Discover in American Renaissance the Greatest Art Conspiracy to occur in the last 2,000 years
American Renaissance uncovers a classified plot to assassinate the Second Coming of Christ.
Amory Patrick Blaine, writing in the voice of “Amadeo Effscott” – a covert operative working at the tail end of the First Gulf War – draws on a wealth of life experience in government, graduate study in art history, military training, and recruitment by the CIA to capture the in-depth story of a little-known 1990s art revolution now pulsing and ready to explode onto the economic scene at this pivotal stage of late Capitalism.
How did this author get into books?
Querying the author about his initial encounter with books at a young age, Amory Patrick Blaine admits to at first having a love-hate relationship with reading. While he would love to hear stories being told since grade school, he realized not all books are told as stories, and a book of cold facts can be very dry and disconnected from lived experience.
This turned to fascination when he was gifted a version of the young classics and became familiar with the tales of literary writers from Charles Dickens to Edgar Allen Poe, or reading Tom Sawyer and Huckleberry Finn, The Call of the Wild, The Last of the Mohicans, or even historical comics like Asterix or Tin Tin, then the original versions of Moby Dick, The Red Badge of Courage, works by Hemingway and Fitzgerald as well as Joyce and Dostoevsky.
Yet, still, the allure and importance of these books was always clouded and undermined by them being categorized as “fiction.”
The old high-school teacher’s cliche that “the greatest truth is found in works of fiction” never carried much weight with Amory Patrick Blaine, which led him to turn his back on fictional works and even literature for many years.
Instead, preferring to concentrate on playwrights as well as the history of philosophy and philosophical thinkers from the pre-Socratics to political theorists of the Renaissance through the 19th century romantic era and the later Existentialists of the 20th century.
Funnily enough, Blaine said it would take an existential crisis in his early twenties before he realized how strong the calling for literature was, like something in his blood the “effect that words had.” That the importance of words written by writers so long ago somehow carried a meaning that still echoed over centuries like a quiet current running through this veins.
How Blaine got into writing:
Blaine, the author of a voluminous 3 part thriller series, seems to ponder the question, almost reminiscing aloud.. He always had a feel for writing and felt a comfort in seeking out the proper shape or an essay or college assignment. But – like many – writing was just something one did in the means of pursuing other goals. It was a fool’s game to think of writing as an end in itself. That is, until you nearly fail at everything else and – he says – you realize you fail precisely because you were always obsessed over the meaning of words above everything else.
In pursuing all sorts of careers; in law; in the military; in business, he said he was turning his back on what was really the most important thing. Because those professions use words in a non-creative way, almost like the words for their laws, rules, and protocols were dull, inert things that represented only abstract concepts. Unlike literature, where words take on a meaning and life of their own.
But it is a scary thing at first, he says, this awareness of the shapeshifting power words can have, and how much psychological confusion writers must be prepared to brave to make sure a word means exactly what it is meant to mean. It is a brief glimpse into utter insanity – that moment when you first realize you were meant to be a writer – but by then, if you’ve gotten to that point, it’s already far too late to un-see the scary future for yourself and the beginning of it at which you’ve already arrived. It’s best to try and make a meaningful story out of this vision as you go forth. If at all possible, perhaps one others might enjoy.
The stories that have inspired this author:
For inspiration, Amory Patrick Blaine counts on the art of the poets as well as the movies, rock & roll ballads putting stories into song just as much as classical music and the great epics of myth and legend. But perhaps above all, he claims to find purpose with the study of the whole human saga captured in the romantic era for all its literary history and wholehearted ethos of a return to nature and its embrace of the sublime. Paradoxically, out of this era, it is perhaps the story of Frankenstein and its imaginative exploration of science as a means toward immortality that is one of the greatest inspirations as well.
Not so much because of its genre-breaking science fiction ghost story and the creature it uses as a metaphor to analyze the dual goodness and brutality of humankind – even though this is the stuff of genius – Blaine says it’s inspiration grows even more so “in how the author showed the power of literature to tackle these subject matters of death and resurrection that go to the heart of what it means to have the contours of our life – its beginning and end – defined by the boundaries of nature itself.”
It is well known that the author, Mary Shelley, was suffering the death of her newborn infant and mother (as well as other family members) when she first began the writing of Frankenstein before having to also suffer the death of her more famous husband. It’s perhaps this brave use of literature as a vehicle for exploring the idea and aspirations of human immortality where Amory Patrick Blaine found a kindred spirit for the writing of his American Renaissance series which grew out of his love for such stories as Frankenstein as well as other myths of love like Orpheus and the resurrection of Jesus Christ himself.
