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Time, Fate and Spider Magic – Orryelle Defenestrate-Bascule

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Categories: chaos, magick, nightside, witchcraft

Palindromically subtitled A Brief HIRStory of TimEmiT fo yrotSRTH feirB A, this book from Orryelle Defenestrate-Bascule is a 2014 expanded and revised edition of a work originally released in 2006 through hir own iNSPiRALink imprint.

Time, Fate and Spider Magic contains many traits that will be familiar to people who have encountered Orryelle’s work before: a mythologically eclectic frame of reference, word play that wouldn’t hold up in etymological court but is fine for the firing of magickal connexions, and idiosyncratic spellINK and 4Maating; see what I did there? …I’m particularly proud of the second one. The closest analogy would be Kenneth Grant, with Orryelle’s use of far flung comparisons and mythological broadness recalling that of Uncle Ken, but with a lot less wallowing in the sewage of the qliphothic realms; such fun.

Like Orryelle’s own practise, Time, Fate and Spider Magic is indeed eclectic and just a little bit manic. It jumps polymathically from one subject to another, from this mythologeme to that. This is not a failing by any means, as it would perhaps be in the hands of a lesser writer and practitioner, and instead perfectly encapsulates Orryelle’s approach to magick.

The book is one half travelogue, one half exegesis, and just to be difficult, one half grimoire. It begins in the exegetical mode with Gate One, outlying a discussion of fate and time at the heart of which is the story of Oedipus. This reads less like a magickal treatise and more a philosophical reflection on fate and questions about its immutability. Over its significant length, 95 pages in all, it branches from the Oedipal basis into a broader discussion of fate and time, encompassing Greek and Egyptian mythology, Mayan time keeping, and ultimately, Thelema. This is interspersed occasionally with images of apropos atu from Orryelle’s Book of KAOS tarot, accompanied by their original explanatory text.

The second gate of Time, Fate and Spider Magic takes an arguably more magickal approach with what is largely an exploration of the concept of an arachnid goddess of fate, one part Greek Moirae and Hekate, one part Kali, and a little bit the Egyptian scorpion goddess Serket. Orryelle envisions this composite goddess as a grand creature of space and time, bridging dimensions and being associated with the twenty ninth qliphothic tunnel of Qulielfi, the Nightside reflex of the dayside path of the Moon connecting Netzach and Malkuth. This is borne out by a received text, The Book of the Spider, not to be confused, Orryelle is at pains to point out, with a similarly named tome mentioned by Grant otherwise known as Liber Okbish or Liber 29. Orryelle’s Book of the Spider has the spider goddess describe herself as dwelling in the spaces in-between, in the tunnels behind, in a lair that is the very tome she speaks from, “spiralling Qulielfi copper mindfire.”

Orryelle shows how these themes of the spider goddess and fate and time travel were given physical application through hir use of ritual theatre. Most notable of these are the labyrinthine structures created at festivals in the latter half of the nineties by hir Metamorphic Ritual Theatre Company; the imagery of which will be familiar to anyone that has followed Orryelle’s work over the last three decades. These were large, immersive structures in which visitors mingled with performers in an intersection of performance and praxis.

While gates one and two of Time, Fate and Spider Magic provide hints of ways in which the themes of the book could be ritually applied, this is made explicit in the third gate, with Orryelle providing several techniques. The first of these uses a web structure to effectively time travel between incarnations, both past and future; a concept based around the idea of the Guardian Angel being one’s future self. Orryelle also briefly touches on a system of pathworkings called the 8 Gates (consisting of mineral, plant, fungal, animal, human, inbetween, the black void and the white light), as well as techniques for using tarot for conjuration, rather than just divination. These procedures aren’t necessarily presented in a ritual and recipes format, and Orryelle weaves instruction together with anecdote and elaboration, describing situations in hir own experience where they were used.

