Saturday, August 30, 2014

Magic and Memetic Marketing: A Tale of Two Books

Dear readers,

This month's book review will be a little break from my usual structure. In this review I will explore two contemporary books on magic, not necessarily their content or their fine bindings, but rather how they are presented and marketed. A tale of two books. Typically I critique the craftsmanship of deluxe editions; however, in this entry I will instead look at two standard editions with emphasis on presentation, branding, and packaging.



Epoch: The Esotericon and Portals of Chaos by Peter J. Carroll &Matt Kaybryn
Arcanorium College. 2014. 216 pages. Landscape Quarto. Full color with many full color illustrations. Includes 54 over-sized, full color, "cartomagical" cards.

Available in a single edition.

Trade hardback: No limitation stated, however the first 100 copies are signed by the author and artist.




Anthology of Sorcery: Book 1 by various (no editor stated)
BecomeALviningGod. 2014. 353 pages. Octavo. Black & white illustrations.

Available in two editions.

Standard Cloth Edition: Limited to 400 copies. Sold out at publisher

Deluxe Edition: Full leather. Limited to 100 copies. Sold out at publisher.


I often wonder about future of esoteric publishing: Where it it going? What form it will take? What content will remain relevant in our fast-paced and digitized world? And... Is the future already here? I have discussed some of these themes a number of times before, including here. When I discuss new limited editions and other hard-to-find books the words of futurist and author William Gibson often come to mind, "The future is already here -- it's just not evenly distributed." -- The Economist, December 4, 2003  

Is the future of magic and esoterisicm one that will always be looking back to days of secret lodge meetings, hidden rites in darkened groves, or private alchemical discoveries lost amid crumbling archives? Is it safer to continually look backwards to re-imagined and historically questionable golden days of yore, or should we keep our eyes fixed on the horizon, eagerly ready to adapt to (and adopt) whatever memes and technologies the future has to offer? The future used to be a slow trickle of change, often small enough that entire generations could ignore it if they so chose. Today the future is coming at us in a torrent -- a tsunami of data and society-changing gadgets. Entire paradigms are created and destroyed overnight like castles in the sand. It can no longer be ignored. One has the choice to ride the wave or be drowned by it.
"The tribal community lived in the totality of circular time; the farmers of God's universe understood before and after; workers of the clockwork universe lived by the tick; and we creatures of the digital era must relate to the pulse." -- Douglas Rushkoff
This pulse, a staccato drumbeat compelling us to be on the cutting-edge of all the newest developments, gadgets, and their endless apps & functions is unavoidable today. For better or worse, this is the ever-increasing tempo of our society. There are good and bad aspects of this of course. There are a number of genuinely useful applications available, even some with potentially life-saving potential. But what about the others? Are they really "time-saving" devices?

When faced with continuous and rapid change many people do their best to stay on top of tech trends for fear of falling behind (socially and professionally) and thus potentially becoming out-of-touch with their peers. The downside, as I see it, is that it forces us to live continually in the now -- no time to look back and reassess, evaluate, or question; no time to plan a strategy or resistance. This is exactly where the media and business world would like us to be, that is, so overwhelmed and over-saturated that we simply accept whatever we are given. After all, each device promises to make our lives easier, right? Bread and circuses right in the palm of our hands. However, some of these adopted devices turn out to be akin to the folkloric changling child masquerading as something normal and wonderful until one realizes they've been nurturing something ghastly. The old bait-and-switch.

I am not immune to the aforementioned societal pressures.  Luddite as I am, I was the last of my peers get a cell phone, finding the idea of being at everyone's beckoning call disturbing. I like my silences. Though once phone booths started disappearing and went the way of the betamax I had little choice but to reluctantly adopt the cell phone. Now it appears I will be pushed into the world of Smart phones soon. It seems that calling and emails are far too time consuming for the post-modern technophile. Information must be compressed into a text or tweet resulting in communications of lower fidelity and higher levels of noise to signal ratio. We're communicating more, but we're certainly not communicating better. Somehow I doubt I will have the same experience reading a .pdf of Glanvill's Saducismus Triumphatus in the sterile blue-white glare of and iPad, punctuated by random cartoon-like blips and beeps, as I would reading from stiff and age-darkened pages by candlelight with a glass of Amontillado at hand. Perfectly aligned aesthetics are everything.

So in the spirit of looking forward and a rapidly changing world, I would like to look at two very contemporary magic books. Epoch: The Esotericon and Portals of Chaos is a Chaos Magic book (a post-modern current if there ever was one) while Anthology of Sorcery: Book 1 is exactly what it says, an anthology of sorcery. The various authors provide a distinctly contemporary approach to magic, including some notables, like the ever-humorous Lon Milo DuQuette.


Dystopian Corporate Logos. Image Credit: catchwordbranding.com


One of the most obvious characteristics of goods and services in our age is aggressive product branding. Branding is used in a myriad of ways of course, from company logos to iconic styling. We are bombarded daily with subtle (and not so subtle) marketing techniques. Thus it was only a matter of time until someone in the esoteric book market decided to use the same branding techniques as, say, Crown Royal whiskey, or slogans reminiscent of Nike's "Just do it".

Remember the "occult scare" created by this logo?
 Image credit: Proctor & Gamble


When I received Anthology of Sorcery: Book 1 from BecomeALivingGod (<--- surprisingly no ™) I recognized immediately that I had received an unusual beast. In my hands was a black cardboard box that read, "BecomeALivingGod: Real Magick, Real Results." Each of the four sides contained a single word, "Omnipresence, Ascension, Omniscience, Omnipotence" respectively. One certainly cannot accuse BALG of setting the bar too low. Inside the box was a black velveteen bag, again sporting the BecomeALivingGod logo. I immediately thought of Crown Royal whiskey. For those unfamiliar with it, each bottle comes in a trademark royal purple draw-string bag, that is, if you're into that Canadian stuff. I have been told the bags make excellent tarot card bags.

