Torabora Newswire Expedition photo falsely credited to be Amadeo Effscott 1999
Counterclockwise from top left: FBI declassified photo composite based on Amadeo Effscott’s features and branch of service circa 1992 / Alleged photo of Amadeo Effscott in transit out of Pyrenees – somewhere in Southwest Europe on the French-Spanish Border 2001/ Torabora Newswire Expedition photo falsely credited to be Amadeo Effscott 1999. Quotes and content are paraphrased, taken from an exclusive interview with Renaissance society member Michael Overbeck.
reporting by Ito Smalls and Callan Fortney
The plot according to the author, if there ever was one, is probably as close as it comes to the definition of pure evil. Perhaps, the most horrifying thought anyone could plausibly consider to have ever happened. For those who live by the tenets of faith based Christianity, the cover up to destroy all evidence of the Second Coming of Jesus Christ is not only pure evil, but also unthinkable to have ever happened. In the year 2000, the unlikely plausibility of such a scenario was raised surrounding only a few rare, but corroborated, instances of super natural occurrences to have come to pass during the little known existence and work of the late artist and intellectual thinker, Dorian Knight.
Public outcry at the time was largely dismissed, of course, and government curtailment of any public distribution of biographical records (in the case of Dorian Knight, as well as many related investigations to other missing persons of similar political profile) were made subject to prosecution by the espionage act. Thus, leaving serious consideration to the idea of any such institutional conspiracy against religious dissidents, false prophets, social agitators, or economic gadflies to be without sufficient merit.
Recently, however, there has been an increasing amount of investigated evidence (in terms of forensic military accounting, decades of top secret lethal preparations, botched clandestine ops, and recovered classified digital assets, as well as from eye witness accounts), to support the notion that during the early to mid 1990s – in the run up to the millennium – a quasi-governmental plot to kill the One was indeed reaching a fevered pitch, and was actually very real.
Before we called him crazy, or were prepared to let anyone think the author (believed to be once know by his government handle “Amadeo Effscott,” and now soon to be published under the pseudonym “Dorian Books” ) actually could be crazy, first we wanted to find out whatever reality there could be to the rumored accounts supporting the story. It was no small feat to find an ounce of truth to corroborate our greatest fears, but in the end we were left in an anxious state of existential doubt. After having gone searching for months all the way to Riker’s Island, Sing Sing, Leavenworth, several tours of the California State Prison system, the Supermax in Florence, Colorado and even Guantanamo Bay, speaking to Iraq Gulf War veterans and prison inmates in the hope to find any trace of the soldier we were looking for, not knowing if he was even alive or still on American soil.
Prior to coming to the Department of Veterans Affairs on one of the last days of our search, once again weighing the absurdity of the religiously imposed question, time and again we had to clarify to countless correctional officers that it wasn’t either of us – neither me nor my partner, nor anyone we personally knew – who had perpetrated any of the named atrocities. But, we needed to find out the true background of the author in question, and couldn’t share half of what I knew about the facts of this missing soldier, either. Although it is doubtful they would have believed me. But, neither was it a matter of anyone believing that the concept of the return of the Biblical Messiah was or was not, in fact, a real phenomenon and a menace to the status quo of all governments in power and, hence, world stability.
Nor was it a matter of believing that if such a person had actually come – as recently as within the last 20 years during our lifetime – that he even was indeed the “true Messiah.” For the devastating repercussions of such a thought to be real – and have lasting and world changing consequences – all that was needed in America was that there had been others in positions of power who had believed, and acted on such beliefs.
“Think of it as a matter of the highest national security” I said to the stone faced guard escorting us out of the office at the Department of Veteran’s Affairs. I was obviously not doing a good job, but the truth was too fantastical to believe. Still I struggled to explain why it was necessary we find Amadeo Effscott, or whomever might be the missing author of the memoirs: “It doesn’t matter if maybe everything it says in the Bible isn’t always true. It’s the actions that have always been done in the name of the Bible that continue to be deadly and true.”
