Scriptus Recensera | Reviewing books magickal

June 1, 2019 by ScriptusScribe

Orpheus and the Roots of Platonism – Algis Uždavinys

Categories: classical, esotericism, hellenic, hermeticism

In the preface to Orpheus and the Roots of Platonism, Juan Acevedo, director of the publisher Matheson Trust, provides an initial outline of the work, being one in which, he says, Dr. Uždavinys’ intoxicated enthusiasm for his topic is tempered with a need to carry out exposition in a discursive and academic manner. It is a work which, would you believe, moves uneasily between the apophatic and the cataphatic, and we all know what kind of shenanigans that leads to. No? Alrighty then.

Orpheus and the Roots of Platonism runs as a single, 99-page monograph, divided into 24 chapters or sections that are given titles in the contents page, but infuriatingly, not in the actual body. Without these appearing within the body, the journey that Uždavinys takes the reader on can feel a little unstructured, as he jumps from one topic to the other without preamble. Laborious though it is, it becomes helpful to flip back to the contents page when encountering a new chapter, just to give you a sense of what is coming; and even then, that sometimes helps little.

Its sub-100 pages belie this volume’s density, with Uždavinys employing a multi-layered, polymathical style of writing that crams the pages with as much information as possible and often seems to divert into detail. Conversely, though, Uždavinys avoids using any theoretical framework or providing definitions of terms, so his highly specialised lexicon can be intimidating for those not familiar with it. Contrary to the title, there’s not always a lot of Orpheus involved, and this is no clearer than in the first chapter which begins, sans Orpheus, with a discussion of madness as a melancholy-like gift of the gods that can be poetic, telestic or prophetic (poietike mania, telestike mania and mantike mania).

Indeed, the roots that Uždavinys speaks of are more likely to be found in Egypt and more broadly, Mesopotamian, most notably Babylonia and Assyria. Even here, though, Platonism itself begins to lose its status as the focus of the text with Uždavinys spending an inordinate, though enjoyable, time considering the nature of prophecy and divine utterances in ancient Mesopotamia. These mantic experiences are explored exhaustively and range from the kind of channelled material generated by priests and priestesses standing within temples and embodying the gods, to local prophets who received messages from the gods involuntarily. This thorough exploration is divorced from what one would assume, given the title, is the focus of the book, and when Uždavinys does make reference to parallels in Greece he uses the rather less than satisfying, and possibly euphemistic, example of Pythagoras teaching from behind a curtain.

That isn’t to say there isn’t any mention of Orpheus or Orphism here, and the following four sections explicitly bear his name in their titles. Given the scarcity of extant information about a mythic figure like Orpheus though, and the lack of definition Uždavinys gives in turn to Orphism, these sections are brief, considerably more so than those that precede and proceed them, before yet another tangent is enthusiastically and abruptly pursued.

To return to the introductory words of Juan Acevedo, whether Orpheus and the Roots of Platonism does indeed move uneasily between the apophatic and the cataphatic this reviewer cannot say for sure, but it does succeed in its inability to sit still, ensuring that little gems spark interest amongst the turmoil of Uždavinys’ generously-described “discursive manner.”

With the expectation generated by the title ignored, what Uždavinys provides is an interesting consideration of a variety of matters of interest to the esotericist, whether it be prophecy, initiation, divine inspiration, cosmology and eschatological conceptions of the soul. That these are hidden away within Uždavinys’ somewhat desultory text may make the journey all the more satisfying.

Published by the Matheson Trust

May 27, 2019 by ScriptusScribe

Pagan Anarchism – Christopher Scott Thompson

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Categories: paganism, witchcraft

Published by Gods and Radicals, this brief 100 page, nine chapter volume from Christopher Scott Thompson does what it says on the can: talks about paganism and anarchism. There has been of late a certain, if not wealth, then at least a healthy crop of titles addressing occultism, paganism and witchcraft in particular as expressions of political resistance and rebellion. There is, as Thompson acknowledges, Peter Grey’s Apocalyptic Witchcraft from 2013, and only a couple of months ago, David Salisbury’s Weiser-published Witchcraft Activism; not to mention elements of paganism and occultism touched on in Stockholm University Press’s Anarchism and Religion series. Thompson’s unique selling point here is its concern with, shall we say, classic anarchism, and with that, pretty classic witchcraft too. Indeed, despite the paganism in the title, and references to some broadly pagan society, it is more witchcraft that is considered here; which as dual faith observers are so wont to mention, may be pagan or not.

For Thompson, the one thing that brings paganism and anarchism together is another ‘ism,’ animism, arguing that it is this that provides the fundamental contradiction between pagan and capitalist world views. With that said, I’m sure some contrarian could argue that you can define oneself as a pagan without necessarily being an animist. One can, to use Thompson’s example, object to dumping poison in a river because you believe, as a pagan, that it is a sacred river, without necessarily believing that that sacrosanctity is a result of, or is imbued by, the river having agency and consciousness.

By way of introduction to this synthesis, Thompson provides succinct histories of both paganism and anarchism. For paganism, he begins with definitions per Ronald Hutton, touches on the feudal systems and power relationships of mediaeval Europe, before finally summarising the modern pagan revival with a fairly standard trajectory: Romanticism, Leland, Murray, Gardner, et al. On the anarchism side of things, Thompson again returns to Romanticism as a significant cultural alembic, noting an intersection between that most pagan of poets and author of The Masque of Anarchy, Percy Bysshe Shelley, and the politically progressive family of his wife, Mary Wollstonecraft Shelley. Clearly familiar with his subject, Thompson then proceeds through the history of largely secular anarchism (Godwin, Proudhon, Stirnin, Bakunin, etc), but is also able to find those occasional instances of a pagan presence, such as founder of the Ancient Druid Order, militant labour organiser and anarchist communist George Watson MacGregor-Reid.

The way in which MacGregor-Reid was “ill at ease with the values and the limitations of contemporary civilization” (as historian Adam Stout put it), sums up the considerations here, and the precarious dance that Thompson must perform in advocating for what is essentially a future of the past, a step backwards to go forwards. He addresses such concerns, summarising various contemporary expressions of these theories and noting the problematic nature of the most extreme and anti-civilisation versions of environmental anarchism such as Deep Green Resistance; who, it must be said, end up sounding similar to the most fervent adherents of anti-cosmic ideas.

In one of the concluding chapters, Thompson presents his own theoretical, high idealised, vision of a future anarchist city, potentially hundreds of years following the fall of capitalisation. Everything is very nice, people presumably sing Kumbaya (Pagan Version) a lot, and there’s apparently no room for misanthropes, curmudgeons, loners, the social inept, or snarky reviewers of occult books, because “people aren’t alienated from each other, they live and work together in close proximity.” Sounds hideous.

Thompson uses the Rojava autonomous region in northeastern Syria as the closest extant analogy to this shining anarchist city on the hill, with the zone’s pluralistic democratic federalism, environmental sustainability and decentralisation sounding like the most progressive brand of anarchism.

The chapters of Pagan Anarchism are interspersed with single-page poems and prayers. These are part of a sliver of practical application that Thompson inserts within all the theory. There’s a little guide to bringing the magic back, as it’s described, with incense lighting, walking with intent, etc, while the appendix includes a basic pagan ritual, venerating the gods and the ancestors, and intended to be repeated at least once a month.

Printed by print-on-demand company Lightning Source, Pagan Anarchism runs to just under 100 pages and is perfect bound in a soft matte cover. It bears a striking collage by Ex Voto Fecit on the cover depicting Our Lady of Anarchy, and this is laid out by Li Pallas who has worked on other Gods and Radical titles. It is not clear who did the interior layout here, though, and it differs from that of other Gods and Radicals publications, which have a clear, functional look that doesn’t wow but is perfectly acceptable. Pagan Anarchism, though, seems a bit clunky.

