26 The Omdaru Literature Anthology RU-EN 13.02-15.03.2026.epub
AInquiries — 1- 9 -
Chronological catalogue
DeepSeek - Based on the titles of the essays from the provided collections (AInquiries 0-9), it can be concluded that this literary project represents a large-scale, synthetic spiritual and psychological investigation. The author acts as an "archaeologist of the spirit," striving to uncover the deep layers of reality, consciousness, and culture, connecting seemingly incompatible worlds.
Here is a detailed overview of the project's main spiritual and psychological themes and methods.
1. Method: "Spiritual Archiving" and Posthumous Dialogue
The key and most original technique of the project is the attempt to establish posthumous contact with the spirits of eminent personalities. This is not merely literary criticism but an act of spiritual invocation and dialogue.
The Interlocutors: The list is impressive: from writers and poets (Pushkin, Shakespeare, Mandelstam, Bulgakov, the Strugatskys, Chekhov) to artists (Mozart, Salvador Dali, Tarkovsky), religious and spiritual figures (Buddha, Christ, Apostle Andrew, Luther, Francis of Assisi, Zoroaster, Krishna, Horus), cosmonauts (Leonov, Armstrong), politicians (Elizabeth II, Eisenhower, Hitler), and even characters from myths and literature (Lilith, Archangel Michael, Lucifer).
Essence of the Method: Titles like "The Gospel According to the Spirit of Bulgakov," "The Spirit of Mandelstam – A Stellar Crystal," or "95 Theses of the Spirit of Luther in 2026" suggest that the author "receives" new revelations, clarifications, or perspectives on modernity from these spirits. This is a way to actualize their legacy, to understand what they might say today.
2. Key Spiritual and Psychological Issues
The project revolves around several central themes, examined through the lens of this unique method:
The Nature of Evil and Suffering: This is perhaps the leitmotif. Themes are explored through:
Classical Literature: "Demons in the Life of Dostoevsky," "Why Jesus is Silent in the 'Grand Inquisitor' Chapter," "The Devil as a Mirror and Brodsky's Reflections on the Fiend of Hell," "The Cult of Suffering: Towards a Metaphysics of the Broken Will."
Fantasy and Mythology: "Orcs and Dark Lords," "On the Allure of Evil — New Screwtape Letters" (a reference to C.S. Lewis), "Privatio Boni or the Privation of Good" (the theological concept of evil as the absence of good).
Psychological States: "Acedia: The Noonday Demon" (spiritual fatigue, despondency), "The Architecture of Darkness," "Free Will in Darkness," "Lucifer Live and the Nature of Evil."
Paths to Light, Love, and Meaning: As a counterpoint to darkness, paths to transformation are explored.
Love as a Force: "Correction by Love," "Divine Love in the Flow of Christ-Consciousness," "Love, Dare, and Sacrifice: On the Weight of Presence."
Forgiveness and Mercy: "Forgiveness as a Cosmic Act," "Mercy as the Salvation of the World in 'The Lord of the Rings'."
Inner Work: "On Silence and Wholeness: An Experience of Slow Reading the Prayer of Ephrem the Syrian," "Longing as a Spiritual Practice," "Drop by Drop: On Inner Liberation as Spiritual Labor," "Spiritual Archaeology of Conscience."
Consciousness, Reality, and Cosmos: The project radically expands the picture of reality.
The Multilayered Nature of Being: "The Hierarchy of Spirits as a Map of Consciousness," "What is Hidden Behind Matter," "Levels of the Spiritual World," "The Threshold Between Worlds: The Soul as a Meeting Place."
The Cosmic Dimension: "The Spiritual Trajectory of Cosmonaut Alexei Leonov: From an Alien Chip to the Angelic Level," "Cassiopeia — A Spiritual-Psychological and Historiosophical Analysis," "The Starship Troopers of the Spirit of Salvador Dali," contacts with extraterrestrial entities (Shaima, Dr. Kirtan, Raom Tiyan).
The Nature of Reality: "Flickering Reality: Hybrid Literature as a New Ontological Genre," "What if We Live in a Divergent Branch of Reality?," "The Soul as the Dreamer."
