• Shows how the archetypal symbols of the Pohnpaid petroglyphs have exact counterparts in other ancient cultures throughout the world • Provides evidence that Pohnpaid is closely related to--yet predates--neighboring Nan Madol • Includes hundreds of Pohnpaid petroglyphs and stone circle photos, many never before seen While residing on the small Pacific island of Pohnpei in the 1990s, Carole Nervig discovered that a recent brush fire had exposed hundreds of previously unknown petroglyphs carved on gigantic boulders. This portion of the megalithic site called Pohnpaid was unknown even to Pohnpei’s state historic preservation officer. The petroglyphs were unlike others from Oceania, so Nervig began investigating and comparing them with petroglyphs and symbols from around the world. In this fully illustrated exploration, Nervig documents her discoveries on Pohnpei, revealing how the archetypal symbols of the Pohnpaid petroglyphs have exact counterparts in other ancient cultures and universal motifs throughout the world, including the Australian Aborigines, the Inca in Peru, the Vedic civilization of India, early Norse runes, and Japanese symbols. She provides evidence that Pohnpaid is closely related to--yet predates--neighboring Nan Madol and shows how Pohnpaid was an outpost of the sunken Kahnihmueiso, a city of the now-vanished civilization of Mu, or Lemuria. Discussing the archaeoastronomical function of the Pohnpaid stones, the author examines how many of the glyphs symbolize celestial phenomena and clearly reveal how their creators were sky watchers with a sophisticated understanding of astronomy, geophysics, geomancy, and engineering. She shows how the scientific concepts depicted in the petroglyphs reveal how the citizens of Mu had a much deeper understanding of the living Earth than we do, which gave them the ability to manipulate natural forces both physically and energetically. Combining archaeological evidence with traditional oral accounts, Nervig reveals Pohnpaid not only as a part of a geodetic network of ancient sacred sites and portals but also as a remnant of the now submerged but once enlightened Motherland of Mu.

This book is an enticing introduction to this unique art form, its range, diversity and location as well as a record of many sites that are endangered or damaged or have recently been destroyed. As destruction by both vandals and the bulldozer continues, it is the author's hope that this book will bring greater public awareness to a fragile and irreplaceable heritage.

My search for the origins of the whale culture has now taken me from the first findings on the East coast of Greenland across the Arctic Ocean and down the Bering Sea to the Aleutian Islands. Here I have found evidence that they originated in the Pacific, which brings us to Japan and the Yonaguni monument. Here it becomes evident that the Whale culture originated from hunter-gatherers, on the Eurasian Mammoth step, who have begun to hunt seals and whales in the Sea of Japan and have then crossed over to Japan from where their culture has adapted to the rich hunting waters of the Pacific during the ice age. The abundance of hunting game has led them to be very successful in the Pacific and to have the resources to develop their unique culture, where they lived on and hunted from the ice cover on the Ocean. On the journey from Japan across the Pacific we find evidence on Hawaii that causes us to take a detour to Kiritimati. There we find evidence that very specific ocean currents during the ice age created a continent of ice in the pacific during the ice age with very rich waters both to the north and south of this ice continent on which the whale culture established a civilization that must have been the real lost continent of Mu. From this continent the whale culture of Mu could cover the entire pacific in their airships based on whale skin and bone. In our continued search we come to Tahiti and New Caledonia to find the source of the specific conditions in the ocean currents that led to the formation of the ice continent of Mu and how these conditions started to collapse and led to the decline of the Whale culture in the Pacific. We thus end up following the whale culture to New Zealand, where it tries to adapt to the missing sea ice and follows the ice south towards the Antarctic before disappearing.

According to Churchward, the lost Pacific continent of Mu "extended from somewhere north of Hawaii to the south as far as the Fijis and Easter Island." He claimed Mu was the site of the Garden of Eden and the home of 64,000,000 inhabitants known as the Naacals. Its civilization, which flourished 50,000 years before Churchward's day, was technologically more advanced than his own, and the ancient civilizations of India, Babylon, Persia, Egypt and the Mayas were merely the decayed remnants of its colonies. In this, his second book, first published in 1931, Churchward tells the story of the colonial expansion of Mu and the influence of the highly developed Mu culture on the rest of the world. Her first colonies were in North America and the Orient, while other colonies had been started in India, Egypt and Yucatan. Churchward claimed to have gained his knowledge from fragments of text written by the Naacals in a dead language taught to him by an Indian priest. Chapters include: The Origin of Man; The Eastern Lines; Ancient North America; Stone tablets from the Valley of Mexico; South America; Atlantis; Western Europe; The Greeks; Egypt; The Western Lines; India; Southern India; The Great Uighur Empire; Babylonia; Intimate Hours with the Rishi; more. A fascinating book on the diffusion of mankind around the world--originating in a now lost continent in the Pacific! Tons of illustrations!

