Thomas J. Farrell
University of Minnesota Duluth
Abstract: In my lengthy and wide-ranging essay “Probe: Some Deeply Personal Reflections About My Life, and About Certain Pornstars in My Life,” I draw on certain points in the work of the American Jesuit scholar Walter Jackson Ong, Jr. (1912-2003), the Swiss psychiatrist and psychological theorist Carl Gustav Jung (1875-1961), and the American Jungian psychotherapist and psychological theorist Robert Moore (1942-2016) to candidly discuss and interpret certain recent events my life in the fall of 2024 involving my viewing the 1970s Wonder Woman TV series starring the busty beauty young Lynda Carter (born on July 24, 1951). I also candidly reflect further on my short but intense affair with my friend Sue in late February 1974 to early March 1974. In addition, for various reasons that I candidly explain as I proceed, I highlight three pornstars: (1) the retired Bree Olson (born on October 7, 1983); (2) the active MILF Cory Chase (born on February 25, 1981); and (3) the retired young Molly Jane (born on October 9, 1993).
In any event, in the present document, I mention my friend Sue 40 time, Lynda Carter 48 times, the retired pornstar Bree Olson 42 times, the active MILF pornstar Cory Chase 37 times, and the retired young pornstar Molly Jane 42 times. Wow!
In the text of the present document, I mention 17 of my own publications, each of which I list in the “References” at the end of the present document (where I provide links to my various OEN articles). Thus, I mention my own previously published reflections on various matters rather frequently!
In addition, in the present document, I mention Ong by name 34 times, Jung 42 times, and Moore 23 times. However, in the present document, even though I am obviously a fan of each of those three men, I do not dwell here on my own experiences over my lifetime with being a fan of a certain man (e.g., President John F. Kennedy [1917-1963]).
Introduction
In recent weeks I have been reflecting on what it means to be a fan of a particular person such as a certain actress. However, in addition to being the fans of particular persons, we may be fans of certain television shows or of certain movies or of certain sports teams and the like. As a result, being a fan is common experience. However, being a fan involves being in love with someone or something, which involves projecting something in our psyches onto a certain someone or something. We may think of what we are projecting from our psyches onto a certain someone or something as libido. The Swiss psychiatrist and psychological theorist Carl Gustav Jung (1875-1961) referred to libido in the title of his important 1912 book in German Transformations and Symbolisms of Libido – which Jung revised extensively and re-titled in 1952 as Symbols of Transformation. The word “Libido” disappeared from the title of the 1952 edition, but not from the book. In both the 1912 version and the 1952 version, Jung devotes an entire chapter to differentiating what he refers to as fantasy thinking involving images and associative thinking, on the one hand, from directed thinking involving logic, on the other hand. (Ong’s massively researched 1958 book Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason is a history of the formal study of logic from Aristotle down to Peter Ramus [1515-1572] and beyond.)
When we become a fan of a certain someone or something, we are thereby engaging in fantasy thinking involving images and associative thinking, and we are thereby projecting libido onto a certain someone or something – because we especially love that certain someone or something.
In any event, Jung undertook that extensive revision of his important 1912 book after he read and wrote the “Foreword” to the Jungian psychoanalyst Erich Neumann’s grand synthesis of Jung’s work in the 1949 book in German The Origins and History of Consciousness, which R. F. C. Hull translated into English in 1954 – who also translated Jung’s Symbols of Transformation (1952; 1967 second edition).
Consequently, my reflections in recent weeks on what it means to be a fan of a particular person such as a favorite actress prompted me this week to construct the present document to record the DVDs that I own of TV series that I like. I watch the DVD versions of these TV series on the big-screen television in the living room of my home in Duluth, Minnesota. My extended reflections on what it means to be a fan of a particular person such as a favorite actress were prompted by my enthusiasm for the actress Lynda Carter’s performance as Wonder Woman in the 1970s Wonder Woman television series, the DVD version of which I watched enthusiastically on the big-screen television in the living room of my home in late August 2024 into September 2024. As I enthusiastically watched the busty young Lynda Carter perform in her wonderfully revealing Wonder Woman costume, I frequently expressed my enthusiasm for her performance by exclaiming aloud to myself, “My God, she is beautiful!” whenever she emerged in her wonderfully revealing Wonder Woman costume. No, I do not recall ever before exclaiming anything aloud as I watched the DVD version of any other TV series on the big-screen television in the living room of my home. I loved the busty young Lynda Carter’s spectacularly beautiful body in her wonderfully revealing costume far more intensely than I had ever before loved the beautiful body of any other actress. That intense experience of love for the spectacularly beautiful body of the busty young Lynda Carter prompted me to reflect in subsequent weeks on what it means to be a fan of a favorite actress and more generally on what it means to become infatuated with a certain someone or something. Because I was infatuated with her image on the big-screen television in my living room, I clearly was engaged in what Jung refers to as fantasy thinking involving images and associative thinking. No doubt the busty young Lynda Carter was a wonderful fantasy for me to dream about as I projected libido from my psyche onto her image of the big-screen television in my living room.
Now, I divide the present document into two sections. Section II is devoted to my wide-ranging and deeply personal and extremely associative commentary about the busty young Lynda Carter and certain other women – most of whom are actresses that I like. But one of the other women that I discuss in Section II is a real woman with whom I had a short but intense affair in late February 1974 into early March 1974, which she ended before the end of March 1974: my friend Sue. In late February 1974, I had a mental breakdown and was hospitalized until early March 1974. My mental breakdown was diagnosed as a hypomanic episode – in short, a certain kind of psychotic episode. In a psychotic episode, unconscious contents in one’s psyche overwhelm and overthrow one’s ego-consciousness. After I got out of the hospital in early March 1974, my friend Sue renewed our friendship. Good for her!
At that time, I was grumbling about the prospect of having monthly appointments with the psychiatrist I had met with during my hospitalization. Now, in response to my grumbling, and to encourage me in her own way to take a more positive attitude about undergoing psychoanalysis once a month with my psychiatrist, my friend Sue came up to my apartment one evening and told me the difficult story of her years of sexual promiscuity as a girl and about her gang rape as a pregnant teenager by her boyfriend and his buddies. I had not heard anything like that ever before. At the time, I felt enormous empathy for my friend Sue. In deeply personal commentary in Section II of the present document, I mention my friend Sue extensively.
But why? Let me explain. As a result of my watching the DVD version of the 1970s Wonder Woman television series, I became infatuated with the image of the busty young Lynda Carter on the big-screen television in my living room. My infatuation with the image of her spectacularly beautiful body was accompanied by mild euphoria. I felt mildly euphoric for about ten weeks (it ended shortly before the election on November 5, 2024). But feeling mildly euphoric in the fall of 2024 called to mind my hypomanic episode in late February 1974 – more than 50 years ago.
Now, after I published my 660th OEN article titled “About Pope Francis’ New 2025 300-Page Autobiography” (dated January 25, 2025), I had a dazzling new insight prompted by the work of Walter Ong regarding endogamous kinship libido — which dazzling new insight I highlight in the present document.
Now, this morning, when I was working on this “Headnote” for the present document, I read Christina Caron’s article titled “4 Things Therapists Want You to Know Before You Start Therapy: Here’s how to make the most of your visits” (dated January 24, 2025) in The New York Times.
Reading this article prompted me to reflect further about my grumbling in early March 1974 about the prospect of meeting monthly with my psychiatrist for psychoanalysis. At this remove in time, I have no specific recollection about what all may have prompted my grumbling in early March 1974. Up to that time, my only experience of talking with a psychiatrist was during my hospitalization in late February 1974 and early March 1974. From that limited experience, I knew that I was not good at remembering my childhood experiences – such as the childhood memories in the “Appendix” of my 660th OEN article (dated January 25, 2025), mentioned above, which memories I wrote out in June 2006 – more than 30 years after my hospitalization in late February 1974. Since my hospitalization in late February 1974 to today, I have met with about 20 different psychotherapists (with various credentials). In addition, during my years in the Jesuit order (1979-1987), I met with about 20 different Jesuits as spiritual directors. Through those various person-to-person meetings in which I was expected to do most of the talking, I have learned how to talk about myself more openly, and more fluently, than I knew how to in late February 1974 and early March 1974.
Now, in Section II of the present document, I mention video interviews involving Bree Olson, Molly Jane and Cory Chase. In those various video interviews, each of them speaks quite candidly and openly. In the present document, I try to write candidly and openly in my wide-ranging and, at times, deeply personal reflections in the lengthy commentary Section II. For me, writing the lengthy commentary in Section II was primarily a way for me to further process certain events in my life in the fall of 2024 – just as Jung further processed certain events in his life when he moved from recording those events in his Black Books to making works of art and drawings about those events in his Red Book.
Now, I have previously published my reflections about certain events in my life in the fall of 2024 in my various OEN articles that I published in the fall of 2024 through early 2025. Those OEN articles of mine are the equivalent, in this analogy with Jung’s practice, to Jung publishing his Black Books shortly after he wrote them. In this analogy with Jung’s practice, my publishing my deeply personal reflections in the commentary of Section II in the present OEN article is the equivalent of Jung publishing his Red Book.
