How – and why – was this book written?

Ever since beginning to write while still a teenager (rather too many decades ago), the process was always very much a partnership. The concepts, frameworks and key elements seemed to appear unannounced. Sometimes at very inconvenient moments! In recent years, this phenomenon has become even more marked, particularly with the latest book which has taken me into uncharted visionary waters. Here is a brief account of the main stages in this fascinating chain of events.

The initial “capsule” arrived perfectly formed on 21 May 2018 as Venus gleamed in the sky one hour before dawn. A natural, predestined sequel to the monumental “Genesis Antarctica” completed the previous year. The title of this new work was self evident: “Revelation Antarctica“, and there was enough in that initial delivery to shape some 10% of the material during the following two months.

Work in earnest was taken up again in October and immediately assumed a whole new dimension. Within a few weeks of adding more chapters and polishing the earlier content, a new phenomenon became part of the equation.

This began one morning in early November, with an awakening just before 5 a.m. and an urge (or was it a command?) to start writing immediately. Plus a “directive” to do so every morning until 8 or 9 a.m. for as long as it would take to complete the mission. This routine was strictly adhered to for the next nine months, with no more than ten “exceptions” in all that time.

Supplanting “Intensions”

It soon became quite obvious that this book was largely “writing itself“. On many mornings there was a clear preconception of what “should” come next in a particular sequence; only to find everything heading off into completely different territory when it came to using the keyboard.

This fragmented content added up to a series of “Items” (rather than chapters) covering several distinctive themes. Some of them clearly belonged to one of the storylines, while others were “standalones”, expanding new aspects of the thematic framework as a whole.

However, the writing was never automatic or trance induced. The experience was more like being fed with an endless thread from “out there”, to be woven into a coherent fabric using “onboard” professional writing skills acquired over the previous 50+ years.

A further innovation in this multi-genre context is the significant number of visuals (over 175) incorporated into the text. Some are illustrative, others are symbolic while yet others (in the form of newsfeeds, interviews or website screen shots) are presented as contributions from “exterior” sources to reinforce parallel credibility.

One particularly significant moment came when, walking in the garden, a powerful message invaded my mind. I stopped in my tracks and declaimed like a true Shakespearean… “Imagination is the most powerful force in the universe!“

Where did that come from?

Of course, I found out later it is one of Albert Einstein‘s best known dictums – and absolutely in line with what this book is setting out to demonstrate. After this, the intensity of the creative experience was even greater, now very much focused on imagination and what it can accomplish in the universe – and in our individual lives. This was euphoric!

As further progress was made and the quantity of Items accumulated (set at 99 from the outset), a certain structure began to emerge. Or rather, this happened when the time came to bring relevance to the individual life stories and events within the context of a bigger picture. At which point it soon became apparent that much of this organizational work had already been completed instinctively. It was now just a question of using those acquired skills again to fine-tune the whole package.

Diversity Unites

As everything knitted together, various facets emerged, revealing the written and visual material could be experienced in different ways. There seemed to be so much more to do than just read the 99 items in a predictable 1 to 99 procession!

It was then – when most of the writing had been completed – that the potential scope of all this was revealed. Sequential reading was indeed only the beginning! There were the 12 storylines to be assembled and experienced as fully developed, independent narratives in their own right… Next came the “Pick and Mix” approach, inviting readers to make up their own sequences as they went along. Then, finally, came “random sequencing” – the ultimate, unique “quantum” experience with almost 7 quadrillion (933,262,154,439,442 plus 140 zeros) sequences to choose from!

A further option allows readers to focus on the apparently “fictional” content and leave the 18 more “metaphysical” items for later, when they are likely to be more meaningful. These deeper disclosures are initially represented by short, single page items in the body of the book with an invitation to discover more by visiting “The Vault“. This is an addendum where subjects such Remembering the Future, Reptilian Genome Research, Creativity and Spirituality are discussed as well as many more confidential issues. These items have been created with the aim of contributing to soul-healing in whichever context readers need it most.

Acknowledgements

Now the book is finished, it is obvious that its wisdom, structure and ability to make sense in so many dimensions must have come from a much wiser source than anything its “author” could ever have provided alone.

All we can say, with the greatest humility, is that it has been a tremendous privilege to be part of this experience; hoping it will bring these concepts before a wider audience and make some contribution to the quantum shift we know will soon be upon us.

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GENESIS ANTARCTICA – AUTHOR’S BIOGRAPHY

Gordon Keirle-Smith

– In his time, Gordon Keirle-Smith has played a very large number of parts (with very little training for any of them). These started with writing radio plays, poems and dramatic monologues until he became a visionary artist with his studio in a famous West End theater (where he operated the stage lighting). He exhibited in a smart Bond Street gallery and sold works to several theater people and the British National Collection.

– He then met Dutch meta-realist artists Johfra Bosschart and Ellen Lorien, visited them in France and soon realised he could never match their superlative technique. So he decided to paint with words instead, writing the first version of “Zandernatis” in 1974 when he moved to Paris.

– In 2014 he revived this “meta-realist allegory” which ultimately became “Genesis Antarctica” in 2016, followed by “Another Egg, Another Life“, a story (and parental guidebook) about a reincarnating Penguin soul which hatches seven times, finally becoming an Emperor on the White Continent. His latest work, “Revelation Antarctica” – in which past, present and future all meld as one – was written between 2017 and 2019, spurred on by a certain amount of inspiring input from “undisclosed sources…”