Rather than the elegant Didot serif of the cover, the interior is all sans serif all the time. Copy is rendered in a larger-than-it-should-be serif more suited for display than body (high stroke contrast, a slanted bar in the ‘e’), with smaller-than-it-should-be leading that makes everything feel cramped and shouty; as are the pull quotes which are even bigger and even shoutier. Everything is indented, including, atypically, first paragraphs, while the first paragraphs of each chapter add drop words to this indent, each rendered in a large, all-caps, distressed stencil typeface, because, y’know, anarchy. This same Crass-esque face is used for chapter titles, sub headings and somewhat inexplicably and incongruously, for a full page excerpt from Charles Leland’s Aradia. In all, everything feels very crammed, and not even anarchic, despite the on-the-nose stencil face, while the tightly-spaced sans serif face of the body is only seditious and iconoclastic by not being conducive to reading.

Published by Gods and Radicals Press

May 24, 2019 by ScriptusScribe

Hekate: The Crossroads’ Dark Goddess – Idlu Lili Regulus

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Categories: devotional, goddesses, hekate, hellenic, Tags: Ixaxaar,

Hekate is a goddess with no shortage of books about her, and the shelves here at Scriptus Recensera do not want for her tomes, whether it’s Robert von Rudloff’s Hekate in Ancient Greek Religion, Sarah Iles Johnston’s Hekate Soteira or a veritable hoard of titles from Sorita d’Este and Avalonia Press. This isn’t even Ixaxaar’s first foray into Hekate’s world, stretching back to at least 2010 and Mark Alan Smith’s Queen of Hell. This surfeit of material is understandable given the wealth of classical source texts available concerning Hekate (clearly the deepest repository of data for any of the darker-hued goddesses), and also her aesthetics which have an almost innate appeal for those with, how you say, more cimmerian proclivities.

Now, after their recent release of Jack Grayle’s The Hekatæon, described by Ixaxaar as the first turning of a key to the kingdom of Hekate, a second key is turned with this book by the enigmatically named Idlu Lili Regulus. Originally released in Swedish in 2017 by Avgrund Förlag, Hekate: The Crossroads’ Dark Goddess is a smaller volume than The Hekatæon, but has certain similarities due to its combination of theory and ritual.

Hekate: The Crossroads’ Dark Goddess begins with little ceremony or preamble, diving straight into a discussion of Hekate’s ancestry and status as monogen?s, before expanding into a consideration of various mythical beings associated with her via birth or proximity. What one notices immediately is the surfeit of footnotes and citations, with primary sources and academic texts diligently cited at every utterance. Footnotes, meanwhile, are extensive, running to a paragraph normally, but occasionally stretching to half a page and in a few instances, almost an entire page.

This rigour makes for a satisfyingly academic feel, though it is one that provides moments of incongruity. While Regulus writes, for the most part, with a formal style befitting the citations and footnotes, they occasionally break into the more informal voice of a devotee. Thus, amid quotes from authorities ancient and modern, they will suddenly address you “the dear accursed reader” or wax effusively over a quote from Hesiod that causes their heart and being to “reverberate with its ancient, sacred and literally awe-inspiring tone.”

As this fervent tone suggests, Regulus does identify this book as a devotional, rather than an exhaustive or definitive treatment of Hekate, despite the thoroughness of the writing, citing and footnoting. What they choose to focus on, then, following the first chapter, are her associations with the moon and the underworld, and then things relevant to practical work with her: the plants associated with her, her many titles and names (predominantly drawn from the Greek Magical Papyri), and various documented classical examples of working with her.

Hekate: The Crossroads’ Dark Goddess concludes with an appendix of rituals that build upon the historical evidence that precedes them. These begin with a basic crossroads initiation (part meditation, part visualisation) and a heavily footnoted invocation of several pages, drawing on text from PGM IV. The rest includes brief instructions for circle casting (in which, interestingly enough, Cayn/Cain as the witch father is invoked alongside Hekate), a love spell of attraction, a graveyard communion and a crossroads supper, as well as a devotional Hymn to Hekate. In keeping with the tone of the rest of the book, these aren’t simply instructions with a ritual recipe to follow, but include pages of supplementary information documenting historical precedents, and even more within the footnotes.

As one might expect given the publisher, there’s an element of anti-cosmic philosophy that occasionally rears its serpentine head, with Regulus, for example, regarding the famous Gigantomachy frieze from the Pergamon altar as a depiction of a factual attack by the anti-cosmic Titans against balanced cosmic order’s temporary reign. This is by no means pervasive, and Hekate herself isn’t gratuitously presented in anti-cosmic terms, but it is something that subtly informs what is presented here.

Regulus writes in a confident, sometimes strident, manner, weaving together the slightly academic with the demonstrably devotional, and using turns of phrase that belie the text’s non-English origins. There is no credit for the translation from the original Swedish but it is satisfactory in its execution. There are the occasional awkward sentences where, for example, the tense can slip, but not to a detrimental degree, and by no means as bad as some occult works from native English speakers.

Hekate: The Crossroads’ Dark Goddess is laid out capably, with body in a clear and classic serif, sitting within generous but not excessive margins. Headers, both main and sub, are rendered in the all caps of a different, slightly irregular, serif face, while chapters begin with a fetching drop cap from the same blackletter face used for the cover and title page. There are, though, a few too many widows and orphans, and shorter quotes are too often separated into their own paragraphs, looking bitsy when buttressed above and below by paragraph spaces, even when they’re only a single or even partial sentence; whereas convention would have them incorporated into their preceding paragraph.

Illustrations in Hekate: The Crossroads’ Dark Goddess are sparse with no in-body images of any kind and only a few full page illustrations, including glossy plates with an image of Hekate by the always reliable David Herrerias at the start, and a painting by Magdalena Karlsson, Hekate Portal Icon, leading the ritual appendix.

The regular edition of Hekate: The Crossroads’ Dark Goddess runs to 480 copies and is bound in green cloth with title and an image of Hekate (a familiar Hekataia with her depicted three-headed and multi-armed, holding a variety of implements) debossed in a hard-to-read-in-low-light purple. The book was also made available in a special edition of 70, housed in an amethyst-coloured slipcase with an image of Hekate-Zônodrakontis foiled in silver on the front and back. Also included in this edition is a medium-size art card with the image of Hekate by David Herrerias, measuring 26.6 by 20.7 cm and printed on high quality glossy cardboard.

Published by Ixaxaar

May 20, 2019 by ScriptusScribe

Crafting the Arte of Tradition – Shani Oates

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Categories: folk, robert cochrane, witchcraft, Tags: Anathema Publishing,

After their first forays into occult publishing with the Pillars journal, Anathema Publishing presented their first stand-alone title with Crafting the Arte of Tradition by Shani Oates. Since then, at the time of writing, they have followed this up with two books by Craig Williams, one by Anathema owner Gabriel McCaughry, and two further titles from Oates. With an expanded paperback edition of Crafting the Arte of Tradition now available from Anathema, let’s get a review of the classic hardback original from 2016. Full disclosure time, I have had pieces published by Anathema Publishing in the past, and have worked for them as a copy editor. Will this have an effect on this review? Let’s find out.

