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Children of Cain – Michael Howard

Categories: folk, luciferian, paganism, qayin, robert cochrane, sabbatic craft, witchcraft, Tags:

childrenofcain-coverWay back in the mists of time, the first book I ever read about “witchcraft” was Laurie Cabot’s Power of the Witch. Even at such a formative stage, there were things about it that didn’t sit right with me; not least the diagram of chakras, laid out on an Egyptian style figure, in a book sprinkled with the dreaded C word (Celtic). Funnily enough, around the same time, I read my first book about runes, Michael Howard’s Wisdom of the Runes, so this consideration of traditional witchcraft makes for an interesting journey full circle.1

Subtitled A Study of Modern Traditional Witches, in many ways, this book resumes where Ronald Hutton left off in Triumph of the Moon, considering in depth some of the figures that he briefly covered, but with the focus here being on those who claim independence from the system of Wicca promoted by Gerald Gardner. With almost fifty years studying and researching witchcraft, Howard is in the unique position of having known or corresponded with most of the key figures of modern witchcraft; many of who are now gone.

There are three main areas of historical modern traditional witchcraft2 that Howard considers before exploring some tangents and more recent expressions: Robert Cochrane’s Clan of Tubal Cain, the related group The Regency and the Pickingill Craft claims of Bill Liddell. Howard’s account of the Clan of Tubal Cain covers familiar ground for anyone that has devoured his previous writings on the subject as well as those of Evan John Jones, Doreen Valiente and more recently, Shani Oates. Howard does not shy away from looking as the personal side of Cochrane’s life, which is perhaps inevitable given how so much of the story of the Clan is tied up with Cochrane’s own personal mythology. Howard tends to highlight his erratic behaviour, which could be seen as a personal attack by those overly invested in Cochrane as a guru figure, but is perhaps better viewed as illustrative of his qualities as a trickster and atavistic archetype who has become as much a figure of myth as Tubal Cain and Goda themselves.

The consideration of George Pickingill is quite exhaustive, which is perhaps to be expected since Howard with his magazine The Cauldron was one of the original publishers of some of the claims by Bill Liddell. Liddell’s theory that Essex cunning man George Pickingill was actually a grand master of nine covens who had direct influence on everyone from Gerald Gardner to the Golden Dawn is an appealing one, and one can’t help feeling that Howard gives it as much space as he does just because of how glorious its grand vision is. By no means does he state his acceptance of Liddell’s claims, but there’s a feeling he wishes they were true. And who wouldn’t? One crazy old village wizard weaves together almost every strand of nineteenth century English occultism. Who needs the Illuminati when you’ve got Old George.

Following these three histories, Howard takes a step back chronologically and looks at the 18-19th century quasi-magickal guilds such as the Horseman’s Word and the Toadsmen. This consideration is perfectly placed as it shows how many of these rural secret society had themes that were synchronous with, or directly informed, the strands of Traditional Witchcraft that would publically emerge in subsequent years. For the Horseman’s Word, Cain was revered as the first horseman and the presiding chief horseman was identified as the Devil, while the rites of the Toadsmen have been thoroughly explored by Cultus Sabbati magister Andrew Chumbley.

Where Children of Cain is at its most potentially invaluable is in the chapter on the Sabbatic Craft. As an empowered initiate of the Cultus Sabbati, Howard is well placed to present what is perhaps the largest consideration of the group in print so far. Ever so slightly hagiographic in tone, Howard’s admiration for Andrew Chumbley is quite evident and he is nowhere as critical of his friend and their claims as he is of the arguably similar figure of Robert Cochrane. Most of the chapter, though, deals not directly with the Cultus Sabbati but takes the praxis of the group as an opportunity to explore various Cultus-relevant aspects of traditional witchcraft: the witches’ sabbat, the wild hunt and witches’ flying ointments.

Casting his net wider to cover areas of occultism that share the same atmosphere of traditional witchcraft, if not a direct link to those already covered, Howard also looks at the work of Austin Spare and New Zealand-born artist Rosaleen Norton, along with various American traditions (Victor Anderson’s Feri tradition, Douglas McIlwain’s Order of the Skull and Bones as well as American folk magick in general).

Title plate design by Liv Rainey-Smith

While not as rampant as Capall Bann titles, Children of Cain has some careless spelling mistakes and misplaced letters; although for some reason, this lessens as the book progresses. This is such a shame given the lengths that Three Hands Press have gone to in the presentation of this book, and it makes it all the more jarring to find them in such a well presented volume; with Capall Bann titles, the reckless spelling almost goes hand in hand with the cheap printing, generic formatting and cumbersome binding. Although it is not as exhaustively referenced as it could have been, many sources, including personal correspondences, are cited within the text, making for a feeling of a satisfying authoritative read.

