"The action in the future only happened because of an action in the past. However, the action in
the past would not have happened except for having been caused by an action from the future."

the Wanderling



In the early to mid 1940s a very young American boy from a small Southern California beach town travels to India with a foster couple, ending up staying several months at or near the ashram of the venerated Indian holy man, the Bhagavan Sri Ramana Maharshi in Tiruvannamalai, south India. Prior to his departure from the U.S. the foster couple allows the boy to select one, and one only, small easy to carry toy to take with him. He picks his hands-down favorite, a metal decoder badge known as a Photo-Matic Code-O-Graph that has a picture of Captain Midnight mounted in it.[1]

In a seeming set of incredible coincidences, an American man, who was at the time around age 25 or so, and unbelievably from the same Southern California hometown as the boy, visits the ashram during the same period the young boy is there. Oddly enough, although a full grown man, he too has a near duplicate decoder with him, albeit slightly more tarnished than the boy's decoder, that has on it's surface a somewhat newer like sheen. So too, in lieu of the Captain Midnight photo, the man's Code-O-Graph has in it's place a black-and-white photograph of himself as a young boy. After inadvertently meeting each other and discovering they both have decoders, with the boy's permission, for reasons no longer known but seemingly valid at the time, they switch the two photos, exchanging the man's for the picture of Captain Midnight and vice versa for the boy.

Not long after the man's departure from the ashram the young boy leaves as well, returning to the U.S. with the couple, ending up being left off by the couple totally unannounced at the home his grandmother on his father's side in Pennsylvania. When the boy returns to California, the decoder with the now switched picture of the boy in it, for reasons unknown, is left behind at the grandmother's and, rather than trying to return it, she simply stores it in a box where it slowly languishes away and soon forgotten.

Several years later the grandmother dies and upon her death her son, who happens to be the boy's uncle, travels to her home in Pennsylvania to put her things in order. There he finds the decoder in the box among her belongings. Having been the boy's onetime guardian the uncle instantly recognizes the photo as being that of his nephew while at the same time remembering how important Code-O-Graphs were to the boy during his very early childhood years as well. So said, the uncle, knowing that the boy had stayed at his mother's for a short time during those same years, after which the decoder went missing, but now having found it, without really thinking about it sends it to his nephew. The nephew however, is now no longer a young boy but reaching into his late teenage years and just about ready to graduate from high school. The decoder, having lost both it's luster physically as well as in importance to the boy, floats around a few years eventually ending up stored away in a box at his younger brother's when the boy, now a man just into his early twenties in the 1960s, is drafted into the U.S. Army.

While the boy-now-a-man is in the Army and fully vested as a soldier he requests his younger brother send him some much needed items. In the process his younger brother either inadvertently or mistakenly includes the decoder in the package along with the other items he requested. With the decoder in his possession and some distance from home he simply carries it around with him during his young adult years and has it with him when he decides to visit the ashram of the Bhagavan Sri Ramana Maharshi in Tiruvannamalai, south India.

During the man's visit to the ashram, in what seems to be another set of incredible if not unbelievable coincidences, he meets a young boy from his own home town who has been staying at the ashram with a foster couple for a couple of months --- and has with him of all things, a Photo-Matic Code-O-Graph --- except that the boy's seems much newer and has a picture of Captain Midnight in it while the man's has a picture of himself when he was a young boy. Following a short discussion the man switches the picture of himself as a boy that is in his decoder for the picture of Captain Midnight that is in boy's decoder, leaving the decoder with the picture of the boy in the hands of the boy, while taking the decoder that now has the Captain Midnight photo inserted in the square with him when he leaves the ashram. Over time he eventually returns home, continuing to have the decoder with Captain Midnight's picture in it right up to this day.

Not long after the man's departure from the ashram the young boy leaves India returning to the U.S. ending up at his grandmother on his father's side in Pennsylvania. A few weeks later the boy returns to his home in California and for reasons unknown leaves the decoder with the picture of the boy at the grandmother's. She, rather than trying to return it to her grandson, simply puts it away in a darkened box where it is soon forgotten. A few years later the grandmother dies and her son goes to Pennsylvania to put her estate in order. There he finds the decoder and recognizes the photo as being that of his nephew when he was a young boy and sends it to him.

The above paragraphs are a synopsis or an extrapolated abridgment of sorts if you will, of a series of real life events wherein an adult man in an actual account, apparently in a time-loop of some kind, appears to have met himself as a young boy as found in The Code Maker, The Zen Maker.

Although there is no claim as to time-travel on a formal basis in The Code Maker, The Zen Maker, nor is there any mention or implication of any sort of a time-loop, all of it being Siddhi-based, for those who may be so interested, as the events unfold in the above brief synopsis and as found in the original account, embedded within the events, if it not an actual real-life Bootstrap Paradox, it is an exact reflected mirror-like image of the classical time-travel paradox, of which is discussed further within context below, albeit, as you read with a few hitches.

"The action in the future only happened because of an action in the past. However, the action in
the past would not have happened except for having been caused by an action from the future."

The Bootstrap Paradox as it is so called, is a time-travel paradox wherein an object or information can exist without ever seeming to have been created. The object or piece of information in the future is taken back in time where, through the normal passage of time from the past to the future, it is retrieved to become the very object or piece of information that was brought back in the beginning.

The term originates from the expression "pulling yourself up by your bootstraps" and was used to describe the time-travel paradox in Robert A. Heinlein's short story, written under the pseudonym Anson MacDonald, titled "By His Bootstraps" that was originally published in the October 1941 issue of Astounding Science Fiction. The main character in Heinlein's story, Bob Wilson, recreates, that is, copies the contents of a notebook belonging to his future self. At the end of the story, he wonders who actually compiled the notebook as he hands over the book to his younger self in the past, the same book his future self gave him to copy in the first place. For a link to read the short story "By His Bootstraps" in it's entirety scroll down the page.

It is thought by some a similar paradox arises relative to the exchange of the decoder photographs as presented in the main text above. There is, however, a chance there might be a potential unresolvable caveat, possibly two, when it comes to a Bootstrap Paradox, either being implied or actual in the above scenario. See Footnote [2]


"Not everyone who comes into contact with the history, background, and accomplishments of the venerated Indian holy man, the Bhagavan Sri Ramana, spiritually or otherwise, appreciate the sacredness of his ashram and the grounds on which it is constructed. Nor do they know, possibly because of that sacredness, that the Ramana Ashram grounds was once the focal point and major destination for one of the most fascinating aspects to ever unfold. That 'aspect' was multifold in behavior in that it flowed within the singularity of the grounds of the ashram and recorded for having done so by two separate sources and two separate authors. The problem arises because, even though they are by separate authors in separate books writing about separate incidents, they are talking about the exact same person as well as the exact same time, place, and time period at the ashram with Sri Ramana. In the first incident as it is written, Ramana saw the boy as a boy, in the second as it is written, again, at the same time and place, he saw the boy as a man."