Section I: Inventory of My DVDs of Certain TV Series (Arranged Chronologically)
Wonder Woman (1976-1979; 60 episodes), starring the 5’9” tall Lynda Carter (born on July 24, 1951), with measurements of 37-27-37. There are 202 fake nude pics of Lynda Carter at CFake.com. See the Commentary below for extensive discussion of my extraordinary response to viewing the DVD version of the 1970s Wonder Woman television series in late August 2024 and September 2024 – and my feeling mildly euphoric for about ten weeks as a result of my infatuation with the busty young Lynda Carter’s spectacularly beautiful body. For further information about the actress and singer Lynda Carter, see the Wikipedia entry about her.
China Beach (1988-1991), starring Dana Delany and Marg Helgenberger. Gruesome episodes about the Vietnam War that I found hard to watch. The Wikipedia entry on the “Vietnam War” gives its dates as November 1, 1955, to April 30, 1975. During my years of undergraduate studies (1962-1966) and of graduate studies (1966-1974), I received draft deferments. However, I participated in anti-war demonstrations against the Vietnam War.
JAG (1995-2005), starring David James Elliott and the 5’10” tall Catherine Bell (born on August 14, 1968), with measurements of 34-25-35. There are 533 fake nude pics of Catherine Bell at CFake.com. Of the 13,148 celebrities represented at the ever-growing CFake.com website, Catherine Bell’s 533 fake nude pics rank her at #120 in Popularity. I have two framed 8X10 photos of the gorgeous Catherine Bell on display in my home office. In one of them, Catherine Bell is wearing a bikini as she smiles warmly and looks straight at us as she shows off her big boobs. In the other photo, Catherine Bell posed nude to show us her breasts as she looks directly at us. (Catherine Bell began her starring role on JAG in its second season.)
NCIS (2003-present), starring Mark Harmon (2003-2021), Michael Weatherly (2003-2016), Sean Murray (2003-present); the 5’5” tall Sasha Alexander (born on May 17, 1973), with measurements of 35-26-34 (2003-2005); the 5’6” tall Cote de Pablo (born on November 12, 1979), with measurements of 36-29-35 (2005-2013). Between 2005 and 2020, Cote de Pablo appeared as Ziva David in 194 episodes of NCIS. Now, there are 472 fake nude pics of Cote de Pablo at CFake.com. (Two backdoor pilot episodes of NCIS appeared as episodes of JAG, “Ice Queen” and “Meltdown,” starring Mark Harmon; the official pilot episode of NCIS, “Yankee White,” aired on September 23, 2003, on CBS.)
NCIS: Los Angeles (2009-2023), starring Chris O’Donnell, LL Cool J, Eric Christian Olsen, and Daniela Ruah.
NCIS: New Orleans (2014-2021), starring Scott Bakula, Lucas Black, and Rob Kerkovich.
Law and Order: Special Victims Unit (1999-present), starring Mariska Hargitay and Christopher Meloni.
Law and Order: Criminal Intent (2001-2011), starring Vincent D’Onofrio, Kathryn Erbe, and Chris Noth (main role, 2005-2008).
CSI (2000-2005), starring William Petersen and Marg Helgenberger.
CSI: Miami (2002-2012), starring David Caruso.
CSI: Vegas (2021-2024), starring Paula Newsome and Marg Helgenberger.
The Closer (2005-2012), starring Kyra Sedgwick.
Major Crimes (2012-2018), starring Mary McDonald.
Criminal Minds (2005-2020), starring Mandy Patinkin (in seasons 1-2), Thomas Gibson, and Matthew Gray Gubler.
Bones (2005-2017), starring Emily Deschanel, David Boreanaz, John Boyd (2014-2017), and the 5’8” tall Michaela Conlin (born on June 9, 1978), with measurements of 34-24-34. There are 114 fake nude pics of Michaela Conlin at CFake.com. Even though the Bones television series features witty dialogue, certain episodes often also feature gross portrayals of human remains that are disgusting to look at.
The Mentalist (2008-2015), starring Simon Baker and Robin Tunney.
Castle (2009-2016), starring Nathan Fillion and the 5’9” tall Stana Katic (born on April 26, 1978), with measurements of 34-25-35. There are 258 fake nude pics of Stana Katic at CFake.com.
The Good Wife (2009-2016), starring Julianna Margulies, Christine Baranski, Chris Noth, and Cush Jumbo (in season 7).
The Good Fight (2017-2022), starring Christine Baranski and Cush Jumbo (main cast seasons 1-4; guest role in season 5) and Rose Leslie (seasons 1-3) – who also appeared in Game of Thrones (in its season 2, with a main role in its seasons 3-4).
Rizzoli and Isles (2010-2016), starring Angie Harmon and the 5’5” tall Sasha Alexander (born on May 17, 1973), with measurements of 35-26.34. There are 96 fake nude pics of Sasha Alexander at CFake.com.
Game of Thrones (2011-2019), medieval fantasy drama featuring incest, starring Sean Bean, Nikolaj Coster-Waldau, Lena Healey, Emilia Clarke, and Rose Leslie (recurring role in season 2; main role in seasons 3-4) – who is also featured in The Good Fight (seasons 1-3). See the “Commentary” below for discussion of the incest theme in Game of Thrones and the emergence of incest-themed porn videos and DVDs.
Homeland (2011-2020), starring Claire Danes and Mandy Patinkin. Claire Danes plays the CIA agent Carrie Matherson who is prone to manic episodes. Because I was hospitalized as a result of a hypomanic episode in late February 1974, I was interested in her portrayal of manic tendencies.
Elementary (2012-2019), starring Jonny Lee Miller as the modern-day Sherlock Holmes and Lucy Liu as the modern-day Dr. Watson.
FBI (2018-present), starring Sela Ward (2018-2019), Missy Peregrym, Zeeko Zaki, Jeremy Sisto, Alana de la Garza (2019-present), and John Boyd (2019-present).
Section II: Commentary About Certain DVDs of Some TV Series, Certain TV Actresses, and Certain Popular Pornstars on the Internet
In Section II, I mention 12 women by name. But of the various women I mention by name, only my friend Sue, mentioned some 39 times in the present document, is a woman I knew personally in late February 1974 and early March 1974. The other eleven women I mention by name here are TV actresses or internet pornstars:
(1) the retired pornstar 5’3” tall Bree Olson (born on October 7, 1986), with measurements of 32D-25-35, eagerly cheered on the older guy(s) fucking her in hundreds of porn videos, but who never performed in a mom-son fantasy skit (mentioned 42 times);
(2) the actress 5’10” tall Catherine Bell (born on August 14, 1968), with measurements of 34-25-35, starred in the JAG television series (mentioned 12 times);
(3) the versatile MILF pornstar 5’5’ tall Cory Chase (born on February 25, 1981; entered porn at the age of 28), with measurements of 36-25-34, performs admirably in many, many mom-son fantasy skits, but who also performs often in various other roles as well (mentioned 37 times);
(4) the actress 5’6” tall Cote de Pablo (born on November 12, 1979), with measurements of 36-29-35, starred in the NCIS television series (mentioned 7 times);
(5) the actress and singer 5’8” tall Katharine McPhee (born on March 25, 1984), with measurements of 34-25-36, starred in the television series Scorpion (2014-2018) (as I write at the desktop computer, I have two framed 8.5X11 photos of Katharine McPhee in a bikini on vacation in front of me just above the keyboard on the desktop – which 8.5X11 photos I bought online) (mentioned 4 times).
(6) the actress and singer 5’9” tall Lynda Carter (born on July 24, 1951), with measurements of 37-27-37, starred as Wonder Woman in the 1970s Wonder Woman television series (mentioned 48 times);
(7) the retired pornstar 5’3” tall Mandy Flores (born on March 19, 1989), with measurements of 36D-26-32); she frequently played the mom in mom-son fantasy skits with her real-life husband David Flores (my favorite mom-son fantasy skit featuring Mandy Flores is “Mom and Son Share a Creampie” [2017]); (I have a framed 16X24 nude photo of Mandy Flores that I bought at Amazon.com on display in the hallway between the back bedroom and the main bedroom of my home); (I recently ordered a set of 8X12 photos of Mandy Flores online at eBay; I am looking forward to seeing them); (she is mentioned by name in the present document 6 times);
(8) the actress 5’8” tall Michaela Conlin (born on June 9, 1978), with measurements of 34-24-34, starred in the television series Bones (2005-2017) (mentioned 46times);
(9) the retired young pornstar 5’7” tall Molly Jane (born on October 9, 1993), with measurements of 32DDD-24-36, frequently played the delightfully docile daughter in many dad-daughter fantasy skits, but who also delightfully played other roles as well (mentioned 42 times);
(10) the actress 5’5’ tall Sasha Alexander (born on May 17, 1973), with measurement of 35-26-34, starred in the Rizzoli and Isles (2010-2016), NCIS (seasons 1-2), and Shameless (seasons 5-6) television series (mentioned 7 times);
(11) the actress 5’9” tall Stana Katic (born on April 26, 1978), with measurements of 34-25-35, starred in Castle (2009-2016) (mentioned 6 times).