In all, Howard’s book is an important consideration of the strands of witchcraft history that diverge from the usual Gardner and Alexandrian “mainstream.” It consolidates, arguably for the first time, a wealth of information about groups for which precious little has been written before. Although some may object to how their respective traditions have been represented here (where Howard’s knowledge is perhaps familiar but not intimate), each strand is fairly and, on the whole, dispassionately represented. Given the nature of this subject, where claims of authenticity for one’s tradition are so often a concern, the tone of an author is an important consideration. Howard’s approach could be said to have a (to use a now rather dated reference) Mulder-like willingness to believe that is tempered with a Scullyesque critical approach that cautions him against totally subscribing to anyone’s claim; at least in print.

Published by Three Hands Press

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1. Although, to be fair, Howard’s book did feature a Ralph Blum-style blank Wyrd rune, so time makes fools of us all.

2. Yes, I’m aware that categorisation makes almost no sense.

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Qabalah, Qliphoth and Goetic Magic – Thomas Karlsson

Categories: nightside, typhonian

karlssonOriginally released in Swedish and then in English as a hardback edition, Qabalah, Qliphoth and Goetic Magic has now been reissued as a rather sumptuous paperback with French flaps, featuring new colour art plates and extra material. As the title suggests, Thomas Karlsson’s book is divided into three sections, beginning by considering both the day and night sides of the tree of life, before addressing the slightly tangential subject of Goetic demons.

In his initial consideration of Qabalah, Karlsson plays it pretty straight, especially considering the left turn that the rest of the book takes. He writes clearly and with some authority, giving an outline of Qabalah that references primary texts as well as considering its role in considerably more recent Western Occultism. One of the problems with this section, and it is common to a lot of qabalistic literature, is that the whole point, purpose or practical application of the system is never addressed. Yes, Binah may mean this, and Geburah may mean that, and we could spend pages looking at the complex gematrical meanings behind this and that, but what do you do with it? Is it all a metaphor, or are there really giant balls of mercy and severity floating somewhere out there in space? Are we meant to think of the sephira as planes that the adept can travel too with their active imagination, and if that’s the case, then why does no one say this? It’s almost as if so much has been written about qabalah over the years that no one dares address the elephant in the room that is trumpeting “but what do you actually do with it?”

Karlsson then turns to the nightside of the tree and his discussion of the Qliphoth is probably the most definitive and cogent consideration in print. There’s little of Kenneth Grant-styled purple prose here with all of its wallowing in the grotesque, despite the dark subject matter. Although, in saying that, that word dark does seem to spring up a lot. Adepts aren’t just adepts, they’re dark adepts, shadows are dark shadows (the best kind of shadows, right kids?), both illumination and alchemical processes are dark, and quite quite quite surprisingly, the Abyss is dark; all this on one page… whoops, I mean, all this on one dark page.

The ten qliphoth are each presented with in-depth descriptions, running from Lilith (instead of Nehemoth) to Thaumiel. Karlsson follows this with the book’s practical content in the form of some qliphothic invocations, a consideration of magic squares and a visualisation of a journey through one of the tunnels of Set that join the qliphoth together. The four qliphothic invocations are directed towards the first four qliphoth (Lilith, Gamliel, Samael and A’arb Zaraq) and are prefaced by a fairly standard ceremonial ritual with cast circles, knives, wands and incense. The invocations address the spirits of each of these qliphoth: Naamah for the qliphoth of Lilith, and confusingly, Lilith (the entity) for the qliphoth of Gamaliel, with Andramelech kicking it old school style for Samael and Baal for A’arb Zaraq. The one tunnel visualisation presented here is for Thantifaxath (with a promise that visualisations for the other twenty-one tunnels are available to Dragon Rouge initiates), in which the participants is led into a mountain within which they encounter a naked female figure carrying two bloody crescents.

Karlsson gives sigils for the 22 spirits of the qliphothic tunnels of Set that are different from those originally printed by Crowley in Liber CCXXXI. And it’s probably a good thing too, given how dorky some of them were. Yes, I’m talking about you, Tzuflifu. Don’t look so surprised, Hemethterith! And is it just me, Thantifaxath, or do you look like a tortoise wired up to a couple of batteries? In contrast to Crowley’s idiosyncratic originals, Karlsson’s updated sigils have a pleasing and consistent aesthetic that is very much indicative of image-conscious modern magick, all lovely rings, crescents and tapered swirlies. The sigils for the qliphoth themselves are also rather nice and follow a similar style.

In his final section, Karlsson turns to goetic magic with an overview of ritual procedure for invocation before listing the sigils and characteristics of the 72 demons of the Goetia. There’s nothing particularly new here and by the time you get to Andromalus and his ability to return stolen property, the only thing you might want returned is all your time spent reading about his 71 predecessors.

All in all, this is a valuable addition to nightside literature, if only because of its thoroughness and its coherence that contrasts sharply with Kenneth Grant’s wonderful, but ultimately infuriating, incoherence. It is clearly written from the perspective of Karlsson’s Dragon Rouge order and as such gives an interesting insight into their system; and for that matter, into the themes of the metal band Therion, for whom Karlsson is lyricist. The book’s goetic section feels unnecessary, and the time and space spent on the 72 familiar faces of demonology could perhaps have gone into a similar but inherently more interesting summary of the tunnels of Set and their denizens.