But then I began to doubt the guard had ever read past the 10th grade or his instruction manuals for the Sony Playstation. How could he understand who we were looking for, or what it meant to find “… the only writer alive with sufficient knowledge to prove and reveal the decades long, organized conspiracy to kill the Messiah.”
But wouldn’t the very idea be the most heinous sacrilege – an evil worthy of literal damnation? What if innocent people died in the process? If He is truly the One, then He (or She) being the Savior of the world, would surely have the power to save themselves, as well as any worthy believers! Or, so we are told, is the way the institutional rationale behind the planning and justification went.
Whether in the end the true record of history will prove all government institutions and private persons involved in this enormous conspiracy and cover-up guilty or innocent, without “Amadeo Effscott” – the code name given to the Defense Intelligence Agency’s inside man – how would one describe the art and meta revolution of Sean Dorian Knight?
Although there are many who claim to have known the artist prophet in his lifetime, history – as is the case also with destiny – is so often a matter of being at the right place, at the right time. Rare it is, though, to find at such an opportune place and time one who is not only a poet, but a decorated soldier and Ivy league economic scholar. For this reason – as well as the written descriptive perspective he offers in identifying characteristics of all Dorianites and their artwork representing the prophet’s vision of the new economic world order to come – we have been right to turn our attentions to the participating agent and trained government informant who was present at the creation.
Wanted by Federal authorities for the most heinous of crimes, “Amadeo Effscott” indeed has become a man of invisible identity. Now in hiding from the armed services and intelligence community since the last time he fled the country, he has been categorized for apprehension under penalty of corporal punishment, criminal death, (i.e. in such cases where authorities have been tasked express instructions to shoot first, given a perceived and dangerous threat].
Knowing that he could face a summary execution, or at the very least imminent incarceration under the Uniform Code of Military Justice, the former intelligence recruit has – now, at this writing – given up hundreds of sealed records of his journal entries during last decades of his life to justify his innocence and reveal this travesty of history.
At the numerous rallies and festivals for the American Renaissance in their day, many of us were personally acquainted with this the self-styled poet and alleged witness to all that happened, just as he was personally acquainted with Sean Dorian Knight.
I myself first met Amadeo soon after I left Marine Corp OCS in Quantico, VA 1991. Although, all this history might easily deny. All we have left of the revolutionary art movement of the American Renaissance – the so called “meta revolution” – in the present are Agent Effscott’s meticulous government cables, notes, journal entries, and writings. Now compiled into Books 1&2 set in Paris, and volumes 3,4, and 5 written by him in the USA, which trace the origins of the movement back to the presumed death of Sean Dorian Knight. The last and only remaining pages left in existence were tracked down to where they were being housed in a classified government file in possession of the Defense Intelligence Agency and D.O.D. in the spring of 2017.
The Meta Revolution and Issues of Credibility
Despite the accidental release of the memoirs in a FOIA batch earlier that same year, all formal or informal inquiries made to federal authorities have resulted in the reply that there is not, nor was there ever any such person as “Amadeo Effscott,” despite the known alias. Or, that he never worked for the government or the Defense Intelligence Agency. Nonetheless, they admitted, one such matching the description of “Amadeo Effscottt” may currently be wanted for the unsolved murder of an emerging artist (aka Sean Dorian Knight), one whose alleged cause of death has been sealed.
So, which is it? It seems as though the U.S. government, which has gone to utmost lengths to hide all information from the public, was still in need of further proof of the actual demise of the prophet and the decedent’s true identity. Still, most importantly, the USG needed a culprit to blame.
But how is it that the most ardent defender of the meta revolution, one who has been described by all who knew him in near saintly and American patriotic terms – who at once upheld in his writings the word of the art Messiah and the federal conspiracy to capture him and end the economic revolution – at the same time, could also be accused by the government of being the prophet’s lone assassin and killer?
