In 1990 an event occurred that would eventually erode our blind acceptance of everyday reality, shifting our perception forever. One of the results of that event was the writing of Portals and Corridors , A Visionary Guide to Hyperspace. It took us eight years to bring forth a book chronicling many wondrous experiences. It all began with a seance given by Reverend Keith Milton Rhinehart, a world renowned trance adept medium. We were attending a private worldwide service via a telephone hookup at the San Francisco Branch of Aquarian Foundation and Reverend Rhinehart was in a different locale unaware of our participation. While Rhinehart was entranced by the legendary Count St. Germaine (noted for his influence around the courts of France in the eighteen century), he stopped mid-sentence and completely out of context proceeded to address Monica as though he had known her all his life. He claimed she had been developing as a psychic artist and possessed the same skills as a famous medium in England who after talking to a person on the telephone drew portraits of the caller’s dead relatives who were wanting to communicate their love. This seemed to be a preposterous assertion given Monica wasn’t an artist and had never drawn a single portrait. How could she be a developed or even a developing psychic artist?

Because of Rhinehart’s credibility, Monica gradually became more curious of this bizarre claim eventually rallying her courage to make an attempt to draw. The first attempts were sketchy to say the least, but as she continued to draw the results appeared to be promising. After numerous initial drawings somewhat reminiscent of victorian aunts and uncles, followed by a multitude of generic spirit guides, Monica began seeing strong black outlines on the page. As she furiously drew to keep up with the unfolding image it was clear she was tracing an image totally unfamiliar to this world. What transpired was an unending stream of inter-dimensional beings seemingly all teed-up just waiting their turn to get a chance to be the next personage to arrive on her page. At first we were baffled and quite confused. Why were these alien intelligences coming to us? What was the purpose? Soon after consulting with Monica’s drawing guide, Aurora, we determined that each drawing not only represented an inter-dimensional being and alien intelligence, but represented a portal to another dimension. Our book Portals & Corridors is what resulted from our interaction with these incredible beings. Some who have seen our work have wanted us to discuss what the aliens are trying to tell our world, what vital communications to they bring. Although there are valuable messages pertinent to humankind throughout the book, the real import is primarily shamanic. Twenty-four different beings take Monica on journeys unveiling the mysteries of the soul and universe. Although some of the journeys are personal each chapter was created to impart universal truths that can be applied to anyones’ life.

The following are some comments, endorsements, and reviews that have been written about Portals & Corridors.

Foreword by Terence McKenna, author of The Archaic Revival, True Hallucination, and Food of the Gods.

Preface by Keith Milton Rhinehart, world renowned spiritual teacher, founder of Aquarian Foundation a Church of Higher Spiritualism.

Endorsement by Hank Wesselman, Ph.D., author of Spiritwalker: Messages from the Future, Medicinemaker: Mystic Encounters on the Shaman’s Path, and Visionseeker: Shared Wisdom from the Place of Refuge.

Endorsement by Richard Grossinger, Publisher of North Atlantic Books and author of Planet Medicine, the Night Sky, and New Moon.

Review in Magical Blend Magazine by Michael Langevin, Publisher and Editor

Review in The New Times of Seattle, by Nancy Brown

Terence McKenna

In 1996 I first became aware of the effort of the Whitneys’ to create a Who’s Who of the hyperspatial realm, a sort of taxonomic bestiary of the denizens of the poetic imagination. My own involvement with shamanism and psychedelics had long ago caused me to realize that one of the peculiarities of Western culture as it has evolved over the past several centuries has been a deepening hostility toward the domain of spirit and imagination. Except insofar as the imagination has been seen as the source of inventions and technical innovations, with a potential for profit and military application, our fantastic inner landscapes have been imaged as a desolate and yet somehow dangerous place. This was the tragedy foreseen by William Blake, that the Divine Imagination would be enslaved by method in “the dark Satanic mill” of industrial science.