As you might expect, all twelve of these women are considerably younger than I am at 80. The oldest, Lynda Carter, was born in 1951, The youngest, Molly Jane, was born in 1993. At 5’10” tall, Catherine Bell is the tallest. But at 5’9” tall, Lynda Carter and Stana Katic are not far behind. Lynda Carter has the biggest beasts at 37” – and they are natural, not surgically modified. But Cote de Pablo’s 36” natural breasts and Cory Chase’s 36” surgically amplified breasts and Mandy Flores’ 36” surgically amplified breasts are not far behind. The most popular breast size here is 34” (Catherine Bell, Katharine McPhee, Michaela Conlin, and Stana Katic).
In terms of the most frequently mentioned names in the present document, the leading contenders, of the twelve women listed here, are Bree Olson (mentioned 34 times), Cory Chase (mentioned 32 times), Lynda Carter (mentioned 37 times), and Molly Jane (mentioned 35 times). Thus, I mention these four women a total of 137 times in the present document. To be sure, I am a fan of each of these four women – just as I am a fan of the other eight women mentioned here. However, I have never met any of them. In short, I do not know any one of these four most frequently mentioned women personally.
As a Bree Olson fan, I want to point out here that Wikipedia has an entry about her.
But Wikipedia does not have entries about the other pornstars that I discuss in the present document. As you might expect, Wikipedia has entries about each of the eight TV actresses that I discuss in the present document.
Now, my friend Sue is also mentioned frequently in the present document (33 times). As I explain below, I had a short but intense affair with her in late February 1974 and early March 1974, which she ended before the end of March 1974.
Now, retired or active, each of the four pornstars listed here has many porn videos on the internet that have been viewed millions of times by their respective fans.
Yes, I am a fan of each of these twelve busty actresses – which is to say that I am infatuated with each of these twelve busty actresses. Of course, being infatuated with someone is a form of being in love with that particular person. When we are in love with a particular person, we are engaged in projecting an archetype in our psyche onto that particular person, thereby idealizing that person in our estimate. Because each of these twelve busty women are women, I am projecting a feminine archetype in my psyche onto each of them. Because my Mom (1918-1983) was busty, I am projecting onto each of these busty eleven women the same feminine archetype in my psyche that I as a baby projected onto my Mom. When I watch mom-son porn videos on the internet and in DVDs, for example, I am fantasizing about the porn actress in the video and projecting onto her the same feminine archetype that I as a baby projected onto my Mom.
Ah, but I have also become fans of certain men – for example, of the American Jesuit Walter J. Ong (1912-2003), of the Swiss psychiatrist and psychological theorist Carl Gustav Jung (1875-1961), and the American Jungian psychotherapist and psychological theorist Robert Moore (1942-2016). No doubt I am also projecting onto each of these three men the same masculine archetype that I projected onto my Dad (1916-2007) when I was eighteen months old and he returned from being in the Army in World War II and entered my life.
Now, for an accessible Jungian account of how babies project archetypes in their psyches onto their mothers (or mother-figures) and fathers (or father figures), see the British psychiatrist Anthony Stevens’ book Archetype: A Natural History of the Self (1982).
As a result of the baby’s projection of archetypes in his or her psyche onto his or her mother (or mother-figure) and father (or father-figure), libido in the baby’s psyche is wed, figuratively speaking, to the image of the mother 9or mother-figure) and to the father (or father-figure) in the baby’s psyche. This wedded within libido, figuratively speaking is what Ong refers to as endogamous kinship libido in his succinct account of Jungian psychoanalyst Erich Neumann’s account of the eight stages of consciousness in his grand synthesis of Jung’s work titled The Origins and History of Consciousness, translated by R. F. C. Hull (Pantheon Books, 1954; orig. German ed., 1949).
In Ong’s book Rhetoric, Romance, and Technology: Studies in the Interaction of Expression and Culture (1971, pp. 10-11), he makes the following statement about Erich Neumann’s Jungian account of the eight stages of consciousness:
“The stages of psychic development as treated by Neumann are successively (1) the infantile undifferentiated self-contained whole symbolized by the uroboros (tail-eater), the serpent with its tail in its mouth, as well as by other circular or global mythological figures [including Nietzsche’s imagery about the eternal return?], (2) the Great Mother (the impersonal womb from which each human infant, male or female, comes, the impersonal femininity which may swallow him [or her] up again), (3) the separation of the world parents (the principle of opposites, differentiation, possibility of change, (4) the birth of the hero (rise of masculinity and of the personalized ego) with its sequels in (5) the slaying of the mother (fight with the dragon: victory over primal creative but consuming femininity, chthonic forces), and (6) the slaying of the father (symbol of thwarting obstruction of individual achievement, [thwarting] what is new), (7) the freeing of the captive (liberation of the ego from endogamous [i.e., “married” within one’s psyche] kinship libido and the emergence of the higher femininity, with woman now as person, anima-sister, related positively to ego consciousness), and finally (8) the transformation (new unity in self-conscious individualization, higher masculinity, expressed primordially in the Osiris myth but today entering new phases with heightened individualism [such as Nietzsche’s overman] – or, more properly, personalism – of modern man [sic]).”
Ong also sums up Neumann’s Jungian account of the eight stages of consciousness in his (Ong’s) book Fighting for Life: Contest, Sexuality, and Consciousness (1981, pp. 18-19; but also see the “Index” for further references to Neumann [p. 228]), the published version of Ong’s 1979 Messenger Lectures at Cornell University.
Taking various hints from Ong, I have written about Neumann’s Jungian account of the eight stages of consciousness in my essay “Secondary Orality and Consciousness Today” in the well-organized anthology Media, Consciousness, and Culture: Explorations of Walter Ong’s Thought, edited by Bruce E. Gronbeck, Thomas J. Farrell, and Paul A. Soukup (1991, pp. 194-209).
As you can see, Ong succinctly sums up Neumann’s stage (7) as involving “the freeing of the captive (liberation of the ego from endogamous kinship libido and emergence of the higher femininity, with woman now as person, anima-sister, related positively to ego consciousness)” (1971, p. 11).
In the present document, I see each of the eleven women listed above “woman now as person” and as “related positively to [my] ego consciousness.”
In the present document, I discuss my ten-week experience of feeling mildly euphoric. I attribute this ten-week experience of feeling mildly euphoric to “the freeing of the captive (liberation of the ego from endogamous kinship libido and emergence of higher femininity, with woman now as person, anima-sister, related positively to ego consciousness).”
But I would also point out here that the “liberation of ego from endogamous kinship libido” means more than just the liberation of the person’s ego-consciousness from endogamous kinship libido” married, figuratively speaking, within the person’s psyche to the person’s image of his or her mother (or mother-figure) in his or her psyche, but also the liberation of the person’s ego-consciousness from the endogamous kinship libido married within the person’s psyche to the person’s image of his or her father (or father-figure) in his or her psyche. No doubt this dual liberation is a tremendously important event in the person’s life.
As you can also see, Ong sees today’s heightened consciousness as being manifested in twentieth-century personal thought. Ong characterized his mature work as phenomenological and personalist in cast.
Now, President Donald Trump is a misogynist, and his male MAGA supporters are also misogynists. Misogynists have not yet experienced the liberation of endogamous kinship libido in Neumann’s stage (7) of the eight stages of consciousness.
The liberation of endogamous kinship libido in Neumann’s stage (7) of the eight stages of consciousness also involves what the Jungian psychoanalyst Edward C. Whitmont refers to as the return of the feminine in the human psyche in his book titled Return of the Feminine (1982).
Now, over the years, I took five courses from Father Ong at Saint Louis University, the Jesuit university in the City of St. Louis. Later, I wrote the award-winning book about Ong’s life and eleven of his books and selected articles titled Walter Ong’s Contributions to Cultural Studies: The Phenomenology of the Word and I-Thou Communication (2000). My book received the Marshall McLuhan Award for Outstanding Book in the Field of Media Ecology, conferred by the Media Ecology Association in June 2001.
More recently, I have written about Ong’s thought in my widely read OEN article “Walter J. Ong’s Philosophical Thought” (dated September 20, 2020).
Ong’s first major work in media ecology theory was his massively researched 1958 book Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason (for specific page references to aural-to-visual shift, see the “Index” [p. 396]). Peter Ramus (1515-1572) was the French Renaissance logician and educational reformer and Protestant martyr. Ong’s massively researched 1958 book is a history of the formal study of logic in our Western cultural history from Aristotle down to Peter Ramus and beyond.
The Canadian Renaissance specialist and cultural historian and pioneering media ecology theorist Marshall McLuhan (1911-1980; Ph.D. in English, Cambridge University, 1943) discussed Ong’s various publications about Peter Ramus and Ramist logic in his widely read 1962 book The Gutenberg Galaxy: The Making of Typographic Man (for specific page references to Ong’s publications about Ramus and Ramist logic, see the “Bibliographic Index” [pp. 286-287]).
