The Orpheum Trilogy
The Sacred Literature and Theater of Adi Da and Adidam
“All of My Words, all of My Teaching, is Orphic. I Am Orpheus. My Teaching-Work was going to Hades, coming to the common “world”. I have Accommodated every aspect of ordinary life, but did not look back. Every moment of My Life is Poetry, is Ecstasy. It is the only way you can properly understand Me. . . I am Orpheus. My Birth is to wrest you from the results of your conditional preoccupations. And I must not look back.”
Adi Da’s principal literary work is His trilogy entitled The Orpheum, and subtitled, “The Tragic History of The Recent Return of Orpheus, or, The First Room In Three Books”. The trilogy is comprised of three volumes, The Mummery Book, The Scapegoat Book, and The Happenine Book.
THE ORPHEUM
The Tragic History of The Recent Return of Orpheus, or, The First Room In Three Books
BOOK ONE: THE MUMMERY BOOK
The Parable of Divine Tragedy, Told By Means of A Self-Illuminated Illustration of The Totality of Mind
Adi Da Samraj: The Mummery Book of The First Room Trilogy – addresses the omega mind, what is otherwise sacred and holy mind. Writing The First Room Trilogy, I had to assume a persona and Write it, as a fiction piece, produced by a fictional character–not by Me. Of course, I Wrote it, but I Wrote it in the medium of that fictional character.
The Mummery Book — Avatar Adi Da’s first great communication of Truth was His Mummery Book, the original form of which He wrote in late 1969, even before the Great Event of His Divine Re-Awakening (in September, 1970). The Mummery Book is an unfathomably profound Revelation — a searing Criticism of egoity in its individual and collective manifestations and a sublime description of the Perfect Divine Avataric Incarnation. The Mummery Book tells the story of the Great Sage, Raymond Darling as he experiences the dreamlike events of his birth and childhood; his love for, and tragic loss of his beloved Quandra; and the “schismatic disaster” of his subsequent imprisonment in a mental institution by his own church for his radical beliefs. Unlike the traditional Orpheus myth, the death of his beloved Quandra is the crisis that begins Raymond’s Perfect Realization of Non-Difference, to which the rest of The Orpheum Trilogy is devoted.
BOOK TWO: THE SCAPEGOAT BOOK
The Previously Secret Dialogue On The Avatarically Given Divine Way of Perfect-Knowledge-Only, Once-Spoken In
A Single Night of Conversation, Between The Captive Divine Avatar and Great Sage, Raymond Darling, and His Captor, The Great Fool, and False Teacher, and Notoriously Eccentric Super-Criminal, Evelyn Disk—Herein Fully Given, Without
Evelyn Disk’s Later and Famous and self-Serving Revisions, but Exactly As It Was Originally Tape-Recorded, by Evelyn Disk Himself, In The First Room, at the State Mental Facility, Near God’s End, and Presented in Exact Accordance With The Recent Revelatory and Complete Recounting, Given To The Waiting World of Intelligent and Receptive Persons, By Meridian Smith, Who Was, As Usual, Inexplicably Present
BOOK THREE: THE HAPPENINE BOOK
The Childhood Teachings and The End-of-Childhood Revelations of The Famous “Infant Sage”, Raymond Darling— Compiled from Raymond Darling’s Original Handwritten Manuscripts, and Privately Held Tape-Recordings, Discovered in The First Room By His True Servant-Devotee, Meridian Smith, After The Miraculous Disappearance of The Avataric Great Sage.
Adi Da Samraj, 2005
A Call to Publishers: Responding to the Orpheum Trilogy of Adi Da Samraj
Adi Da Samraj, a spiritual teacher and artist of immense depth and originality, entrusted his Orpheum Trilogy—a mythopoetic literary work of profound revelatory scope—with a vision beyond internal circulation. He asked that it be published not merely by his devotees, but by outside publishers, in order to invite authentic response and serious engagement from the wider literary, philosophical, and spiritual world.
In 2008, Adi Da expressed his concern that the Trilogy had not been met with the kind of critical reception or transformational engagement he intended:
“There has been no response to the Trilogy books. Nobody is relating to Me about these books, responding to them. And no publishing plan exists for it. You are all just doing it for whatever reason, but it’s making something casual out of it. You are not really publishing it again; you are exploiting it. There is no response. You cannot get Me a response. Response is what it’s about, not Me just providing fodder for the religion business…”
His plea is clear: response is the essence. Not just printing, not just promoting—but truly receiving the work in the way that a deep literary, artistic, and spiritual contribution deserves.
An Invitation to Inquire
Beezone is reaching out to publishers, editors, and literary scholars who may have some familiarity with Adi Da’s work—or who are open to exploring a spiritually charged, linguistically radical, and mythically rich literary opus.
If you are a publisher or a literary professional who senses the significance of such a work—or even feels a glimmer of curiosity—we invite you to inquire further into the Orpheum Trilogy.
This is an invitation not merely to publish, but to participate in an unprecedented literary and spiritual offering. The Trilogy is not conventional; it challenges, awakens, and transmits. It belongs in the world—not as a religious artifact, but as a revelatory text that seeks intelligent, felt, and rigorous engagement.
For further information or to begin a dialogue, please contact Beezone.
Desire for Genuine Engagement and Critical Response
Adi Da emphasizes the importance of response—not merely production or distribution. He was not seeking passive admiration or devotional propagation of his works but rather real engagement—thoughtful, critical, and intellectual recognition of the Trilogy’s significance in the broader cultural and literary landscape. His lament that “there is no response” suggests that the Trilogy had not yet found its proper audience or context.
Concern Over Internalized Handling
By saying “you are exploiting it” and “just doing it for whatever reason,” Adi Da critiques what he sees as a kind of automatic or perfunctory internal circulation of the Trilogy within his own community—without meaningful outreach to the larger world. This runs contrary to his wish that the Trilogy be published by outside publishers and critically examined on its own merits as literature, philosophy, and spiritual transmission.
Publishing as a Transformational Interface
Adi Da’s frustration also points to his vision of publishing as more than a technical task. For him, publishing is a sacred interface between his revelatory art and the world—a vehicle for awakening and cultural transformation. The failure to find an external publisher with the capacity to critically present his work is, in his view, a failure to properly serve that purpose.