Baffled as we have been by the facts, I’m forced to admit the impression that we of the society got from the government agency was that the account of this rogue agent – who in his written memoirs went by the alias named “Amadeo Effscott” – was nothing short of a deluded fantasy. If you recall, this so called person doesn’t exist, the government bureaucrat had said over the secured telephone in the Office of Records and Veterans Affairs. Although, the anecdotal record of events from the memoirs we described in our petition to the government on all other accounts coincided with the factual details of a former friend – this man we had known to be a veritable soldier-saint, and who we well knew had gone A.W.O.L. after serving in the First Gulf War.
“Precisely, it is why it cannot be him,” said the guard who escorted us out and unlocked the large metal gate with a clank. This man we were so curious to learn about as the possible author of the leaked memoirs was no pacifist. The man that had once been taken into custody at the brig and who had been stripped of all his writings and memoirs was a trained sniper and assassin, “who always refused to speak or give his name,” said the guard echoing the bureaucrat. And, after being found embedded with the enemy and suspected of treason, he was since “diagnosed with a dangerous mental illness.”
According to one Nicholas Farraway, however – whose troubling account and credentials are given below – in scouring the details of the case files, in essence, the bureaucrat had all but been glossing over the full records of an actual legendary soldier, a former assassin, possibly a schizophrenic genius who was known to have been reprimanded by his superiors for having spoken on an on about an economic art revolution carried out by some mysterious, invisible artistic race. A soldier who had squandered all his family wealth as he became obsessed with the teachings and revelations of this so called messianic prophet of the economic revolution of the American Renaissance.
The crazed symptoms of the soldier were described in terms of a virus. A strange religious ideology, which back in the early to mid 1990s, was said to have been affecting several US uniformed soldiers and border patrol troops like a contagious mental disease. The notion that artists, as a people, could never be judged by the color of their skin but were instead considered to be an invisible genetic race? A race who at birth – by virtue of their inherited artistic talents – in effect, were granted greater emotional power and spiritual closeness to God.
The coincidence with the art movement discussed in the leaked memoirs was unmistakable. In the words of whomever the rogue agent was – it was supposedly some “genius” economic and religious movement designed to lift all artists up from the shackles of their poverty, and that was supposed to be the precursor to some post racial society. Was this the work of some true American Messiah?
But “No,” the bureaucrat at Veteran’s Affairs said again, “..In no way could it be this person, Amadeo Effscott,” (who, ironically, we of the society of the American Renaissance were looking for) – because, to paraphrase, “Amadeo Effscott” did not exist – Or, no such person as that who worked for the government. Or, at least, no such poor, destitute person that could be considered an “economic” genius.
When I again asked for more details of who this person and purported author of the meta revolution was, his real name was highly classified and unknown to anyone without a top level “SCI” security clearance, the bureaucrat said. But that perhaps, he finally conceded, it was possible he was the actual person and murderer who I was looking for, and who authored the recently released memoir.
The most mysterious thing about this government concession it is worth speculating, however, is to consider how far Amadeo Effscott had come. From being a lowly government informant and ex-soldier – raised with all American values and a traditional Christian upbringing – to the exalted status of a true believer in the artistic leadership of Dorian Knight. To go from being a near pacifist as a boy to a lethally trained warrior, and lastly an apostle so devoted to the art revolution of the American Renaissance, he was even willing and zealous enough to outstrip the radical views of the artist prophet himself. Perhaps even willing to kill his own master – whether or not it was by government decree – all in the name of the new religious movement.
Mr. Effscott has always maintained his innocence, of course. But whereas the government’s version of events has been edited many times over – likely by government trained political hacks – the original manuscript about the beginnings of this art revolution now being released for the first time here may, at bottom, be considered none other than the confessions of a real life assassin.
As per this true believer and mysterious author, his lethal motive and turn to the “dark side” is thoroughly explained in the book by what he confesses to be a growing sympathy and identification the writer comes to feel when in the company of artists. The concept of an “invisible” race of artists as a people – in the context of the messianic “meta revolution” – is furthermore specifically mentioned by Amadeo as it relates to his own experience writing poetry as a Gulf War military veteran and artist living in poverty. But was it all a trap?