Now, clearly, I have been an Ong fan for more than 60 years now. Father Ong was a father figure in my adult life. As a result, his death in August 2003 was an enormous loss for me. Yes, as a result of his death in August 2003, I experienced complicated grief over the next few years of my life. I am consulted with the Jungian psychotherapist Robert Moore about my complicated grief in his home office over an intensive weekend in Chicago.
Now, for understandable reasons, the present document focuses on my projecting that same feminine archetype that I as a baby projected onto my busty Mom, onto the other women named here – perhaps most notably onto my friend Sue – because my recent experience of feeling mildly euphoric for about ten weeks was prompted by my infatuation with the busty young Lynda Carter.
While I have over the years projected the same masculine archetype in my psyche that I as an eighteen-month-old toddler projected onto my Dad when he returned from World War II, onto certain other men, I have never before experienced feeling mildly euphoric for about ten weeks as a result of being infatuated with a male actor – or with any other male I encountered.
Now, I have benefited from the American Jungian psychotherapist John A. Desteian’s discussion of infatuation in his book Coming Together – Coming Apart: The Play of Opposites in Love Relationships (2021, the re-titled version of his previously published 1989 book; for specific page references regarding infatuation, see the “Index” entry on infatuation [p. 251]).
I have discussed his book in my widely read OEN article “John A. Desteian on Love Relationships” (dated September 19, 2024).
Now, my commentary about my viewing the DVD version of the 1970s Wonder Woman television series starring Lynda Carter in late August 2024 into September 2024:
Because the Swiss psychiatrist and psychological theorist C. G. Jung (1875-1961) differentiated fantasy thinking involving images and associative thinking from directed thinking involving logic, I have honored what he refers to as fantasy thinking by prominently displaying images of the busty young Lynda Carter along the interior north wall of my home office in the back bedroom of my home in Duluth, Minnesota — the largest and most prominent of which I bought at Amazon.com. In it, the busty young Lynda Carter is wearing a wonderful variation of her Wonder Woman costume as she reveals the beauty of her young body and looks straight out at us intensely. To further acknowledge to myself the important she played in my life in 2024 as a result of my viewing the DVD version of her 1970s Wonder Woman television series, I also have several other framed photos of her on display.
In addition to honoring the busty young Lynda Carter’s body so prominently in my home office, I have a large framed nude photo of the now retired pornstar Bree Olson (born on October 7, 1986) that I bought at Amazon.com on display on the east wall of my home office. I might be mistaken about this, but this nude frontal proto of Bree Olson appears to me to be one that she posed for – not a shot of her nude in one of her many porn videos.
In it, Bree Olson looks like the wholesome all-American girl next door – which is how she looks in all her porn videos. In her porn videos, she does guys who look old enough to be her father. As a sexually promiscuous girl after she lost her virginity to a 20-year-old neighborhood boy at the age of 11 until she entered porn at the age of 18, she was “easy” for boys and older men to fuck. So she had extensive experience fucking older men before she got into porn at the age of 18 and started fucking older guys in her porn videos and DVDs.
In one of Bree Olson’s video interviews, she says that she first had sex with a girl at the age of 9, and she made her fair share of girl-girl porn videos (one of which I enjoyed watching many times).
In the Wikipedia entry “Bree Olson,” we are told that she identifies as a lesbian. Now, over the years since Bree Olson lost her virginity at the age of 11, she has had sex with hundreds of guys. Consequently, Bree Olson today may be the most fucked lesbian in the world!
In any event, if I had to sum up the pornstar Bree Olson in only one word, that one word would be eager!
Bree Olson also made many anal sex videos — and also many interracial videos and many girl-girl videos But she did not make any double penetration videos, not even in her wonderful 2010 foursome with Seth Gamble and Eric Matheson and Tommy Gunn in which double penetration would have fit in. But oh my God, the eager Bree Olson performs well with those three older guys taking turns fucking her! Wow!
And the only video that Bree Olson made that could be called a gangbang was “The Hole Crew” in which she lets each guy on her film crew enjoy having sex with her.
But Bree Olson thrived in porn before incest-themed porn emerged, and so she never did any dad-daughter fantasy skits or any mom-son fantasy skits or any brother-sister fantasy skits.
In Bree Olson’s many porn performances, she is an energetic performer who vocally and enthusiastically cheers on the older guy(s) fucking her – all the time looking like the wholesome all-American girl next door. Her highly vocal cheerleading makes her come across as an extremely eager sex partner.
Who wouldn’t love to fuck such an encouraging and eager young girl with such an adorable body? I’d love to fuck Bree Olson!
One of my favorite scenes of Bree Olson performing is the opening scene of her 2010 movie The Dark Side of Bree. In it, she performs energetically with three older guys (Seth Gamble, Eric Masterson, and Tommy Gunn). I have a framed 8.5X11 photo of her in that scene on display in my home office. In the photo, she has one guy’s dick in her pussy, another guy’s dick gripped firmly in her right hand as she sucks the tip of his dick in her mouth, and the third guy’s dick gripped firmly in her left hand. (In my 8.5X11 framed photo, the three guys are not visible enough to say which guy’s dick is where in the photo.)
Now, I have an equally large framed nude photo of the now-retired young pornstar Molly Jane (born on October 9, 1993) that I bought at Amazon.com on display on the south wall of my home office. It is a nude photo of her sitting on a rug on the floor with her legs spread apart giving us a great view of her pussy in the foreground and of her boobs as she smiles pleasantly and looks directly at us. Above her head in the background is a chalk board in a classroom with the name “Professor Parker” written on it. Molly Jane did a porn video with a Professor Parker whose large dick when she pulled it out of his pants led her to exclaim “Professor Parker.” However, in that video Molly Jane is wearing glasses, and in the large photo that I have displayed in my home office, she is not wearing glasses (as she customarily does not in her various videos).
I bought a set of 20 8X12 photos of Molly Jane online at eBay; three of the photos of her are from the video she made wearing glasses featuring Professor Parker. Of those three excellent 8X12 photos of Molly Jane, my favorite one shows her on top of Professor Parker as he lays flat on his back of top of the desk; his cock is in Molly Jane’s pussy as she reclines above him, giving us a magnificent view of her gorgeous body, especially of her wonderful thighs!
In one of my favorite dad-daughter porn videos of Molly Jane with Luke Longly (Cory Chase’s real-life husband), we get an excellent view of the other side of her wonderful thighs as Molly Jane lays on her back with her legs raised as she docilely enjoys herself as dad fucks her in her asshole – after he had earlier started fucking her in her pussy.
Molly Jane’s docility in all of her porn videos is outstanding. If I had to sum up Molly Jane’s appeal in two words, those two words would be delightfully docile!
I also enjoy listening to Molly Jane’s happy sighs and occasional exclamations as she performs in her various porn videos. Oftentimes, in the fantasy skits in her pron vidoes, she gets to say something especially catchy.
In all of Luke Longly’s many dad-daughter porn videos with Molly Jane, he always fucks her energetically and vigorously – whether he is fucking her asshole or her pussy – and she is always delightfully docile as she gets fucked.
Similarly, in all of Alex Adams’ many porn videos with Molly Jane, with each of them playing different roles, he always fucks her energetically and vigorously – usually in her pussy, but also frequently in her asshole.
Now, at PornPics, the video that Molly Jane she made wearing glasses featuring Professor Parker has been turned into a slideshow – and the selected pics of Molly Jane in the slideshow can be printed out. Unfortunately, the slideshow at PornPics does not include the scene in my favorite 8X12 photo of Molly Jane.
Now, I also have a framed 16X24 nude photo of the active versatile MILF pornstar Cory Chase (born on February 25, 1981) – whose frequently wears glasses — that I also bought at Amazon.com on display on the west wall of my home office.
In the framed 16X24 nude photo of Cory Chase, she is reclining on a chair with her legs spread apart giving us a great view of her pussy in the foreground! As we look up. She is pulling on the nipples of her big boobs, and she looks directly at us. Overall, as she looks directly at us, she appears to be offering us her pussy.
As I work at this desktop computer, I sit on a swivel chair and look at the computer screen, and I can look above the computer screen and out the window on the south wall of my home office. When I swivel the chair that I sit on when I work at this desktop computer and turn toward the west wall of my home office and then stand up, I am looking directly in Cory Chase’s eyes in the framed 16X24 nude photo of her hanging on the west wall of my home office as she looks directly at me.
In addition to the framed 16X24 nude photo of Cory Chase, I have two framed 8.5X11 nude photos of her standing up and showing off her big boobs on display in my home office. In one of them, she is wearing her trademark glasses as she looks intently at us, and in the other she also looks directly at us as she shows off her big boobs.
In any event, by displaying these various images of the attractive bodies of young Lynda Carter, Bree Olson, Molly Jane, and the alluring body of Cory Chase in my home office, I am paying homage to them and their beautiful bodies – and to what Jung refers to as fantasy thinking involving images. No doubt the beautiful bodies of these four women are fantasies for me, and the images of their beautiful bodies keep those fantasies alive in me and my psyche.
