Deorum Tantum Feminae II
Deorum Tantum Feminae
“I am the ruby red that dwells with the horizon, the world in me is shining.” Callassa
“You may hold me to the promises I make, because though all will fade my emotion will not, in agitation and rest, in turmoil and peace, I am forever.” Callassa
“I will whisper when the summer sings and the sun shines bright light. I will whisper when the ocean roars and makes imaginary and perpetual night.” Callassa
Pictorial introduction at intra mulieris
“This to come will blossom and will remain an orchid in your psyche.”
Welcome. Here is a place for you to stay, a magical place and in fullness, a womanly place. My thoughts are for you to feel. My thoughts are not at all from the usual of life, so leave all of that for now and meld with me.
My companions Olga and Elizabeth intend to expand on this content in the new ‘creativity forum’. This should provide an interactive stage and they will be able to explain things more.
“While, when evening descends and as half-light flickers upon me, I dangle the onlooker suspended in a highly kindled state. There is a vastness of a void made suddenly alive with multi-sensory elements and these can devastate and be merciless in their capacity. My hair, the blood symbol of the red rose upon the tears of time. My thighs the curving highway into oblivion itself and where the made majestic and the most magnificent begin. My voice, an otherworldly paradise-fountain that kindles and winds the strands where within resides the poetry of the cosmos……. “
CALLASSA, from; “She Bird Song. A Starlit Specter Bright’.
In what is immensely rich, and with depth-less introspection, this, what is much more than a dream fantasy in the making, I aim to portray a major, more, an overbearing drama that I can share. I am literally brimming with agitation at the prospect of doing so.
But for now; who am I and what am I? Well, to be brief all I can say is that soon you will discover there is far more to me than being a writer. Oh, I know there are lots of things said regarding this and that, much done for whatever conviction pertinent, ideas cast that are forgotten if ever they were known of, yes and it is that ‘things’ are not expected to be unique in this world become a technical machine, of required service, notorious and of inflated capacity. However, in this burgeoning closeness which I intend to facilitate, there will be an embrace that transcends all of what comes and goes and with whatever association attached. What I mean is that you are the central facet and your emotional capacity to experience is what matters to me.
So to begin, here is a short passage to create the milieu that is home to me. It is not only intended for women, no, and do feel empowered by its expression. You may direct this message toward those myriad living across the world who are inclined for whatever reason to view others as being of their potential and to be made from their image. We are neither.
‘….and in this interdiction I have to wonder what you think. Yes what, because you look at me that way and I can fathom who you see, my beaded black velvet and my dark eyes made darker as they are. Look at my nails, they are painted black too. I know I am a mystery to you and mystery is threatening because you want the woman to be as you are and you control her life’s moments in their entirety. I am beyond all of that and you cannot reconcile with my mastery, my power, my sex. You could not breathe my fragrance and vision the woman as cosmic dust upon the dew and the petal red. Neither the whispers had in the garden bright, as mid-summer is bright silver in the day’s light. No, you would want me made vulgar, dispossessed and useless. See my breast how it heaves and how you fight against my threat. My thighs in their vainglorious phantasmagoria hurt the very core of your being and yet, you remain. Why?’ extract from ‘A Woman Wakes’. Callassa
Here is an extract prepared from a conversation I had in London during March 2014, with our mentor, Stephen Wyndham-Lewis;. Sentire autem non est cognoscere:
I wanted to ask Stephen whether what directed him was only that loosely described by the term ‘classical, and that pertaining to art’ or whether it was all products of what he’d called ‘creative genius’? There really did seem to be something in what he was saying which embraced my own thoughts and wholeheartedly. I refer to those thoughts I had kept largely to myself. I was going to tell him that I thought that we lived in a ‘duration’ as he’d put it, in a kind of enslavement to the inane hankerings of people, whose sole motivation seemed to me to be the encouragement and satisfaction of greed and power. There was little value placed upon creativity, only that it be capable of satisfying these two criteria. Whatever aspect of the natural world creativity honored was of no importance. I didn’t wish to appear a person with extreme views, so I held off. However, what he was saying was continuing to strike chords with me, especially his referring to that, which was unchanging, was perfect and beyond the mere trivial thought which had enslaved much of many if not almost all lives lived to date….
Now that you are with me tentatively, allow me say; I am encouraged to think very deeply, yes, and from this state, scattered across vistas far and wide, to enter new realms of creative possibility, while in addition, seeking novel and colorful ways of describing and presenting the products of my thinking.