Image credit: CrownRoyal.com


Inside the bag was a black book. Not just black, all black. With its black boards, black endpapers, black ribbon marker, black head/tail bands, and blackened edges, Anthology of Sorcery: Book 1 is the literary equivalent of a "murdered out" assault vehicle, to use the vernacular of the young. The regular edition is bound in black satin. Taken as a total package, it struck me as a rather well-designed marketing strategy. It certainly stands out. It may sound excessive, but the cardboard box and the bag help protect the book in shipping (and after), so they do serve a practical purpose. Ixaxaar ships their books in a black cardboard box with the Ixaxaar logo as well. Sometimes it it the little things that matter. Anyone who has ordered from Scarlet Imprint surly appreciates how each book is carefully wrapped in black paper.





I realize there are lot of strong opinions out there regarding the BecomeALivingGod website and its owner E.A. Koetting. However, for the purpose of this blog I am going to stick to reviewing their book only. If my readers would like to read more, Frater Barrabbas has a very fair and informative review of BecomeALivingGod and Mr. Koetting on his phenomenal blog, Talking Ritual Magick, here.





Overall Anthology of Sorcery: Book 1 is a sleek and attractive book from a new publisher with a very 21st century flair. It's a great start, though there is still room for improvement. The boards seem a little too thin for the paper weight and have a tendency to bow slightly with the text block, or it could just be my copy. The paper has a satin finish, which really helps the images pop, but I find it a bit too glossy for my taste. It causes occasional glare on the page making reading difficult at times. I found myself re-positioning the book more than I should need to. More of a personal preference, really.

One can see the sheen of the paper in this photo.


In complete contrast to the Stygian Anthology of Sorcery: Book 1 (for better or worse) we have specimen #2, Epoch: The Esotericon and Portals of Chaos by Peter Carroll, the father of Chaos Magic (though one could argue it began with A.O. Spare). Forget the all-black thing (even if all-black is the standard uniform for most Chaotes) -- the cover looks like psilocybin ice-cream. For whatever reason -- call it a "genre archetype"-- Chaos Magic books have traditionally sported covers that are (perhaps not surprisingly) chaotic, fractal in nature, and colorfully frenetic. This book is no different. I cannot think of a single Chaos Magick book that has an artistically restrained cover; perhaps Joshua Wetzel's The Paradigmal Pirate,.. maybe. The rest are tie-dyed treatises on reality-hacking and viral sigils. Read enough of those and you will find yourself speaking in E-Prime and doubting your own shadow.




Epoch: The Esotericon and Portals of Chaos is an over-sized paradigm-shifting trip through world mythologies and literary cosmologies (Carroll clearly loves the Cthulhu Mythos). It even has its own website -- here. Carroll also includes his 21st century interpretation of the Qabalah, what he calls the Chaobala. No doubt some will see this as refreshing and forward-thinking while others will see it as heretical. I've found that the latter is always a good sign.



                                          



The book also comes with an over-sized (dare I say super-sized?) deck of "cartomagical tools of the 21st century" created by the author and artist, Matt Kaybryn. The cards are laminated and fairly durable. The first thing one will likely notice is the artwork. Each "Altar Icon" card in the deck depicts a god, goddess, element, planet, or entity. Mr. Kaybryn has given many of the gods/goddesses a modern update. Horus is portrayed as a young punk which is particularly apt. Thoth is particularly striking. Unlike traditional tarot card art through the ages Mr. Kaybryn's art is digitally created. Another sign of the times, perhaps. I have mixed feelings about digital art. When used wisely, and in many cases sparingly, it is a wonderful medium. I occasionally create digital art myself. However, the Achilles heel of digital art is the human face, for now. Many of the figures look lifeless, like colorful manikins. Shuffling though the deck is like a journey through a wax museum. The eyes in particular look empty and strange. The cards containing elements, creatures, and cosmic forces are far better. I like these quite a bit. Digital art is much more forgiving when it comes to amorphous horrors.





Bucking the trend, the publisher, Arcanorium College, decided to resist the tremendous urge to sell on Amazon and instead chose to sell exclusively through Weiser-Antiquarian Books. Yes, the book can be found on Amazon; but if you notice, Weiser-Antiquarian is the actual seller. Good choice. I've found Weiser-Antiquarian to be very reliable and always have fair prices.









As one can see we have two very contemporary books here. Each is very different from traditional esoteric books in their own way. They are essentially products of our times: assertive branding & marketing, distinctly contemporary packaging and art design, and a conscious (conscience?) choice to set up distribution through independent booksellers.






Sunday, July 6, 2014

READERS' POLL: What is the most important esoteric/magic book of the 20th century?

Image credit: Idea Venue

Dear readers,

Now that we are a decade or so removed from the 20th century, I began to wonder, what is the most important esoteric/magic book of the 20th century? For example: What book has had the most lasting impact? What book has been the most influential? What book has preserved an entire tradition? What book has the greatest potential? Perhaps more importantly, What book has changed the world? I thought I would let my readers decide.

How one defines "important" is up to the reader. As one can see below, the choices span a wide range of traditions. They also cover the entire century, from works written at the dawn of the 20th century, to books written at the century's close. One may also notice that the authors range from practicing magicians to folklorists. For the purpose of this poll I have included individual books and book series, as many series constitute a large single system of practices. Additionally, some books have been published as multiple volumes and later as single volumes. In other cases single books contain multiple books, as Crowley's Book Four also contains Liber AL vel Legis (The Book of the Law).