I see what Jung refers to as fantasy thinking involving images and associative thinking as aligned to what the classicist Eric A. Havelock in his landmark 1963 book Preface to Plato refers to as imagistic thought, on the one hand, and, on the other, to what the media ecology theorist Walter J. Ong in his most widely known 1982 book Orality and Literacy: The Technologizing of the Word refers to as orally based thought and expression – as distinct from phonetic alphabetic literacy, the equivalent of what Jung refers to as directed thinking involving logic.
I have discussed Ong’s account of orally based thought and expression extensively in my article “Walter Ong and Harold Bloom Can Help Us Understand the Hebrew Bible” in Explorations in Media Ecology (2012).
Now, because Ong was almost certainly aware of Jung’s account of fantasy thinking involving images and associative thinking versus directed thinking involving logic as patently parallel to his own distinction between primary oral thought and expression versus phonetic alphabetic literate thought and expression starting in our Western cultural history in ancient Hebrew culture and in ancient Greek culture. However, Ong himself did not happen to advert explicitly to this patent parallel.
Digression. Your guess is as good as mine as to why Ong did not happen to advert to Jung’s discussion of fantasy thinking involving images and associative thinking. But my guess is that Ong did not want to advert to the term fantasy because Jung’s use of the word fantasy could provide a positive association with the British author J. R. R. Tolkien’s fantasy novel The Lord of the Rings (1954-1955; three volumes). In short, I suspect that Ong was one of the many academic “despisers of fantasy” (Shippey, 2000, p. xvii) — part of the opposition to Tolkien’s three-volume fantasy novel as serious literature.
For further discussion of the British Catholic J. R. R. Tolkien (1892-1973) as a philologist and the author of fantasy novel The Lord of the Rings, see the British philologist and literary critic Thomas A. Shippey’s book J. R. R. Tolkien: Author of the Century (2000).
For Ong’s most relevant views of serious literature, see his 1977 book Interfaces of the Word: Studies in the Evolution of Consciousness and Culture.
Now, for Ong, “Chadwick and Chadwick [1932, 1936, 1940] provide a nearly exhaustive worldwide survey of preliterate oral performance and early literature (but omit American Indians); it [the Chadwicks’ three-volume work] no longer has an entirely up-to-date conception of oral culture” (Ong, 1967, reprinted in Ong, 2002, p. 343). The three-volume work by the British H. M. Chadwick and Nora K. Chadwick is titled The Growth of Literature (1932, 1936, 1940) – meaning the growth of literature out of oral tradition.
Ah, but what did the British philologist and fantasy novelist Tolkien think of the Chadwicks’ three-volume account of the growth of literature out of oral tradition? I have no idea what he thought of it.
More to the point, how would the British philologist and fantasy novelist Tolkien and/or the British philologist and literary critic Shippey construct a comparable account of the growth of literature out of oral tradition, including the fantasy dimension in oral tradition and the philological dimension in oral tradition? End of digression.
Now, because Jung sees fantasy thinking as involving images and associative thinking, I have honored images through the displays of so many images of busty young Lynda Carter in my home office. I have honored associative thinking by writing associatively about busty young Lynda Carter in two OEN articles, comparable to Jung’s writings in his Black Books about unconscious contents he had experience during his dangerous self-experimentation with what he came to refer to as active imagination:
(1) “Young Lynda Carter as Wonder Woman” (dated September 3, 2024);
(2) “Thomas J. Farrell’s Encore on Young Lynda Carter as Wonder Woman” (dated September 30, 2024).
In any event, I first watched the DVD version of the 1970s Wonder Woman television series on the big-screen television in my living room in my home of Duluth, Minnesota, in late August 2024 into September 2024. I thoroughly enjoyed watching the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume. Prior to buying and watching the DVD version of the 1970s television series, I had occasionally watched episodes of Wonder Woman starring the busty young Lynda Carter on the big-screen television in my living room without becoming infatuated with her — as I did in late August 2024 into September. In light of my previous viewing of some episodes on the 1970s Wonder Woman television series, I now have to say in 20/20 hindsight that in late August 2024 into September I was obviously psychologically ready to enter into a new and different experience in my life of becoming infatuated with the image of the fantasy figure of Wonder Woman’s body – and as a result of my infatuation with her gorgeous body feeling mildly euphoric for about ten weeks (until the end of October 2024).
Yes, over the years, I have also felt attracted to certain other actresses in other television series – most notably the lovely 5’5” tall Sasha Alexander (born on May 17, 1973), with measurements of 35-26-34, who starred as Dr. Maura Isles in Rizzoli and Isles (2010-2016; 106 episodes). In 2015-2016, the daring Sasha Alexander also famously appeared nude in some scenes in the American television series Shameless (2011-2021).
But over the years, I have also felt attracted to four other actresses as well:
(1) the 5’10” tall Catherine Bell (born on August 14, 1968), with measurements of 34-25-35, in JAG (1996-2005);
(2) the 5’6” tall Cote de Pablo (born on November 12, 1979), with measurements of 36-29-35, in NCIS (2005-2020; 194 episodes);
(3) the 5’8” tall Michaela Conlin (born on June 9, 1978), with measurements of 34-24-34, in Bones (2005-2017);
(4) the 5’9” tall Stana Katic (born on April 26, 1978), with measurements of 34-25-35, in Castle (2009-2016).
I have also mentioned these four actresses above.
However, in no other instance have I felt mildly euphoric as a result of my attraction to any of these five other television actresses — or to any other woman in any context, except possibly, briefly, for my fateful attraction to my friend Sue in late February 1974 — which resulted in my hospitalization in late February 1974 as a result of a hypomanic episode.
Now, if I count my feeling mildly euphoric on the day in late February 1974 after I slept with my friend Sue, and lost my virginity as I neared my 30th birthday on March 17, 1974, then I also have to wonder if the mild euphoria I felt for about ten weeks in the fall of 2024 as a result of becoming infatuated with the busty young Lynda Carter’s spectacularly beautiful body somehow connects these two experiences of mild euphoria in late February 1974 and in the fall of 2024. What connection, if any, is there between my friend Sue and her difficult story of her years of sexual promiscuity as a girl and of her gang rape as a pregnant teenager by her boyfriend and his buddies, on the one hand, and, on the other, the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume?
In any event, at no other time in my life have I felt mildly euphoric for ten weeks. As a matter of fact, I have never even read about anyone ever feeling mildly euphoric for ten straight weeks. Because I was hospitalized in late 1974 as a result of having a hypomanic episode, my experience of feeling mildly euphoric starting in late August 2024 and continuing for ten weeks (it ended before the election on November 5, 2024) at first made me suspect that I may have been approaching the onset of another hypomanic episode. But I did not experience another hypomanic episode in 2024 – I am thankful to say.
However, I did experience refreshing and revisiting my memories from February-March 1974 of my short but intense affair with my friend Sue. No doubt that affair in 1974 was memorable. For a time in 2024, when I was feeling mildly euphoric, I wanted to discuss certain memories of my short but intense affair with my friend Sue. In 2024, I did tell a few people about certain memories involving her via email messages that I wrote to them. But I evidently wrote myself out, so to speak, because I eventually stopped feeling like I wanted to discuss any memories with anyone else. Even so, I felt that the upsurge of memories that I was experiencing in my consciousness was drawing me to revisit certain memories involving my friend Sue after more than 50 years – and to reflect further how those memories had come to affect me over the years. Now, up to early March 1974, I had never before felt the powerful empathy that I felt for my friend Sue the evening she told me the difficult story of her years of sexual promiscuity and of her gang rape as a pregnant teenager.
Now, many years later in my life, I was able to connect her account of her years of sexual promiscuity as a girl with Bree Olson’s account of her years of sexual promiscuity after she lost her virginity at the age of 11, and also with Molly Jane’s account of her years of sexual promiscuity after she lost her virginity around the age of 10 or 11. Both Bree Olson and Molly Jane entered porn at the age of 18. As I watched each of them perform in their respective porn videos, I found it exciting to remember their respective years of sexual promiscuity as girls — and to relate their respective years of sexual promiscuity to my friend Sue’s years of sexual promiscuity as a girl.
As I reflected on these memories of Bree Olson, Molly Jane, and my friend Sue in late 2024, I also connected these memories in my consciousness in 2024 with certain things that I had learned from the late Jungian psychotherapist and psychological theorist Robert Moore (1942-2016; Ph.D. in religion and psychology, University of Chicago, 1976) of the Chicago Theological Seminary.
I have recently discussed the fourfold approach to interpreting my childhood memories that I had learned from Robert Moore in the somewhat lengthy “Appendix” at the end of my lengthy 660th OEN article titled “About Pope Francis’ New 2025 300-Page Autobiography” (dated January 25, 2025).