This provides me with a wonderful and exciting remit and where I am neither restricted or confined. Importantly it beckons an audience into a place that didn’t exist prior and where all manner of considerations can be provoked and explored. You see, it’s not just about reading my writings but being affected by certain of it, if not all, and subsequently leaving with a residual facet that is significant.
My name, Callassa. I am very proud of this purposefully chosen description. I hope that you will continue with me in this enjoyment. Please do not feel that you are on the outside, that I want something in return, because I do not. I have everything that is important.
Here is a link to a new writing project which is currently being re-worked. It touches on the scientific subject of space-time, but I thought this portrayal would captivate much more! I have commandeered pages of Elizabeth’s animal appreciation site because it has a different and creative presentation and suits very well. Also, I want to experiment with ways of presenting myself, via long portions of text and incorporate them here, thus shift from Olga and Elizabeth’s original idea of ebooks. But for now, you will have to go and return after. The title is; I AM ZA. A phenomenal new project by Callassa
As I hinted already, my desire is to provoke the deepest and most meaningful dramas of life, thus dismantle certain if not all repressive effects that do prevail. I wish to facilitate dialogues where minds can meld, merge and develop and do so not only in what is undeniably evolutionary and revolutionary, but in my very warm and receptive climate, my multifaceted and intimate cocoon. Let us work together and widen existing definitions of things.
Before I introduce you to my close friends who organize and present as Callassa Media Company, allow me to share this thought; it’s not that I require the latest paraphernalia to express myself, nor for what I say to be appreciated, better put, there is no requirement to be fixed in any era or paradigm. How I appear during one moment might well be entirely different than the next, but the underlying stature remains, as it always shall remain. You’ll see. Thank you. Callassa.
“Make me Complete” by Callassa. from She Bird Song (c) 2017
Greetings from Olga and Elizabeth
Hello. We welcome you during this moment. Yes, we do and we hope that you stay with us because we would like you to wander in what we, the members of Callassa Media Company portray. The intention being for you to experience more than mere wishes, more than the yearning of dreams. Sontire autem non est cognoscere.
A very tall order? Yes, we do agree!
The Callassa repretoire is huge and portrays a great deal as you can imagine, and we must deal with it in the depth it requires. There are extreme pictures of the adoring, of the awesomely beautiful, of the macabre and of the absolutely stunning to show. We thought that this, an initial beckoning, would be to try and acquaint you with the material by writing excerpts and asking others to say a little about each work. We originally arranged it all as books but we are in the process of presenting long readings that everyone can see because we don’t care much for appearing as a commercial organization.
As an aside; an intervention from Stephen Lewis (W-L); Elizabeth’s father (Lt. James McDonald) served as a pilot in the USAF, during WWII. He volunteered as a glider pilot for a mission that was subsequently aborted at the cessation of hostilities. The ELECTRIC PICTURE GALLERY displays a collection of aviation photographs which he collected. This constitutes an immense collection of primary source material. In addition, on reel to reel, we have what captures the essence of the aviation industry during the American pre-war period. Currently we are having these converted. (W-L)
*Stephen you also have to say that he was much older than my mother!
Just to reiterate, we want you to remain and immerse yourself deeply in our material. I think that when you get into it, you might want to ask us questions. If you do, we shall endeavor to reply. This is a rallying call to those seeking an embrace because herein, the ‘whispering messages’ offer something so very different and invigorating for being so, yet does not exclude anyone from its intrigue.
Just a sentence or two to tempt you toward the extracts and spoken word
What might be the most desirable, the absolutely strangest and possibly the most terrifying thing of all you could ever encounter? Do you think that written text can mirror this or that it is more the realm of the computer game? What if, by the uniqueness and impact of the written text, a ‘door’ is provided to what has to be the most sublime of worlds? A world nothing else can indulge.
What beauty or experience might you expect to find beyond that door and how could it best be made available to you; the limitless desire, the awesome ferocity, the deep meaning that lingers on, if indeed, this is what it is? What of already held expectations? What if these expectations are shattered and cast as dead leaves to be taken by winter winds? Hmm….We know that you are pondering, to what expectations are we referring and what is it that we are offering? Like we said, our aim is for our performing to be altogether different and of course, we are confident that we can deliver this intention, which is why we decided on this particular course.
