Scriptus Recensera | Reviewing books magickal

January 11, 2024 by ScriptusScribe

Magic in the Modern World: Strategies of Repression and Legitimization – Edited by Edward Bever and Randall Styers

Categories: magick, shamanism, thelema, witchcraft, Tags: Penn State University Press

Magic in the Modern World is another entry in Penn State Press’ ever reliable Magic in History series and brings together eight essays with contributions from Egil Asprem, Erik Davis, Megan Goodwin, Dan Harms, Adam Jortner, and Benedek Láng, as well as editors Edward Bever and Randall Styers. Beyers and Styers divide the contents into two sections, beginning with Magic and the Making of Modernity, which could be broadly said to reflect a foundational theoretical approach with broad strokes outlying the interactions between magic and modernity. This leaves the second half, Magic in Modernity, to explore some fun case studies with more of a focus on the idea of legitimisation in magical practice.

One of the two core themes of this collection is how modernity has been defined in explicit opposition to magic and superstition, but with a counterargument that sometimes the role of disenchantment in the modern world has been greatly overstated, and as a result, much like the perennial punk battle cry, magic’s not dead. Styers set the stage to this in the opening Bad Habits, or, How Superstition Disappeared in the Modern World, documenting how superstition was increasingly framed in psychological terms through the various stages of modernity until it attained the status of a delusion that was an inherent threat to the order of society.

As in another reviewed title from Penn State Press, Frank Klaassen’s Making Magic in Elizabethan England, Max Weber’s concept of Entzauberung and its assumed totality is swiftly undone. In Descartes’ Dreams, the Neuropsychology of Disbelief, and the Making of the Modern Self, Bever discusses the three pivotal dreams that René Descartes experienced on a November night in 1619, and thereafter believed that a divine spirit had revealed to him a new philosophy. That Cartesian thought, that most rational of philosophies, emerged from an irrational, spiritual event, underscores how the rational cannot be so easily separated from the mystical.

For his contribution Benedek Láng explains, in the words of the title, Why Magic Cannot Be Falsified by Experiments, beginning with a question as to why scribes and collectors of grimoire did not see that some of the more ridiculous spells and operations couldn’t possibly work, whether it’s becoming invisible with certain herbs, or expelling all scorpions from Baghdad. Ultimately, Láng’s essay is a questioning of the whole idea of crucial experiments, be they in matters magical or the science laboratory.

The final essay categorised as Magic and the Making of Modernity is Adam Jortner’s Witches as Liars, which looks at the relationship between witchcraft and civilization in the Early American Republic. He argues that the rationalist response to concepts of magic and witchcraft was fundamental in the development of the political and social structures of the Jeffersonian and Jacksonian United States, with the irrationality of magic being seen not only as antithetical but as a direct threat to the nascent order of social democracy.

The four entries gathered under the heading of Magic in Modernity are a diverse bunch, covering off Enochian magic, Jack Parsons and rocketry, Seidr in contemporary Norse paganism, and Simon’s Necronomicon. That’s truly something for everyone, and Egil Asprem starts things off with Loagaeth, Q Consibra A Caosg, which navigates what he defines as the contested arena of modern Enochian angel magic. He provides a potted history of Dee and Kelley’s Enochian revelations, showing how the magical system broadly fits within Dee’s version of natural philosophy, before breaking down how these foundations have been built upon and interpreted by subsequent practitioners, ultimately taking the material far from its roots. This is familiar territory for Asprem, having written the previously reviewed Arguing With Angels, which pursued similar concerns, but with a considerably higher page count. For this outing, Enochian magic makes a suitable area for considerations of legitimisation, not just because of the inherently suspect origin of the system (transmitted by angels to a known forger in Edward Kelley) but because of the way in which subsequent adoption of its elements (or a veneer thereof) have required mental gymnastics to justify their diversions from the source.

In Babalon Launching: Jack Parsons, Rocketry, and the ‘Method of Science,’ Erik Davis considers the intersection between Parsons’s magical work and his career in rocketry, two worlds he largely kept separate. This an enjoyable read, with Davis effectively giving a brief overview of Parson’s life, focussing on particular moments and showing how the scientific model interacted with the magical one. Parsons becomes an example of how romance and rationalism are not compartmentalised or balanced in occultism, with Davis arguing that modern occultism, specifically its Thelemic strands, does not simply seek to re-enchant the world but is instead an aggressive performance of pluralism with a structural ambiguity founded on deconstructed notions of belief.

Megan Goodwin enters the world of contemporary Norse paganism with Manning the High Seat, exploring how the magical technique of Seidr is used and how its implicit associations with gender and sexuality are navigated by male practitioners. Goodwin presents a brief historical overview of Seidr before exploring the perspectives of two people, Jenny Blain and Raven Kaldera. Blain’s significant role in the promotion of Seidr in Norse Neopaganism ensures her presence here, with Goodwin crediting her with making an important contribution to the scholarship or gender and magic, and providing a thorough review of her understanding of Seidr, particularly its relation to sexuality. As Goodwin notes, though, Blain’s perspective never moves beyond the binary, employing rather basic dichotomies of straight and gay, male and female, and with none of the queer ambiguity and multiplicity that is implicit in the definition of Seidr as ergi. The ergi is plentiful in Kaldera’s definition of Seidr, though, and Goodwin appears to have a lot of sympathy for him in the presentation of his approach.

In the final essay, Dan Harms is well ensconced in his Lovecraftian wheelhouse with a consideration of the strategies of legitimisation used in the presentation of the trade paperback version of the Necronomicon by the mononymic Simon. There’s probably no other work in occult publishing that has a greater need for legitimisation than Simon’s Necronomicon, not just because it purports to be the non-fiction version of a fictional book, but because it always had an air of inauthenticity about it, right down to the cliché origin story with the mysterious monk revealing the manuscript before disappearing into unverifiable oblivion. It also seemed to be such a product of the occult scene of the 1970s New York, especially with how Herman Slater’s Warlock Shoppe was so central to its mythos, along with all those familiar scene names. Despite the transparency of the deception, Harms doesn’t descend into invective or scorn (as he is sometimes wont to do when discussing such matter on his more informal blog), but rather presents a considered analysis of each of the strategies used by Simon within the book and in marketing. There are a couple of classic strats here, as one would expect, with the most obvious being appeals to authority through comparisons to a bricolage of religious and mystical traditions, employing reduction to simplify these and enable pattern recognition to an uninformed audience.

In all, Magic in the Modern World is an interesting read, particularly in the second half where the four entries all offer something different. Body copy is devoid of any illustrations with the text set in Minion Pro by Coghill Composition Company, and presented in the consistent Magic in History style.

Published by the Pennsylvania State University Press

December 19, 2023 by ScriptusScribe

Fortuna: The Sacred and Profane Faces of Luck – Nigel Pennick

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Categories: folk, Tags: Destiny Books,

This is a brisk little read from Destiny Books’ ever-growing collection of titles by Nigel Pennick, clocking in at a total of 134 pages, which does include an index, references and appendices. The subject here is one which Pennick has some familiarity with, having considered various forms of divination throughout his written career. Rather than runes or other script-based based systems, though, this time the focus is on the core mechanics of randomness and chance that lies behind so many divinatory systems, but largely reduced to the pure mathematics of dice.

As a complete work, this is something of a strange beast, given its focussed and specific nature. In many ways, it feels like a section from another book that become unwieldy and was separated off to become its own thing. With its description of examples of gambling and dice from modern folklore, one could imagine this coming from one of Pennick’s other books where he plucks at thematic threads and goes off on little folkloric tangents with reckless abandon.

Pennick divides this brief work into equally brief chapters, ten in all, fair powering through his subject matter. The first is something of a theory dump, in regard to ideas of predestination and randomness, predominantly in conceptual terms accompanied by only a handful of references to historical examples. The second chapter is titled Lady Luck and the Goddess Fortuna, and despite the title of the book and the image of Dame Fortuna on the cover, this is really the only mention of her here, and it only runs to seven pages of body text. There’s a couple of page overview of Fortuna, but this is brief and limited to only the classical period, with no exploration of her later periods of greater prominence, the Middle Ages and Renaissance. Indeed the second half of this chapter ignores its title and abandons any discussion of Fortuna in order to discuss the historic use of dice.

