An enigmatic people lived on the coast of Peru between 2700 and 2000 years ago that academia spends little time studying. In the driest part of the country which receives less than half an inch of rain per year they were enormously successful at agriculture and fishing and were very advanced as regards textile production, had the potters wheel and constructed ships of totora reed with cotton cloth sails. The most intriguing characteristic of these Paracas people was that they had elongated heads, and through my research I can state that the earliest of them, especially their nobility were born with elongated skulls; cranial deformation of their infants being performed later due to genetic mixing with normal local Homo sapiens sapiens. They also had genetically red hair, and thus were most likely light skinned and may have had green or blue eyes; thus, they were not Native Americans. Recent and extensive DNA testing shows us that they very well could have migrated from the Black Sea area as much as 3000 years ago, and sought refuge from invasion and oppression. Academia has either ignored or suppressed this information, and that is why I present it to you here.
Brien was born in Rochester, Minnesota, U.S.A. but grew up on the west coast of Canada. At age 11, he became fascinated with the Native art of the Haida native people, and began carving totem poles, and other related art forms, learning from Native teachers. After completing an Honours Bachelor Of Science degree, Brien decided to take up carving and sculpture full time, at the age of 25.
In 1995 he moved to Maui, Hawaii, and was hired as assistant project manager for the building of the 62 foot double hull sailing canoe ( ancestor of the modern day catamaran ) Mo’okiha O Pi’ilani ( Sacred Lizard That Pierces The Heavens ) and the restoration of the famous Mo’olele sailing canoe.
Peru became his next major area of interest. The study of the Inca culture led to his writing a book, A Brief History Of The Incas, and he is now the assistant director of the Paracas History Museum in Paracas, south of Lima. He is also assisting to improve the number of foreign tourists that visit, as well as is fundamental in expanding tourism in general, especially as regards showing all visitors the 10,000 years of human occupation of this area, through tours of major and minor archaeological sites.
Other projects, which will result in published books, include one about the ancient history of Hawaii, the mysterious stone monuments of Peru that predate the Inca, and the search for the lost continent of Mu. This will require combining all that he has learned so far, with trips to New Zealand (Aotearoa), Hawaii, and Easter island (Rapanui.)
He is the author of 8 books, 4 appearances on Ancient Aliens, season 3, numerous radio interviews, and resides in Peru with his wife.
This book covers an extremely interesting subject, one deserving of careful study. The author, whose business is a tour guide to ancient megalithic sites around the world, but especially in his country of residence, Peru, is himself an extremely interesting person. He is part of the much-loved/much-hated “alternative archaeology” movement. And it is quite apparent that on the subject of this book, the skull remains of the Paracas people of coastal Peru, he has done good work.
But this is not a good book.
It is a carelessly written and ill-organized treatise, and serves as a regrettably perfect example of a burgeoning genre: the badly designed self-published book.
We live in the golden age of self-publishing, as a result of print-on-demand technology, and I have been valiantly wading through the field recently, as my interest in esoterica and arcana has increased, and as the rise of YouTube entertainment has spread far and wide many heresies to what is now commonly and cavalierly referred to as “consensus reality.” I have not made up my mind about a lot of this. But I do have one strong judgment: most of its practitioners are very amateur in the art of presenting their ideas.
They need to hire editors, proofreaders, and book designers. Good ones. Not necessarily those with the highest price tags, but at least people with talent and some experience. For books like this are dreadful.
My main complaint is not the typeface, no matter how clunky, or the book’s style of paragraphing (indents, margins, etc.), chapter divisions, and the placement of images and charts and other visual elements. My main complaint is the literary organization and presentation of the material. There is no narrative structure — which helps in this kind of writing — and no clear thesis and marshaling of evidence.
Oh, there is much of interest. But reading the book is like wading through the notes of someone who abandoned the project one third of the way through.
This is not the book on this subject to buy. I do not know if Mr. Foerster’s other books fail in the same way, or are, instead, competently produced. But I do know that the art here is so rudimentary that this book will signal to fastidious readers that the subject matter may be dismissed.
When it comes to style and substance, most people assume “as above, so below.”
And consign content to outer darkness merely for stylistic reasons.
The information in this book was wonderfully insightful and useful. Bren Foerster is a brilliant man with fascinating theories and studies, and I have learned much from his various works, including this book. The rating is three stars and not four or five only because the formatting, layout, and punctuation were very poor. I didn't mind it, really. It actually worked to my advantage, because it resulted in plenty of space to take notes.
That being said, please be aware that though this book is in great want of an editor the content itself is good.