Gods, Gemini and the Great Pyramid


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James Bowles wrote, The Gods, Gemini, and the Great Pyramid, following his retirement from a 30 year engineering career which started in the early 60's with the Apollo moon program. Other publications by this author include: "Hapgood Revisited,", Atlantis Rising, Volume 18 (Jan-Feb 1999); "On the Wing of Thoth," to be published in the U.S., in August, 1999; and, "Around the World and to the Moon and Back with Imsety, Hapy, ...

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About the Author:

James Bowles wrote, The Gods, Gemini, and the Great Pyramid, following his retirement from a 30 year engineering career which started in the early 60's with the Apollo moon program. Other publications by this author include: "Hapgood Revisited,", Atlantis Rising, Volume 18 (Jan-Feb 1999); "On the Wing of Thoth," to be published in the U.S., in August, 1999; and, "Around the World and to the Moon and Back with Imsety, Hapy, Duamutef, and Kebhsenuf.," to be published in the U.K., in late 1999.

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Editorial Reviews

Ruth Parnell
The Gods, Gemini, and the Great Pyramid, proposes Rotational-Bending, (or the RB- Effect) to explain (via celestial gravitation)the natural forces that inevitably cause the Earth's crust to bend and break as a function of combined internal stresses and constant planetary rotation. Bowles, who has also had a lifelong interest in the Earth sciences, began research for his book to find a solution to Prof. Charles Hapgood's unanswered questions on the mechanics of the Earth's shifting crust. But not only has he found evidence of past catastrophes...in the geological record, he has also found a rich (cultural) chronicle that tells of when the North Pole was in Alaska, when Egypt and Peru were both on the equator, and when the Sphinx faced due east - (and) a grand terrestrial triangle relationship, important for our understanding of the antediluvian world. Bowles has identified links between the Great Pyramid geometry, the messages of the ancient Egyptian Pyramid Texts, the "master plan" encoded in the 12 zodiacal constellations, and the enigmatic pictograms of Peru's Nasca Plateau.
NEXUS New Times Magazine
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Product Details

  • ISBN-13: 9780966637113
  • Publisher: Gemini
  • Publication date: 8/1/1998
  • Pages: 270

Read an Excerpt

Many of the cultural artifacts found around the world are extremely ancient. So ancient, in fact, that the role that they played in the culture of their time has been lost to history and remain only in legend. But perhaps the greatest of them all is _n! Nowhere is there its equal, for _n contains the story of Creation as told by the Ancient Gods. _n is the ecliptic, and located on _n are the twelve Constellations of the Zodiac.

(1288) O King, you preside over the houses of the Great Ones who are on _n; the spirits fear you, and also the Imperishable Stars. _n and the Imperishable Stars! You're not going to believe this, but picture for a moment the view of the Heavens with a billion stars and a hundred constellations, and picture the twelve special Constellations of the Zodiac which encircle the ecliptic plane of the nine planets of the solar system, and picture if you will these nine planets traversing the ecliptic, on and _n throughout all of eternity! Now awaken from this and find yourself a survivor of a crustal shift, and you look up into the sky to thank your lucky stars only to find that they have all moved! All that is except the twelve Constellations of the Zodiac, the Imperishable Stars. They still encircle the ecliptic. What has happened is that your spacial-reference to the stars depended upon your latitude, and that changed with the crustal shift. But your spatial-reference to the Constellations of the Zodiac was the ecliptic, and the ecliptic did not change. The Ancients who survived a crustal shift immortalized it on _n and in the Imperishable Stars of the Constellations of the Zodiac.

We are going to take an adventurous journey to Nasca. It will be an unusual journey through time and space, a journey normally requiring the power of a Star Ship, but I have chosen the Boeing 757 as my vehicle, and I have chosen my wife Patty to be my traveling companion. I've not chosen her just because she is convenient, though of course she is, but because she is the type of person that you want at your side when your intuition is your only guide.