Now, my extended reflections in late 2024 led me to conclude that my short but intense affair with my friend Sue in late February 1974 and early March 1974 had somehow involved a significant shift in my psyche – yes, in 20/20 hindsight, my hospitalization as a result of a hypomanic episode in late February 1974 signaled the beginning of my mid-life crisis (in Jung’s terminology). But the psychodynamics involved in my hypomanic episode involved the feminine archetypes of maturity that Robert Moore posits in his theory of the eight archetypes of maturity and their accompanying sixteen “shadow” forms in the human psyche.
Perhaps it is also the case that Jung’s own experience of the mid-life crisis involved the feminine archetypes in his psyche. In addition, perhaps the mid-life crisis that all men experience involves the feminine archetypes in their psyches. Jung processed his dangerous self-experiments with what he came to refer to as active imagination by writing out a detailed record of his experiences of unconscious contents in his Black Books. Jung then subsequently further processed his experiences of unconscious contents by making works of art and drawing representing certain unconscious contents in his Red Book.
By making works of art and drawings representing certain unconscious contents in his Red Book, Jung thereby honored what he had referred to in his publications as fantasy thinking involving image and associative thinking. Indeed, what Jung came to refer to as active imagination involved fantasy thinking.
I have written about Jung’s idea of fantasy thinking involving images and associative thinking in my OEN articles in 2024 about the fantasy skits in mom-son porn videos on the internet and in DVDs.
To spell out explicitly here the patent connection between Jung’s idea of fantasy thinking and the present document, television and DVDs obviously involve images – thereby inviting viewers to engage in associative thinking, as I myself did when I watched the DVD version of the 1970s Wonder Woman television series starring the busty young Lynda Carter on the big-screen television in the living room of my home in Duluth, Minnesota, in late August 2024 into September 2024. When I became infatuated with her, I was obviously projecting an archetype in my psyche onto her. The psychodynamic involved in my projection of an archetype in my psyche onto the busty and beautiful young Lynda Carter implicitly involved associative thinking on my part.
Put differently, viewing television and DVDs as well as viewing videos on the internet invites viewers to engage in what Jung refers to as fantasy thinking involving images and associative thinking – not what Jung refers to as directed thinking involving logic. When viewers become fans of certain performers, the viewers are thereby projecting an archetype in their psyches onto the performer in question. The psychodynamic involved in making such a projection onto the performer involved is important to note.
After all, how many television viewers, for example, have never felt attracted to a certain performer that they had viewed and had liked – as I had liked the busty young Lynda Carter’s performance as Wonder Woman in her wonderfully revealing Wonder Woman costume as I watched the DVD version of the 1970s Wonder Woman television series on the large-screen television in my living room in late August 2024 into September 2024?
In any event, my extended reflections in late 2024, comparable to Jung’s writings about his experiences of unconscious contents in his Black Books, included writing the following series of OEN articles about Robert Moore’s visionary theory of the eight archetypes of maturity and their accompanying sixteen “shadow” forms:
(1) “Robert Moore on Optimal Human Psychological Development” (dated September 17, 2024).
(2) “Thomas J. Farrell’s Encore on Robert Moore” (dated October 10, 2024).
(3) “John F. Kennedy Was a Compulsive Womanizer” (dated November 29, 2024).
(4) “Texas’ War on Porn, and Robert Moore’s Theory of the Archetypes of Maturity” (dated December 6, 2024).
(5) “On Interpreting the Ubiquitous Mom-Son Porn on the Internet” (dated December 19, 2024).
(6) “Some Reflections on the Work of C. G. Jung and Walter J. Ong” (dated December 28, 2024).
(7) “Some Personal Reflections About Porn” (dated January 2, 2025).
(8) “Some Further Reflections about Cory Chase and about Donald Trump” (dated January 10, 2025).
(9) “In Praise of John Bradshaw’s Book Healing the Shame That Binds You” (dated January 19, 2025).
In any event, in 2020, W. W. Norton and Company published the seven-volume set of Jung’s Black Books: 1913-1932: Notebooks of Transformation, edited by Sonu Shamdasani, translated by Martin Liebscher, John Peck, and Sonu Shamdasani.
In 2009, W. W. Norton and Company published Jung’s Red Book: Novus Liber (Latin for “New Book”), edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani, as a handsome over-sized art book. In my estimate, Jung’s works of art and drawings in it show that he was a talented artist.
Now, back now to my own experience of the onset of my mid-life crisis with my experience of a hypomanic episode in late February 1974. Yes, today I can readily interpret my hypomanic episode in late February 1974 as involving the feminine archetypes in my psyche. In Jung’s experience of his significant mid-life crisis, he had deliberately, and dangerously, engaged in what he came to refer to as active imagination. His dangerous use of active imagination involved what he referred to as fantasy thinking involving images and associative thinking – not what he referred to as directed thinking involving logic. For Jung in his dangerous self-experimentation, fantasy thinking was the royal road for him to take to enter into and interact with his unconscious, including his personal unconscious and the collective unconscious in the psyches of all human persons. The collective unconscious is where the eight archetypes of maturity and their sixteen “shadow” forms reside in the human psyche.
But now back to me and my experiences in late February 1974 and early March 1974 involving my friend Sue – especially those experiences in early March 1974 involving her difficult story of her years of sexual promiscuity as a girl and of her gang rape as a pregnant teenager by her boyfriend and his buddies. In my sheltered life up to that time in early March 1974, I had never heard any woman describe her sexual experiences as a girl in such vivid detail.
Because of the powerful sense of empathy that I felt for my friend Sue as she told me about her years of sexual promiscuity as a girl and about her gang rape by her boyfriend and his buddies, and because of certain other sexual experiences I had with my friend Sue in bed with her in her apartment in early March 1974, I experienced the following two significant psychological shifts in my psyche as part of my mid-life crisis:
(1) from The Impotent Lover “shadow” form of the masculine Lover archetype of maturity in my psyche The Addicted Lover “shadow form of the archetype of maturity in my psyche (manifested in my love for porn videos and DVDs);
(2) from The Impotent Lover “shadow” form of the feminine Lover archetype of maturity in my psyche to The Addicted Lover “shadow” form of the feminine Lover archetype of maturity in my psyche (manifested in my love for the two pornstars Bree Olson and Molly Jane).
No doubt the first significant manifestation of The Addicted Lover “shadow” form of the masculine Lover archetype of maturity in my psyche emerged in February 1974 in my attraction to my friend Sue and my desire to fuck her.
No doubt the strong and powerful empathy that I felt for my friend Sue in early March 1974 when she told me the difficult story of her years of sexual promiscuity and of her gang rape as a pregnant teenager in my apartment one evening prompted me subsequently in bed with her in her apartment to urge her to re-enact her gang rape on me – which she promptly did.
By asking my friend Sue to re-enact her gang rape on me, I was expressing The Detached Manipulator “shadow” form of the masculine Magician/Shaman archetype of maturity in my psyche.
No doubt the two changes in the “shadow” forms of the masculine and the feminine Lover archetypes of maturity in my psyche are associated with my short but intense affair with my friend Sue in late February -March 1974 were significant developments in my psychological life thereafter. (She ended our short affair before the end of March 1974.)
No doubt my active, indeed participatory, viewing of the DVD version of the 1970s Wonder Woman television series starring the busty young Lynda Carter in late August 2024 into September 2024 enabled me to learn how to access the optimal and positive form of the feminine Lover archetype in my psyche.
In addition, during the ten weeks or so that I felt mildly euphoric in the fall of 2024, I sent email messages to certain actresses telling each one of them how ardently I would love to fuck her. I sent such email messages to the pornstars (1) Bree Olson, (2) Cory Chase, and (3) Mandy Flores. I also sent such email messages to the actresses (1) Catherine Bell, (2) Cote de Pablo, (3) Katharine McPhee, (4) Michaela Conlin, and (5) Sasha Alexander. In addition, I continued sending follow-up email messages to each of these nine women – to some of them more than to others. Of course, as I expected, none of them replied.
Now, I also sent Lynda Carter fan letters to the email address that she maintains for fan mail, and I did receive replies occasionally from someone she employs to respond to her fan mail – which I found encouraging.
Those nine email messages expressing my ardent desire to fuck each of those nine women manifest and express my psychological shift at the age of 80 from mainlining The Impotent Lover “shadow” form of the masculine Lover archetype in my psyche to mainlining The Addicted Lover “shadow” form of the masculine Lover archetype in my psyche.
Now, I have framed photos of four of those nine women displayed in various places in my home – as well as the framed photos of two other pornstars I like. I also have fake nude pics of the other four women from CFake.com displayed in my home. By displaying these various images in various places in my home, I am celebrating my switch at the age of 80 from The Impotent Lover “shadow” form of the masculine Lover archetype in my psyche to The Addicted Lover “shadow” form of the masculine Lover archetype in my psyche.
In addition to displaying these various images of these various women in various places in my home, I have celebrated this significant psychological switch in my psyche by publishing various OEN articles criticizing the Roman Catholic Church’s moral vision regarding individual moral development, on the one hand, and, on the other, celebrating the fantasy skits in mom-son porn videos – particularly celebrating Cory Chase’s porn work.