And if you like dice and gambling, there’s plenty more of that here, with chapters on techniques for cheating when throwing dice, the history of wagered walks, and the pre-nineteenth century prohibitions on gambling and gaming. These are topics that might be of interest to some people, and presumably are to Pennick, but there’s no escaping the fact that, for this reviewer at least, it’s really boring, just devastating in its dullness. That these chapters feel longer than the other more interesting ones doesn’t help either, nor does their complete separation from the magical themes one might expect to find in here.

There are some valuable early chapters on geomantic divination and another on the late antique dice-based divination described in the Sortes Sanctorum text, with Pennick providing a full history of the system, including later examples of similar dice oracles. Things also refocus on matters mystical towards the end of the book with chapters on illegal gambling’s intersection with divination and magic, and on superstition in gambling, but as just discussed, these feel relatively brief and the connections tenuous. In the end, it feels like there was only so much that could be written about luck and dice systems of divination, so the rest of the word count had to be massaged with more general discussions about more mundane gambling.

Fortuna: The Sacred and Profane Faces of Luck ends with two appendices and an extensive nine page bibliography, and it certainly is a bibliography rather than a reference list, as very few of the titles are cited in the text. Only direct quotes receive in-body citing, with extended quotes getting a lot of mileage out of some titles, in particular John Ashton’s 1898 The History of Gambling in England.

Text design and layout comes from the capable hands of Virginia Scott Bowman, with type set in Garamond and Gill Sans, with the flared-serif Ribelano and a smattering of Optima as display faces. As is di rigueur for titles by Pennick, there’s a surfeit of illustrations dotted throughout the book, a combination of old etching or posters, as well as contemporary photographs of various apropos artefacts, varying in quality as is typical of this type of visual curation.

Published by Destiny Books

November 6, 2023 by ScriptusScribe

Tales & Legends of the Devil – Claude & Corinne Lecouteux

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Categories: folk, satanism, Tags: Inner Traditions,

Subtitled The Many Guises of the Primal Shapeshifter, this is an English edition of Contes et légendes du diablele, first published in French, sans the subtitle, in 2021 by Éditions Imago. As with two previously reviewed titles from Claude and Corinne Lecouteux, Mysteries of the Werewolf and Tales of Witchcraft and Wonder, Inner Traditions have put a bit of extra effort into the presentation, with a red cloth-bound hardback wrapped in a fetching dustjacket.

Les Lecouteux draw on folk traditions from all over Europe, some twenty countries including Transylvanian Romania, Bulgaria, Albania, Switzerland, Italy, France, Scandinavia, Moravia, Bohemia, Lapland, and the Baltic countries. These tales are grouped together into seven categorical chapters considering the Devil as a suitor, the family of the Devil, tricking or outsmarting the Devil, the relationship between the Devil and the Church, visits to Hell, and finally, singular tales that eschew these broad classifications. Although there is a substantial bibliography at the rear of this book, the front matter includes a list of credited source that is rather humble, running to only nine works, though some of these are quite substantial, such as Walter Scherf’s 1600 page Das Märchen Lexikon, as well as the folklorist’s essential double-feature bill of Antti Aarne’s The Types of the Folktale. A Classification and Bibliography, and Stith Thompson’s seminal six-volume Motif-Index of Folk-Literature.

Following a foreword by translator Jon E. Graham, the authors give a brief introduction, introducing the folk concept of the Devil and providing a quick summary of how he appears within the tales they have collated. Leaning heavily on Aarne and Thompson’s pioneering work in folklore, each entry includes endnotes that indicate a particular folk motif when it appears in the story. These are enhanced at the end of the book with two appendices, one which lists the included tale types based on Aarne and Thompson’s international classification system, and an index of motifs associated with the devil based on Thompson’s Motif-Index of Folk Literature.

The type of stories included here will be familiar to anyone with even a passing knowledge of the tropes of folklore, with the Devil appearing as an often whimsical, sometimes inept, buffoonish figure, a stark divergence from his grimdark ecclesiastical role. He gets tricked by knaves and deserters, is shot in the face by his son after mistaking a rifle for a flute, and is trapped inside a walnut. Not quite the primal shapeshifter of the subtitle, more like the primal doofus, but that probably wouldn’t look so good on the cover.

In the Scriptus Recensera review of Mysteries of the Werewolf it was noted that the entries in that book lacked references and footnotes, while later, we were happy to find, in a significant improvement, that Tales of Witchcraft and Wonder refreshingly had both. But Tales & Legends of the Devil takes a step backwards, and although the references are there at the end of every tale, only a tiny handful of them have any notes or analysis. There’s also no introduction or summary at the beginning or end of each chapter, meaning that you are just given the stories themselves and that’s about it. This wouldn’t be such a problem if it weren’t for how the book is presented as if it offers something more. This begins with the subtitle The Many Guises of the Primal Shapeshifter, which suggests some sort of editorial direction in which the idea of the Devil as a “Primal Shapeshifter” will be unpacked through canny exegesis by Les Lecouteux. This is then affirmed by a reviewer’s blurb on the back cover, hyperbolically talking of Les Lecouteux ‘unearthing’ “a truth that our culture translates into myth: we as a human community remain deeply affectionate to our old gods.” and of having created “a forbidden feast.” But nah, they didn’t do that, they just republished some old folktales.

Promotional copy from Inner Traditions also leans into this perception, crediting an agency that, save for the introduction, just isn’t in the book, with talk of the authors explaining this, or peeling back the Christian veneer here, and even tracing the devil’s shapeshifting powers back to their Vedic origins in ancient India. Um, what? That weird, aberrant little claim is a marketer’s injudicious extrapolation of a strange start to a discussion of the Devil as shapeshifter in which Les Lecouteux make the eyebrow-raising declaration that the Vedic names for the devil are kamarupa or vicvarupa, and saying that these names mean “he who changes shape at will.” This may be indicative of some loss in translation, if we’re generous, because that’s quite the claim to make and there is no further explanation as to how the Devil would even have a name in Bronze Age India, As it is, Kamarupa is simply the name of an early semi-mythical state from India’s Classical period (with an etymology, developed six centuries later, explaining it as the place where the god of love Kamadeva regained his rupa or form). Similarly, Vicvarupa is presumably Visvarupa, the name of a theophany of Vishnu which is also used as an epithet for Soma and Rudra, amongst others deva, and as a name of Tvastr who is, at least, classified as an asura. But I digress.

The value, then, of Tales & Legends of the Devil is more humble than the marketing might have us believe, and yet, perhaps more worthy. For this is found in its concatenation of tales, making it a handing resource for getting an exclusively diabolical, albeit often comical, slice of the far larger pie that is folktales and legends.

As is tradition, Inner Tradition have turned to Debbie Glogover for the text and design layout here, with the body of Tales & Legends of the Devil set in Garamond, paired with Nocturne Serif and Gill Sans as display faces, and with the battered serif of Zamora taking the lead for chapter headings and as the cover star. The title text, along with the cover hero image (using the image of The Trinity of Absolute Evil based on a miniature from the 15th century Histoire du Saint-Graal), are both spot varnished on the ruddy dust jacket for that extra bit of class.

Published by Inner Traditions

October 11, 2023 by ScriptusScribe

Kabbalah and Sex Magic: A Mythical-Ritual Genealogy – Marla Segol

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Categories: qabalah, Tags: Penn State University Press

With its provocative title, Kabbalah and Sex Magic makes for an intriguing entry in Penn State University Press’ Magic in History series. Marla Segol shows how the cosmology that underpins much of Kabbalah is inherently sexual and corporeal, being based on the interaction between human and divine bodies. Drawing on a diverse wealth of texts spanning the fifth to the twelfth centuries from Byzantium, Persia, Iberia, and southern France, she argues that in its fully developed medieval form, Kabbalah represented a ritualised mythos of divine creation through sexual reproduction. In Jewish mysticism, to study through reading was an intimate and embodied undertaking, with the act of seeing being perceived as a form of touching in which sexuality was the paradigmatic form of interembodiment.

