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The Channeling of September 11, 2001
By Linda Lee Hack
AuthorHouseCopyright © 2011 Linda Lee Hack
All right reserved.
Chapter OneWho is Linda Lee Hack?
On September 11, 2001, Linda Lee was a fifty-two-year-old Florida resident, mother of three, and grandmother of eight. She had no formal art training or other experience in the field, and she was not aware of any psychic abilities.
Many children born after September 11, 2001, and most adults in the United States and in countries around the world, are familiar with the horrific events of that day now known simply as 9/11. It is not the purpose of this book to recount in detail the events of that infamous day, but rather to illustrate their profound effect upon the author.
Simply put, early on the morning of September 11, 2001, Muslim extremists in a coordinated effort hijacked four United States civilian airliners while they were airborne. Two of the planes were flown by the terrorists into the upper floors of the World Trade Center buildings in New York City, one striking the north tower and one striking the south tower. A third plane was flown by the terrorists into an exterior wall of the Pentagon building in Washington, DC, a massive building housing the offices of the United States Department of Defense. The fourth plane, believed to have been targeting the Capitol building or the White House in Washington, DC, crashed prematurely in a field in Pennsylvania by virtue of the heroic actions of passengers on the plane.
The one-hundred-ten-story World Trade Center buildings were totally destroyed, along with a number of adjacent buildings. Extensive damage was done to the wall of the Pentagon and interior offices.
The toll taken in human lives on 9/11 is staggering. In New York, 2,606 employees and others having business in the World Trade Center Towers perished. On the ground and within the buildings, 411 policemen, firefighters, and emergency first responders died doing their duty. At the Pentagon, 55 military personnel were killed, as well as 170 civilian employees. All 246 people aboard the four airplanes met instant death, as did the 19 hijackers. Citizens from ninety countries, some with dual citizenship, lost their lives that day, leaving behind loved ones, family, and friends to mourn their loss.
Two days following 9/11, Linda offered a prayer to her deceased great-grandmother, whom she believes is her guardian angel, and with whom Linda spent much of her formative childhood years. The prayer asked for a sign or other indication that perhaps the catastrophic events were the beginning of the tribulation period foretold in the Book of Revelations of the Bible.
Days later, as Linda was watching television coverage of the aftermath of the 9/11 events, she felt an overwhelming urge to pick up a nearby pencil and piece of scrap paper. Spontaneously, she commenced to draw images on the paper, images formed not in her own mind, but by her hand, seemingly guided by an external influence. These images developed into Linda's present body of art.
Linda was moved to draw on a somewhat unpredictable schedule, always guided by an outside force. When the creative urge surfaced, she eagerly submitted. There never was a preconceived or conceptual idea of the drawing when she began to draw, and when the creative urge ended-not of Linda's volition- the drawing was finished. Linda commenced each drawing by placing simple lines on paper. Linda then saw images in these lines and expanded on them.
Linda's first five drawings appear to be of a demonic nature with obvious beast imagery. Drawings over the next few months produced images that Linda believes may depict man's earthly sins against God's word. Linda's later drawings became more surreal, but the common aspect of all the drawings is the fact that her hand was always guided, not by a preconception of what she was about to draw, but rather by the same outside influence that guided her hand in the days immediately following 9/11.
At a much later date, Linda became aware of the concept of channeling in the psychic world. Much has been written about the exact nature of channeling and its relationship to people who have psychic abilities, especially those who profess an ability to be in contact with departed souls or spirits and maintain some level of contact with them. The psychic can be referred to as the "channel." The communication from the departed soul or spirit can take the form of words, thoughts, imagery, or other nonverbal expressions. The channel interprets these communications, which the channel can express in the same fashion or, in some cases, in art form.
Linda now questions if, unknowingly, unwittingly, and unwillingly, she became a channel after 9/11, receiving communications from entities at a higher spirit level. Does her artwork represent the forces of good and evil that came in conflict that day? Is her work possibly an answer from her great-grandmother?
The artwork reproduced in this book represents the communications or other influences that Linda may have received or been subjected to in the months following 9/11. As the person closest to her, I, her husband David, personally observed these events.
