Gay Deciever's NOB
The Pursuit of the Pankera: A Parallel Novel about Parallel Universes (2020) is a novel released after the death of Robert A. Heinlein (1907-88), edited by Patrick LoBrutto, who received a World Fantasy Award in 1986 for his work as an editor. The narrative proper doesn’t actually begin until page 173, and is indicated by the symbol <>,1 so that the reader can see where the supposedly new novel takes off, after the originally published The Number of the Beast (1980) version left off, which was retitled The Number of the Beast: A Parallel Novel About Parallel Universes to coincide with the 2020 publication, and was formerly the first science fiction work of an author to receive an advance from a publisher, Fawcett, of US $ 1, 000, 000.
Although it’s fairly clear that Heinlein saw himself as a genius buttholed by a slaver, with the text requiring a degree in Freudian analysis to understand why it was that the author felt compelled to write what he had, it’s much more difficult to explain that the publishing industry represents what ‘the father of psychoanalysis’, Sigmund Freud (1856-1939), called ‘penis envy’,2 and is what readers complaints about the stilted dialogue of Heinlein’s NOB, and its awkwardly embarrassing treatment of sexual themes, were about, as Heinlein, trapped without alternatives by publishing conventions of what was appropriate for readers of science fiction to read, wasn’t able to explain, without convoluted symbolic narratives, requiring literary analysis outside the scope of most of his readership, that he wasn’t writing about humans, but TV.
Before evaluating the putative later novel, after the somehow cobbled together Variable Star (2006) by Spider Robinson, from a 1955 outline of seven pages of notes by ‘Bob’ about aliens destroying the Earth, it’s necessary to analyze where the reader is in relation to previous works, for example, The Number of the Beast, which is usually abbreviated to NOB by literary critics, perhaps so that they can describe it as Heinlein’s Gay NOB, as the plot revolves around the invention of a ‘continua device’ built into a flying car, ‘Gay Deciever’, with the inaccurate spelling favored throughout, as an allusion to computer software company Microsoft’s Internet Explorer (IE), which allows the occupants to travel to all possible alternative universes, including those commonly believed to be fictional. Although the idea seems original and exciting, it’s unlikely to attract movie studios, even in the United States, where Heinlein was born in Butler, state of Missouri, on July 7th, 1907, because of his perceived ‘talkiness’, which readers have often been reported as complaining gets in the way of the action and plot development. However, as novels of ideas, Heinlein’s books aren’t primarily about action, because the plot is largely driven by a philosophical standpoint, which is being examined by the author to entertain and beguile the reader.
The concept of beguiling the reader is important, as that’s the writer’s art, despite occasional complaints that the reading of a novel had been a waste of a person’s time, which is understandable in that for people reading is an investment of time and money, but not to the same extent as it is for a writer, which is also a significant observation to be borne in mind when making comments as a literary critic. However, there are certain basic elements to NOB often overlooked, for example, the space-time continua car that, like the English BBC TV ‘tardis’, in the long-running science fiction serial, Doctor Who (1963-), which like Gay Deciever also does service as a spaceship, calls for consideration of the phrase ‘O Gay’, which makes it appear as a djinn, that is, it’s a car and djinn, with a computer pilot, Dora, who responds as any human would, and with the voice of a ‘little girl’, in the role of the djinn in the bottle, as it were, like ‘the Doctor’, who emerges from the tardis, disguised as a police box, with the blue lamp on top, along with his female assistant, as TV slaves.
Heinlein’s four human characters, Jake, Zeb, Hilda, and Deety, correlate with the four functions of consciousness, as delineated by Swiss developmental psychologist, Carl Gustav Jung (1875-1961), with Heinlein’s unconscious self and conscious ego coming under the microscope,3 as the raison d'être for the four characters’ interactions. Heinlein’s mind was working on what Jung called the individuation process, whereby the ego facilitates the emergence of a more conscious self’s totality in the examination of fragments of formerly unconscious psychic components. What he described was how slavery makes buttholes out of genius, as sexual activity interferes with the slavers’ business of niggering everything to make it produce, which is why homosexuals don’t need humans.
