I’m a member of a secret society—one that uses the concept of alternative history to slowly awaken the masses to the covert doings of individuals of this world and beyond. It’s a weapon stronger than you may think; for one cannot save a world nestled in a box, strategically dormant to the realities of their existence. By exposing the masses to the idea of an alternative history it will help to soften the blow felt when the world’s dirty laundry can no longer be contained.

Writers such as myself, producers, film directors, etc. have been doing this for years—preparing the masses for the inevitable. Think back to the Rod Serling’s 1959—1964 series the Twilight Zone or The Mercury Theatre’s October 30, 1938 broadcast of The War of the Worlds over the Columbia Broadcasting System radio; where actor Orson Welles continues to frighten the hell out of me. I knew then, that in order to shake the psyche and affect the consciousness of my brethren; I would have to do it today just as they did back then.

The debate over what’s true and what’s false in literature is never ending, primarily due to the fact that all written works, especially those considered of superior or lasting artistic merit is based on some truth. Like that of a surreptitious military operation, the goal of argumentative writing is to tactically persuade your audience that your ideas are valid beyond the method by which you’ve chosen to relay your story. The Greek philosopher Aristotle divided the means of persuasion, appeals, into three distinct categories—Ethos, Pathos, Logos.

Examples of this are infinite—Leonardo di ser Piero da Vinci’s Codex Atlanticus, George Orwell’s 1984, Milton William Cooper’s Behold A Pale Horse, Jack Finney’s The Body Snatchers, David Seltzer’s The Omen, H.G. Wells The War of the Worlds, Thomas Michael Keneally’s Schindler’s Ark, William Peter Blatty’s The Exorcist, Richard Condon’s The Manchurian Candidate, Robert Shea and Robert Anton Wilson’s The Illuminatus! Trilogy, Robert Ludlum’s The Bourne Identity, Robert A. Heinlein’s The Puppet Masters, Jules Gabriel Verne’s A Journey to the Center of the Earth, Erich von Däniken’s Chariots of the Gods, not to mention both the Writer’s Block Trilogy and the Conspirator’s Odyssey Series to which I’m taking the liberty of weighing in. However unquestionably interminable these examples may be, all remain but the tiniest of pebbles dropped haphazardly into a massive basin of still water.

Words I liken to keys, which unlock the incomprehensible doors of the matrix we were conceived. However, it is a choice the individual must make to read, to absorb, to beware, and to prepare.

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