All we shall say here is, that we would like for you to be enthralled. Yes, enthralled in the most powerful way that there can be. Our performing is not what some would perceive as being of the pragmatic, nor what some might like to see or hear. Obviously, there are those who are seeking something, but have not been able to fathom precisely what, nor have felt sufficiently at home in any mind-set, nor place offered them. Enough, for now!
Olga and Elizabeth
How deeply might we travel into the oblivion of emotion? Callassa is both the sentiment and the vehicle.
“I was walking with my hand upon his, “I like your hand there,” he said. His pale blue eyes in their gaze, direct, disconsolate and brooding, they. He knew he would not go far and I, be hurt. I wanted to stop for a moment because the river appeared as red against the deep dark of the sky.” from ‘The Goddess Book’. Callassa
Callassa is a registered trademark
Callassa Media Company Ltd. London
NEWS: We are heading toward a more deeply Victorian presentation because this is Callassa’s wish, so in conjunction with Phil Johnson, Blast Creative UK and Sheffield Hallam University UK, we are to be developing this website. Therefore it will be in a state of flux for the foreseeable future. Fun!
Coming soon; ‘The Rebirth of Rosa Rubens’ . Also a new Jack Bailey Presents, ‘Jack Bailey in the Nineteen Sixties.’ ‘The Story of Ursula’. ‘When Only Pigs Remain’ will be presented within the next two months. ‘Rosa Rubens. Intimacy of the Rose’ is currently being edited. ‘Benner’s Book’ (The Tribulations of a Satanic Taxi Driver) ready too. Love that title!
CALLASSA SPOKEN WORD
In arrangement with the highly acclaimed British actor and voice-over specialist Philip Hurd-Wood, and who adores Callassa, we are currently producing Callassa Spoken Word, ‘As a Starlit Specter Bright. She Bird Song’ and much more. This is going to be transcending in its intended revival of Victorian verse and prose. We are excited about this because of the extent of Callassa’s expressive power and effect upon the emotions made. Soon, there will be a new page and with visual displays, a few excerpts to read and plenty to hear. Do take a look : Corpus Mulieris in Femina
“There is harmony among the motions of wings as they reassemble and sing above the wheat tips. There is mystery in the stories told among the societies all hidden from my view.” The She Bird Song. Callassa
“My hand is held high. I am out of sight. I am hidden because my heart and my mind are thunder. No longer in daytime be you, my beautiful stars, perpetually bright. Your grace in death is to be in unity with me. I am all you shall ever see. Walk slowly together. Take small heed to things. Toward faintness, fading, fallen fruit. Scatter that with the wind, my truest loves. Gather in my cloud, forever, to remain and never be forgotten.” I am Palisades of Silver and of White. (c) Callassa
We have many captivating projects, together with ample resources to support them that we are hoping to complete this year and next, super projects which have attracted much intellectual/ international interest and are in large part a real test of our ingenuity in delivering completely unique ideas. But we think this is how it should be; this being the capacity to recognize the plethora of opportunities available, to innovate and to grow.
Callassa Media Company
Callassa Media Company. January 2017
prepared by Olga Rubenskaya and Elizabeth McDonald
Deorum Tantum Feminae
The Goddess Website
Who is Callassa? Callassa has to remain a mystery.
Over to you, dearest Olga.
I want to stress that Callassa is much more than the name of the ‘company’, the website and so on. We are the mouthpiece, or should I say that I am. Ha! If that were true. Actually the whole repertoire is ‘The She Bird Song’. That’s a description from years and years ago. In addition, we have to make this conversational so there might be certain things said by us that appear trivial, idiosyncratic, personal. There will be what undoubtedly is difficult to take in. For now to say, we have shifted to the Creativity Forum and this is our place for discussing Callassa. Yes, you will discover a great deal about us, what we do and where, and again, dare it be said, more than is usually the case.
I’ll say that there’s so much happening it is mind blowing fabulous. Really, this is true, and there is a great deal yet to be done, in fact everything to be done and we have wonderful assistance on this, our journey to a destination we can’t even visualize.
The intensity of the compulsion to reach beyond limit is overwhelming. This is how we have always felt. The most rewarding for us is when someone who has read the Callassa material falls in love with it and therein, it remains in partnership with much question asking. It remains very powerfully, as a piece of a large jigsaw puzzle of life.