Segol is the Director of Undergraduate Studies at Buffalo University and an Associate Professor in its Department of Global Gender and Sexuality Studies, with a particular interest in sexuality and the body in Jewish mysticism and contemporary New Age religion. This is very much evident in the chapter divisions employed here, and in Segol’s other published work; as parts of this book have been previously published, most notably her 2012 Word and Image in Medieval Kabbalah: the Texts, Commentaries and Diagrams of the Sefer Yetsirah.

Despite what the title might suggest, Segol’s focus is limited to only certain areas of Kabbalah and is by no means comprehensive. Indeed, it is worth reiterating that many of the texts here can be classified as proto-Kabbalistic, predating the modern emergence of Kabbalah in the twelfth century; fulfilling the promise of the subtitle that describes this as a mythical-ritual genealogy. As a result, her discussion of Kabbalah’s foundational text, the thirteenth century Zohar, is somewhat cursory, as is any consideration of the Lurianic Kabbalah of the sixteenth century. Although both of these fare better than the Kabbalistic interpretations of the Frankist, Sabbatean and Hasidic movements, which are not mentioned at all.

In her first chapter, Segol focuses on the oldest text considered here, Shi’ur Qomah (‘The Measure of the Body’), a midrash which dates from between the fifth and seventh century CE and which combines a visionary experience with an exegesis on the Song of Songs (5:11-16). Segol describes it as “the most important Jewish esoteric text for the study of divine embodiment and thus for the study of kabbalistic sex magic today,” and indeed, much of what she considers later in this title has a grounding here. It is a remarkable work in which the angel Metatron reveals to the tanna Rabbi Ishmael a vision of the cosmic body of God, intimately naming and measuring each divine body part and describing the Hebrew letters that are inscribed on them. Segol shows how the text’s midrashic intersection with the Song of Songs highlights the fundamentally erotic nature of this visionary encounter; somewhat justifying Maimonides’ belief that it was a work so heretical that it warranted burning. Segol argues that this text and its encounter with an inscribed and bejewelled divine corporeality serves a theurgic function via the conventions of amulets and magic seals, protecting and transforming the operator, and imagining the relationship as an aestheticized and sexualized one.

Although she doesn’t give a textual analysis of the entire Shi’ur Qomah (and by the end of chapter resorts to mere summaries of some of its sections, sans any direct quotes), Segol does a thorough job showing the eroticism inherent in the text. Although, it must be said that, given the veiled, circumspect and ambiguous quality of the language used in this midrash, it can sometimes feel as if almost anything is ripe for a sexual interpretation, one quite a odds with conventional ideas about Judaism and Christianity. This use of erotic metaphor can lead to some bizarre imagery, like divine testicles filled with wax and fire.

In the following chapter, Segol builds upon the themes found within Shi’ur Qomah by considering two thematically and functionally diverse texts, both of which date from around the same period: the medical handbook Sefer Refuot and the cosmological and mathematical Sefer Yetzirah. The Sefer Refuot is once again concerned with corporeality, adopting a microcosmic model to imagine the human body as a mirror of the divine body, allowing the former to harness the power of the later in order to heal. The Sefer Yetzirah, meanwhile, gives an account of creation in which both the microcosm and the macrocosm are products of the mystic combination of 32 characters, including the 22 letters of the Hebrew alphabet and the Ten Numbers, meaning the Sefirot. The language of the Sefer Yetzirah genders and sexualizes these components, with the sefirot being gendered as either male or female, depending on the verse, and the primary Hebrew letters being celebrated as “mothers, from which all else is born.”

In her third chapter, Segol continues her focus on the concept of the microcosm and shows how it was developed in the tenth and eleventh century through three texts that adapted what had been established by scripture, Shi’ur Qomah, the Sefer Refuot and the Sefer Yetzirah. One of these works, Shabbetai Donnolo’s Sefer Hakhmoni (Book of Wisdom), comes from the tenth century, while Gabirol’s Tikun Midot HaNefesh (Improvement of the Moral Qualities) and Bahya ibn Paquda’s Torat Chovot HaLevavot (Duties of the Heart) are from the eleventh. As with some of the other previously considered texts, these works combine Judaic metaphysics with concepts from Greek myth and cosmology, providing a method for practitioners to emulate God and access divine power, thereby impacting the cosmos itself.

Segol devotes her final section of textual analysis to the Sefer HaBahir, a composite work dating variously from the tenth and twelfth centuries; although apocryphally credited to the first century rabbinic sage Nehunya ben HaKanah. The Sefer HaBahir contains several literary layers, denoting different authors and periods of composition. This is a style that is emblematic of a work that defies the kind of order that scholars inevitably seek to impose on it, often by ignoring the “instability of its imagery, nonbinary genderings” and its “good-natured confounding of cognitive categories,” as Segol wonderfully terms them.

In her concluding chapter, Segol moves through the medieval period and into the modern, comparing the precedents she has covered with what contemporary practitioners are doing. However, from the offset, this is a strained comparison, as medieval kabbalists share little with modern wellness and New Age self-help gurus who are covered here. Space is given to the so-called America’s Rabbi Shmuley Boteach, to Kelle Sparta (a “spiritual coach and transformational shaman” who calls herself The Spirit Doctor™), and to self-described “international love and intimacy expert” Robyn Vogel. Most egregious of all is the inclusion of the Kabbalah Centre and its former co-director, Yehuda Berg, who was removed from the position for sexual assault. In a quote referenced here, Berg claims to regard selfish sexuality as the original sin which caused a separation between the human and the divine, but his actions stand in stark contrast to such lofty and disingenuous White-Knighting.

Another matter of distinction between such modern practitioners and their predecessors, and one which Segol could have interrogated further, is that there is a distinct queerness in the eroticism of the source texts, one that destabilises heteronormativity and its attendant hierarchies, embracing, instead, an atmosphere of divine gender fluidity. In contrast, Berg and his modern ilk conceive of sex within a deeply conventional and frankly boring framework, one that is dull in both its heteronormativity and its adherence to the binary, and whose bland inevitable fruits can be seen harvested in the criminal charges against Berg. In a similar manner, Rabbi Boteach centres the male experience (with the female as mere sexual muse), while Vogel expresses an enervative and reactionary trad-wife gender essentialism that seems indicative of the inherently conservative spine that underlies so much of the entrepreneurial wellness movement. Rather than focus on the likes of Berg and Vogel, it would perhaps have been considerably more interesting to consider the inheritance of the Shi’ur Qomah in earlier Frankist and Sabbatean thought, given the core notion in those movements that intercourse in the human realm could stimulate intercourse in the cosmic realm. Further, the antinomian corporeality so thoroughly covered throughout this book has obvious mirrors in the Sabbatean and Frankish belief that rituals of transgressive sex, which they viewed as imitations of unrestrained relations in the divine world, could lead to cosmic redemption. Similarly, it would have been interesting to draw comparisons with Hasidism, and its idea of transforming mundane human impulses into elevated spiritual ones, such as the Ba‘al Shem Tov encouraging the use of sexual desire as an instrument to achieve a closer union with God, or the likening of swaying during prayer to the act of intercourse with the shekhinah.

Kabbalah and Sex Magic runs to 166 pages, with an additional 43 for notes, references and an index, but given its dense, textual subject matter, it does not feel short. Despite the slight sense of a misleading title, and gaps in what could have been covered, this is a valuable work that brings the eroticism inherent in the Shi’ur Qomahi and other proto-Kabbalistic texts to prominence. It is presented as a hardback with a glossy dustjacket.

Published by the Pennsylvania State University Press

August 28, 2023 by ScriptusScribe

The Light of Hermes Trismegistus – Charles Stein

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Categories: alchemy, classical, hellenic, hermeticism, Tags: Inner Traditions,

Charles Stein’s The Light of Hermes Trismegistus is one of those releases from Inner Traditions that feels a little different from their usual fare, appearing as something for shelving in the reference section, rather than the personal growth or practical magic ones. Stein has a Ph.D. in literature and a bachelor’s degree in ancient Greek, and in the past he has principally published works of poetry, as well as a Persephone-focussed study of the Eleusian Mysteries. With this new book he provides translations of what are categorised here as seven essential Hermetic texts, each drawn from the earliest written source, and with context and further insights provided by Stein’s preamble and voluminous commentaries.

