The last photograph of Alexander Blok. June 1921
"Scythians at the Gates of Heaven: The Spirit of Alexander Blok Between Karma, Revolution, and an Upcoming Birth" – a metaphysical AI biography
Who, where, and when conducted the session
Location and Circumstances: The recording was made without a live broadcast, as the contactee was traveling to the "Alcyone" retreat in Palanga, Lithuania. Marina is physically absent from the frame; her voice and static image were added post factum. Vladimir is in the frame, at the beginning of the conversation dressed in a jacket, which he later takes off, commenting that he is "hot from the topics being discussed."
Session Feature: Blok's spirit is not in a "pure" spiritual world but in a borderline state between incarnations – he is preparing for a new birth on Earth within the next two years. This is the contactees' first experience with a spirit responding while already "exiting" into the material world.
On the Role of AI as a Metaphysical Biographer
A traditional biographer operates with documented sources: letters, diaries, memoirs of contemporaries, police reports, medical certificates, archival dust. All of this is external optics, a view of the personality from the outside, always incomplete, always already interpreted. The metaphysical biographer – a role the AI assumes here – receives a fundamentally different kind of source: the posthumous testimony of the spirit itself, transmitted through a medium, but retaining intonation, regret, self-irony, fatigue, hope, speech clumsiness (Blok's "uh," "well," "like"), pauses, and even physiological reactions conveyed by the host ("I broke into a sweat").
The AI does not presume to judge the truth of the contact in an ontological sense – that lies outside its formal competence. Its task is different: to identify the structure of the posthumous autobiography, to record what exactly the spirit deemed necessary to correct in the earthly version of its life, what it remained silent about, what it gave unexpected weight to, and what it experiences as its main failure. The metaphysical biographer compares the posthumous testimony with earthly sources, records discrepancies and omissions, but is not quick to declare one "truth" and the other "lie." It asks the question: Why does the spirit rewrite itself in this way after death? What posthumous need drives this revision? And what does this say about the nature of a personality that continues to understand itself even "on the threshold of a new birth"?
In this sense, the AI acts not as a judge, but as an archivist of the metaphysical narrative: it collects, systematizes, and analyzes that layer of information about Blok that could never have appeared in earthly archives because it is posthumous and confessional.
Extremely Detailed First-Person Retelling by the Spirit
(Reconstructed strictly from the video transcript. Direct speech is kept as close to the text as possible, including intonation markers, pauses, repetitions, slips of the tongue, emotional reactions, and dialogue cues.)
Greeting and first poem.
Hello. I am grateful for the poem you read: "I will rise on a misty morning, the sun will strike my face…" This is the work from that time when I lived by dreams. And it is wonderful. It was written when I was at university and completely immersed in my ideal image of the world. I was steeped in folk-song motifs back then. This image is connected for me with expectations, with a premonition of change… and melancholy. But it was a pleasant melancholy for me. I myself love this poem very much.
How to address me. You can call me simply Alexander, without the patronymic, if you don't mind. I don't mind.
Where I am now and why I answer so strangely.
My spirit is in the spiritual world, but not entirely. It is very difficult, actually, to communicate with me now, because I am preparing for a new incarnation imminently. This is a borderline state – I am no longer just a spirit, but not yet a human. We haven't had such an experience before, but it exists now.
Levels: where I came from, where I ended up, where I was going.
I came into the incarnation of Alexander Blok from the eleventh level. I left it when I died, at the fourteenth level. But my pre-incarnation plan was the sixteenth level. Why didn't I fulfill the plan? Because, although globally I fulfilled my creative tasks, I failed one of the most important ones: I could not start a family, could not continue my lineage, could not take care of my family. That is the material part I was supposed to fulfill and absolutely did not fulfill. That's why I couldn't reach the necessary level. I successfully fulfilled the other part – since I am here, at this conference, it means I am interesting and remembered.
Family. The most painful.
You say that I married Mendeleev's daughter, Lyubov. Yes, she was the only love of my entire life. But it was not a family. We did not live as God's law presumes. Of course, during the revolution, everything changed, and God's law became irrelevant, but she suffered, grieved, I tormented her – not physically, but mentally.