First, as an aside, consider the famous final lines from the book by the Irish writer, James Joyce: “Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.”
To those many who in the mid 1990s were led to experience a profound artistic awakening by Dorian Knight as a prophet, some say the necessary martyrdom of Dorian and his killing at the hands of the government in 2001 was an intended trick that in death the artist had all planned out.
Death and resurrection being the greatest possible publicity stunt any believer or non believer could ever imagine. And while yet – so far – the government may have successfully managed to suppress the public’s knowledge of the prophet’s existence, history cannot be denied forever. But, what if artists as a race did and always have been, indeed, the ones to create the spiritual conscience of the human race?
If as some say, God is a myth, then who undoubtably are the creators of myth? Following the mysterious cause and effect logic of the literary world into the absurd world of everyday reality, in the secret, underground world of Dorian’s many artist followers, quite a significant few are still awaiting his resurrection and return.
For the true believers know all to well that there is a greater divine plan. And the publicity stunt of the prophet Dorian Knight’s death, they say, was mindfully played on his pursuers to call universal attention to – and racial identification with – the political injustice suffered by all artists and its root economic causes around the world.
In the book that Dorian Knight himself predicted would one day arrive to shatter the myths of the ancient past, he claimed instructions would validate the entire philosophy and message of his art. Every software needs its 2.0 update and changelog, after all, he said. Even when it comes to the artistic myths that make up the moral fiber of our society. Yet, as if a complete overhaul of the moral authority of the Biblical verse and scripture were not enough, in these memoirs, the genetic theories of artistic temperament, mental illness, violent subjects of criminal incarceration, and their correlation with the Post Modernist artistic abyss of our 21st century as well as artistic genius are also raised.
Meanwhile, long before any memoir was ever discovered or even in existence, it was all along Dorian Knight’s friend and confidante, “Amadeo Effscott,” whom the artist had tasked to share his message and story with his people on earth. Now that it is just coming to light, however, several questions about the authenticity of the religiously inspired scripture are raised:
- Had Dorian Knight known all along his friend and confidante was an undercover government agent?
- Was it Dorian Knight, the Super artist himelf, who had plotted it all down as to when and where and what Amadeo – the soldier-poet – would have to write?
- What about the memoirs of the American Renaissance has been corrupted during the nearly over a dozen years of being edited and researched and altered by the United States government?
- The obvious remaining literary quality aside – why is what witnesses have once described to be in the form of the sacred poetry of a religiously inspired text – now in the form of some airport paperback action novel?
- Some naysayers have even gone so far as to ask: Was it not the government, but Sean Dorian Knight himself who invented the existence of Amadeo for the sole purpose to serve as his own fictitious biographer and the instrument of his own death?
Whether he is still alive or not, besides my own eye-witness accounts, there is sufficient evidence to know Amadeo Effscott was always his own thinking being and a truly opinionated person. But such conspiracy minded critics do raise an arguably legitimate point:
How convenient for the artist perhaps to have seen in the boyish and patriotic innocence of Amadeo, all along, the necessary scapegoat and fall guy to bear the brunt of his iconoclastic ideas. Yes, Dorian Knight would die, and yet become a saint. While Amadeo would be persecuted and misunderstood as the revolutionary messenger of a new godless age until the world could swallow the sweet poisonous beauty of Dorian’s heroic art.
All throughout Mr. Effscott’s writings in the context of a patriotic fight for the soul of America, the consequences of Dorian Knight’s messianic vision of history imply drastic class struggle between destitute artists without jobs and the regular white-collar working class upholding the current false religious matrix.
It is an inexorable future struggle to be fought in the bloody art venues of church naves, museum spaces, gallery walls, and auction houses that – without immediate and present steps taken towards a structural and legal remedy to redress the current economic status quo’s stifling and negative effect on artist lives – will soon mean the economic awakening of artists in the form of a never before seen class consciousness.
