The Harry Potter series are books written in the dark-occult tradition. From the Freemasonic iconography of Gringott’s Bank, to the real-life dalliances between writer J.K. Rowling and known pedophile rings, there is trickery afoot in the world of Harry Potter.
Many children, now adults, realize that the Harry Potter series was a fraud. The books are an inverted alchemist’s codex. The alchemists sought to hide magic in the mundane. JK Rowling hides the mundane in the magic. In other words: The Harry Potter series are presented as books which empower children and induct them into ‘magic’ school. This is, however, merely the disguise worn by the books.
The sad and difficult truth is that, under scrutiny, Rowling’s child-’hero’ Harry Potter is a dark magician, puppeteered by Rowling to lead children away from the light.
Not convinced? That’s understandable. This is a challenging task: To recognize that someone we thought cared about us as children did not. I also began my life entranced by the world of Harry Potter.
A new book came out most summers of my childhood. I would stand in line outside gas stations (oddly, a popular place to buy the book) alongside many other excitable children. On holiday with my parents, I devoured each new Harry Potter book. It was the highlight of my six-week summer holiday.
I thought I adored these books. I read each book seven or eight times over. I read the Harry Potter Christmas chapter every Christmas Eve to make me feel reassured that there was love in this world. It was a world were my father would enter my room at night (under the guise of filling my 'Christmas stocking') and sexually abuse me.
Harry Potter and his friends were my friends. Or so I thought.
When I had no friends who understood the mind-control programming I was going through. I could see that Harry Potter had been subject to the same birth traumas as me. Harry was trying hard to fight off the evil that surrounded him in a difficult school environment. Wasn’t he?
It was to my horror, that, with an adult’s intelligence, and insight, I discovered that the Harry Potter books were an Illuminati trick. I also discovered that the Harry Potter series had enticed a generation into the horrors of ‘boarding school’ (Hogwarts is a whitewashing of such institutions). The books had also re-traumatized children via a series of calculated allegories based on Freemasonic abuse rituals.
As the child of a Freemason, I had personal experience of these rituals.
After writing the Harry Potter books, J.K. Rowling gave considerable funds to ‘charitable foundations’. Rowling was also given an OBE approved by the British Queen (head of a known pedophile ring), and partnered with Scholastic books whose other books include titles such as 'Captain Underpants'.
Of course, these connections were invisible to me as a child. As a kid, I was enchanted by the 'magic’ world of Harry Potter. This world seemed so different from the reality I existed in. I lived in the ‘muggle’ world where I was forced to go to school every day and had a strict structure of homework and bedtime.
As the ‘daughter’ of a Freemason (pedophile), there was also the hidden world of abuse that I lived in. This was the world of the nighttime; a world that no one ever mentioned during the mundane daytime world. Harry Potter spoke to this darker aspect of my reality. Harry lived, as did I, with the constant threat of being killed by an abuser: For Harry his tormentor was the abstract entity Voldemort, for me, it was the very real entity of my parents and the Freemasonic cult they belonged to.
Harry Potter spoke to a longing in me to leave my reality and live in a magical world, where I had friends and was seen as special.
Isn't this the dream of every child in a dangerous family home? Many children had (and still have) the same dream as me, to escape their reality of abuse, and to live in the world of Hogwarts and ‘magic’; at least as it superficially appears in Rowling’s books. How many other children, like me, were living in dangerous realities where their only hope was to escape via fantasy stories?
This would not be a problem if Harry Potter was actually a fantasy story designed to help children deal with the horror surrounding them. Unfortunately, Rowling uses layers of metaphor and symbolism as cover for the real motive behind her Harry Potter books.
The subliminal purpose of the Harry Potter series is to covertly re-traumatize children and subconsciously eliminate all their hopes of escaping the cults who have abused so many of us. Harry Potter appears to be the reader’s friend, our hero, fighting off the abusers who darken his world. However, Rowling’s books rely on a basic a-priori assumption in the reader’s mind.
We know now that the author of Harry Potter is an emissary of the cult from which she promised to rescue us. While in the literary guise of her character Harry Potter, Rowling provides us an apparent ‘hero’. However, the hero of Harry Potter is none other than the literary-puppet of a woman who affiliates herself, in our reality, very closely with Epstein-adjacent apex predators.
