An Unexpected Package Turned up in the Mailbox
By Steven & Evan Strong
Special Thanks To Tania
When I first saw the parcel in the mailbox, I had no expectation of any delivery of this size. To begin with, the name written in the senders’ caption rang no immediate bells, it was only when I held the box did I suspect there could be rocks inside. I had assumed that upon opening and unwrapping the contents some degree of certainty or clarity would appear.
It didn’t! There were three objects inside the box, one seemed to be a piece of coral, another a piece of petrified wood with some form of lacquer coating, and then there was the white, probably quartz, blade and point. Lacking in prior warning, I had hoped, once I began unwrapping the protective bubble-wrap to come upon some notes, just a few words scrawled beside each rock would suffice. But alas, there was no paper or dry ink, just artefacts and bubble-wrap. Until now, coral or lacquered rocks were never sent or bought for us. And past that apparent surplus to requirements was something we could not identify that had two long, worked edges and a bizarre snake-like shape replete with curves and a flattened point, measuring over eighteen centimetres in length. That length of blade, irrespective of what it is made from, is well beyond the expected size for any Original spearhead. But what created real problems is the narrow width that varied between thirteen to two millimetres, that meant it is too thin and fragile to withstand any reasonable impact when thrown with force. What adds more weight to it not being a spearhead or barb, is that the front point of this blade is considerably blunter than both sides, which is a contradiction if a spear, as the point pierces the flesh first and should be the sharpest. It is either a weapon, tool, sacred object or something else again. The problem in narrowing choices further is the total lack of anything yet found in Australia that comes remotely close to what turned up in a box coated in one-dollar stamps, there is absolutely nothing to compare against.
Amongst the confusion and detours, there was one potential escape clause, there was a mobile phone number beside the name of the sender. Once on the phone some of the blurry edges became a touch clearer. We first met when Tania came to the last public presentation we gave at Melbourne. She attended our rock ceremony/workshop, and as with all who participated, she was given the opportunity to sit within a sacred circle of about seventy rocks. During her time in convergence, it was the rocks who made mention of these three artefacts/objects. Their request was very simple, all three were needed to join the rock ensemble and Tania’s role was to send them to us via the post as soon as possible. Which she did, but as pleased as she was for them to be in concert with the sacred and star rocks when in formation, to lose these three, which were clearly treasured and loved, was still a difficult task.
The Rational Mind is a Wilful Beast
Until we spoke, my greatest fear and most sensible explanation, was that this unique quartz blade was a recent product created in post-Cook Australia with a steel blade. Idle hands, a mega variation on an archaic proto-type or maybe the intention to profiteer through selling it as a genuine piece of rare archaeology, were but some of the sensible rebuttals that freely circulated until the question of authenticity was raised by me to Tania.
Tania’s reply had a double-edge, in that it was a complete verification of Original ownership and manufacture, but in doing so, what also happened seemed to contravene basic rules about Original gender protocol. She was given this artefact by a lady by the name of Anne and all she could recall spoken directly about this crystal artefact was that, “Anne said something like it being to dig out crystals at some stage.”(1) Any weapon or tool bearing a sharp blade or point that has the innate potential to kill is considered ‘men’s business,’ full stop, there are no exemptions. This double-edged object is still sharp enough to cut the skin, and being so long, it could easily kill if used in a stabbing motion. That being the lethal reality of this bladed relic, why was it that the tribe from Northern Australia gave this precious object to a white female? She was neither born anywhere near there and she is not even a black woman, surely this was not possible?
