It all began with the fact that on July 8, 1913, in St. Louis, during a seance with a housewife named Pearl Curren, a spirit came into contact, who called himself Patins Worth. During the seance, the Ouija board was used - a special device for communicating with spirits during seances. The pointer displayed a message: “I lived many moons ago. I will come again. My name is Patins Worth."
Worth told about herself only that she was born in 1649 in Dorsetshire, England, in a poor family. She was never married, went to the American colonies, where she was killed during the Indian massacre.
Worth began to dictate numerous literary works through Curren. It took years to record them. For five years, Curren relied on Ouij's board.
The works have been published and well received by the public and critics. During the first five years, Worth's complete works consisted of four million words in 29 volumes: dozens of poems, plays, short stories, allegories, epigrams, and four full-length historical novels from different eras. The best-selling novel The Sad Story was dictated to her at a rate of three thousand words a night. In 325 thousand words, she described the story of a thief crucified next to Christ, in which a mass of accurate historical and political facts were communicated that Curren could have learned about only by breaking a mountain of special literature. Curren recorded it under Worth's dictation for two years. Another novel was from Victorian England.
As for poetry, sometimes Curren managed to write up to 22 poems per day, which is not always possible even for genius poets.
In 1922, contact with the medium began to weaken - perhaps this was due to a change in Karren's emotional state in connection with her first pregnancy (at the age of 39) and the death of her husband and mother. Public interest also waned, and Worth began to appear less and less. Curren died in 1937.
Scholars have analyzed Worth's works and found them to be authentic in historical detail. Their plots and characters were found to be well developed. They are written in Old English, which fell out of use in written documents sometime in the 18th century. Perhaps Curren, who studied until only 14 years old, in search of material penetrated into the realm of her unconscious. But it seems unlikely that an uneducated person was so familiar with the details of historical eras and wrote so professionally. This case has not yet found a reasonable explanation.
Even more curious is the case of Charles Dickens' novel The Mystery of Edwin Drood. The fact is that due to the death of the writer on June 9, 1870, this novel remained unfinished. However, it was nevertheless completed … by the method of automatic writing by the medium James - a mechanic who studied only until the age of 13, who had no literary talent.
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In the fall of 1872, during a seance, a medium wrote a short note signed by Charles Dickens. In it, he asked for another session on November 15. The session took place. In the course of it, James received a long message from the spirit of Dickens, who wished, with the help of a medium, to complete an unfinished novel.
James did not refuse the offer and within seven months was able to recreate 400 pages of printed text. And although the medium could not read the part of the novel that Dickens wrote before his death, since it was not published by the heir to the writer's works, nevertheless, the continuation of the story began with a word interrupted by Dickens' death. Moreover, the border with the newly written text and the old one could not be grasped. The plot developed, the characters in the novel were preserved and did not change their typicality and character.
New characters also appear, which is typical for Dickens (he introduced characters even in the last chapters of novels). There are many words in the novel with a spelling characteristic of Dickens, but not accepted in America. Used, as in Dickens, and large letters, and the same turns of speech. James, at the end of the novel, correctly reflected the unknown topography of London. He used Dickens's favorite transitions from the past to the present …
But not only novels and poems, but also paintings and musical works are written by the hands of a select few.
For example, the Brazilian Luis Gaspareto "created" many original paintings by such outstanding artists as Renoir, Cezanne and Picasso. The Brazilian worked in a trance, but, surprisingly, most often in the dark. And what is most incredible, Gaspareto drew with both hands at the same time, with the right hand - one picture, and the left - the other.
In the first half of the 70s of the XX century, the English psychotherapist Matthew Manning, without even falling into a trance, “reproduced” sketches, drawings and canvases by Leonardo da Vinci, Claude Monet, Pablo Picasso and other famous artists without any problems. Moreover, Manning worked in the same manner that was characteristic of this or that artist. So, Aubrey Beardsley, waving the hand of a medium, very often made mistakes and changed his decisions - just like a living artist. Noticing a mistake, he "dripped ink on this place and altered it into something else."
But Picasso, with his quick manner of writing, was distinguished by a special demand for work and therefore very tired the medium. “No one exhausts me so much,” Manning wrote, “like Picasso. After a few minutes it took him to make a drawing, I feel squeezed out like a lemon and then for a whole day I can’t take on anything.”
However, it is possible that Manning only unconsciously assimilated and reproduced the style features of other artists, tuning himself to their wave, drawing inspiration from their work. Moreover, Manning, unlike a number of other mediums, proved himself to be a peculiar and very gifted artist even at school.
Another medium who could keep in touch with the spirits of the dead is the Englishwoman Brown Rosemary. This time the contactee "collaborated" with dead musical geniuses. The history of her "contacts" with the other world is as follows.
Allegedly, at the age of seven, Rosemary came into contact with the spirit of the famous Hungarian composer Franz Liszt, who told her that she would write pieces of music that long-dead composers would dictate to her. And indeed, since 1964, she "recreated" new creations by Bach, Brahms, Beethoven, Liszt, Chopin, Schubert, Stravinsky, Debussy. Moreover, Debussy wrote with her hand not only notes, but also pictures, besides the latter turned out to be even more.
Automatically, without corrections and playback of fragments, she recorded entire finished works, including complex works for orchestra.
Experts believe that it is impossible to write such music without a conservatory education (which Brown did not have). It is interesting that the works of Beethoven obtained in this way, according to experts, belong to the early period of his work.
In 1970, Rosemary released a disc with recordings of the "new" works of musicians with whom she contacted: Liszt, Chopin, Beethoven, Bach. They were performed by the famous pianist Peter Katin. The music so closely corresponded to the "handwriting" of these composers that experts did not come to a consensus: it was a fake or the result of a real connection with the other world.
No less phenomenal ability to communicate with spirits was demonstrated in 1924 by a medium from New York, George Valentine. In sessions over five weeks, he served as a “mouthpiece” for hundreds of spirits. Some of them spoke fluently in different, although well-known to the public, languages: German, English, Russian, Spanish.
But Valentine's finest hour came in the late 1920s. During one of the sessions, the voices began to speak in languages and dialects that were incomprehensible to the majority of those present. To sort out this discord, they invited the famous orientalist Neville Wymant, and he, despite extreme skepticism, responded to the invitation. And he immediately became wary when he heard the name Confucius in the impeccable Chinese language. Then the professor himself began to quote a passage from the work of the great Chinese sage. By this, Wymant wanted not so much to check whether the spirit of the long-dead philosopher recognizes his own creation, but primarily because he wanted to find out how numerous scribes distorted the meaning of Confucius's creations.
Whitemant had barely finished the first line when the voice continued and followed the professor to the standard version of the passage. Then, after a pause that lasted several seconds, he repeated the passage in the original version and asked: "So the meaning is clearer, isn't it?"
The professor was shocked. According to his estimates, besides himself, there were no more than half a dozen scientists in the West who were fluent in the Chinese language and knew the works of Confucius so well that they immediately picked up the quote and reproduced the original version. Besides, they were all outside the United States at the time.
It is very difficult to explain the above facts, as well as a number of others not mentioned here, based only on principles known to modern science. Apparently, all these phenomena lie in a completely different plane of knowledge and require a qualitatively different approach and new methodology for their resolution.