I wish particularly to point out in the present volume that I am not giving the meanings of symbols in the vestments in which they are now garbed. I am giving their origin and original meanings. Up to the time of Mu's submersion all symbols retained their original meanings. From the time of Mu's destruction I must pass over about 5,000 or 6,000 years. Those were years when seemingly no history was written except a few scraps in India and Egypt. During this time mankind apparently was reviving and repeopling the earth, after its almost total destruction by the submersion of Mu and other lands and the subsequent formation of gas belts and mountains. On entering Egypt 6,000 years ago we find that many of the original symbols had survived but were very much Egyptianized, especially in pattern or design, with an incomprehensible theology attached to them. A multitude of new ones had besides been added, most of them having esoteric or hidden meanings. This confusion increased when Upper and Lower Egypt merged into one kingdom. The two peoples not only commingled personally, but also their two sets of symbols. Thus two sets were made into one without any being discarded. It meant at least two symbols for every conception. So great was the confusion of symbols in Egypt, 4,000 to 5,000 years ago, that hardly one-half of the priesthood understood those used in the temples of other cities, although they might be but a few miles away.

Discusses the eleven-square-mile city of Nan Madol, a relic of a lost civilization off the island of Ponape in the Pacific Ocean.

This book describes in word and illustration the results of an exciting quest on the part of its authors to discover and record Indian rock paintings of Northern Ontario and Minnesota. Numerous drawings were made from these pictographs at a hundred different sites; the originals range in age from four to five hundred years to a thousand, and were done with the simplest materials: fingers for brushes, fine clay impregnated with ferrous oxide giving the characteristic red paint. Where an overhanging rock protected a vertical face from dripping water or on dry, naked rock faces the Indians recorded the forest life with which they lived in intimate association—deer, caribou, rabbit, heron, trout, canoes, animal tracks—and also abstractions which puzzle and intrigue the modern viewer. Many of the paintings could only have been done from a canoe or a convenient rock ledge. Selwyn Dewdney travelled many thousands of miles by canoe to make the drawings of the pictographs which illustrate every page of this fascinating and attractive book. He provides also a general analysis of the materials used by the Indians, of their subject-matter and the artistic rendering given to it, and his artist's journal records in detail the sites he visited, the paintings he found at each, the comparisons among them that came to mind, the references to rock paintings in early literature of the Northwest. Kenneth E. Kidd contributes a valuable essay on the anthropological background of the area, linking the rock paintings with early cave art in, for example, France and Spain, describing the life of the Indians in the Shield country, and commenting on what the pictographs reveal of their makers' attitudes to their external world and of their thinking. This is a book which will appeal to a wide audience: to those interested in primitive art forms and in Canadian art in general, to all students of the early history of North America, to travellers who in increasing numbers follow the canoe trails of the Shield lakes and rivers.

A full range of rock art appearances, including dendroglyphs, pictographs, and a selection of portable rock objects The Indians of northeastern North America are known to us primarily through reports and descriptions written by European explorers, clergy, and settlers, and through archaeological evidence. An additional invaluable source of information is the interpretation of rock art images and their relationship to native peoples for recording practical matters or information, as expressions of their legends and spiritual traditions, or as simple doodling or graffiti. The images in this book connect us directly to the Indian peoples of the Northeast, mainly Algonkian tribes inhabiting eastern Pennsylvania, Maryland and the lower Potomac River Valley, New York, New Jersey, the six New EnglandStates, and Atlantic Canada. Lenik provides a full range of rock art appearances in the study area, including some dendroglyphs, pictographs, and a selection of portable rock objects. By providing a full analysis and synthesis of the data, including the types and distribution of the glyphs, and interpretations of their meaning to the native peoples, Lenik reveals a wealth of new information on the culture and lifeways of the Indians of the Northeast.