Tania was given this quartz bladed artefact by a woman named Anne Maher just before she died from cancer. Anne had worked intensively with one tribe in the far North, won their trust and respect, and when she was forced to relocate this sacred ceremonial blade was given to her by “the females”(2) as a parting gift and acknowledgement of the love and dedication she shared with them. Tania stated that “Anne would spend a lot of time with them, she would teach them things like hand crafts-knitting etc., and she learnt from them in return. Their children played together. Anne and the local Aboriginals had a mutual respect and it carried on to love and respect for all Aboriginal people until the time of her passing.”(3)
When this lady did pass on Tania said it was so much like an Original funeral “as the Aboriginal culture was a large part of her service in May 2018.”(4) So, this precious gift is the genuine secret article and certainly not a fake or stolen relic, nor is it a recent addition, but solely Original and as enigmatic as it is sacred. What we seem to be confronting is the gifting of an object full of sharp edges that is exclusively men’s business to a non-Original woman. However, there is a counterbalance to that male influence, in that most of the rocks we are guarding were under the custodianship of men, while to our knowledge, the reverse applies to crystals, as most are the domain of women. So that combination of crystal and blade seems to cross gender boundaries.
In attempting to resolve that cross over of stewardship, the way this holy object was designed and used, to find other crystals, is a huge clue. Until now, we had never heard of that activity, which means that this quartz artefact falls into our ‘something else again’ category. We did not know there was ever a quartz tool that could actually detect then communicate to humans the whereabouts of any unseen crystal. Never heard of it or read about it, both the aim of the search and the assistance by a crystal detective is a concept beyond anything else. Even today, I am fairly sure there is no such patented device or machine on the market or in the laboratory that can find any type of crystal hidden in the earth. But going way back well before Cook, it seems there was such an object, and even though it has no dials, batteries, buttons or an obvious power source, it works.
Up Close and Crystal
Most likely white quartz, this long slender double-bladed spearpoint-like artefact was originally fully coated in a reddish–brown ochre. It was a complete coat. Whether as a protective form of coverage that shielded the original surface when digging for crystals or more a ceremonial function is yet to be determined, or perhaps both, regardless, the ochre was originally all over on both sides.
The bottom plate still retains a thick reddish-brown ochre coat. The same earth pigments can be found on the bottom left-hand corner in a concentrated patch, running all the way up the right edge and in a faded patch (one centimetre) at the central half-way point. Whereas on the extensively shaped top side, there is nothing until the same mid-point, above that station the surface must be a little rougher as there are close to one hundred tiny openings that have trapped specks of ochre. In combination, and if ignoring the bottom half, the crystal looks like a spotted red dalmatian. The ochre residue is spread all over and further back in time would have been a complete coat. Whether this was due to protective or ceremonial concerns, or both, is yet to be disclosed, but it was there.
Of the two eighteen-centimetre blades that run down either side, one is clean and sharp showing no evidence of any impact or bulb percussion caused by rock, to get an edge this acute and consistent requires nothing less than a metal blade. What is a touch contradictory is that the other side has what was the same sharp clean line, but further on some chipping with a very small hammerstone did take place creating a rougher serrated edge. The reason we know this was not originally done and happened later, is that these chipped bulbs carry the cleanest and brightest white on the artefact, while the untouched edges on either side still hold fast to an earlier coating of red-brown ochre. That means the crystal was fully shaped and coated before the roughing up along one edge took place.
For any who maintain this is merely a natural product that caught the eye of an Original nomad in transit, well yes, they would concede that the form and line is unusual, but still within the grasp of nature when it dabbles at the very edge. However, if nature is responsible, why is it that from the base for six centimetres onwards the width between both edges remains at exactly five centimetres, it does not vary a millimetre either way. Bearing in mind and in sight, that both edges never stay straight but continually curve and arch, to keep the curves of both sides in perfect synchronicity and width of separation is not the province of natural agents, but came about through a skilled mason’s hands. Such precision is never associated with random exposure to the elements or forces of Nature.
The Numbers Just Don’t add up, Then They do
Remaining on the top side with its sculpted division into six plates, each shape is not natural and more importantly, when adding the seventh side that occupies the entire back side to this tally, we believe the maths evolving out of this crystal division equals one answer: the Seven Sisters from the Pleiades. Each shape is different in length, width and area, but what may surprise many is that even though every number is different, there are eleven comparative ratios in these measurements that are so exact they lack a decimal point.