‘O Gay’ is a correlative of ‘Okay’ of course, which means ‘good’ simply, although as a homosexual is usually called ‘gay’, it’s difficult to see, because castration is necessary in the production of more buttholes for inventive geniuses to pop out of as slaves of the master, which Heinlein was after his novel, Time Enough For Love (1973), about the adventures of the ostensibly immortal, Lazarus Long, for which he was awarded the title, Grand Master, by the science fiction writer’s association (SFWA), while the emergence of the ‘incurable killer disease’, AIDS, in the late 20th century, as discovered by Africa’s DR Congo in 1983, for example, doesn’t correlate with good. The human immune deficiency virus (HIV) was discovered to be a mutant variant of the simian immune deficiency virus (SIV), causing acquired immune deficiency syndrome (AIDS), collapse of the organs of the body, and brain death, which doesn’t sit well with the sign for good adopted by the US’ and citizens globally, that is, thumb and forefinger held together making an ‘O’ with the rest of the fingers stretched out to make the sign of the buttholed djinn, who in Heinlein’s novel corresponds to Jacob ‘Jake’ Burroughs, as the inventor, ‘Okay, switch on her ears.’4
With her rear switched on Gay is where it sat, as it were, although the homosexual allusiveness does seem a tad misogynistic. According to Jungian psychology, the ears correlate with the ‘Thinking’ function, while eyes are ‘Sensation’, nose and/or smell is ‘Intuition’, and mouth/taste is ‘Feeling’. Moreover, as ears warn humans of danger from their rears, homosexuals are the animal that preys there, which means that it’s an evil end djinn that wants to use the human as its butthole, as that’s how it slaves, while the castrated human becomes a ‘genie’, that is, capable of thinking, the tortured AIDS victim still has its own end to look forward at. Evil engines are familiar to French literature, as having been devices of the Marquis de Sade’s, which were torture equipment designed to enhance his sexual pleasure, according to such works as The 120 Days of Sodom (1785), which seem to precurse the Marquis doing AIDS, although it wasn’t then clearly agenda.
During the crew of Gay’s escapade on Mars, where the colonists are the British and Russian Empire, ‘wogs’ or ‘vermin’ are hermaphroditic black people, being whipped, as they farm the marijuana crop and chew weed as a palliative. While difficult to get to grips with, it’s Heinlein’s vision of the future of Islam. Although the Moslems of the nations of Islam are defined internally as equals, in practice the white Arabs have the whip hand over the black Africans, for example, during the civil war in East Africa’s Sudan (2003-), also known as ‘The Land Cruiser War’, because of the widespread use of Japanese Toyota Land Cruiser cars as ‘technicals’, that is, a non-standard tactical vehicle (NSTV), like Gay Deciever, with a machine gun mounted for light improvised fighting, the predominantly Arab government paid Janjaweed militia to hunt and kill black ‘rebels’ in the Darfur province, as if they were animals.
Although Islam doesn’t appear overtly racist the overly nice distinction between the women clad publicly in their one-piece coverall, the black burka, to prevent their being seen, contrasts starkly with the long white shirt, the thob, worn by their visibly bearded men, while the sight of the burka women queuing for a burger bag at MacDonald’s raises more than a quizzical eyebrow for the discerning Westerner alive to stories of white slavers and cannibalism. Islam diverged from Judaism, with the receiving by the Prophet Mohamed of the Koran (610-30 C.E.) by the angels of God, according to Moslem tradition, which primarily is known in the West for permitting four wives to Moslem families, whereas Judaism, founded by the first son of Abraham, Isaac, and wife Sara, is monogamous. Although Islam is deemed to have been founded by Mohamed’s patrilineal ancestor, Abraham’s second son, Ishmael, born of Hajer, a concubine, called ‘the Egyptian woman’ (Gen: 16. 1) in the Old Testament of what the Christian religion calls its Bible, which is the Torah and Talmud of the Jews, that is, their history and law, Abraham isn’t condemned as adulterous, whereas Islam is determined by Christianity to be illegitimate, as Hajer was an adulterous liaison, which the permitting of polygamy by the Koran attempted to legitimize.