The third gate is the briefest section of Time, Fate and Spider Magic and the remaining 90 pages are devoted to appendices of supporting information, diaries and texts. There’s a valuable exposition on mantra and mudra used in the preceding sections; a reproduction of the multi-page, densely-illustrated programme for a Metamorphic Ritual Theatre Company performance of Arachne Ascendant; and a full transcript of Orryelle’s Liber Qoph vel Hekate, a daily Lunar prayer that compliments Crowley’s solar Liber Resh vel Helios. The largest of these appendices is a documentation, photographs and all, of the 2003 incarnation of the Global Chakra Workings led around the world by Orryelle’s HermAphroditic ChAOrder of the Silver Dusk since 1999. If this account makes one aware of anything it’s the passage of time, as my recall of reading about these events soon after they happened seems so recent, not over a decade old.

As with most Avalonia titles, Time, Fate and Spider Magic has been manufactured by print-on-demand service Lightning Source, although unlike many of Avalonia’s books, this one comes in both a paperback and a limited hardback version. The hardback edition is bound in blue cloth with a full colour dustjacket, and the internal pages are printed on a not entirely sympathetic stock that is fairly light and brittle. Orryelle’s formatting and writing quirks, with words double-spaced for numinous effect, idiosyncratic spelling and use of more fonts than is usual, can make it hard to tell when something has been edited with intent, or whether it’s a genuine error, in the case, for example, a line in a paragraph being indented halfway through it.  

In all, Time, Fate and Spider Magic is an enjoyable, significant work. There has always been an enthusiasm and honesty to Orryelle’s writing and perspective, devoid of any occult obfuscation, and this is true here, particularly in the way so much is presented in biographical form. The extent of this winning way may be determined by how easily one forgives the lack of rigorous referencing, and the occasional unverifiable statement is allowed to float by with nary a neuronic niggle.

Perhaps ironically, Time, Fate and Spider Magic does seem to be a victim of its very theme, enduring the ravages and vicissitudes of time. Inevitably, any printed work begins to date as soon as pen is put to paper, or pixel to screen, and with the sense of superiority that comes in living in times future relative to when this was originally written, it’s hard not to look down on the naïve optimism of ye olde 2006; something that any 2014 revisions have not assuaged. As the anti-Grant, Orryelle is the kind of optimist who sees good times a’coming, and human advancement on the horizon, with grand shifts in consciousness and magickal magickness. Here, in the miserable dystopian world of 2018, it’s hard not to feel that optimism may have been misplaced.

Included in the hardback version is a DVD that includes the Loom of Lila ritual dance theatre, the Chaos Clock film, the 8 Gates pathworking and an audio adaption of The Book of the Spider. How much these elements are viewed compared to how often the book is read remains to be seen, being largely rough and ready piece, typical of both the time, the technology and Orryelle’s aesthetics.

Published by Avalonia.

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Lost Envoy: The Tarot Deck of Austin Osman Spare – Edited by Jonathan Allen

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Categories: art, chaos, tarot

Lost Envoy coverThe prospect of a long lost tarot deck designed by Austin Osman Spare is a tantalising one, and for this reader at least, guaranteed a rush to the Strange Attractor Press preorder page. Once it was finally released and it turned up in the mail I had made it all the way to the “what the hel is this package” phase.

If the thought of a Spare-designed tarot deck makes you imagine classic Sparean images, all crisp phantasmagorical lines against a white background, then temper your expectations. The look of the cards is a denser one than that, with the style, while obviously in Spare’s hand, being more traditional, and made heavier with a thorough use of watercolour washes on both figures and backgrounds. The deck is also arguably more traditional than either Crowley’s Book of Thoth, or anything one might expect from the proto-Chaote that is Spare, with the Major Arcana images obviously drawing, for the most part, on the atu of the Tarot de Marseille and its antecedents. The Minor Arcana, on the other hands, reveals the cartomantic roots of Spare’s praxis, adopting the suits of traditional playing cards and adding four court cards of queen, king, knight and knave to each set. Perhaps the strongest diversion from convention, though, is the text heavy nature of the hands, with Spare scrawling interpretations and instructions at the foot and head of each card, reflecting the orientation of the reading.

