In every epoch and age there are a handful of souls who hear the Earth’s voice, hearken to the Muses’s song and drink from the font of the Goddess of Wisdom. These are the poets, artists and visionairies of our world: the creative geniuses like Dante, Milton and Blake, whose inspiration and insights have shaped our cultural memory.
Unhappily, with the advent of the modern age the Muses’s song has become silent and the font of the Earth’s Wisdom has begun to dry up.
To redress this precarious situation, six of the nine Muses have descended from Olympus to take birth upon the Earth. Their purpose is to re-awaken humanity to the inspiration of the great arts and restore the broken links between gods and men. But, the six Muses are not just daughters of Zeus, they are also the daughters of Mnemosyne, the Goddess of Memory, and the granddaughters of Gaia, Mother Earth herself. And when the Muses discover that their mother and Gaia have a totally different agenda for them than their father Zeus, well it is at this point that their loyalties become divided and everything becomes very bloody and messy.
Find out how in this dramatic and spellbinding new novel by Miranda Moondawn “Mooniana and the Secret of the Lost Chronicles of Sophia.”
“It is I who am you And it is you who are me And wherever you are, I am there, For I am sown in all And you gather me from every place Of your desire… And when it is that you gather me, It is your own self that you collect.” (The Gnostic Gospel of Eve)
Lake Vattern Sweden. May Day 1991.
The early morning sun cast its golden bow across the snow-covered Swedish pine forest. Liv von Sommer and her sister Pia rode their adopted horse through the solitary avenues which opened up before them. The breeze from Lake Vattern pierced the pine needles and toyed with Liv’s hair, spinning its golden whiteness like silken threads from Heimdal’s bow. Its angel watched Pia with a dumbstruck expression, before it settled on Liv, playing with her, as if she were a naked pearl churned in Freya’s milky cauldron. The two sisters rode together until they came to a clearing in the forest. They left their horse and spread a blanket out upon the carpet of pine needles. Liv sat herself upon the blanket and crossed her legs. Pia took a carry bag which they had brought with them and emptied its contents on the blanket. There were a dozen or more crystals and stones, moonstone, amethyst, lapis lazuli, rose quartz and turquoise, which spilled out. There was also incense, a bell, a book of poems and incantations, as well as other objects, such as Liv’s flute, which the girls needed to perform a ritual for Mother Earth. With eyes half closed Liv meditated for several moments on the sunbeams which reflected through the avenues of pine trees. And as Pia lit the incense and consecrated the spirits of the four directions with incense and water, Liv took up her flute and began to play various musical scales upon it. The flute was a seven holed Indian bansuri flute, crafted from a single hollow shaft of bamboo. Liv and Pia were both students at the nearby boarding school, “Albatross Kostskolen.” Liv studied music at the school and her music teacher Chandramukhi Mukherjii came from Bengal in India. She had been teaching Liv the bansuri flute for the past year and had informed her that the instrument possessed a three octave range and had been used by Indian musicians all the way back to the time of the Hindu God Krishna. Krishna was apparently something of a playboy and, when he played his bansuri flute, all the gopi girls immediately abandoned their household duties to come and dance with him in the moonlit forest by a beautiful river called the Yamuna. As Liv played her flute, Pia invoked the power of the awakening Earth with a haunting poem by the English Romantic poet Percy Shelley: “Sacred Goddess, Mother Earth, Thou from whose immortal bosom, Gods and men and beasts have birth. Leaf and blade and bud and blossom, Breathe thine influence most divine.” As she intoned the words, Liv tried to capture the lyrical music of the poetry in her flute. As she played and the tones of her flute drifted up and echoed melodiously in the clearing, Pia contemplated her elder sister’s beauty with rapt attention…….
From the Author
Left to stew for some years, the characters and themes of the book were taken up again and the original theme of Greek Myth, Ritual theatre and Gnosis was supplemented with imagery and lore from the Hindu Bhakti and Tantric traditions. Along with being sirens, the sister now took on the attributes of conventional Hindu goddesses, such as Saraswati and Lakshmi, as well as functioning as mediums for the Maha Vidyas or Wisdom Goddesses of the Kundalini Tantric tradition of Shakti – Smashan Tara, Chinnamasta, Bhuvaneshwari and the like. Due to these changes, the six sisters of Mother Memory and Sophia were now the six sisters of Sophia-Shakti. Fusing the archetypal goddess traditions of both East and West brought a universality and depth to the narrative which was not there previously. During the time of re-writing, from 2012-2014, the characters were also filled out, political issues relevant to the time span of the novel – from May 1 1991 to September 11 2001 – were also added. And the original sirens were allocated their formal Muse titles: Mooniana became Euterpe, Fuchsia became Urania, Ondine became Terpsichore, Loreley became Polyhymnia, Afranella became Erato and Kastanja became the Muse of Tragedy Melpomene. It is to Melpomene that the veiled Sophia, banished from the throne of God, comes – to reveal the exact location of the Lost Chronicles of Sophia.
About the Author