Are we, or should I say; is Callassa different, one might wonder? I know this has been stated already, but it depends how you look at the question, what arises to the fore is that we are about presenting art and here be somewhat different than what is the commercial thrust that carries most activity. We began with the question regarding what price is placed upon creativity. We think creativity is priceless.
“There is the red, the deep, the deep red, the squirting and the spitting red. My comrades all. Red. Red. Red. Take life from my body. Take it now, my companion, here from whence I do come. Into gloom my love, I can give you life. Succor me my own, my love, my boy-love swoon. Not to say the final farewell. Not the futile curse upon you.
Be again the face I knew. Reach. Reach to me. Ignore the thunder and the flash. Ignore the fire in the choking breath. Be again, the beautiful. Be my beautiful.
Rouse. Rouse. Cold star. Rouse in my flock of birds, my dead English soldier. You are never to cower, never to be food for their gallant lies, never to be blown to bleeding pieces, never to be suspended in the air. Red. Red. Red. Who the spirit of this? This? Who is the killer of youth? Red. Red. Red. Red. Red. Red.
From sleepers I did disturb, that they spring up in recognition.”
from, I am Palisades of Silver and of White. Callassa
A superficial and disorganized wander
We are not so organized as you have likely surmised. To be brief, I experimented with the Translucent Haze book presentation. This addresses the issue of the problem with moving from preconceived notions and expectations regarding reality as it is perceived and ‘understood’ to be. If a space event presents such that our capacity to make it understandable produces nothing, what then? We can try portraying it in ways and means we have, but what would be achieved by this? The book has provenance in phenomena research we were engaged upon and kindled by our interests around this issue. Actually it’s based in San Francisco. Are we referring to ETs? The answer is yes, but we conflict entirely with the position of others with this. Please do take a look at Translucent Haze. A Phenomenal new project by Callassa
ROSA RUBENS (Intoxication and Transfiguration) is here at last. Rosa is book one of the series and needs much by way of discussion. It continues on from Translucent Haze by addressing the subsequent and deep emotional trauma that ensues when what cannot be understood is encompassed by something (a woman) that can be. Does that make sense?
Why the Goddess website, well most of the books feature extraordinary women, they feature women in most extraordinary ways. There is much said, much done but there is one facet of life that when experienced triggers the transfiguration. I can say that this has memoir in Psyops projects we were involved with (very hush, hush) where on the face of it ‘compelling personality’ becomes smashed apart by a beautiful, sophisticated, mysterious, talented….woman. Further, that during one ‘chance and fortunate encounter’, she is sitting up in bed and he, while gazing at her knows that every second of his life hence is going to be fueled by desire…to be acceptable to what she wields before his eyes. Another way of articulating it here is; a reasoning and ability to articulate what is more a contempt for the plastic reality one more often lives within.
The Goddess, not so simple to address………mystery.
Where to go from this point? Well, we would like a place such as Compton Wynyates and who wouldn’t (a sixteenth century Tudor house), set in the midst of rural England (Warwickshire) where there is an open invitation to creative folk, imaginative thinkers and such to come and stay and make something together. We have to have the appropriate location for this, so it fits into the international media slot as it were and we’re still looking and likely to be for a long time to come.
Anyway, it’s really something the way things have moved on, the highly talented people who are becoming involved. We’re a force to be reckoned with now. We aren’t to be superficially felt.
I ask, “How am I supposed to discuss without provoking people?” But that’s what it’s all about, is it not? We can’t stay still in how things are. The path of confrontation never ends.
Yes, we have broadened in scope. I can talk about the impact, I mean the controversy in the conventional sense, the uniqueness but it will take a while. Maybe to engage readers would work better in that respect. The new books are what you’re asking me about so just let me say that the intention was to widen our appeal and this meant a massive departure both in subject and the way of writing. We had arguments about this, like we do about everything but I don’t think you can go into certain places without for example, using the appropriate language, its vernacular and more. Is this an admission of the world we are part of, I suppose. Look at the movie industry, its realism. There’s a scene in THE REINCARNATOR where I wanted the words of a war scene to literally jump out at the reader, they are frantic, fear-filled, because the person in question is being bayoneted to death. ‘The suck of the fast filling and bloody squirt…’ We’re moving away from that now and back to the classical romantic style I prefer. In reference to the latter and in contradistinction, the emotion that words can conjure can be made to breathe onto the reader, thence impregnating and intoxicating thoughts to a very high degree. I’m thinking of THE OCCULTANT and SATAN RISING, and how we have created drama with a thrust that is totally of our own making. I enjoyed FATHER’S ICON, because it draws the reader into a Victorian mind-set, its most uniquely intense milieu and…and certain ‘despicable’ events peculiar to then. I like the atmosphere of the music hall.