But first, the provenance of this deck and why it was lost. To the latter question first, it wasn’t so much lost, and instead has been sitting quite contentedly for over 70 years in the collection of the Magic Circle, the famed London organisation for those magicians of the stage, and not the ritual chamber, variety. Editor Jonathan Allen, a curator at the Magic Circle museum, rediscovered the archived deck in 2013 and this volume reproducing the cards and featuring commentary from a number of essayists, provides the first broad exposure of Spare’s tarot.

The written contributions in Lost Envoy take two forms: archival documentation and analysis. The former includes Spare’s Mind to Mind and How, by a Sorcerer and Arthur Ivey’s Tarot Cards and a Pack in The Magic Circle Museum from the November 1969 issue of the Magic Circle’s in-house magazine The Magic Circular. Spare’s essay is an unpublished submission for the long running London Mystery Magazine, and provides a practical guide to cartomancy as well as giving a sense of the methods behind the creation of this deck. Ivey’s brief essay uses half of its two page length as a history of the tarot which prefaces an all too brief description of Spare’s tarot, creating a museum catalogue entry as it were.

Given that the two documents provide the only extant historical information about Spare’s tarot and his methods, they are referenced extensively in the accompanying essays, creating something of a sense of déjà vu. This is exacerbated by the ultimately limited amount of things that can be said about Spare’s tarot, meaning that many of the same points are familiarly made across multiple essays. Both Helen Farley and Gavin Semple’s contributions cover the provenance of the deck and Spare’s nascent involvement in the occult milieu of Victorian London, each then followed with a little analysis of some of the cards and their characteristics. A more focused consideration of the cards themselves is provided by Phil Baker’s His Own Arcana, with his points ably reinforced with the inclusion of full colour images of the trumps and full bleed plates of details.

The Deputation by Sally O’Reilly takes a different approach from its companions, with an imagined encounter between Spare and his friend, the suffragette Sylvia Pankhurst. Spare and Pankhurst sit and engage in witty banter about his cards, with her queries allowing him to provide the explanatory exegesis. It’s a diversion whose mileage may vary depending on one’s patience for the conceit of words put into the mouths of historical figures; especially given that their tone and mores are inevitably predicated by the lens of today.

The final essay comes from Alan Moore who, with A Cartomantic Mirror, provides a pretty exhaustive tarot reading of the meaning and intention of Spare’s deck using, and it gets pretty damn meta here, Crowley and Harris’ Thoth deck. Again, no expense has been spared and the cards drawn from the Crowley/Harris deck are reproduced here in full colour, with some key atu each given a page to themselves.

The essays take up only half of this volume’s 336 pages and the remainder is comprised of reproductions of Spare’s cards. These are presented first as full pages reproductions of each of the major and minor arcana, and then followed by six examples of the various coloured card backs. For extra thoroughness, the cards are then presented again in a concordance that transcribes all of the textual data found on the cards, one page for each, along with a listing of marginal links that tie one card to another, and meticulous footnotes providing still further information. Between some of these individual pages are full colour folded inserts of some of the cards, showing the way in which Spare graphically linked the designs together across multiple spreads. This is one of those things that reveals the attention to detail that has gone into producing this volume, with an almost unnecessarily thorough presentation of the data.

Lost Envoy has been designed by Fraser Muggeridge studio, with a cover that appears a strange, jarring melange of geometric colour until one realises, as this late junction, that it shows a cascade of Spare’s multi-coloured card backs. The book is bound with, apparently, a period binding common to many of the volumes found in The Magic Circle library, with a gold deboss of Spare’s autographic bird’s head sigil (no, not the cool vulture one, the one that looks like Montgomery Burns). The text formatting inside the book is not entirely satisfying, with the body copy rendered in a far too modern sans serif typeface which isn’t conducive to reading and gives the impression, false though it may be, of text being dumped in from a Word document with Calibri set to default. With this are awfully snug header and footer margins, due to the page numbering being put on the outer edge, which again, and contrary to the intent, feels like the default settings in a Word doc, rather than something carefully designed. Otherwise, a lot of effort has gone into the production of this book, with the cover text debossed (and the aforementioned sigil debossed and foiled too), a beautifully raised emboss on the inside cover page bearing the Magic Circle logo, not to mention the preponderance of colour prints and the inserted replicas of cards.