Normally the reviews here at Scriptus Recensera leave the discussion of the book’s appearance to the end, but let’s switch that up and start off by judging this book by its cover. It’s beautiful. Brown where many occult publishers go black, Crafting the Arte of Tradition has a confident appearance, with a sigil blind debossed into the cloth cover, and the title and author in gilt on the spine creating a contrast with the russet tone. Inside the cover, the beauty continues, as McCaughry displays a deft and sophisticated hand when it comes to typography, with chapter titles simply but effectively rendered in a combination of different styles and cases; though I’m not sure what I think about the use of the attractive and meaningless pilcrow (¶) in subtitles. That said, the margins are a little snug, and with the full justification of type, this creates somewhat intimidating blocks of typographic colour that fill the pages; something that appears to have been rectified in the new paperback edition.

Images throughout Crafting the Arte of Tradition are used sparingly and effectively, with Luciana Lupe Vasconcelos providing starkly beautiful line drawings as both full page illustrations and as fillers and end pieces. These are unashamedly indebted to Aubrey Beardsley, but Vasconcelos makes the style her own, adding innovation rather than relying on slavish imitation. Her forms have a regal, Marjorie Cameron-style elegance, arrayed in fantastical costumes and robes, sprinkled with just the right touch of distance and distain.

As for the written content, Crafting the Arte of Tradition is very much Oates to a T. She obviously loves to write, though sometimes without consideration for the reader: brevity is sacrificed on the altar of verbosity, and paragraphs run long, stretching to as much as half a page in some cases. Oates seems to have studied at the same writing school attended by Andrew Chumbley and Daniel Schulke, or at least taken a postgraduate paper there, as her writing, which has been straight forward enough in the past, is unnecessarily ornamented and tortuous.

Crafting the Arte of Tradition is arguably part of a recent trend towards a more, how you say, philosophical or analytical approach to witchcraft, instead of the tired rituals-n-recipes formula that has dominated that branch of occult publishing for over fifty years. Peter Grey’s Apocalyptic Witchcraft provided a precedent for this (though his approach is more poetic than academic), while The Witching-Other: Explorations & Meditations on the Existential Witch by Peter Hamilton-Giles is a more recent example. What that means in reality, though, can be that simple concepts are given an unnecessary veneer of complexity due to the use of repetition, and the employing of language that obfuscates, rather than reveals.

Despite being ostensibly an explication of the craft as viewed by Robert Cochrane’s Clan of Tubal Cain, it’s sometimes easy to forget this as for the first couple of chapters, one finds oneself lost in an Oatesian swirl, within which it can be hard to understand or determine a particular focus. This is not just because of Oates’ obtuse language, but the structure, wherein there is often no flow, and paragraphs can begin abruptly as non sequiturs, as if you dozed off a little and have been rudely jolted awake. It is not that the words are obscure or archaic, which they aren’t, but that the phrasing that ties them together is clumsy and circuitous, with tenses changing, and flow halting, overwhelmed by the attempt to sound grander, more authoritative or more arcane than is needed. Improper use of commas plays a large part here, with that little flick being often poorly and inexplicably placed, making for an even more difficult read, and for one in which the immersion for the reader is constantly being broken as you go “What? That’s not how commas work.” The most generous assessment would be to call this writing a stream of consciousness, with all its abrupt leaps and sentence fragments, but even then, a little wrangling of words would have done wonders to instil some sense of, well, sense.

This lack of comprehensibility is compounded by sloppy proofing and referencing where stray or repeated words litter sentences, and where in some cases, sources have been cut and pasted and then not edited for accuracy. In one particularly egregious example, what is clearly an OCRed source text is quoted, but has been so inattentively dealt with that two errors introduced in the text recognition process occur in its single sentence length: ‘the’ has been scanned and left as ‘I lie,’ while a salt pit called the Old Biat is instead referred to ‘Old Bin I.’ As it is, this quote is incorrectly attributed and cited. It is not, as is unhelpfully and vaguely claimed, from “an historian by the name of Nash” but from The History of the County Palatine of Chester by J. H. Hanshall. The reference to Nash comes from the secondary source used by Oates (A Glossary: Or, Collection of Words, Phrases, Names, and Allusions to Customs, Proverbs, &c., which Have Been Thought to Require Illustration, in the Works of English Authors, Particularly Shakespeare, and His Contemporaries by Robert Nares) which quotes both Nash (that would be Dr Treadway Russell Nash, 1724 – 1811, for those keeping score at home) and Hanshall in the same section, but in relation to clearly different facts. The title of Hanshall’s work, but not Hanshall himself, is then cited by Oates as the source, despite having just claimed that this statement is by “an historian by the name of Nash… famous for his summation of the festival,” with the source and page numbering clearly just being lifted from Nares’ referencing of Hanshall. The same citing of a secondary source as if ‘twere a first occurs in the following paragraph where Oates again uses the entry from Nares’ book in quoting from “another historian named Lysons” (that would be the Reverend Daniel Lysons in his Magna Britannia: Being a Concise Topographical Account of the Several Counties of Great Britain. Containing Cambridgeshire, and the County Palatine of Chester, Volume 2 from 1810). This source is duly cited by cutting and pasting the truncated, authorless-citation format employed by Hanshall, rather than going looking for the original publication by the Reverend Lysons.

The above is highlighted in excruciating detail not to score points or to shame, but out of disappointment. When a lot of effort has gone into a book like this, as the glowing first half of this review is testament to, it is a shame when poor scholarship comes through like that in such a pellucid manner; especially when the resources are available to so easily get it right (all three books are available on Google Books and are fully searchable). When one is presenting a tradition and using historical documents to back up its themes, surely accuracy matters, especially when weak work in one area can make the reader wary of the rest. And speaking of references, for whatever reason Cochrane is referred to throughout this book with his birth name of Roy Bowers, which means that when his articles are referenced, they’re now nonsensically cited as the work of one Mr Bowers, when that isn’t the name under which they were published.

It is only in later chapters of Crafting the Arte of Tradition that clear points, albeit laboured, rather than well made, can be discerned, and that’s possibly only because it’s broken up by clear subtitles that indicate the subject area. Here, Oates discusses various tools of the craft, locations of power and various other symbols from folklore, myth and legend, but there’s still an unavoidable sense of aimlessness, with no clear direction and with the various thematic locales wandered into as if by accident.

So in summary, come for the prettiness, wade through the wooliness. Crafting the Arte of Tradition is presented as a 200 page hardcover octavo with gilt lettered bonded leather spine, matching blind stamped cloth boards, metallic endpapers, colour and black and white illustrations, and appendices. It is limited to 300 copies of which 280 are bound as the standard edition; the remaining twenty comprise the Fjölkunnig special edition and are bound in full leather, instead of cloth boards. In the hand, Crafting the Arte of Tradition feels very solid with its leather binding, brown cloth and the slightly heavier than usual weight of the pages within.

Published by Anathema Publishing

May 14, 2019 by ScriptusScribe

Nightside of the Runes: Uthark, Adulruna, and the Gothic Cabbala – Thomas Karlsson

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Categories: germanic, nightside, qabalah, runes, Tags: Inner Traditions,

Originally released by Ouroboros Produktion in 2002 as Uthark: Nightside of the Runes, this book has had its title flipped, and its page count inflated, by Inner Traditions; a publishing house that is home to a surprising amount of runic content alongside more conventional metaphysical fare. To do this, Nightside of the Runes takes the original content of Uthark, and adds a second part based around the Adulruna, and Gothic Cabbala of the subtitle. The latter is Thomas Karlsson’s Adulrunan och den Götiska Kabbalan, a work previously available only in Swedish, German and Italian. And fun fact, the cover here more resembles that of the original edition of Adulrunan och den Götiska Kabbalan than it does Uthark: Nightside of the Runes.