I have also included the choice of "Other", as there are assuredly many very important books not included in this list. Those choices can be written in the comments section below this post and will be included in the poll. You can find the poll in the column to the right. The poll will run for roughly 2 months, at the end of which a winner will be decided.

The choices are:
  • Magick: Liber ABA (Book Four) -- Aleister Crowley
  • The Secret Teachings of All Ages -- Manly P. Hall
  • Liber Null & Psychonaut -- Peter Carroll
  • The Book of Pleasure -- Austin Osman Spare
  • Drawing Down the Moon -- Margot Adler
  • The Complete Golden Dawn System of Magic -- Israel Regardie
  • The Typhonian Trilogies -- Kenneth Grant
  • The Kybalion -- The Three Initiates (William Walker Atkinson)
  • Azoetia -- Andrew Chumbley
  • Hoodoo - Conjuration - Witchcraft - Rootwork by H. M. Hyatt
  • Other?

Sunday, June 29, 2014

Obeah: A Sorcerous Ossuary by Nicholaj de Mattos Frisvold


"I came down on a lightning bolt
Nine months in my mama's belly
When I was born, the midwife scream and shout
I had fire and brimstone coming out of my mouth
I'm Exuma, I'm the Obeah man"
-- Exuma "Exuma the Obeah Man"


The white witch of Rose Hall,
A beauty above all.
The slaves out in the fields
Had brothers who were killed.
This Obeah woman made the spirits rise,
Destroying the unwanted with her eyes.

-- Coven "The White Witch of Rose Hall"



Hadean Press. 2013. 107 pages. Duodecimo (Twelvemo). Full color illustration + black & white illustrations.

Available in three editions:

Digital e-book

Trade Hardback: No limitation stated.

Limited Edition: Limited to 21 copies bound in full sheepskin.

The name Nicholaj de Mattos Frisvold should be a familiar one to anyone interested in Caribbean and South American magical traditions. He has written a number of fascinating books on Quimbanda and Palo Mayombe. In one of his most recent works, Obeah: A Sorcerous Ossuary, he focuses on a somewhat obscure and often poorly understood tradition: Obeah, a form of "Afro-Shamanic Witchcraft". Obeah is believed to have roots linking back to the Igbo people in present day Nigeria. It is perhaps one of the most syncretic practices in the Caribbean. Most Afro-Caribbean traditions are a melange of African and European religions and folk traditions. Obeah has all these elements, but it also has influences from India and the Middle East, as Trinidad has sizable Hindu and Muslim populations. The result is a unique fusion of international beliefs, yet it remains rooted closely to the land in which it has developed, roughly from Trinadad & Tobago to Jamaica.

Interestingly, Obeah has been illegal in Jamaica since 1760. While other Caribbean nations have rewritten their laws to decriminalize it, in Jamaica it is still illegal under the Obeah Act of 1898, though it hasn't been enforced since the 1960s. For more on this subject I recommend Enacting Power: The Criminalization of Obeah in the Anglophone Caribbean, 1760–2011 by  Jerome S. Handler and Kenneth M. Bilby.



What makes Obeah unique is that, unlike Haitian Vodou or Santeria, it is not a religion, nor is it a magical system per se. If it is neither of these then what exactly is it? This is where it gets complicated. Even the author admits it is a bit hard to pin down exactly what Obeah is. The author states,
"Obeah does not refer to a given system, but a sorcerous trade ...  a 'tower of power' -- a storehouse or occult engine of supernatural power owned by Papa Bones and gifted to his votaries."


He describes it best when he says it is a spiritual "technology". Therefore Obeah is not a system or a specific set of practices (though there are some common practices among Obeahmen); rather, it is a power that is received through direct transmission from Obeahmen in succession that acts as a magical catalyst igniting powers within the Obeahman. One could say it is a magical inheritance when referring to passing down of the "obi" or "obiya", a transformative magical essence similar to what many in Traditional Witchcraft call "witch-blood". Through the succession of obiya power Obeah could be also be considered a "thaumaturgical cult" of the initiated.



The raised seal of Anansi in copper.


Other common names for Obeahmen/women are: bush-doctor, balm-man, four-eyed man, buzu, and shadow-catcher. The latter comes from the practice of "duppy-catching" and "shadow-nailing". Duppies (or jumbies) are vampiric ghosts or elementals that are caught and controlled. Shadows (or sasa) are also caught and nailed to cotton trees to facilitate healing and grant other powers.

In some ways Obeah is like contemporary Chaos Magic, as the Obeahman often uses intuitive methods and a very pragmatic and practical "whatever works" approach. Considering they are not restricted by a defined system of practices or religious framework they are free to use whatever is at their disposal to work their magic. The author states,
"Obiya is about your soul set aflame in spiritual congruence and in this way the Obeahman is reminiscent of the modern day Chaos magician but instead of sensitivity with social paradigms he or she holds sensitivity with the shifting arches of creation."




The author continues by finding links and commonalities between Obeah and shamanism too. In fact the author states that shamanism is the "prime technique" used by Obeahmen, as Obeah is about direct spirit contact and working with unseen forces. Like shamans of all cultures, from the secretive kanaima of the Amazon to the soul-traveling Sámi noaide in far northern Scandinavia, Obeahmen are often regarded as outsiders and live a lonely and reclusive life. They also utilize possession and trance to enable traffic with spirits. Obeahman have a "sasa", the invisible spiritual power of an individual that causes a spell to work. It is the sasa that "gives the Obeahman the power to awaken the spirit of plants and bones." Obeahmen also have the power of night-stalking and skin-leaping. These powers are somewhat analogous to the Navajo skinwalker, a malicious sorcerer with the ability to shape-shift into animals. Regarding this subject, I highly recommend Clyde Kluckhohn's book, Navajo Witchcraft.