Thus, at the same time that I was at long last learning how to access the optimal and positive form of the feminine Lover archetype in my psyche, I was also experiencing at long last the significant switch in my psychological make up from The Impotent Lover “Shadow” form of the masculine Lover archetype in my psyche to The Addicted Lover “shadow” form in my psyche.
In any event, I stopped feeling mildly euphoric before the election on November 5, 2024.
The election of Trump on November 5, 2024, to a second term as the president of the United States surprised and distressed me.
Now, my friend Sue’s vivid and moving account of her years of sexual promiscuity in early March 1974 made such a deep impression on me that years later I was further attracted to the pornstars Bree Olson (born on October 7, 1986) and Molly Jane (born on October 9, 1993) when I learned their respective stories of how they had lost their virginity as girls and subsequently devoted years as girls to sexual promiscuity with boys and men until of them entered porn at the age of 18. Yes, to be sure, many years in my life elapsed between the time in early March 1974 when my friend Sue told me about her years of sexual promiscuity as a girl and the times later in my life when I learned the respective stories of Bree Olson’s and Molly Jane’s years of sexual promiscuity of girls before each of them entered porn at the age of 18. Nevertheless, when I learned their respective stories of their years of sexual promiscuity as girls, I connected their respective stories of their sexual promiscuity as girls with my friend Sue’s story of her years of sexual promiscuity as a girl. I connected these respective stories of sexual promiscuity because of my conscious memory of my friend Sue’s story in early March 1974.
In 20/20 hindsight, I associated my friend Sue’s mainlining of The Addicted Lover “shadow” form of the feminine Lover archetype in her psyche with Bree Olson’s and Molly Jane’s mainlining of The Addicted Lover “shadow” form of the feminine Lover archetype in their respective psyches. Up to the time when I listened to my friend Sue with such strong empathy in early March 1974, I had been mainlining the Impotent Lover “shadow” form of the feminine Lover archetype in my psyche – because I felt no sexual attraction to my busty Mom in real life, even though she regularly dressed in only her panties and bra at home during the summers of my teenage years growing up in Kansas City, Kansas.
Thus, because my friend Sue as a sexually promiscuous girl was mainlining The Addicted Lover “shadow” form of the feminine Lover archetype in her psyche, my strong empathy for my friend Sue in early March 1974 enabled me to switch from mainlining The Impotent Lover “shadow” form of the feminine Lover archetype in my psyche to mainlining The Addicted Lover “shadow” form of the feminine Lover archetype in my psyche – from early March 1974 to late August 2024 and early September 2024, when my active admiration for the busty young Lynda Carter’s gorgeous body in her wonderfully revealing Wonder Woman costume enabled me to switch again to accessing the optimal and positive form of the feminine Lover archetype in my psyche. This crucial switch in 2024 in my psyche involved my feeling mildly euphoric for about ten weeks – as an infatuated lover of the busty young Lynda Carter. Good for me!
Incidentally, all the women and men who perform in porn videos are exhibitionistic, and both the women and the men who perform in porn videos are mainlining The Addicted Lover “shadow” for of one or the other Lover archetypes in their psyches – or perhaps even both of the Lover archetypes in their psyches.
However, according to Robert Moore’s theory of the archetypes of maturity in the human psyche, I also have six other archetypes of maturity (besides the feminine and the masculine Lover archetypes of maturity in my psyche) and their accompanying fourteen “shadow” forms in my psyche.
For further information about the retired pornstar Bree Olson, see the Wikipedia entry about her. Thus far, there is no comparable Wikipedia entry about the active pornstar Cory Chase giving the exact number of porn videos she has made over the years.
Commentary About the Extremely Popular Game of Thrones Television Series
Now, in a video interview on the internet, the 5’5” tall pornstar Cory Chase (born on February 25, 1981; started in porn in 2011 at the age of 28), with measurements of 36-25-34, who plays the role of the mom in fantasy skits in many, many mom-son porn videos on the internet and in DVDs, attributes the emergence of incest-themed porn to the incest them of the popular medieval fantasy drama Game of Thrones (2011-2019). Even though Cory Chase started in porn at the age of 28 in 2011, the year in which Game of Thrones started its extraordinary run, I do not know (1) when the incest theme first emerged in Game of Thrones, (2) when incest-themed porn videos emerged on the internet, or (3) when Cory Chase made her first mom-son porn video. I do know that the retired pornstar Bree Olson (born on October 7, 1986; started in porn at the age of 18 and retired from porn in 2013 – after making 571 porn videos) never played a role in an incest-themed porn video. Bree Olson made many porn videos featuring anal sex. However, I know of only one video in which she is double penetrated.
My favorite Bree Olson video is “The Hole Crew” – in which she has sex with each guy on her camera crew. In it, one fellow use his hand to manipulate her pussy vigorously to get her to squirt. In her interactions with each guy on her crew, she takes her time and gives him the pleasure of her company. In my estimate, this was an excellent way for Bree Olson to periodically reward her “Hole Crew.”
Now, the now retired pornstar Molly Jane (born on October 9, 1993; started in porn at the age of 18 in 2001 and retired at the age of 21 in 2015 – after making 65 porn videos) made many dad-daughter porn videos – with four different male actors playing the role of her dad: (1) many with Luke Longly (Cory Chase’s real-life husband) as her dad; (2) three with Joe Hardick as her dad; (3) two with Alex Adams as her dad; and (4) one with Lance Hart as her dad. In many of Molly Jane’s porn videos, she has anal sex. But in only two of Molly Jane’s porn videos is she is double penetrated by her dad and brother: (1) Luke Longly as her dad and Alex Adams as her brother double penetrate her; and (2) Lance Hart as her dad and Alex Adams as her brother double penetrate. Molly Jane also made many other porn videos with Alex Adams as her brother and as her son; Molly Jane and Alex Adams perform well together. (Alex Adams and Cory Chase also perform well together.) In general, I prefer Molly Jane’s dad-daughter porn videos with Luke Longly (Cory Chase’s real-life husband), because they typically show off her lithe young body admirably.
In her published exit interview with Captain Jack, Molly Jane says that Alex Adams discovered her in Florida, where she had relocated after growing up in Texas, and persuaded her to enter porn:
https://interviews.adultdvdtalk.com/molly-jane
Molly Jane did her first porn shoot at Cory Chase’s studio in her home in Florida.
Cory Chase has made many porn videos at her own studio (frequently with her real-life husband Luke Longly and/or Alex Adams), but she has also worked for many other porn studios – she is extremely popular. The versatile and athletic Cory Chase has performed in many, many mom-son videos, many anal sex videos, many double penetration videos, and many gangbang videos – including many interracial porn videos and many girl-girl sex scenes. In short, the versatile Cory Chase performs well in all of her various sex scenes because she is the Queen of Porn! In any event, if I had to sum up the pornstar Cory Chase in only one word, that one word would be versatile!
Of Cory Chase’s many performances that I have seen over the years, my favorite is her awesomely energetic performance in her 2024 interracial gangbang in Interracial Gangbangs: Volume 3 starring Cory Chase.
In addition to owning her own studio, Cory Chase owns a website. The enterprising Cory Chase also makes her sexual services available to her fans as an escort for the hourly rate of $2,500. She employs the services of a pornstar tryst agency to screen and clear her prospective clients for her.
No doubt the exhibitionistic Cory Chase is mainlining The Addicted Lover “shadow” form of the feminine Lover archetype in her porn videos.
In various video interviews, Cory Chase has been refreshingly candid about herself (telling us, for example, about how she learned how to enjoy anal sex).
However, from what little she has revealed about herself personally, I cannot tell if she somehow experienced something in her life that enabled her to switch from perhaps mainlining The Impotent Lover “shadow” form of the feminine Lover archetype in her psyche to The Addicted Lover “shadow” form of the feminine Lover archetype in her psyche. Such a switch would make sense of her late entry into porn at the age of 28 in 2011 – at the time of her mid-life crisis. However, it is possible that she was mainlining The Addicted Lover “shadow” form of the feminine Lover archetype in her psyche for years before she entered porn at the age of 28 in 2011.
The pre-incest-theme pornstar Bree Olson’s retirement from porn in 2013 at the age of 27 might mark her mid-life crisis. In any event, her retirement from porn evidently marks her toning down her acting out The Addicted Lover “shadow” form of the feminine Lover archetype in her psyche – which she mainlined from the age of 11 when she lost her virginity to a 20-year-old boy in the neighborhood until she retired from porn at the age of 27 in 2013.
In any event, I have thematized mom-son porn in my recent series of OEN articles in which I discuss the late Jungian psychotherapist and psychological theorist Robert Moore’s theory about the eight archetypes of maturity and their sixteen “shadow” forms in the human psyche. In two of my most recent OEN articles about Robert Moore’s work, I have mentioned Cory Chase by name – and in one of those, mentioned above, I have mentioned her name in the title of the OEN article.
