
After Freud, the developmental psychologist, Carl Gustav Jung (1875-1961), posited a theory of the archetype, a facultas praeformandi in the unconscious mind that, in dreams, art and the imagination, impelled the individual to become conscious through what Jung called ‘archetypal imagery’, for example, the hero figure represented the ego, and the mother, sister, daughter, wife, etc., a soul image Jung called the anima. Although Jung observed that the hermaphroditus appeared in alchemical texts, which he interpreted as having something to do with the emerging consciousness of the medieval period, it didn’t occur to him that what he called the mysterium coniunctionis or ‘royal marriage’ of opposites, that is, the hierosgamos, was an actual physical possibility, represented by the union of women with penis’ semen and women without, although it would have explained Freud’s theory of sexual repression, that is, civilization, culture and art was ‘nothing but’ the result of the repression of human sexuality, where women are the species’ butt.
Although the 20th century was in many respects a great flowering of creativity, imagination and art, it was also a period of hideous atrocities and appalling waste, for example, the extermination of 20, 000, 000 Jews in the death camps of the elected National Socialist (Nazi) Party of Christian Germany from 1933, and the hijacking of civil airliners by the terrorist group, Al Qaeda, ‘the base’, operating under the auspices of the notoriously misogynist Taliban regime of Afghanistan, before crashing them into the Twin Towers of the World Trade Center in New York city, USA, on September 11, 2001. Though these events amongst many seem unrelated, it’s understandable if the Old Testament of the Jewish Torah and Talmud, that is, their history and law, is referred to, because in the Bible humans are defined as ‘woman’s seed’.
Although God tells the first created woman, Eve, her ‘seed’ will have ‘enmity’ with the ‘serpent’s seed’, ‘You shall crush the head of the serpent but he will bruise your heel.’ (Gen: 3. 15) In the New Testament of the Bible, Jesus’ disciple, John, in his apocalyptic Revelation of the future, describes the results of a growing serpent, ‘The dragon was wroth with the woman and went to make war on the remnant of her seed.’ (Rev: 12. 4) The New Testament was based on the teaching of Jesus ‘Christ’, the ‘Messiah’, and was believed by the Christians to supersede the Torah and Talmud of the Jews, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31) During the Roman Empire’s occupation of Jewish Palestine, Jesus was taken to the hill of Calvary outside the city of Jerusalem as a ‘dissident’, where he was nailed to a cross of wood and died. However, his experience of resurrection, and ascension to heaven after death, prefigured that of ‘woman’s seed’, because Jesus was born uncontaminated by male semen, from his mother, the Virgin Mary, and ‘We hold these truths to be self-evident …’2
The serpent in the paradise of Eden created by God was the angel, Satan, according to the Bible, who was turned into a serpent for rejecting God’s plan that the human host be greater than the angelic. Persuading Eve to accept the ‘fruit of the tree of the knowledge of good and evil’, which was death, Satan overcame Eve’s resistance to selling her species into ephemeral slavery, saying ‘You shall be as gods.’ (Gen: 3. 5) Afterwards, Satan was in the role of plagiarist, because God’s intention was that ‘woman’s seed’ would be civilization, culture and art. Or, to put it another way, Freud’s theory of ‘id’ repression psychology plagiarized Satan, while Jung’s developmental psychology was based on Satan’s palimpsest, that is, he deduced that the unconscious contained an archetype he viewed as approximating to God but it was so well buried it was almost impossible to discern ‘woman’s seed’ struggling to breed.
By the early 20th century the foremost home communications’ device, the internet, was able to admit that women’s penis’ semen existed, although there was a bizarre taboo amongst pornographers preventing images of futanarian women having sex with women without penis’ semen of their own, although it did emphasize its meat as slave aspect. Consequently, the opposing creative philosophies were Satanism, and ‘woman’s seed`, that is, civilization, culture and art based on fucking and eating with good taste, and slavers’ wars based on fucking and eating who tasted good.