Map and History of the Ramana Ashram

In and around the events that encompassed the previously mentioned small scale exchange of the photographs, a whole series of much bigger events were driving the course of history. As you may recall, a young American boy from a small Southern California beach town is taken to India by a foster couple, staying several months at the ashram of the venerated Indian holy man, the Bhagavan Sri Ramana Maharshi. The boy's arrival was followed sometime shortly thereafter by a grown man whose early childhood years growing up just happened to coincide as being in the same beach town as that of the boy. Of the Maharshi, as found a few paragraphs down, in reference to the boy and the man being at the ashram, the following transpires:

"In the first incident he saw the boy as a boy. In the second incident he saw the boy as a man --- even though the seeing of both was at the same time, same place, and same time period."

Although such things as I have put forward regarding the young boy and the man at the ashram as having transpired, AND that did in fact transpire in real life and in the real world, how is it that they were actually able to transpire?


The whole so-called or alleged Bootstrap Paradox analogy as it relates to us here as described above in the main text finds it's foundation built upon a two-fold incident, with the first of that two-fold incident involving the boy having been taken to the ashram of Sri Ramana in India in the first place, with the following results:

"Within an hour of his face-to-face meeting with Sri Bhagavan, his mental barriers were reduced to nothingness."

The above quote stating "his mental barriers were reduced to nothingness" with the "HIS" in the quote making reference to me, the Wanderling, is found in FACE TO FACE WITH SRI RAMANA MAHARSHI, Enchanting and Uplifting Reminiscences of 202 Persons (2009) as compiled by Laxmi Narain and available at the link below so sourced --- with the quote segment from Number 179 provided thru the written observations of Sri C.R. Rajamani.

The quote below, as found in RAMANA PERIYA PURANAM (Inner Journey of 75 Old Devotees) by Ramana devotee V. Ganesan, also linked below, is cited by me and as presented by me throughout much of my same works. Although not originally intended to be so by either author, both quotes are in fact unwittingly deeply interrelated, and in doing so unfolds as the second part of the two-fold incident --- with the second part not referring to the boy as found in the first part, but to the man who arrived at the ashram later:

"(T)he American entered without announcing his name. From the moment he entered, Bhagavan's gaze was on him. He sat before Bhagavan for three hours. Some kind of communication was going on between them during this time. There was such deep silence; no words were exchanged. The American got up and left. He never came back."

There is a tendency for many people to not only confuse, but also intermingle both of those two main quotes that I cite so often: the one at the top of the footnote about the face-to-face meeting with Ramana and the one found immediately above about the American entering the ashram without announcing his name.

The problem arises because not only do I quote both of them close together or in conjunction with each other throughout what I write that they get intermingled, but also because, even though they are by two separate authors in two separate books writing about two separate incidents, they are talking about the exact same person as well as the exact same time at the ashram with Sri Ramana. The difference between the two is that in the first incident Ramana saw the boy as a boy. In the second incident he saw the boy as a man --- even though the seeing of both was at the same time, same place, and same time period.

    Enchanting and Uplifting Reminiscences of 202 Persons

  2. RAMANA PERIYA PURANAM (Inner Journey of 75 Old Devotees) (page 304)

The answer, or non-answer as the case may be, still lingers then in the form of the original question regarding the boy and the man. How did what has been put forward as having transpired actually have been able to transpire?

For one thing the Ramana Ashram isn't just anywhere. It is located at the foot of the Holy Hill Arunachala just below the caves Sri Ramana Maharshi lived in for so long. The reason Arunachala is considered to be so sacred and the holiest of the holy and why Ramana as well as so many others have been drawn to its slopes is intertwined with the fact that the chronological age of the hill itself, geologically-speaking, dates back into ancient, ancient times --- thousands of years older than the Himalayas and way before man ever tread foot on the surface of the Earth, in a sense making the foothills and the ground the ashram is built on imbued with a deep and sacred meaning, infused with magic and blessed by spiritual timelessness.

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As you can see in what is being presented here there is a two-fold set of phenomenon going on. One is what transpired at the Ramana ashram in India with the young boy and the Code-O-Graph under the auspices of the Maharshi and the second, circulating around what transpired between the Zen Master and the man in the monastery located high in the Himalayas located somewhere along the southern edge of the Qinghai-Tibet plateau. That man, me, through a strange or unique combination of events put into place and implemented somehow through the powers of the Zen master, ended up with me no longer at the monastery, but at the Ramana ashram located along the base of the holy hill Arunachala, Tiruvannamalai, south India, after which I then met the young boy.

When talking about the Zen master's combination of events, what is being discussed is a special instance occurring or propagating within the environment-realm of the mysterious spiritual hermitage of Shamabhala, occurring thus then, with all of it's inherent trappings. The following is found in The Code Maker, The Zen Maker:

"It is after passing through the forward walls of the ruins and finding a fully functional monastery on the other side of the doors that people start getting befuddled. If they don't totally dismiss what is being said, they lose the ability to grasp the concept. Once through the main portal the time associated within the walls of the monastery and the land beyond flowed like the surface of a Mobius Strip, non-orientable."

As so stated, time associated within the walls of the monastery and the land beyond flowed like the surface of a Mobius Strip, non-orientable. When the Zen master put into place his intentions, he did so from a non-orientable time environment --- meaning, because of conditions, when and where he was within that non-orientable time environment relative to the conditions, would determine the outcome or results of his efforts --- in effect making his Siddhi efforts different in implementation and outcome than they would by if put into place on the other side of the walls. The target for his efforts were another time and another place, more specifically the Ramana ashram, itself, as previously discussed, imbued with it's own deep and sacred meaning, infused with magic and blessed by spiritual timelessness.



I personally view all that I have presented in these works from top to bottom as falling under the aegis of what is known in Sanskrit as the super normal perceptual states of Siddhis. Others, who after reading all that I have presented, have a tendency to move what has been written into more of a time travel realm. Rather than remaking the wheel or continually embarking on a never ending series of clarification rebuttals, I have instead, catered to or slanted much toward those with such a view by putting into place a series of additions, footnotes, and outside links. In the end they still want to know, that is, the time travel enthusiasts, devotees, aficionados, lovers, admirers, followers and groupies --- as well as the curious and especially so the seemingly just plain against all of what I have written --- is:

"Did showing up at the ashram in the past affect or change the future, and if so, how?"

