The Breaking Through of the Eternal in THE HERMES IN BREAKFAST AT TIFFANY’S

Author Lewis Hyde in his book Trickster Makes This World shows how the divine trickster’s creations become prophetic; this happens in how they are created.

That’s how the Sistine Ceiling has worked from Michelangelo, and his Pietá. It looks like it is made about the past, but suddenly it’s coming true now, and forever true.

Eternal truth is a gorgeous, gorgeous thing.

That’s part of the miracle of THE HERMES IN BREAKFAST AT TIFFANY’S, that it is a visible coming together in answering the prophetic of the art, the artists born to it,

born to open up the barriers barred of consciousness, like Banksy,

disallowed in a wonderful sense of play.

Audrey Hepburn had to take that liberty. She knew she had to.

Willa Cather did it in her own works and left the Hermes signs of it as the “road markers” showing the path she had taken in breaking open art to divine reality. You can find it in her works and in her photographs and careful letters. Otherwise, what she was doing was “forbidden” and artist and female writers “can’t go there”—the divine art of their own Beingness showing each other, touching eternity because they could see it.

Audrey followed her own spirit, deep intuition, and her natural-born effervescent joy and sprite energy and purposefully opened back open a creative pathway, born and shaped by cosmic circumstances to it, and thus also with her spirit making the work she created come true again in alive and numinous ways, and then it can be seen that it remains eternally true and fits right in to a perfect cosmic design with what is happening right this moment to bring about a magnificent breaking through of a different plane—PUREST LOVE—for humanity.

It’s been a very long time coming, in no space and time at all, in artists taking their birth-right freedoms to bring life to its fullest.

I started tapping into this as a child because I knew my name was a prophecy, but I also understood how being a girl (in the Hebrew Bible) and having that name meant that if anyone ever found out what I saw, it held the very deep truth of changing everything.

I lived with that very weird juxtaposition that I discovered at about 4 years old when I read my name in Israel’s Jacob’s words, and also the circumstances surrounding me in how extremely harshly invasively restrictive it was to be a girl.

I was driven to understand the structure where the feminine seemed an appendage instead of the life-giving inspiring force of a dead and blocked culture, and knowing the prophecy was the way of that deepest life and death shift of structure.

And so I had the dilemma as a little girl with a pure heart told I was bad, and holding hope for humans that also seemed daring, what it all meant was a trick to be played on those who wouldn’t allow me to be valued or have true place as a girl. It was a weird combination of wanting to do the right thing, and seeing how that path would have to go.

In all this time of writing and never stopping discovering I could see and show how the artists were born to it, born to open up thousands of years of art that was speaking.

And every single time I looked, an extraordinary perfection would show itself. And so I kept on writing through this all, and that’s what this is: showing the miracles breaking through in the artists and their art.