As our Boeing 757 left the gate and entered the queuing line near the head of the runway I become aware of how strangely quite the engines were for a plane of this size. From the window I could see the aircraft directly ahead of us make the turn onto the runway and lumber off. We were next! We made the turn and the 757 hesitated for a moment to give the turbines time to come up to speed and develop the thrust necessary for take off, and I listened for the comforting storm from the engines that signaled that they had developed the power to do what they have to do, but in place of the storm there is a new sound, quiet, powerful, and reassuring! I was going to count the seconds from the time we started to move to when we were off the ground, but before I could start the countdown the nose of the plane had rotated skyward and we were leaving Cairo, Egypt and were headed for Nasca, Peru. Wow! What a sensation!

We were headed West, to Peru where we'd be walking the plateau, the Pampa Jumana-Colorada, above Nasca where those mysteriously massive animal and geometrical shapes and figures were formed on the rocky plateau so many eons ago. I wanted to lean back and enjoy the ride but my wife and I, needing to get our bearings and plan an itinerary for the weeks ahead, laid out our notes and maps instead and began the task of preparation. But as we leveled off I was able to get one more glimpse of the Great Pyramid...this Ancient Symbol of the past, "...this Only One, who hast no second". It lay North of us and I could see the North Star above it's pinnacle. The Pyramid and the North Star were lined up with unimaginable precision. The view that I was just given emerged as though the plane had leveled off at this low altitude to give me a special lasting impression.

Our maps of Peru and the South American continent were the typical tourist variety with advertisements for restaurants and hotels, and condominiums printed on the back. Nasca was in the South Western corner of Peru, at about 15º South latitude, or just over a thousand miles south of the Equator, and it was inland from the Pacific Ocean by just a few miles. From Nasca, the stars in the North would not be visible to us, so we'll have to re-orient ourselves to the South and to the guiding constellation Crux, the Southern Cross. Crux is a small constellation in the shape of a cross which lies 30 degrees above the horizon in the Southern sky. But unlike the guiding constellation in the Northern Hemisphere, Ursa Major, or the Big Dipper, whose two outboard stars point directly to the North Star Polaris, Crux only points its long arm to the open emptiness of the sky in the South. It was a divination that I had waited a long time to see.

The maps we had of the Nasca plateau, unlike our tourist maps, were made from aerial photographs and they had brief descriptive text on the side bars. One such insert read,

The Nazca, or Nasca, were an ancient indigenous culture that flourished in Southern Peru around 1000 A.D. They are known for their polychrome pottery and weaving. Aerial exploration of the arid tableland and the surrounding valley has revealed a network of lines interspersed with giant animal forms - probably related to Nazca astronomy and religion.

As we began to examine the map of the plateau and the "giant animal forms," we were struck by the anomalous hit and miss orientation of the figures. They didn't appear to have been drawn with any particular relationship one to another...or to any thing geographical or astronomical. They weren't aligned to any compass point, and they weren't aligned to any feature on the plateau or to the Pacific coastline to the west. Instead they all pointed, seemingly, nowhere. We felt that this randomness was strange for a graphic relic of the past that had an origin in "religion and astronomy!"

There were dozens of caricatures, all upside down and seemingly skewed, but four caught our immediate attention. At the bottom of the map was a whale which appeared to be a humpback. The two central forms, one a leopard with tail erect, was running toward a monkey, or a baboon, with a curled tail climbing a set of stairs as though going to the stars, A forth figure, and the most remarkable of them all because it was almost human in form, was laying on its back with its right arm raised in ghostly greeting. We wanted a more familiar view so we turned the map around and turned it a little toward the Southwest. Now the whale was at the top of the map and everything was right side up. At first we were curious about the figures and conjectured over their meaning, but the curiosity quickly faded and turned into a strange feeling of euphoria. A euphoria that a collage of ancient religious or astronomical figures should not have invoked. We exchanged glances knowing that great things were about to happen.

I was thinking about it, but my wife said it first. "It's like we're looking at some ancient playground of the Gods, the figures are all so large and they look whimsical and cartoonish." "But even in photograph," she added, "They look weathered and wind worn like they've been there forever!"