I found Chapter III, "The Kabalistic Banquette of Lemegeton", particularly interesting. In this chapter the author discusses various books used by Obeahmen. These include: Waite's The Book of Black Magic, The Lemegeton, Grimoire of Pope Honorius, Grimorium Verum, and de Laurence's The Great Book of Magical Art. As you can see, the Obeah tradition is heavily influenced by the Western Grimoire tradition. One of the rites includes a banquette where Goetic and animal spirits are invited to possess participants. A Master of Ceremonies is assigned to maintain order and control of the spirits. If spirits get out of hand he is in charge of destroying magic seals and in some cases even whip the possessed to chase out unruly spirits. Sounds like a party.


Sasabonsam - Image credit: The Museum of Witchcraft

The book describes a number of spiritual figures that Obeahmen revere. Foremost of these are: Sasabonsam (The Lord of the Woods -- a diabolical version of the "Green Man"), Papa Bones (Lord of Darkness), his wife Asase (The Woman in the Lake of Pitch), and her daughter Anima Sola. The Lake of Pitch refers to an actual place, the La Brea Pitch Lake, a large tar-pit found in Trinidad's southwest peninsula -- a suitable home for fearsome spirits. Animal spirits are also called upon and worked with such as: Sarato (the serpent), Morocoi (the turtle), Anansi (the spider), Opete (the vulture), and Adyaini (the jaguar). Many of these spirits are worked with by building an altar with colored candles (typically yellow, red, black, and white), pipe or cigar smoke, and also an offering of apricot brandy (but no alcohol when working with Anima Sola).

The Limited Edition contains an additional chapter titled, "The Temporal Obiya" not found in the trade edition.


Now for the physical book...

For this review I shall review the Limited Edition of Obeah: A Sorcerous Ossuary. Only 19 of the 21 copies were offered for sale. Each book was bound by hand by Erzebet of Hadean Press who states, "My work is, at its core, an act of devotion...". This sentiment can be easily seen and felt when holding this book. The book is bound in full black sheepskin. It is very supple and has a beautiful grain. The book has a faint scent of galbanum, which is found within the attached mojo bag (more on that in a moment). The cover contains a hammered copper plate with the seal of the spider spirit Anansi in high relief. It's really quite striking. The spine has seven raised bands with no title. Black head and tail bands. The book's small size (pocket size) makes it easily portable when taking it to a graveyard or a sacred forest glen.




This book has something very unique and special that makes the Limited Edition of Obeah: A Sorcerous Ossuary a truly talismanic work. Attached to the black silk ribbon is a red silk bag. The red silk has a wonderfully rich color. Each bag contains the physical components for an Obeah charm: a piece of snakeskin, a hawk feather, Manacá (from a douen tree), a silk cotton thorn and silk cotton, and galbanum.

While on the subject of galbanum... some of you may have noticed that the price of galbanum has gone up precipitously and become a bit scarce. There's a reason for this. The largest exporter of galbanum is Syria. As one may expect, the political upheaval and brutal war in Syria has adversely affected all parts of the nation's economy including production and exports. Hopefully the outcome of this tragic war will be one that reflects the hopes and desires of Syria's displaced people and not the demands of a cruel dictator or fanatical religious groups. But I digress...

"Lord of the Forest -- Lord of the Dead" by Kyle Fyte

The book opens to black endpapers marbled with thin strands of gold. Upon opening the book the reader will quickly encounters the artwork of Kyle Fyte, a full-color piece titled "Lord of the Forest - Lord of the Dead" (also found on the cover of the trade edition). Mr. Fyte's jaggedly colorful Expressionistic work is a perfect compliment to this book. His work has a frenetic passion about it that grabs the viewer and won't let go, dragging the viewer to the feet of primal and elemental forces -- an aesthetic abduction. The text is printed on solid 120gsm cream paper. Each book also comes with a little card held within a red envelope. The card lists the ingredients of the charm and also states the book's limitation number. Oddly there is no mention of what the charm is for or what it is meant to do. It likely serves as an offering to Obeah spirits linked to the book.



Obeah: A Sorcerous Ossuary is a wonderful glimpse into a culturally complex tradition. The book offers examples of rituals, prayers, conjurations, and a few seals for specific spirits. The only downside is the book's brevity (107 pages). Mr. Frisvold left me wanting more. Being a small book, it's just enough to whet the reader's appetite and send them looking for more. I hope he writes another in-depth book on this subject. In the meantime, here's a good place to start to learn more: Obeah and Other Powers: The Politics of Caribbean Religion and Healing from Duke University Press.






*As an aside. I'm sure many of my readers are currently enjoying the international drama of the World Cup. I certainly am (part of the reason for this review's delay). If you are one of those soccer (futbol) fans you may want to pick up this book: Football Voodoo: Magic, Superstition, and Religion in the Beautiful Game by Chris Roberts. Are winning goals due to skill, or is it magic?

Photo credit: F and M Publications






Sunday, May 4, 2014

Daemonologie of King James



Ouroboros Press 2014. 120 pages. Duodecimo (Twelvemo). Black and white illustrations.

Available in three editions:

Standard Edition: Cloth and letterpress dust jacket. Limited to 600 copies.

Goat-Skin Edition: Full black goatskin. Limited to 45 copies.

Hellmouth Edition: Quarterbound in snakeskin and cloth with folding plate depicting the Hellmouth. Limited to 25 copies.