THE COSMICALLA alternates between the mundane and the predictability of life’s content and an experience that certainly has no relationship at all to that. What is the nature of this duality? When one predominates, what of the other? It is interesting how, when a reader responds with the admission that this would be their ideal, literally their fantasy come true….
Now for a bit of gutter sociology. (I’m reading this from notes) Little Hampton? Yes, it’s based upon an actual place. It used to be a coal mining village, built around the 1890’s, I think. The mine exploded, leaving just the houses. There were always young kids riding their bikes down the streets of back-to-back houses that faced each other, with the washing hanging over the road and with the tin baths attached. It goes without saying therefore that there would be interesting characters living there. ‘THE CHIPPERS,’ for instance, some of their gang lived in the very end house, across from the colliery stack. They were ‘Rockers’, or Hells Angels, with British motorbikes.
They really did throw eggs at people. When the council came to demolish the houses and there was no one there, I was told by someone who went into that end house and could remember standing in an empty upstairs room asking myself, ‘Is this really where The Chippers lived?’ All that remained of them, their contribution to posterity, the Rock n’ Roll, the chain covered jackets, the long hair, the terror they instilled in all and sundry, was a piece of graffiti scraped into the wall. ‘The Chippers’ it said, with a circle around it. Their song was, ‘Hey you, get off my cloud’, by The Stones. They were notorious. We wanted to bring them back to life in the book about the rock band of their name; THE CHIPPERS.
It’s interesting to consider how the distant past as it was lived, or certain country and era specific facets thereof, gain entry into the present moment’s intricate and multifaceted display of experience. Then when you find that these displays are altogether different even for people from the same place.
To further illustrate the point with regard to Little Hampton, you see the houses and associated culture as described, with its criminals and associated insalubrious folk (though not entirely so) then close by is a larger historic town where the opera diva lives. There is a clandestine military establishment there. Certain of the books reflect how these facets that constitute the collective psyche weave themselves together and how they do not.
To show a three dimensional vision of certain of the Callassa books, here is a short extract from I AM ZA;
“Are you ready?” she asked excitedly while looking at my eyes and holding them. “Yes, I suppose,” I said, unsure how to react. Her excitement was as a contagion. It was thus very difficult to be aloof from its holding. She’d turned and in doing so nudged me with her rear. She remained in that position for a few moments before turning the handles. The mold of her form was as a flesh made and joy-filled corsair. Who could resist sinking? Flying? As the door came open toward us she pushed me backwards, again with her rear. She laughed. She didn’t want me to see outside. I had felt her intimately. “Are you ready Lawrence?” She was facing me. She touched me with her lips for the first time. A brief kiss, this, an electric kiss. I was reeling from its effect. I could feel her holding tightness in my hand, but I just gazed, bewildered by what was before my eyes. This was not the Earth. It was nothing of my believing, my wanting, and my certainty. In her holding I walked forwards. In the sky were three huge planets, close, fabulous, mysterious, awesomely beautiful worlds. For as far as I could see were products of an ingenuity far, far away from anything I had known or ever could have imagined. There were colors that traveled through the sky. There were twisting rainbows that were not rainbows, with objects among them. They were green, circular discs that hovered in and out of invisibility. The sky was alive. The sky was the cosmos. She was speaking to me and my bewilderment remained. I thought her voice was from many directions, the helix, the cube, the pyramid, the sphere. “We are not of the human race and only here can we pretend similitude. This is my domain. I want you to be as I….(c) 2015 Callassa. London from I AM ZA. CALLASSA
Do take a look at the alternative presentation; I A ZA
NASEBY. The title is the name of a small town, you could call it rural, but being close to more urban areas and cities. This book came about while a few police officers said that often while on night duty they see things in the sky. Now, our suggestion was to give these ‘occurrences’ a human stage whereby something spellbinding could be acted out and they could be participants. To say the very least there is an epic ‘I wish’ about this. The main character is Albert Lawrence, a Detective Inspector with the CID, but there is who entirely overshadows him, her name is Madam Butterfly and there is absolutely no way of explaining her. This ‘woman’ introduces Albert to something extremely untoward and which touches on matters of national security. There is also a fun element too bound with this experience being that of the ultimate dream desire. NASEBY. MADAM BUTTERFLY
I’m thinking of conflict; I mean how generally people just can’t get along with each other and how one person (Mary England) attempts to reconcile with this in the confines peculiar to her. Then there’s how conflict is dealt with on a greater, trans-national scale. There is an interesting scene in MARY ENGLAND, where upon release from prison, she has to see Stephen Lewis (he wanted to use her in his organization and had kept his eye on her, so to speak). He doesn’t look at her when she’s standing there and he, behind his desk. What he does say is, “You’ve had it easy for too long, now you are going to have to work for a living.” CATRIONA’S HOUSE is about clandestine operations as they pertain to a particular department within MI6 (The Secret Intelligence Service). Stephen Lewis is the instructor and herein, you can see how world wide conflict is understood and dealt with as it pertains to them and to issues of national security. Old boy! PS. There is also a facet regarding Mary England’s gender identity that demands far more than a passing comment!