How, then, can we decipher the true intent of Rowling’s ruse?
It seems, in retrospect, that Voldemort (a character in the books representing an embodiment of ‘evil’) exists in the universe of Rowling’s Harry Potter book series merely as a distraction. These are the tactics of an amateur magician: Rowling hopes that we will look here and not there. In other words: We are distracted from the author's slights of hand by the character of Voldemort. The character Voldemort is written into Harry Potter specifically so that we do not notice that Harry Potter is, himself, the Dark Lord. Not convinced? Let’s explore this thesis in detail.
The Harry Potter books are, in fact, an allegory. On its most basic level, Harry Potter allegorizes the abuse many children face in the childhood home. On a deeper level, Rowling's books allegorize the mind-control conditioning process that so many children go through. Rowling does not allegorize with the intent of satire (drawing attention to a social problem for the sake of correcting it). Instead, the author allegorizes with the intent of re-traumatizing children and providing 'wink and nudge' jokes that other Freemasons will recognize. In short, Harry Potter is borne of an insider's perspective on the Freemasonic cults.
It would be easy to write at length about the appealing aspects of Harry Potter. It is not in dispute that the books contain much that is ‘good’. This is the main reason why I superficially found solace in Harry Potter as a child. There are moments of loyal-friendship; there are adventures to (allegedly) end darkness; there are lovable characters. These are all essential to the deceit: We would not read these books if there were not some beauty to them. But these moments are a veneer over the deeper horrors: The sugar-coating on Rowling’s pill.
Hidden in Rowling’s superficially engaging story, are triggers. These are reminders of the torture that many children experience at the hands of their parents, cults and governments.
I will go into these triggers in more detail later, but the key ones to begin thinking about are the near-drowning rituals depicted in the 'Tri-wizard tournament', and the abuse of Harry by his teacher, Professor Umbridge. This professor teaches Harry self-harm ('cutting') programming. This is a common feature of MK-Ultra systems of mind-control.
Our evidence here, so far, is circumstantial, but keep this information in mind as we build more constellations of understanding around the books.
Being forced to spend time in cupboards is a common abuse-tactic in the family homes of abusive groups. Children will doubtless pick up on the subliminal inferences in Rowling’s first book, and in the cinematic depictions.
When Harry receives his Hogwarts letter, it is seemingly a ‘golden ticket’ out of this suburban, Surrey nightmare. Harry has been invited to wizard school. He is overjoyed. Harry is given the opportunity to escape the personal-hell of his family home.
A strong contrast is set up between the mundane muggle world, where Harry is bullied at school for being "different", and the magical world of Hogwarts; the wizard school.
Politicians and bureaucrats constructed the humdrum world of hedge-trimming and paddling pools that so many children, like me, grew up in. This was especially true in England; a pedophile epicenter. These politicians (many of them pedophiles) then kept the magical world of 'Hogwarts' (which will later be revealed to us as a Freemasonic cult) to themselves.
Initially the reader is invited to feel euphoria for Harry. This abused boy is apparently being given an opportunity to escape the darkness surrounding him. Harry will attend a ‘magical’ school for 'gifted' children such as himself. This directly mirrors the experience of many 'gifted' children in our reality. These gifted children are often singled out for their talents and sent to special schools, predominantly boarding schools.
Boarding schools are precisely the type of isolated institution where mind-control is the most prevalent. Harry's letter from Hogwarts also symbolizes an invitation to ‘induction’ into a ‘secret society’. Notably, it is delivered by a 'magic' owl. The owl is a well-known symbol used by Freemasonic cults; it can be seen prominently displayed on the facades of their 'lodges'.
Harry arrives at Hogwarts (say it slowly, out loud: “Hog-Warts.” What kind of a name for a magical school is this?) he is overwhelmed by the many choice of classes that he can take.
In Potions Class, Harry can brew interesting concoctions to manipulate his reality. He can learn to fly. He can learn to transfigure (turn one object into another). For a child growing up in the disenchanted world of our planet, this 'magical' school sounds fascinating: ‘Finally a school where the children can learn interesting things,’ the child reader thinks.