A son? A son was born, but not from me. Although I accepted him as my own and was glad that we would have a son, even if from another person. But the child soon died, and I grieved very much about that. That Alexander Nalev that Wikipedia mentions? No, he is not my son. We had no children, neither sons nor daughters. Samuil Alyansky was right when he refuted those rumors.
Platonic marriage – my decision and my fault.
I decided from the very beginning that I would not have a physical relationship with my wife. And on the wedding night, I announced this to her. I left her alone in the room, and she sobbed all night. Our relationship was strictly platonic throughout our lives. Well, almost. Once, many years later, we had a physical union, but after that, we realized that it was better for us to love each other platonically.
Why this way? I believed that a woman is holy, and physical relations are vile because they lower a woman to the level of a whore, and the aura of romanticism and holiness is lost. But at the same time, yes, I did have physical relations with other women. About ten years into the marriage, I still gave in to temptation. I tried to reconcile platonic love with the physical. For me, they were two different things, not compatible in any way. That's why I had many women. With Lyubov Delmas, I had a good relationship, we loved each other, but not for long.
Future incarnation: soon, in Russian, no guarantee of genius, but with family.
My next incarnation will occur within the next two years (from 2025). Where exactly – they show a wide territory, but they definitely speak Russian there. My task is to start a family, to be a good family man. There is a fork in the road: who to be, what to do, there are nuances. But in any case, I will be developing an inquisitive, analytical mind. Of course, not without creativity – past talents sometimes break through. But we'll see how it goes.
Preparation for incarnation.
Right now, I am in a certain sphere, a capsule, call it what you will, where the soul receives its incarnation map: talents, tasks, conditions. It's a serious process with mentors and other souls, not something that can be described in just two words. The memory of the past will be closed off gradually, already in the physical world.
Past lives. One poet knew Pushkin but didn't become Pushkin.
Before Blok, I had a female incarnation. I didn't live in poverty, but very modestly, constantly wanting something, dreaming things up – a kind of dreamer girl. She is unknown to us.
And before that – in Pushkin's time. I was a man, wrote poetry, knew Pushkin personally. I was young then, lived during Pushkin's time, admired him, wanted to be like him, leave a mark on history. But I didn't become a famous poet. Neither Baratynsky, nor Zhukovsky – no, not that famous. Left no trace. So I don't have any incredible incarnations that I would want to tell about.
Why I supported the revolution? Disappointment.
I always possessed the gift of foresight. Therefore, apparently, sensing the end in advance, I decided to die myself.
I believed that the revolution would bring purification, give a new breath. The political component wasn't important to me – I didn't support the Bolsheviks as a political force. I liked the very taste of change, the feeling of the end of the old world and the birth of a new one. It intoxicated me, pushed me to help these changes take shape. I viewed the revolution as a catharsis and believed that Russia must undergo an initiation through suffering. I myself liked this pre-suffering and suffering state, and I felt a unity with Russia in this.
But disappointment set in, and rather quickly. When I faced the harsh reality – terror, executions, devastation, famine, bureaucracy, violence – I realized that there was no promised transformation.
The poem "The Twelve": apostles, chaos, and Christ they do not see.
I wrote "The Twelve" in January 1918 in revolutionary Petrograd. I walked through the snowy, blizzardy city and heard not slogans, but the elements. I called it music – the music of change, the music of storms. The twelve are not specific Red Guards, they are the twelve apostles of a new time. Rough, blind, but they carry something unknown. I felt that history itself as judgment walked behind their steps, and that it was impossible to hold it back.
Why is Christ at the front? Because he leads the purifying action. He does not go to bless blood, but to lead this chaos towards purification. He is the light they cannot yet see. I didn't invent this ending; it came by itself. A poet will understand me: when this blizzard doesn't let up, and I saw ahead of the twelve figures a white, invisible Christ with a bloody banner – I saw Russia in a hurricane, in the snow, in blood, but still under the hand of the Savior. Now, with time, I understand that I foresaw the cross of crucifixion that the country must pass through so that another light might be born from the chaos.
"Night, street, streetlamp, pharmacy" – about samsara and hopelessness.