As we’ve discussed prior, psychological states can become all pervasive and so idolatry enters the stage. I guess we helped invent the word. In Callassa and as we’ve said hitherto, women are the dominant and therefore idolatrous force. For example in BIG EYES AND BLUEBELL WOODS (A Story of Idolatry) the opera diva has a very much younger lover, though in addition there is something else about her that the book plunges the reader into familiarity with. Most notably it brings to the fore and questions much regarding contemporary beliefs and replaces them with ‘something very different’. All in all there is much of the taboo which is good because it provokes the reader and not necessarily in the way they want to be provoked.
This latter provocation aspect comes to the fore with great ferocity especially in TALSAW, which is the reason we wrote the book in the way we did. Do please visit the excerpt: TALSAW
The book DIARY OF A MAD WOMAN, is actually about the Pre Raphaelite artist Dante Gabriel Rossetti, and a newly divorced contemporary woman, Frieda Jane Lawrence. While shopping, Frieda encounters a man, who stares intently at her, and he appears intriguingly unusual, out of time (which is not surprising, because he is). He meets with her in altogether ‘strange ways’ . His intention is to paint her portrait and tell her a certain story. Frieda shares the features of Fanny Cornforth, who was Rossetti’s model and mistress. How does he meet with her and what is the story he tells? Here is a link to the excerpt for more information: Diary of a Mad Woman
Yes, ‘BENEATH AN ENGLISH SKY’, ‘NASEBY’ and the ‘diva series’ in particular, well it’s not only their story but the way the story is portrayed. I mean the introspective worded vehicle we employ to embellish the whole. Often we don’t move far geographically or in time, maybe we don’t go anywhere and only a few hours elapse, but there is a plummet into an oblivion where ceaseless wandering and the requisite affect on the mind flits between that of a utopian dream and utter turmoil.
‘THE GODDESS BOOK’ ; it’s also about a shire horse and a lonely place out on the moors where the doll makers lived. They had a son called Bill Bunyan who, during the First World War was shot for cowardice. There is a pathos about the family and the house, even though they are no longer there and the house is a ruin.
‘MAD JACK BAILEY. Right then, this is as different as you can go from everything else. It’s ironic, but I know most have liked Mad Jack which gave us the idea of creating a cult around the man. Is he who we want to be known for though? Not at all. Organized crime? What’s that? Jack was based on certain real people and they’re still around so…..Shhhh. Just in case people thought we were a soft touch! Jack likes to reminisce about his life and dealings during the nineteen sixties.
Here is a short piece; ‘The Morning‘, from ‘Queen of the Secret House‘ ;
A heavy and translucent, early morning haze has fused with the vivid and sprawling, moorland green. Only very reluctantly does the haze lift. It had been a cool, damp obscuration. The moors were being warmed by the arriving of the very last of the season’s humid air. The reds and browns that had peered through and seemed more like visitors, were now emerging close and solid before the pastel and not yet fully defined vista. (c) 2017 Callassa. London
“I was just outside, dark, as dark be that of the capacity to dwell within the gargantuan.
And here is something from ‘A Story of Idolatry. The She Bird Song‘.