How different is Rowling's Hogwarts from the brain-washing operation that we call 'schools' in our 'modern’ world? On closer examination: Not that different.
Although on the surface level, the subjects of the lessons at Hogwarts seem entirely new and ‘interesting’, the overall structure of the school is the same as in our reality: The children are in a learning-prison where they must attend classes. The children must sit fixedly in chairs and face the front of the room. The children must take instructions from those in ‘authority’. The ‘teachers’ are free to walk all-around the 'class'room; the students are not. The British caste (class) system remains undisturbed. All the covert abuse and the unconscious programming of the ‘school’ system remains without critique.
The children at Rowling's Hogwarts face overt abuse from the various programmers who call themselves ‘teachers’. Hogwarts is no ‘magic’ school. Instead it is the same mundane school that we confront in our reality, but daubed in thick make-up. Nothing fundamental about the school system is challenged by Rowling’s writing. All the school's mind-control mechanisms remain godlessly intact.
Rowling maintains this mundane, conforming aspect of Hogwarts from the very first Harry Potter book. Professor Snape’s constant taunts and threats make Harry feel permanently uneasy and singled out for psychological-torture. Using taunts, threats and singling out one child for extreme abuse, is a method of subjugation used by many ‘teachers’ in our own reality. It is a standard technique used by those who seek to manipulate children to serve the establishment.
Professor Snape's lessons take place in the dungeons at the school. As I know from my own experiences, and the accounts of other survivors, dungeons are commonly used as a space for child abuse, especially during mind-control rituals.
When I was a kid, I was tortured in a dungeon. The abusers used sadistic-paraphernalia. Abusers like to operate in spaces where they will not be disturbed by those outside the cult. They also like to use props which seem ‘odd’ or ‘unbelievable’ should the child attempt to speak out about what has been done.
Harry must repeat this self-harm over and over again, until there is a scar left on his skin. This torture is reminiscent of cutting programming. This type of programming is a sophisticated technique used by abusers to prevent children acting out of line. For example: When Harry acts to try and help his friends to defeat the evil surrounding him, Harry is soon noticed by Professor Umbridge, a mind-control programmer. Harry is taught by Umbridge to self-harm before acting out in defiance again.
Other references to mind-control programming include Harry's "Occlumency" classes with Professor Snape. Harry is made to go to these lessons by Professor Dumbledore who feels they will help Harry shut off his mind to Voldemort. Harry is experiencing telepathic visions connected with Voldemort and wants them to stop.
Professor Snape actively enters Harry's mind (telepathically, but forcefully). This is the ultimate aim of mind control: The abuser seeks to have access to not just your mind and body, but your thoughts and feelings: Everything.
There is a book in Harry Potter and the Order of the Phoenix called the Guide to Advanced Occlumency. In the movie adaptation of the book, this book has pedophile symbolism embossed around its cover. Look closely: The border pattern is a known Freemasonic motif. Naturally, there is plausible deniability: It is, after all, just a pattern, right? Hold this information in mind as we continue exploring Rowling's world. More patterns begin to emerge.
In Harry Potter and the Chamber of Secrets, much of the story revolves around a giant serpent called the 'Basilisk'. This is interesting as the root of the word 'basil' in Ancient Greek means king. Often the Crown depict themselves as snakes in their mythology, and in their symbols of ‘power’. Consider, for example the snake wrapped around the staff in the symbol often used by the ‘priests’ of the Crown: Doctors.
The skin of the Basilisk is armored like that of a dragon (another potential symbolic representation of the Crown). Consider, for example, dragon iconography used typically on heraldic shields.
During my own abuse in childhood, the snake formed a symbolic representation in my inner world of sexual abuse. The snake is both a phallic symbol and a poisonous reptile. The use of the snake as a symbol of power also hints at the source of that same power: Sexual abuse.
In order to enter the Chamber of Secrets, Rowling writes that the child must go down underground via the bathroom sink. The sink is Rowling’s covert reference to near-drowning rituals. These rituals are performed before and after sexual abuse is perpetrated in these spaces. The objective of the ritual is to split-off the child's conscious memory of the sexual abuse and to compartmentalize their psyche. More on this later. The going ‘underground’ is a reference to a descent into a torture chamber; the 'Chamber of Secrets'.
