The Key to a Magical Door

LOST STONES OF THE ANUNNAKI  (posted July 12th, 2021)

Book Cover Gobekli D

Why did the people who wrote in Greek, Latin, Arabic, Hebrew, or Aramaic in antiquity never find cause to write about the Sumerian Anunnaki gods? Gilgamesh was mentioned by name early on, the antediluvian Sumerian kings also, but not the Anunnaki. Why was their illustrious name unknown throughout history until the 19th century AD when the Mesopotamian clay tablets were rediscovered and translated?

In 1970, a reputed philologist, John Marco Allegro, made two highly unorthodox and controversial claims in his book, THE SACRED MUSHROOM AND THE CROSS. He announced that the name of Jesus was taken from that of a mushroom with mind-altering properties, and that Sumerian was not only the source of the biblical name but more generally provided the missing link between numerous later languages: Greek, Latin, Hebrew, Aramaic… Was he wrong or was he right? On one count or on both?

What might a fresh look at the Sumerian language tell us about the Anunnaki and those names that have come down to us through the myths of Ancient Greece and Egypt, the biblical texts or the history books?  About Atlantis, about the Gnostics and the Pagans, Moses, Osiris, Jesus, Odysseus, Jonah and the Whale, Mesopotamia and Tammuz, to name just a few? 

My third book, LOST STONES OF THE ANUNNAKI And The Mind-Altering Journey To Find Them, reflects on the original meaning of the Anunnaki name made famous by Zechariah Sitchin, and also John Allegro’s suggestion that the earliest written language is steeped in magic mushroom lore. Along with the academic translations, these are the only two sources which have given us all our Sumerian food for thought – until now. This book further confirms the validity of the monosyllabic translation method, bringing back to life the important words and meanings that have been glossed over, missed. It also looks into the multi-syllabic names on the antediluvian King List and asks a few pertinent questions of the Gobekli Tepe stones in the language of that place. To be published soon. Hold on to your hats.

THE STORY OF SUKURRU is a complete re-translation of the oldest known literary text in the world today. Several versions and fragments of versions were discovered on clay tablets in Mesopotamia, the earliest dated to ca. 2600-2500 BC. The academic translation is called THE INSTRUCTIONS OF SHURUPPAK and has been classified as a Sumerian ‘wisdom’ text. My version, using an innovative yet logical method taking all the symbols into consideration with their independent meanings, produces a result completely at odds with everything that has gone before.  One of the most important features of this translation is that it brings to light unheard of yet indisputable links to worldwide mythologies and to many languages;  It is my contention that Sumerian is the lost mother tongue, the language of Hermes Trismegistus. Since publishing THE STORY OF SUKURRU in 2017, I have written an explanatory book: BEFORE BABEL THE CRYSTAL TONGUE, published in 2019. Some further explanations are given below and the Sumerian proverbs, posted from time to time, also give an idea of the layout of my translations.

A revised edition of THE STORY OF SUKURRU was published on June 9th, 2020, to include a full explanation of the recently discovered acrostic hidden therein. For those who already have a copy of the translation, THE SUMERIAN SOLSTICE RIDDLE is also discussed and the solution given on the AoM board  of Graham Hancock’s website. See the link in the Proverbs section here below. It follows on from the related riddle of the Speaking Ass.

The first proverb relating directly to Sumero-Egyptian Osiris was posted on July 24th, 2020. It follows the Solstice Riddle.

A Word About TENET  (posted August 26th, 2020)

The trailer for Christopher Nolan’s new film TENET indicates that it has to do with controlling time. At one point, we see the final T of the word being inverted. A few months ago, the poster for the film – as seen on internet – also showed a reversed T. That is what first caught my attention. Although it’s highly unlikely he was aware of its full significance, there is some element of the real meaning and origin of the word in Christopher Nolan’s work.

Tenet is the central element of the Sator square, an ancient riddle, the oldest copy of which was found on a wall in the ruins of Pompei, so safely dated to AD 79. No doubt this was the inspiration for the film’s title as also indicated in the name of one of the characters: Sator. The riddle has never been solved despite a widely available weird offering that seems to have gained credibility for no good reason – an effect of lack of choice perhaps or the convenience of explaining it as a religious saying – and resulting from reading the whole thing from left to right as if it were subject to our modern grammar rules. Not so. This is a detail from a little known Sator Square carved onto an ancient Herma stone inside a cave in the French Pyrenees and discussed in BEFORE BABEL THE CRYSTAL TONGUE:


The word is obviously Latin tenet which has the meaning ‘he holds’ and is derived from ‘tenere’: ‘to hold’, ‘to grasp’, ‘to keep’, ‘to acquire’, ‘to hold back’, ‘to restrain’, ‘to take in’, ‘to understand’… given in etymological dictionaries as ‘from PIE root’. As I’ve noted elsewhere, ‘PIE root’ is one way of saying no-one knows its origin.