“The supreme beauty smiles the gift such that we can emerge and respect her. As part of the dream she makes we can be the same in the fullness of knowing, in the fullness of the she bird’s beautiful and brilliant blooming time.” (c) Callassa. London
“There is the red, the deep, the deep red, the squirting and the spitting red. My comrades all. Red. Red. Red. Take life from my body. Take it now, my companion, here from whence I do come. Into gloom my love, I can give you life. Succor me my own, my love, my boy-love swoon. Not to say the final farewell. Not the futile curse upon you.
Be again the face I knew. Reach. Reach to me. Ignore the thunder and the flash. Ignore the fire in the choking breath. Be again, the beautiful. Be my beautiful. Rouse. Rouse. Cold star. Rouse in my flock of birds, my dead English soldier.” from I am Palisades of Silver and of White. Callassa.
How far are we supposed to go here, without risking credibility-death and likely ostracism, a little way? You want me to mention this? The High C and the ‘lubricated and rear-thrusting finger’, (Marianna Canali, the opera diva, in ‘QUEEN OF THE SECRET HOUSE’) and of the ‘Hacksaw Maiden’, (Ursula Lawrence, in ‘THE OCCULTANT’). I know, you say the first idea came from something that was written about Mick Jagger, the other from a really bad nightmare. That one scene…yes, I agree, there’s some very evocative stuff here. It’s Ursula and she is SATAN’S LITTLE GIRL and great looking too, what with her black lipstick, bespoke clothes, agate jewelry and that’s not even getting into what she can do. However…what is it really about? Actually Ursula is employed by the Secret Intelligence Service. It’s interesting how you can paint portraits of such, I mean so that you can see beyond the mask and grasp the truth of the message. Yes? That’s got you thinking….
What kind of reactions have we been getting? You know, every reaction there is, I should say. How far can you push people? Over the edge, so while they’re holding on by their fingertips and screaming for mercy, the words just press and press on them. Some words pull them up to a smile; others just kick them down into the dark of the abyss and laugh. I jest. I really do jest because this isn’t the only reaction, if at all that we want to make. Dear, deary me. We want people to take what we have and treasure it because it is unlike anything else and its effect becomes intoxication. Callassa is uniqueness in great beauty and triumphs over all else and thus, does remain that way for the remainder.
A word for those who want to create; “It is only the most important voices that make anything of value and you are destined to become one of these.” How does that sound? Can I just add that, “As in drama, the everyday person you think you are, I mean who you’ve come to assume you are, might be very different than the performer, the creator in you.” Also, “You might conclude that the journey was better than the destination.”
Assemble your thoughts and place them in this era specific machine, this what is the most powerful capacity there has ever been. Those who feel that it is a requirement to judge and dictate what you should do with your creativity and how, are irrelevant (though they are everywhere). You can become a household name within a nanosecond and this has nothing at all to do with anything other than you. Ignore those who see problems inherent within this. Your success is a multifaceted, assembly of personal, immensely valuable statements not something told you by someone else or given the go ahead because they viewed it acceptable. That’s all gone now and good riddance. This new corporate machine does not recognize what was around before it. Think about that. *
Also don’t become settled, try living somewhere you don’t care much for, if at all (while in progress), I mean keep some turmoil brewing because it will keep your mind securely focused on where you REALLY want to be, or should I say NEED to be in order to seriously fulfill the obligations set in motion….Ha!
*Importantly, do NOT give anyone your money, no matter how legitimate seeming be their promise as per dealing with your talent and its destiny.
Elizabeth’s description of Callassa from a literary point of view, meaning and very generally; the effect on the reader of the book topics: “CALLASSA is a wander in the garden of roses while the mid-summer light smiles and the birds in flocks throw whispers and shadows dance…CALLASSA is also a whirlwind within the worst of all nightmares…”
The books in progress are: ‘Rosa Rubens. The Intimacy of the Rose’ and the Roman piece; ‘Ariadne and Dio’.
“The days are so very empty when you are not with me,” she’d
whispered softly. With both my arms around her waist, I was holding
her against myself. The yielding movement of her body
and its exaggerated curvature had acted upon my own vastly
inferior frame as an undulation of massive power. There was
a sensual swell that courted and glided upon my every facet
and in her accommodating movement, its sexual intention was
most discernible, most exposed in the brown of her eyes.
When she spoke in whispers, that intention remained and
became infused with her words. Her whispering breath was upon
my face. “I love you so, and I’ve missed you,” she said.
