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Inanna Returns.Pdf By VS. Ferguson INANNA RETURNS Part I The Family of Anu Part II Melinar and the Multidimensional Selves By VS. Ferguson Edited by Tera Thomas Designed by The Ferguson Company Seattle, Washington Thel Oar Publishing Company SeaTtle, Washington 1995 Copyright 1995 VS. FergUSON INANNA RETURNS Part I: The Family of Anu Part II: Melinar and the Multidimensional SeLVeS COPYright ©1995 by VS. FergUSON. All rights Reserved. Printed in the United States of America. NO PORTiON Of This book may be Reproduced in any form without writTen Permission Of the pubLisher, excePT for brief QUOtatiONS in reviews. For informatiON contact Thel Oar Publishing Co. 10002 Aurora Ave. N.,#3392 Seattle, Washington 98133-9334 Cover and bOOK design bY Barb FerguSON and The Ferguson CompanY Seattle, Washington. Stars cover phoTO by Jack B. Newton/Masterfile ISBN 0-9647276-1-7 This book is dedicated to all those who long for freedom. CONTENTS Acknowledgments 8 Introduction by Tera Thomas 11 Cast of Characters and Places 14 PART I: The Family of Anu I: lnanna Speaks 17 II: Nibiru 22 III: Ninhursag 28 IV Enlil 35 V Enki 42 VI: Dumuzi 48 VII: Ereshkigal 53 VIII: The Temples of Love 60 IX: Marduk and War 68 X: The Ekur 74 XI: Gilgamesh 84 XII: Utu and the Serpent Tunnels 93 XIII: Sarqon the Great 99 XIV Tara 109 XV Gandiva 114 XVI: Interference 122 XVII: Descent 129 XVIII: For the Children 135 Interim 141 vi PART II: Melinar and the Multidimensional Selves I: The Red Shoes i 43 II: The Brilliants 147 III: . Olnwynn i 52 IV Lost Mountain i 6 i V The Keeper of the Crystals i 69 VI: The Non-Existent Past i 77 VII: Some Interaction i 83 VIII: Chandhroma i 9 1 IX: Books and Shoes 201 X: The World of Appearances 207 XI: The Curtain 2 i 4 XII: Flying in Tibet 220 XIII: Lunch with Marduk 228 XIV Mister Right 236 XV ABlack Helicopter 243 XVI: The Mother Ship 251 XVII: AMerging 258 XVIII: Stardust : : 264 XIX: After 270 Sources for Inanna's Return 272 vii ACKNOWLEDGMENTS As I was writing lnanna Returns, I began to feel as if I were out on a vast ocean in a tiny boat, and the people who loved me enough to read my first drafts became my compass and lighthouse on that ocean. So, I thank my dear friend Anne for caring enough to tackle my first rough draft, for having the courage to tell me the truth and give me structure. Without Tera Thomas' gift for editing, this book would never have been. Inanna'S undoubted assistance, syn- chronicity, and the planet Jupiter brought US together, while a growing friendship and love sculpted the book. Tera, I am grateful to your Mars in Virgo, your spiritual depth and your boundless heart. I thank my husband for his humor, his photography, his editing, and his help with "my science"! I love you, Charles. I also thank Barb Ferguson, my art director, for being what she is as well as for her creativity and inspiration. And Pat Welch, for her essential proofreading. Thank you to Quentin, my favorite graduate of the Star Fleet Academy, for encouraging me when I needed it; to Anthony foR reminding me to remember; thanks also to Suzette, and to my Jenny in England for standing by me; and to Debbi and Nicole for reading lnanna Returns so lovingly. Last but not least, I thank my faithful Rhiannon for staying so close, and my beloved Bear. Inanna Returns is loosely based on four sources: the Hindu epic, The Mahabharata, as translated by JA.B. van Buitenen, the works of Zecharia Sitch in, especially The i 2th Planet and The Wars of Gods and Men; the Sumerian viii translations of the hymns and stories of Inanna, Inanna, Queen of Heaven and Earth, by Diane Wolkstein and Samuel Noah Kramer; and a book entitled The Greatest Story Never Told, by Lana Corrine Cantrell. I am indebted to all four of these sources as well as many others, especially Doris Lessing for her Briefing for a Descent into Hell and her series of science fiction novels, Canopus in Argos-Archives. The Mahabharata is the most wonderful book I have ever read. lA.B. van Buitenen's recent translation is filled with descriptions of space ships, flying celestial cities, radi- ation weapons, and beings whose adventures defy the imagination. The idea of the "gods" incarnating in the bod- ies of humans is also expressed in The Mahabharata. In 1990, I read the first three books in the Sitchin series. Part I of Inanna Returns springs from my own imagi- nation, but