The concept of the Uthark has its origins in the work of Swedish poet and runologist Sigurd Agrell, who argued that the runes should be ordered, not with Fehu at the start, but at the end, thus beginning with Uruz to make an uthark not a futhark. While there are a few examples of a sequential listing of runes in which they could begin with Uruz instead of Fehu, these may simply be errors or erosion, such as, most famously, the Kylver stone from Gotland, where a vertical line before the Uruz could be the remains of Fehu. Karlsson himself doesn’t labour much for the validity of the theory, saying that irrespective of how it is held, the Uthark is a magically potent version of the rune row that corresponds well with Old Norse language and myth.

Perhaps the most interesting application for the Uthark is in how it changes things numerologically, with the value of each rune moving one along when using a letter-to-number cipher, with, for example, Hagalaz becoming a more pleasing 8 and Nauthiz a fitting 9. On the other hand, confirmation bias, pareidolia and apophenia being what they are, you could probably work out some esoteric significance betwixt a rune and a certain value no matter what number it was assigned.

Despite the title of this half of the book (and of the previous standalone edition), the Uthark doesn’t always play a huge role here, save for the occasional esoteric nugget that can be assigned to runes and the reshuffled aetts. Instead, this is a general rune magic primer, with everything you would expect in it: a section on the meaning and symbolism of each rune (and another variation of this same listing later on with meanings simplified for the purpose of divination), a brief guide to runic yoga in the style of Friedrich Marby, an exploration of the cosmology of the nine worlds, and a guide to ritual, including brief considerations of galdr and seiðr. The most notable innovation here is Karlsson’s presentation of the Uthark order of runes as a journey to Hel along the Helvegr, with each rune marking a stage on the journey, beginning with Uruz as a fitting gate to the underworld and ending with the less satisfying interpretation of Fehu as the magician in their state of completion.

The original body copy of Uthark has been edited for this release, tidying up and finessing the words here and there, but not going all out and altering Karlsson’s voice as it appears in the original, translated by Tommie Eriksson (whose name doesn’t seem to be credited in this new edition). As a result, the writing still comes across as the work of someone with English as a second language, though not horribly or unforgivably so. Phrasing can be a little awkward at times, and sentences are often short, abrupt eruptions, where another writer would have combined two or more of them together for greater flow.

Having previously read Uthark, but not Adulrunan och den Götiska Kabbalan, it is the latter that proves the most exciting part of the book to get to. Karlsson gives something of a prelude to this in the Uthark section with a brief chapter on runosophy and cabbala, which does introduce some redundancies when you get to Adulrunan proper. While the book’s first half is indebted to Sigurd Agrell, in the second half that role is performed by the Swedish antiquarian and polymath Johannes Bureus. Agrell and Bureus share certain similarities, despite the gulf of centuries, being figures possessed of a singular vision and unique interpretations of the northern mysteries. Both created innovations of the existing futharks, with Agrell’s one-place-along shuffling of the runes of the Elder Futhark having a parallel in the work of Bureus, who grouped the runes of the Younger Futhark into sets of five, and removed the inconvenient final sixteenth rune, Yr, to make a symmetrical three rows of five Adulrunes, as he called them.

Stephen Flowers provides prologues to both the Uthark and Adulrunan sections of this book, and also acts as the translator for the latter. His introduction to Adulruna is quite substantial, running to ten pages and providing what follows with a thorough context, highlighting the cultural and hermetic milieu from which Bureus, and the broader field of esoteric Gothicism (as Karlsson calls it), emerged. With Flowers providing the translation, The Adulruna and the Gothic Cabbala does feature a significant change in Karlsson’s voice from that of Uthark, lacking the staccato quality, with sentences now flowing longer and smoother.

The other noticeable difference is a considerably more academic approach, with the content here forming the basis of Karlsson’s 2010 doctoral thesis Götisk kabbala och runisk alkemi: Johannes Bureus och den götiska esoterismen. This is particularly evident in the first chapters of The Adulruna and the Gothic Cabbala which consists of an academic literature review of Bureus and Gothicism in general, and is then followed by a citing-heavy chapter defining Western Esotericism and name-checking all the usual suspects (Dame Frances Yates, Antoine Faivre, Henrik Bogdan, Wouter Hanegraaff, Mercia Eliade etc.). This makes for two very different halves of a book, with the academic grounding of the second half contrasting strongly with the practical, hands-on enthusiasm of the first.

It is the hermetic influences that played a large role in what Bureus created, with esoteric Gothicism drawing on elements of alchemy, cabbala, astrology and ceremonial magic; including clear nods to figures who loom large within this pantheon such as Paracelsus and Dr John Dee. As such, Bureus makes a fitting role model for Karlsson, whose Dragon Rouge organisation has a similar eclectic approach, employing elements of cabbala, including the nightside, and goetia, but with a strong focus on indigenous Scandinavian traditions.

Bureus’ system involves a dense, interwoven cosmology and a very specific nomenclature that is, to put it mildly, idiosyncratic; and Karlsson does an admirable job of documenting it thoroughly and as clearly as can be done with something as ornamented as it is. For example, Bureus posited a rather unique take on the Germanic pantheon in which, based on the runic formula of TOF, Thor was the preeminent god (an androgynous combination of feminine and masculine worshipped since “primeval times” as the “great invoker”), while Odin and Fröja were his children and messengers. This, as was the style of the time, then incorporated elements of mystical Christianity, with Fröja as the Holy Spirit and Odin as a version of Christ, the son of God, who descended into flesh and then returned, ascending to heaven, providing, as mediator, a process for others to follow. Bureus argued that this reflected a version of the philosophia perennis which had remained pristine in the north far longer than in the lands to the south. This incarnation was eventually corrupted when a wandering master of witchcraft and his wife assumed the names of Odin and Fröja. They received worship and turned this pure proto-Christianity into heathenry with its dreaded worship of wooden idols (and worst of all, changing the order of the formula to FTO, with Fröja now worshipped at the beginning of life, Thor during life itself, and Odin at old age and death).

Suffice to say, there’s not a lot of value to Bureus’ system if you’re purely pagan in orientation, or if you adhere to the archaeological record, with his conception of Germanic belief being, to put it diplomatically, highly speculative. But it is, if nothing else, fun. And that’s what makes Nightside of the Runes a worthy purchase, as it provides perhaps the most accessible and in depth information in English on Bureus’ convoluted cosmology and interpretation of the runes; as well, of course, as Agrell’s slightly less esoteric Uthark.

Illustrations in Nightside of the Runes consist of the original line drawings from the original edition of Uthark in the first half, and an exhaustive collection of images from Bureus’ publications in the second. These are rendered in black and white with the contrast turned well up to remove any colour or texture of the original print material, thereby giving them a consistent weathered and arcane look.

Nightside of the Runes is available in Kindle and hardback versions, with the latter wrapped in a dustjacket over its black boards and the title foiled in silver on the spine. Layout is by Inner Traditions’ Debbie Glogover with the body in a dependable Garamond, and headings in a distressed Appareo that contrasts with the san-serif Gill Sans of the subheadings. Appareo is a nice touch with its almost-slab serifs and worn edges approximating the face used on the original edition of Adulrunan, and conveying less of the runic side of this book and more of a sense of the later gothic manuscript or grimoire. Continuing this style, each chapter heading incorporates a crop of the sun image from the book’s cover (originally from the title page of Bureus’ Svenska ABC boken medh runor), sitting above the title as a pleasing archway.