"If you can't change the present by going into the past, then how can you change the future from being in the present? "

If you are willing to disregard my second question above there are two things that I am knowledgeable about in answer to such queries. First, it has been well established that the Photo-matic Code-O-Graph had a photo of me as a young boy mounted in the square of the decoder when I arrived at the ashram with the foster couple and continued to have the same picture in it many years later when it was sent to me by my brother while I was in the Army. What that means is that when I was selected to live with the foster couple while my mother was still alive, but too ill to care for me, the Code-O-Graph I took along and that ended up in India, clearly had a photo of me as a young boy installed in the square. Under my auspices, as far as my memory was concerned, the Code-O-Graph should have continued to have that very same picture of me as a boy in it all the way up to me reaching young adulthood and being drafted into the military, a period of time that encompassed me from just starting school for the very first time clear through to graduation from high school and going into the Army. And it did.

It was only after meeting the boy in the ashram and exchanging photos that the badge I had with me as an adult and left the ashram with no longer had a picture of a young boy in it, but instead clearly had a picture of Captain Midnight mounted in the square, and clearly so, has that same picture of Captain Midnight in it right up to this day.

Secondly, the Zen master's intent, as I have extrapolated it in hindsight, was for me to bypass any potentially powerful Mara the Tempter induced impediments by coming in on the side of time in front of them, that is before they happened. Thus in a sense, after which returning into the present forward, maintaining in place any "mental barriers that had been reduced to nothingness" before the impediments were set into motion. As events seemed to unfold in my life such does not seem to be the case, that is, the Zen master missed his mark.

What is being expressed by my view that the Zen master in his efforts to place me in the ashram "missed his mark," is that his efforts either fell into place BEFORE the young boy's "mental barriers had been reduced to nothingness," or the Zen master's efforts landed me in the ashram AFTER the Mara induced impediments had already been put into place and operative.

If you remember, my mental barriers being "reduced to nothingness" occurred during my early childhood years when I was around six years of age, and done so under the personal grace and light of Sri Ramana himself. The so-called "Mara induced impediments" occurred a few months later after I returned to the states, totally intertwined, inseparable, or possibly even caused by a period I was struggling with following the death of my mother and the dissolving of my family. In equal stature, added to the previous, was me being separated by the growing time and distance from the spiritual penumbra of Ramana's umbrella of grace. Even so, regardless of the impact of the two, between "the reduced to nothingness" and "Mara's impediments," there was in time, for me as a young boy, a narrow gap where an unimpeded wide-open window of Enlightenment existed.

Following my return from India during the period of the gap, but prior to it dissipating to such a point it no longer existed, I ended up staying with my grandmother. She, knowing my personality before I left for India and knowing me after I returned, became concerned with what she considered a seemingly askew perspective on things. She said I kept saying things like I could see but that there was no me, that it seemed like the whole back of my head was gone but I could still feel it, that I was both dirt and sky. In turn, because of her concerns, she contacted my uncle to see if he had any idea where my father was. Almost immediately my uncle came out to assist, the first of several trips before he actually remained on a permanent basis.

Even though my uncle was not worried about my behavior at nearly the same level as my grandmother seemed to be, he agreed her concerns carried a certain high amount of validity. He was aware I had been to India, but at that moment in time he had no idea I had been in the presence of a prominent Indian holy man. Even so, through pure gut intuition and a long time running association with Native American spiritual elders of the desert southwest, he felt my behavior carried a deep ring of spirituality to it. He searched around for someone who might have answers and in the process came across Paramahansa Yogananda of the Self-Realization Fellowship. Because of my grandmother's concerns and my so-called askew perspective on things my uncle took me to see Yogananda, not because he knew him or was familiar with his works, but because he was one of two high profile personalities in the India-based eastern spiritual movement that had taken root on the west coast during and following World War II.

When the so-called "Mara induced impediments" were put into place it was only done so some months after the "reduced to nothingness" incident, that is, after I returned to the states, meaning of course I was still a young boy, not an adult. How is it then when the situation manifested itself between the Zen master and myself he chose transferring me from the ethereal location in time and place within the monastery to the ashram --- all the while maintaining the same age of the grown man that I was after having reached that age by going through all that encompassed what I experienced reaching that grown-up-maness from my childhood?

In the case of me, if I as a grown man had been placed into the ashram environment during the same period of time the boy was there but BEFORE his mental barriers were reduced to nothingness, upon my return I would not have known, seen, experienced, or even been aware that I as a young boy sitting before the Maharshi had reached a point where my "mental barriers had been reduced to nothingness." After sitting before the Maharshi as a young boy I should have gone through the whole rest of my life reaching the stage of being a full-fledged adult, Awakened, Enlightened the same as the ancient classical masters. Instead, from my childhood to when the Zen master returned me to the ashram as an adult, because of the mitigating circumstances as alluded to in The Last American Darshan, I knew nothing of it. However, Ramana, having seen me at the same time in both situations, knowing me when a boy as Enlightened, but me as a man NOT Enlightened, and as found in THE MEETING: An Untold Story of Sri Ramana, the Maharshi interceded at the stage stop to resurrect the loss.

If I had seen the young boy in a state of having been "reduced to nothingness," yet, as an adult not aware of ever experiencing such a state nor had I ever recalled it from my youth to a grown man, I would have interceded in some fashion to ensure growing to manhood it wasn't lost. The easiest way for that to have transpired would to have somehow eliminated the one, primary specific incident that was most directly responsible. If I could have figured out that specific incident on the spot in the ashram at the time or not is another thing. However, looking back, that one specific incident would be to ensure the boy knew, no matter what, under NO or any circumstances, was he to get out of the car and open the garage door before his aunt stopped the car and she herself got out.

Even IF the Zen master's efforts or Ramana's attempt at the stage stop two years later would have been successful in their execution, unless I would have interceded with the boy at the ashram in some fashion, there still would have remained --- from me being a young boy of around age six through to me being a man of roughly age 26 --- approximately a 20 year plus-or-minus period where the "reduced to nothingness" phenomenon would have been veiled, the same passage of time as if nothing had been done. It wasn't until the events of Dark Luminosity that things were ultimately resolved, and even then they seemed to bubble up within the normal flow of the time stream.



The precession of the equinox is a a visual-physical effect caused by the repetitive circular wobble of the earth's axis poles relative to the fixed background stars.