Published by Ajna Bound: www.ajnabound.com
ISBN 978-0-9721820-6-5

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Clavis: Journal of the Art Magical, Issue 1

Categories: luciferian, magick, nightside, sabbatic craft, witchcraft, Tags:

Clavis 1There seems to be a veritable explosion in the publishing of occult journals and magazine at the moment, something that is heart-warming in this digital world we live in. Clavis 1 marks the entry of Ouroboros Press and Three Hands Press into this field, and as you would expect, especially from Three Hands Press, this first issue features high production values: perfect bound with a full colour matte cover, heavy stock for the 80 internal pages and several full colour illustrations. And if that’s not enough, there also a deluxe edition, bound in full antiqued olive kidskin with handmade endpapers and limited to 125 copies.

Despite a wide ranging thematic ambit that welcomes almost every credible stream of contemporary magick, there is a strong emphasis throughout this first issue on matters relating to Sabbatic Witchcraft. This is perfectly illustrated by arguably the two strongest contributions to this issue, those from co-editor Daniel Schulke and from Sussex-based writer Martin Duffy. In Diablo Stigmata, Schulke explores the role of the Devil’s Mark in the lore of the Witches’ Sabbath, said to have been placed by the Devil on the bodies of his followers. Schulke uses his exploration of the Devil’s Mark to touch on other tangentially related elements of Sabbatic lore (such as fairy sabbaths) and other esoteric marks and identifiers, like the similar Mark of Cain.

Martin Duffy’s One Beyond Twelve: The Thirteenth Spirit, Judas and the Opposer is an exhaustive consideration of the figure of Judas Iscariot in folklore and sabbatic witchcraft. Judas emerges as a New Testament version of the Opposer, a latter day Cain to the Abel that is Jesus, or a Set in conflict with his brother Osiris. In many ways, this piece felt like a revelation, moving Judas away from the stereotypical, one-dimensional figure of evil Christ-killer and showing the esoteric relevance of almost every element of his story. As the scapegoat to Divine Will that saw him hung from a tree, just as his twin had been from atop Golgotha, Judas echoes both the fallen angel Azazel, bound in the desert by hand and foot as an expiator of sins, and another fallen angel, Shemyaza, who was hung inverted in the constellation of Orion.

Both Duffy and Schulke’s piece are a joy to read, being able to discuss matters that reflect, we hope, an authentic magickal praxis, but one which is authoritatively and, most importantly, lucidly written. The same cannot be said for Johnny Jakobsson’s Nebiros et Ars Necromantica. Presenting a lengthy exploration of, um, something, Jakobsson’s approach is clearly informed by the Kenneth Grant school of dense and unfathomable occult writing. Words upon words are piled into sentences like a far too rich chocolate gateau, with some of the ingredients so obscure I was given pause to wonder if they even existed; and spellcheck seems to share my concern. While it may not sound as cool, there must be an easier way to say: In the guise of tsel mavet, the multitarian twain-headed serpent is the definite sovereign of this alchemic arte of chrysopoetics in the Qliphothic initiation at the graveyard, where its multifarious domains are regally divided into regions. Despite being only 23 pages long, it took several sittings to get through this piece purely because of the giddy hallucination-inducing quality of sentences like: As the hypostatic tripod of the solar shell, the three genii, Mortifaxiac, Horgosat and Miratan, are each magistral mystagogies of the chrysopoetic praxes of the tunnel’s vital emanations into the aureate heart of the ethereal body.

In addition to the longer articles, Clavis features reprints of a number of primary sources that express many of the same themes. Two of these are alchemical texts, one by fifteenth century alchemist George Ripley and the other by Edward Kelley, while another text is the remarkable witches’ invocation to Cain collected by Charles Godfrey Leland in his Legends of Florence. In a similar vein is The Commonplace Book of Francis Grosvenor, an article by Ben Fernee that looks at the notebook of an otherwise unknown 17th century gentleman. The manuscript is a collection of notes on witchcraft, geography and cosmology, with personal reflections that seem to come as a result of the writer’s experience of ecstatic and transcendent states of mind. The point of Fernee’s piece is to highlight the similarity of Grosvenor’ language with that of Andrew Chumbley, drawing comparisons with Grosvenor’s references to the mystique language of the eye & hand  to the Hand and Eye sabbatic formula that Chumbley presents in the first chapter of his Azoëtia.

As well as the historical content, there are also some more practical pieces featured in this issue: Shaddai’s Gate by Frater A.I (a practical exercise for working with the lunar sphere of Yesod) and Beyond the Paths of Frustration: Daath Gnosis by Craig Williams (in which a way of exploring the Nightside using a tantric framework is given). There are also visual contributions from Tomasz Allen Kopera, Rima Staines, Ben Tolman, Joseph Uccello, Tom Allen, Sasan Saidi, and Hagen Von Tulien.