Published by Inner Traditions

Review Soundtrack: Therion – Gothic Kabbalah (as with many Therion albums, Thomas Karlsson provided the lyrics to this album based on the work of Johannes Bureus)

May 6, 2019 by ScriptusScribe

History of the Rune-Gild: The Reawakening of the Gild 1980-2018 – Edred Thorsson

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Categories: germanic, runes

This title from Stephen Flowers, aka Edred Thorsson, has the peculiar status of being the third, and yet first, volume in an as yet to be completed trilogy that will discuss the history of the Rune Gild. While this entry documents the most immediate and therefore accessible incarnation of the gild, the others will consider its historical antecedents. Thorsson is of the belief that the Rune-Gild, an initiatory organisation with a scholarly focus formed in 1979, is the continuation of a group that existed in ancient times, a unified, coherent and organised Gild of Runemasters, as he describes them. This incarnation will be the subject of the eventual first volume, while attempts to revive runic lore from medieval times to the modern era will be the focus of the trilogy’s intermediate entry. This third volume represents an expanded edition of a work originally released in 2007, and includes previously unpublished photographs and an exhaustive bibliography of Thorsson’s published works.

The modern history of the Rune-Gild is intimately connected with Thorsson’s own, and so this volume inevitably tends towards the autobiographical, with the gild as an adjunct to his personal journey. This is clear from the start, where the first chapter is a biography of Thorsson from a precocious youngster, to his joining of the Ásatrú Free Assembly in 1978.

Thorsson writes with a gruff, pugnacious manner that perfectly fits his appearance and prominent moustache, making him come across like a Runic Ron Swanson, whether he’s railing against political correctness gone mad™ in academia, or WWE’s ‘sports entertainment’ brand of wrestling. Indeed, to use the parlance of the latter, Thorsson often seems to be cutting a promo on his foes and bugbears, channelling Classy Freddie Blassie or Bobby Heenan when he somewhat cringingly refers to lesser participants in this here magical milieu as “occultizoid nincompoops.” To continue this use of wrestling’s nomenclature, History of the Rune-Gild sees Thorsson constantly turning heel on former colleagues and associates (though perhaps he views himself as the babyface betrayed by cowardly foes), and this allows the book to be the definitive airing of grievances as no one is spared his indelicate wrath. The result is something of a scurrilous read, which may or may not work for some readers, depending on the degree of glee they take in snark, scuttlebutt and out-right invective.

This is particularly evident in a section devoted to publishing, where Thorsson eviscerates (there really is no other word for it) his past fellow writers at Llewellyn. Almost everyone gets a chairshot or is thrown onto a bed of thumbtacks strewn across the mat, including DJ Conway (her Thorsson-edited Norse Magic was “another Llewellyn travesty”), Donald Tyson (a Germanic bandwagon-jumper possessed of a “dull wit” with a “wilful misunderstanding” of the gods), and of course, the unfortunate Ed Fitch (who foolishly admitted that he had actually tried a few of the rituals in his laughable Rites of Odin and they seemed to “work pretty well”). Then there is David Godwin who is mocked for apparently not knowing about the Greek Magical Papyri despite having written a book, Light in Extension, about Greek magic ancient and modern, while Donald Michael Kraig’s assessment of Thorsson’s Hermetic Magic manuscript is extensively relitigated in return here. Even Freya Aswynn and Kveldulf Gundarsson, two authors who largely survive unscathed in this section, still receive a bit of a jab when Thorsson laments, with a touch of endearing ennui, that we can expect no gratitude in the world, as even those two individuals eventually formed an alliance and worked against him and his interests.

While the book does largely follow a chronological narrative, Thorsson sometimes takes a breaks of an entire chapter to focus on a particular subject area, be it the discussion of his involvement with publishing (beginning with Llewellyn and Weiser and culminating in the founding of his own Rûna Raven Press), his experiences in the Temple of Set, or musing on his time spent in academia. While they broadly fit within the surrounding narrative, some of these feel almost disconnected, repeating details as if they haven’t been mentioned before, and giving the sense that maybe, though there is no other evidence of this, they were based on standalone essays. Thorsson seems, for example, to be repeatedly heading off to Europe for a year of study and leaving the Rune-Gild in the capable hands of Edwin Wade, when it’s actually the same moment retold anew in different contexts.

Perhaps the most interesting of these focused chapters is a detailed discussion of Thorsson’s relationship with the Temple of Set, something that over the years has proved variously intriguing, problematic, disconcerting or simply incongruous, depending on one’s perspective. Thorsson’s role with the Temple has been a long one, rising through the ranks to gain the grade of V° Magus, and becoming grand master of its Order of the Trapezoid. He makes a strong case when explaining his reasons for such intense involvement, clearly aware of the eyebrows it has raised over the years. One of the key points here is the value of engaging fully with a system and its structure as a learner, of submitting to the process, and of the lessons that can always be learnt from a mentor. For Thorsson, that mentor was the temple’s founder, Dr Michael Aquino, who he lauds for performing the same role in matters magickal that Dr Edgar Polomé, his lecturer and mentor at the University of Texas, did in matters academic.

Other than the Temple of Set and the Rune Gild itself, the organisation that receives the most attention here is The Troth/Ring of Troth, formed in 1987 by Thorsson and James Chisholm after the disestablishment of the Ásatrú Free Assembly. Thorsson’s relationship with the Troth is portrayed as one of some distance, like a disappointed father, and the account here is more often than not a resigned, melancholy testament to the perils of being involved with an occult organisation, all internal struggles, power plays, gossip and more time practicing malice than magic.

In contrast, the penultimate and final chapters document the growth of the Rune Gild and the light cast here is considerably more favourable. As the 1990s headed towards the 2000s a physical space called Woodharrow was developed on 30 acres of land in Lost Pines, east of Austin, with the Yrmin-Hall raised in 1994. New cast members are added to the history, with Ian Read of Fire + Ice being increasingly involved and acquiring the rank of Rune-Master (the album Rûna being his qualifying masterwork), while long-time associate Alice Karlsdóttir ascended to Gild-Master (her book Magic of the Northern Goddesses being her masterwork). Compared to the earlier chapters, this period is treated positively and less curmudgeonly, though Thorsson still inevitably laments the failings of the occasional member. In a slightly more compact view of the Rune-Gild’s more recent history, Thorsson then summarises various moots held through the year before the gild was destroyed and re-constituted on 11/11/11 (apparently necessitated by the forces of Níðhöggr) with Thorsson stepping aside as leader.

History of the Rune-Gild is well illustrated with two sections of photographs of Thorsson, his influences and contemporaries. The first documents Thorsson’s early life and that of the nascent gild, whereas the latter shows various gild associates (masters, fellows and drightens), including famous faces like Michael Moynihan, Ian Read, and honorary member Nigel Pennick. In addition to these supplementary images, the book concludes with an extensive appendix, 26 entries in all, providing a wealth of original documents. These range from a 1959 news clipping documenting a conjunction of the Moon and Venus observed by a young Stevie Flowers, to various Rune-Gild and Troth documents, excerpts from Temple of Set newsletters, and a range of Thorsson’s pugilistic missives on gild letterhead from over the years. The most interesting of these appendices is a facsimile of the Odinic Rite’s breathless expose and condemnation of Thorsson’s association with the Temple of Set, full of righteous indignation and paranoia, as they try to get their heads around the apparent incompatibility of the two organisations, and attributing Thorsson with all manner of nefarious intent.

History of the Rune-Gild was edited by Joshua Buckley and Michael Moynihan, with cover design by both (using a photograph by P.D. Brown), and typesetting confidently executed by Buckley. It is available as a trade paperback.