The drawing below left is a schematic of the precession. It shows how the celestial pole appears to move in circles against the fixed backdrop of the northern star field. The precession takes approximately 26,000 years to complete. Notice in the drawing the pole star for our era is Polaris, placed at the very top center of the precession orbit while straight down at the very bottom center, one half of the 26,000 year precession cycle is Vega. Vega was the northern pole star around 12,000 BC and will be so again around the year 13,727 AD.

Take notice of the circular design, look, shape, and similarities between the Code-O-Graph and the precession of the equinox image. There just happens to be 26 one-thousand year increments on the precession image while the Code-O-Graph has 26 increments, one each for each of the 26 letters of the alphabet. You, having read this far, have no doubt grasped, figured out, become confused, or possibly totally discounted into perpetuity any level of an actual formal relationship established between the two. The thing is, it doesn't matter the initial intent of either or all from the Big Bang to now, what matters is the predominant and intertwined goings on of events as they unfolded in relation to both the precession of the equinox and the Code-O-Graphs that led to me and impacted my life and possibly yours reading it.



As for the so mention of conditions: the word conditions is an English word used in context from the Sutras for the Sanskrit word Pratyaya which means (roughly): "the pre-existing conditions that allow primary causes to function." To wit, the following from the source so cited:

"Conditions are the milieu, stage set, or playing field where acts or impulses unfold. They can be increased by other conditions, decreased by other conditions, or replaced by other conditions to accelerate or postpone results in the stream of events. Which means that conditions can, but not necessarily DO modify. They arise primarily on a broader scale from causes in the distant past. When conditions do manifest themselves they are for the most part not defined, that is, they are undefined or spent, meaning they cannot create or impact figuratively further downstream responses. However, even though they are spent, they are still extremely powerful in how they impose themselves on the immediate circumstances in which they are operating." (source)

Any shift in any fashion in the conditions up or down or across the stream relative to the cause will impact the resultant outcome of that cause.


Additional time-travel possibilities and outcomes related to meeting yourself as well as how doing so relates back to the specific case outlined in the main text above, including a couple of videos from the 1960s TV series Twilight Zone. The Twilight Zone is a virtual goldmine of time travel stories, almost always with a twist or paradox. There are two standout episodes that are highly intriguing, both of which are deeply infused with time-like paradoxes. Of real interest with each is that neither of the two main characters in either of the two stories use any sort of a mechanical device such as a time machine or high-energy portal or similar such contrivance to be transported into or back from the past or future. They simply "walk" into or out of it not to dissimilar to the main character in the main text above.

The first episode oddly enough is titled Walking Distance wherein a man on a present-day road trip stops to get gas and have his car serviced. While the service is being done he walks to a small town a mile or so away he was raised in. After he arrives he discovers there has been no changes or anything, the town having remained almost exactly the same as he remembered when he was a kid. At about the 8 minute 13 second mark into the video the man sees a small boy carving his name into a post of the town square gazebo and remembers doing the same thing when he was kid. Later the man tries to talk to the boy as he is riding a carousel located in the same town square as the gazebo. When he does the boy runs, falling off the merry-go-round injuring his leg when it gets caught under the turning floorboards. After that the man walks with a slight limp.


SEASON 1, EPISODE 5 - OCT 30, 1959

The second very excellent Twilight Zone episode is titled A Hundred Yards Over The Rim a "right up the alley" Bootstrap Paradox story. In 1847 a pioneer from a wagon train sets off to find medicine for his ill son. Somehow he crosses in time over into present day New Mexico, the medicine he needs and goes back to the wagon train. His son is cured and grows up and discovers the medicine that cured him.


SEASON 2, EPISODE 23 - APR 7, 1961

One of my favorite observations or description of time comes from a Twilight Zone episode titled "A Matter of Minutes" based on the 1941 story titled Yesterday Was Monday by Theodore Sturgeon published in the so-called fantasy fiction pulp magazine titled Unknown linked below. In the Twilight Zone version, A Matter Minutes, the story's protagonist describes the flow of time as each minute being initially like an empty boxcar hooked in a row to a whole series or line of boxcars with each one of those empty boxcar minutes needing to be filled with everything that the minute comes to be has to be filled with. The protagonist attired in a sort of yellow cast outfit has a whole work like crew of men or people-like beings that are completely blue in color from top-to-bottom as seen in the graphic below who accomplish the task putting together each of the up coming minutes.

The truly interesting part is how time and electro-magnetic radiant energy, i.e., light, are so inextricably intertwined. According to quantum theory light is both particle and wave, the particles of light being called photons --- or in our case here, boxcars, while the whole train itself with no start of finish all hooked together going down the track as though a continuum, the wave.

To see the complete episode with the "boxcar theory" of time shown and explained click graphic below:

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If the above link disappears, which it has twice, as a last resort try HERE.

Complete, free PDF versions of Yesterday Was Monday and By His Bootstraps can be reached by llinks below.

If you haven't gone to Footnote [2] yet you should really do so as it has as well links to both Footnote [3] and [4].




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As to the subject of donations, for those of you who may be interested in doing so as it applies to the gratefulness of my works, I invariably suggest any funds be directed toward THE WOUNDED WARRIOR PROJECT and/or THE AMERICAN RED CROSS.

Footnote [1]

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Captain Midnight Code-O-Graphs were originally designed to be replaced one after the other on a yearly basis. The Photo-Matic version of the Code-O-Graph, pictured above, was manufactured in 1941 just prior to the outbreak of World War II for issue during the 1942 season. Because of the wartime metal shortage it was continued for use throughout the 1943 and 1944 seasons as well, making it the Code-O-Graph with the longest service life. The following excerpt is from CAPTAIN MIDNIGHT: The Code-O-Graphs linked at the bottom:

The second of the Code-O-Graphs made was the "Photo-Matic" unit. The badge had a space for a picture of the owner, to make it a photo-ID badge, creating in an essence a personalized identification badge like those used in defense plants of the era. The badge originally came with a picture of Captain Midnight in the space, but was designed to easily replace it with one of the owner if they so chose to do so.

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The advent of World War II had an impact on the Code-O-Graph availability: the two previous models were made of brass, and the attack on Pearl Harbor, which propelled the United States into World War II, caused the U.S. Government to impose restrictions on manufacturing materials. Copper and brass were considered critical materials, and most of the materials were diverted to war activities. This precluded brass being used to manufacture novelties like radio premiums.

The Photo-Matic Code-O-Graph, although not distributed until 1942, was manufactured prior to the Pearl Harbor attack. Since it, and its predecessor, were undated, the newer Code-O-Graph was used for the 1943 and 1944 seasons as well as the 1942 season, making it the Code-O-Graph with the longest service life. The cipher setting scheme was similar to the 1941 Mystery Dial model, but there was only one cipher setting window, labeled "Master Code." The word season used in context here refers to the radio broadcast season --- that is, when the Captain Midnight radio program started with and continued with all new programs for a given period of time before starting with another whole series of new programing.