With its repeated representation of the cards in Spare’s deck in both graphic and textural forms, it’s clear that the intent of this book is one of complete and thorough documentation, in which the cards are presented in the best possible light for posterity. Whether anyone is going to read the transcribed page for each card isn’t the point, and this reviewer certainly didn’t. Instead the point is that it’s there should one need it. In this way, the essay content is almost secondary, and it is the cards themselves that tell the story.

Lost Envoy was made available in two editions: a standard hardback edition still available with 336pp pages, fully illustrated in colour, with over 200 images. And a now sold out numbered and debossed edition of 300 copies, with fold-out sections.

Published by Strange Attractor Press

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The Grimoire of Tiamat – Asenath Mason

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Categories: chaos, mesopotamian, nightside, typhonian, underworld

Grimoire of Tiamat coverAsenath Mason’s Grimoire of Tiamat presents a complete system of magick based around the Mesopotamian primordial goddess Tiamat and the eleven monsters she created to aid her in her fight against the new order of gods lead by Marduk. While the wider focus of the book is, obviously, Tiamat, much of the practical part of this grimoire deals with these eleven demon-gods: Bašmu (Venomous Snake), Ušumgallu (Great Dragon), Mušmahhu (Exalted Serpent), Mušhuššu (Furious Snake), Lahamu (the Hairy One), Ugallu (the Big Weather-Beast), Uridimmu (Mad Lion), Girtablullû (Scorpion-Man), Umu Dabrutu (Violent Storms), Kulullû (Fish-Man) and Kusarikku (Bull-Man).

Mason is at pains to point out that what she is presenting here is not an authentic reconstruction of any Mesopotamian magickal tradition, acknowledging that there is no archaeological evidence of the direct worship of Tiamat and her creations; and the only ritual sources relating to them are exorcisms and banishing formulae. Instead, she defines the work as a book for occult practitioners of the present century and to this end, testifies that all the rituals within the book have been tested by magickal associates and verified as to their efficacy. Not exactly a double blind, peer-reviewed trial, but certainly more testimony than most books provide for their rituals which, for all intents and purposes, may have never moved off the page into actual practice.

The Grimoire of Tiamat is divided into three sections: first, a lengthy introduction of the theme and cosmology, followed by individual workings for each of the eleven demon-gods, and then a concluding appendix of thematically related workings focussing directly on Tiamat and Kingu. The first section, Primal Draconian Gods, is rather well written, especially for someone with, one assumes, English as a second language. Mason outlines the legend of Tiamat as contained in the Enuma Elish and while her approach is not purely academic, there’s a rigorous quality to her writing, with references cited as footnotes. Refreshingly, there’s very little, if any, of the kind of boy’s own anthropology that usually attaches itself to Mesopotamian mythology in modern occultism, where writers since Simon in his Necronomicon have treated Sumerian, Babylonian and Akkadian culture as interchangeable blank canvases onto which they can paint their own usually derivative Lovecraftian cosmology. Mason gives a survey of how Tiamat has been interpreted and viewed throughout Mesopotamia, and expands on this to include other motifs from the region in which a primordial dragon is killed. Tiamat is identified as the first mother, the creator of all life, as well as the embodiment of watery Chaos similar to the Hebrew concept of Tehom, the deep mentioned in the first lines of Genesis.