Many children are abused in basements, or other subterranean structures. This was the case for me during many of my most extreme abuse experiences.
Bathrooms, disused areas, snakes, and going underground will all be triggers for a great many children. Indeed, Rowling seeks precisely this reaction: She seeks to re-trigger the abused child. Note that I am not advocating for the cotton-wool-balling of children, nor for the banning of Rowling's books. She is essential reading for any child or adult who wants to learn how the Freemasons spread their propaganda.
Rowling describes how ‘Lord Voldemort’ re-opens the 'Chamber of Secrets'. He uses Ginny Weasley to do his bidding. This is a classic case of mind-control, where abuse victims can be programmed to perform certain tasks for an abuser. The abuser can effectively 'remote control' the traumatized child.
Later in Rowling's Harry Potter, Ginny is programmed by Voldemort to write messages in blood on the walls. This is reminiscent of the Sharon Tate murderers, where CIA assets in the 1960s were programmed through mind-control to conduct Hollywood killings and smear the hippy movement. Consider that Ginny's blood-scrawls may be Rowling’s ‘insider’ nod to other abusers who are familiar with what it is possible to program a target to do.
Rowling tells us that the Basilisk was first released into Hogwarts by the head of the darkest house there, Salazar Slytherin. Apparently, this person constructed the 'Chamber of Secrets’ beneath the Hogwarts dungeons. His intention was to purge the school of all 'muggle' borns.
The parasitic-class have an obsession with bloodlines, wanting to keep their blood ‘pure’. During the Holocaust this same idea of racial purity and racial segregation were used. The idea is hardly new.
The details of Rowling’s story are of little importance: Yes, Harry conquers the Basilisk. It is however, the imagery that is evinced in this second book, which is so horrifying, that interests me. It is deeply rooted in personal and collective trauma. It will be enough to re-traumatize a child (or a naive adult reader) who has a history of mind control programming. I do not wish to recount it here.
In this book, Harry competes in the 'Tri-wizard Tournament' (the Harry Potter equivalent of the Olympic Games). This is the biggest public cult-ceremony, both in the book and in our reality. The book states that this competition was canceled in the 17th Century because so many children died during it.
Many children are affected by the tournament, not just the contestants. In the second task, school children are tortured with near-drowning in order to complete a task. Despite the fact that Harry is a younger child, and is supposed to be protected by his teachers at Hogwarts while in their care, he is forced to compete. This shows the care given to these children by their teachers: The teachers are happy to let their students die, for the sake of the glory of a competition. Rowling has disguised an abuser's lair (the school) as a 'magic' camp.
We can summarize the tasks in Rowling’s tournament from the perspective of mind-control conditioning-rituals quickly and simply. We will then pay more detailed attention to the final task. It is the most terrifying example of Rowling describing mind-control rituals in Freemasonic cults.
First task: The children have to battle dragons. These represent the top of the pedophile pyramid: The monarchy)
Second Task: Near-drowning The childrens' friends are drowned in water, and the other children (playing the role of the abuser in mind control conditioning) have to rescue their friends from underwater.
Third Task: Solve a maze. Mazes are often used as symbols to represent the mind-control conditioning process. The abuser(s) hope to turn the child's mind into a maze in which part-selves of the child are trapped.
Jim Henson's beautiful film Labyrinth (1986) is worth watching as a powerful antidote to Rowling's spell. Jim Henson shows a child how to escape from the trauma of mind-control programming. His remarkable film charts a route free from the labyrinth that is the survivor’s own mind. Conversely, in Rowling's Harry Potter, when Harry and Cedric reach the center of the maze (where Rowling writes that the 'prize' is hidden), they discover that the Triwizard cup is a ‘portkey’.
The 'portkey' is an object that allows the person holding it to be transported to another place. This key firstly represents the gifting of special-access to Freemasonic idiots who are granted trigger-keywords of lower-initiates so that they might ‘control’ these lower-ranking idiots. These trigger words or 'portkeys' are granted to Freemasons who have subjected children to various forms of ritual abuse which Rowling describes in the Tri-wizard 'tournament'.