The following two paragraphs, albeit containing some redundant material, has within its context additional information as so found at the source cited:

"Without knowing it, apparently as I fiddled with the decoder while walking, the pin became unhooked. In the bending down motion to position myself on the low wall next to the boy the sharp point of the pin went right through the thin material of my pocket and directly into my leg just as I was finishing sitting down, jabbing me with a sharp jolt of pain through the upper front of my thigh."

"The decoder, again a Photo-Matic Code-O-Graph, was different than other Captain Midnight decoders in that it was designed to allow the owner to insert a photo of themself in a small open square at the top of the badge, replacing the photo of Captain Midnight that came with it. The idea for doing so was to create a personalized identification badge like those used in defense plants of the era. Once the picture of Captain Midnight was removed and the owner substituted it with a picture of their own, they were supposed to push down the four metal tabs at each of the corners so it could not be removed. As well, although NOT all Captain Midnight decoders were badges, the Photo-Matic Code-O-Graph was because it had a pin that went through a little hook on the back so it could be pinned on and worn like a badge."(source)





THE SCENARIO: Setting the Scene

Footnote [2]

Even though the entire contents of the incident so presented replicate and fall perfectly within all the concepts and perimeters of a Bootstrap Paradox, it may or may not apply to what has been presented. To wit, the following paragraphs as found in The Code Maker, The Zen Maker, Footnote [12]:

"(There were) piles of various black and white photos of every size and shape of my family taken during the period of time when my brothers and I were kids, all the photos except possibly a minor few were taken prior to my mother's death, and for sure none of us three kids together after her death.

"However, and this is one of the biggest howevers ever, and why all of the above is relevant: In what appeared to be a series of consecutively taken photographs, all seemingly done at the same time and at the same location, there were four that clearly showed the three of us kids standing behind a dark colored 1939 Plymouth four door sedan, with my older brother standing on the ground and my younger brother and I on the rear bumper.

"The photos were taken at what looked to be a railroad yard of a train station or possibly a dock or pier of some sort. The car in the photos was identified as having belonged to my grandmother from before the war years up to at least 1950, something both my younger brother and I clearly remembered. Among that series of four photographs was one that was a head-and-shoulder close-up of just my younger brother and myself, of which where the picture of my face should have been, was instead a hole. Actually a carefully cut away square hole, as if done so by an extremely steady hand using an ultra sharp razor blade or an x-acto knife.

"All the time I was at my brother's that photo kept gnawing away at me. What would be the use of a picture of my face being cut out, especially so no matter how neat it was done, would still ruin the rest of the photo. Then it dinged. I went back through the photos until I found it, then using the inside edges of the cut out opening as a template drew the square on a piece of paper. When I returned home I matched the square I drew with the size required to fit snugly into the opening of my Photo-Matic Code-O-Graph. The size matched perfectly. Although I left the photo that had my face cut out at my brother's with the rest of the photos, on the back of one of the series of four, in cursive writing, most likely in my mother's or grandmother's hand and using fountain pen ink, was the first names of my two brothers and myself along with the words 'Union Station' and the date 1942-43."

If it is taken that somehow the above is directly related to the events so described in the main text as well as the Bootstrap Paradox, a problem arises on two fronts. One, other than being the correct person, that is, me as a boy, and the correct time in the overall scheme of things, 1942-43, as well as the exact size and shape of the hole in the alleged photograph being a perfect size to be inserted into a Photo-Matic Code-O-Graph, there is no hard proof that the cut-out headshot was ever the actual photo that was in the aforementioned decoder badge --- or any other Photo-Matic for that fact. Secondly, even if it was the exact same photo, the question is, how and when could it have found it's way into the time stream we are talking about here?

The following quote is from the main text of the aforementioned The Code Maker, The Zen Maker. The quote pretty much makes clear that my mother, prior to her death or the coming on of her full-blown illness, had unfettered access to "my" Photo-Matic Code-O-Graph as well as it would seem by inference, because of what appears to be her handwriting on the back of the photos, to the series of 1942-1943 Union Station photographs of which the picture of my face was carefully cut out.

"(W)hen I was a young boy growing up, those who were close remembered well when I received my first Captain Midnight decoder badge. It was a Photo-Matic Code-O-Graph I sort of misappropriated from my older brother. I did so first without his knowledge, then without his approval, leaving him stuck with the old previous model, albeit the first in the series, a 1941 Mystery Dial Code-O-Graph. Once I got my hands on the Photo-Matic, not only would I not give it up, for years afterwards hardly anyone ever saw me without it. They say me listening to Captain Midnight and deciphering his Secret Squadron messages all the while coveting the decoder for myself raised a huge inter-sibling calamity and fuss in the family. But my mother, seeing that using the decoder required dealing with letters and numbers, and me willingly learning them at such an early age, bought a bunch of Ovaltine and sent for another decoder so both my brother and I would have one. The recognition of the importance and the learning aspect of it all is one of the few fond memories I have of my mother prior to her death a couple of years later --- and of which, along with the addition of the extended life of the Photo-Matic decoder through to the end of the war --- had a major impact on the importance of decoders on me starting so early in my life. As for the second decoder, the one ordered by my mother for my older brother, no sooner had he obtained it than he lost interest, eventually surgically disassembling it into as many pieces as he could. The last I saw anything of it, the main body of his decoder had been smashed totally flat after having been run over by my dad backing the car out of the driveway."

Even though my mother may seemingly have had long-term access to both the decoder badge and the photographs at the correct time and place and could have easily cut out the headshot and inserted it into the Code-O-Graph, a problem of any interaction on her part following through with either arises in the overall scheme of things. As it is put forth in the opening paragraph of the main text at the top of the page, when the boy arrived at the ashram with his favorite toy, the Photo-Matic Code-O-Graph, it clearly had a photo of Captain Midnight in the square. It was only after the man had arrived at the ashram carrying his own Code-O-Graph with a picture of himself in it as a boy, then switched the two photos did the boy's Code-O-Graph end up with a picture of a boy in the square.

So said then, implied or actual, if taken for granted that the events transpired in real life and seemingly on the conventional plain at all times relative to the protagonist, there seems to be no explanation other than the concepts so imbued within the boundaries of the Bootstrap Paradox.