Sigil of Tiamat

The second section, The Children of Tiamat, presents ways of working with each of the eleven demon-gods, prefaced with an explanation of the techniques that follow and the use of the Key of Night, a master sigil that is employed throughout the workings as a way to access the nightside. Each entry for the eleven deities uses a standard format, with an introductory discussion followed by an evocation, an invocation, a brief guided meditation (sometimes two), and instructions on doing dreamwork with that entity. Each section begins with a sigil for the respective deity and concludes with what is referred to as their draconian sigil (usually a more elaborate, more illustrative and pictorial design). The discussions that introduce each entity combine information from primary Mesopotamian and academic sources with impressions gathered from magickal experiences. Because there can be rather slight information about some of the eleven in original sources, other than their rather descriptive names, some of these discussions can stretch the available information a little thin, or weigh more heavily on the received knowledge than on others. What is presented shows the eleven as not the most pleasant of creatures, all of them being spirits of transformation that often involve spitting venom and ripping out hearts. The eleven are presented as spirits capable of both transforming the initiate and being employed for malefica against a practitioner’s enemies. Perhaps it’s my lack of familiarity with Mesopotamian languages, but the eleven demon-gods with their sometimes similar names seem somewhat interchangeable and are not entirely memorable. Serpentine, draconian and generally bestial imagery abounds, and the vicious initiatory techniques they use seem to be shared across some of the eleven; with being bitten in the third eye by a venomous demon-god being the motif du jour.

Given Mason’s past involvement with the Dragon Rouge’s Polish Magan Lodge, it’s inevitable that this work has something of a Dragon Rouge vibe about it. It’s not just the draconian themes, but some of the general tone, philosophy and ritual structure; with, for example, the very un-Mesopotamian, but very Dragon Rouge, ritual refrain of Ho Drakon Ho Megas cropping up here and there. Also indicative of this lineage, Mason occasionally draws comparisons between the eleven demon-gods and the nightside of the qabbalistic tree of life, noting characteristics shared between a particular being and one of the qliphothic spheres. But this is only done in passing, as if the possibility of setting them out in precise correspondences would be too much of a stretch.

The final section of The Grimoire of Tiamat is an appendix that returns the focus to Tiamat. This takes the form of a guided meditation within the waters of Tiamat, a ritual for two participants invoking Tiamat and Kingu, a rite of malefica, and a discussion of the underworld in Mesopotamian belief, followed by a chthonic guided pathworking.

At just under 200 pages, the Grimoire of Tiamat provides a concise, internally coherent system for someone who finds themselves resonating with that cosmology; and is better equipped than I to tell their Mušmahhus from their Mušhuššus. It is limited to 500 hand numbered copies, with another 15 in a hand-numbered leather bound deluxe edition. Bound in red faux leather, with black end papers, it is smyth-sewn and has a red ribbon bookmark. The title is rendered in gilt on the spine and there is a gilt eleven-pointed star sigil on the cover; although it bugs me that the depth of the spine wasn’t taken into account when aligning the sigil, so it appears a little to the right and not fully centred (occult world problems, I know).

Published by Nephilim Press.

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The History of British Magick After Crowley – Dave Evans

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Categories: chaos, magick, thelema

magickaftercrowleyI was really looking forward to reading this book. If i recall correctly, it was one of those “spoil myself with one expensive item” items in an Amazon order of more modestly priced books and CDs. I mean, 435 pages of post-Crowley magickal history, what wonders it must explore, what depth it must go to in what must surely be the definitive work on modern occultism. Sadly, this turned out to be wishful thinking that led to my hopes being dashed more thoroughly than they perhaps should have been. Perhaps my biggest mistake was not paying close enough attention to the publishers, who i now see are the print-on-demand Lightning Source. I had assumed that the higher than average price was because it had been released via some academic publishing house, rather than being the result of the over-pricing that occurs in some POD; and must surely make a mockery of that supposedly frugal financial model. This lack of a real publisher now makes sense of some of the annoying elements in the content that surely any proof-reader would have pointed out; more about those in scurulous detail later.