Despite a subtitle promising “seven Hermetic texts,” the works included here come from a period that spans several centuries, beginning in the seventh century BCE and ending in the fourth century CE, with only one of them, Poimandres, having provenance within that great canon of Hermetic thought, the Corpus Hermeticum. Thus, instead of being texts that could be specifically defined, in a purely technical sense, as Hermetica, these are works that pull on threads various, drawing from Greek myth, the Homeric Hymns, Neoplatonism, archaic alchemy, and (in the case of Apuleius’ The Metamorphoses) picaresque novels from ancient Rome. The one occasional through-line amongst these temporally and culturally diverse texts is Hermes, whether he appears as the divine messenger of Greek myth, as seen in Hesiod’s Theogony, or as the later Hellenistic syncretic form of the fabled Hermes Trismegistus; with Stein regarding the mythic and the legendary incarnations as largely one and the same.

Stein opens with a substantial introduction, outlining his focus on Hermes in a rather personal and devotional manner, describing him as the very principle of the mind in all its possibilities. Here, Stein makes clear his intent, defining this work as an exercise in what he calls configurative theology, with an attendant configurative theophany, emphasising the concept of hermeneutics, in which the translation and interpretations of a text perpetuate it in new, ever evolving ways.

Hesiod’s Theogony is the first work featured here, with Stein translating from the original Greek as recorded in Hugh G. Evelyn-White’s 1977 collection of the Homeric Hymns and works by Hesiod. As a poem dated to the eighth or seventh century BCE, this is the piece furthest from the traditional corpus of Hermetica, retelling the creation of the world. In his commentary, Stein ties this act of cosmic creation to Hesiod’s text itself, saying that Theogony does not simply describe the act but rather, through the reading thereof, initiates it. This is emblematic of Stein’s hermeneutic approach to this material, using etymology, historical precedent and philosophy to present it as not only profound, but inherently magical.

Rather than providing a line-by-line analysis of each text, Stein’s commentary is often focussed little on the specific textual content itself, and instead uses the works as starting off points for broader discussions of each core theme. Sometimes this extends far beyond the source texts, such as in the translation of a text by Zosimos of Panopolis, which is followed by an extensive overview of alchemy that stretches centuries, even millennia beyond the fourth century origins of the source; embracing everything from the Greek Magical Papyri to seventeen and eighteenth century alchemists, but without too much reference to the text itself.

This book’s Hermes-focussed brief finds a good fit in the Homeric Hymn to Hermes, for which Stein provides a nimble translation followed by commentary focussed on the themes of magical voice and conscious listening. This is the abruptly book ended by an assemblage of somewhat contextless and usually brief additional comments on various matters from within the hymn, some as little as a sentence long, each divided by a short row of bullet points as if they were research notes that have been formatted into the chapter by mistake (not that they were).

In the next section, The Poem of Parmenides, Stein translates the fragments of Parmenides’ sole surviving work, usually retroactively referred to, though not here, as On Nature. Here the following commentary is less an exegesis on matters metaphysical and is, for the most part, purely textual in its focus, with a selection of notes about the translation.

Stein’s translations are often functional with a literal approach that predicates economy over poeticism. His translation of The Poimandres, for example is almost staccato in its brevity, with none of the free verse flourish and beauty of G.R.S. Mead’s version. The same is true of the Chaldean Oracles, though this is largely due to the fragmentary nature of the very source material. For the version here, Stein has used only 87 of the 260 extant fragments, and, diverging from the ordering template established in 1894 by Wilhelm Kroll, has rearranged them as if they make up a single poem.

After a free verse reinterpretation of the vision of Isis sequence from Apuleius’ prose The Metamorphoses, Stein concludes with a translation of a foundational but innominate alchemical text by Zosimos of Panopolis, in which the 4^th century Greco-Egyptian alchemist related a series of visionary dream journeys. This translation dates from 1964, using a text found in the Columbia University Library (though Stein notes that the exact source document is unknown as he no longer has the reference), and it was first published the same in his own single issue journal of the occult and the phenomenology, Aion: A Journal of Traditionary Science. For his translation, Stein uses the title On Divine Virtue and follows it with a commentary that is significantly longer than the mere five pages of entries from Zosimos’ dream journal.

Priscilla Harris Baker provides the text design and layout for The Light of Hermes Trismegistus, using Garamond for body copy and Trajan, Optima and Gill Sans as display faces. The translations themselves are formatted in Friz Quadrata, a pleasant enough modern serif, but one that feels a little incongruous for content from the Hellenistic and Roman eras. With its heavier than usual typographic weight, it is a face that seems more suited for display purposes, and at this point size, the tiny serifs almost disappear, giving the impression of a bulky san serif whose readability is not ideal for often poetically-formatted text. Like another Hermetic-themed work recently published by Inner Traditions, Marlene Seven Bremner’s Hermetic Philosophy and Creative Alchemy, this book has been granted a little more finesse than their usual trade paperbacks. It is presented as a sturdy hardback wrapped in a fetching blue-hued dustjacket, with foiled gold text on both jacket and spine; though it must be said that the gold of the title makes it hard to read against the blue background of the dustjacket.

Published by Inner Traditions

June 11, 2023 by ScriptusScribe

Alchemical Belief: Occultism in the Religious Culture of Early Modern England – Bruce Janacek

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Categories: alchemy, Tags: Penn State University Press

In this unique title, Bruce Janacek explores alchemy in early modern England, but not from a scientific or even necessarily occult perspective. Instead, this is a consideration of how the art was contextualised within the lives, beliefs and philosophies of otherwise religious men for whom an interest in esoteric matters might seem incongruous. In so doing, Janacek shows how the aspirational and hopeful principles that underlie alchemy provided a language and methodology for restoring order, in either a political or religious context, to what was perceived as a disordered world. Janacek divides his books into five chapters, each focusing on one of the major examples of this intersection betwixt religion and alchemy: Thomas Tymme, Robert Fludd, Francis Bacon, Sir Kenelm Digby, and Elias Ashmole.

The first of these men, Thomas Tymme, was a sixteenth-century minister, making him perhaps the most unlikely of advocates for an occult science such as alchemy. Janacek shows how Tymme’s primary concerns was the schisms within Christendom, specifically in post-Reformation England which had seen the emergence of Protestant dissenter groups who separated themselves from the Church of England, including Brownists, Puritans, Familists and Presbyterians and others. For Tymme, such factions were leading England to ruin, and constituted an enemy within that was far more dangerous than any foreign power. Such ecumenical concerns dominated Tymme’s initial run of publications, which Janacek documents fully, but following a largely silent decade between 1592 and 1602, Tymme turned somewhat unexpectedly to alchemy, publishing three treatises over the course of the following decade. He began with A Light in Darkness, a commentary on John Dee’s Monas Hieroglyphica, in which he traced the origin of esoteric tradition to the Postlapsarian world and gave Tubalcain a prominent role as an antediluvian alchemical figure, referring to him as “that Vulcanical Abram Tubalcain the astrologian and great arithmetitian.” As with this retelling of biblical history, the two periods of Tymme’s writing have a through line in the theme of spiritual harmony, with Tymme seeing the unity that he sought within Christendom as an emulation of divine oneness, a state that was, for him, illustrated by alchemical processes. Essentially, the universe was a divinely-ordered place and alchemy revealed its order.

Robert Fludd seems a more obvious alchemical fit given his proximity to similar subjects as a Paracelsian physician and defender of Rosicrucianism. Like Tymme, Fludd’s promotion of alchemy was tied to a natural theology that saw nature in all its forms, including alchemy, music and mathematics, as a revelation of God’s presence: nature was essentially a testament to God’s hand that could be read as easily as inerrant scripture. Fludd also shared Tymme’s concerns with unity, though rather than the ecclesiastical irenicism that would have brought Christendom together, he sought one that removed the boundaries between philosophical systems, integrating religious, philosophical and occult traditions. It is Frudd’s natural theology and its relationship to alchemy that Janacek focuses on here, particularly in contrast to the tutor and author, Patrick Scot, who, though accepting of alchemy as allegory, found it anathema to see it and any efficacy as a sign of God’s hand. Janacek illustrates this divide by analysing Scot’s refutation of alchemy, The Tillage of Light, and Fludd’s unpublished response to it, Truth’s Golden Harrow, showing how the difference of opinion between the two men reflected wider philosophical divides, in particular the orthodox distrust of the emerging spirit of Pyrrhonic scepticism. This highlights one of the joys of Janacek’s writing here, how he effortlessly contextualises everything within the mores and shifting beliefs of the time, whether it is alchemy’s relationship to scepticism, or in another instance, how Fludd’s coadunative motivations embraced and aligned with Cabalism’s search for divine union.