One final thing that may be of interest, the Photo-Matic being run over by my father as he backed out of the driveway wasn't an accident. Actually, my older brother placed the decoder under one of the rear wheels on purpose. Re the following from The Code Maker, The Zen Maker:

"(My) older brother told me, because I loved my Code-O-Graph so much, that it was MY decoder he was going to put under the rear wheel and have crushed flat --- so, when the decoder was run over and I was unable to locate mine from the night before I figured he had absconded with mine while I slept and put it under the rear tire in lieu of his.

"Even as my dad was backing the car out of the driveway and leaving that morning I was already on the way to the spot where my brother had placed the decoder. When I started to pick up the pieces I could easily see that the flattened decoder wasn't mine because his had a black-and-white photo of himself in the square while mine still had a picture of Captain Midnight mounted in it."

What it means of course, is that my older brother's Code-O-Graph had a picture of himself mounted in it while at the exact same time, mine didn't. Somebody, whether it was my brother or my mother, or possibly my grandmother, found the time and the means to cut out and mount a photograph of my older brother in his decoder while mine went unchanged.

It should be noted that in the four photo series of my two brothers and myself taken at the train station circa 1942-43 there was, like the photo of me that was cut out, one of my older brother that was perfect to have been cut out and used in a Code-O-Graph Photo-Matic, but wasn't. Where the black and white photo of him that showed up in his Photo-Matic came from or who inserted it is not known.[3] [4]



Footnote [3]

As to whose picture was in the Code-O-Graph I carried with me when I traveled to India as a young boy with the foster couple there is no doubt it was one of Captain Midnight rather than of me as a kid --- with the soonest such proof actually surfacing so early in time that my mother was still alive and my family intact. To wit:

One day during that period of time my father took my brothers and me to a giant outdoor amusement park in Long Beach called the Pike. While on the midway I came into contact with a flamboyant gypsy-like sideshow medium. The medium asked for my Captain Midnight decoder in order to tell my fortune only to faint when she took it into her hands, falling to the ground totally unconscious. She was then assisted by a man who stepped from the crowd with the following results:

"During the assist the man from the crowd had also picked up the decoder. The woman softly requested the man, who by now was talking to my dad as they seemed to know each other from the shipyards, to hand her the decoder, which he did. While just barely touching her performer-like bright red lips to my forehead in a kiss-like manner the medium placed the decoder in the palm of my hand and gently folded my fingers closed over the top. Then, using each of her hands and fingers from both, she formed little circles putting them to her face around her eyes creating finger goggles, mimicking all the same as those worn by Captain Midnight in photos that came with the badge. Bringing both hands down from her face she put one hand on mine still holding the decoder while using her other hand to place the hand of the man that assisted her on top of them all and, speaking to me, said, 'From man to boy to man, your future and past is already marked by what is held together here in our hands.'"(source)

The above quote as the source so shows comes from Footnote [3] of Guy Hague who I met while I was a teenager in high school and told me what happened. Hague was the same man that knew my dad from the shipyards and had stepped up from the crowd that day to assist the medium. What I take from the story is, in that when the medium made finger goggles using her hands and fingers and put them around her eyes, she was actually mimicking what she saw in the photo in the decoder --- a picture of Captain Midnight wearing goggles --- and all done so while my mother was still alive and before I ever went to India taking the decoder with me.

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Adding to the conundrum of the Bootstrap Paradox and the photos is the following, as written by the Wanderling and found, again in relation to Footnote [12] of The Code Maker, The Zen Maker:

"Not long after my father died than his then wife, who disliked both my older brother and me with a certain amount of way over-the-top high passion intensity, completely bypassing or overlooking the two of us, called my younger brother and told him she had a whole bunch of boxes containing belongings of our father related to his early years that she found stored away, and if my brother was interested, to come by and pick them up before she had them all carted off to the dump or tossed into the trash.

"Before moving the boxes out of the storage unit they were located my brother started going through some of them, but stopped after only a few because the woman my dad was married to at the time, at first, made him open them one by one watching every move he made and making sure nothing was in any of them that was of her concern. Instead, my brother balking at her nasty demeanor, just took all the boxes and stored them away in a conex container on his property with tons of other stuff thinking he would go through them some day. He did know that in at least one of the boxes he unsealed there was a lot of old photos of our family and mother that our father had, upon her death back in the mid 1940s, simply taped up and secreted away. To my brother's knowledge the inside content of the boxes hadn't been seen or gone through by anybody since, and for sure, until we saw them, neither my brother nor I knew they existed. It was within that same box of photos that I found the one with the square cut out with the date 1942-43."

In a sort of Schrodinger's Cat paradox, basically what is being said is, that almost immediately after my mother's death my father gathered up everything related to her and us three boys, including the box of photographs which he apparently sealed closed by taping it up, then put it all into storage. There the box and the photographs remained untouched to anybody's knowledge until my brother found it and opened it following our father's death.


"A living cat is placed into an opaque box-like steel chamber. In the chamber is a very small amount of hydrocyanic acid, a radioactive substance. If even a single atom of the substance decays during the test period, a relay mechanism will trip a hammer, which will, in turn, break the vial and kill the cat.

"An outside observer cannot know whether or not an atom of the substance has decayed, and consequently, cannot know whether the vial has been broken, the hydrocyanic acid released, and the cat killed. Since it is not possible to know with any amount of certainty according to quantum law, the cat is both dead and alive, in what is called a superposition of states. It is only when the box is opened and learn the condition of the cat that the superposition is lost, and the cat becomes one or the other, dead or alive."




See also Footnote [4]

Footnote [4]


Although as a young boy I never lived in the downtown area of Los Angeles I did grow up in the suburbs as well as the 20 mile away beach towns and the even further away farm and ranch areas that surrounded the city in those days. Unlike now, during those same growing up years, traveling by train was big, with the main railroad terminal in Los Angeles being Union Station, a place that figured large in my life on several occasions. Again, in the previously mentioned Footnote [12] in The Code Maker, The Zen Maker I wrote about how a series of four black and white photographs of my brothers and me figured prominently in my life. On the back of one of the photos of the series of four, in cursive writing, most likely in my mother's or grandmother's hand and using fountain pen ink, was the first names of my two brothers and myself along with the words 'Union Station' with the date 1942-43 which is the first time and earliest date and year I can confirm being at Union Station, the next being July of 1944.

On the night of July 3, 1944, as a very young boy, I was on a train from Chicago to Los Angeles when, in a high speed crash, the locomotive derailed pulling all but two of the cars off the tracks with it, killing the fireman and three passengers while injuring 113 passengers and 13 train employees. Needless to say it took days before I made it to Union Station. For more please click the graphic below:

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About five years later, following the death of my mother and by then living with my Stepmother, I met an elderly (to me) Chinese man that washed dishes and swamped a bar not far from where I lived. During slow times he used to meditate in the alley near the back door of the bar. The two of us met while I was traveling with a couple of kid-friends from school collecting and turning in beer and pop bottles for the deposit. One day I came by without my friends and he asked why I was traveling without my buddies.