Dave Evans is apparently a practising magician as well as a “professional academic researcher,” whose supervisor at Bristol University is Ronald Hutton. I can’t imagine that Hutton supervised much of the final work, though, at least not with a red pen in hand, ready to make suggestions. This is Evans’ PhD thesis turned into a book, and it suffers many of the problems associated with publishing an academic paper as a book; though Hutton has shown that you can write about magick academically without it being tiresome or losing any of the thrill of the subject. The biggest of the academic problems this book has is its attempts at providing wider context and marking out process. In his Triumph of the Moon, Hutton does this in the early chapters, extensively setting the birth of Wicca in the colonial and post-colonial milieu in which ideas central to Wicca, such as Pan as a catch-all god of a personified spirit of Nature, had their origins. But where Hutton is effective in authoritatively setting the context upon which his later chapters will be based, Evans seems to have cribbed stuff he may have written for other papers and inserted it to give the appearance of ponderous academic digression or scene setting. There’s a particularly tedious and lengthy section on blasphemy and morality which really has very little relevance to the subject of modern magick of any stripe; with even Satanism, one of the paths mentioned in the book, tending to stray away from it once the thrill of a Black Mass has worn off. I mean, what’s the point of this extensive survey of blasphemy when Evans himself mentions that despite his litigious nature, it was never a charge of blasphemy that saw Crowley in court. Genesis P-Orridge is also mentioned in this section, but is ridiculously prefaced with the self-defeating caveat “Although not prosecuted for actual blasphemy,” before going on to talk about the bottom-feeding Channel 4 documentary that saw hir exiled from the UK. So, no modern magickian has been charged with blasphemy, probably because one, prosecutors don’t really care what some loonies get up to own their own (unless it’s safe, sane and consensual sex, amirite?) and two, because blasphemy plays such a minuscule role in magickal practise.

Along with this useless digression about blasphemy and morality, there’s 50 pages of scene-setting twaddle that concludes with some equally pointless blather about the meaning of “the left hand path.” I mean, who really cares anymore? Does anyone really define themselves like that still, other than self-publishing demonalatry etc authors on Amazon.com? There’s an extensive survey of magickal practitioner’s definition of the left hand path, but the only thing that the thoroughness of it does is highlight the failing this book has in wasting time on useless information. But you ain’t seen nothing yet, folks, no siree.

Although the previous 200 pages have occassionally mentioned aspects of post-Crowley magick, they are but a preamble to what occurs now which is a concentrated study of particular magickal practitioners and movements. Who could be the first choice? What shining dark light from modern occultism could be going under the microscope? Yes, you guessed it, come on down Armado fucking Crowley. Yes, the man who claims to be Uncle Al’s biological son and sole magickal heir (sorry Caliphate, and apparently he wasn’t actually all that into Thelema anyway), but who no one takes seriously. You just have to read one of Armado’s books to know it’s all a rather pointless charade and that the Crowley in them bears little relationship to all other records of him (including his own). And it’s not as if Evans doesn’t know this. In fact, he spends page after page showing how Armado has lied about this, or falsified that. Again, it’s pointless. While it’s somewhat fun to see each of Armado’s falsehoods scandalously documented, why bother? We know he’s a liar, so should we really be surprised to find that, omg, he’s not a novelist or playright anymore than he’s a magician! Evans seems to have spent far too much time playing detective, trying to track Armado down from various leads about his legal name, before finally scoring the jackpot himself from the Properties window of a Microsoft Word doc that Armado himself had sent. Score! But a score of 0, because nobody cares. Armado gets 50 pages and then as he has done before, Evans shoots himself in his irony-oblivious foot by quoting Armado himself as a final jab: “there is not the least value in trying to use writers of ‘fiction’ as witnesses.” Well, 50 pages worth of value say differently, Mr Evans.

