Four Gods

The counterculture of the 1960's conjures a wide variety of reactions. Some look back with a charmed nostalgia. Others, mainly those who didn't "tune in, turn on, and drop out," view this time period as the end of a "golden era" of Western culture. Regardless of one's opinion, it is near-impossible to deny that the '60s created and unleashed a number of colorful and bizarre figures into pop consciousness. Some figures, such as "Gonzo" journalist Hunter S. Thompson continued to show influence well past the '60s. But what of the others, those brief and unusual flashes in the pan?
The Process Church of the Final Judgement, or simply The Process existed only briefly, but is an organization whose influences can still be felt at the fringes of modern subculture. The groups strange and often maligned story is similar to many other cults and radical religious movements but does not evoke the same reaction as groups such as the Waco, Texas Branch Davidians. Depending on which account you assume to be true, a mention of The Process is met with conspiratorial whispers or groans and rolled eyes.

The strange story of The Process begins in England where Robert DeGrimston met Mary-Anne McClean. Both DeGrimston and McClean were heavily involved in Scientology, training at the Fitzroy Street church to become auditors. In a short period of time the two became extremely skilled at Scientology's unusual psycho-spiritual counseling techniques and began breaking away for the organization's guidelines. Going under the name "Compulsion Analysis," DeGrimston and McClean went in to business for themselves. After being excommunicated from Scientology, the two were married.

The combination of Robert DeGrimston's peaceful, hippie-handsome public presentation and Mary-Anne DeGrimston's head-strong personlity was magnetic. The pairing of attraction and authority is common to most cult groups, and for the DeGrimston's, it quickly turned out to be a profitable crowd pleaser.

In 1966, the DeGrimston's and 25 devotees of "Compulsion Analysis" leased and moved to a property of Mexican coastline called Xtul. By all accounts, the property caused them $150 a year and was far from luxurious. It was in this communal lifestyle that the group began to transform. According to legend, the group weathered a massive tropical storm, where they met Jehovah (a Hebrew name used to describe the God of the Old Testament.) It was at this point that Robert and Mary-Anne DeGrimston took the group in a new direction.

Now known as The Process Church of the Final Judgement, Mary-Anne and Robert DeGrimston preached an unusual blend of Apocalyptic proto-Gnostic Christianity. The very term, "Process," was an abbreviation for the term "Pro-Cessation," denoting a desire for a Biblical Armageddon. Also, The Process viewed Divinity as divided into four deities. Jehovah, a strong and authoritarian deity of self-restraint. Satan was the God of unrestrained aggression and animalistic violence. Lucifer, the "Morning Star" of Judeo-Christian belief, represented lust, playfulness, and sensuality. Finally, "Processeans," as they called themselves, view Christ as a being of peace and mercy, intent on unifying all of the deities together and thus leading to the end of the world. As a symbol, The Process used a sort of skewed cross, vaguely resembling a swastika, representing this four-corned mythos.

Given their unusual theology and striking public appearance (members were prone to wear gray or blue suits, black hooded robes, Satanic pendants and large crucifixes in public,) The Process was easily misunderstood. But for it's worth, they did make attempts, perhaps misguided, at charity and assisting Church members. Assistance with finances food and personal issues were offered, however it's also been said that most members would easily be tithing 10% of monthly income to Church leadership, while the DeGrimston's and other leaders would live it relative luxury.

A combination of factors led to the demise of The Process. Ed Sanders, a Beat and Psychedelic era musician wrote a book called The Family. In his book, Sanders wrote at length about Charles Manson and the Tate-LaBianca murders. But in a cynical twist, Sanders makes a dubious connection to "The Manson Family" and The Process. While a layman might take The Process' sensational imagery and written materials as "evil," perhaps the worst charge that can be levelled at them is is that they did publish and article written by Charles Manson (while incarcerated) in their infamous "War" magazine. For less accepting members of society, already suspicious of any form of alternative faith, any reference of violence or darkness, especially on the tail-end of the "Manson Family Murders, was too much.

With rumors of Church leadership fleecing it's "flock" out of money beginning to surface, public hostility was enough to drive people and popularity against coffee shops and worship spaces owned by The Process. Internal strife turned out to be the ultimate nail in The Process' coffin. While details of this event are sketchy, it is widely believed that Robert DeGrimston, who identified as a devotee of Lucifer, wanted to bring other women into bed with his wife. Mary-Anne DeGrimston, who strongly followed Jehovah, was extremely displeased by this development. The divorce of The DeGrimston's broke the back of organization, which officially ceased activity in 1974. Mary-Anne DeGrimston is purported to have passed away in 2004. Little has been seen or written of Robert DeGrimston since that point. It is believed that he may have found success in the Telecommunications industry but no one is ultimately certain.