In all, this is a very satisfying debut from Clavis, with a combination of scholarly, visionary and practical content. The quality of the publication is one of the strongest selling points, with an attention to craft that makes the $49 asking price seem, almost, forgivable.

Available from www.clavisjournal.com

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Both Sides of Heaven – Edited by Sorita d’Este

Categories: faery, luciferian, Tags:

bothsidesofheavenAvalonia’s Both Sides of Heaven is a collection of essays on angels, fallen angels and demons that suggests that, were the contributors made to choose, it would be the darker side of heaven on which they would sit. There is a preponderance of pieces exploring the fallen angels, whereas their heavenly counterparts are only occasionally present, but such is the dark glamour of the fallen ones that this is, perhaps, inevitable.

With eighteen contributions, there is a wide range of material here, and as one would expect, it is of varying quality and worth. Some of the highlights include Kim Huggens’ Between Gods and Men, a survey of the idea of daimons from a cross section of classical source, while a similar mytho-anthropological approach is taken by Payam Nabarz in a consideration of the angels and demons of Zoroastrian cosmology. Both pieces are well written and thoroughly referenced, making them a joy to read.

There are also strong contributions from Michael Howard and David Rankine. Howard’s The Myth of the Fallen Ones is effectively a summary of the material from his books The Pillars of Tubal Cain and The Book of Fallen Angels, while Rankine gives an overview of the goetic spirits that appear to be fallen angels. In Madeline Montalban, Elemental and Fallen Angels, Julia Philips covers similar material to Howard, although there is substantially less about Montalban than you would have expected based on the title, being limited to a few paragraphs.

On the weak side are pieces like Diana Allam’s Azazel & Shemyaza: Sex, Drugs & Rock ‘n’ Roll, which is a measly two page reflection on how they see Azazel (apparently as “every female’s fantasy in one package;” how wonderfully essentialist) and to a lesser extent, Shemyaza, who they see as a father figure; providing psychological insights I wasn’t really looking for. Adele Nozedar’s Thirteen Unicycles in the Woods is also unsatisfying, using five pages to give a personal account of seeing an angel and a demon in the wild; an anecdote that may be fine as something to tell like a ghost story around a campfire but one that feels lacking in any relevance or insight for a greater audience. Some of the other pieces are distinctly amateurish and entry level, such as Demons and Devils from the peculiarly-named Maestro Nestor. This is a rambling summary of demonology that is punctuated with personal recollections about how they once contemplated summoning a demon to do housework (they thought better of it because it would have been “just too disrespectful”), and how they made a pact with Satan, which they managed to break thanks to a ritual from Arthur Waite’s Book of Ceremonial Magic; phew, that was lucky. Equally rambling is Fallen Angels and the Legends of the Fall, subtitled a rather human perspective, in which author Rufus Harrington’s day job as a Consultant Cognitive Behavioural Psychotherapist appears to have given him the skill to write for several pages without actually saying much.

Less egregious but still irritating is Aaron Leitch’s The “Enochians,” which promises to show you the true identity of the angels of Dr. John Dee. Unfortunately, Leitch bases his piece on a false dilemma, arguing that occultists favour the exotic Enochian angels that Dee and Kelley encountered as they delved deeper into their system and that they have wilfully ignored the more familiar angels with which Dee worked. For Leitch, the true identity of the angels is just the archangels that Dee, as a student of western occultism, summoned and encountered at the beginning of his experiments: Gabriel, Uriel, Michael and Raphael. So that’s no great revelation and the fact that another piece in this volume, On the Wings of Rebirth by Katherine Sutherland, specifically discusses Dee’s work with these angels suggests that Leitch’s idea of some occult cover-up to hide Dee’s conversations with conventional angels  is vastly overstated.

As is obvious, the problem with this volume is the disparity in the quality of  contributions and contributors. Pieces that have an even mildly academic approach outshine the more personal anecdotes that offer nothing but unwelcome insight into the none-too-flattering mindset of some magickal practitioners.  With some quality control, the eighteen contributions could have been whittled down to make a slimmer but more satisfying volume. As with all Avalonia releases, this book is competently formatted and printed, and the reasonable pricing means that despite the chaff, there’s no reason not to buy this for what wheat there is.

Published by Avalonia. ISBN 978-1-905297-26-9

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Nightshades: A Tourist Guide to the Nightside – Jan Fries

Categories: magick, nightside, typhonian, Tags:

nightshadesMy first encounter with Jan Fries was his Helrunar, which I first saw sitting tantalisingly in Wellington’s Pathfinder bookshop (now long departed home of all matters occult, but mainly self-help books and cassettes of whale song). The text in Helrunar was accompanied by black and white illustrations (including a lovely one of a piebald Hela and Níðhöggr) and it is similarly styled images that are the focus of this book.