Early in the twentieth century Sigmund Freud and Carl Jung supported their psychological theories by showing that active fantasies, the unlimbering of the imagination, brought with it the confrontation with archetypal drives and traumatic material unfit for the parlor room atmosphere that science prefers to maintain. Still later the insistence of the psychedelic culture that arose in the West since the 1960s, an insistence that the imagination-driven experiences induced by plants and hallucinogenic substances could be central to personal spiritual efforts at self definition, further unsettled the issue. And then lastly, and at the other end of the intellectual spectrum from debunking science, are the newly militant cults of ignorance that rally under the tattered banner of the label “New Age.” To these fractured and epistomologically naive new faiths all the intuitions of and projections by the unschooled mind are to be taken at face value as genuine and trustworthy information about the nature and organization of the cosmos—a position which renders the universe not grandiose and inspiring but rather simply quite silly, a kind of epistemological cartoon world in which Christ, St. Germain, Bugs Bunny, denizens of a punitive 12th planet, and the ghost of Elvis all compete on an equal footing.

Into this morass of intellectual denial and uncritical and naive belief Gary and Monica Whitney have brought a measure of clarity. Contrary to my own approach to the imagination Monica Whitney is not a user of psychedelic drugs or hallucinogenic plants. These tools are mainstays of the shamanic tool kit to be sure, but so is what Depth Psychologists call “active imagination,” that is innocent day-dreaming. This is the method the Whitneys used, it is simple and straightforward; to gather experiences and impressions and to faithfully report them without getting near the claim that these experiences are either true or pathological. This method, to gather facts and to search one’s observations for patterns, is not new. It is in fact the Baconian method that informed and guided science in its youth before it became arrogant in its certainty that nature was all atoms and mechanism.

The body of work which the Whitneys have assembled speaks strongly to the fact that the ecologies of the hyperspatial imagination are multitudinous and strange. And while the illustrations presented here are not meant to be construed as great art, their primitivism and lack of visual sophistication is a measure of the uncontrived sincerity of the insights and impressions of Monica and Gary. Naturally the report of any explorer or cartographer of an unexplored domain reflects personal limitations and is couched in the language and the expectations of the culture from which the explorer comes. Nevertheless objectivity, while difficult to achieve, is an ideal which unifies the Whitney’s approach and gives Portals and Corridors a credibility and a charm that channelers of good news from the Pleiades and those with a direct pipeline to the elders of lost Atlantis may lack.

There is no doubt in my mind that the work of the Whitneys is prefigurative of a new direction in science and phenomenology. The easy questions were the first to be dealt with by science, and indeed mastery of matter and biology is slowly being attained. Now science must look at the most complex and integrated phenomena that nature offers, and this is surely the human mind and the nature of consciousness itself. We are in an early phase of this process. First the unconscious was approached with fear and trepidation, a matter for physicians and psychopathologists, later the most powerful tools for the study of the mind, the psychedelic plants and substances, were made illegal and remain so to this day. This situation recalls for those with long memories that the Church once forbade the dissection of human bodies and forced medical students into the role of ghouls who must steal corpses from the gallows and battlefields in order to advance the knowledge of human physiology.

But Truth wants to be known, and the human journey through time is a journey toward an ever more faithful approximation of that Truth. Those who explore and report their findings without fear and compromise become the ideals and inspiration of those who follow and complete their work. I believe that the Whitneys have made a charming and interesting effort to bring into the life of consciousness and collective discourse some of the denizens of the infinite domain that we call, without knowing what the words mean, the Human Imagination.

Terence McKenna
September, 1998
Honaunau, Hawaii

 

 

Keith Milton Rhinehart

THE READERS OF THIS BOOK may have the same first reaction that I did to some of the pictures: an emotional one. I felt uncomfortable when I looked at some of the life forms portrayed by Monica. Some of the pictures looked evil and frightening to me.

I have found that no amount of asking some Spiritual Psychic Artists to stop drawing faces, that in our culture, could be thought of as evil-looking, will stop some of those artists from drawing such pictures. Those artists’ psychic experiences are their psychic experiences!

In a private meeting, a prophecy was given through me that Monica had the power to develop as a Spiritual Psychic Artist. Throughout the history of my career as a scientifically tested physical phenomena medium, I have been confronted with the following experience: when a prophecy is given to a student, telling him or her of potential psychic ability, some interpret this as a blanket confirmation of the accuracy of each and every psychic impression he or she will ever receive. No such blanket confirmation is expressed or implied.

