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Robert Murray is an independent artist who never sold out or fell into the quid pro quo promiscuity of any industry. Murray may be the first person in human history to win a war of wills with their sensei. There is a reason this has never happened before: senseis command immense resources and the multitudes do their bidding without hesitation. It was not easy and Murray has had a long archaeological dig exhuming himself, reduced to such menial employment as shaking out packets of instant mashed potatoes, counting ten of them, inserting them in a display case, and then repeating the process for a full shift. As a result of his experiences, Murray is an advocate of an immediate moratorium on all martial art businesses, citing human rights violations and dubbing the usage of local, state, and federal resources by individuals who have not been elected or officially appointed as seditious insurrection. To Murray’s mind, laws passed by legislators are being superseded by the orders of sensei. Murray realizes this position will make enemies and likely reduce the sales of his work, but he strives to put country first no matter the cost to himself.
In his spare time, Murray is an avid student of the vast topic of History, both within his own family and the continents mainly of North America and Europe. As a child, his Mother told him about the Snell Sword belonging to their Puritan, New England ancestor, Amos Snell, and currently displayed in Pilgrim’s Hall Museum in Plymouth, Massachusetts. The Snell Sword played into his boyhood fantasies of Excalibur, the mythical sword pulled from the stone by Arthur. To be in an ancestral line in spiritual possession of a blade held in a place of eternal honor, certainly captured Murray’s imagination as a child. Camelot was a boyhood refuge, and Murray found a way to give the Arthurian legends a future by building an artistic sanctuary for himself into adulthood. Part of Murray’s motivation for writing The Aftermath of The King, was his feeling that we need new heroes. Murray doesn’t want to be trapped in the old paradigms, —dramatic, mythological, or historical. He doesn’t want to be like Achilles, Hamlet, or Napoleon, but Murray does want to be like the heroes of his Camelot.
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