Before getting to his pictorial guide to the Nightside, Fries gives a fifty or so page introduction to the themes therein. As ever, Fries takes a conversational style in his writing, not being one for occult obfuscation, and he positively bubbles with enthusiasm for his subject. Covering everything from the neurochemical components of love to the use of the Sephirothic tree and the nature of the Nightside in general, Fries comes across as a polymathical guru (or Joseph Campbell), sparking little realisations of truth as he leaps from one subject to the other. There is something a little mid-90s chaos magick in his approach, where magick is seen as being grounded in psychological and physiological experiences and frameworks, and your mileage may vary when it comes to your enjoyment of that method.

Wrapping up his introductory essay, Fries gives a biographical note explaining the origin of the images that follow, revolving around an intense series of encounters with his Holy Guardian Angel and journeys into the Nightside that began in 1982. Created between 1981 and 1983, the images were usually sketched directly upon exiting trance and then inked later, and Fries describes them as expression of “an experience and a state of intense emotionality.” Some of these images have been published before as a picture book, Visions of Medusa, others are part of an unnamed book of journeys to the Ancient Ones, while the third section, Nightshades proper, concludes the book with images of the 22 Qliphothic entities.

The images that Fries presents here are indicative of his style which is unique amongst occult art. While his closest comparison would be Austin Spare, it is only due to both artists having the same atavistic quality in their work, and Fries mines a more cosmic, ever so slightly science fiction oeuvre that feels indebted to the wide and vaguely organic vistas of Moebius. Never one for shading or thick lines, Fries renders the tone and mass of his figures as unfilled spaces, giving them an otherworldly quality of translucent bubbles. With 71 pictures in total, not all of them can be stunning, but those that are, truly are. In some ways, the most successful images are the Qliphothic Nightshades, which for the most part, have a consistent look and feel. For anyone familiar with these entities from direct experience or from the works of Kenneth Grant and others, there’s a definite moment of recognition that occurs when turning these pages.

In the introduction to this book, Mogg Morgan describes how, in 2008, he and other Oxford occultists worked with some of these images, making copies that they then coloured as an act of focus. Unfortunately, that feeling of photocopied transmission pervades the book, with some images looking a little worse for wear: greys, on those rare occasions they occur, losing any subtlety and becoming splotchy; and blacks that can be speckled and inconsistent. This is compounded by the choice of paper. Given Fries’ use of fine line, his art requires a weighty paper that can sympathetically ground his ethereal images, however, Mandrake have gone with a cheap, thin, and clinically white stock that has all the personality (and quality) of a ream of photocopy paper. It is actually physically unpleasant to touch (possibly from all the bleach used to whiten the paper) and leaves the images often looking scratchy and poorly reproduced. To its credit, the book is large format and hard bound, but even here, the cover image is blurry and pixelated in places, suggesting that it is a low resolution picture that has been recklessly enlarged for print. While it may not have been necessary to go to the extent of the straight-to-eBay section of occult publishing, a little more quality control and attention to materials would have made this an essential volume.

Published by Mandrake of Oxford. ISBN 978-1-906958-45-9

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The Book of Fallen Angels – Michael Howard

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Categories: luciferian, witchcraft, Tags:

bookoffallenangelsMichael Howard describes this book as both a sequel and a prequel to The Pillars of Tubal Cain, which he wrote with Nigel Jackson. While that book was a broad consideration of Luciferian themes that ranged from Gnosticism to Freemasonry, from Arthurian lore to traditional witchcraft, amongst others, this volume takes a more concise and specific look at the fallen angels of that tradition. In the 1960s, Howard was the student of Madeline Montalban, whose idiosyncratic and Luciferian magickal system differed from that offered at the time by both ceremonial magic and Gardnerian witchcraft. While this book is by no means a strict guide to Montalban’s system, it is clearly informed by her work, and by the course material of her Order of the Morning Star. Howard is also at pains to point out that although he is an empowered initiate of the Cultus Sabbati, and despite some of the similar themes, the material in this book does not necessarily reflect the teachings of that group.

Montalban saw Lucifer as a benevolent being who, like the other fallen angels, had aided the development of humanity, and she referred to him with the inspired alternative name of Lumiel (Latin-Hebrew) or Lumial (Latin-Arabic), meaning ‘Light of God’. Interestingly, Andrew Chumbley received this same name independent of Montalban or Howard, and his Lovers Call to the Angel of Witchblood, addressed to Az’ra Lumial, is included in this book as an appendix.

Howard says that the key to Montalban’s success as a magician was her ability to synthesise Chaldean stellar lore, Egyptian mythology, medieval sorcery, Renaissance magic and Luciferian gnosis. And that is essentially Howard’s approach here too, covering the Fallen Angel and Cainanite mythos from a biblical and apocryphal perspective and then widening the scope by considering these sources in relation to Mesopotamian and other mythological systems, as well as European and Arabic folklore. Howard rarely reaches conclusions or states anything as definitive fact, simply presenting various bits of lore to create an overall picture. This includes the alternative archaeology of Graham Hancock and Andrew Collins, which again, is presented as contributing to the theme but is never entirely embraced; and probably a good thing too given the lack of scholarly rigour to be found in that field.