Interestingly, of the five figures discussed in this work it is Francis Bacon who emerges as the most unlikely of alchemists, more so than even the Reverend Tymme, with Janacek focussing for most of his chapter on the father of empiricism’s published distain for the art. Bacon was withering in his treatment of alchemists, diagnosing them as being infected by their imagination, and calling Paracelsus, in the sickest of burns, the ‘adopted son of the family of asses’ and someone whose writings were the mere braying of a person possessed of a conspicuously braggart air. But Janacek attributes much of this invective to Bacon’s practiced dissimulation, an essential skill as a courtier for both Elizabeth I and James I, where one’s longevity could be assured through the judicious allegiances and the circumspect giving and withholding of advice or opinions. Drawing on Paolo Rossi’s ground-breaking 1957 rehabilitation of Bacon’s association with magic, Janacek shows how Bacon’s core ideas, as expressed in his Novum Organum, such as the spiritual quality of matter and its potential for mutability, were shared with alchemists.

Amongst the esteemed Protestants considered by Janacek is a lone Catholic, the courtier, diplomat and natural philosopher Sir Kenelm Digby. Like his contemporaries, Digby shared a concern with religious harmony, although for him, this was to be found in Catholicism, which, as embodied in the miracle of transubstantiation, stood for unity, inclusiveness and perfection; unlike the division and discord of Protestantism. For Digby, the miraculous process of transubstantiation was mirrored in alchemy and Janacek shows how this facilitated a vision of alchemy that tacked closely to Catholicism, with, in one instance, a particular emphasis on the theme of resurrection as an analogue of alchemical process. Digby’s last alchemical text, the posthumously-published Chymical Secrets, stands as a testament to this amalgam of religion and occult science, with a preface that acts as an apologetic for both alchemy and Catholicism, arguing that the Catholic doctrine of free will was a crucial element in the alchemical process. In this process Digby found a manifestation of the Trinity, with the stages and materials in the act of transmutation marking out the Creator (“Soul”), the Incarnation (“Body”) and the Holy Spirit (“Spirit”).

Janacek’s concluding chapter concerns the antiquary and politician Elias Ashmole who is justifiably immortalised in the University of Oxford museum that bears his name, a site that is the fullest realisation of his life-long collecting of naturalia, artificialia, as well as heraldic, astrological and alchemical manuscripts. Janacek shows how Ashmole’s dedicated pursuit and publication of alchemical manuscripts aligned with the hopes for unity that underscored the philosophies and goals of his predecessors Tymme, Fludd, Bacon, and Digby. Ashmole identified himself as a priestly figure and envisioned his collecting and publishing of knowledge as sacred work, something which Janacek shows was not an uncommon practice at the time, with similar acts of agglomeration being visualised as vehicles for Edenic renewal. Ashmole’s publication of Theatrum Chemicum Britannicum is exemplary of this motivation and his belief that alchemy was key to acquiring prelapsarian wisdom and freeing humanity from the corruption wrought by the Fall of man. By compiling, as it did, alchemical texts by Thomas Norton, George Ripley, Geoffrey Chaucer, John Gower, John Lydgate, John Dastin, Abraham Andrews, William Backhouse and various anonymous authors, this British chemical theatre could essentially be seen as a devotional work, a testament to alchemy’s transformative potential.

Alchemical Belief runs to a mere 164 pages, followed by a significant wad of endnotes and references, but it by no means feels short, with the small point size cramming a significant word count into each page, and illustrations being kept to a minimum. In addition, Janacek has a writing style that if not dense could be considered comprehensive, often straying from the respective main subject into broader but relevant areas. This never feels egregious, and indeed it is always in the service of providing valuable context. For example, a discussion of Ashmole’s interest in botany and gardening (simultaneous with his exploration of alchemy) evolves into a larger discussion of how the use of collecting as an aide to Edenic renewal extended to formal gardens. A garden that incorporated numerology, cabalism or biblical symbolism into its design extended such a locus from its purely botanical function to one that created a new vision of the relationship between humanity and nature. As a result, the reader expecting a book simply about alchemy may find themselves knowing significantly more about the broader concerns of early modern England, both mundane and esoteric. Janacek ultimately succeeds in his brief, showing how alchemy was not, as one could superficially view it, a mere occult science (or pseudoscience), but was instead something that intelligent men could integrate into their religious world view, often with little effort or regret.

Published by the Pennsylvania State University Press

April 15, 2023 by ScriptusScribe

Source Magic: The Origins of Art, Science & Culture – Carl Abrahamsson

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Categories: art, magick, Tags: Inner Traditions,

Carl Abrahamsson’s Source Magic marks his third appearance for Inner Tradition, having debuted in 2018 with Occulture, a work which considered the intersection of the occult with art and culture, and then releasing a biography of Anton LaVey in 2022. This new title follows in the footsteps of Occulture by being released by Park Street Press, a lesser known Inner Traditions imprint which focusses on psychology, consciousness studies, and psychedelics. And like Occulture, this is a work concerned with the way in which magic has infused human history and culture, being, as Abrahamsson terms it, a node around which all human activities revolve. This premise is very much in Abrahamsson’s wheelhouse, allowing him to do what he often does and focus on particular, often recherché, little pockets of occulture that can then be expertly and enthusiastically contextualised within a greater whole. The point of difference, as Nicholaj de Mattos Friswold notes in a foreword, is an experiential one, with Abrahamsson zeroing in on various places or moments he has been personally involved with; experiences that he describes as being “malleable nodes of wide-eyed amazement” whose reception creates a constant influx of magical stimuli.

As part of this focus on the personal, Abrahamsson’s modus operandi is about discovering the magical and numinous within the everyday, of cultivating an accretion of significant experiences, be they editing, as he does, the journal The Fenris Wolf, a rather more exotic expedition to Tibet, or something seemingly more mundane, such as finding significance in a trashy Mondo film. As a result, Source Magic explores a variety of small yet vital fragments from within this holistic magical worldview, with each providing an opportunity for greater explorations of adjacent ideas. This fragmented nature also denotes the process behind this book, with many of the chapters having been previously published in magazines and journals, or presented as lectures.

It is journeys that fittingly begin this collection, setting off with two entries that use as their equally fitting narrative, that most magical type of journey, the pilgrimage. In the opening We’re On the Road to Somewhere, the pilgrimage is one effectively to Ernst Jünger, with Abrahamsson detailing a trip through Tyrol from Wien to Upper Swabia, arriving at the Jünger-Haus in Wilflingen, before ending the journey in Zurich. The second pilgrimage is to Morocco, focussing heavily on the Master Musicians of Joujouka, who provide an interesting nexus betwixt Abrahamsson and related occultural touchstone such as Brian Jones, Genesis Breyer P-Orridge, Brion Gysin and the Beats. The essay’s title Panic Pilgrimage underscores a particular interest in the caprine trickster figure of Bou Jeloud, who is credited with teaching the Master Musicians their music, and who was assumed by Gysin to be a local variant of goat-footed Pan. In both of these entries, Abrahamsson writes with an enthusiasm that lifts the narrative far beyond mere travelogue, never missing a moment to muse on some great magical truth, or to inject a little humour, such as when he self-deprecatingly describes himself doing a “slightly hesitant, Swedish old guy dance” to the swirling, transportive music in Joujouka. In the first pilgrimage he is able to wax about the beauty of the land, buildings and the Schwarzwald, and then equally turn that enthusiasm and delight to Jünger, writing ecstatically of being mesmerised by the experience within the Jünger-Haus.