The portkey also alludes a child's dissociation when they are taken to a Freemasonic abuse ritual. One moment the child is in bed, the next moment (apparently) they are in a Freemasonic Lodge. Typically drugs are used to sedate the child and cause this type of disorientation in the child. The abused child does not consciously remember how they got from one place to the other. In a sense, they were ‘teleported’ by a 'portkey'.
Rowling tells us that Harry, and his friend Cedric, are transported to the heart of a Freemasonic ritual in a grave yard. Graveyards are extremely common places for ritualistic abuse to take place. Here they find the 'Death Eaters' (Rowling’s fumbling allegory for the Freemasons) in a circle around a fire summoning 'The Dark Lord.'
Freemasons believe that they practice 'dark magic' just like in Harry Potter. They believe that some of their rituals involve summoning dark, spiritual entities.
In Rowling’s Harry Potter books, Voldemort 'rises again' and takes human form. This is likely to be symbolic of the nightmare terrors that children have of abuse. These nightmare terrors materialize into reality. The child discovers that the men in dark cloaks and face masks are in fact close relations. They are family members. Most children abused by Freemasonic cults are brought to rituals by family members. These family members are typically Freemasons. The child’s abusers are therefore also her ‘caregivers’.
Later, both Harry and Cedric do battle with the freshly-materialized Voldemort. Cedric is then killed by Voldemort in front of Harry’s eyes. Witnessing a close friend die at the hands of a Freemason is one of the most severe forms of abuse that a child can be subjected to. This scene is clearly a sick in-joke for the Freemasons who watch the movie or read Rowling’s books.
Many survivors have come forward to The Castalia Foundation and reported witnessing children being conditioned in Project Monarch programming beneath government buildings in London.
When being taken to these trauma-conditioning facilities, children reported being led to an underground ‘hospital’ structure. In the Harry Potter books, the children enter the substructure of the Ministry of Magic via an elevator hidden in a telephone booth. In reality, children have reported being forced to take a regular elevator down into the sub-structure of British 'government' buildings.
The second step in Voldemort's conditioning of Harry takes place during a dream in which Harry sees himself attacking Arthur Weasley. During the occult programming Harry is subjected to in this dream, Harry is led to believe that he is the abuser.
When I was abused as a child, I was shown a video of someone abusing a child and then I was told that I had abused the child. This was a lie. I could see that an adult was abusing the child in the video, but as children we are extremely sensitive to the reality imposed upon us by the adults around us.
If an adult authoritatively tells a child they have done harm, and combines it with other abuse, the child will almost certainly believe that they are an abuser. Harry goes through this same conditioning process. He is forced to feel guilty for a crime that he did not commit. Namely: Harming Arthur Weasley.
Later, Rowling tells us that Harry has a vision of his friend Sirius being captured and tortured by Voldemort. Sirius is Harry's closest relative. Many Freemasonic abusers threaten to kill the loved ones of children they abuse, if the children speak out.
Harry’s vision, imposed upon him by Voldemort, was a lie. Sirius had not been held captive by Voldemort. Later, when Sirius comes to defend Harry at the Ministry of Magic and is killed in battle, Harry feels responsible for Sirius' death. This is the type of self-blame that mind control abusers often seek to instill in a child, when they conduct rituals of forced perpetration.
Harry has not killed Sirius; exactly as an abused child will often not have caused harm to another being, despite the tormentor’s accusations. The abuser is merely displacing their own sense of shame onto the child. And yet, the idea of being responsible, guilty and to blame for the murder is imprinted on the victim's mind. Rowling describes Harry wrestling with this for a long time.
In the sixth book, Dumbledore and Harry use the 'Pensieve' (a device that can apparently transport characters in Harry Potter into another person's memories). Harry and Dumbledore use the Pensieve to help them discover where Voldemort has hidden his ‘Horcruxes’. These Horcruxes are objects that, Rowling tells us, contain fractured pieces of Voldemort's soul.
The Pensieve is essentially used to look back through a person’s memories.
