119. Influence (II)
The secret of Charles Manson is simply that he considered himself to be a mirror. He was an absolute zero and, as he often said himself, he merely reflected back at people what they gave to him; and he praised himself on his absolute truthfulness, perhaps accounting for his contradictory ways—the truth being a contradictory beast. The murder and mayhem that surrounded him was the reflection of what American society had imposed upon him; from an early age he was in the violent and manipulative world of institutions and reform: the world put violence and cruelty into Manson and he gave back what was put into him, everything that was denied in respectable society was thrown into Manson and then returned in the form of the monster Manson.
It was a case of garbage in, garbage out: he liked to remind interviewers that he frequently picked up the strays of the middle classes—he even briefly captured the daughter of Angela Lansbury, star of the eminently cosy Murder, She Wrote and Bedknobs and Broomsticks—and so, Manson inquired, just what were these children that wandered the streets, alienated from their families, looking for anyhow?
Manson attained his mystical state through his early and persistent incarceration, along with, later, a tendency towards trance-inducing dances. He was also sent to school at an early age in a dress as a punishment by an uncle; crossdressing is a key part of shamanic initiation—Manson underwent a perverted initiation ceremony. Prison is rather like a violent monastery; as Manson said, he was, “Just doing one day at a time, like the old con said.” To live one day at a time is a skill that monks and prisoners acquire; most people live in the imaginary future or the past, few can be here now. Thus Manson would assert that he was not in prison, there was no prison—if a person has adopted the right attitude. Manson also imbibed the initiatory mysticism of Scientology and the self-help book How to Win Friends and Influence People. This book provided Manson with the tools for his primary occupation as a pimp; it taught him how to be a charmer—a snake. For the women Manson met he was hypnotic precisely because he was the big nothing; he acted, in other words, like a woman—he was a hole.
Manson also picked up a Luciferian worldview from the Process Church of the Final Judgement, a cult that worshipped Lucifer—among other deities—and lived near Roman Polanski; indeed, their pack of pet Alsatians chased Polanski once. Thus Manson acolyte Bobby Beausoleil provided the soundtrack for and appeared in the film Lucifer Rising; the work of occultist Kenneth Anger. Lucifer is connected to racial politics, Manson’s visions of race war, because he is linked to the Promethean aspect of Indo-European (Aryan) man—the desire to become as gods—and his Hindoo roots.
The Yazidis and Alawites of Syria and Iraq worship Lucifer—the Peacock Angel—as the angel plunged to Hell whose tears of pain, over a thousand years, extinguished the flames of Hell; and so, finally, God granted him dominion of the Earth. The figure of Lucifer is also associated, in the Yazidi faith, with the snake and the Kundalini awakening of Hindooism; for the Yazidis are an esoteric remnant of Hindooism in Islamic garb. Manson’s plan to lead his followers to a pit in the Mojave Desert, to survive a coming race war, reflected his desire to enter the realm of Lucifer—and also the underworld of Agartha, the hidden kingdom still popular with Esoteric Hitlerists.
Manson was a mystic whose final demand was clean air and water, and a cleansing of the planet. He was a mirror and what he reflected was the hypocrisy of a society that claimed to be able to change man, when, if it were not hypocritical, it would have executed a man like Manson long before he could become the focal point for bloody mayhem.