The measurements are of the longest and widest margins and the area is the product of those two numbers. Granted, lacking in any straight line means that all of these calculations are approximate and open to a healthy degree of adjustment. However, as all lines taper gradually and in synchronicity, thus converging at roughly the same angle, as an approximate mathematical base from which ratios and comparisons can be made, it is a valid exercise if trying to establish there are underlying principles carved and cut into this crystal template.
- Shape 1: 18 cms x 5 cms = 90 sq. cms
- Shape 2: 7 cms x 4 cms = 28 sq. cms
- Shape 3: 15 cms x 3 cms = 45 sq. cms
- Shape 4: 15 cms x 2 cms = 30 sq. cms
- Shape 5: 7.5 cms x 1 cm = 7.5 sq. cms
- Shape 6: 10 cms x 2 cms = 20 sq. cms
- Shape 7: 3.8 cms x 1.2 cms = 4.56 sq. cms
Associated Area Ratios: Shape 1 : Shape 3 = 2:1, Shape 1 : Shape 4 = 3:1, Shape 1 : Shape 5 = 12:1, Shape 4 : Shape 5 = 4:1, Shape 3 : Shape 5 = 6:1. *1,2,3,4,6 and 12 are all multiples of 12
Shape 1: Shape 6 = 9:2, Shape 4 : Shape 6 = 3:2, Shape 3 : Shape 4 = 3:2, Shape 3 : Shape 6 = 9:4, Shape 1: Shape 6 = 9:2, Shape 2 : Shape 6 = 7:5
That almost half of these ratios can be reduced to a base comparison rate of one is a compelling indicator of mathematical intentions. That is certainly a consideration when comparing the six numbers used (1,2,3,4,6 and 12) which are all factors of twelve. What seems to be carved and implied on this crystal is that a guiding numerical formula is the motivating factor that inspired the hand that carved this enigmatic crystal cylcon-snake.
If these shapes, ratios and numbers do indeed represent the Seven Sisters of the Pleiades, it would seem although related, each was different in setting, influence and power. That would explain why the seven shapes are different in length, width, area and configuration.
Of course, those less enthused with our research would immediately object to the authenticity of this comparative mathematics claiming it to be either coincidental or, more importantly, without any Original artefact acting as a precedent. They are wrong on both counts.
A Mathematical Overload
Once again, just as we sensed an air of predictability was taking shape, this second artefact under scrutiny breaks the chains in reclaiming new boundaries through revealing a sophistication in mathematical principles and proportions we have never seen before. So precise is the exactness of ratios and shared numbers; we have remeasured more than once just in case our vision was deceived by a selective eye. Without doubt there is also some mathematical intent among many avenues discussed, but this cylcon is literally saturated in ratios, shared numbers and alignments. The symmetry, balance and coordination of ratios is lacking in an equal, and uncovers another branch of formal communication never suspected to be part of any Original Lore or lifestyle.
This symmetrical cylcon really is a geometrical overload. This sacred magic rock is covered in straight lines, consistent curves and at least half a dozen cryptic ratios. It really is unfamiliar ground here, even though our collection of cylcons, magic rocks and the like is close to fifty, there is nothing like this on show elsewhere. Nearly everything reported is an excursion into precedence and precludes any absolutes. In fact, outside the symmetry of shape, which does resemble the ‘rocket cylcon,’ there are no other comparisons to be made.
Until now we had a real problem just using the white-fella term of cylcon, as many cylcons barely resemble the merging of a cone and cylinder. The reality is, outside the ‘rocket cylcon,’ none come close to that geometric union. Until now, this new addition has to be the touchstone and model that inspired this manifestly insufficient description.
All the cylcons, fully intact or segments of, are very hard rocks. Whether petrified wood, basalt, the hardest type of sandstone or any other geology, these rocks are capable of sustaining quite a deal of wear and tear; but not this one, it is a very fragile member. Every time I pick up this rock it is accompanied by a dread verging on an irrational fixation that at some time in the future I will drop the rock. I have visions of the delicate stone package shattering into way too many pieces to glue back together. With every other rock I have held, and alas on a few occasions dropped, there was no forewarning or premonition of a mishap on the cards. Then again, no other rock we are custodians of sheds grains on contact. We suspect this rock was always kept in sheltered locations and guarded with due diligence and because of this, accentuates the chances something unique and powerful lays within.