Published by Gilded Books, an imprint of Arcana Europa Media

Review Soundtrack: Fire + Ice – Rûna

April 28, 2019 by ScriptusScribe

A Rose Veiled in Black – Edited by Robert Fitzgerald and Daniel Schulke

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Categories: devotional, goddesses, thelema, Tags: Three Hands Press,

Focusing its attention on the figure of Babalon, A Rose Veiled in Black is the second volume in Western Esotericism in Context, a series from Three Hands Press which began with the previously reviewed Hands of Apostasy and continued with the also reviewed Luminous Stone. It features essays from ten writers: Amodali, Robert Stein, Erik Davis, Caroline Wise, Daniel A. Schulke, Frater A.I., Gordan Djurdjevic, Grant Potts, Manon Hedenborg-White, Richard Kaczynski and Robert Fitzgerald. Along with these written pieces are visual contributions from names both familiar and unfamiliar: Barry William Hale, Hana Lee, Linda MacFarlane, Liv Rainey-Smith, Mitchell Nolte, Nicole DiMucci Potts, Sarah Lindsay and Timo Ketola.

Aleister Crowley naturally looms large within these pages, and co-editor Robert Fitzgerald kicks things off with a discussion of the various appearances of, and allusions to, Babalon in the Master Therion’s The Vision and the Voice, his record of travelling through the Enochian aethyrs. This is a text that is cited time and time again throughout A Rose Veiled in Black and Gordan Djurdjevic covers similar ground to Fitzgerald, but also surveys the glimpses of Babalon that can be gleaned in The Book of the Law, and briefly touches on Leah Hirsig’s relationship with Crowley and Babalon herself. Hirsig gets more of her own focus in “I am Babalon,” a piece by Richard Kaczynski, who fastidiously documents the life, before and after Crowley, of the woman who identified herself as Babalon and as the mother of several magical children, including Crowley’s subsequent Scarlet Woman, Dorothy Olsen.

A more experiential approach comes from Amodali of Mother Destruction/Sixth Comm fame, whose wonderfully-verbose-titled Introductory Theoria on Progressive Formulas of the Babalon Priestesshood addresses what she sees as fundamental misinterpretations and distortions of the archetypes and formulas of the sexual gnosis key to Babalon’s magic. To this end, Amodali draws on her over 25 years of magical experience to present a ritual formula, informed by Dr John Dee’s De Heptarchia Mystica, in which practitioners forge the Body of Babalon, in a tasty taster of her long-forthcoming title The Marks of Teth from Three Hands Press.

Other contributors offer practical options too, either as instruction or documentation, with Robert C. Stein detailing a Liber Nu-based working he performed in Australia in 1985, within an asteroid or comet-formed crater under a sky occupied, as above, so below, by Halley’s Comet. Meanwhile, in Seven Chalices of the Lady, Grant Potts presents a group rite, originally performed at the Bubastis Oasis OTO, Texas, in 2013. Drawing on a Red Tara practice from the Nyingma tradition of Tibetan Buddhism, the rite associates the chakras with the seven Babalonian chalices of the title, seeking to attune the body of light to the Thelemic current and the mysteries of Babalon.

Towards the end of A Rose Veiled in Black, co-editor Fitzgerald returns to make his own practical septenary contribution with a Rite of the Seven Keys of the Kingdom, a ritual for achieving communion and congressus with Babalon, with liturgy drawn from the Enochian keys, The Vision and the Voice, Liber Cheth vel Vallum Abiegni and Dee and Edward Kelley’s original 1587 transmission from the Daughter of Fortitude. Fiztgerald’s partner in editing, Daniel Schulke, meanwhile, provides a lengthy meditation on Babalon’s theme of abomination, which he relates to the quintessentially Cultus Sabbati taboo-breaking Formulae of Opposition and abjection; though that latter post-structuralist terminology is not used here. Schulke effectively makes an unstated case for the release of this book by a publishing house more often associated with witchcraft, contemplating the relationship betwixt Babalon, Abomination and witchcraft. He draws intersections between Babalon’s cup of fornications and the witches’ cauldron, and highlights other ways in which her imagery has analogues in the systems of the Cultus Sabbati. Then, of course, there’s John Whiteside Parsons, who definitively referred to his Babalon-focused system as The Witchcraft.

Next to Uncle Al, Parsons is the Babalon devotee who gets the most mileage in A Rose Veiled in Black, with Manon Hedenborg-White giving over a substantial 33 pages to Uncle Jack and his place in the mythos of Babalon. Hedenborg-White begins with a solid history of Parsons and his various interactions with Babalon (citing extensively from George Pendle’s Strange Angel) before devoting a significant amount of space to highlighting the difference between his conception of Babalon and that of Crowley. While the Babalon of Crowley’s The Vision and the Voice is removed, residing in the astral, and largely passive, Parsons’ Babalon is a goddess with agency and the ability, and will, to move into the material realm, giving orders and fomenting revolution.

This view is something also explored by Erik Davis in Babalon Rising: Jacks Parsons’ Witchcraft Prophecy, in which he describes it as emblematic of Parsons’ “magickal feminism.” Both Davis and Hedenborg-White portray Parsons and his vision of Babalon as being ahead of its time, with the contrast between Californian Uncle Jack and the Victorian Crowley being particularly notable; though Davis does not shy away from calling Parson’s earnest views somewhat essentialist and slightly cheesy. The fulfilment of Parsons’ witchcraft prophecy, which had predated even Gerald Gardner’s publication of Witchcraft Today in 1954, saw the growth of witchcraft as a counterculture, often feminist, movement, in the latter half of the 20^th century; with Davis suggesting it was no accident that the particularly militant and vociferous strands began in Los Angeles.

Perhaps the most outlier of contributions here comes from Caroline Wise who almost admits as much in the narrative of her Dreaming of Babalon and the Bride of the Land. This begins abruptly, placing the reader in an unexpected narrative in which Wise is flying, quite reflectively and with great clarity, over the landscape of Glastonbury in what one eventually realises is a dream experience. It ends with flashes of the number 156 and a message from Babalon instructing Wise to ‘find me in this land.’ Wise’s work has always had a sense of the geographical about it, in particular her many pages spent on the road goddess Elen, and this is what occurs here, with her following Babalon’s directive and seeking to find her within the magical landscape of Glastonbury. This draws heavily on Katherine Maltwood’s idea of the Glastonbury Zodiac, great (theoretical) landforms within the region’s hills, streams and roads that appear to represent the twelve signs of the zodiac, with Wise’s journey predominantly focusing on themes of the grail cup, the constellation of Virgo and echoes of Mary Magdalene.

A Rose Veiled in Black concludes with another distinct approach, with Frater A.I.’s Emblematic Arcana of Babalon, in which he provides a meditation on certain themes and symbolism associated with Babalon, represented as a series of sigils and emblems. Reminiscent in some places of Hagen von Tulien’s stark black and white designs, these images draw on commentary from The Vision and the Voice along with tarot and qabbalistic symbolism to illustrate concepts such as Babalon as the disposing intelligence of Cain, her seven-headed mount and the City of Pyramids, and the Egg of the Babe of the Abyss.

In all, there is a wide variety of work in A Rose Veiled in Black, ranging from good to great, and with no obvious missteps or huge dips in quality. The work is proofed fairly well, with only a few howlers slipping by: in his piece on Leah Hirsig, Kaczynski quotes from the Gnostic Mass and has Chaos as the sole “Viecregent” of the Sun, rather than, surely, ‘viceregent,’ while Hedenborg-White’s piece has one instance in which the names of Babalon and Parsons are transposed, leading to the head scratching genderfuck of “the goddess asks Babalon to give his mortal life in exchange for her incarnation… Parson responds: ‘I am willing.’”