First published in 1597, Daemonologie of King James is a fascinating treatise on late 16th century attitudes regarding witchcraft, magic, sorcery, folkloric creatures, ghosts, and demons. The book is written in the form of a dialog between two gentlemen, Epistemon (Greek for sciences) and Philomathes (Greek for lover of knowledge). Epistemon presents a series of arguments (20 in all) on the nature of witchcraft, necromancy, magic, and sorcery. Philomathes plays the role of the doubter, or Devil's advocate, by questioning the validity of Epistemon's claims. Their dialog offers a curious glimpse into late 16th century rationality and logic. For example, Epistemon is portrayed as somewhat unsophisticated and naive, as he is ignorant of the powers of witches and sorcerers, even doubting their existence. Philomathes plays the part of a worldly scholar well-versed in witchlore and occult powers.

The irony is that while Philomanthes is supposed to be the uninformed common man (the "Joe Public" of today), he actually comes off as the more reasonable of the two. His skepticism, no doubt intended to be dangerously foolhardy and ignorant in his day, seems completely rational and levelheaded to the modern ear. In a reversal of roles, it is Epistemon who strikes the modern reader as sounding irrational, like a smug fundamentalist. Thus a work that was used as paranoia-inducing anti-witch propaganda in its day sounds rather quaint and jejune today.



The book is dived into three parts, each with a central argument followed a series of minor arguments and elaborations.


  • First Booke: The exord of the whole. The description of Magie in speciall.


  • Second Booke: The description of Sorcerie and Witchcraft in speciall.


  • Third Booke: The description of all these kindes of Spirites that troubles men or women. The conclusion of the whole Dialogue.

As you can see, the book is written in Elizabethan English. Those unfamiliar with it may find it challenging.




One observation that I found particularly interesting: the high value placed on information. It seems that no matter what the time period, knowledge is power. We like to say we live in an "Information Age" where information is everything. In reality it has always been everything; we just have more of it now. When describing the diabolic powers the Devil (or Deuill in Elizabethan English) grants his followers there is particular emphasis on the ability to know things beyond one's natural ability, such as the outcome of future battles, or whether a sick person will recover or die. For example:
"Sathan ... will oblish himselfe to teach them artes and sciences, which he may easelie doe, being so learned a knaue as he is: To carrie them newes from anie parte of the worlde, which the agilitie of a Spirite may easilie performe: to reueale to them secrets  of anie persons, so being they bee once spoken for the thought none knowes but GOD; ... Ye he will make his schollers to creepe in credite with Princes, by fore-telling them manie greate thinges; parte true, part false:"
As you can see, not only was information incredibly important and powerful, but also the speed at which it could be obtained -- something we take for grated today with Google at our fingertips. Those who had foreknowledge of what was to come, or advanced knowledge of something that has already occurred, had a significant strategic advantage over others. Speedy information was so powerful it was worth selling one's soul to get.




In one of Epistemon's arguments there is a passage that reminded me how little things have changed in 400 years.  Epistemon describes the sinful path of magicians and how simple curiosity can lead to far greater heresies.
"...they are so allured thereby, that finding their practize to prooue true in sundry things, they studie to know the cause thereof: and so mounting from degree to degree, vpon the slipperie and vncertaine scale of curiositie; they are at last entised, that where lawfull artes or sciences failes, to satisfie their restless minds, even to seeke to that black and vnlawfull science of Magie."
I seems that even back in 1597 people tried to use the "slippery slope" fallacy to win an argument. If Epistemon were around today he would probably be a pundit on FOX News.



Epistemon describes the differences between practitioners of the black arts. He lumps them into two groups, magician/necromancers and witches/sorcerers. The main difference between the two groups, according to Epistemon, is that magicians and necromancers generally mean no harm; they unknowingly fall into the trap of prideful lust for knowledge, including forbidden knowledge. In contrast, witches and sorcerers are out to do harm to others and lust for wealth. Magicians and Necromancers have high, yet sinful, aspirations while sorcerers and witches have lowly and base desires. Interestingly, later in the book Epistemon says that the sins of magicians and necromancers are actually far greater than those of witches and sorcerers because their sins come within closer proximity to God, that is, god-like understanding. My goodness, the arrogance...  Again, knowledge is power. If people learn too much they become a greater threat. This is why it was a burnable offense, according to those in power, unless the magician or necromancer worked for them of course.




In the latter part of the book Epistemon and Philomathes discuss the nature and existence of folkloric creatures. This amounts to a compendium of monsters and their respective natures and habits. Epistemon pontificates on the nature of lycanthropy and the existence of ghosts, dividing the latter into various subgroups: specters, wraiths, etc.. Additionally, fairies, brownies, incubi, succubi, and demonic possession are also addressed.  



Now on to the part you've been waiting for, the book itself:

For this review I will be reviewing the "Hellmouth Edition" of Demonologie of King James. Credit to Mr. William Kiesel of Ouroboros books for coming up with such a colorful edition title. I cannot say it without cracking a smile. I say, who wouldn't want a Hellmouth edition? The Hellmouth Edition is half-bound in white snakeskin and black cloth. I have no idea if the skin comes from an albino snake or if it has been bleached, though the former would be more appropriate. The magical properties of albinism is well known in witchcraft traditions throughout the world. (Unfortunately it has recently lead to savage butchery of albino people in Africa with the belief that albino limbs possess magical power.) The contrast between the white snakeskin and black cloth is striking and also appropriately symbolic. It represents how magic with good intentions can actually be something black underneath.