Like most of the rocks we are working on, there is a hardened coat that shields a soft underbelly. Of all the base rocks this has to the softest, and that foundation creates a weakness above. Unlike nearly every rock that has a harder resinous substance applied as a coat, the same grains below can be clearly seen on top. The top veneer is the same rock; the application of intense heat and most probably a clear coat of resin has sealed and hardened the softer rock into a crust. That process seems to have slightly darkened the colouring, evidenced by a very thin strip of the softer grain exposed around the bottom edge, which is verging on a cream-white colour, as opposed to the brown-cream on the coat. What this has done is maintained most of the integrity of what was been cut and pecked, but has done nothing in relation to strengthening the entire rock. The good news is that as of the day of writing my premonition is still unfulfilled, but, in what is an each-way bet I now wrap it in a thick coat of bubble-wrap. I am getting a little too old to trust my coordination to stand firm as the years roll by.
You Can’t Serve With This Grip
What has never escaped my attention is the need to find the correct grip before attempting to strike up any symbiotic connection, and equally how many of these rocks can be held in a manner that is often so similar to the extreme western grip I use when serving in a tennis match. Not so with this rock. First up, because of the positioning of the wear-mark of the thumb when in use, this cylcon is the first we can positively identify as requiring a left-hand grip. But it gets even harder to hold knowing that the wear on the opposite side demands that the three main fingers must curl back towards the base. This all adds up to a quite precarious hold that is as uncomfortable as it is tenuous, and only adds to my justifiable paranoia of a future drop.
What that awkward grip does enforce is meaningful contact between the left-hand palm and the roughed up base section of the cylcon. The thin ring of the inner white base rock is exposed and will ensure that the reciprocal connection between human and rock is complete. The cylcon is inert until held, and once gripped properly with the right song or chant offered, the rock picks up the host’s heart-beat through the palm and keeps feeding off that energy until it takes over and intensifies that input until finally projecting this beam through one clean exit point.
That single clean shot is part of the delivery regime of every cylcon seen. But of course, that rule went out the window via nine tiny peck marks that circle a small central piece that still retains its protective coat. What that will create is somewhat like the effect of a shotgun scattering its load of pellets. With the central point blocked and ringed by nine pecks all aligned at different angles, we really are in uncharted cylconic territory.
Now deposited outside any chance of a comparison, it is an appropriate time to examine the cut marks. Undeniably there can be no claim that the tools used are highly advanced. It is entirely possible that due to the fact that this is the softest rock we have in the collection, the fine sharp lines were made by a sharpened piece of obsidian. Since nearly all of the marked rocks in the collection are extremely hard and the exclusive domain of a metal blade or laser; there seems to be no reason not to take the most efficient route and use high order technology in creating this mathematical potpourri. For now, the best we can deduce is that the tools employed are most probably the same as usual, but that is a secondary avenue to pursue.
Left Hand Cylcon – Markings
Over a Dozen Points of Convergence and Proportions
*If running an imaginary line from the centre of the tip to the base, the length to each edge of the base is 2.75 centimetres. All the way up from top to bottom the width to each side remains exactly the same. The balance and symmetry of this Original creation is faultless and without parallel.
*Engraved into both sides of this cylcon are two shapes that resemble an ellipse that doesn’t quite join at either end. The larger shape has a lower arc measuring 20 centimetres, with the top plate nineteen centimetres long and is separated at the widest point by 3.1 centimetres. The smaller shape is barely half as big and measures 11.5 and 10.5 centimetres and is also set apart at its widest margin by 3.1 centimetres. The gap is identical and the difference in lengths between the two sides of both ellipses (one centimetre) is the same. Both sides of the smaller shape are 8.5 centimetres smaller than that of the two sides in the larger open-ended ellipse. In what only highlights how much there is a standardised mode of producing this shape, both shapes do not fully reconnect. The gap between the top and bottom edge of the smaller shape is 1.2 and 1.5 cms, which is a ratio of 4:5. When measuring the larger shape the distances are marginally smaller, 0.8 cms and 1 cm, but even though the gaps may appear to differ, they obey a much more sophisticated mathematical principle in that both sets of figures are arranged in the same 4:5 ratio.