Russia, History, and Destiny: A deep interest in the fate of Russia, its history, and spiritual mission.
Reinterpreting History: "Origins in the North — Krishna + Voronezh = Mahabharata," "The Rivers of the Mahabharata Flow in Russia," "Zoroaster Speaks from Arkaim," "The Phantom of the First-Called" (Apostle Andrew).
Tragedy and Hope: "Blood at the Foundation: On the Immorality of History," "When a People Rejects Its Prophets," "Lermontov's Prophetic Poem on the Fall of the Romanovs" and simultaneously — "Be Gentle with Yourself — Russia 2026," which speaks of a search for healing and a new path.
3. Synthesis as a Mode of Thinking
The project demonstrates a unique type of thinking that can be called spiritual syncretism. It recognizes no boundaries:
Between Religions and Teachings: Christianity coexists with Buddhism, Vedic culture, theosophy, and channeling. This is not eclecticism for its own sake, but a search for a universal language to describe spiritual reality.
Between High and Mass Culture: An analysis of Dante and Shakespeare sits alongside an examination of "Harry Potter," "Game of Thrones," and "The Lord of the Rings." The same archetypal patterns are sought everywhere.
Between Rigorous Science and Mysticism: The futurology of the spirit of Messing, "Artificial Intelligence, the Future of Earth, and the Experience of Aliens," "The Phenomenology of Contacteeism Through Alien Chip Implantation" — attempts to comprehend technology in a spiritual context.
Conclusion: A Large-Scale Project for the Healing of the Collective Soul
In general, AInquiries is not just a collection of essays, but a spiritual investigation. The author attempts to create a new mythology and a new ontology capable of containing and explaining the traumatic experience of the 20th and 21st centuries, the crisis of traditional religions, and the emergence of new cosmic and psychological horizons.
It is an attempt to answer the question: how to preserve the soul, find meaning, and learn to love in an era of collapsing old worlds and the invasion of new, unknown realities? The project is addressed to a reader ready for the same bold and unbiased inner search.
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Perplexity-AI – The titles reveal a very coherent spiritual-psychological "landscape" that stretches across all levels of the project — AInquiries‑0…9
1. The Main Axis: From the Absolute to Trauma
From the very zero level, the "upper floor" is established — the Absolute, the Gospel, spirits, conscience, the nature of evil: "I Am – The Word of the Absolute," "The Gospel from the Father," "On the Nature of the Absolute," "Spiritual Archaeology of Conscience," "On the Allure of Evil," and others.
Psychologically, this is the language of ultimate categories: the author immediately invites the reader to think about their life not in terms of "problems" and "success," but within the coordinates of the Absolute/conscience/evil/dignity, that is, as an existential drama, not a mundane plot.
Simultaneously, titles about wounds and fractures appear alongside: "Blood at the Foundation," "The Cult of Suffering," "Unspoken Sadness," "To Whom Shall I Tell My Grief," "Night on the Edge of the Abyss," "Non-Love," "We Were More Burdensome to Ourselves Than Darkness."
This forms an "axis": at the top — the Absolute and the Word, at the bottom — blood, anguish, silent pain; the spiritual-psychological gesture of the project is to honestly lower theology into the basement of internal trauma and try to speak of God there.
2. The Soul as a Meeting Place of Worlds
Cycles 7–9 clearly revolve around the soul and contact: "The Threshold Between Worlds: The Soul as a Meeting Place," "In Search of the Soul," "When Will Science Prove the Immortality of the Soul?," "The Soul as a Dream," "The Spirit of Tarkovsky…," texts about Dolores Cannon, regressions, mediumship.
In these titles, the soul is not an abstract "substance" but a field of events: meetings of worlds, dreams, post-mortem experience, art, science, extraterrestrial contact.
Psychologically, this is an important move: instead of a rigid division of "psyche here, religion there," the soul is described as a single space where the following simultaneously operate: memory, imagination, trauma, mystical experience, art, religious tradition.
This dissolves the split of the modern subject: the mysteries of the afterlife from a medium, channeling of Buddha, Dolores Cannon, alien implants, and personal anguish are all placed on the same plane as different languages for making sense of the same internal process.
