Coincidance - Principia Discordia

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for maximum advertising of her natural resources, and she always had
those Anglo-Saxon monosyllables to hype-or-hypnotize herself into public
arousai every time she saw a photographer on the horizon.
The creation of "Marilyn Monroe" was one of the great artistic and
engineering feats of U.S. history: after the technology had been acomplished,
there was great art and shrewd psychology in animating the myth with a
numinous blend of little-girl innocence and mature, shameless eroticism. A
true Goddess had been manufactured, as any Jungian psychologist will
agree. Behind the Goddess was an intelligent and intuitive Actress and
behind the Actress was Norma Jeane, a woman who had never been
innocent, never became mature, and wasn't even shameless. Norma Jeane
was, in fact, guilt-ridden, insecure, haunted by the father she had never
known, terrified of inheriting her mother's insanity, and seldom free of
crippling anxiety for two minutes at a time. She was also a compulsive liar
whose ability to believe her own fantasies reminds one inescapably of that
other self-made American Archetype, Ronald Reagan, and she was prone to
bouts of paranoia and the anxiety-neurotic's ever-escalating alcohol and
drug dependence. She surely must have been some kind of genius, too,
because it takes more than talent to create and maintain the Goddess image
while in the dark night of your soul the shadows of nightmare howl and
gibber around you.
Norma jeane's childhood would have been enough to cripple a water
buffalo. Anthropologist Ashley Montagu, not quoted by Summers, has
statistics in his Directum of Human Development showing that orphans have
more mental, emotional and physical illnesses throughout life than parented
children, are more prone to crime and drugs, die younger and even measure
several inches shorter on average than the norm for their gender. In Norma
Jeane's case, her father did not have the decency to die but simply walked
out, and her mother went yodelling off to the "Asylum"; the girl-child,
shunted from orphanage to foster-home and from foster-home to
orphanage for 16 years, was psychologically more orphaned than most
orphans. Understand that, even a little, and you will be astonished at the gay
charm and sly humour in even her most lightweight comedy roles; with the
demons that haunted Norma Jeane, those sexy-funny girls were performances
as miraculous as a three-legged giraffe learning to dance the can-can. By
comparison, her "serious" dramatic roles, such as the schizophrenic babysitter
in "Don't Bother To Knock" or the ambitious hustler in "Bus Stop,"
required less art. Schizophrenia and ambition were closer to the real Norma
Jeane than gaiety or humour ever were.
It is noteworthy that Norma Jeane could bring the Goddess to life
occasionally even when off screen. Summers shows that there is some