*Near the projection point is a continuous cut line that wraps around both sides. It is 6.5 centimetres from the top and 19.5 centimetres from the base. It would seem a huge stretch in rational thinking to suggest that while acknowledging this equates to a ratio of 1:3, that calculation is merely coincidental. While analysing the numbers found around the base, another ratio, 1:2, which is the outcome of measuring across this rougher angular base which measures 5.2 cms x 2.6 cms, only confirms the existence of real and present mathematical intent. Of course, it should come as no surprise that the width of the narrowest point at the tip is 1.3 centimetres, and if that result is multiplied by four the answer returns a base decimal of 5.2 cms (ratio 1:4).
Maintaining our focus on the base plate of 5.2 cms, if that number is multiplied by five the end result is 26 cms, which happens to be the length of this amazing cylcon. An exact ratio of 5:1 is beyond the realm of any form of coincidence; the mathematics associated around and on this engraved rock are incredibly subtle and utterly full of meanings. I remember as a teacher in high school being forced to ignore the curriculum, which assumed Original people were mathematically impoverished and could not count past five. Obviously my decision to ignore the advice of those paid much more than I, turned out to be the right choice.
*In descending order, there are five measurements taken on this cylcon. From the middle of the top down to the bottom, the centre point it is 26 cms long, the horizontal line that runs around the circumference is 6.5 cms from the top, a width of 5.2 cms by 2.6 cms at the base and the upper tip measures 1.3 cms. In combination those numbers form a perfect ratio of 20:5:4:2:1, and therefore any comparison between any of these numbers will always form a perfect ratio.
*The bottom line of both ellipses share the same space of 0.6 cms from the edge; both of these lines are much straighter than they are curved, whereas above, both lines are much more curved. Even though the dimensions differ, the portions and form remain faithful to a predetermined formula.
*In general terms, both shapes contain eight straight lines of varying lengths and angles. Past that shared tally the arrangement of lines are quite different. The smaller ellipse has six lines that intersect with the perimeter; the two that do not touch the outer lines are placed straight and diagonally across the upper exit point. The larger ellipse has taken a different tack, in that all of the straight lines are contained within and do not disturb the outer boundary. However, down near the base there are the remains of two curved lines that both begin 2 centimetres to the left, which then run across the ellipse and continue onwards past the other line for at least another centimetre. An area worthy of deep consideration is that the largest of these sixteen lines (2.4 cms), is set an angle that measures, admittedly using a crude protractor and estimating the level plane of 0 degrees, 30 three degrees.
*From our standpoint, the symmetry and repetition of one standardised unit of length (1.3 cms) is, as far as we know, unparalleled throughout the planet. That all five bases of measurement are set in multiples of 1.3 cms means everything assumed about Original people before the British came to town has to be reconsidered. There is less than an infinitesimal chance all of these numbers are purely random in intent, and every chance the Original people used a formal form of mathematical communication/research that is as sublime as it is ancient and equally, outside the limitations and conditioning of today’s occupants.
But this cylcon’s mathematics is not a one -off, it does have a compatriot and it is made of crystal and performs a similar role.
Walk on the Wild Side
We are all but one decimal point away from being one hundred per cent certain this is a crystal cylcon shaped into a serpent. Cylcons are never straight and always curved or circular, while the smaller squat version’s lines and shapes may be a touch less consistently curved, but never straight. Whether above below or to the side, everything about this crystal cylcon is curved and nothing linear. Once held and examined as closely as I have, the fact that every line, curve, shape and the tapering towards the head, is so obviously snake-like.