is generally based on Mr. Sitchin's scholarship in these books, for which I am very grateful. As I read The Wars of Gods and Men, I found myself carried into Inanna's being, feeling as if I were her, vividly experiencing the scenes of her life. I remembered Nibiru, saw myself as a child there and felt I knew all of Inanna'S family intimately. I knew what motivated them and how they felt. I loved them, especially Ninhursag. In my mind, I stood beside the pyramid, striking it with my weapon, and cursing Marduk. I could see Sargon and I knew Inanna's feelings for him. I even purchased a necklace of lapiS lazuli. For me, Inanna's life was like one long exciting movie, and a little bewildering. I have never really known why Inanna's story affected me so profoundly, but eventually it found its way into this book. Inanna shared her life with me in a way that brought me adventure, excitement, confu- sion, and wisdom. I hope Inanna Returns will do the same for you. I know she wants me to bring you this gift, to tell iX her side of the story. I thank Zecharia Sitchin, J .A.B. van Buitenen, and all the others who inspired this book for their diligent research, hard work, and imagination. I thank Inanna for her friendship, and her love. She is so lovable. VS. Ferguson, 1995 x INTRODUCTION by Tera Thomas I have long known the stories of our Pleiadian ances- tors, the gods who manipulated our DNA, who used us as workers, and kept us from the secrets of who we really are to benefit themselves. I had read about them, heard about them, and edited long passages about them in the Pleiadean books, Bringers of the Dawn and Earth. I felt I really knew these stories. So, when Susan Ferguson called to ask me if I would be interested in editing Inanna Returns, I almost said, "Oh, no, not more god stories!" But, something inside of me said, "Don't be so quick, there is a gift in this for you." I do listen to my inner guidance; besides, I really liked Susan, and I was ready for a project, so I said I'd like to read her draft. Susan sent me Part I of her book. It was a quick read, witty and well told, and it pushed my buttons. Through the voice of Inanna, the gods were presented in a down-to- Earth, realistic way. They were selfish and annoying, behaving like people I'd met before, people I didn't want to hang out with. I complained to Susan, "Inanna is so spoiled and headstrong and heedless of the consequences of her actions, and she's supposed to be a goddess, after all!" Susan laughed and said, "Exactly! The gods have been perpetual adolescents, spoiled and selfish brats who get whatever they want or they fight. It's hard to believe that we could give our power away to someone so ordinary and greedy, and yet we consistently do it over and over again." You know how you can hear something so many times and think you really understand it, then someone can say one little thing that maybe you've heard before, but for xi some reason you hear it differently than you ever did, and that little thing can change your whole perspective? Susan's words brought a big realization to me: these gods are real people, manipulating us to believe that they're gods. And since I had believed these characters were gods and was now angry because they weren't behaving in the way I expected gods to behave, did that mean I was still giving my power away to them, expecting them to be more know- ing, more compassionate than an everyday human- namely, me? Did I still have this big gap in my conscious- ness, separating god and human into two completely different categories? I read the book again, with new eyes, and this time I felt the story in the core of my being. I was overwhelmed with a feeling of love and respect for Inanna, whose voice rang so true as she told her tales. She was telling her story exactly as it happened. She knew that she and her family members were self-centered and spoiled, that they had caused a lot of damage to the humans and the Earth. By not glossing over or attempting to justify their actions, Inanna was accepting responsibility for what they had created, and she was here to heal it. In very simple, easy-to-understand language, Inanna brought the gods into my life as real people that I could feel and understand. The stories were no longer just myths to me; my latent memories were jogged, and I knew Anu's family as my family.
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