While not as bad as some of their other releases, this book features Capall Bann’s usual aversion to spell checking and proof reading. On page 47, Samael is, mayhaps, the victim of an unchecked autocorrect when the Cupertino effect turns him into a time-travelling Samuel, making a quote from the Zohar describe how “when Samuel mounted Eve he injected his filth into her.” Later, the angel Metatron is rendered as the somewhat weightier Metraton, and a reference is made to St Jreome. With mistakes like these, and others, being so glaring, it’s baffling that they were never picked up during even a cursory glance. And as is common with other Capall Bann titles, the book has gutters that are too shallow and a tight perfect binding, making it necessary to hold pages wide open to comfortably read them, forever at the risk of having the pages slam shut like some cheaply bound tome from the Unseen University.

Howard’s writing style is amiable and occasionally conversational, as he pulls together the threads of the fallen angel tapestry with a largely credible tone of voice. While these threads are far reaching and wide-ranging, there’s none of that Grantian-style of Boy’s Own anthropology, and his statements are usually reasonably sourced (though by no means exhaustively referenced); there are only a few moments that you go “hang on, that’s news to me, where does that come from?” (and because of that aforementioned tight binding, it’s hard to thumb back through and find the most egregious example). Thoroughly recommended for an overview of matters Luciferian and fallen angelical.

Published by Capall Bann. ISBN 186163236-3

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Tankhem: Seth & Egyptian Magick – Mogg Morgan

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Categories: egyptian, magick, thelema, typhonian, Tags:

Tankhem coverMogg Morgan’s Tankhem is subtitled Seth & Egyptian Magick, and this, and the promotional blurb, gives the prospective reader the impression that they will be getting an exploration of Set, informed by the life of the Nineteenth dynasty pharaoh Seti I; and the use of Seti’s temple complex at Abydos as an astral temple in magick. Morgan begins with a prolegomena to Egyptian magick that sets forth the case for Set(h) as a much neglected but important figure in Egyptian mythology. This is followed by a Kenneth Grant-inspired consideration of the role of Set in Thelema, embracing the slightly darker side of Crowley that sees Aiwass as Set/Shaitan. After this, though, things begin to lose focus and each subsequent chapter seems to be a separate essay unrelated to the last, and sometimes with little connection to the titular subject of the book.

Chapter 3 is a consideration of the temple of Seti I at Abydos, which Morgan believes is crucial to an understanding of Set. This is an interesting premise, but instead of writing about it himself (or giving any evidence that he’s actually been there), Morgan ends up quoting extensively (by which I mean page after page) from the writings of Omn Sety. Known to her parents as Dorothy Louise Eady, Omn Sety was a London-born Egyptologist who also believed that in a past life she had been a priestess in Ancient Egypt called Bentreshyt. As interesting as Omn Sety and her two lives are, it seems odd to quote so extensively from her, especially when any good writer should know how to paraphrase.

While Omn Sety’s chapter (and let’s be fair, most of it is by her) is on topic, Chapter 4’s discussion of sex magick comes out of left field and, if I’m reading the endnotes correctly, is indeed a previously published article. Following that, Chapter 5 turns, quite unexpectedly, to an exploration of the life and magickal system of William Butler Yeats. This is a rather interesting chapter and one comes away feeling that Yeat’s contribution to occultism has been sadly underrepresented, but it certainly seems to have been written for something else, with very little relevance to Seth & Egyptian Magick. While chapter 6 moves back on topic with a consideration of Ursa Major in Egyptian stellar mythology, the way in which themes previously discussed are introduced anew makes you wonder if yet again, this is a previously written piece that has been slotted in.

Morgan has an informal conversational style of writing which could be charming if he stayed focused. But the casual tone gets particularly infuriating in Chapter 2, Setinism, where he gives an overview of the various contemporary strands of Satanism, particularly La Vey’s approach. Sounding like a conversation on an internet forum or email list, this chapter is littered with “it seems to be,” “from what I’m told,” “it is said” and “apparently,” with the most egregious example coming when he says “as far as I can remember – the Satanic Bible works with lots of god forms from the medieval grimoire tradition.” Either it does or it doesn’t; sure, we may not be expecting APA referencing here, but was there really no time to dig out a copy and check?

The layout and design of Tankhem can only be described as appalling. The cover image is pixelated and adorned unsympathetically with de rigueur Egyptian-font-choice Papyrus in all its un-kerned glory. Inside, Papyrus is used extensively for subheadings and the running header (but with a faux bold applied so that the trademark organic distressing of the font disappears anyway), while the endnotes of each chapter are rendered in the same none-too-small serif font used for the body text. Faring even worse are the pages and pages of extracts from Omn Sety, which are jarringly presented in a huge 14 point san serif font which leads to a meagre 27 lines a page.