Looking at the foundations of Judeo-Christianity, the New Testament of the Christian Bible, which they believe supersedes that of the Old Testament of the Jews, is based on the teaching of Jesus ‘Christ’, ‘the chosen’, who was killed after being found with a woman by his disciple, Judas, but experienced Resurrection and Ascension to heaven, after being taken to the hill of Calvary outside the city of Jerusalem in Jewish Palestine, where he was nailed to a cross of wood and died there. In 21st century terms he was killed for looking at a woman with adultery in his heart. However, as Jesus was born of his mother, the Virgin Mary, uncontaminated by male semen, he was women’s seed, which is a distinct species separate from men, who’re the race of women’s adulterate, so the placing of women in black burka bags to indicate that they’re relatives of the Egyptian woman, Hajer, is Arab racism, rather than a sign of protection against adultery.
The Jews’ story is of how the creator, God, turned the angel, Satan, into a serpent, and placed it in the paradise of Eden, for rejecting God’s plan that the human host be greater than the angelic. Satan tempted the woman, Eve, to ‘eat of the fruit of the tree of the knowledge of good and evil’, which it was death to taste, saying ‘You shall be as gods.’ (Gen: 3. 5) God expelled Eve and the first man, Adam, from Eden for rejecting the ‘fruit of the tree of life’, which was immortality, for slavery in ephemerality to the serpent’s seed, but promised Eve, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) As the human futanarian species of women’s seed have their own penis’ semen for their own host wombs, they’re Eve’s ‘foot’, which is capable of developing the medicine and technology to achieve immortality, as well as the colonization of the planets amongst the stars. Jesus’ Resurrection and Ascension to heaven is a prefiguration of that of women’s seed, which is why Judas had him killed for being with a woman, as the Jewish religious police, the Pharisees, and the Emperor of Rome, Tiberius Caesar Augustus (14-27 C.E), whose legions were then occupying Jewish Palestine, didn’t want women’s human race to sexually reproduce brainpower to facilitate their escape from slavery.
In the midrash of Judaic scholarship Adam is identified as a hermaphrodite, which suggests that the creation of Eve from the side of Adam is a euphemism for a self-fertilizing futanarian species, that is, both Adam and Eve were women’s seed. Consequently, for Heinlein’s Gay NOB women’s seed are the equivalent of black slaves, ‘The men carried whips; vermin were muzzled. This one vermin - - well, "wog" - - this wog had managed to pull its muzzle aside and was stuffing this weedy plant into its mouth … when a whip cracked across its naked back. It cried.’5 It’s significant that these scenes are a part of a wider political picture in which the antagonists are the British and Russian Empires, as Russia contains a large Moslem population, whose belief structure corresponds in large part to the atheistic communism adapted by what became the Union of Soviet Socialist Republics (USSR), after the October 1917 revolution, led by Vladimir Ilyich ‘Lenin’ to depose Russia’s Tsar, Nicholas II, during the First World War (1914-18) with Germany’s ambitions to enslave the Earth. The British Empire was on the side of the victors, as it was again during the Second World War (1939-45) against Germany’s ambitions to enslave the Earth, and Russia was again too, although the result was the ‘Cold War’ between the West and the USSR (CCCP), which refused to leave those Eastern European nations it had occupied, as its Red Army advanced to capture the German capital city, Berlin.
Russia’s communist ideology was derived from German economic philosopher Karl Marx’s Das Kapital (1868), which envisioned a workers co-operative without bosses at the center of industrial economics, and its symbol was the hammer and the sickle, that is, industry and farming. However, the sickle is traditionally associated with the grim reaper, that is, death, while Islam’s symbol is the star and the sickle, which suggests colonization of the planets amongst the stars, for example, Mars, followed by the reaping of the sown, which implies that after women’s seed, with all of the host wombs and all of the seed of the human race, have made a place for themselves to live amongst the stars of heaven above, the misanthropic religion of atheist communism, Islam, will be called upon to butcher the women as ‘wogs’ and steal whatever they can, which concludes the ideological background for The Pursuit of the Pankera.