I told the Chinese man come dish washer that several days before, just as I was leaving the garage with a wagon to catch up with my two friends to collect bottles my godfather stopped me and asked if I was going to meet up with the "Jew-kid" and the "(explicative)," using the N-word in that one of my school buddies was Black. If I had ever heard either word before I don't remember, but I remember well the day my godfather said them. Although I usually fell under the auspices of my Uncle, my godfather was still an adult figure in my life and when he said what he said I could tell by the inflection in his voice that somehow, at least as he viewed, something was wrong with both my friends. Continuing, I told the dish washer the following from the source so cited:

"A couple of days later I was at Union Station in Los Angeles with my stepmother who was either meeting someone or seeing someone off. I was on the platform some distance behind dawdling along when out of nowhere, using one of my newly learned words, I said, 'Woo, woo, here goes the (explicative)-train,' using the same N-word my godfather had used. The next thing I knew a Redcap was bending over with his face in mine, grabbing my shirt around the collar at the neck with one hand and waving the index finger of his other hand inches from my nose and loudly saying, 'Don't you ever use that word again!' Having never been grabbed like that before, by a black man or otherwise, I was scared shitless. Before I could respond in any fashion my stepmother was on the scene with her bodyguard asking what was going on. The Redcap, recognizing who my stepmother was, quickly reinstituted his Redcap role and using her first name by prefacing it beforehand with Lady almost as if she was royalty, related what happened. It was easy to tell my stepmother was totally aghast, fully unable to believe I would use such a word and insisted I apologize immediately not only to the Redcap but to all within earshot. She scribbled something on the back of her business card and handing it to the Redcap thanked him for what he had done telling him if there was ever anything in her power she could help him with, to call. Back in the car she demanded to know where I was learning such words. I told her what my godfather had said. Not long after that, under my stepmother's request, he was gone."

The Chinese man asked if I read comic books. When I nodded yes, he asked me to wait, got up and went through the back door of the bar returning in a few minutes with a handful of six or eight comics, all of which were in pristine condition. He went through the stack until he came to a specific issue, then he thumbed through that issue until he found what he was looking for. The comic book was called the Green Lama and the story he was looking for was about discrimination in the Army during World War II, how wrong it was and how it was resolved. The story was long for a comic book, ten or eleven pages. The full story as well as the source for the quote above can be found at the Green Lama site so linked, however the page below pretty much sums up the gist of the story:

The Green Lama was a 1940s superhero. Sporting an everyday guise as Jethro Dumont, a rich New York City resident and man about town, if necessity demanded it and he recited the Jewel in the Lotus Mantra "Om Mani Padme Hum", Dumont underwent a startling and dramatic change, becoming the Green Lama, gaining super strength, invulnerability, and the ability to fly.


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(photo courtesy Arizona Republic)

As a very young boy, after the death of my mother, following a series of events that for me were both fortunate and unfortunate and of which are fully articulated in M.V. Tulagi and elsewhere, I was left off alone and totally unannounced at my grandmother's on my father's side in Pennsylvania --- a grandmother I had never met nor ever even heard of.

I am not sure how long I was there, but from her place I was eventually returned to the west coast to be with my grandmother on my mother's side. It was during the return trip to my grandmother's in California that another interesting aspect in my young life unfolded.

Sometime around the very last day of June or so 1944, I was put on a passenger train in Pennsylvania headed toward Chicago, traveling with who I do not know. If it was or was not the couple described in The Last American Darshan who took me to India without approval of my family and then just left me in Pennsylvania has never been determined.

In Chicago I boarded the Number 19 Santa Fe Chief westbound to Los Angeles. Toward midnight of July 3, 1944, between Flagstaff, Arizona and Williams, on a high speed downhill run and behind schedule, the Chief's locomotive, a powerful Baldwin built 4-8-4 Northern with 80 inch drive wheels and clocking out at over 90 miles per hour, hit a marked 55 mph speed limit curve, with the locomotive derailing and sliding in the dirt on it's side off the tracks for well over 500 feet before coming to a stop. The rest of the 14 car train ended up in various stages of derailment and wreckage on and off the track, some cars remaining upright with two actually staying on the tracks undamaged. The fireman and three passengers were killed. 113 passengers along with 13 train employees injured, among them the severely injured engineer.


Although I was unhurt, the person or people I was traveling with was among the injured and taken, with me along with them, to either Williams or Flagstaff. Because of the nature of their injuries, whoever I was traveling with was held-up under doctors care for several days, leaving me without direct adult supervision. My grandmother, who had been contacted by the railroad, called my uncle in Santa Fe. He inturn contacted a nearby tribal spiritual elder to oversee me until he was able personally to intercede and safely get me to Los Angeles Union Station and thus then, to my grandmother's home in California.

The events found in this footnote has also been presented by me in virtually the same manner and same form in any number of my other works. What I have not included in the above account or have not revealed previously is a part of the crash event that circulates around the somewhat mysterious tribal spiritual elder my uncle arranged for me to be watched by until he, my uncle, could catch up with me. As you may recall, after the wreck, because the adult or adults I was traveling with had been hospitalized, I was left without adult supervision. I write about sitting in the waiting room late at night in some train station out in the middle of Arizona with the tribal spiritual elder waiting for my uncle to come get me.

What I don't write about is that I recognized the spiritual elder the moment he walked into the hospital waiting area looking for me as found in the following quote:

"Mid-evening on the night of the-unknown-to-anybody at the time up-coming crash I had gone to bed in the bunk in my compartment and as far as I knew had fallen fast asleep. Sometime during that period between the time I fell asleep and the crash occurred I found myself neither asleep nor in my bunk but outside of the train standing barefoot on the desert floor in the middle of the night in my PJs some distance off from a set of railroad tracks, my hand being held by an elderly Native American man.

"No sooner had I been standing there than in the distance to the east I could see the headlight of a locomotive heading in our same direction. Within seconds the train was parallel to where I was standing and then, almost as though in slow motion the train began coming off the tracks with the engine barely moving on it's side pushing huge mounds of dirt in front of itself and cars slowly going everywhere. Then silence and the passage of time returning to normal."(see)


Three years later, within a day or two of the third year anniversary of the train wreck, July 3, 1947, found me with my uncle traveling in the desert southwest having passed through Williams, Arizona on our way to Fort Sumner, New Mexico to visit the gravesite of Billy the Kid. We stopped at the crash site to pay reverence to those that died and my survival. While my uncle sat in the truck I walked the tracks where the wreck occurred. In the three short years since the derailment barely a sign of anything having happened remained, the wind along with the heavy downfall of summer monsoons nearly erasing the 500 foot groove and other marks caused by the huge Baldwin locomotive and passenger cars. If a person was unfamiliar with what happened it would have been unobservable.