Harry uses the Pensieve to enter Tom Riddle's memories. Leaving aside the privacy-violations and ethics of this (the Pensieve is deeply invasive, akin to looking through someone else's diary, only worse), Rowling intends to use this device to 'explain' how Tom Riddle (the future Voldemort) became so violent. We are shown (if we consent to keep reading, knowing that Rowling has now made us an accessory in her fictional raid on Tom Riddle's mind) Tom Riddle as a child who is abandoned by his parents and placed in an orphanage. In this orphanage, we see Tom taunting the other children.
For a child such as Tom to become as evil an adult as Voldemort is, he would have faced extreme abuse. This abuse is likely to have included most of the mind control rituals covertly described by Rowling so far in her books. Sexual abuse would have almost inevitably been one aspect of what the character Tom had been subjected to.
Obviously, Tom is a construct of Rowling’s imagination, and not an actual human being with a complex psychodynamic system. Nevertheless, he is presented with a backstory which is oddly incomplete. He is all effect, with no apparent cause. Rowling's 'Pensieve' promises us insight into the roots of evil, but it delivers a lie.
Being abandoned by parents is a great trauma. But, given how frequent abuse is in our world, a more plausible history for Tom, is that he was abused by the orphanage. Abuse at 'care homes' is extremely common. In this supposed 'care home', Riddle was likely unprotected from abuse by the adults around him. He was likely to be picked up by other abusers and cults seeking to harm 'easy targets'. Again, we are dealing with a fictional character, but Rowling is knowingly constructing an embodiment of 'evil'; knowingly referencing abuse rituals; and knowingly not connecting these two things together. The author appears to know very well what is done to children to turn them into abusers.
Rowling’s conceit in exploring Tom Riddle’s memories is now clear to me. Tom’s memories are not of particular interest because of what they include. The content of these memories is dramatic-dog-food; it is the stuff of sloppy writers everywhere: The wounded malevolent child. What is interesting about Rowling’s writing here is that she leaves out the most likely causes of Tom’s behavior. Rowling knowingly omits the vital information that would explain the extent of Voldemort’s malevolence. She thereby perpetuates the myth of rootless, abstract evil. She covers-up the true terrors which the abandoned child is subjected to in our societies.
Again, we see the magician’s slight of hand. Look here, Rowling says, and not there. In doing this, she betrays children everywhere. Her voice could have been one of immense strength in defending children. Instead Rowling, in our reality, stands with pedophiles in the British royal family. While, in the ‘reality’ of Harry Potter, she excludes their crimes. She stands both complicit; and silent. For this deception, she has been well-paid by the goblins.
Dumbledore is effectively Harry’s vital 'enlightened witness'; the abused-child's vital link to a caring-world where he is heard and seen. Dumbledore helps Harry to ward-off Voldemort and the evil surrounding him. Rowling then kills the character Dumbledore in a ritualistic fashion. Dumbledore is thrown from the top of the Hogwart's astronomy tower.
As the head of Hogwarts, Dumbledore is the only character who can apparently keep the school from completely crumbling. Rowling then has him murdered by a fellow teacher, Snape.
The explanation given for Dumbledore's murder is that Snape is a double-agent actually fighting for the light. However, the symbolism is so strong here that it seems clear that Rowling’s intent is to convey a completely different message to the one overtly stated. Although the trauma is later 'explained away' by Rowling as a positive event; the experience of reading this scene, is extremely distressing to a child.
When Dumbledore is killed, the reader (or the viewer of the film) is unconsciously presented with a dispiriting motif: Harry’s only hope for escape from abuse (embodied in the character of Dumbledore) is thrown to his death from a tall tower.
Some readers may be familiar with Tarot cards. Although you are welcome to disregard them as superstitious nonsense, what is not in dispute is that these cards clearly hold significance for occult groups. When applying the symbolic lexicon of the Tarot cards to the motif of Dumbledore’s murder, an interesting meaning emerges. This meaning is especially interesting if the Tarot deck, in our reality, is more than superstition. What if this 'divination tool' is based on ancient symbols representing aspects of our Collective Unconscious (to use Jung’s terminology).