Like the twin pilgrimages that opened Source Magic, the next three entries are very much of a kind, sharing similarities and connections by being portraits of two significant occulture figures: Derek Jarman and his occasional collaborator Genesis Breyer P-Orridge. Gen receives two pieces, one originally written for The Brooklyn Rail arts journal, while the other is the introduction from Genesis P-Orridge: Temporarily Eternal: Photographs 1986-2018, a book of photos of he/r, taken and published by Abrahamsson. Both pieces bear witness to Abrahamsson’s three decade association with Gen, and given that both were written after he/r death, there’s something of a eulogistic, sometimes near hagiographic, tone. The first piece feels like a brief obituary at eight pages, appearing amongst a slew of other eulogies for Gen in The Brooklyn Rail a month following h/er death. It paints a personal picture of Gen and covers off major moments of h/er life, before ending with a prickly suggestion, judiciously not included in The Brooklyn Rail version, that anyone that might criticise or find fault with Gen is just a hanger-on who wouldn’t have had a career without them. The second entry tells a longer tale, documenting more fully Abrahamsson’s thirty year association with Gen, and commendably not feeling at all like a repeat of its shorter predecessor. Genesis then bleeds he/r way into the next chapter, Tripping the Dark Light Fantastic, a discussion of cinema that has as its foundation a meditation on Derek Jarman’s 1981 short film In the Shadow of the Sun, for which Throbbing Gristle provided the soundtrack.

The moving image once again features in a paean to the Mondo shockumentary films that Abrahamsson so adores, and then in a consideration of Patrick McGoohan’s classic television series The Prisoner. The latter doesn’t just lionise the series but places it within the context of its time, with the growth of psychedelic counterculture and its innate opposition to systems of control. Ambrahamsson ties this unruly spirit back to antecedents in New Thought movements, seeing The Prisoner as a Thelemic myth, or a Gurdjieffean wake-up-call.

There is a carefully considered sensibility to how the entries in Source Magic have been curated and sequenced here, with the earlier grouping of pilgrimages and the nexus of Jarman/Genesis finding a latter mirror in various pieces on Ezra Pound and Austin Osman Spare. The first focuses entirely on Pound, largely through his relationship with his long-suffering publisher James Laughlin, who had founded the New Directions publishing house on Pound’s advice. In the second, Abrahamsson compares Pound and Spare, delivering on the punning promise of the title, Spare Me a Pound, and highlighting some of the similarities between both men. Of particular note is their mutual use of ideogrammatic methods to achieve clarity in communication: Pound in his incorporation of Chinese characters (most notably in The Cantos), and Spare in his use of sigils and the alphabet of desire.

Some of the entries that make up Source Magic feel less concerned with specific artists or works, and instead focus more on philosophical or metaphysical concepts, with the artist and genres simply providing the essay’s foundation, a leaping-off point. A discussion of magical realism, for example, nominally namechecks familiar authors of the genre, most notably Jorge Luis Borges, but quickly pivots to a consideration of magical realism in, well, reality. Here, Abrahamsson notes how the modern online-informed life of the 21^st century is often suffused with what is fundamentally magic as meme, mirroring the type of memetic magic templated by the occult groups such as the Illuminates of Thanateros and TOPY. In another, an opening mention of Abrahamsson’s occult journal The Fenris Wolf provides a gateway to a general discussion of the actual Fenrir of Norse cosmology.

Source Magic concludes with a reprint of an interview with Abrahamsson, conducted by Iris and Matthew Samways for the Canadian record label Flesh Prison, who released his cassette album Reseduction in 2021. It is an interesting but hardly essential read, running to five pages like an unexpected appendix.

In all, this is an interesting collection of essays, with, arguably, something for everyone, though conversely, not everything will be for everyone, with, in the case of this reviewer, the more metaphysical and psychological speculation having less impact than those grounded in a particular artistic practice. Source Magic is presented in a fairly no-frills manner, with text design and layout by Kenleigh Manseau, who uses Garamond as a body face and the understated Nexa as the display for chapter titles (with the equally restrained Trajan Sans as chapter numbers). This austerity is continued in the graphical side of things, with the book containing zero illustrations, something of a surprise considering how many of Abrahamsson’s themes concern the visual arts.

Published by Park Street Press

February 21, 2023 by ScriptusScribe

Demons in the Middle Ages – Juanita Feros Ruys

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Categories: grimoire, luciferian, middle ages, satanism, witchcraft, Tags: Arc Humanities Press

Demons in the Middle Ages is part of the Arc Humanities Press series Past Imperfect, which they describe as seeking to present concise critical overviews of the latest research by the world’s leading scholars. Concise is certainly what you get here from Dr Juanita Feros Ruys, with the page count, sans references and further reading, only running to a little over a svelte 100 pages.

Ruys is a Senior Research Fellow and Associate Director of the Medieval and Early Modern Centre at the University of Sydney, Australia, but this is a work that doesn’t feel particularly academic, and instead fulfils the brief of being a concise overview, something of a lay primer. As a result, while there is a lot of detail contained herein, there is not much in the way of academic analysis, no theoretical models applied to the information, with largely a just-the-facts approach being pursued. That isn’t to say that Ruys is devoid of insight, and she notes particular through-lines that occur across the centuries in regards to the theological function of demons, drawing attention in particular to how their interaction with saints and monastics served different purposes depending on the period. She also employs a style that, while not overly detailed, provides context and background information that may be essential for the lay reader, but without any sense of talking down, over-simplifying or being patronising.

Ruys divides Demons in the Middle Ages into a mere four chapters, largely based on locations, respectively situating demons in the desert, the cloisters, the schoolroom, and finally, the wider world. The desert, as a site of profound alterity, provided a paradoxically fertile ground for the growth of ideas about demons. Deserts already had an association with the demonic, due to the environment’s harsh and remote nature, and it was these same austere qualities that attracted the monks who travelled there to use this isolation as an aid to their spiritual growth. Here, though, the existing associations with the demonic were affirmed by the monks themselves, who were subjected to attacks from the indigenous metaphysical inhabitants. Demons impinging on the spiritual pursuits of monks became an almost de rigueur factor in the biographies of such future saints, and Ruys shows how this related to the idea of acedia, the emotional state of spiritual listlessness that monks in their isolation were often susceptible to. The spirit of acedia was ‘the noonday demon,’ and was described by the late fourth century Evagrius of Pontus, as the most troublesome of all of the eight genera of evil thoughts.

In chapter two, Ruys documents how demons, along with monasticism itself, moved from a harsh eremophilous environment to the more temperate climes of Western Europe, where eremitic privations were replaced by the slightly more hospitable cloister. Without the harsh conditions that had made spiritual combat in the desert so tangible, the demons found a new home within the very walls of European monasteries, the conflict becoming less physical and more metaphysical. Demonic attack was a constant concern, and because it was believed that the Devil would target site in which Christian truth and purity was at its strongest, the ardour and righteousness of an order or monastery could be inferred from the amount and ferocity of assaults that they suffered. In this section, Ruys therefore draws on material from two monks in particular, the Benedictine Peter the Venerable and the Cistercian Herbert of Clairvaux, both of whom collected a variety of accounts of demonic activity, representing an exponential growth in the conception of demons and their interaction with humanity. Ruys expertly notes this evolution of ideas, documenting how new concepts were introduced by various scholars, such as the twelfth century French monk Guibert of Nogent and the thirteenth century Cistercian Caesarius of Heisterbach. Guibert’s accounts place terrifying tales alongside farcical ones, such as the story of the pious priest accosted one night by a crowd of demons who appeared as Scotsmen, and, living up to the very worst of Hibernian stereotypes, demanded money from him. In addition to slanderous allegations against Scottish demons, Guibert asserted that demons could love women and seek to have intercourse with them, a reversal of the idea popular in desert eremitism, where demons appeared as lustful female spirits in order to distract monks with lustful thoughts, but did not seek to directly copulate with them. Caesarius underscores how demons were still associated with acedia, despite the relocation from the desert to the monastery, with the pious always being susceptible to the Devil inflaming their hearts with doubt, leading to melancholy, ennui and sickness.

Ruys moves from the cloister to the classroom in the third chapter, using the quaestiones compiled by Thomas Aquinas in his Summa theologiae as examples of the discussions common amongst medieval thinkers as to the nature of creatures like demons and angels. The focus here is largely on the value of demons and angels to the speculation, theories and thought experiments of scholars, with the ambiguous natures of both spirits making them worthy subjects for epistemological ruminations. Aquinas, naturally looms large in this chapter, casting an inevitable shadow down through the years, but Ruys also draws on works from the likes of Anselm of Canterbury, Bartholomeus Anglicus, and most notably, William of Auvergne, whose focus of the sexual interaction betwixt human and demon, segue into the next chapter.