Hi, I'm Linda
I remember very vividly exactly where I was and what I was doing on 9/11. What about you? I was awaiting a contractor who was late meeting my husband and me to go over plans to remodel our home, which we had purchased earlier that year. Getting more upset by the moment at his tardiness, my thoughts were exclusively about the inconvenience to myself.
Little did I know that my life and the lives of so many others were all ready changing in a way we never could have imagined. Through our open garage door I could see that the contractor was not really late. He was sitting in our driveway, listening to his car radio. I moved back into the house, and in a minute he was pounding on the front door. When I opened it, he rushed into the house asking if we could believe what was happening. We were at a loss as to the reason for his abrupt statement, as we did not have our radio or television on.
He asked us to turn on the television, and from that moment on our lives were transformed. But even more dramatically altered were the lives of so many others who lost loved ones, co-workers, and friends. On that day, our most precious commodity, our sense of security, was lost forever.
While some people in the world celebrated their concept of victory or a battle won against the United States, for others a period of unending mourning began in this country, and an international war commenced.
Theories abound as to the identities of all persons responsible for the 9/11 attack on the World Trade Center buildings and the Pentagon. That issue aside, we the living are left to cope with the aftermath. Part of my coping is the apparent involuntary surfacing of the urge to record the images reproduced in this book.
I drew the image reproduced on the front cover of this book (shown again on the opposite page) on October 15, 2001. Days later, while surfing the Internet, I found the above photograph [titled "Satan In the Smoke" copyright Mark D, Phillips/markdphillips.com] taken from the top of a building as the twin towers burned on 9/11. You can only imagine how shocked I was when I saw this picture and its similarity to my drawing. Had I subliminally captured this image in my mind on 9/11 while watching the news coverage? Or was it coming as a message in answer to my prayer and my request to my great-grandmother? I will never know.
Drawing Number One
Let me tell you about the first drawing, reproduced on the following page. What I see in the image is the merging of good and evil, symbolized by the creature having only one angelic wing.
I took this drawing and others to a coffeehouse in Ft. Myers, Florida, where local artists gather. There were a number of artists there when I arrived, and a young woman started looking at the drawings but kept going back to this first drawing. She asked me if I would mind if her associate looked at the piece. A young man appeared, studied the drawing, and began asking me questions centered around my knowledge of the Wicca religion, of which I knew nothing. He suggested that for my own good, I look into the subject. When I later followed up on his comment, this is what I learned.
A pentagram, a five-pointed star enclosed in a circle, has had symbolic meaning for followers of many religions and cults since before the birth of Christ. The five points have been identified individually with the ancient elements of earth, fire, air, and water, as well as with man's spirit or psyche.
Additionally, there is symbolism attached to how the star of the pentagram is oriented. A star with a single point upward and two pointing down has been identified as the symbol of witches, warlocks, and practitioners of the mystical religion of Wicca.
Wicca, with some distant ancient concepts, is a twentieth-century nontraditional religious practice associated with witchcraft. Its followers have diverse beliefs; most adherents worship a god and goddess; others are monotheistic, and some are atheists.
An inverted pentagram, with two points upward and one pointing down, is a symbol used by the Church of Satan, and it is often confused with the Wiccan symbol. Some sources also note that the pentagram was worn by early Christians, possibly to represent the wounds of Christ.
Without going any further, the apparent depiction of a pentagram in the beast's abdomen in this drawing may have religious or occult significance. Which concept it may signify, I cannot say.
Drawing Number Two
As with drawing number one, drawing number two was a mystery to me.
In my research, I found that, since ancient times, birds, with their connection to the sky, have long been thought of as a supernatural or mythical link between the heavens and Earth.
Middle Eastern and Asian cultures often conceptualize birds as symbols of immortality. In East Indian myth, every bird in the world represents a departed soul, and in Christian art, birds often appear as saved souls. Birds are frequently depicted as souls flying free of their earthbound bodies and seeking the heavens. More broadly, birds may be said to represent a passage between the physical world and the spiritual world. Birds in flight may also represent freedom.
As awful as 9/11 was, I hope this drawing represents the souls of our loved ones being set free and ascending into heaven.
Drawing Number Three
I drew this image hastily on scrap paper because I was taken over by an uncontrollable urge. The print on the reverse side, visible in this reproduction, is unrelated to my drawing. The same is true for the first four drawings that I made.
This drawing appears to be a dragon of some type.