So, it seems at last in the vision of Mr. Effscott, we have come full circle from the Biblical poetic origins of Western Civilization’s moral legacy: or perhaps in linear fashion – from the author of Moses to the author of Abraham, King David’s Psalms and the Song of Solomon to the Apocalypse of St. John the Divine to Chaucer, Cervantes, Byron, Shelley and all the romantics who were to follow in between Tennyson, Nietzsche and Yeats handing down scripture from one artist prophet to the next. The artists being the one and only king makers, poets and creators, the hierophants of divine moral authority: an invisible race of people unto themselves. Indeed, as James Joyce had so craftily synthesized the clarion call of artists to give birth to our moral legends:
So, spake Amadeo Effscottt, thanks to Dorian Knight, artists now finally had the necessary class consciousness they had needed all along to be empowered to go forth in Joyce’s words and “to forge in the smithy of [their] soul the uncreated conscience of [our] race.”
The major difference here is that – with their newly found class consciousness – artists will have now become awakened to create the new moral order of society. Not just in the “smithy of their souls” but in the wide arena of economic and public policy. In essence, the messianic prophecy seems to claim that artists as a genetic race are destined to collectively become a new and unstoppable political force:
An undeniable world constituency of hundreds of millions of creative visionaries toiling by the sweat of their brow who – unless given a balanced economic playing field with the destruction of museums and the stranglehold works of dead artists wiped from their competitive slate – shall, by any means necessary, be prepared to bring about violent spiritual changes to come.
Lest before embarking on this historical project and inquiry into the “Good News” Dorian’s message had brought into the world for artists (and the daunting murder investigation that now must follow), we and our remaining faithful members of the society are given pause to question either the meta revolution, the real life government record of agent Amadeo Effscott, or our own sanity about what truly transpired, I am pleased to introduce some more interesting news.
Shortly after the last presidential election and all the hubub going on in the press about Russian interference, I had the good fortune to bring in one more highly respected and credible witness to the whereabouts of this Mr. Effscott. A man qualified to vouch not only for his existence, but to his mental fitness.
With regard to Amadeo Effscott, that is, I had occasion to run into his former psychiatrist. A very well credentialed gentleman with ties to the current administration, he is now the only person approved by the DOD’s liaison to the Library of Congress to be the current editor of Amadeo Effscott’s remaining writings.
As for the timelines of the public release of Amadeo’s memoir, now with dramatic notes on his infiltration of the American Renaissance, therefore, many societal issues affecting this country are raised: regarding the issues of our fight against international and domestic terrorism, mental sanity, poverty and violent crime, guns, and the prison population. All of which brings us to the subject of this important witness:
Widely respected as a psychiatrist for his work both in government and private practice, as well as for being an editor in his field, Mr. Nicholas Farraway [who does not like to be addressed as “Dr. Farraway”] confirms for a fact that whether or not Mr. “Amadeo Effescott” is “invisible” as an artist, he indeed is or was a real person. And that, before his present disappearance, he had communicated with both him and the publisher of this website of an authentic manuscript of 5 separate volumes. A journalistic memoir of events completed in several stages, while the author and former clandestine government operative was living as a fugitive in both Europe and New York City.
For any legitimacy of our inquiry into the identity of the accused former soldier to stand as a record, we must of course rely heavily on the expert account of Mr. Farraway. After all, we are speaking of a former clandestine operative who had lived a lifetime of official assignments off the grid in stealth seclusion, and was only last seen in the United States after having penetrated a domestic cell of so called “invisible” artists.
That the elusive nature of Mr. Effscott’s existence is inextricably tied to the shadowy dealings of his government career is important to underscore because, other than me having known Amadeo all of twenty-five years ago, the only proof of him still being alive comes from, most recently, in 2015, when I was told by a trusted journalistic source at the White House that Mr. Amadeo Effscott is now said to be living in poverty under a hidden identity.