The snakeskin feels very smooth, has a remarkable shine, and begs to be touched. The black cloth is sturdy with a tight weave and is stamped front and back in gold with Ouroboros Press' colophon, the ouroboros circumscribing a Maltese cross. The spine has seven raised bands, each edged with gilding. Matching snakesking head/tail bands. The title, Daemonologie 1597 is stamped in gold on a black leather spine label. The book comes with a black ribbon bookmark. Opening the book reveals black and white hand-marbled endpapers. Paper is of medium-light weight and pale cream in color. The folding "Hellmouth" plate is lightly marbled parchment in color. The book begins with an spectacular period illustration of the Devil (see pic) and has several other equally attractive decorative ornaments and illustrations. This is a very elegant little book and one of the most unique to come from Ouroboros press. It marks a slight departure from their usual three-tiered business model (vellum, goatskin, and cloth). To further break with tradition, one of their newest releases, the Brazen Serpent Edition of Nicholas Flamel's Hieroglyphical Keywill feature a full Cambridge binding hand bound by Michael Atha of Restoration Books. The early pictures look incredible.




With Daemonologie of King James Ouroboros Press continues its wonderful service of providing high-quality editions of important long out-of-print works. They cater to a specific strata of the esoteric community that values source-works and is not put off or intimidated by archaic language. Like the Malleus Maleficarum, Glanvil's Saducismus Triumphatus and other anti-witchcraft treatises of the 16th-17th centuries, Daemonologie of King James provides a wealth of information about the practices and activities of magicians and witches, that is, if one is to believe testimonies given under torture. Many of the alleged diabolic acts are likely less a reality than they are a reflection of societal insecurities, namely, the rising power of the merchant class and its threat to the aristocracy, schisms within the church, and of course the ever-present fear of intelligent women with power. Fascinating and historically insightful as these books are, they were, sadly, used as tools -- even guidebooks -- for the persecution of countless people. As I alluded to earlier, books like these are valuable in that they can teach us something about the past, but they can also become an uncomfortable mirror reflecting society's age-old failings and highlighting fears that remain to this day.












Sunday, March 30, 2014

Black Magic Evocation of the Shem Ha Mephorash by G. de Laval



Aeon Sophia Press 2013. 246 pages. Octavo. Black and white illustrations with one page full-color. Text in black & red.

Available in three editions:

Standard Edition: Quarter leather and silk moire. Limited to 200 copies.

Deluxe Edition: Full leather. Limited to 50 copies.

Devotee Edition: Full goatskin. Limited to 23 copies (11 with custom wooden box, 12 without).

Black Magic Evocation of the Shem Ha Mephorash is published by a relatively new esoteric press, Aeon Sophia Press. In only a couple years their output has been tremendous, over 9 titles and two journals (The 13th Path forthcoming). I have spoken to the press' proprietor, Mr. Boomsma, on a number of occasions. He strikes me as a very earnest, enthusiastic, and dedicated person -- exactly what one needs to be in the small press. The press generally caters to so-called 'Left-Hand-Path' works, though the press has shown how wide this sub-genre can be by publishing works ranging from practical grimoires to qliphotic poetry. The title reviewed here falls into the former category.



Another note on Aeon Sophia Press before I continue with the review: Aeon Sophia Press has experienced some of the common problems that seem to plague the small press; namely, delays, mailing mishaps, printing/binding errors, etc. These are unfortunate setbacks that all small press publishers experience -- none are immune. Learning from experience, Mr. Boomsma has made some wise business decisions to prevent some of these trade hazards. He has recently decided to only accept pre-orders for books that are close to being in-stock. I must say, this is a bold and risky decision, as many (dare I say most) small presses fund their publications with money gathered though pre-orders, or at least partially. Of course this requires a significant investment on his part, a professional gamble, if you will.

His decision will likely reduce the waiting time for his customers significantly. Speedy delivery is one of the reasons Amazon is so successful. Unusually long waits & delays are the most common irritations I hear from readers. It is not uncommon to wait years for books to be published (books already paid for). In such cases customers are essentially offering interest-free loans to the press. Now, I know this is part of the trade and a mostly unavoidable, if unfortunate, consequence of small press publishing. However, many readers and collectors new to the small press world find it vexing, as many are used to the instant gratification that large mass-market publishers provide. They grow impatient having to wait for extended periods of time, and sometimes they cancel their orders out of frustration.

My advice to such people is to be patient. These are not assembly-line books (especially fine bindings), and if one believes in magical timing or fate, perhaps the reader was not meant to get the book immediately, but rather at a time better suited for the reader and more relevant to their current circumstances. For example, some years ago I received a book that had been significantly delayed -- almost a year, if I recall. After reading it I was thankful for the late arrival. You see, I had gleaned information from a book I had read just prior to this one that had widened my knowledge on a particular subject. The current book covered similar ground. Had I not read the earlier book first certain important elements of the current book would have been overlooked or misunderstood. I am sure many of you have had similar experiences. Sometimes the order in which we absorb knowledge is crucial.

Another example: there is a certain book (that shall go unnamed) that I pre-ordered over a year and a half ago. Rather than flood the publisher with emails about the book's status I instead wait patiently knowing the book will arrive when the time is right. There are plenty of other titles to read in the meantime. I have found over the years that this is how magical books work; they find their way into one's hands when they are most needed. Granted there are reasonable limits to how long one should wait. I once waited over four years for a certain title. I finally decided to use my payment as credit towards other titles from the press. The status of that particular book still remains in limbo over five years later. Yes, there have been publishers known to 'take the money and run', but this is very rare. Aeon Sophia Press has decided to side-step this problem altogether by selling in-stock (or nearly in-stock) books only. I hope this business model proves successful for them. It is certain to create happy and loyal customers.

Now onto the book...