That's the way the photographs looked, whimsical and cartoonish...and wind-worn! And I wondered aloud whether this was akin to the Elysium fields. The Elysium, or Elysian, fields in Greek mythology, are a happy other world "in the West" for heros favored by the Gods. It is an earthly paradise, or Garden of Eden. There is a Buddhist and Hindu equivalent in the happiness one might achieve in an earthly paradise, it is associated with Nirvana. In the very simplest of terms, Nirvana is a liberation from suffering from ones bondage, which is brought about by desire. Nirvana is attainable in life through moral discipline. But the term "nirvana" has other associations as well, more abstract, but then so are some of the figures. Nirvana also implies in some of these "more abstract" implications, death, oblivion, or abrogation. In that context the central ghostly figure achieves substance - death, oblivion, or abrogation. These abstract meanings associated with nirvana seem to capture part of this human-like figure's character! It was a ghost! But there was another quality about this figure - a quality that was more forceful - a quality that seemed beyond the frontiers of a windswept plateau in Southern Peru - and a quality that seemed unrelated to its prominent ghostly features. It was ithyphallic.

To portray a male figure, symbolically as ithyphallic, was a sculptural tradition in many ancient cultures. The portrayal was commonly achieved by the use of a single line, a series of parallel lines, or with some rectilinear form in combination as with the two central animal figures on the plateau. The leopard, whose male character is formed by two parallel lines, is running with its ithyphallic form extended rearward. The baboon, shown climbing a flight of stairs as though focused on the stars, has a rectilinear form of straight lines issuing from below its tail. It was a way to display the property of fertility, or, in some instances, the facility to self-fertilize. These two must clearly be male. The ghostly figure on the other hand is characterized as an erect penis. There is nothing symbolic about it. It is clearly ithyphallic, and this, in light of the more common custom of using simple lines as an alias, must have rare significance. This figure, as compared to the others on the plateau, must be of immense importance!

As we "awoke" from this period of deep thought and reflection, we became aware that our plane was passing over these very fields. From our vantage point, which must have been from about 2000 feet, we could see all of the figures line by line. The aircraft was on a southeasterly course which, fortunately put the whale at the top of our view and the two central figures, and the ithyphallic ghost, "upright" as we passed overhead. It seemed that our giant 757 once more hesitated in mid-air to give us a lingering look at the figures as it had the Pyramid. But wait! There is something about these.....!

Something kept plaguing my mind about this inanimate pasture. There was something familiar about them that I couldn't grasp. "Patty" I said, "Don't these figures look familiar somehow? "Why do I keep thinking I've seen the theme before?"

"Jim, don't you see." she said, "They are the graphics for the Egyptian Texts." Then she repeated it as nonchalantly as if she was playing Trivia Pursuit. "They are the illustrations for Faulkner's Ancient Egyptian Pyramid Texts!"

"The graphics for the Ancient Egyptian Pyramid Texts?" I repeated it to her aloud. "Good for you hon! You're right, that's exactly what they are!"

It was much easier to relate to the figures now that we recognized their origin, and from our vantage point we could begin to piece together the picture. The spiral of the "baboon's" tail we could identify with the sun God R_. We could see what appeared to be a "live" tree at the bottom right, and a "dead one" to our left. There were various sized rectangular figures interspersed everywhere. Some of these were open at one end and others were closed! There was a three fingered hand near the top of the field which had a curiously pregnant look about it. The fingers pointed toward two of the opened ended rectangles as though saying something about them. The forms were "drawn" by forming hedges of stone, or by scraping away the dusty top soil to expose the underlying bedrock. Other than these figures the plateau was bare. There were no trees, no rivers, no streams! We thought the bareness strange but we were leaving the plateau behind as our plane started into a wide bank which was going to bring us into an approach to the airfield, so we settled into our seats and waited.

Utterance 570

(1461) Hear it, O R_, this word which I say to you; your nature is in me, ....the baboons are slain by the leopard, and the leopard is slain by the baboons, O you eunuch, O you male, one of you two runs...."