Like any guilt-tripping parent, I’m not angry, just disappointed. The prospect of a book considering Set, the temple at Abydos and Egyptian magick in general held so much promise. But it is let down by the lack of focus, cruelly enabled by the bad formatting.

Published by Mandrake of Oxford. ISBN 1869928-865.

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The Living World of Faery – R.J. Stewart

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Categories: faery, folk, underworld

livingworldoffaeryAlthough much of Bob Stewart’s work concerns itself with the faery realm, this book sets out to focus specifically on the faeries themselves, and their appearances in traditional lore. It combines explanatory chapters, with explorations of folk songs and rhymes, as well as guided workings, with many based on the folk songs. Some of the workings included in this book have appeared in other Stewart books such as Earth Light and Power within the Land, and indeed contribute to a general feeling that much of the material is recycled, and the words simply rephrased. Stewart is, as ever, somewhat dogmatic in lamenting the state of modern occultism and the stereotypes about faeries, and after a while, this curmudgeonly approach begins to grate. It’s not that he’s necessarily wrong in his views, it’s just that once would be enough without the need for condescension.

The book is most useful for its considerations of the faery content of traditional songs and tales, with the ballad of Young Tam Lin and the song of Thomas the Rhymer being essential items of study. From a Helish perspective, a chapter on the inverted Underworld Tree, which features a pathworking to the hall of the Fairy Queen, makes for interesting and evocative reading, and can be adapted more specifically for Hela. Other visualisations include a diving through a moon pool and an exploration of the four otherworld cities from Irish mythology: Murias, Falias, Gorias and Findias.

As with some of his other works, Stewart incorporates elements of Qabalah into his discussion, prefacing it with an overview of the way in which the faery folk were often associated with the fallen angels of biblical lore. Stewart argues that, like faeries, angels have undergone a shift in representation that turns them from powerful, slightly terrifying, beings into “sugary, ethereal, white robed beings who pull us out of difficulties or encourage us with religious platitudes.” With this and a subsequent discussion of the role of Lucifer in faery lore, Stewart’s presentation evokes echoes of the dual–faith observance that is found in Andrew Chumbley’s Sabbatic Craft.

The second half of The Living World of Faery is made up of what could be called primary sources, which, when originally published in the days before digital archives of public domain works, would have been an invaluable resource. These include a reprint of an interview on faery matters with the mystical artist and writer AE (George William Russell, 1867–1935), and extracts from the Reverend Robert Kirk’s 1691/1692 work The Secret Commonwealth. With its almost anthropological notes of faeries, Kirk’s work clearly informs, or corroborates, the exercises in the first half of the book.

Overall, this is not an essential Stewart book, since so much of it is covered elsewhere, but for the completest, it is worth getting. It is nicely formatted and illustrated throughout.

Published by Mercury Publishing, North Carolina, USA. ISBN 1-892137-09-7

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Shadow Gods and Black Fire – Andrew Gyll

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Categories: germanic, rökkr, Tags:

shadowgodsFirst the disclaimer and a qualifier: I was commissioned to design the cover art for this book and I am credited as the illustrator for the internal imagery too. So, while this could suggest that this may not be the most unbiased of reviews, I choose to use it as a, well, illustration of the virtues of this book. I wasn’t commissioned to make the internal illustrations, but upon receiving the manuscript for review, it was impossible to resist being inspired by the author’s words.

Shadow Gods and Black Fire is a collection of poems by Dorset-based poet, storyteller (and postman), Andrew Gyll, divided into two parts. As Gyll explains, the first half, Shadow Gods and Black Fire¸ is a personal exploration of Norse cosmology and of the Rökkr in particular, while the second part, The Dis, are a series of recollections of a female ancestor of the author.

Gyll’s style of writing is a simple, evocative one that has a remarkable ability, for me at least, to evoke something so familiar and known, as if he’s tapping into my own well of experience. In Magpie Woman, he sees Hela with the colours of the titular bird: She is transition; one black wing, one white, warm flesh, cold bone, describing Her as “life that has withered, the promise of beauty yet to come.” In Helheim, the subject is again Hela, with a meditation on Her as a spirit of compassion, as She who makes whole, because She, as the poem says, “knows the pain of separation and loves you for it.”

At the close of day
A lady waits,
wide are her lands,
fine are her halls.

It was the resonance that Gyll’s poems about Hela had for me that led me to create so many of the accompanying illustration. Like the best devotional literature, Gyll’s poetry provokes a physical as well as emotional response and that he achieves this with such brevity of words adds to the impact of the pieces. There is also a wonderful spirit of pragmatism infusing the work, so rare in the oft-times turgid and earnest realm of devotional and spiritual poetry. In Mordgud, an underworld explorer seems to be on his way into the depths of Hel when, having passed the usual liminal challenges, he encounters the guardian Mordgud and finds he cannot answer her question as to why he is actually venturing into the world of the dead. Pausing and nodding she matter-of-factly ends the poem by telling the explorer “Why don’t you go away and think about it.”