In modern times, dragons are usually shown with bodies like those of huge lizards, or as snakes with two pairs of lizard-type legs. These dragons are able to emit fire from their mouths. The European dragon has bat-type wings growing from its back. A dragon-like creature with no front legs is known as a wyvern. The wyvern has a distinctive two-legged stance, and its wings are true wings derived from forelimbs, like those of bats or birds. Sometimes these wings are depicted as hands. Following discovery of how pterosaurs walked on the ground, some dragons have been portrayed without front legs and using their wings as front legs pterosaur-fashion when on the ground.
In many cultures dragons are viewed as representing the primal forces in nature and the universe. They can alternately breathe fire, poison, or ice. These abilities demonstrate that they are both creators and destroyers.
We have all heard that the meaning of art is in the eye of the beholder. You may see something in this drawing and the others that I do not, and that is quite all right.
Drawing Number Four
Again, the creative urge struck me, and I grabbed a piece of scrap paper for this drawing. I had no idea at this point just where this ability came from or where it would take me.
The drawing appears to be a picture within several pictures. If you turn the drawing, it yields a clearer view of the different images.
My impression is that the drawing shows a bird/fish image emerging from the main figure. As with the early drawings, the bird may represent the human soul. The fish became a symbol for Christianity in the early days of the post-apostolic church. It frequently is found carved on the walls of the catacombs beneath the ancient city of Rome.
The main figure does appear to be hooded so as not to be recognized, while taking in everything around it with its prominent eye. I am not sure if its purpose is to protect or to retain possession of those other images within the drawing. Regardless, the main figure is standing tall, showing pride in its actions.
Could this drawing be telling the story of an unknown evil trying to destroy our beliefs? Perhaps this image conveys something more profound and significant to you.
Drawing Number Five
What I see in this drawing is a wild boar lurking about, waiting.
The wild boar is by nature very distrustful and destructive.
The boar is sacred in the Wicca religion. It is both cunning and ferocious. The boar symbolizes a warrior spirit, courage, leadership, and direction. He is strong, dangerous, intrepid, and difficult to kill. The boar meets enemies with nobility and courage, signifying bravery and perseverance. He is a fierce fighter, refusing to yield. Could this be the sign of our enemy?
As I Begin to Question
The following drawings will take you through the progression of my work. At the time I numbered only the first several drawings. I have tried to put the other drawings in their order of completion as best I can recall.
I spent a total of nine consecutive months drawing more than eighty pictures. I then found myself fearful of where this unknown ability was coming from and decided to give up the urge and put down my pencils.
During the time I was drawing these pictures, I attempted to take basic art classes, but although I could draw when the urge hit me, I could not do anything in a controlled environment. What does this all mean? I'm not sure, but it offers the opportunity to embrace the concept that I was channeling some outside force beyond any capability that I was able to demonstrate on my own.
I quit drawing. After about three more months elapsed, I tried to draw of my own volition and found that I had returned to my normal self, lacking the ability to draw even the simplest things. Occasionally, I still try to draw, and every effort has failed me. So where did this all come from? Why did it stop? Was I given the temporary ability to tell a story? Was it meant for only me, or was it meant for the world?
Almost ten years have passed, and my work has pretty much just taken up space in our home. What to do with it was a burning question for me. My husband, David, and I had, on many occasions, discussed writing this book. I had even chosen the name for it in early 2006. I had the drawings tucked away and did not look at them very often, but when I did, I would be overwhelmed by the feeling that they were not just meant for me. And each time I viewed them and concluded they were not just for me personally, the question would arise, what to do with them? My answer to myself was always the same-the book. Each time, the project would get put somewhere on a very remote shelf. Then I was invited to a spiritual workshop early in 2010, where a spiritualist told me that I had work to be done. I was to write a book, and, further, the book would be for others. It would be healing for some and answer questions for others.
When viewing the images, do you find something there that speaks uniquely to you, something that either brings back the fear from that infamous day or maybe brings you a better comprehension of what occurred on a spiritual or religious level? I have given my interpretations of some of the images. However, your interpretations may engender concepts very specific to you and your experience, and entirely different from mine.
Excerpted from The Channeling of September 11, 2001 by Linda Lee Hack Copyright © 2011 by Linda Lee Hack. Excerpted by permission of AuthorHouse. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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