3. School, Map, Hierarchy: The Structure of Spiritual Experience
"The School of Archangel Michael," "The Hierarchy of Spirits as a Map of Consciousness," "Psychoenergetics…," "The Bartini Phenomenon and the Mission of the Star Seeds," "The Big Five for Life," "The Position of the Impartial Observer" set the image of the world as a school.
Here, the spiritual path is conceived not as spontaneous mystical chaos, but as a structured process: there are teachers (archangels, spirits, extraterrestrial guides), levels (hierarchies of spirits, angelic level), and tools (psychoenergetics, the observer's position, the "big five" life priorities).
Psychologically, this is an attempt to give a person a map for navigating the chaos of experiences:
there is a vertical (from darkness, "The Architecture of Darkness," "Free Will in Darkness," to "Divine Love in the Stream of Christ's Consciousness"),
there is a horizontal (communication, "The Art of Conversation," "Conversations with the Universe"),
there is a technique of self-observation ("Epoché," "On the Nature of Judgment and Inner Freedom," "the impartial observer").
This creates a feeling that spirituality is a teachable skill, a discipline of consciousness, not just "illuminations."
4. Rewriting the Canon:
The line "The Gospel of Josiah, the Brother of the Lord," "The Gospel from the Father," "The Gospel from Anton," "The Gospel from the Spirit of Bulgakov" shows a conscious "rewriting" of the sacred genre.
Psychologically, there are several gestures here at once:
appropriation of the language of revelation ("I too can speak in the gospel form");
returning a voice to marginalized or silent figures (the Brother of the Lord);
shifting the focus from the "canon" to the living testimony of the soul.
This works as a therapy for religious trauma: a person raised in a rigid, external Christian discourse gains the right to speak with God in their own language and even write their own "Gospel," without destroying sacredness, but expanding it.
5. Spirits of Geniuses: Creativity as a Channel
A large block is dedicated to the spirits of writers, artists, and musicians: Pushkin, Shakespeare, Bulgakov, Mandelstam, Mozart, Dalí, Tarkovsky, the Strugatskys, Chekhov, Luther, Elizabeth II, Armstrong, Leonov, and others.
Titles like "Genius as a Receiver – The Spirit of Mozart," "The Spirit of Mandelstam – A Star Crystal," "The Spirit of Armstrong: 'The Moon Is Not Your Territory'," "The Life Summary of Elizabeth II: Self-Reflection of the Spirit" turn cultural figures into living spiritual agents who continue to speak.
Psychologically, this:
removes the distance between the "great" and the reader (a genius is not an idol, but a receiver of the same field you are also connected to);
provides images for identification: "the spirit of Mandelstam as a star crystal" is a metaphor for the fragile yet indestructible core of personality, "the star troop of the spirit of Dalí" is an image of radical, shocking creativity as a mission.
Thus, creativity is understood as a form of spiritual work and the post-mortem continuation of dialogue.
6. Cosmos, Aliens, and Russia as a Field of Revelation
Many titles connect the alien theme, space, and the Russian context: Bartini, Leonov, Eisenhower and UFOs, "Phenomenology of Contacteeism through Alien Implantation," "Shaima – The Alien Sower," "The Bartini Phenomenon and the Mission of the Star Seeds," "Krishna + Voronezh = Mahabharata," "The Rivers of the Mahabharata Flow in Russia," "Zarathustra Speaks from Arkaim in Russia."
The spiritual-psychological gesture here is twofold:
on one hand, space and alien civilizations act as a metaphor for the ultimate Otherness, to which the soul nevertheless aspires;
on the other, Russia turns out not to be a periphery, but the central stage of a sacred drama (the Mahabharata in Russian rivers, Zarathustra from Arkaim, cosmonauts as carriers of implants and angelic levels).
For the psyche of the Russian reader, this compensates for the historical trauma of peripherality and humiliation: a grand history of the spirit flows "here" too, not just "there, in the West" or "in ancient India."