In this, the final chapter, Ruys enters the world beyond the ecumenical and educational, considering how demons were treated amongst lay people, and in particular in so-called learned magic and the narratives of witchcraft. This is a whirlwind conclusion to the book at a mere seventeen pages, with the end coming far sooner than expected, just as things are getting interesting. It is largely a broad discussion of how the idea of magic as exclusively demonic cemented over time, beginning when the Early Church Fathers established a Christian orthodoxy amongst the milieu of competing traditions of Jewish belief and various pagan schools of philosophy. This had an antecedent in the apocryphal Jewish Book of Enoch, in which the fallen angel Azazel taught the secrets of witchcraft and magic to humans, as well as the arts of metalwork and makeup. Ruys documents how this intersection of magic and science also occurred in the medieval period, where the proto-science of alchemy, informed by ideas of forbidden knowledge introduced anew by a twelfth and thirteenth century influx of Jewish, Arabic and Greek learning, eventually lead to the grimoire tradition. Unfortunately, this is just a preamble that doesn’t go into much depth about learned magic following this. This is, something that then also occurs with the slightest of references to witchcraft’s relationship to demons, with the Malleus Maleficarum being introduced a mere three and a half pages before everything wraps up.

In all, Demons in the Middle Ages is a nice little potted history that does what it was intended to do at a brisk pace. Ruys has an enjoyable author’s voice that moves this pace along, but does make one pine for more of it.

Published by Arc Humanities Press

October 10, 2022 by ScriptusScribe

Between the Worlds: Contexts, Sources, and Analogues of Scandinavian Otherworld Journeys, edited by Matthias Egeler and Wilhelm Heizmann

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Categories: celtic, faery, germanic, paganism, underworld, Tags: De Gruyter

Marking the 118^th volume in De Gruyter’s Ergänzungsbände zum Reallexikon der Germanischen Altertumskunde series, Between the Worlds: Contexts, Sources, and Analogues of Scandinavian Otherworld Journeys is a comprehensive tome running to over 700 hundred pages. As its title makes clear, this is a consideration of how otherworld journeys in the literary corpus of the Scandinavian Middle Ages are fundamentally linked to the idea of spaces between worlds. These interstitial spaces are not just found within the narratives themselves but underlie their very construction, marking points of cultural intersection between different worldviews. There’s the treatment of pre-Christian mythology in texts from the Christian period treat; the appearance of apparently Christian motifs in what is thought to be pre-Christian material; the adaption by Scandinavian texts of literature from the Europe, Ireland, and the classical Mediterranean; and the incorporation of Scandinavian narrative patterns into Finnish ones.

Between the Worlds is comprised of seventeen contributions in all, divided into five categories of Die Altnordische und Altsächsisch-Altenglische Literarische Überlieferung, Archäologie, Mittellateinische und Keltische Überlieferungen, Die Antike Mittelmeerwelt und der Alte Orient, and Finno-Ugrische Perspektiven. The essays are written in either English or German and since this reviewer’s expertise in Deutsch is rudimentary at best, we will only be covering the English entries. For what it’s worth, the German contributions come from Matthias Teichert, Ji?í Starý, Richard North, Sigmund Oehrl, Horst Schneider, Andreas Hofeneder, Heinz-Günther Nesselrath, Christian Zgoll, Annette Zgoll, and Sabine Schmalzer. Of these, the most interesting are North’s search for traces of Loki in the depiction of the Garden of Eden from the West Saxon poem Genesis B, and Starý’s exploration of interstitial worlds in two High Middle Ages Scandinavian poems, Draumkvæði and Sólarljóð. That there are only seventeen essays here spread across the supra-700 pages is indicative of the kind of considered and exhaustive content here, with nothing coming in at under ten pages and many being considerable longer.

Jens Peter Schjødt’s Journeys to Other Worlds in Pre-Christian Scandinavian Mythology is the only English entry in the first Die Altnordische und Altsächsisch-Altenglische Literarische Überlieferung grouping of essays and it provides something of a basic grounding in the themes of this entire anthology, acting as an introduction, even if it isn’t labelled as such. He argues for a certain kind of system in Scandinavian depictions of otherworld journeys, employing an axial schema in which journeys along the horizontal usually indicate a hostile encounter with the giants and are associated with Þórr, whilst travel along the vertical axis is the preserve of Óðinn and involves descent into the underworld for the acquisition of numinous power.

Under the heading of Archaeology, the contributions of Flemming Kaul and Leszek Garde?a both address themes found in mortuary architecture, looking within them for clues to various eschatological cosmologies. Kaul’s The Possibilities for an Afterlife. Souls and Cosmology in the Nordic Bronze Age concerns itself with ideas of conveyance to the underworld, focusing heavily on the solar symbolism of bronze objects, such as the chariot of the sun found at Trundholm in Denmark, as well as the motif of solar ships, with theoretical journey of the sun to the underworld being mirrored by the souls of the departed. With The Slavic Way of Death. Archaeological Perspectives on Otherworld Journeys in Early Medieval Poland, Garde?a provides the longest entry here, presenting a comprehensive consideration of perceptions of the afterlife in Slavic culture. Garde?a acknowledges that, given the dearth of accounts of the underworld in pre-Christian Slavic belief, this is a difficult subject to consider, with the hints that can be gleamed from folklore being collected only relatively recently (within the preceding two centuries), and representing a patchwork of information whose sources are chronologically and geographically disparate. To head off this lack of definitive sources, Garde?a goes thorough instead, exhaustively considering practically everything that could be connected with death practices, both artefactually and textually.

The only English contribution to the next section on Medieval Latin and Celtic Traditions is by Séamus Mac Mathúna who assesses various Irish analogues of motifs found in Old Norse voyage tales from both fornaldarsögur and Saxo Grammaticus’ Gesta Danorum. This is a weighty study, effortlessly introducing categories of otherworld journeys from Irish literature, in both their echtrai and later immrama genres, before considering Old Norse parallels, particularly in the reverse-euhemerised retellings of Þórr’s encounters with the giant Geirröðr, where the thunder god’s role is played by the hero Þórstein (in fornaldarsögur) or Thorkillus (in the Gesta Danorum). Mathúna writes with a healthy dose of scepticism, never stating that a link betwixt Icelandic and Irish sources is categorical, simply presenting the examples with references to previous scholars, such as Rosemary Power, who have found the idea more convincing. Mathúna reasonably concludes that while Saxo and the various authors of the fornaldarsögur may have used story patterns akin to those in Hiberno-Latin and vernacular Irish visionary literature, there’s no smoking gun, nothing that can be seen as evidence of a direct influence. Whether one finds the idea appealing or not, there is much in this piece that will be of value for anyone with a broad interest in either Celtic or Icelandic otherworld encounters.

Christopher Metcalf’s Calypso and the Underworld: The Limits of Comparison is one of two contributions here that focuses on the underworld analogues visited by Odysseus in Homer’s Odyssey; with the other being Christian Zgoll’s preceding Märchenhexe oder göttliche Ritualexpertin? Kirke und Kult im Kontext der homerischen Nekyia, in which Circe and her island are discussed. Metcalf’s approach, as its circumspect title suggests, is the less fun of the two, being cautious about the comparison between the underworld and the island of the enchantress Calypso. Despite his scepticism, this is an idea that has been extant in scholarship for well over a hundred years, drawing on commonalities betwixt the island and depictions of the underworld in Greek myth, as well as employing comparative approaches from broader Indo-European mythology. Metcalf finds both those methods and the entire idea of Calypso as a veiled death goddess less convincing, and as a result, comes across as a bit of spoilsport and no fun.