About American Renaissance
The American Renaissance books touch on so many cultural themes woven into the shapeshifting turns of the love story on every page. Not just about art and its history being synonymous with the history of religion and but also its place in Capitalism as well as American foreign policy. Yet probably most central to the core of the writing of American Renaissance, according to the author, is the subject of race and artistic identity.
Regardless of how some may try to twist these ideas, the fact is almost all people are related to an artist in their family or know an artist among their friends. When referring to artists in the book, Dorian Knight, the protagonist, therefore refers to artists as an “invisible race” that exists within the populations of all cultures, and that these people are also responsible for the creation of religions that have come out of a culture.
Touching further on the subject of artistic identity and renaissance, there is often an epiphany or “rebirth” that happens to an artist when he/she/ they awaken to their new identity-calling as an artist (whether this be a “invisible” racial identity or not) and hence it only seems natural to go by a new name.
This creative rebirth or Renaissance of a person is what sometimes may even be considered a dangerous threat to the political power of a status quo. Because only through creativity can the exercise of true freedom be achieved. And we artists who finally become free are in some ways a completely new and different person. As Amory Patrick Blaine would put it, we are a people within a people.
The author of American Renaissance seems to state this notion of a separate, invisible artistic race living among us in a very matter-of-fact, almost scientific, sort of way. Then, as if turning on a dime with a surprisingly mystical air, Amory Patrick Blaine cites how it has often been argued – with sometimes convincing academic documentation – that many religious saints, prophets, and artists have known to have been spiritually ecstatic during their own period of personal transformation (in the same sense that “ecstasy” denotes literally an out of body experience.
Blaine stresses the connotation is meant to be in a soulful rather than a physically sexual form of apprehending knowledge. For example, the religious conversion of Saint Paul (falling off his horse on the road to Damascus or the hallucinations of Joan of Arc or Vincent Van Gogh ) – but these historical anecdotes only complicate the subject further delving into the realm of creativity, artistic prophecy and mental illness. A subject matter touched upon in the book in at times almost with hilarious context but that, as a country, every now and then we become painfully aware of how much study remains to be done in this area.
The most rewarding part about being an author:
“To have and cultivate a mental & spiritual life that is independent and all your own” says Amory Patrick Blaine. “But still, it must exist in the world of facts in both a sensory and intellectual way so that true creative freedom can resonate, grow, be reciprocated and sustained by its transformation within your audience and reality itself.”
The most challenging part about writing?
“When I first gained permission to access and research the redacted memoirs of “Amadeo Effscott” (the code name for the clandestine government agent whose writing and confidential diaries make up the heart of this story), Amory Patrick Blaine says, “the challenge was to make sense of so much handwritten chicken-scratch and smudged poetry that looked like it had been blood-stained, smeared, molded, and flooded by the poolside at Mar-a-Lago. But then, after the ability to delve further into sealed files were granted by the Library of Congress, and the author was able to complete his research side by side next to the boxes with the actual files of J.Robert Oppenheimer that were open to the public – he says he became astounded to see the haunting ring of truth that was being kept from the public eye in these classified diaries, and the explosive potential the consequence of the story of this little-known dead artist prophet could have, even on the level of world history.
It all smelled of a giant religious cover up and CIA conspiracy of mind-bending scope and magnitude, says Blaine. “Only that – with the circumstantial proof of the 1993 Waco Massacre (which happened simultaneously at the exact same time and hour of the day as the covert operation and killing of Dorian Knight in Paris, France) serving as corroborating evidence filmed live on national TV – it became hard to look away from so many eerie coincidences of fact.
These coincidences were especially tragic, Blaine says, because insofar as Operation Showtime in Waco Texas which ended up with the burning down of the Mount Carmel – the killing of David Koresh, and causing the real life execution of over 70 people including innocent women and children – to this day nobody has any governmental proof or publicly made records of the amount of people (including several Americans) killed in Paris, France that very same day, along with the alleged government target, the slain artist known as Sean Dorian Knight.