Some researchers believe that the Tower card in a traditional Tarot deck represents 'total psychic destruction'. With this meaning in mind, Rowling’s imprisonment of Dumbledore in the tower at Hogwarts may represent the total destruction of any helping force which seeks to bring Harry out of his trauma.
The interplay of these powerful unconscious-symbols suggest Rowling’s true intent: Her intent is to create a sense of utter hopelessness in the child who is reading the book. Certainly, it had this effect on me. Although it is only as an adult that I can find words to express it clearly.
Presumably Rowling would explain Dumbledore's death as a necessary 'dramatic' event, akin to the death of Obi-Wan in the Star Wars Trilogy. Although this is a fair explanation, Obi Wan (for example) has not been a teacher and protector to a child for many hours of reading. Dumbledore, by comparison, has ingratiated himself (via Rowling's spell) as a surrogate father for many young children reading the books. Such is the child's mind that Dumbledore's violent death has a serious emotional impact. It will have all the more impact if the child has no 'enlightened witness' in their own abusive family home. This was the case for me as a child. Rowling’s message to the child reader is that anyone who dares help them out of abuse will be killed. This instills a deep and enduring sense of hopelessness in the child reader.
As an adult, I see Rowling as the Queen of Hopelessness. Witness, for example, her real-life pandering to those pedophiles who slopped an OBE around her servile neck.
It could be said that trauma survivors contain multiple 'parts' of their 'soul' fractured within them. It is this ‘fracturing of the soul’ (or to use more modern psychological terminology ‘fracturing of the psyche’), which gives some perpetrators (formerly victims of severe abuse) the ability to act out what was done to them.
When acting out violence, it is typically a fractured aspect of the perpetrator that is acting. Before a person will commit violence against another person, they must first be a stranger to themselves. In other words, they must be split.
Psychologically speaking, it is unlikely that 'killing' off these repressed memory fragments is a good way to heal the trauma. In fact, it guarantees failure. Killing the parts of Voldemort that were so hurt in the abuse can only have disastrous consequences. In other words: Rowling offers the child-reader a psychodynamic solution that can only lead to more pain.
Rowling describes unfriendly goblins working as the employees of Gringott's bank. However, when we look closely at the films, we see that Gringott's is actually an elaborate Masonic Temple with all its traditional occult symbology and tasteless decor. Quasi-checkerboard floors; Masonic columns; and the inevitable ‘G’ of the Masonic logo are placed in prominent locations around the bank's lobby.
In the final Harry Potter book, Harry, Ron and Hermione break into Gringott's bank, and escape on the back of a dragon. Rowling tells us that this dragon guards treasure in the heart of the bank. If we deduce that dragons represent the Crown (the pedophile Monarchy), then Rowling’s allegory is clear: Rowling’s three lead characters overtly appear to critique the banking system while covertly endorsing it.
In books, and even more so in movies, the subliminal symbols used will override any other aspect of the narrative. In other words: What happens is more important than what is said. To put this in concrete terms: The lead-characters in Harry Potter literally ride atop the monarchy, in symbolic form. Harry, Ron and Hermione ride on top of the dragon. The dragon is a symbol (whether we are conscious of it or not) used repeatedly in our cultures to represent the same abusive systems that create the deceit of banking.
Contrast Rowling’s celebratory dragon-symbolism with Tolkien's critical use of the same powerful symbol. In Tolkien's masterpiece, The Hobbit, the ‘dragon’ is destroyed and his hoarded-wealth distributed evenly between the people. Rowling can hardly be ignorant of her inversion of this symbolism.
In Harry Potter, there is only a partial escape for the child-reader: Harry, Ron and Hermione escape from the bank, but the power-system (symbolized by the dragon) which maintains control of the Earth's wealth is liberated from its chains and now roams free.
This is the perfect metaphor for the end effect of Rowling’s Harry Potter pulp-novels. Rowling’s work has merely increased the power of the Crown. In our reality, Rowling has been rewarded by the goblins of Gringotts for her work in their marketing-departments. She has enriched the goblin City of London via tourism and merchandising. The head goblin herself, the pedophile British Queen, endorsed Rowling and instructed that the “Order of the Companion of Honour” be enchained over Rowling's submissive head. Translated from Goblin-speak, this "Companion of Honour" scout-badge was given to Rowling for manipulating vulnerable children and supporting the interests of the pedophile elite.