It’s worth considering the novelist’s art and role here too. Although Heinlein was accused of latent homosexuality in his fictions, there’s little evidence to suggest that was anything more than the result of having to comply with the blatantly pederast overtones of publishers for whom the promotion of pedophilia over anything remotely concerning adult themes was literarily predominant in terms of their success financially with whomsoever was their alien ‘overlord’, as fellow science fiction writer, Britain’s Arthur C. Clarke, also boldly speculated to be the truth in his novel, Childhood’s End (1953), where the human race is persuaded by the ‘Overlords’, who look a lot like common pictorial representations of Satan, with horns, to stand in fields, while their brains are sucked out into the vacuum of space, after being promised eternal life there, and with education a dim flicker of irritation beyond this horizontal hold on the TV screen of a future without annoying human nature.
Writers present images without substance, which means they rely foremost on the imagination of the reader to keep the attention of the mind and hopefully sell more books after they’re accepted for publication by a publisher, which means that the imagination of the reader and the writer has to accord with the expectations of the publisher who in a very real sense is then in a position to dictate to the public what they can and cannot read. The result is TV fiction and TV life, without women’s seed, and indeed without women or humans, as the overlords have bred their brains out of existence to replace the human species with a single male brained creature wearing each other’s clothes as a TV transvestite, effectively waging war against women as an alien, as Jesus’ disciple, John, foresaw in his apocalyptic vision of the future, Revelation, ‘The dragon was wroth with the woman and went to wage war on the remnant of her seed.’ (Rev: 12. 17) With the male brained the action is all one way, that is, those on the receiving end of the bullet are women, because they’re perceived as under, which was the criteria applied in early Judaic literature in which the first woman, Lilith, left Adam because he wanted her to lie underneath him. Consequently, all of the wars since them have been Judaism’s efforts to get the woman to lie still. In simple terms, when the human race is dead, the alien will have triumphed.
In Heinlein’s last and twelfth novel written for juveniles, that is, apart from Variable Star, and his juvenile for girls, Podkayne of Mars (1963), the heroine of Starship Troopers (1959) is Carmen Ibanez who, piloting the Terran Federation Corvette Transport (TFCT), Rodger Young, drops ‘Rico’s Roughnecks’, her Mobile Infantry (MI) contingent, into battle zones, and is portrayed by actress sex symbol, Denise Richards, in the 1997 movie; bringing substance to a book that isn’t to be felt or seen in the original text. The point missing is that Denise wouldn’t want to drop her bombs on her mom, whereas as futanarian women’s seed are the human species’ extended family on the planet Earth, dropping bombs on women’s moms is what men are for, that is, they’re adulterous aliens poisoning the human race for the stars. The point about novel writing is that, after castrating the species of women, her tits can’t be seen either, but it’s riveting snuff with imagining her being killed [the alien at the shoulder] for its entertainment.
1 Heinlein, Robert A. The Pursuit of the Pankera: A Parallel Novel about Parallel Universes, Caezik SF and Fantasy, Arc Manor, Shahid Mahmud, Rockville, Maryland, 2020, Ch. 18, ‘Zebadiah’, p. 173.
2 Freud, Sigmund Fragments of an Analysis of a Case of Hysteria, ‘The Case of Dora’, Standard Edition Vol. 7, 1905, pp. 1–122.
3 Heinlein, Robert A. The Number of the Beast, Ch. 25, “- - leave bad enough alone!”, Fawcett, 1980, p. 150.
4 Bright, Robin Self Begetting Ourobouros: The Science Fiction of Robert A. Heinlein, Lambert, 2019, p. 215.
5 Heinlein, Robert A. The Number of the Beast, Ch. 29, “- - we place no faith in princes.”, Fawcett, 1980, p. 181.