“So what is the hardest thing about writing?” Blaine says he had met Amadeo Effscott only briefly in passing during a medical stop at the Marine base in Quantico, VA, and knew him to be honest and sincere. So in many years later having the chance of taking up his notes and classified diaries and the explosive bombshell of a story they contained, the challenge was… “To build each sentence word by word as a self contained atom of truth. Each word a meaningful jewel there to shine on its own but even brighter when one stands back and looks at it on the paragraph level, a small component of a chapter, or as the elemental bricks of a larger narrative edifice that must be built and timelessly sustained on the veracity of its overall structural architecture.”
“But did this controversial story about the existence of a “parallel” Waco Massacre in France, and the plot of a prolonged decades long campaign – spanning several US presidential administrations – to put a stop to the possibility of the return of the real life Jesus really happen? Could the fact be that Second Coming of the actual historical Jesus already came and went – and the Reckoning has already taken place? “I don’t know, all we know is that we’re still here but the evidence is there” says Amory Patrick Blaine “Did Jesus really walk on water?”
Advice for those who want to pursue authorship as a career:
Do not ever do it unless you have no other choice to find true meaning and purpose in your life.
What is all the continuing religious controversy in American Renaissance?
Few had ever heard of Operation Waco-Paris before 2022. Now, for the first time since the aftermath of 9/11, the devastating global pandemic, and the FBI’s seizure of top-secret government documents at Mar-a-Lago, a recently declassified memoir relating to the “President of France” finally seeks to clarify the truth behind the actions of a small cadre of clandestine operatives based in Paris at the turn of the millennium.
At once a gritty tale of espionage and a behind-the-scenes peek into the strategic containment of a fearsome religious movement on the fringes of the art world of the early 1990s, American Renaissance traces evidence of the operation’s gruesome mission to the very historical roots of Modern art and the founding role played by the CIA.
Perhaps, revealing the final deadly chapter of our Post Modern ending to have at last arrived: A role for art in society that appears to be far more terrifyingly aligned with the world of prophecy than any artist who envisioned the future of artificial intelligence that is to come.
Is American Renaissance based on a true story?
Amory Patrick Blaine speaks with a mysterious candor that is disarmingly honest in the way he can so fluidly recount the facts of the book and his connection to it, even though he claims not to have been present during most of the action and scenes which take place. It is rather from the notes and diaries of the covert agent, “Amadeo Effscott” that the bulk of the story is related.
But insofar as the factual real world details and journey of the book’s publication, according to Amory Patrick Blaine, in late 2017, a FOIA petition filed during the discovery proceeding of a closed investigation unearthed an unexpected memoir previously considered a matter of national security. For reasons unknown, the manuscript of the recently declassified memoir had once been included, then redacted, from the 9/11 Commission Report. Or, the official Final Report of the National Commission on the Terrorist Attacks Upon the United States.
Albeit known to have come from a covert special operative once working for US intelligence services in the aftermath of the First Gulf War, the memoir is of dubious provenance and credibility. Yet it appears to be the first glimpse at a larger set of manuscripts voluminous in scope, and which detail the existence and ideology of one, Sean Dorian Knight, a charismatic and mysterious figure and leader of a once revoutionary artistic movement that began to flourish in the early to mid-1990s, before its systematic destruction and abolishment from the historical record.
The remaining volumes of these writings of the covert operative “Amadeo Effscott,” currently filed with the DIA in the form of cable documents, remain classified but are expected to be released to the public after proper government inspection. Were it not for the widely publicized seizure of Top Secret compartmentalized documents recently scrutinized by the media and found to be illegally dispersed and hidden in private residences of former presidents and vice presidents, it is highly likely that this monumental discovery of such a sinister and controversial targeted assassination of an expatriate American artist living in France would ever have been made known the public.
Yet, it is the unneeded secrecy surrounding the publication of this recent discovery that is drawing unusual skepticism. For the nature of witness accounts about the vanished artist leader, and true historical events that occurred nearly 10 years prior to the attacks of 2001, places the author of these memoirs as a covert operative and informant in suspicious circles of government-sponsored domestic terrorism.
This information release from the government agencies appears to have been facilitated, and finally approved, only under the guise that these personal records of someone who reached the inner sanctum of the American Renaissance be formatted into a literary-style journal. It is left to the reader to consult with their personal conscience of faith in order to draw their own conclusions of whether in essence, the prophecy of art that exists in this testimony is either true or not true. Both as pertain to the relationship of their present-day lives with the history of America itself, as with the accounts of the supernatural contained in these pages.