In keeping with this serpentine motif, the two sharpened edges run for eighteen centimetres before giving way to a new form of edging. Less sharp, flatter and at an angle sixty degrees more vertical, this new form of shaping denotes the front of snake’s head. The tongue of all snakes is certainly not sharp and exclusively designed to gather odours and vibration. As the tongue is really a combination of nose and ear, it had to be represented in a blunter style, which is exactly what happens here.
The empirical conundrum any discussion of cylcons must create relates to the purpose and powers cylcons are reputed to possess. We have made mention of the fact, witnessed by us, often, that these rocks are magical, and are obligated to do so again. Simply because there is magic in all cylcons rocks, that is a given, but some have a bit more, and few have a real lot more, and this crystal is one of those most elevated gifts. As with all cylcons, they work in symbiosis with their human host, but only if they feel inclined to do so. It is a partnership of equals, whether covered in skin or silica is irrelevant in this divine unison.
The practicalities of how and why a rock in the hand is worth so much more than two in the bush which will inevitably lead on to a changing of the guard, is something I have personally experienced twice. With seven of the eight cylcons in the collection they do acknowledge and marginally assist. I can get them, when held in pairs in both hands, to move rods when they cross this beam of energy. It is an adequate display, but it never goes further, simply because they do not wish to progress further. But the eighth cylcon is different, possibly the least visually impressive and certainly plainer than the rest, nonetheless, when this rock is in my hand the symbiotic relationship that initiates proceedings kicks into second gear.
It begins with my pulse becoming a touch more pronounced at the juncture of my palm which rests against the bottom of the cyclon. Then through a process well outside my limited abilities, my heartbeat is captured and transferred. The heartbeat of the cylcon does not increase in speed, but it clearly does so in force. At around half a minute after first introductions, that same pulse begins to take root within the rock. Then it increases, both in speed and intensity. My hand’s input is complete, the rock is now running independently and from this point on, I am merely a spectator not fully aware of the rules of engagement. It is because of this loss of control I have disengaged both times, and put the rock down and turned off this exchange. I have no idea what the energy pulsating inside is, nor where it goes if the beam shoots out, and even whether the cylcon is positive or negative in disposition.
A Formal Greeting
For this particular cylcon to even begin to stir, the compulsory first step is shaking hands, finding the correct way to hold this crystal snake cylcon. With every other cylcon finding the prescribed grip has been quite easy, but they are all rocks, granted the geology varies dramatically, but despite the divergence in make, they are still rocks. This is a crystal, and that changes quite a lot, particularly when trying to find a grip. My biggest hurdle was that I referenced other rock-grips, and all were quite masculine and bold, it turns out holding this crystal should be more balanced with the hint of submission. The blade rests on the flattened four fingers and the thumb sits comfortably into the scooped depression that makes up Shape 5. The ochred base of the cylcon nestles into the fleshy back palm in preparation for further interaction.
No digit or thumb is wrapped around or pointing forward as is nearly always the case with male rocks, but we suspect crystals, being far more feminine in introspective inclination, require a different and quieter manner of thumb to quartz connection.
The Crystal’s Terms and Conditions
Just because you might believe you are the correct sex, tribe or colour, and therefore have the right to hold this precious device, that means absolutely nothing here. As Karno said so often, “Spirit knows no colour,”(5) same rules apply with the crystal tribes. Just because this powerful artefact has many powers and great wisdom, that doesn’t mean the past or current human companion is guaranteed access to, or even a fleeting conversation with. Vicinity is insufficient, the crystal wants much more. A symbiotic concord will only occur if the calibre and quality of the human candidate is acceptable. Unlike many of the sacred and star rocks, which are generally less discriminating as to the motives and morals of those holding, a person of suspect intentions will not get any recognition or reaction with this snake.
