hat is generally missed, explained L. Ron Hubbard in reference to his lifes greater course, is that my writing financed research, and it was from that research that Dianetics and Scientology were born in the early 1950s. For three decades thereafter, his output of fiction fell to almost nothing -- such were the demands of further research and the administration of what soon became a truly worldwide movement. Now and again, however, and generally at the request of editors of Scientology publications, he managed a few lines of verse.
Strictly speaking, the poems of this period qualify as religious/philosophic, and tend to reflect the central revelation of Scientology: Man is not his body, mind or any other corporal identity. Rather he is an immortal spiritual being, possessing capabilities far in advance of those hitherto predicted. Hence, as proclaimed in There is no Compromise with Truth: You are a spirit . . . full capable / of making space / and energy and time / and all things well. What Scientology represents, then, is the route from existence as a human being who lives a life as one who, walks and eats and dies, to a spiritual existence that even the most expressive verse may not adequately describe.
In that Scientology embraces the whole of our lives, LRH poems from this period tend to embrace a variety of themes: the futility of a purely material existence, the consequences of a fear-based mortality and the utter paradox of a spiritual being, forgotten to yourself and hidden from the eyes of all... Less literal, but no less expressive, are From Sea of Dreams and I Have a Demonity in celebration of the spirit as purely himself -- unfettered, exterior and exuberantly creative.