Yet, as the person at the White House said, but he in fact may also be serving a lifetime sentence in an undisclosed prison location for the very murder of Sean Dorian Knight. Yes, for the same crime and detailed confession as purportedly described in this memoir! [parts of which are known to have been heavily redacted or possibly altered.
Amadeo Effscott, a survivalist of rugged combat training, is obviously a man who is hard to find these days. If in fact still alive, no doubt he is fully aware of the double irony of being wanted to stand trial for homicide by the same authorities who have denied the reality of his own existence.
And though he is no ordinary former soldier, before losing contact with him as the last living witness to the life and flesh and blood of Dorian Knight, I very much recall how I would try to talk down brother Amadeo’s paranoid sensibility whenever he feared for his safety or economic solvency.
Art theory is not supposed to be a subject over which people die. But, then again, collective and organized economic revolutions and religious controversy do have a long bloody history.
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post script by Society member Michael Overbeck:
My confession when agreeing to give my point of view to The Cult Street Journal was that I felt a certain sense of guilt for not having stepped forward sooner to speak about the American Renaissance art revolution to the press. To trust that by telling them or local law enforcement, perhaps the life of the prophet Dorian Knight could have been saved and much bloodshed, or that which might still be to come, could have been averted. But in our model for a new art revolution, we were all seeking first to be redeemed by the obviousness of our truth, you see. We knew the news we had was dynamite to bring to the world, it’s not that we wanted to hurt or kill anyone, but we also didn’t realize that already we were being spied upon.
The problem was that at the time, despite rampant joblessness among artists, the tragedy of the massacre at Waco, Texas and killing of the cult preacher David Koresh along with the government’s murder of over 70 men, women and children on the news, none of use members of the art society could take the dangerous threats to the meta art revolution seriously. How could we? The idea that the government had for decades been in search of a messiah to kill just boggled the mind. We just didn’t put 2 and 2 together, no matter all the dire warnings signals by the state law enforcement of imminent destruction, legalized persecution, mass incarceration and that we were being spied upon or even being set up for murder. It was as if we were in complete denial.
That I sometimes went out of my way to accommodate Amadeo’s anxiety and indulge him in conversation by buying him a drink, I hesitate to say it was not so much because Amadeo Effscott was my personal friend, or that he was an erudite former Fulbright Scholar. Many times society members could only put up with his bullshit because of the amazing store of knowledge he held in regard to the life and teachings of Sean Dorian Knight; the great artist and American prophet who is the founding member of our Society.
It is for this reason that the esteemed influence and participation of Mr. Nick Farraway brings a sigh of relief to our endeavors. Whatever the criticisms of falsehoods leveled against the veracity of these government records, Mr. Farraway has assured us of the existence of all 5 written volumes he has personally inspected and attributed to be authentic writings of Mr. Effscott, his former patient.
Mr. Farraway has furthermore volunteered to be the official editor of these works if he be granted the responsibility of their custody. In conjunction with the remaining leaders of the Society, he has once again petitioned for all volumes held by the Department of Defense to be released unabridged under the Freedom of Information Act. A feat of transparency and good faith we can only hope for and await in due course.
It is the only indisputable proof that the 5 Volumes of the American Renaissance as well as this manuscript from a former intelligence operative can be authenticated. We are therefore grateful to him and honored that we now stand vindicated in acknowledgement by the U.S. government.
We look forward to the official announcement when the journalistic memoirs of Amadeo Effscott, the former federal employee – and chronicler of the meta revolution – may serve as a corroborating record of our experiences and all of our members’ collective witness of the existence of Sean Dorian Knight as a real person:
So, we now turn to this singular testimony, the final hope that the resting place of the prophet, and origins of the true economic movement and Foundation for the Society of the American Renaissance may at last be revealed.
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For the inner details of the secret art society all of America, and soon the world, will be talking about – get privileged access to the incredible beginning: Here