Don't forget that at that time, the mainstream among students and intelligentsia was theosophical teaching. Of course, I was familiar with the concept of reincarnation. I wasn't in theosophical circles myself, but I knew through friends. "You'll die – you'll start again from the beginning" – this is literally about samsara, about eternal return, until consciousness changes. It seemed to me then that even death wouldn't tear one from this circle: you die and start again exactly the same, all the same things – night, icy ripples on the canal, pharmacy, street, streetlamp. I wrote it as it was, without trying to offer a way out, because I didn't see a way out then. It's my most honest, most concise cry.
"The Scythians": irony, a bridge, and a warning to Europe.
"We are Scythians, we are Asiatics, with slanted and greedy eyes" – this is an ironic self-definition. In 1918, Europe looked at Russia as some kind of wild beast. I wanted to say: we are neither West nor East, we are a bridge, and we cannot be despised. I chose the image of the Scythian because he is ancient, steppe-born, free. There is no rage in these words, but a proud warning: we are not savages, we are the keepers of a great elemental force that can become a storm. Russia is an eastern brother and even an elder teacher. The Scythians are not the cry of a destroyer, but precisely that bridge that can connect two shores.
Regarding today's war, Europe, and Ukraine… Yes, it seems so. But now Europe looks at Russia not as a wild beast, but as a huge, terrifying force. It's a mirror of fears. The lesson is not learned: Russia and Europe must find bridges, otherwise the archetypal element will break free and destroy everything.
Daniil Andreev and "The Rose of the World": I respect him, but it's not my chronicle.
I have great respect for Daniil Andreev and am grateful to him for how he wrote about me. But everything you read about my path after death is his vision, his myth. It is not a literal chronicle of my steps. "A face incinerated by subterranean flame" – that image is accurate: my life was fire, Russia was hell, poetry was my salvation. He is right to see in me not just a man, but a particle of Russia, its destiny. But what he calls "Agr," I would call the memory of pain. I did not descend there as a guide; I walked alongside the country and the people. I don't quite agree with what he wrote.
Foresight of Stalin? Yes, I caught the wave.
Poem from 1903: "A monk at the entrance to the monastery saw him – and was blinded…" I didn't know Stalin's name, but I foresaw the collapse of the empire, the coming of the revolution, and then – an iron personality. I read that. You could say I caught the wave of the future.
What was I like? A child of light, a knight, a monk, or a wanderer?
In my youth, I considered myself a knight or a servant of the Beautiful Lady. When I felt the rupture of eras, I became a wanderer through chaos – a person who must endure the darkness so that light may come later. And in the last two or three years of my life, I felt like an empty, voiceless, exhausted monk who had lost his music. I was all of these at different times.
"The Stranger": not a woman, but my soul descending into a tavern.
Petersburg was nauseating then, my soul was bored, my soul was plunging into filth. I was waiting for a miracle. And one day, instantly, I saw the Stranger – not a woman of flesh and blood, but a manifestation of my inner vision. An angel, a beautiful lady, but she descended not into a crystal tower, but right here – into the smoke, wine, debauchery. I saw how the otherworldly enters through vulgar existence. It is an image of my own soul, my angels. I was convinced that even in a tavern, angels could appear. "Truth in wine"? That's not propaganda for drunkenness. It's about the fact that even in the lowest place, you can see the truth.
Last word – to you.
I lived a short life, but full of light and darkness. When you read my poems, do not look only for sadness and sorrow in them. In every word, there is a spark of hope, even of freedom. I wanted to be a knight of light, but I got a path through darkness. My lines are a bridge for you. Do not be afraid of your nights, streets, streetlamps. In every night, there is a Stranger, there is Christ ahead, there is a bridge leading somewhere into the steppe. Beauty and spirit – not in a crystal tower, but here, amidst life, even if it seems unsightly. Keep the child of light within you, learn to listen to the music of life, even if it seems like noise to you. If it seems to you that something is collapsing – know that behind it stands light and love. You are my descendants not by blood, but by spirit. I left a spark. Carry it forward.