Having said these things, I feel (emotional reaction aside), that this book presents a different construct of the Universe that may well be worthy of examination.

If beings from other worlds or dimensions were to accomplish travel to earth, through efforts and skills of their own, they would represent the most assertive and politically powerful groups of their worlds. We also know that human life on our planet is carbon based and that our life forms manifest with two legs, arms, eyes, ears, and a mouth. However, most upright life forms from other worlds would not necessarily look humanoid or even be carbon based.

How much diversity can we tolerate in the centuries ahead? Not all visiting aliens would be genuinely friendly. Nor would they necessarily be hostile. Neither would we necessarily be friendly to them.

What if through genetic manipulation, scientists were to create beings that look like the beings that Monica has drawn? Should these beings be allowed to live? If you let them live once they come out of the womb, or a test tube, could you stand it?

Genetic manipulation is one of the burning issues of our time. Many people are discussing the moral implications of genetic manipulation of a human embryo.

What are the future limits in genetic manipulation? One day there may be laws banning genetic manipulation both in the United States and in many other countries around the world. However, not all countries may pass such laws. In any event, some scientists will continue to experiment in this field regardless of what the laws are. What would the outcome of those experiments be?

What if wars were fought one day over the rights of beings that look like the drawings in Monica and Gary’s book? These concepts bear contemplation.

For many years, I have asked my students to examine the question: “What are the limits of tolerance?” In examining what those limits of tolerance might be, I asked myself if I could accommodate a being that looked like one of the drawings in this book.

I have already admitted that I felt uncomfortable with some of the pictures in this book. After deep contemplation I concluded that even if I was personally uncomfortable with some of them, I would have to accommodate beings that looked like this, as long as they radiated virtue and spiritual values. (Having taken a second look at the preceding sentence, I feel there is something wrong with it. Are we to “accommodate” only those beings who are virtuous? Who is totally virtuous?)

Do beings like this exist somewhere?

Throughout history and in modern times, government administrations have perpetrated many lies and frauds upon the public. Many people believe that government administrations are lying even today and are not giving us the real truth about alien civilizations visiting Earth.

For example, I personally believe there are certain highly placed people in government intelligence agencies who have known for a long time that there is water on Mars. They feed this information to us only gradually through the controlled establishment media.

Therefore, it is logical there may be government-known life forms out there, about which we have not been told.

Monica has tuned into strange and diverse life forms that could exist. The reader should draw his or her own conclusions as to the realities of those experiences.

When someone claims that a supernatural communication or phenomenon has occurred, we first look, very carefully, to see if the phenomenon is genuine, or deluded, or fraudulent. If we ascertain that the phenomenon is genuine, we next look, very carefully, to see if the phenomenon is of God and good.

Monica is a genuine psychic artist.

Because of our cultural and personal biases, some of the beings she depicts may not appear to be of God and good. The accompanying communications and experiences should be examined to discern if the spirit is of God and good.

If some of the beings Monica perceived through her mediumship turned out not to be of God and good, it certainly would not make her a bad person; anymore than a photographer would be a bad person for taking photographs of some of the less pleasing faces of the human condition.

I was particularly impressed that Monica supplied me with an affidavit sworn under penalty of perjury that she is sincere and genuine in her spiritual work. She believes that she has a spiritual gift in being able to contact, and to draw portraits, of beings from other dimensions of life.

Monica presented me with testimonials from sincere people who declare under penalty of perjury that they have had remarkable personal experiences with her Spiritual Psychic Art.

The art in this book does not depict traditional Spiritual Psychic Art.

A traditional psychic artist sometimes draws faces of loved ones who have biologically died, thus giving evidence for survival of the soul. More often pictures of Guardian Angels are drawn. The purposes of Spiritual Psychic Art are to comfort the mourner, by giving evidence of the soul’s survival, and/or to uplift and inspire a truth seeker and/or to give Spiritual Healing to the person who receives the drawing.

Most of the testimonials written for Monica do not describe experiences with beings like the ones in this book. In the testimonials, descriptions are given of certain evidences of Spiritual Healing and/or contact with those who once lived on Earth and died.