Two of the longest contributions here come from Clive Tolley and Frog in the final section on Finno-Ugric perspectives, although Tolley’s “Hard it is to stir my tongue”: Raiding the Otherworld for Poetic Inspiration is not as focussed on matters Finno-Ugric as its placement within this grouping might suggest. Instead, Tolley presents an utterly thorough 94 page exploration of encounters with the underworld as part of the acquisition of the gift of poetry, spreading his net wide to consider the motif from sources Norse, Finnish, Siberian, Greek, Anglo-Saxon, and Celtic in strains Irish, Scottish and Welsh. This makes for a vital contribution, one that, by its very nature, embraces a variety of themes beyond just those of poetic inspiration and otherworld journeys. The 124 pages of Frog’s Practice-Bound Variation in Cosmology? A Case Study of Movement between Worlds in Finno-Karelian Traditions feels more at home in this final section with its evident focus on Finno-Karelian myth and practices. This is another piece that justifies the entry price, with Frog exploring not just otherworldly travel in the Kalevala, but also so much more. He extends the investigation into matters experiential, considering similarly motifs in the work of traditional tietäjä (magic workers) and Karelian lamenters.

Even if only half the contributions are accessible for us monoglots, Between the Worlds is a valuable addition to the library of anyone with an interest in Scandinavian eschatology and otherworld journeys in general. There’s little here that feels well-trodden or overly familiar, with the authors each providing interesting avenues to explore. It is present to the usual high quality of De Gruyer, with the mass of pages bound in a sturdy red cloth hardback.

Published by De Gruyter

September 2, 2022 by ScriptusScribe

Music in Witchcraft and the Occult: An Anthology

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Categories: egyptian, hellenic, hermeticism, magick, music, shamanism, witchcraft, Tags: Aeon Sophia Press,

Published by Aeon Sophia Press, Music in Witchcraft and the Occult concerns itself with exactly what it says on the tin, but it approaches this theme from a practical and experiential perspective, with a variety of musician writing about the ways in which music and the occult interact within their work. But first, a little caveat, as this anthology includes an essay from this reviewer, discussing her creation of devotional music for Hela under the name Gydja. Suffice to say, we will be neither critiquing nor lauding that particular contribution, but even without that, there’s plenty more to explore.

We usually leave matters of aesthetics to the conclusion of reviews, but the appearance of Music in Witchcraft and the Occult impacts on reading to such an extent that it informs what follows. There is unfortunately a haphazard quality to the layout, with no consistent style and with each entry apparently retaining its contributor’s source formatting. As a result, the inherited styling of subtitles, footnotes, footnote numbering, indents, captions, page beaks, line spacing and paragraph returns are all inconsistent; though mercifully, the same serif face is used throughout for the main body. This inevitably makes the book feel rushed, lacking in cohesion and genuinely hard to read in some places; such as the first entry in which the text is interrupted by strange, abrupt digits as the footnote numbering has been formatted at full scale instead of superscript. Most jarring of all are the main titles which have been left however the author minimally formatted them in their submission, resulting in barely any typographic hierarchy. Similarly, if an author didn’t include their name at the start of their original submission document, then it hasn’t been added here for publication, meaning that without recourse to the contents page you can dive into some entries with little context, hoping that the author’s name is mentioned latter on.

There are some interesting contributions in Music in Witchcraft and the Occult which makes it all the more frustrating that it doesn’t look better, especially when only a little tightening of the layout and the addition of hierarchy and consistency would have done wonders. After something of a broad introduction with a few personal specifics from Aaron Piccirillo of Synesect, the first entry comes from Kakophonix of self-described Black Ritual Chamber Musick project Hvile I Kaos. This is a comprehensive consideration of the music of Hvile I Kaos, with a guide to their performances as live rituals, an analysis of the theory behind some indicative pieces and albums, accompanied by notation of particular motifs, including a setting of the Agios O Baphomet sinister chant. It’s all rather interesting, though the lack of formatting makes it feel rather desultory, with huge half-page spaces left between sections and little in the way of typographic hierarchy.

Zemaemidjehuty, author of The Book of Flesh and Feather, published by Theion Publishing, lays his Kemetic cards on the table with his contribution, which focuses not on any music they themselves make, but on a ritual that takes the form of a conversation between Djehuty and Barbelo/Sophia. The dialogue is spread across an exhausting sixteen pages at a fairly large point size and with a lot of leading between the lines, with the words spoken by Sophia being differentiated with some hideous underlining as if we’re still living in a world of manual typewriters instead of one in which any variation of formatting could have been chosen.

Moving swiftly along, another author, Jack Grayle, whose book on Hekate, The Hekatæon, was published by Ixaxaar, provides a dose of erudition with Gravesong. Once again, though, this piece feels a little divorced from the overall theme of this anthology, though it is tangential, with Grayle focusing on funeral songs, particularly in the intersection of Aeschylus’ trilogy of plays The Oresteia and the Greek Magical Papyri. Again, and through no fault of Grayle, the formatting here leaves a lot to be desired, with subtitles capitalised but otherwise unformatted (and in one instance, widowed at the bottom of a page), and with the endnotes kept in Microsoft Word’s deplorable default Calibri styling.

Ilya Affectvs mirrors the entry from Hvile I Kaos with a thorough, fifteen page, multi-section overview of his ritual ambient project Corona Barathri. It begins with a general biography and statement of intent, followed by Oratio Sacra, a part-manifesto sermon that is exemplary of Corona Barathri’s diabolist themes and lyrics, finally ending with the lyrics of two songs, Hymn of Nahemoth from the album Womb Ov Sheol and the title track from Speculum Diaboli.

In Baron Samhedi, Edgar Kerval gives a broad outline of his project Emme Ya before turning to the baron of the title. Ostensibly this is done to illustrate how Kerval has worked profoundly with Baron Samhedi since 2009 and how the attendant methods of invocation include sonically-induced trance states. In practice, though, this is more of a six page general biography of Samhedi with a concluding ritual, and one that could have benefited from proofing and editing to corral Kerval’s otherwise enthusiastic prose.

A different style of writing is provided by Keeley Swete and Jessica Rose of Portland’s She Scotia with their Music as Ritual, which invites the reader to reject the commodification of music in favour of something with a more sacralised intent. This is a considered and eloquent piece with a voice that blends a New Age style of metaphysical speculation with a witchy underpinning, a little self-help, a little inspi- and aspi- rational. Jon Vermillion’s The Souls (sic) Expression Through the Universal Vibration of Sound follows and feels somewhat cut from the same cloth, with a focus on frequencies and sound waves, and visualising a violet sphere of light. There’s an obvious debt to Robert Monroe’s idea of altered conscious using audio techniques to achieve hemispherical synchronization, and quite a bit of the New Age with talk of Kryst Consciousness, meditation and etheric bodies. Sitting within the same pages as Emme Ya’s Baron Samhedi and Corona Barathri’s diabolism, this makes for some incongruent company.

Iceland’s enigmatic NYIÞ offer one of the most interesting contributions here, situating their work within the folklore and magick of their homeland, beginning with a broad overview of such. They then pull back the curtain, explaining the symbolism behind various choices of instruments (the organ being linked to death, skin drums with shamanism, etc) and then showing how these elements can be combined with more conventional instruments and intent to create their intersection between music and magick.

Finally, zenKOAL of the ritual noise duo Brujentropy wields the longest-titled entry here, offering Strange Spells Spontaneously Evolving into Art: Avant Punk, Spoken Wyrd, Ritual Noise and Deathdream Electronics Unveiled no less. It’s also a pretty long piece in general, with zenKOAL writing dense paragraphs in a lyrical and effusive manner that, given the abrupt and indecisive formatting elsewhere in this volume, is quite welcome and even comforting. Like a lot of the entries here, this feels like a manifesto, with zenKOAL describing her practice, both magical and musical, as one in which creative works are birthed as sentient entities that gradually form over time, and eventually perpetuating themselves independent of their creator.

In all, Music in Witchcraft and the Occult has promise but is let down by the presentation and lack of attention to detail. It is presented in an edition of 200 hand-numbered exemplars, bound in cloth with a metallic foiling of the title and a stylised flame on both the cover and the spine. There are multiple images used throughout, both graphic and photographic, with some at full page or as spreads, while others are awkwardly marooned on their own and not integrated into the text, as if they’ve retained the practical formatting of their original submission document. Accompanying the book is a CD that compiles music pieces from the various contributors: Gydja, Khtunae, She Scotia, NYIÞ, Hvile I Kaos, Brujentropy, Corona Barathri, Emme Ya and Synesect.

Published by Aeon Sophia Press