Black Magic Evocation of the Shem Ha Mephorash is a practical guide for invoking/evoking the 72 angels of the Shem Ha Mephorash. The 72 angelic names are derived from the book of Exodus, chapter 14, verses 19-21. Each of the three passages contain 72 Hebrew letters totaling 216, the secret name of Creation. When arranged in three rows one can obtain the Hebrew trigrammatons for the 72 angels of the Shem Ha Mephorash. Each angel is an aspect of the greater whole, or specific "energy current", and has its own positive and negative counterparts, like different sides of the same coin. When working with the benefic angels one adds the suffix 'El' (אֵל - meaning 'might of God) or 'Yah' (יָה - meaning 'mercy of God') to create a five-lettered holy name. This work deals primarily with the malefic angels which are signified by their three-lettered names, sans the divine power attribute 'El' or 'Yah'. These are the qliphotic shells, the negative aspects of the angels of the Shem Ha Mephorash. This book is a compendium of those angels' attributes, seals, and various correspondences: planetary,elemental, numerical, magical timing, and tarot associations.



The work begins with Qabalistic commentary and an explanation of the Shem Ha Mephorash. This work is aimed at moderately experienced readers; beginners may find it difficult to follow.The author assumes the reader has some working knowledge of Qabalah and Hebrew. It follows with some personal commentary by the author regarding the nature of magic. I found this part particularly interesting, though I partly disagree with some of the author's opinions. For example, the author posits the book on one central premise, stating:
"Generally speaking, all magick is black. The entirety of our art is condemned in part and in whole by the entirety of orthodoxy. All magick is the domain of the Devil by definition."
To back up this claim the author supplies age-old quotes from the Bible (Deuteronomy 18:10), the Koran (Al Baqarah 102), and the Zohar (1:5) damning witches and necromancers for practicing magic. I find this statement rather odd and démodé. A few pages later the author states, "...all magick is diabolical." Surely we've moved beyond all this. Why allow the attitudes of ancient religious texts to define us today? I do not see how one can possibly benefit from allowing one's detractors to define who they are. Imagine if biologists referred to their work professionally as a anti-creationist research, because that is how they are sometimes stigmatized by many religious people. So why allow archaic attitudes to judge witches and magicians and characterize one's practice? Especially considering religious texts seem to be of two minds concerning this matter. Was it not three magi (magicians) who were present at the birth of Christ? They are seen as great and wise, not practitioners of black magic. To further illustrate biblical mixed messages regarding this matter, let us recount the story of Saul who drives out all the magicians and necromancers from Israel, yet later seeks out divinations from the Witch of Endor.

I realize we're dealing with biblical subject matter here. Therefore I was willing to view the work within that historic context, that is, from an early Judeo-Christian point of view, contradictory as it is. However, soon after the author begins using contemporary terminology and references modern theories, stating.
"...she then begins to charge the Hebrew name as a living egregore with the memetic energy she has collected from previous interaction with the angel. ...
 Not to mention modern adages of Chaos Magic and Thelema respectively,
"We together are on the left-hand-path where nothing is true and everything is permitted."
"Do As Thou Wilt, shall be the whole of the law."
So which is it? Are we to maintain a Judeo-Christian mindset and view biblical statements as, well, gospel -- that all magic is heresy, and angels are literal celestial beings? Or are we to approach magic from a contemporary mindset where angels are Jungian archetypes and post-modern thought-forms? If we are allowed to view magic through a modern lens, are we also allowed to disregard outmoded ideas, especially if "nothing is true and everything is permitted"? It appears so, as the author states, "creativity is encouraged" and terms "are not be mistaken for dogma". But if we're going down the path of Chaos Magic then all magic could just as easily be pink.

The author muddies the waters further by stating,
"Specifically speaking, there are different types of magical practice, and the term "Black Magick" is a term that is used in this book to denote a specific practice in contrast to other practices."
And this paradoxical statement,
"So to the advanced witch, the "black and "white" descriptors are irrelevant. There is only magick, raw black chaotic power of the untapped mind..." 
So magic is neither "black" nor "white"... but it's still black? Are we talking color or morality? Or is it the practice that denotes its moral polarity? This is a minor point, but you can see where this can get confusing. The author continues by providing an interesting categorization of magic which is as follows:

  • Aeonic Magic -- Magic involving time
  • Vampiric Magic -- Predatory magic 
  • Spherical Magic -- Astrological/Planetary Magic
  • Lunar Magic -- Magic involving the phases of the moon
  • Black Magic -- Imbalanced, destructive, & demonic magic
 I find the ways in which people choose to categorize, compartmentalize, and classify magic extremely interesting. One can understand a lot about how authors think by the way they break down magic into various 'schools'. For example, Paracelsus (1493-1541) divided up magic into six categories, collectively called the Artes Sapientiae (Arts of Wisdom), in his Philosophia sagax (1536):
  • Insignis Magica -- The interpretation of natural signs.
  • Magia Transfigurativa -- The magic of transformation and transmutation.
  • Magia Caracterialis -- The use of curative power-words and signs.
  • Gamaheos -- Carving astral constellations on precious stones to grant magical powers.
  • Altera in Alteram -- Crafting charms and talismans to heal or harm.
  • Ars Cabalistica -- The art of soul journeying, telepathy, scying, and psychometry.
Paracelsus saw all magic as natural forces which were not yet completely understood rather than the dominion of the Devil. 

Furthermore, Robert Fludd (1574-1637) divided magic into five types:
  • Natural Magic -- Dealing with the mystical properties of natural substances.
  • Mathematical Magic - What we call the sciences today.
  • Venific Magic - The crafting of potions, philters, and poisons.
  • Necromantic Magic - Pact making with goetic spirits and the spirits of the dead.
  • Thaumaturgic Magic - The art of illusion and deception.