In the novella, The Unpleasant Profession Of Jonathan Hoag (1959), by science fiction writer, Robert A. Heinlein, for example, Hoag is a Critic amongst other Critics of the world, which is revealed to have been created by an ‘artist’ as a student project. Eating and drinking is an aspect of the creation, and sex, which of course is what humans are physically designed for. The ‘Sons of the Bird’ are an artistic mistake ‘painted over’,3 although they remain powerful, and await expungement, that is, they represent slavery. Hoag advises his friends, a couple, Ted and Cynthia, to leave the city, Chicago, Illinois. When they roll down their car windows, all that’s visible outside is pulsing, luminous mist. Now, every night before going to sleep, ‘he handcuffs one of her wrists to one of his’, which symbolizes the irony of a slaved society.
Although the simian SIV virus mutation, HIV/AIDS, had been discovered by DR Congo in 1983, an ‘incurable killer disease’ transmitted by homosexuals mixing blood, shit and semen in each other’s anus in mockery of women’s human mode of sexual reproduction, it wasn’t generally perceived that the monkey-fuckers were aliens launching a ‘biological weapon’ against ‘woman’s seed`. However, since ancient Greece’s institutionalization of women’s host wombs for homosexuality in pederasty and war against her species, it had become evident that the future of men was as the HIV/AIDS’ injectors of the ‘serpent’s seed’ in its ‘plague game’; biological warfare: `Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.’ (Rev: 16. 11) What they’d done was introduce contaminated meat, which annoyed the butchers, ‘We the people …’4
The 20th century movie about slave meat was Soylent Green (1973), based on science fiction writer Harry Harrison’s novel, Make Room! Make Room! (1966) in which industrialization has led to overcrowding, pollution, and global warming due to the ‘greenhouse effect’ in which urban conurbations produced heat that melted the ice at the poles, for example, and caused flooding, cyclones, famine, and plague, etc. The premise of the film is that, by 2022, 40 million people live in New York City, a state of decay. Most of the population survives on rations produced by the Soylent Corporation. Its latest product, Soylent Green, is advertised as containing ‘high energy plankton’ from the ocean, which is more nutritious and palatable than ‘Red’ and ‘Yellow’ but not so easily obtained, while riots at ration distribution centers, when the Soylent Green is exhausted, result, ‘When I was a kid, you could buy meat anywhere!’5 Scientists discover that the oceans no longer produce the plankton, so they infer that it’s produced from human remains, which is the only other conceivable supply of protein matching the product specifications: ‘Ocean's dying, plankton's dying ... it's people. Soylent Green is made out of people. They're making our food out of people. Next thing they'll be breeding us like cattle for food.’6
Some of the people in New York city are so disgusted with their degraded lives they seek assisted suicide at a government clinic advertising a ‘return home to God’, which euthanasia employs visuals and music featuring extinct forests, wild animals, rivers, and ocean life. Much in the way that the men and women manufactured as a single male brained creature wearing each other’s clothes in ‘TV’ transvestism occlude humanity from perceiving ‘woman’s seed’ as an antidote to homosexuality in pederasty for war against the Earth’s indigenous species; by presenting a false picture transmitted into homes by the ‘TV’ medium of television, etc. Actor, Charlton Heston, in the role of Frank Thorn, the detective, observes human corpses being ‘converted’, ‘Soylent Green is people!’ The metaphor is a not-so obvious parody of Catholic Christian conversion, because futanarian ‘woman’s seed’ doesn’t want to be the ‘cattle like’ food, although its preachers have obviously shot their congregation in its futanarian ‘foot’ by refusing to accept that the soil it’d been lent wasn’t for the ‘serpent’s seed` to hold as self-evidently its.
1 Freud, Sigmund, On Sexuality (PFL 7), p. 195-6.
2 United States’ Declaration Of Independence, July 4th, 1776.
3 Heinlein, Robert A. [John Riverside] The Unpleasant Profession Of Jonathan Hoag, Unknown Worlds, October 1942.
4 United States’ Declaration Of Independence, July 4th, 1776.
5 Robinson, Edward G. as Sol Roth, Soylent Green, MGM, 1973.
6 Heston, Charlton as Detective Frank Thorn, Soylent Green, MGM, 1973.