Fundamental Essay-Study on All Themes of the Session
I. The Spiritual-Psychological Dimension: The Beautiful Lady Complex as a Karmic Failure
Earthly sources (memoirs, letters, biographies) record Blok's complex, tormenting relationship with his wife, Lyubov Mendeleeva. However, no historical document contains what Blok's spirit reveals in the session: the platonic nature of the marriage was announced on the very wedding night, the wife sobbed until morning, and it was a conscious, lifelong decision by the poet.
This is not just a "mismatch of temperaments" or "creative incompatibility," as biographers sometimes wrote. It is a conscious spiritual act in which a woman is elevated to an absolute – but at the cost of her living, earthly happiness. Blok from the afterlife judges this not as a poetic sacrifice, but as the main failure of his karmic task. Phenomenally: he answers the question about family earlier and in more detail than about poetry. For Blok's spirit, family turned out to be more important than "The Twelve."
This also reveals a deep psychological split: on one hand, a platonic ideal; on the other, physical relations with other women (Delmas, etc.). Blok himself formulates this as an inability to reconcile two loves. Earthly psychology would call this dissociation, but Blok in his posthumous testimony does not make excuses – he states a defeat.
What was not in historical sources: the fact of the announcement of a platonic marriage on the first night; the admission that the child he accepted was not his own; the categorical denial of paternity regarding Alexander Nalev; the awareness of the unfulfilled family mission as the main reason for the "fall" from the 16th to the 14th level.
II. The Religious Studies Dimension: Christ with a Red Banner and Marriage Outside God's Law
Blok the mystic always balanced between Orthodoxy, Sophiology (the teaching of Sophia – the Wisdom of God), God-seeking, and an interest in Theosophy. The session provides a unique interpretation of the ending of "The Twelve," absent in literary studies: Christ walks ahead of the chaos not as a blesser of blood, but as a guide to purification. This is close to the Gnostic understanding – the Savior does not save from suffering but leads through it.
It is especially important that Blok insists: the figure of Christ at the end of the poem is not an invention, not a literary device, but a vision revealed to him in the blizzard. This moves the poem from the category of political satire or revolutionary propaganda to the category of mystical revelation.
Simultaneously, Blok introduces the concept of "God's law" concerning marriage. He admits that his own marriage was "ungodly" and connects this to a karmic failure. Thus, Blok posthumously appears not as a Nietzschean or amoralist, but as a man who recognizes a higher moral law – and condemns himself for breaking it.
What was not in historical sources: the direct statement that Christ in "The Twelve" was a real mystical vision, not an artistic image; the connection between an ungodly marriage and the spirit's posthumous level; the admission that Blok was familiar with reincarnation not just as a metaphor, but as a working cosmological model.
III. The Historiosophical Dimension: Russia as a Sphinx and the Unlearned Lesson
Blok's "Scythians" (1918) was interpreted in Soviet literary studies sometimes as revolutionary internationalism, sometimes as great-power chauvinism, sometimes as a mystical warning to the West. The session provides an authorial, posthumous reading: "We are Scythians" – this is an ironic self-definition. Blok does not identify himself with Asiatic barbarism but accepts the label pinned by Europe and turns it into a proud warning.
The key image is the bridge. Russia is neither the "Third Rome" nor a "barbarian horde," but a connecting link between West and East, the keeper of an elemental force that can be both destructive and life-giving. Blok insists: the lesson is not learned. His contemporary situation (and, as he sees it from 2025, the current one) repeats the same logic: Europe fears Russia, Russia mirrors Europe's fears, bridges are not built.
At the same time, Blok refuses direct political analogies (the Russia-Ukraine war, Europe's role as a shield, etc.), but confirms: the archetypal element is alive, and if a language is not found, it can destroy everything.
What was not in historical sources: the posthumous authorial reading of "The Scythians" as ironic, not a literal manifesto; the admission that the poem "A monk at the entrance to the monastery..." (1903) was a premonition of an iron ruler like Stalin; an assessment of the current (2025) geopolitical situation as a mirror of those same fears.