Elsewhere in the Shadow Gods and Black Fire section, Gyll explores both Rökkr and Aesir figures, including Odin, Frigga, Baldur, Surt, Angrboda, Loki and the World Serpent. Some are poetic retellings of contemporary UPG accounts of pivotal moments, such as The Old Queen and The New, which recounts the idea that, as a young girl, Hela replaced an older queen of Hel. Whether one accepts this UPG or not is another matter, but even if you don’t (as I find myself doing), it’s impossible to not be moved by the image of a small limping goddess child slowly moving through the underworld towards Her destiny as queen of the dead:

Every broken step
will I tread
every pain endure

For me, and me alone
the Gates will open

The poems of the second Dis section are much shorter than those in the first, being meditations of small parts of tribal life. As Gyll explains, these seem to be fragments from the life of an ancestor whose people were shamanic, nomadic and herders of reindeer. The voice of these poems is noticeably different from the one that appears in the first half of the book, though once again, Gyll’s sparse use of words (if they are his own) is able to create vivid images in the mind. Perhaps one of the most powerful of these poems is the final one in which the narrator tells of her own death and her encounter with the Hela-like goddess of death:

She knelt and her hair
fell about her shoulders;
I saw that at the end
of each black strand
was a finger’s width
of purest white.

She removed my hand
from its mitten,
held it, simply said –
‘Daughter…’

That is it;
I can say no more.

Published by Asphodel Press. ISBN 978-0-578-00653-6

Magpie Woman

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Realm of the Ring Lords – Laurence Gardner

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Categories: faery, folk, mesopotamian

This is the third part of Laurence Gardner’s holy bloodline trilogy following on from his Bloodline of the Holy Grail and Genesis of the Grail Kings, in which he picked up the torch left by Baigent, Lincoln, and Leigh’s The Holy Blood and the Holy Grail, and ran with it. For this instalment, Gardner turns largely to Western European folklore and legend to see how his supposition of an ancient bloodline stretching back to Mesopotamia was carried through by those in the know.

As the title and inside cover suggests, this third volume seems to be an attempt to cash in on the popularity of the Lord of the Rings by emphasising the apparent link between this royal bloodline and the symbol of the ring; going so far as to clumsily call the members of the bloodline Ring Lords though out the book. This attempt at tapping into what was at the time a red hot Tolkien mania obviously dates this book to the start of the millennium, as Gardner’s more recent book titles and cover art now ape the works of Dan Brown in a rather self-consuming Ouroboros-like circle of meta mania; just as his first two book covers were evocative of Baigent, Lincoln, and Leigh.

As it is, the making of mileage out of Tolkien is quickly abandoned early on, following a brief summary of his work, the equivalent of a listing in, let’s date this, the Encarta multimedia encyclopaedia. Despite the book’s claim to reveal the mythological underpinnings of Tolkien’s oeuvre and the One Ring in particular (a rich field, as the Tolkien legendarium section of the Scriptus Recensera library attests), this does not occur and Gardner swiftly moves on to more familiar areas of legend and folklore, never really touching on Tolkien again.

That is indicative of the problems with this book, you can see the seams. Because he has written two books on his main argument of an ancient royal bloodline that stretches back to antiquity (and stretches credulity with its continuity), Gardner does not feel the need to reargue it here; and if the previous two books didn’t necessarily convince you, this doesn’t help. As a result, everything after the first chapter is interesting only in and of itself, but does nothing to convince you of his main argument.

So why is this book of interest? In much the same way that Gardner’s theory rather grandly over-reaches itself with a vision from the dawn of time to the present, this book tends to look at practically everything from legend and folk lore and sees it as relating to these Royal Ring Lords who had nothing better to do than breed down through history, perpetuating their diluted bloodline. In this broad consideration, we find werewolves, Arthurian legend, elves, witches, Robin Hood, vampires, Santa Claus, Lorna Doone, and more, all somehow tied back to the Annunaki of Mesopotamia. You won’t get the most detailed and comprehensive consideration of these topics but with Gardner’s broad brush strokes there is enough considered to fire your own connections and make you want to look deeper elsewhere.

This broadness is the major flaw in Gardner’s whole argument, as he seems to have little regard for how indigenous belief and folklore operates, instead proposing a blanket lux orientalis, in which every single thing anyone ever imagined was somehow a reference to some ancient land no one had ever heard of, let alone been to. Like any theory which seeks to totally explain myth or legend, it ends up doing those forms a disservice. But putting aside the conclusions he reaches and considering the information he presents, the data itself is valid, especially because much of it can be related to indigenous systems of belief.

The book is thoroughly footnoted and referenced, and written in such a way as to convey a sense of scholarship. The real sense though is one of belief, and an immersion in a theory that has resulted in a little too many trees being seen instead of the forest. Nice colour plates though.

Published by Multi MediaQuest International Ltd, England.

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