Conclusion
In conclusion, my participatory experience of watching the DVD version of the 1970s TV show Wonder Woman starring the busty young beauty Lynda Carter in late August 2024 into September 2024 involved my becoming infatuated with the image of Lynda Carter’s gloriously beautiful body in the big-screen television in the living room of my home in Duluth, Minnesota. My infatuation with the image of Lynda Carter’s gloriously beautiful body was accompanied by my feeling mildly euphoric. But my feeling mildly euphoric continued for weeks after I had finished watching the DVD version of the 1970s TV show – I felt mildly euphoric for about ten weeks. But I stopped feeling mildly euphoric a few days before the election on November 5, 2024.
In the 2024 presidential election, I had voted for Vice President Kamala Harris to be the next president of the United States. I had expected the presidential election to be close. I was greatly disappointed when former President Donald Trump was elected for a second term in 2024.
Throughout the fall of 2024, starting when I was feeling mildly euphoric for ten weeks, I began reflecting on the psychodynamics involved in being a fan of a particular TV show and/or of a particular TV actress – with special reference to busty young Lynda Carter. The present document is the culmination of my writing about the psychodynamics of being a fan of a particular person – with special reference here to the busty young TV actress Lynda Carter and to the retired pornstars Bree Olson and Molly Jane and to the active MILF pornstar Cory Chase.
In the present document, I have also frequently mentioned my friend Sue and my short but intense affair with her in late February 1974 and early March 1974. I was hospitalized in late February 1974 as the result of a mental breakdown. My mental breakdown was diagnosed as a hypomanic episode. Yes, feeling hypomanic in late February 1974 involved a certain feeling of euphoria. When I felt mildly euphoric for ten weeks in the fall of 2024, I was reminded of my late February 1974 hypomanic experience. I have no desire to have another hypomanic episode. My hypomanic episode in late February 1974 was a totally disorienting and disturbing experience. Consequently, I have no desire to have another totally disorienting and disturbing experience like that.
Now, after I got out of the hospital in St. Louis in early March 1974, my friend Sue renewed our friendship. One evening in early March 1974, she told me the moving story of her years of sexual promiscuity as a young girl and of her gang rape as a pregnant teenager by her boyfriend and his buddies – because they did not need to be concerned about her becoming pregnant because she was already pregnant!
Now, in the present document, I have discussed my friend Sue’s difficult story of her years of sexual promiscuity as a young girl and of her gang rape as a pregnant teenager by her boyfriend and his buddies far more extensively than I have previously discussed her moving story. No, I did not discuss her moving story with the psychiatrist that I was seeing in St. Louis in 1974 – and no, I did not ever discuss her moving story with any of the 20 or so different psychotherapists I have seen over the years of my life since 1974.
Yes, to be sure, many years later in my life, my friend Sue’s moving story resonated in my memory when I heard, first, Bree Olson recount her years of sexual promiscuity after she lost her virginity at the age of 11, and then I read Molly Jane’s candid account of her years of sexual promiscuity after she “voluntarily” lost her virginity around the age of 10 or 11.
Now, in the present document, I have recorded the dazzling new insight I had recently about the liberation of endogamous kinship libido in my psyche. My recent insight was prompted by Ong’s succinct summary of the eight stages of consciousness that the Jungian psychoanalyst Erich Neumann delineates in his book The Origins and History of Consciousness (1954). According to Neumann, the liberation of endogamous kinship libido is a feature of stage (7) of the eight stages of consciousness. In the present document, I have dwelt extensively on certain women, including not only my friend Sue, but also the TV actress young Lynda Carter, and three pornstars – Bree Olson, Molly Jane, and Cory Chase. In the present document, I have only briefly indicated that I am also a fan of certain men – most notably Walter J. Ong, C. G. Jung, and Robert Moore.
But the liberation of endogamous kinship libido in my psyche not only involves liberation of libido in my psyche that is married, figuratively speaking, to the image of my Mom in my psyche, but also involves liberation of endogamous kinship libido in my psyche that is married, figuratively speaking, to the image of my Dad in my psyche. I find my dazzling new insight regarding the scope of the liberation of endogamous kinship libido in my psyche enormously exciting.
I am sharing my dazzling new insight with you because you may also find that you have also experienced the liberation of endogamous kinship libido in your psyche. That’s good news for you! However, it now remains for me to indicate briefly here what the bad news is.
Ah, but why is the liberation of endogamous kinship libido in your psyche significant? It is significant because it means that you are now free to work on learning how to access the optimal and positive forms of the eight archetypes of maturity in your psyche that Robert Moore describes in his theory of the archetypes of maturity the human psyche:
(1) the Queen archetype of maturity;
(2) the feminine Warrior/Knight archetypes of maturity;
(3) the feminine Magician/Shaman archetype of maturity;
(4) the feminine Lover archetype of maturity;
(5) the King archetypes of maturity;
(6) the masculine Warrior/Knight archetype of maturity;
(7) the masculine Magician/Shaman archetype of maturity;
(8) the masculine Lover archetype of maturity.
But learning how to access the optimal and positive forms of these eight archetypes of maturity in your psyche requires your careful attention to what is known as the discernment of spirits in your psyche. But why? Because at the present time, and for the better part of the second half of your adult life, you have been mainlining a combination of the sixteen “shadow” forms of the eight archetypes of maturity in your psyche. This is the bad news. To ween yourself from even one of the “shadow” forms that you are currently mainlining is going to involve a struggle in your psyche – that is, a struggle within yourself.
Consider, for example, the case of the retired pornstar Bree Olson. From the time she lost her virginity at the age of 11 to a 20-year-old boy in the neighborhood onward into her extremely productive years in porn, she mainlined The Addicted Lover “shadow” forms of both the masculine Lover archetype in her psyche and the feminine Lover archetype in her psyche. However, since she retired from porn, she has, as a self-identified lesbian, drastically cut back on fucking guys. As a result, she has thereby curtailed her mainlining of The Addicted Lover “shadow” form of the masculine Lover archetype in her psyche.
Ah, but has Bree Olson simply switched from eagerly mainlining The Addicted Lover “shadow” form of the masculine Lover archetype to mainlining The Impotent lover “shadow” form of the masculine Lover archetype in her psyche – or has she perhaps learned how to access the optimal and positive form of the masculine Lover archetype in his psyche?
It is not uncommon for people to switch from mainlining one “shadow” form of a certain archetype of maturity in their psyches to mainlining the other “shadow” form of the same archetype of maturity in their psyche.
Over the years of my teaching full-time (starting in the fall semester of 1968 and ending at the end of May 2009, when I retired from the University of Minnesota Duluth), I switched from mainlining The Weakling King “shadow” form of the King archetype in my psyche from the fall of 1968 to about the early 1980s to mainlining The Tyrant King “shadow” form of the King archetype in my psyche until I retired from teaching at the University of Minnesota Duluth at the end of May 2009..
Now, Robert Moore indicates that in his experience men find it hard to learn how to access the optimal and positive form of the King archetype in their psyches. But he also indicates that learning to access the optimal and positive form of the King archetype in their psyches holds the greatest positive potential for men to learn how to access the optimal and positive form of the other three masculine archetypes of maturity in their psyches.
Robert Moore sees what he describes as “the dynamic calm that is a hallmark of the King energy” (2007, p. 53) as involving the reconciliation of The Tyrant “shadow” form of the King archetype in the human psyche with The Weakling King “shadow” form of the King archetype of maturity in the human psyche as representing and expressing “the tranquil but dynamic Self at the psyche’s Center” (2007, p. 70).
Now, when Christians refer to Christ the King, they are thereby projecting the King archetype of maturity in their psyches onto the figure of the historical Jesus Christ.
I assume that Moore would also see dynamic calm as the hallmark of the optimal and positive form of the queen archetype in the human psyche.
Now, just to be clear here, in writing the present document, I have been using the masculine Magician/Shaman archetype of maturity in my psyche. Similarly, in Ong’s and Jung’s and Moore’s publications, they have used the masculine Magician/Shaman archetype of maturity in their respective psyches.
But I now also want to make a further point about my dazzling new insight regarding the liberation of endogamous kinship libido in my psyche. When I was feeling mildly euphoric for about ten weeks in the fall of 2024, I figured that I was experiencing unconscious contents in my psyche, that much is undoubtedly clear and certain. However, until the full implications of my dazzling new insight about the liberation of endogamous kinship libido in my psyche finally registered on me, I had thought that my feeling mildly euphoric for about ten weeks was due to the invasion of the feminine archetypes in my psyches. However, at long last, it finally dawned on me in my dazzling new insight that the liberation of endogamous kinship libido in my psyche also involved the masculine archetypes in my psyche. As a result, I now have to re-interpret my experience of feeling mildly euphoric for about ten weeks not only to the invasion of the feminine archetypes in my psyche, but also to the concurrent invasion of the masculine archetypes in my psyche.
In 20/20 hindsight, I now see the mild euphoria that I felt for about ten weeks in the fall of 2024 as the emergence of both the optimal and positive form of the Queen archetype in my psyche and the optimal and positive form of the King archetype in my psyche.
Now, Robert Moore has delineated his theory of the archetypes of maturity in a series of five books that he co-authored with Douglas Gillette (1990, 1992b, 1993a, 1993b, and 2007) about the four masculine archetypes of maturity in the male psyche.
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