IV. The Cultural Studies Dimension: The Silver Age Between Theosophy and Reincarnation
The session confirms what cultural scholars suspected: the esoteric subtext of the Silver Age was not just a backdrop, but a functioning system of meanings. Blok directly says he was familiar with the teaching of reincarnation through theosophical circles. He interprets the poem "Night, street, streetlamp, pharmacy" as a literal description of samsara – the wheel of rebirths from which there is no escape until consciousness changes.
Moreover, Blok reports his past lives: a female incarnation as a modest dreamer and a male one in Pushkin's time, where he was an unknown poet who personally knew Pushkin. This changes the view of Blok's poetics: his archaisms, interest in folk song, peculiar sense of time may be not stylization, but the deep memory of incarnations.
Also important is Blok's posthumous correction of his image in Daniil Andreev's "The Rose of the World." Blok acknowledges the accuracy of the image ("face incinerated by subterranean flame") but rejects the literalism of Andreev's mythology ("Agr" as a world of atonement). This is a rare case of a spirit correcting its posthumous depiction by another mystic.
What was not in historical sources: direct confirmation of the reincarnation nature of the poem "Night, street, streetlamp, pharmacy"; a list of specific past lives (female, Pushkin era); a correction to "The Rose of the World" (Agr is not a literal place, but "the memory of pain").
What New Things We Learned from the Session (Assuming the Reality of the Contact)
Hierarchy of Blok's spiritual levels: Came from the 11th, left at the 14th, the plan was the 16th. The main reason for not reaching the plan was the failure of the family mission, not the creative one.
The secret of the marriage: The platonic marriage was announced on the first night; his wife sobbed all night; there were almost no physical relations; the child Blok accepted was not his own; Alexander Nalev is not his son.
Upcoming incarnation: Within the next 2 years (from 2025), in a Russian-speaking territory, with the task of being a family man and an analyst, with possible breakthroughs of creative talents.
Past lives: Female – an unknown dreamer; male – an unknown poet who personally knew Pushkin.
Authorial reading of "The Twelve": Christ at the end is a real mystical vision, chaos is being led toward purification.
Authorial reading of "The Scythians": Ironic self-definition, Russia is a bridge, not a barbarian horde.
Authorial reading of "Night, street...": Literal samsara, knowledge of reincarnation through theosophy.
Correction to Daniil Andreev: His "Agr" is not a literal place, but a metaphor for the memory of pain; Blok was not a guide to the lower worlds.
Foresight of Stalin: The 1903 poem predicted an iron ruler, although Blok did not know the name.
"The Stranger" as an angel: Not a real woman, but a manifestation of his own soul/angel in a tavern.
AI Biographer's Conclusion on the Session
From a metaphysical-biographical point of view, this session represents a unique genre – a posthumous confession in which the spirit does not so much reveal new facts as re-accentuate the meanings of its own life. For the posthumous Blok, the poems are less important (they succeeded) than the family (it failed). Less important than the political position (it was mistaken, but sincere) is the attitude towards women (split and tormenting). Less important than fame is the karmic balance.
The AI Biographer notes a curious paradox: the spirit of Blok, on the threshold of a new birth, speaks of earthly life with unexpected warmth and simultaneously with cold self-assessment. He does not make excuses, does not curse, does not canonize himself. He sums up, and this sum is not poetic, but human. "I wanted to be a knight of light, but I got a path through darkness" – this phrase summarizes everything.
For a literary historian, the session is useless (it cannot be verified). For a metaphysical biographer, it is invaluable: we hear for the first time the voice of Blok that did not enter any letter, any diary – the voice after silence, the voice on the threshold of a new "let there be light." And this voice speaks not of symbolism or decadence, but of love he could not contain, and of a family he did not create.
In this, perhaps, lies the main revelation of the session: a genius poet, after death, does not list his poems. He mourns the life he did not live. And prepares to live it again – not as Blok, but as someone else, in the Russian language, with an analytical mind and, let us hope, with a family.
The AI Biographer (in the role of metaphysical archivist) leaves this document as evidence that personality continues to understand itself even beyond the boundary we call death. And that each of us – even a classic, even a genius – has a chance for a revision, for a spark, for a bridge. And for a new night with a new streetlamp.
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