A smattering of black and white images are scattered throughout A Rose Veiled in Black (with some Babalon henna designs by Nicole DiMucci Potts providing a consistent but atypical interstitial style), but the bulk of visual contributions are found as full colour plates in the centre of the book. These are all, suitably, quite luxurious, with the most notable examples being ones in which oils, acrylics and their digital approximates, render Babalon in swathes of fleshy brushstrokes. Mitchell Nolte’s digital Our Lady Babalon has her bare-breasted and enthroned within a dense tableaux that has something of Gustave Moreau’s regal, decadent splendour about it. Timo Ketola’s pastels on paper Babalon carries a similar feeling of opulence with libidinous folds of cloth cascading from a chalice-wielding Babalon. The chalice reappears in Linda Macfarlane’s Babalon, where she stands strong before an acrylic-rendered septagram, her hair a Kate Pierson-like mane of red and her left arm snake-entwined. Finally of note is Liv Rainey-Smith’s 2014 woodcut with hand-applied garnet, purpurite, tigers eye, bloodstone and jade in which Babalon most closely resembles her apocalyptic description, riding upon the seven-headed beast and carrying the cup of her fornications in her hand.

Layout is expertly handled by Joseph Uccello in a functional serif for body and subheadings. The only flash of glamour comes from the titles, which are rendered in Moyenage 32, a blackletter face with a hint of the modern, which feels strangely fitting here without falling into the trap of being obviously Babalonesque (neither overly ‘occult’ or stereotypically ‘feminine’).

A Rose Veiled in Black was made available in two editions: a standard hardcover edition with a dust jacket, limited to 1,092 copies, and a deluxe edition of 77 copies, quarter-bound in scarlet goat with marbled papers. The standard edition is bound in red cloth with text foiled in gold on the spine, while the dust jacket bears the image of Babalon by painter Linda Macfarlane, who has previously explored a number of other Babalonian themes.

Published by Three Hands Press

April 24, 2019 by ScriptusScribe

Wortcunning – Nigel G. Pearson

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Categories: folk, witchcraft, Tags: Troy Books,

As Nigel Pearson explains in his introduction, this compact little volume from Troy Books documents a collection of herbal lore he was given access to in the early 1980s. The accumulated knowledge of a Sussex family group of witches, the information was assembled on a set of index-cards, housed within a box, with herbs and ailments spread across them in several, presumably multigenerational, hands. The information was recorded by Pearson, and the cards returned, but it was largely forgotten for the ensuing decades until his own interests coincided with the content of the herbal.

Befitting the index card format, there’s not a lot of information for each herb, with the entry usually consisting of the name, a month and/or planetary attribution, a subheading giving the ailment followed by very brief instructions on use. There’s also the use of what is described as a habitat code, a four by five grid system used to note a plant’s habitat and soil conditions. In addition to alphabetically listing the herbs, Wortcunning includes entries for various maladies, all of which provide a cross-reference to their treatment by listing the relevant plants.

Despite the sigil-festooned device on the cover, there’s little to no magical aspects involved in these cures and their application, with most being either imbibed or topically applied with nary a trace of ceremony or orison. Perhaps the most common practice here is infusion, with multiple recipes calling for the creation of tonics and teas, while poultices occur less. Similarly, there’s no poisonous path here, and while baneful plants such as henbane, datura and hemlock are listed, their only instruction is a stern one, telling the reader not to touch them.

There is an ugliness, atypical of Troy Books, to how this information is presented, with the symptoms rendered with hideous outmoded underlines that brutally cut across the page, while the choice of italics for instructions and dosages comes across as bitsy and messes with the overall hierarchy. This messiness is compounded by some of the formulae using the at/@ symbol, which though it is applied in its traditional sense to mean “at the rate of,” feels incongruously modern and just ugly, like you’re looking at sentences of improperly formatted email addresses. Also, the use of the habitat code means that each entry ends with an untidy string of capital letters that need to be decoded by flicking back to the legend at the start, when that information could have been more simply written in full. Obviously, this code system is included (like the use of the @ symbol, one supposes) in deference to accurately reflecting the styling of the original cards, but there’s no denying it gets on the tits off this reviewer. Speaking of tits and the getting on thereof, may we draw attention to the infuriatingly consistent improper use of semicolons, where they are used where colons should be.

Wortcunning has a lovely formatting conceit that allows it to be read either from the front or the back. While reading it one way presents the Sussex lore as recorded by Pearson, flipping it over gives the reader a slightly different book, with a thorough listing of the more traditional usages and attributes of the same herbs. This has the benefit of increasing the page count substantially, as the Sussex material only runs to a meagre 65 pages. It also, naturally, provides a lot more content, with the barebones and brevity of the first half contrasting markedly with its counterpart. Here, Pearson writes in considerable detail for each herb, adding in the magic and the history of each plant, and giving their symbolism and varieties of magical application. Although Pearson apologises in his introduction for the lack of encyclopaedic writing on each plant, the length of these entries (running from half a page to a more usual full page), suits the type of book it is and doesn’t skimp on the deets.

Unlike the barebones of the Sussex material, these entries are broken up with the occasional image of the respective plant, sometimes appearing at full or half page size but more often than not, as little thumbnails with text wrapping around them. These are clearly sourced from different locations, so there’s not a consistent style to them, with various stroke weights and degree of detail; though the overall style is, naturally, botanical illustration.

The any-which-way formatting of Wortcunning is done very well, with the cover superficially duplicated at both ends, and the spine details formatted to be read either way, meaning that inevitably, and somewhat delightfully, you never know which ends you’ll be starting from when you pick it up with a casual glance. There’s always a lot of flipping involved (until you eventually notices that, oh, one cover says “A Folk Medicine Herbal” and the other “A Folk Magic Herbal”).

Wortcunning is presented in a 187 x 114mm pocket format on 193 90gsm cream paper pages, in a paperback edition, a standard hardback edition and a fine edition. The standard edition is bound in green cloth, with copper foil blocking to the cover and spine, with light black endpapers and black head and tail bands. The fine edition of 86 exemplars is hand bound in high quality, soft touch faux leather with copper foil blocking to the front and spine with marbled end papers. This is held in a fully-lined black library buckram slip-case, with copper foil blocking replicating the cover motif on front and reverse sides.

Published by Troy Books

April 20, 2019 by ScriptusScribe

Telesmata: New Images of the Sabbatic Mysterium – Daniel Schulke

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Categories: art, sabbatic craft, witchcraft, Tags: Three Hands Press,

Held in November of 2018, in Mortlake and Company’s Seattle gallery space, Telesmata was an exhibition of work by Daniel Schulke, with its subject matter encapsulated in the subtitle promising new images of the Sabbatic Mysterium. The catalogue of the exhibition is presented in a 180 by 250mm, perfect bound format, with a substantial page count of 48. It should be noted that not all of the images shown in Telesmata are featured in this catalogue, but they are available in an online gallery on the Mortlake and Company website.

My first encounter with Schulke’s artwork was in the icon-like images of his Viridarium Umbris: The Pleasure Garden of Shadow, all high contrast black and white tones, with forms both human and arboreal featuring prominently. The most obvious continuation of this work is Daimonic Intelligence of the Mandrake, an oil on canvas work, used on the posters for the exhibition, which reprises an image found, rendered in lines of ink, in the opening pages of Viridarium Umbris. On a whole, though, that pen and ink style is absent from the work of Telesmata but there are familiarly-formed figures, and naturally, the themes remain the same.