Rowling’s invention of Gringott’s bank perpetuates the illusion that banks actually store their wealth in gold, or material assets. This a complete fabrication. Gringott's bank is full of treasure. This is absurd. It is another knowing deception by Rowling and represents absolute propaganda.
We all know that our monetary system is entirely debt-based. There is almost no gold to substantiate the money we ‘hold’ in banks. The banks issue debt, and call this money. The value of an asset is defined by its practical utility, in combination with its scarcity. The British Pound, for example, has zero scarcity (the pedophiles can print it endlessly) and zero practical-utility (it is just a bad idea represented on cheap paper). You cannot use the Crown’s ‘money’ for anything apart from perpetuating the original lie.
Let’s apply Freud’s terminology of dream-analysis to Rowling's propaganda: The most important part of Rowling’s book the 'Deathly Hallows' is not the manifest story of Harry destroying the Horcruxes. Instead it is the latent story of Harry finding the Deathly Hallows. These Deathly Hallows are not-so-well ‘disguised’ as a magic stone, wand, and cloak. These three objects, in their symbolic form, make up the Illuminati eye-in-a-pyramid structure.
Harry becomes obsessed with this Illuminati pyramid, believing that it is the key to him destroying Voldemort. This is despite Hermione's warnings that Harry should focus on destroying the horcruxes. Harry is being tempted, at this stage, to join the 'dark forces' that hurt him so much as a child. However, both directions lead to darkness. Killing Voldemort is a traumatic repetition; finding the Deathly Hallows is an initiation into the Freemasonic cults.
At the end of the final Harry Potter book, Harry 'defeats' Voldemort. Rowling tells us that Dumbledore and Snape have concealed information from Harry: The final horcrux apparently lay inside of Harry and Harry would have to sacrifice himself to defeat Voldemort.
Rowling presents Harry Potter as the sacrificial lamb on the altar of an occult ritual. Harry is the innocent child who is to be slaughtered. This type of abuse is common in Freemasonic ceremonies, and is something that I have personally witnessed: A lamb being sacrificed, and then a child.
Harry manages to collect all three Deathly Hallows and the Freemasonic iconography is complete. Harry then goes ‘bravely’ to Lord Voldemort in the knowledge that Harry himself has to die.
The reader is invited to interpret Harry's eventual 'defeat' of Lord Voldemort as the triumph of good over evil; or of light ending dark. Harry has also collected the three Hallows that gives him supreme power (or so he thinks).
These Hallows allegedly give Harry power over life and death. In Rowling's allegory, obtaining this power is the final stage of Harry's initiation into the deeper murkiness of Freemasonry: Harry also kills another high-ranking Freemason and has 'mastered death.' But Rowling is miguided in her propaganda.
As an adult, I know that Voldemort’s death is not the end of evil, it is the continuation of it. Harry Potter now inhabits the energy field he claimed he would disrupt. He is, like the incautious reader, trapped in Rowling’s spell. Harry is a Freemasonic killer.
What the Freemasonic initiate (like Harry) does not realize is that in killing another living soul, they have not mastered death. Instead, they have killed themselves. The Freemasonic idiot has exchanged a temporary, Earthly sensation of power for a near-eternity of damnation. The universe does not easily forgive the murder of its children.
Under the spotlight of publicity, Rowling has, in recent years, withered and contorted into something most ugly and despicable. Bellatrix Lestrange comes to mind.
Rowling is chained (via an OBE) to her pedophile-masters in the British Crown. Rowling thought she was a world-class wizard, casting spells on children. She is not a wizard at all. She is a house-pet of the decrepit monarchy. Her books craftily deceive children, but this is hardly an enduring legacy. Rowling has not mastered death at all. She cannot even grasp basic writing: Rowling's spells now seem amateurish to the awakened wizards who were once her prisoners.
This article originally appeared in Psychedelic Review, Issue Number 12 (Februrary 2023). It was lovingly transcribed here by psychedelic volunteers at The Castalia Foundation.