It was getting light in the West as our plane taxied up to its docking station. We'd been in the air for about 9 hours and we were both tired and ready for a break. We looked around half expecting the aisles to fill ahead of us but it happened that just my wife and I stood up. That seemed strange because the plane was nearly full. Well, just the same, it made it easier for us to leave the plane. We stepped out into the muggy air that bore an unusual freshness that was unexpected. Behind us, as we walked away, I could hear that same new sound that accompanied our take-off in Egypt, quiet, powerful, and reassuring! I turned to watch the plane take off, but there was nothing there. The tarmac was gone there was nothing but rolling fields of lush green grasses.

To the South we saw a strange sight. Instead of the long arm of Crux, the Southern Cross, poised over the open waters of the Pacific, pointing to the South Celestial Pole, Crux was the pole constellation. Turning northward we could see Ursa Minor, the Little Dipper with Polaris at the tip of the handle, only it wasn't at the Pole Position anymore. Instead the Little Dipper, and Polaris were 15 degrees to the east. It seemed impossible that we should be viewing both polar skies because Nasca should be at 15º South latitude. We should not have been able to see the Northern sky at all. But there it was!

We didn't fully understand what had happened but it seemed that we were on the Equator. We looked at the stars again - there was no doubt - we weren't at 15 degrees south latitude as we should have been, we were on the Equator! We surveyed our situation and discovered that we were not in Nasca, we were on the plateau with the ithyphallic ghost looking straight at us, with it's arm raised in ghostly greeting.

It was sculpted on a slanted rocky projection making the figure appear to lean backward at about 60 degrees. There was something else, as we looked out across the field we could see that all of the figures were now aligned with perfect precision to the Southern Cross. They were aligned due South. We turned around and, meeting with our expectations, we could see that the figures were aligned true North as well. We suspected that they might have been when we turned to look, but we had to see it for ourselves!

I was sitting quietly on the ground looking at the ghostly figure and contemplating our next move, when I suddenly jumped up, but again it was my wife who said it first. "The ghost is pointing eastward with its raised hand...I wonder what it is pointing at?" Then she added, "If we are on the Equator, and the figures are aligned with the Cardinal points, where is Egypt? Where is the Pyramid and where is the Sphinx?"

Cairo, where we'd been not 9 hours ago, had been at 30 degrees North latitude, "Did it move too?" I wondered! We were almost afraid to look! But we got out our maps and started to redraw the grid lines based on the celestial relationships that we could observe. The answer was quick to reveal itself. Egypt was on the equator. The desert climate of the Sahara was gone and in its place was the lushness of the tropics. The Sphinx, with the head of a female lion lay facing due east.

Our reconstructed map showed us that Giza and Nasca both lay on the equator and the North Geographical Pole lay, not in the Arctic Ocean where it should have been, but on the Alaskan Peninsula east of the Gulf of Alaska. The figures that lay carved in the rock on the plateau about us should not have aligned, at least according to the literature, with anything. But things had changed. Now as we looked about there was meaningful alignment expressed everywhere! It seemed as though we'd entered a time warp that put us in some ancient epoch, and we were on the equator. We were in that strange "happy other world in the West," and we were alone! But 8000 miles to the east, shining in the equatorial sun, lay another lone figure, the Sphinx. Strange indeed. But we shall see!

In advance of this adventure, my wife and I had prepared ourselves for what we would find by reading from Gerald Hawkins's Beyond Stonehenge. wherein he tells us that the lines were five miles or more long... and the large rectangle was eight hundred yards by seventy... The surface was ... hard-packed clayey sand... shallow washways...leafless!

This was it, the Pampa Jumana-Colorada. A bare pampa, a simmering pampa without a blade of grass. ...Because of the flatness of the area, because of the sameness, a feature, (the rectangle), 800 yards long could not be seen. Yet it was there, drawn out on the desert blackboard by unknown hands of a lost civilization centuries before.

"... low, long banks of piled stones...covered the undisturbed surface which stretched out to meet the skyline many miles away."

"Nothing changes. No rain - a few drops now and again, but they dry up on contact. The wind's blown away everything that's going to blow away. Footprints stay here for years."

The rest of the story is going to unfold as we read the pages of the Ancient Egyptian Pyramid Texts and we walk the Pampas examining the figures one by one. Some will say that our account is wild unsupported speculation. But I think that most of you will see quite differently when we are done!

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