Her lips were moist. She often kissed with her eyes
open. Her hair was loose, its handfuls of dark brown holding
fragrances of vanilla and orange. It felt damp. Her eyes were
large and they always made me recall how she’d first been
described to me. “Her eyes are very strange”, I’d been told. “Her
mouth is the same’. “She doesn’t look at all normal’. Of course,
there had been other descriptions of her body, heightened and
desperate descriptions that made creativity appear to be of the mundane.
Callassa was wearing a silk dress. In its flimsy and ethereal cling were outlines of
women and they all looked like her. She saw that my attention had shifted from her
eyes and onto the shoulder of her garment. She moved my face toward hers
by touching one of my cheek bones. She smiled. This
observing had been a tendency throughout the, as yet, short
relationship. I had gazed at her, into her, in the same
transfixed manner the very first time I’d seen her. She had
been a devastation and being with her literally broke and cast
far away all of what had transpired during the course of my
life hitherto, an unhappy life, now gone. Well gone. This was life anew.
Callassa was smiling. She had a tendency to squeeze her
legs together as she stood. While outside she would do this
and allow a gust of a breeze to lift her hair. There was nothing
of me in her. “I want to go inside,” she said. “I want you to
sit and be close to me.”
What else could I ever wish to do, was my thought. Where else
could I wish to be?
With suddenness, she’d taken hold of the lapels of my
jacket. She was staring into my eyes, the rich color therein,
then pressing her heavy and moistened lips against mine. Quickly
surging into the oppression, the delight, the disabling sex and I, a
very willing recipient of her voluptuous swoon, now total. Her breath
was sweet. It was very likely there would be no dining this evening. There would be
the torrid, the unbridled, as had been the case often. Such was sustenance for
me in ways that filled me to bursting. It was she who was the holder
and the bestowal of my life’s purpose. She was everything. Such
was her diabolic power. I was a wisp of vibrating air, in her warm
and wonderful sexual symphony. from ‘Catriona’s House’. (c) Callassa
Discussion with Elizabeth and Olga for CALLASSA, during January. 2017
Postscript (I) Here below does encapsulate the essence of CALLASSA:
“Love can be otherwise, though all the time in pretense the silent, breathing magic does grip and does tear at the heart. This is the most difficult condition and can kill the bearer quite easily…. from; The Astrocalla. © 2015 Callassa Media Company
“I peer into the eyes of many and often I see the beauty of love and those who can love me in return for mine will carry my devastation, the very essence of beauty in their hearts…” . from; The Cosmicalla. © 2017 Callassa Media Company
“When you came close, every single part of my living being became my disability and I was left with the knowing that during moments into days and into years I would remain tormented…”. from; Zalia and the One who Avenged the Elephants. © 2017 Callassa Media Company
Thank you to Stephen Lewis. “Stephen Wyndham-Lewis helps protect what to him are the most meaningful aspects of the world. He will protect them because he has the power. He is a hero. He is one of the many who constitute a few.”
One of the most groundbreaking facets of our material is found in the CALLA SERIES, which is The Cosmicalla, The Astrocalla, Imagicalla and Fantasticalla. In The Astrocalla she (the young girl, Calla) keeps one single day repeating, nothing ever can change except that she visits other worlds, as well as ‘other dimensional’ experiences where she lives different lives as a growing adult. So what is ‘she’? This book came to fruition through research into certain theories and much more….How it did and why is a good question.
If you would like to be included in THE CALLASSA INNER SANCTUM (discussion board with a difference) please do let us know. Callassa wants your friendship!
One last thing for now, we want those who feel at one with Callassa to stay. We’ve said this before, but this really is the case. There is myriad in the context of creativity to explore and equally, as many minds capable of exploring. This is Callassa’s warmth and by implication, is far more than the words that make the statement.
Callassa Media Company Ltd
isbn 1- 978- 906504-50-5
Callassa Media Company
Callassa is a registered trademark
Callassa Media Company Ltd. registered in London
Adversitate. Custodi Per Verum
Postscript: “I was feeling her voice and her fingers gently wandering over my face. When, very slightly, I moved away, I felt an intention in her fingers to keep me there, but then, a beckoning for me to move and look into her eyes. I did look into her eyes and I saw far more than the dreams she had given to me. I saw everything”. CALLASSA. extract from ‘ VOICES FROM A STRANGE PLACE’.
“I am the ruby red that dwells with the horizon, the world in me is shining.”