So what ultimately can be said of The Process Church of The Final Judgement? Reference to London, Boston, and San Francisco would be incomplete without mention of them. Alternative music, especially Experimental and Industrial sub-genres have used the group for subject matter. While they may, in the end, be a brief blip on the cultural radar, the shadow of that blip still rears it's head to cast a chill.

Liber Incognita

Few artifacts in the world of books have caused greater confusion and theorizing than The Voynich Manuscript. Its origin is unknown as is the Manuscript’s author. Despite the context clues that can be drawn from its illustrations, the function of the text is also unknown. To add to the litany of mysteries it offers, it is written in an unidentifiable language and script.




This unusual tome first appears in known history in 1912 when Wilifred Voynich, a book collector, purchases the manuscript from a Jesuit school in Rome. Voynich made every possible attempt at uncovering the books secrets, sending photographed copies of the 200 page book to interpreters and code-breakers around the world, but all returned answer-less and as perplexed as its owner. There are apocryphal stories of The Voynich Manuscript having been sent to a military code-breaker during World War II with disastrous result; according to legend, the cryptographer slipped into madness due to his inability to translate the text.

What is so compelling about this book? At the heart of it’s strange history is the simplicity of mystery itself. The book has no apparent pedigree. Perhaps it is best to break the Voynich Manuscript to its most obvious component parts. The book is seemingly separated in to multiple sections, covering what appears to be various subject matters. Illustrations of plants lend to the thought that it is a botanical text, abruptly shifting gears with what appears to Astrological or Astronomy. Further crude and unusual illustrations of people bathing in pools fed by what appears to be pipes in the shape and color of human organs.

Two figures are often implicated with The Voynich Manuscript: Roger Bacon and Dr. John Dee.



Roger Bacon was a Franciscan Friar who lived during the 13th Century and is best remembered for his early scientific and alchemical experiments. Bacon often found himself run afoul with the hierarchy of The Vatican given his insistence on studying and teaching Astronomy and the philosophy of Aristotle. Known for his vast amount of knowledge of a variety of subjects during a time period when even those blessed with an education were extremely limited in what they knew, it stands to reason with Voynich theorists that the “Doctor Mirabillis” of Oxford could be the hand that is responsible for this mysterious piece.

Dr. John Dee was an astrologer and mathematician in service of Queen Elizabeth I, often serving as her tutor and personal scholar. Dee is, in many ways, a figure whose presence can be felt in the shadows of British History. It is claimed that he, using Astrology, picked an auspicious date for Elizabeth’s coronation and was responsible for coining the term “The British Empire.” A student of French Neo-Platonism, Dee never seemed to make a distinction between his “serious” areas of study and his more arcane pursuits. While known as a devoutly Christian man, John Dee was well-known for a serious of occult rituals in which claimed to found a way to make contact with the entirety of the Angels in God’s employ.

While both of these men are colorful and deserve their unique place in history, it seems unlikely both of these men have a connection to The Voynich Manuscript. The connection of Roger Bacon to the Manuscript seems solely based on the connection to the book being in England and apparently coming from his time period. The “Dee Connection” to the manuscript is said to lay in that he either fabricated the book or had purchased it at some point (Dee is said to have had the largest collection of books in the country for his time period) and sold it nearing the end of his life. It should be noted, however, that historians who have studied the life of the illustrious Dr. Dee have never come across conclusive proof to indicate that he had ever owned the tome. It is also worth noting that Dr. John Dee was implicated by renowned horror author H.P. Lovecraft as having introduced the terrifying but non-existent grimoire, The Necronomicon, to the Western World.

Without a historical record to authenticate the book, loaded down with a seemingly indecipherable script written by an unknown individual or individuals, it is possible to see The Voynich Manuscript as an elaborate but successful hoax. But to what end? Why would a writer, likely an educated person, go to such length to create a book of such complexity if it served no practical purpose? While it is possible that it is merely a perverse joke that still mocks us from the 13th century, there is still a devoted following of researchers, both professional and amateur who wish to decode the text. It currently resides at Oxford University, a location it will likely remain until someone has the intellectual acumen or blind luck to break the strangle-hold of mystery that a book can hold over us.