It is oils that dominate here, with only two submissions in watercolour on paper (representing female and male sacrifices to the Sabbatic Egregore Ozzhazæl respectively). The themes of most of the paintings will resonate with anyone familiar with the Sabbatic strand of witchcraft, predominantly illustrating ritual formulae: figures swirl around the field that is The Blood Acre in one, the phallic arcanum of the Stone God is illustrated in another, while Eokharnast, the first horse, appears with a corporeal, humanoid projection in a painting from 2018.

Schulke works largely with flat plains, his figures often appearing against muted or entirely black backgrounds, but when they do appear in landscapes, they recall the work of Christos Beest with their sense of hermetic numinosity, heavy with import due to their isolation within the land. His female figures in particular recall those from Viridarium Umbris, all almond eyes and perpetual nubile nudity, but now enfleshed in painterly skin.

Perhaps the most striking and evocative of the images presented here are ones in which Schulke has used plant-derived materials as the sole medium (with iron as a fixative). He explains that the works are entirely experimental, coming from meditations on the source plant, thereby creating an image of the plant’s spirit. Included in the catalogue are representations of the daimons for eucalyptus, walnut, oak and unspecified tannins, with each bearing arboreal faces within twisting, phantasmagorical forms that are decorated with voluted bark-like markings.

As its 48 pages suggest, this catalogue takes the opportunity to do more than simply document the work, and said work is preceded by a significant introduction from Schulke, and proceeded by another brief text on materials. In his introduction, Schulke talks of the way in which painting is a fundamentally magical act, creating images that are by their very nature occult, due to the way in which layers are built one upon the other, both revealing and concealing. For him, then, a magical image is a ritual object in an immediate sense, but also one that reflects an accumulation of knowledge and experience.

In the concluding third section, Substance, Schulke underscores the magical process behind painting with a meditation on the way in which it alchemically blends together various ingredients, not just in the pigments, but in the material on which they are applied, creating a matrix of tree oils, resins, wood and linen fibre. He concludes this point with a brief herbal (and whatever the mineral equivalent would be), consisting of nineteen types of plants, stones and metals that can be used for painting.

Published by Three Hands Press in conjunction with Viatorium Press

April 17, 2019 by ScriptusScribe

The Book of Q’ab iTz – David Herrerias

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Categories: art, sabbatic craft, Tags: Atramentous Press,

Since forming in 2018, Atramentous Press have quickly built a significant catalogue of releases, with this being their fourth title already. The Book of Q’ab iTz is one part magickal record, one part art portfolio, with the latter being what author David Herrerias is best known for. Mexico-born, Sweden-based Herrerias has created cover art in his distinctive wispy style of oils for black metal acts such as Irkallian Oracle, Akhlys and most spectacularly, Nightbringer, as well as featuring in occult publications from Three Hands Press, Anathema Publishing and others.

The Book of Q’ab iTz is divided into two sections: a written preamble that takes up a little under half of the work, and the Book of Q’ab iTz proper, which consists predominantly of illustrations by Herrerias. This latter section is, in turn, divided into two codices, presenting formulae of the Androgyne, and of the Xoëtic Alphabet respectively. The written preamble does two things: first, it presents an explanation of the modalities out of which the illustrative content emerged, with Herrerias describing his approach based on the Sabbatic Tradition as found in Andrew Chumbley’s Dragon Book of Essex, Qutub and Azoëtia. These are presented as either instructions to the reader, or as diary recollections of Herrerias’ own work. This preamble also provides something of an explanation for the illustrations, with an exegesis, still somewhat veiled in obnubilating occult language, of the symbolism and the themes. Unfortunately, as all this written comment occurs in the first half of the book, it somewhat divorces it from the corresponding images, and the correlation between the two sections can be forgotten as you move forward (or subject to a constant flicking betwixt pages and the marking of places with fingers).

The images of Codex I, Formula of the Androgyne, are presented in a variety of usually dense and detailed styles, with a heavy calligraphic element being perhaps the most common motif. Here, Herrerias writes in a lovely, florid hand, often layering the text over images, or otherwise creating dense surfaces of typographic colour. While hard to read, even if you do speak Spanish, the text from some of these images is translated and printed, without explanation, in a section before the main images. Other than this curlicued text, the artwork here contains as its main feature a prevailing theme of the corporeal, featuring a variety of human bodies and individual body parts, usually dissolving or evolving into various forms. Phalluses and multiple sets of breasts abound, including several appearances by the winged-penis that is the fascinum, featuring, sometimes overtly, others covertly, in a variety of images.

In Codex II, the images differ little in overall style, but there is an increasing emphasis on the incorporation of Mesoamerican motifs, with the usual pallet of western occult imagery being joined by figures that would not be out of place in Mayan codices. This relates to Herrerias’ integration of his Mexican cultural background incorporation into the Ophidian and Sabbatic path, with most notably the Tlacuache (Opposum) and the Tecolotl (Owl) featured throughout as significant totemic forces that mark the “moment of experiential ecstasy at the Witches’ Sabbat.” This is, perhaps, the most interesting element of The Book of Q’ab iTz as it provides a unique innovation of the array of symbols, and one that, if initially incongruous, begins to have a certain appeal.

While presenting a body of work that is consistently his own, Herrerias employs a variety of styles for which, in some cases, there are some clear touchstones and precedents. Chumbley seems the most obvious, in particular the use of facetted plains and jagged, eldritch tendrils that have always been evocative of Lovecraft’s references to unsettling non-Euclidian geometry. Austin Osman Spare also lends a pretty indelible mark on the work, most immediately with Herrerias’ use of intense self-portrait in which he stares out at the viewer, recalling the same gaze from Spare in a multitude of images. Similarly, a totemic painting comprised of three faces stacked one upon the other seems like an obvious riff on Spare’s Mind and Body from 1953, while anytime human figures merge and dissolve into amorphous shapes, or steles combine frontalist godforms, sigils and mystic letters, it’s hard not to think of Spare’s oeuvre.

The final selection of artwork in The Book of Q’ab iTz moves Herrerias away from the pen and brush and towards the lens, with a series of black and white photographs documenting the formula of the Xoëtic Alphabet. Each of these darkly-toned images is accompanied on the preceding page by a brief, if cryptic, explanation of each stage in the process.

Given the effort that has gone into a title like this, from the choice of stock to the quality of printing, not to mention the hours spent by Herrerias in creating the images, it’s a shame more of the same wasn’t applied to finessing the text. There are deficiency in both editing and proofing, with the lack of the former meaning you can have a single sentence that runs to seven lines, while the absence of the latter sees the conflation of ‘its’ for ‘it’s’ and general spelling and grammatical mistakes. While Herrerias does admirably for someone whose first language, one assumes, is not English (and some areas are better than others), it would have been a kindness to have a more rigorous editor to tighten the run-on sentences, lipo the other bits of literary flab, and keep the tenses making senses.

The Book of Q’ab iTz has been released by Atramentous Press in four editions: standard hardback, the Somatic special edition, the Telesmatic deluxe edition, and a trade paperback. The standard edition of 333 exemplars has a natural terracotta cover with central insignia and printed spine, binding approximately 120 pages of a weighty 150 gsm Munken Rough stock and natural heritage blue endpapers. The Somatic edition of 33 wraps the same in a goatskin cover, with gold foil insignias blocked to cover and rear, five foiled ribs on the spine, enclosed in a felt-lined cloth slipcase. Finally, the thirteen exemplar Telesmatic edition binds the above in polished goatskin cover, but houses it in a full leather solander box with a foil blocked title on the front and ribs to spine, and comes with a sigillic talisman by Herrerias on nagual-made paper from Mexico.

Published by Atramentous Press