Just as my visit at the train wreck site ended and my uncle and I headed toward Fort Sumner the Fourth of July weekend of 1947 was upon us. Any deep reverence or importance by me being at the train site was quickly overshadowed by a much larger event of earthshaking and monumental proportions when in the middle of the night of that weekend an unidentified airborne object of unknown origin began disintegrating, spreading debris and foil in a long swath out over the New Mexico flatlands only to eventually slam into the northern face boulders and rocks of the lower upslope of the Capitan Mountains --- an event that soon became known worldwide as the Roswell UFO.




The lower portion of the graphic below shows the location of the India landmass 70 million years ago --- 5 million years before the demise of the dinosaurs as so aptly discussed by me in The Mayan Shaman and Chicxulub.

Returning, the middle of the below graphic shows the location of the same landmass 20 million years later, i.e, 50 million years ago, having moved north and crossed into and partway through the equator. The top of the graphic depicts India's present location having connected fully into the Eurasian continental land mass. As you can see, throughout all those million of years that the sub-continent moved north it stayed virtually intact and unchanged --- all the while carrying the mountain range that contained that which would eventually come to be called Arunachala, except for typical wear and tear that might occur through normal weather and geologic processes, along with it.



The above graphic shows a scene from a Minion movie. In the graphic, on the far left standing in front of some sort of an upright computer like machine is Professor Flux. Appearing in the same room is what appears to be an additional six other Professor Flux'es. On the right of the graphic is an upright device that has a door with a round window. That device is described in the movie as being a time machine. According to the story line, of the total seven Professor Flux'es the one on the far left is the "original," the others having been brought back from the past via the time machine to help him --- in essence setting up a scenario where not only does the time traveler meet himself, he meets multiple numbers of himself and as well, brings them back with him to his present. In the movie the original, "real" or "first" Professor Flux is accidently hit on the head by the suspended cylinder directly behind him, collapsing to the floor dead. With the onset of the sudden demise of the original Flux, who had gone back in time and brought each of the himself's back with him one by one, the other Flux'es start disappearing one by one.


However, taken as it is, any physical place in time that Flux went back into the time stream and took himself he would no longer exist from that point forward in order to make it to being in the present (i.e., the "present" being the lab and all seven Flux'es together). So, if Flux would have taken himself out of the time stream ahead of the lab scene he would not have been there all along in the stream to do whatever he did to get to the point that he could go back in time to get himself. If such was the case then, he wouldn't have been there to go back to get himself. So too, since all seven were in the lab together at the same time, it appears he had not, prior to his death, reinserted each of the himselve's back into their initial time frame to be able then to have come forward.

Notice too, all the Flux'es appear to be in and around or near the same age. Although he could have picked himself one-by-one from the near future by backing up in time each time before he took one, none of them appear to be older than any of the others, indicating not pulling himself any distance in time out of the far future. Him being killed after he got them, however, would not impact them being there when he died. What would be impacted would be all the remaining Flux'es moving forward in time together as they each met themselves prior to the time they were taken back.

If you click the above graphic it will take you to a YouTube video showing the specific segment from the movie as so cited.

Traveling to India with the couple during the declining health of my mother but before her death put me as a young boy arriving at the ashram proper sometime in early January 1944 and staying to sometime after April of 1944, re the following:

"(U)nknown to me, my mother was no longer at home, having become totally unable to care for herself, so much so my dad placed her into a full care sanatorium-like hospital in Santa Barbara, California on an around the clock basis. Before my dad had a chance to respond to the couple, the couple, knowing full well that my mother was in a sanatorium, without my father's grace, took me to India, simply sending him a note saying that in the end I had changed my mind about going. While I was gone my mother died. I missed the funeral and by the time I got back my family had disintegrated, my two brothers and myself all going separate ways, my dad disappearing into the countryside heavy into alcohol."

SRI RAMANA MAHARSHI: The Last American Darshan

The above quote is from the source so cited. It cuts to the quick about my mother, the foster couple, me going to India, etc. It also brings to light the fact that while I was gone my mother died and I missed the funeral. It happened that way because of me having left for India late in the year 1943 and not returning to the states until June of 1944, meaning by inference according to the quote, that it was during that six month time frame that my mother died. Taken to the extreme then, by inference it would also mean that my mother was alive at least right up to my departure and possibly sometime shortly after. So too, most likely right up to my departure I was in the U.S. on U.S. soil because as I have stated elsewhere I went to Santa Barbara with both of my real parents sometime in 1943. The question is, if I was with my parents or even the foster couple how is it during the same 1943 period I was able to hole up for the night along the Rio Felix in New Mexico with the spiritual elder waiting for my uncle to show up? There had to be in existence two of me at the same time, albeit occupying separate spaces. One of me quite possibly knowing my mother died, the other still having a mother alive. Truth be told however, when I was traveling with the spiritual elder I had no clue it was not, not 1944. It was only years later that I discovered the incident along the Rio Felix involving the German POWs was 1943. Again:

"There had to be in existence two of me at the same time, albeit occupying separate spaces. One of me quite possibly knowing my mother died, the other still having a mother alive."


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The Balchowsky Paradox is similar to the Time Pill Paradox although almost a direct flip backwards, a reversal in how it is executed, i.e., starting where the other finishes and going back to the other's start. In the quote below Balchowsky is in Calcutta, India in 1944 at age 20. When he is met in his shop it is in America, Hollywood to be exact, it is 15 years later, 1959, and Balchowsky is now 35 years old. The person meeting him is 21 years old and the same person he met in Calcutta in 1944, only that when that person came to Calcutta it was from the year 1964 and he was 25 years old.




"My father seemed to spend an extraordinary amount of free time or late into the night reading pulp science fiction books like Amazing Stories or paperback novels of the old west, of which the ones about the old west were almost exclusively by L'Amour or Luke Short. I had perused lightly through books by both authors from time to time out of piles of books my dad had strewn around his place, and because he had insisted --- saying it related to my own experiences lost in the Mojave desert as a young boy --- I even read 'Mojave Crossing.'"


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1942 UFO OVER LOS ANGELES------------------------BUCK ROGERS: HIS ORIGIN



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