Evans then turns to Kenneth Grant (finally) and uses him to also talk about Austin Spare and the use of Lovecraft’s mythos in contemporary magick. There’s not much in the way of revelations about Grant here, and nothing that familiarity with Typhonian documents online won’t have already introduced someone to. But it’s good to have it all in one place and Evans seems quite proud of having the most pages in print about Grant; though he’s probably equally proud of the Armado word count too. From there, it’s a brief discussion about Chaos magick which made me realise just how old hat and ridiculously last century it now seems. Somehow i had imagined that the history of British Magick after Crowley was a much richer field than what Evans covers. Obviously he’s looking at magick in a ceremonial-Crowleyesque vein, so there’s little in the way of Druidism or Wicca/Witchcraft here, and equally obviously, Ronald Hutton has covered that area so well already. But even so, what about rune/Norse based magick, such as the Rune Gild UK, with both Freya Aswynn and Ian Read (as well as the whole neo/apocalyptic folk scene) having elements of Crowleyan influence in addition to the runic stuff. For that matter, why not look at Current 93, or a proper, rather than cursory, look at Gen and TOPY, or a consideration of Coil that goes deeper than referring to them as, i kid you not, a “magically-inspired rock band.” Yeah, i totally remember that time Jhonn Balance like totally shredded this mind-blowing guitar solo. Dude. I would think the fact that Caliphate OTO head William Breeze/Hymenaeus Beta has worked and performed with both Coil and Current 93 would suggest they deserve more than passing mentions as rock bands. Also totally absent is Shri Gurudev Mahendranath’s International Nath Order, which is a bit ridiculous considering Mahendranath (or Lawrence Miles, as his parents knew him) met Crowley, and the Nath system could be said to be informed by elements of Thelema. And despite having a brief section on Satanism, in which he’s far too kind on Anton La Vey, Evans doesn’t look at specifically British Satanism at all. No mention of Magda Graham, or the presence that the Temple of Set had in the UK. There’s one mention of the Order of Nine Angles, but only in a caveat stating that they and the TOS are “worthy of an entire PhD thesis rather than this tiny overview”. Well, maybe if there wasn’t 50 pages of Armado fucking Crowley and the same amount about blasphemy, then he could have done some proper research for at least a page or two instead of that cop out. In total, there’s a feeling of Evans not being quite as involved in British occulture as he tries to appear, with the focus strictly on the Typhonian OTO, Chaos, and out of left left left field, Armado Crowley.  

But in all fairness, it’s not the content (or lack thereof) that bothers me the most about this book. It’s the writing. The lack of a proofreader is really obvious, and we’re not talking spelling or gramatical mistakes, but more the kind of things where another set of eyes would have said “maybe you don’t want to keep on doing that on every fucking page, you knob.” The real kicker is a Dan Brown-like(1)  need to introduce everyone as if they were appearing in an obituary: “Acclaimed wank artist, Freddy McFingers,” “Annoyingly pseudonym-happy bullshit merchant, Ramsey Dukes” (not real quotes, but the last one is the opinion the reader will eventually develop thanks to Evans’ constant references to him). But it’s not the sentence phrasing itself that’s all that annoying, it’s that Evans seems to think his readers have poor short term memories and reintroduces the same people again and again. Phil Hine seems to suffer worst of all and i began to dread references to him, as they would each time be prefaced by “Magician and author Phil Hine” or variations thereupon. I mean, i think the reader should be quite capable of remembering who Phil Hine is, and not needing a little job description in case they think Evans actually means international film star and surrealist painter Phil Hine, or the 35th president of the United States Phil Hine. I don’t know why magician and author Phil Hine seems to suffer this repeated prefacing more than anyone else, but it’s so bad that in one instance it actually happens on the same page to magician and author Phil Hine. Mercifully Crowley and Kenneth Grant are, apparently, big enough fish in this book that the reader doesn’t need to be reminded who they are. Poor Andrew Chumbley, though. Despite being mentioned several times already, by page 222, Evans feels we’ve forgotten who he might be, so he is introduced anew as “The late academic, author and modern magical practitioner of the ‘Sabbatic Craft’ Andrew Chumbley (1967-2004).” Thank goodness he didn’t collect stamps or own a cat or we’d be here all night.

And then there’s Lionel Snell, aka Ramsey Dukes and a bunch of other tedious pseudonyms, who is apparently Evans’ magickal guru. These are guru feet that Evans must spend a particularly long time sitting at because Snell is quoted extensively throughout the book to the point of annoyance. Even when it’s not something that really needed to be quoted to prove a self-evident principle, there he is; and often with the usual job description variations, sprinkled with various adjectives of praise.

So yes, not the successful exploration of post-Crowley magick that i had hoped for. Maybe Ronald Hutton will read his student’s work and realise he needs to do the subject justice.

 
* * *    

1. I have never read a Dan Brown “novel” but gained this understanding of his inimical style from some lovely entries on Language Log, where his hamfisted writing is deliciously dissected. 
The Dan Brown code and
Renowned author Dan Brown staggered through his formulaic opening sentence

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