A thinking person would not explain away these heartfelt experiences glibly. Even the concept of freedom of the press affirms one’s right to express sincere views that are not commonly held by others.

The reader will naturally be curious as to what type of person Monica is.
Monica is a courteous, loving and friendly person. She is gracious and humble. She has a lovely face and she looks angelic. She is a soft-spoken woman who has a delightfully sweet personality and is somewhat self-effacing.

Gary is eloquent as he presents Monica’s spiritual journeys to the reader. Some readers may find difficulty in accepting Monica’s experiences as anything except pure fantasy. However, some great minds and thinkers teach us that “creativity and imagination” are a key to unlocking many spiritual truths.

Gary masterfully describes Monica’s experiences with words that are colorful and expressive. He encourages the reader to journey further with Monica and her guides in the spiritual realms. Each experience is presented in an innocent and fresh way. Whether or not you believe these beings are real, at least you have had an interesting journey through someone else’s sincere and genuine effort to make contact with life forms that are alien to our own.

It is through efforts such as these made by Gary and Monica, that we keep alive the common man’s and common woman’s desire to learn something new. The freedom to do that which Gary and Monica undertake in this book, may in future centuries, stimulate grassroots movements for good social change. I leave it for the reader to decide what good social change may be, especially in connection with intelligent alien life forms, centuries from now.

These decisions are not going to be easy ones.

Keith Milton Rhinehart
1998
Aquarian Foundation

 

 

Hank Wesselman

“In a society obsessed with outer space, Monica Szu-Whitney has begun to penetrate the nonordinary level of inner space, a vast, largely unexplored region that traditional peoples often call the spirit world. Her illustrated fieldwork will be of great interest to contemporary students of shamanism and shamanic journeying.”

Richard Grossinger

“For an era flooded with icons of almond-eyed aliens, stock angels, and computer-generated Martians as well as the disappointingly pious sermons of Pleiadians and Sirians, Monica Szu-Whitney and Gary Whitney have opened a window into the actual vastness of the universe. Through the admittedly imperfect tools of our minds and ‘imaginality’ they have glimpsed the inhabitants of that domain known as hyperspace, subspace, or the astral realm; and they have presented us with their remarkable portraits and words. The beings in this book lie far from us in actual time-space and are hard to see, but their destinies and ours are intertwined, and they bear critical messages for all inhabitants of the Earth.”

Michael P. Langevin

“Terence McKenna wrote the foreword which tells you this book is pushing the envelope. First Monica drew, then painted portraits of being from other dimensions. Later she began visiting the astral hyperspace. I have never been exposed to these beings or the dimensions that her husband Gary helps her write so entertainingly about. Her visions are beyond comic books and science fiction. These beings are beyond what I have imagined. However if there exist other dimensions and hyperspace then why couldn’t these beings exist, and why couldn’t Monica visit them? I am always pleased by a book that stretches me and this one is a prize winner.

Nancy Brown

Upon reading Portals & Corridors, I was taken on a captivating journey through time and space. The Whitneys have succeeded in presenting their readers with a delightful book that serves as a guide, taking the reader into elaborately detailed accounts of other dimensions and the beings that dwell in these realms.

It begins with a discussion on the importance of the imagination and how it can open one up to the flow of interdimensional travel. This is followed by a large selection of portraits, beautifully painted by Monica, of beings that she encounters in her travels. As the book progresses, she details each journey in a highly articulate manner, creating such pictures with her words that the reader feels that she or he is indeed experiencing the journey on a very personal level.

As her stories come alive, one is left with a sense of having met these beings and shared with them a sense of kinship. Some of the pictures are very odd and may at first even appear startling or scary. However, upon reading about them, the reader is immediately put at ease and left with a greater understanding of the importance of opening to other possibilities and not being so fast to judge - and a desire to experience these channelings themselves.

The Whitneys give us a good start to our own channeling of other dimensions, with instructions on how to proceed in doing so with the use of the enclosed portraits. All in all, I found reading this book a light and gentle, yet very intriguing experience. I am left with a desire to know more!