In truth, ‘Tenet’ comes from Sumerian symbol TEN which, in its phonetic and later alphabetic form, can be rotated from left to right, right to left, top to bottom and from bottom to top – all four words meeting at the centre point. It can also be seen as a pyramidal form where the central N which, when crossed, forms in this case a highly significant M, might be either the highest or the lowest point. One of the earliest given meanings for Sumerian TE/TEN is ‘foundation’. Today, a tenet is understood as a doctrine, a principle held to be true. The original TEN took the form of two crosses joined at their centres by a horizontal line:


Another Sumerian symbol discussed and analysed in the context of the Sator square in Ch.19 The Sator Templar Connection is ME, ‘magic’ and ‘magician’. See ME in the second proverb here below for an idea of how it appeared on clay tablets in the 4th millennium BC.

A Herma stone (not otherwise known to be associated with the Sator square) is a rectangular block with a head on top and no other physical elements apart from sometimes incorporating a high relief carving of genitalia at the appropriate spot. It is linked to the myths surrounding Greek Hermes and from there to ‘binding’ and ‘boundaries’.

Galamus Sator by Thierry Rocque

Thanks to this ancient and unique stone with the large Sator square carved across its chest (also known as the Templar square), the link at some point in time between Hermes and the word TENET with its various meanings can be made. More than that, it is my contention that the Templars were at least partially inspired by the form of this crossed TENET for their own well documented symbol. It might be significant that the Herma stone in question sits in what was once the Cathar region of southern France.

Christopher Nolan, whatever his intention in employing TENET in the unlikely context of a blockbuster, appears to have grasped something of the timeless magic behind this palindrome.   



There comes a time when the veil must be lifted or the truth about our past will be lost forever. What follows is an ancient story, a text retrieved from under the sands and then hidden again, this time in plain sight, for more than a century. It is a rare bridge that allows us to step backwards beyond every episode of our history, every written word since 2600 BCE. That the tale is obscure in some parts or appears light-hearted and even bawdy in others does not detract from its fundamental importance. Each symbol was once selected with great care to convey a multi-layered story. The dividing line between the author’s choice of symbols and the translator’s choice of words, like the dividing line between truth and lies, is an affair of the heart. The writing may be mine but the meaning of it all is of another age. This is a true translation, and truth is light as a feather, the feather of the Great Matriarch. It was carried out according to the Principle of Ma who is my judge.


There was a time when bands of minstrels roved the lands of Mesopotamia, with instruments and theatre props swaying along on lofty camels. Arriving for the springtime celebrations, the harvest festival or the winter solstice ceremonies, these bards sang and played in streets and public gardens, gathering shekels from the audience as they went. Their performance would begin with a slow and sober remembrance of the Flood, of desperate people clinging to life as a great golden era passed away. Then, in true Homeric style, a minstrel would step forward to prepare the audience for their entertainment.

Control over the narratives of our past began thousands of years ago with the obfuscation of the earliest Sumerian symbols. Their meanings were scrambled and the truth about the civilisation that first created them was hidden.

Find here the first key to a magical door opening onto a place that is, at the very least, 4,600 years old. Use it to bypass ancient Greece and Rome. Use it to step back beyond the Tower of Babel.


Book cover u

The past has been forgotten because we have lost the language of it. Bloodshed isn’t mentioned in the story of the Tower of Babel and yet a murder took place in it, the saddest story that we have. Who carried out the crime? This book points out the groundwork. The rest of the mystery is beyond my remit. I have no personal agenda with regard to history other than to find the truth by going back and picking up the thread at the oldest possible source. The result is not the expression of personal opinion or cultural, religious beliefs, but of the consultation of the Sumerian symbols themselves. They have enough to say without forcing and twisting. Coaxing is all it takes.

This book is not a translation. It’s an explanation, a study of the earliest symbols, foundation stones of many if not all later languages, showing how to read and understand them, bypassing the officialised narrative that has built up over past centuries. Making use of conventional sources to resuscitate the original meanings, I demonstrate the translation method that refutes the academic understanding of Sumerian texts. The conclusions are all grounded in substantiated findings based on the forms of the old pictograms, their given and their forgotten meanings in context.

Serving to further explain the importance of THE STORY OF SUKURRU with its many references to Egyptian lore, biblical stories and other worldwide myths, BEFORE BABEL THE CRYSTAL TONGUE  presents images of over 150 symbols. Many of them are discussed individually and in context. Begin to interpret this most sacred of languages where each symbol has inherent meaning, and where the placing of each symbol follows rules that are not found in modern grammar books. It can be likened to a game, a code, a riddle. At the heart of it, a Great Magician. The old Sumerian symbols, still warm from his touch, are waiting to explain themselves.

Links to articles on Graham Hancock’s website:

AMA-NITA Mon Amour (Oct 2020)

Before Babel (Feb 2020)

The Rustle of Stones (Aug 2016)

The Story of Sukurru (Aug 2017)

Gobekli Tepe (Feb 2018)