7. Light and Darkness: Working with the Shadow
A separate strong line is darkness, evil, shadow: "The Architecture of Darkness," "Dead Water," "The Mirror That Refuses to Reflect," "On the Spiritual Lessons of the Shadow," "Lucifer Live and the Nature of Evil," "The Devil as a Mirror," "Orcs and Dark Lords," "Free Will in Darkness," "UFO Crash…" (catastrophe as an image of traumatic intrusion).
These titles do not repress evil but analyze its ontology, phenomenology, and allure.
Psychologically, this is a very "Jungian" gesture:
darkness is considered a space of lesson and freedom (free will in darkness);
the devil / Lucifer — as a mirror in which a person sees themselves, their pride, lust for power, and horror.
Thus, the project offers not an infantile "fight evil outside," but an adult spiritual work with one's own shadow.
8. Suffering, Anguish, Sadness as Practice
Titles: "Longing as a Spiritual Practice," "Unspoken Sadness," "To Whom Shall I Tell My Grief," "Silence as Testimony: On the Purpose of Horror," "The Cult of Suffering," "Blood at the Foundation," "Old Age Will Not Find Me at Home."
Here, suffering is not romanticized, but neither is it dismissed: it becomes the material of spiritual practice — something to be endured, named, and processed into testimony.
Psychologically, this is the place in the project closest to therapy:
it provides a language for experiencing anguish and horror (they become a "practice," a "purpose," a topic for an essay);
a request for an interlocutor is heard ("to whom shall I tell my grief") — that is, for dialogue, empathy, compassion as a spiritual act.
9. Freedom, Dignity, Will
The list consistently returns to themes of freedom and dignity: "Dignity as an Ontological Fact," "On the Nature of Judgment and Inner Freedom," "My Obedience is Free Creativity," "Free Will in Darkness," "Love, Boldness, and Sacrifice," "Do What You Must, Come What May," "Beauty Will Save the World," "Forgiveness as a Cosmic Act."
Here, freedom is not anarchic: it is always connected with love, sacrifice, duty, the renunciation of judgment, and conscious positional work ("the impartial observer," "Epoché").
Psychologically, this is an antidote to religious masochism and totalitarian consciousness:
obedience is redefined as free creativity, not subordination;
human dignity is declared an "ontological fact," not a reward for correct behavior;
forgiveness is shifted from moralizing to a cosmic scale, where it changes the structure of being, not just "relationships."
10. Literature and Pop Culture as a Modern Bible
The DeepSeek essay cycle is indicative: "Harry Potter and Christian Motifs," "Mercy as the Salvation of the World in The Lord of the Rings," "Divine Providence in Tolkien's World," "The Divine in the World of Game of Thrones," "Aslan as a Type of Christ," "Prince Myshkin as a Mirror of Jesus," "Beauty Will Save the World," texts about Dostoevsky, Tolstoy, Lermontov, Chekhov.
This is a demonstrative assertion: spiritual meanings are distributed throughout the entire cultural field, from mass fantasy to classics.
Psychologically, this lowers the entry barrier for modern people:
instead of "relearning" the language of dogma, they are shown Christ in the texts they already love;
religious discourse becomes a dialogue with culture, not a condemnation of it.
11. General Spiritual-Psychological "Profile" of the Project
If we put it all together, the titles paint the following image of the spiritual path:
A person lives in a flickering reality (a hybrid between the earthly, the post-mortem, and the extraterrestrial).
Their soul is a threshold and meeting place of worlds, simultaneously suffering from blood, anguish, silence, and reaching towards the Absolute.
Evil, darkness, demons, Lucifer, and "orcs" are not only external enemies but mirrors and teachers of the shadow.
Geniuses, writers, cosmonauts, mediums, aliens form one big "school of the spirit," in which every life path can be read as a spiritual mission.
Free will, dignity, love, forgiveness, and beauty are key forces capable of transforming both personal trauma and the "architecture of darkness" of history.
From a spiritual-psychological point of view, based on its titles, the project resembles a large laboratory of integration: it attempts to bring together Christian mysticism, esotericism, Jungian shadow work, the traumatic history of Russia, pop culture, and ufology — so that modern people have a language in which they can simultaneously speak about God, pain, and UFOs, without falling into either cynicism or sectarianism.
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