As much as this is an unpalatable observation to make for many, this artefact is conscious of our comings and goings and a whole lot more. Once Tania sat inside the rock ring, they immediately became aware of this sacred icon and its two attendants-in-waiting. All three were invited for very good reasons, and even though I have very little to offer in regards to the other two, there has to be something of substance and relevance for them to insist they also take up residence with the entire group. Until now, the close to two hundred members are all rocks interspersed with a few crystals and nothing else. We do have two artefacts fashioned out of petrified wood and both clearly have a role or purpose. Whereas a stick of coral and heavily lacquered piece of petrified wood is seemingly so out of place, but our rocks have made it clear they have a purpose here when speaking to Tania, and because of this we do need to have a brief conversation with the crystal’s two colleagues.
Coral and Thick Lacquer
This is a huge extension for us, giving a commentary on either object is breaking new ground with no idea of where to dig, look or plant.
The coral piece could be part of an animal horn or something else again, but irrespective of literally having no knowledge of all things coral, it probably is that. Outside being white and heavier than what I expected, at this juncture there is little to add beyond that an invitation was extended and accepted.
Now with the petrified wood, if it wasn’t for the heavy coat of lacquer or some form of semi-plastic veneer, it would have some potential. One of the petrified wood cylcons we are guarding is both extensively shaped and has a very fine continuous line that circumnavigates the circular ancient wood relic. This one does have some markings, and it is quite likely a section was cut away. There are two circular bulbs and an inverted semi-circle that takes on the shape of mouth. That, coupled with the two equidistant bulbs above the ‘mouth,’ takes on the outline of a crude face. Or these added marks and subtractions could have all taken place at the same time as the recent lacquering. We suspect the answer to this question was already given by the rocks when in sacred formation.
The rocks instructed Tania to send all three, together. Three is the prime sacred number/arrangement. And as it is in this case, there is more, we have a spread of realms that includes crystal, wood/rock and organic coral. In combination that diversity covers so much more than three rocks or crystals, and that may be the clue here. Obviously, the shaped crystal snake is the prime player, but it clearly wants the other two in facilitating and merging other forms of life/energy. To a large extent it doesn’t matter nor detract if the other two objects are not remarkable. Their role is to balance and assist the crystal snake, but they can only do that after the human host, spectator or by-stander, is able to see the skin of the earth for what is: a living sentient energised being.
What’s in the Box in the Mailbox?
The most important part of the box turning up in our mailbox is not what, where or why, but the manner of delivery. Tania packed and put the stamps on, but the beings who gave both an address and next residence are the rocks. They told, no insisted, that Tania go home then pack and send. When she first sat between the rocks, this was not an idea sitting in the recesses of her mind, it was given to her by inorganic non-moving, non-talking stone objects. If they had not spoken, the box would never have reached our mailbox. That is the central underlying premise upon which this crystal cylcon operates, it came to us through rock-invitation via a human interlocutor, Tania.
And that brings us to the current state of progress, the only information we have relates to this snake being able to locate hidden crystals when at an unstated stage of development. Why these crystals need to be found, and why there is a particular stage of crystal growth worthy of detection are both questions that will never be fully understood, today. Perhaps the repeated accounts of Atlantis falling due to the misuse and abuse of crystal energy may assist, or even better, Original accounts of how the snake operated, is of course, the ultimate source.
For now, we are left without any real clues as to its use beyond a deep association with other crystals, most likely of a very high order. If daring to suppose or assume, could it be that this holy device was meant to be found now, simply because it has an essential task to perform or assist in, as the time of global transformation draws near? Could it be there are ever so sacred crystals hidden somewhere that are ready willing and able to activate this earthly ascension, but only if found? Or was this no more than an up-market digging stick used to dig out yams?
The answer is simple, the crystal snake has no interest in vegetables, its task is to assist in healing the planet, but only if we accept that the change is upon us and there are two paths ahead. Come that day there will be more of the same mail, or more of what was in our mailbox, and each soul gets to choose which package to open.
(1)- (4) : Tania, 20th April, 2020, Anne Maher: Written Correspondence To Steven Strong.
(5): Karno W., 2012, Personal Communication.