The author continues with an interesting explanation about the difference between invocation and evocation. According to the author,
"In their angelic forms, the spirits are drawn down from realms of the super-conscious self, from the higher sephiroth into conscience interaction; this is called invocation and is a receptive art, similar to prayer or supplication."
"In their demonic forms, the spirits are drawn upwards towards interaction with the conscious mind from the realms of the subconscious and shadow self, the place of fears, phobias, unresolved conflict, and the gateways to the spheres of the qliphoth and the eleven hells thereof. This is known as evocation, drawing up, and is an active art, similar to exorcism whereby the spirits are adjured into obedience by the use of protective seals and talismans. An angel invoked has evoked the magickian. A demon evoked has invoked the magickian."
This is a slightly different definition than to what some may be accustomed. Generally speaking, most people see invocation as summoning spirits internally, such as taking on god-forms. In contrast, evocation is to summon a spirit externally, like into a magic circle. In Magic, Book 4, Crowley explains the difference as,
"To 'invoke' is to 'call in', just as to 'evoke' is to 'call forth'. This is the essential difference between the two branches of Magick. In invocation, the macrocosm floods the consciousness. In evocation, the magician, having become the macrocosm, creates a microcosm."

The author does a superb job in describing how to actually use the angels and their correspondences. This is something that is commonly lacking in many magic books; authors often supply the 'why' and 'what' but not the 'how'. G. de Laval explains exactly how each angel (both good and bad) has a corresponding planet, element, time, and tarot card. As an example the author uses the 35th spirit, KOUQEL/KUQ, (Qoph Vav Kaph -כוק) -- also the angelic name found on the cover of the book. KOUQEL cooresponds to 'Water of Mars', and the three tarot cards The Moon, Heirophant, and Wheel of Fortune. It can be assumed that KOUQEL was chosen specifically, as 35 reduces to eight, which represents success, money, power, and influence -- things all writers hope to achieve through their books. 




The book follows with suggestions on how to design one's altar, recommended ceremonial clothes, candles, tools, incense, etc. The rest of the book is devoted to each of the 72 individual spirits. This part, the majority of the book, is a feast of information. It is a goldmine for practitioners looking to work with the shadow side of the Shem Ha Mephorash. Extensive information is given on each spirit, as well as brilliant cross-cultural observations. For example, the author compares the three Ma'aloth spirits, led by HAQAMYAH, to the Germanic Valkyries and the Greek Furies. The Peniynim spirits, led by MENAQEL, representing feebleness associated with age, are compared to the Yoruban spirit Babalu-Aye, a powerful orisha often represented as a limping old man who walks with a cane. Both also have associations with illness, death, and resurrection.




The author provides a wealth of clear and useful tables in the book's appendices. These include: numerological, elemental, planetary, color, and herbal correspondences of the Shem Ha Mephorash; the Hebrew alphabet and each letters' tarot association; Planetary Demons; Demons of the Lunar Witching Week, Tables of Magical Months/Days/Weeks/Hours & a Weekly Table of Planetary Hours. The charts are well organized and designed, easy to understand, and include text in both black and red. The book concludes with a bibliography that will serve readers well if they would like to explore the subject further.





Now the book itself:

For this review I will be reviewing the Deluxe Edition. Unfortunately for me, the publisher decided to publish an even more lavish edition, the Devotee Edition (full goatkin and custom wooden box -- see pic below), after I had already ordered and received the Deluxe Edition. I saw little reason to own two copies of the same book. A similar situation occurred with Michael Cecchetelli's book, The Book of Abrasax. It is my hope that publishers will announce all planned editions at once or offer the option to upgrade one's copy by exchanging the lesser edition for the greater and paying the difference, so as to avoid customer disappointment.

Devotee Edition. Image Credit Aeon Sophia Press

The Deluxe Edition of Black Magic Evocation of the Shem Ha Mephorash is bound in full textured recycled leather (bonded leather) that has a soft & pleasant aroma -- what I can only describe as a mixture of musk and lavender. The boards are very hard and rigid lending an unexpected weight and toughness to the book. The cover sports the Conjuration Circle of the Three Witches of the Crossroads and the angelic name KUQ (Qoph Vav Kaph - כוק) stamped in silver leaf. The spine includes title, author, and press, also in silver leaf. Regrettably, the first 100 copies (out of 200) of the Standard Edition and all 50 copies of the Deluxe Editions are missing the head/tail bands due to a binder's error. This would have certainly made it a more attractive book. A ribbon place marker would have also been nice considering this is a book to be referenced and used in a ritual setting. A shame. Even so, it is a very alluring book nonetheless.



The book opens to endpapers marbled in gray, gold, and black. The pattern created on my copy is oddly appropriate. It looks like the murky surface of a stagnant and polluted pond -- the perfect look for a book concerned with the summoning of malformed and malignant spirits. The text size and margins are near perfect. The paper is bone white and has a satin-like texture. Its weight is just right (120 gr); not too thin, and not too rigid. Illustrations, seals, and tables are very crisp and sharp. I did not encounter a single typo.

Black Magic Evocation of the Shem Ha Mephorash is an essential grimoire for anyone looking to work with the dark half of the Shem. It should provide a lifetime of exploration. Congrats to author G. de Laval for the tremendous amount of research that went into this book.




*Note: Those looking for further works on the Shem Ha Mephorash may also want to consider picking up Nick Farrell's newest work, The Shem Grimoire. Some abominable typos aside (Saggitarious? Really, Mr. Farrell?), it is a great book.